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London-based DJ and producer Rommek releases on 47, showcasing his signature brand of seething, fragmented techno in this formidable label debut. "Arkho" opens the EP with rolling drums before a heavily distorted synth line pierces the atmosphere, evoking tension and unease before launching into a furious lead. On "Silverlock," broken drums skitter across a droning soundscape, while a glitched-out melody adds a dark tint. "Decipher" squirms with a similarly syncopated rhythm and ice cold textures, topped with crisp hi-hats. Closing track "Synthetic Dream" is threatening but never overly dark, stitching weighty drums between tactile, warped-out synth notes. A chilling cut that conveys Rommek's shadowy aesthetic all the way through.

Gatefold single vinyl LP with an 8 page 12" size bookelt in the other side of the gatefold.

We're thrilled to announce the return of Tobor Experiment, the visionary musical project led by the enigmatic Giorgio Sancristoforo, to the Bearfunk fold. After a twelve-year hiatus, Tobor Experiment emerges from the shadows with their second LP, "Available Forms". Picture the ethereal ambiance of a dimly lit jazz club colliding with the futuristic vibrations of a 1970s sci-fi TV show, and you'll begin to grasp the sonic experience that awaits. Giorgio draws on a whole host of musical inspirations, from the name checked Tim Gane & Letitia Sadier to the moog pioneers Claude Denjean & Jean Jaques Perrey. With the moogsploration of contemporary jazz Tobor Experiment invites listeners on an extraordinary musical odyssey where jazz meets electronica meets nu-disco.

Prepare to be captivated from the very first note of the infectious opener, "Lowpass Risotto" as Tobor Experiment masterfully combines familiar elements with their unique artistic vision. Resonating with undertones reminiscent of the timeless classic "Take Five" the track immediately grabs your attention. While the familiar drum shuffle sets a comforting foundation, Tobor Experiment takes an unexpected twist by infusing the composition with squelchy Moog lines and captivating hollow body guitar solos. The result is a harmonious blend of nostalgia and innovation that transports you to an entirely new sonic realm.

Continuing the journey, the mesmerizing 6/8 rhythm of "Up!" pays homage to the iconic sounds of Stereolab while showcasing Tobor Experiment's innovative spirit. As enchanting synth pads weave through the air, you find yourself immersed in a dream-like state, carried away by the hypnotic shifting patterns of the bass and drums.

With "Astounding Stories" Tobor Experiment returns to the energetic vibes of the album opener, inviting you to surrender to a sonic tapestry rich with musical exchanges. In traditional jazz style we receive solo's from all parties. Each instrument adding its unique voice to the narrative, creating a dynamic and engaging musical conversation.

As the album progresses, "Moonscape Dust" emerges, drawing inspiration from the atmospheric brilliance of "Low." This track serves as a portal to an otherworldly sonic landscape where time and space lose their hold. Here, organic drums step aside, making way for a low-fi drum pattern that lays the foundation for ethereal synth pads. The composition invites you to explore the depths of your imagination, transcending earthly boundaries and allowing you to float in an immersive soundscape.

The album's closing track, "Monsters" has an air of "Air" about it... the ethereal synths beckon you to surrender to the weightlessness of space, just allow yourself to be carried away by the infectious rhythms, intricate melodies, and atmospheric textures that shape this extraordinary musical journey.

Each track on "Available Forms" showcases Tobor Experiment's exceptional ability to transcend musical boundaries, creating a genre-bending album that defies all expectations. From start to finish, the soundscape presented is a testament to Tobor's relentless pursuit of musical innovation. Each composition is a fusion of diverse elements, seamlessly blending organic instruments and electronic textures in a way that challenges traditional genre classifications.

The AI-generated artwork serves as a portal to an alternate dimension. Paying homage to the retro-futuristic aesthetic of 1970s science fiction TV shows, it captures the essence of the album's fusion between organic and electronic realms.

Repress!

‘Little Orphan Boy’ is the second single taken from album ‘This Is Brian Jackson’, presented with remixes by Two Soul Fusion, a.k.a. Louie Vega and Josh Milan.

The veteran artist’s first true solo LP in over 20 years, ‘This Is Brian Jackson’ is produced by Phenomenal Handclap Band founder Daniel Collás. Collás lovingly re-frames and updates ideas and demos that Jackson first laid down back in 1976, right around the time he recorded ‘Bridges’ with Gil Scott-Heron, for a solo project that never saw the light of day… until now.

Alongside his ‘Two Soul Fusion’ partner Josh Milan, Louie Vega gives the album’s closing track ‘Little Orphan Boy’ two truly vintage remix treatments, taking the song on an eclectic, soul-stirring, timeless journey. The extended ‘Two Soul Fusion’ mix calls to mind the golden era of Masters at Work productions, featuring a Latin-infused percussion groove, shimmering organs and in-the-cut funky guitar lines. The ‘Downtempo’ remix lets Brian Jackson’s vocals ride over a head-nodding, stripped back, yet equally soulful arrangement.

“A dream to work with Brian Jackson” says Louie Vega. “I mean, he’s a big part of our musical landscape and has been a huge inspiration in our lives. From way back to my early years in the Bronx, through to my DJing and producing career, into productions like Nuyorican Soul, Elements of Life, Kenlou, Brian and Gil have always been with us! Now to work on such an amazing song with Brian’s keyboard work and lead vocal, it made it so much easier for Two Soul Fusion (Josh and I) to find that pocket and groove. We had to create an epic piece and take you on a trip through several styles, it was calling for it. That’s due to the original work of Brian Jackson, a true Master at Work & Two Soul Fusion hero!!! I’m looking forward to seeing what’s next on the horizon with us and the one & only Brian Jackson.

Brian Jackson: “I have always loved the musicality and the rhythmic power that surges through the artistry of Louie Vega since I first heard him in Masters at Work. I made a silent wish that one day I would hear one of my songs given that special treatment. Imagine my elation to know that it would finally happen – with a song I wrote and recorded 45 years ago for a solo project that might have never happened if not for producer Daniel Collás and BBE chief Peter Adarkwah! Louie, along with Two Soul Fusion partner Josh Milan and I are alike in so many ways, I knew that if we ever got together, magic would happen and well… here’s to magic! My love and gratitude to Louie, Josh, Daniel, Peter and the beautiful BBE family.”

Close your eyes and merge into Benedikt Frey’s 'Fastlane'. Imagine sitting in the driver’s seat of a an automobile, one with exceptional horsepower and torque, as you stare out the windshield at the red light, warping in fata-morgana a mile down the road. It’s a straight-away, a black top with two lanes, and against your better judgment you decide to floor the gas. No hesitation in your muscle, your ankle or the ball of your foot, which you now realize is some kind of universal pivot, the first point of contact fusing your body with the will of machine. In this moment you’re in awe that you, a human, an animal, grew from pond scum into something so advanced as to engineer this thing, a mechanical beast capable of overwhelming power and exhilaration. But you also feel a seductive dread, an outside force diverting you from caution toward a dangling carrot of curiosity, asking yourself, ‘How far can I take this thing?’ The dread, now a constant, is numbed, equalized by an adverse intoxicating gratification. You feel both sensations in real time, however, rather than take responsibility for yourself, friends, family and innocent bystanders, you cement your foot to the floor and lean your head back. Noise around you fades to mute. Smell the benzene-scented air, feel the wind on your face, the menacing vibration of the vessel you control beneath you and every grain of asphalt under its tires. This mile has now lasted an eternity and you’ve left your body for some objective view, as if watching climax of a film. Past the point of no return, you embrace abandon and lean into fate. The film becomes slow motion, a crawling pace so mesmerizing you convince yourself of an option to eject yourself from this madness, but as you finally let go of your last morsel of fear, you run the red light head-on into the nucleus of a fantastic glistening sculpture of torn metal, glass, oil, broken dreams and heartache. 'Fastlane' may be just drum machines and synthesizers if you’re timid, but listen harder and know the catastrophic reality of existence, a wreckage so gruesome we dare not rubberneck, but afterall it is our nature to stare.

Wewantsounds is delighted to present one of Ennio Morricone's best and least known soundtracks for the 1971 cult French crime film 'Sans Mobile Apparent' directed by Philippe Labro. This superb soundtrack featuring Morricone's classic sound has never been widely available on vinyl save for a small limited edition released under the film's italian title. The set has been remastered from the original tapes with lacquer cut by Frederic Alstadt (Mont Analogue) and gatefold sleeve designed by Eric Adrian Lee. Last but not least Philippe Labro himself has shared his experience in an exclusive interview with Jeremy Allen, discussing the making of the film, working with the Maestro (at only 34 years old) and his amazing career crossing path with Jean Luc Godard, Serge Gainsbourg and Jean-Pierre Melville.

These obscure shellac 78s have managed to cross about 70years without brakes or sand damages. This fine selection of very rare and never released sides on vinyl are coming right away from Jamaïca in the early 1950"s ! Tracklisting: 01. Innocentay-Gimme De Rum 02. Duke Of Iron-Kuckeemoonga 03. Jamaican Calypsonians-Not Me 04. The Four Deuces-Four Day Morning 05.Count Owen-Bull Dog 06. Lord Beginner-Black Market 07. The Charmer-Back To Back Belly To Belly 08. Lord Melody-Mama Look A Booboo 09. Bedasse-Night Food 10. Cecil Knott-Banana 11. Young Tiger-Single Man 12. Count Casher-Trek To England 13. Louise Bennett-Bongo Man 14. Count Bernadino-Changa

Das Blue-Note-Debüt eines außergewöhnlichen Musikers zwischen Pop und Jazz! Seit seiner Debütsingle „Cold War“ (2018) kennt man Cautious Clay. Der Titel wurde mehr als 150 Millionen Mal gestreamt und von Taylor Swift auf ihrem Album „Lover“ gesampelt. Als Songwriter hat Cautious Clay mit Billie Eilish, John Mayer, John Legend, Khalid, Kavinsky, Melanie Martinez, Remi Wolf und anderen gearbeitet. 2021 legte Cautious Clay mit “Deadpan Love” sein erstes Album vor, das im Musikexpress als “ein aufregender Tanz zwischen R’n’B und Indie Songwritertum” beschrieben wurde. Mit seinem zweiten Album „Karpeh“ setzt der in Cleveland, Ohio, geborene, in New York lebende Sänger, Songwriter, Produzent und Multiinstrumentalist zu seinem nächsten großen Karriereschritt an - die Zusammenarbeit mit dem Jazzlabel Blue Note Records! Mit einem Mix aus R&B, Hip-Hop, Leftfield-Indie-Pop und Jazz-Elementen hat sich Cautious Clay bislang einen Namen für poetische und emotional ehrliche Musik gemacht, auf Blue-Note-Records und in Zusammenarbeit mit Label-Größen wie Immanuel Wilkins und Ambrose Akinmusire fügt er seiner Musik jetzt eine weitere Dimension hinzu.

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

Deena Abdelwahed's first album is shifting the epicenter of contemporary electronic music south: 'Khonnar' will be released on November 16, 2018 by InFiné. Pronounced 'Ronnar' (an essential detail so as to avoid facile misinterpretation by French-speakers) it is a term that makes the most of Tunisia's cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena's coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break. Throughout the 45 minutes of 'Khonnar", Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity - with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization. About Deena Abdelwahed A Tunisian producer and DJ, Deena Abdelwahed arrived in France at the age of 26 after earning her stripes on the Tunis scene and as part of the Arabstazy collective.

Das französische Label Infiné ist dafür bekannt, elektronische Musik jenseits ausgetretener Pfade zu veröffentlichen - hier wird Techno und House neu definiert. So passt es ganz gut, dass die aufstrebende tunesische DJ und Underground-Produzentin Deena Abdelwahed bei dem Lyoner Imprint eine Veröffentlichungsplattform gefunden hat. Abdelwahed performte in den letzten Jahren zwischen Boiler Room und Berghain in allen namhaften Clubs und hinterließ bei der globalen Dance-Gemeinde mehr als staunende Münder. Nach der im Frühjahr 2017 veröffentlichten EP "Klabb" präsentiert die Tunesierin mit "Khonnar" jetzt ihr sehnlichst erwartetes Debütalbum.

Was beide Tonträger vereint: sie verbinden nordafrikanische Klangelemente mit elektronischen Sounds, haben jedoch mit Weltmusik nichts am Hut.

Set in Hawaii, Presley's eleventh film Girls! Girls! Girls! featured the usual
combination of exotic locations, plenty of songs and Elvis in fightin' mood.
Released in 1962, it features the notable Return To Sender, Earth Boy,
Because of Love and the title track Girls! Girls! Girls! which was originally
penned by Leiber & Stoller for The Coasters in 1961. Side One includes
Where Do You Come From, which was not in the film but is included on
the soundtrack album. In 1993, the U.S. Mail issued its Elvis Stamp and
noticed that there was an increase in the number of letters it was obliged
to return... zealous fans of the 'King' had marked the correspondence
'Return to sender - address unknown

J Hus is back with his highly anticipated third album ‘Beautiful And Brutal Yard’, preceded by the raucous street track ‘It’s Crazy’ which charted Top 15 and ‘Who Told You’ (featuring Drake) which debuted at #2 with the 3rd highest UK week 1 singles sales of the year and Hus’ highest single chart to date.

‘B.A.B.Y.’ is the follow-up to his chart-topping album ‘Big Conspiracy’ which earned him the Best Male Award at the Brits and his Top 10 platinum debut ‘Common Sense’ which won an NME award and was nominated for the Mercury Music Prize and Best Album at the Brits.

Fans have come to expect a range of influences and musical styles from Hus’ albums and they will not be disappointed. Across ‘B.A.B.Y’ Hus incorporates elements of afrobeats, drill, R&B and bashment, all delivered in his inimitable lyrical style. The album includes features from Drake, Burna Boy, Jorja Smith, Popcaan and Naira Marley as well as from UK up and comers CB, Villz and Boss Belly.

Having not played his own live shows since 2017 J Hus is announcing a UK Arena tour on Thursday 29th June.

Long Island Sound follow up their acclaimed debut album and accompanying remix EP with Don’t Let Me / Air a limited white label release featuring 2 brand new dancefloor-certified anthems that signal a new era for the duo in both style and effect, while certifying them as masters of their house domain.

The Dublin-based duo of Rob Roche and Tim Nolan have made impressive strides as Long Island Sound for close to a decade now, honing their swooning dance craft via beloved EPs on their Signs Of Space imprint while becoming mainstays of their island’s club and festival circuit thanks to multiple acclaimed DJ sets.

Last year, they reached an impressive feat that few Irish dance acts have before them by releasing their debut album Lost Connection.

A 7-track opus that fused dynamic electronic sounds with contemporary styles of house, techno, and breaks, it signalled an exhilarating new direction for the duo that showcased their exceptional artistry in melody and production and subsequently earned them great acclaim.

An accompanying 5 track remix EP followed this year, featuring quality club reworks of various album cuts from producers Cromby, James Shinra, Mor Elian, and Benjamin Damage.

Signing off on that notable era, the duo moves swiftly on with this limited 2 track white label of unadulterated festival-ready house epics that have been highlights of their sets over the past year.

Don’t Let Me glides along a chromatic world of lasered synths, pitched diva croons and shuffling pistons before a breathtaking swell of cinematic rave harmonics reaches a magnificent combustible peak that’ll have you gasping for Air.

The flip cracks the window open, dialling down the frenzy with a magnificent swooning melody sits on top of a growling Reese bassline and mechanized 2-step beat where a romantic ambience grows.

Limited stock. First come first served!

DJ Support:

Pete Tong Radio One Support 21.07.2023

Tim Sweeney supports 'Don't Let Me' on his Beats in Space podcast on Apple Music

John Digweed supports 'Air' on his recent Compiled and Mixed podcast for Apple Music

Jenny Greene 2FM Ireland supports 'Don't Let Me'

Long Island Sound Guest Mix on Jenny's 'The Greene Room' on 2fm Ireland

Stephen Steinbrink discovered a short YouTube video of a street magician who approaches a highschooler walking home in Barstow, California. “Here, let me show you my idea,” he says, as he places a quarter on the kid’s hand. The magician performs some relaxed flourishes, and the coin vanishes. In silence, the kid stares at his hand at the nothing where there once, indisputably, was something, until his wonder finds a single word: “Cool.” The title of Disappearing Coin, the new album from Oakland songwriter Stephen Steinbrink, comes from this short clip. “When I look at it now,” he says, “I relate to the kid, who’s obviously uneasy in his body, and going through the experience of being a teenager in the early 2000s growing up in a bleak desert town like I did. I also relate to the coin, an inanimate disc of possibility. And I relate to the magician, an absurd facilitator of sending what is tactile and concrete into the wispy conceptual realm.” “I’ve watched it probably a hundred times,” he says. “It cracked me up but also blew my mind open the feeling of wonder I experienced watching this video became a guide as I navigated new ways of staying in the realm of what’s both real and magical.” Following the 2018 release of Utopia Teased, Steinbrink completed an apprenticeship in the nearly-lost art of Stained Glass, becoming a glazier at a studio that over three years, fully restored the enormous 90-year-old windows in San Francisco’s Grace Cathedral. He committed to his Buddhist study, beginning lay monastic training before the process was thwarted by the pandemic. He dove deeper into music production for other artists, engineering two albums by Boy Scouts released on Anti- Records in 2018 and 2021. Steinbrink delighted in the way these pursuits pulled at the thread of ego’s tapestry and decentralized him from his craft, allowing him to embody a new role as a creative caretaker engaging in practices that felt communal and restorative. “As I slowly began writing for myself again, I tried to imbue my new songs with this sense of playfulness and wonder I felt while exploring these other interests.” He says. Feeling unlocked from the pressures of perfection that he often felt in his earlier work, creating Disappearing Coin felt buoyant and healing. “The album feels like an integration of all of my past musical selves zeroing in on the present,” Steinbrink explains, “I felt free to explore new ways of writing, through different perspectives, experimenting with fictional songwriting, visual archetypal language, and total collaboration.” This “total collaboration” was a joyous new venture after years of solo performing and recording. The album can be seen as a 42 minute session of show and tell, the manifestation of Steinbrink repeating the mantra of “Here, let me show you my idea” to himself over and over. Disappearing Coin is at once a welcome return for the veteran Steinbrink and the debut of a totally new artist, one who has found a new path to himself with new goals of openness, curiosity, and self-acceptance. “Recalls the magic pop purity of Arthur Russell...its minimalism manages to feel enlightened and transformative.” PITCHFORK // “Melodic and self-assured. Steinbrink delivers his knotted lyricism with a smooth lilt.

Ltd B&W Edition: 1 Lp Black 1 LP white, Gatefold
Die gute Tradition, dass zu runden und halbrunden Band-Geburtstagen eine Zusammenfassung ihres Schaffens erscheint, wird auch durch Eisbrecher - Es bleibt kalt°! (2003-2023) zum Zwanzigjährigen aufrechterhalten. Zwingend notwendig, denn in den letzten Jahren ist das Repertoire durch die Veröffentlichungen von Schicksalsmelodien und Liebe Macht Monster um mehr als ein Dutzend Hits angewachsen. Aber bevor am 18. August das vorliegende Machtwerk Eisbrecher - Es bleibt kalt°! (2003-2023) als 2CD-Digipack, Doppel-Vinyl (eine Platte schwarz, eine weiß) und Digital Audio Longplay erscheint, kommt bereits am 7. Juli, passend zum Pre-Order-Start des Albums, der Track "Wir sind Gold" auf den Markt.
Diesen Song gab es bislang nur auf einer speziellen Promo-CD und der US-Version von Sturmfahrt und ist bis dato digital unveröffentlicht. Es ist nicht lupenrein überliefert, ob der Track "Wir sind Gold" ein Resultat der Gold-Verleihung für die Alben Die Hölle muss warten und Schock ist, aber bei Eisbrecher passiert nichts ohne Vision und ohne Augenzwinkern.
Fast nichts. Um den Fans den Track, der auf eBay hoch gehandelt wird, endlich zugänglich zu machen wird dieser vorab nicht nur als Single auf den Markt kommen, sondern auch als Lyric-Video auf YouTube zu sehen sein. Damit nicht genug, gibt es mit "Anfang" einen zweiten Song, der digital das Licht der Welt noch nicht erblicken durfte, sondern auf einer längst vergriffenen Metal Hammer-Compilation aus dem Jahr 2021 sein physisches Dasein fristet. Nicht mehr lange, dann wird auch diese Rarität die Ohren aller Fans verwöhnen. Fest steht: Eisbrecher - Es bleibt kalt°! (2003-2023) ist ein mit Liebe zum Detail geschnürtes Geburtstagspaket, das ordentlich die Korken knallen lässt. Stimmungsvoll wird somit die Wartezeit
zum nächsten Album verkürzt. 40 Hits in 20 Jahren, das macht so schnell keine andere, vor allem harte deutsche Band, nach. Der Status als außergewöhnliches Phänomen der hiesigen Musikszene ist gefestigt. Das Beste: Die nächsten 20 Eisbrecher-Jahre beginnen hier und jetzt, unberechenbar und unaufhaltbar, aber mit einem Versprechen: Es bleibt kalt!

Earthly Measures' second vinyl release of the year sees them team up with the talented & mystical producer & multi-instrumentalist Sidirum - bringing you Balearic & Downtempo flavours from Argentina - sounds that haven’t always been associated with his style. An EP that fills you with euphoria & nostalgia, trying to find those sounds that can take you to another time just by listening to them - as he puts it, "rhythms from the past".

For Sidirum this release is about the beauty of chance. Samples that he has found from near & far over many years of producing finally find a home. 'Donde' in particular is a special track, he says "it is the track where I found my voice again. I have not used it in a song for almost 10 years." 'Ex-Plane' is heavily influenced by his love for Reggae, which runs throughout the whole track. 'Total Interior' is a perfect dance-floor ready track - with the help of multi-instrumentalist Pedro Alvide, the track builds a musical progression that dives into perfect sunset vibes with uplifting energy - ready for a peak time festival set.

After a number of other releases, 'Iris' is an EP where Sidirum feels that he has finally found himself again musically. In a way it's a summary of the places he’s been in the past, intertwined with his ideas in the present, making for a truly unique & pleasant listening experience.

Nick The Record - This is ruddy bloody gorgeous!!!!!!!!!!!!!!! Only problem is choosing a favourite tune

Dom Servini - Gorgeous White Island moments on here! Beautiful.

GK Machine - Nice reggae vibes on Ex-Plane...Total Interior and Donde up my street too

Bill Brewster - V nice esp. total interior

Paul Cottam - In my head now

Jaye Ward - wow!! what a release! super deep very left of the field. deep AF brilliant thing indeed

Oscar Arroyo - Nice one.

Thomas Jackson - I like Donde!

Pink Siifu’s latest release, GUMBO!, is another sprawling Afrocentric vision from one of the boldest voices in contemporary rap. Following up on 2020’s NEGRO, the album’s songs are as rich and varied as its titular stew. Siifu’s boundless style makes for an unpredictable but rewarding ride across the album’s 18 tracks, as he explores the diverse sounds of his influences and breaks new ground with a unique class of co-stars.

Siifu, born Livingston Matthews and raised between Alabama and Cincinnati, has already notched a conspicuous list of collaborations in his burgeoning career, from legendary producer the Alchemist to Australian electronic group the Avalanches. Siifu also embodies various inspirations through a range of alter-egos, often producing under the moniker “iiye,” or as half of the duo B. Cool-Aid with Ahwlee, both of which appear on GUMBO!.

The variety of guest features and production on GUMBO! only elevates Siifu’s ability to push the boundaries of genre and song structure. “Voicemails Uptown” (produced by Soulection’s Monte Booker) is the second of two back-to-back posse cuts, sporting five plus vocalists each. “Lng hair dnt care,” the album’s first single, was produced by Ted Kamal, who first garnered attention for his outside-the-box edits of contemporary rap staples. And while several of the album’s tracks are well within his bag, the jazzy, drumless loop on “Fk U Mean/Hold Me Dwn” could’ve been a cut off of his collab album with Virginia rapper Fly Anakin, FlySiifu’s.

Though rife with standout tracks, GUMBO! is greater than the sum of its parts. Siifu’s ambitious range and impressive pool of features create an otherworldly listening experience. Overall, it reflects an intense desire for self-expression and creative growth, one which he shares with many of his influences. Like Outkast, Sun Ra, Baraka, or Bad Brains, his unique soundscapes re-imagine a genre without restrictions, breaking new ground in search of artistic and personal freedom.

Das dreifach RIAA-zertifizierte Platin-Debütalbum, gepresst auf 140g kristallklarem Vinyl, enthält die beiden Platin-Singles "Really Really" und "2 Phones".

Amanaz were serious, and they made a serious stab at an album. They titled their album Africa, according to original band member Keith Kabwe, “because of how it was shared and how its inhabitants were butchered and enslaved, its resources stolen… all the atrocities slave drivers committed. “ Thus, their “Kale,” a blues sung in Nyanja, that traced the continent’s arc from slavery to Zambia’s independence closes the album. Kabwe and rhythm guitarist John Kanyepa have a winsome softness to their vocals, which sit politely aside the feral growl of drummer Watson Baldwin Lungu, bassist Jerry Mausala and bandleader/lead guitarist Isaac Mpofu. Africa’s vibe ranges from anxious (“Amanaz”) to escapist (“Easy Street”) to straight-up pissed-off. On the “History of Man,” his voice whiskeyburned, his distorted guitar buzzing like swarming hornets, Mpofu indicts his species.
There’s a darkness to Africa not found on any other Zamrock records, and a melancholy drifts throughout, specifically on Mpofu’s more restrained “Khala My Friend,” which stands as an effective, bleak situation for the Zambian everyman, the average citizen of a struggling, new nation, who might have had relatives in conflict-torn countries on the horizon, who might have been struggling to find his next meal, who might have seen a bleaker future than his president promised. Then there’s the clear Velvet Underground-influence on the nostalgic “Sunday Morning,” which, as Kabwe
recalls, was the first song written for the album, back in 1968, when Velvet Undergound and Nico was a new release - and the underground funk of “Making The Scene.” The album also tackles traditional Zambian music and early-‘60s rock – punctuated, of course by Kanyepa’s wah-wah and Mpofu’s fuzz guitars. But every time Amanaz get too deep, too violent, they come back with an accessible song and woo their listener back to the groove. “Green Apple” is a civil song, featuring Kanyepa’s sighing guitar. It is a perfectly arranged album, from the dichotomy of Mpofu’s and Kanyepa’s lead and rhythm guitars, to the vocal harmonies, to the rhythm section’s sense of space and time, which allows Africa’s funk to build. Inexplicably, Africa was given two separate mixes and two separate presses: one version is dry, with the vocals and drums mixed loud, the other slathered in reverb, with the vocals and drums disappearing into the mix, and with the guitar solos mixed much louder. We’ve presented them both here as they each have their appeal: it’s up to the listener to pick the one he or she prefers. This is a highpoint of the Zamrock scene and we hope that this can be seen as its definitive reissue.

Fiddlehead's third album Death is Nothing to Us is a defiant, new chapter for the band. Since 2014, the Boston-based group have been honing their unique sound, bringing together the energy of hardcore, the anthemic melodies of `90s alternative, and the unbridled passion of Revolution Summer era emo. Their previous albums, 2018's Springtime and Blind and 2021's Between The Richness, dealt heavily with grief from different perspectives, and now their latest feels like a de facto culmination, drawing together many of the catalog's through-lines sonically and lyrically. The band again teamed with producer Chris Teti for their third record, and his punchy production captures Fiddlehead's live energy while showcasing the massive guitars and undeniable catchiness that makes their music so immensely satisfying. The album's concise 27 minutes sound like a natural extension of all of the band's strengths, but is glued together by vocalist Pat Flynn's singular tuneful roar. Flynn, since his time as the vocalist of Have Heart and now as Fiddlehead's frontman, has earned a reputation as one of hardcore's most thoughtful lyricists. He interweaves his ruminations on life, death, and all the joy and tragedy in between with references to Roman philosopher Lucretius; the author Jean Améry; other musicians like Bad Brains, Alex G, or Wire, and even references to the band's own back catalog. The humanity across Death Is Nothing To Us is palpable in every note. It's the kind of art that observes pain with real honesty rather than prescribing a solution for it-and in doing so, inadvertently offers some sense of hopefulness. The album finds Fiddlehead so deeply delving into the pain, confusion, nuances, and contradictions of sadness-so willingly wrapping their arms around a concept as existentially baffling as death itself-that they've created an album that is truly life-affirming. Death is Nothing to Us exemplifies so much of what makes Fiddlehead a special band: taking these heady, unanswerable questions and wrestling with them in a very earthbound way, all wrapped up in the urgent power of a three minute punk song.

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

Ivory colored vinyl, limited to 150 copies. "When did time start flying by so fast? It's getting harder to recall the past." The opening lines of As Friends Rust's upcoming album Any Joy are a fitting start for a band that has existed in one form or another for over 25 years (minus a hiatus from 2002-2008). Originally formed in the late `90s, As Friends Rust has been through a few iterations, but it is the core line-up of vocalist Damien Moyal, guitarist Joseph Simmons, guitarist James Glayat, and drummer Timothy Kirkpatrick that are creating thought-provoking melodic punk music for the modern age. With three EPs, two 7 inches, and a full-length in their history, As Friends Rust already have a lifetime of work in their pocket, but the seven songs on Any Joy might just be their most striking yet. Originating in Gainesville, Florida and now spread across the country, As Friends Rust wrote, recorded, and produced Any Joy mostly from the comfort of their own homes. Vocals in Ann Arbor, MI, guitars in Gainesville, FL and Brooklyn, NY, with the exception of the drums, which were recorded in a studio by John Howard in Gainesville. Not currently having a permanent bassist, the band called upon friend Andrew Seward (of Against Me!) to play bass on most of the record, with additional contributions from Simmons. Mixed by James Paul Wisner in Orlando, FL and mastered by Matthias Lohmöller in Germany, the creation of the album was truly a collaborative and international effort. Working in separate spaces allowed the band to experiment more as the songs came together, resulting in a familiar but fresh sound that has more bite than past releases. It's more focused, more direct, more confrontational, more catchy, while still staying true to the band's melodic punk and hardcore roots. Lyrics tackle everything from the emptiness of emoticons as a form of communication on "Positive Mental Platitude" to the need for political and social activism versus the occurrences of daily life on "??No Gods, Some Masters."

PRSPCT Recordings and Redrum Recordz are a match made in the underground.

They bring you another groundbreaking release, this time building sonic bridges between the UK and The Netherlands.

Dutch Jungle legend Mike Redman is known for internationally spreading the Hardcore Jungle gospel as Deformer, Voodoom and under his own name since the early 90's. Recently his well received 'Roffadamn Jungle' track set international dance-floors on fire while paying tribute to the nightlife connoisseurs of bygone times, mixing UK inspired Jungle with uncompromising Rotterdam Hardcore.

This time around he's supported by the most legendary artists in the field providing stunning remixes. Such as UK Drum 'n Bass heroes Bizzy B and Ed Rush, both founders of the genre, providing remixes that knock you off your socks. He's also teamed up with hardcore legends Akira, Rotterdam Terror Corps as well as Mackadena providing that original sound of Rotterdam. Not to mention Redman's own ear-shattering remix under his alias Deformer, making this album a must-have for anyone that likes it ruff. By the way, the cover art by legendary graffiti artist Cosh is worth framing too!

Mit 13 Tracks ist "War Eternal" das Arch Enemy-Album schlechthin. Es ist sowohl eine nostalgische Verbeugung vor der Vergangenheit der Band ("Never Forgive, Never Forget", "No More Regrets") als auch ein beeindruckendes Beispiel dafür, was in der Zukunft möglich ist ("Down to Nothing", "Time is Black"). Aber wenn es einen herausragenden Track gibt - eine Speerspitze - dann ist es der Titeltrack. "War Eternal", das der Welt auf Youtube vorgestellt wurde, marschiert trotzig gegen das Alltägliche an, zwei erhobene Fäuste gegen die Zwänge der Gesellschaft und den Käfig, den sie uns allen verzweifelt überzustülpen versucht. Hier beweist White-Gluz, dass sie die nächste Generation der Großen ist, während Amott und der Rest von Arch Enemy spielen, als wäre "War Eternal" ihr letzter Song. "Es gibt eine Menge Details auf diesem Album, die mich als Songwriter und Gitarrist begeistern", grinst Amott. Ich persönlich habe mich auf "War Eternal" als Spieler noch mehr angestrengt und habe das Gefühl, dass ich dieses Mal eine andere Ebene erreicht habe, was sehr lohnend ist. Das Album ist endlich wieder in den folgenden Formaten erhältlich: - Schweres 180g Vinyl in Schwarz und Transparent-Magenta, inklusive 2-seitigem Einleger - Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 24-seitigen Booklet kommt

Mit 13 Tracks ist "War Eternal" das Arch Enemy-Album schlechthin. Es ist sowohl eine nostalgische Verbeugung vor der Vergangenheit der Band ("Never Forgive, Never Forget", "No More Regrets") als auch ein beeindruckendes Beispiel dafür, was in der Zukunft möglich ist ("Down to Nothing", "Time is Black"). Aber wenn es einen herausragenden Track gibt - eine Speerspitze - dann ist es der Titeltrack. "War Eternal", das der Welt auf Youtube vorgestellt wurde, marschiert trotzig gegen das Alltägliche an, zwei erhobene Fäuste gegen die Zwänge der Gesellschaft und den Käfig, den sie uns allen verzweifelt überzustülpen versucht. Hier beweist White-Gluz, dass sie die nächste Generation der Großen ist, während Amott und der Rest von Arch Enemy spielen, als wäre "War Eternal" ihr letzter Song. "Es gibt eine Menge Details auf diesem Album, die mich als Songwriter und Gitarrist begeistern", grinst Amott. Ich persönlich habe mich auf "War Eternal" als Spieler noch mehr angestrengt und habe das Gefühl, dass ich dieses Mal eine andere Ebene erreicht habe, was sehr lohnend ist. Das Album ist endlich wieder in den folgenden Formaten erhältlich: - Schweres 180g Vinyl in Schwarz und Transparent-Magenta, inklusive 2-seitigem Einleger - Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 24-seitigen Booklet kommt

Sophisticated, suave, and masterfully composed, this 45 is a sonic love letter to late 60s and early 70s soul, nodding to the giants of the genre and bowing to its unsung heroes. With inspiration from artists like The Moments, Baby Huey, The Delfonics, and especially the late Curtis Mayfield, this 7" is drenched in the era-defining tone that can only come from its origins on analog tape. From the first notes of the first track "Beck & Call", the songs shimmer and glow from one moment to the next like a summer's drive with the windows down, with a steady cruise anthem like "Daydreaming" floating by like a cool breeze. Friends since childhood, The Sextones are Mark Sexton (guitar, vocals), Alexander Korostinsky (bass), Daniel Weiss (drums), and Christopher Sexton (piano). Having known each other for so long, their musical chemistry is effortless and forms the foundation of the band's longevity and creative workflow. Despite their bond, each member has been able to channel their creativity into other acclaimed groups_Alexander and Mark with their cinematic-soul project Whatitdo Archive Group, whose acclaimed debut LP The Black Stone Affair was released on Record Kicks in 2021, and Daniel with the soul/jazz group Delvon Lamarr Organ Trio (Colemine Records). Flexing their creative muscle individually has only strengthened The Sextones' collective songwriting ability and heralds their formidable return to the spotlight. With their recent signing to Record Kicks, the self-made heroes of soul begin a new chapter in their sonic journey, ready to scale new heights and plumb deep emotional depths in service of the genre they love.

Sechs Jahre nach "Legends Of The Shires" kehrt Progmeister Richard West an diese Gestade zurück, um uns die lang erwartete Fortsetzung zu erzählen mit seiner brandneuen Supergroup: Oblivion Protocol

Im besten Fall kann Prog ein sicherer Hafen vor dem Sturm da draußen sein, ein heilsamer Ruhepol, purer Eskapismus. Echte Musikalität, pure Emotionen und eine Vorliebe für überragende Melodien machen diese Musik zu einer Reise, einer Erfahrung, für die Platten und Kopfhörer überhaupt erst erfunden wurden. Ein ganz
besonderer Prog-Aficionado ist Richard West, seit über 30 Jahren renommierter Keyboard-Wizard und Songwriter der britischen Prog-Metal-Pioniere Threshold. Sechs Jahre nach deren epischem Meisterwerk "Legends Of The Shires" kehrt West an diese Gestade zurück, um uns die lang erwartete Fortsetzung zu erzählen. Nicht unter dem Namen Threshold, wohlgemerkt. Sondern mit einer brandneuen Supergroup. Prog-Fans weit und breit, jauchzet und jubilieret: Oblivion Protocol sind da. Und sie bringen uns "The Fall Of The Shires".

Oscar Jerome & Oscar #Worldpeace and Franc Moody reimagine two Blue Note classics; Grant Green’s ‘Green With Envy’ and Donald Byrd's ‘Cristo Redentor’ for Blue Note Re:imagined II; a new 16-track compilation featuring fresh takes on music from the illustrious Blue Note vaults recorded by a heavyweight line-up of the UK jazz, soul and R&B scene’s most hotly-tipped rising stars. Arriving off the back of the widespread international success of the first volume, which topped jazz charts around the globe, Blue Note Re:imagined II once again infuses the spirit of the new UK jazz generation into the legendary label’s iconic catalogue, balancing the genre’s tradition with its future and reflecting the melting pot of talent and diversity within the current scene

Charlie Hunter’s 1995 Blue Note debut Bing Bing Bing! was a groove-heavy tour-de-force that announced the arrival of a virtuosic new guitarist on the scene. Hunter’s unique concept on his 8-string guitar allowed him to lay down a bass line and play chords as well as a melodic line at the same time, producing music that was at once impressive and irrepressible. With his powerful trio featuring tenor saxophonist Dave Ellis and drummer Jay Lane plus contributions from trombonist Jeff Cressman, Ben Goldberg, pedal steel guitarist David Phillips, and percussionist Scott Roberts, Hunter delivered a 10-song set of propulsive originals including “Greasy Granny” and “Fistful of Haggis” plus an unforgettable cover of Nirvana’s “Come As You Are.” Hunter would go on to record six more excellent albums for Blue Note, and also gain notice for playing on D’Angelo’s 2000 neo-soul masterpiece Voodoo.

PAURA explores the horror repertoire from the precious CAM Sugar archives taking us on a hypnotic journey into the labyrinths of fear, through the different variations that Italian horror took on from the esoteric and supernatural to the slasher films of the early 1970s; to reinterpretations of Romantic literature and gothic fiction to the splatter films of the ‘80s; and from witchcraft to metropolitan horror. This is not a real “best of” but an eclectic menu full of mysterious voices, childlike lullabies, sweet melodies, obsessive music boxes, obstinate harpsichords, crazy distortions and threatening synthesizers, conceived as a succession of sequences, as if a film edit. The new collection includes some of the most creative music ever written and strives to do justice not only to some of the best known composers in this genre, but also to many great unsung composers: From celebrated composers like Ennio Morricone, Riz Ortolani & Stelvio Cipriani to long-forgotten personalities who fed the industrial backbone of Italian cinema such as Daniele Patucchi, Marcelo Giombini & Berto Pisano. The collection includes 6 previously unreleased tracks plus 3 tracks released on vinyl for the first time and 5 tracks available commercially for the first time (originally released only as a limited promo item).

"One of the more remarkable albums in Freddie Hubbard’s formidable Blue Note oeuvre, Breaking Point! was recorded in May 1964 shortly after the trumpeter left Art Blakey’s Jazz Messengers to form his own band. The quintet—with James Spaulding on alto saxophone and flute, Ronnie Mathews on piano, Eddie Khan on bass, and Joe Chambers on drums—moves assuredly from free-form playing and modal jazz to the blues and balladry on this five-song set of originals by Hubbard and Chambers.
This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket."

Charles Lloyd, Ausnahme-Saxophonist, spiritueller Freigeist und musikalischer Visionär, ist seit mehr als
sechs Jahrzehnten fester Bestandteil der internationalen Jazzszene und mit 84 Jahren so kreativ und produktiv wie selten zuvor. Dieses Jahr veröffentlicht er auf Blue Note Records ein „Trio of Trios“, drei
eigenständige Alben in jeweils unterschiedlichen Trio-Besetzungen.
Den Anfang macht „Trios: Chapel“, aufgenommen mit Gitarrist Bill Frisell und Bassist Thomas Morgan. Das fantastische Zusammenspiel der drei Jazzgrößen macht gespannt auf die zweite Folge „Trios:
Ocean“ (erscheint im August) mit Gitarrist Anthony Wilson und Pianist Gerald Clayton, und die dritte und
finale Folge „Trios: Sacred Thread“ (erscheint im Oktober), mit Gitarrist Julian Lage und Schlagzeuger
Zakir Hussain.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Fünf legendäre Charlie-Parker-Klassiker in einem luxuriösen LP-Set!

Würde man diese Alben als Original-LPs kaufen wollen, müsste man einen Kredit aufnehmen. Deshalb erscheinen die legendären Charlie-Parker-LPs jetzt als Special Collector’s Edition Box-Set! Fünf der größten (und meist-verkauften) Bebop-Alben aller Zeiten als Neuauflage im Original-10-inch-Format.

Neu gemastert von Alex Abrash bei AA Mastering, 180g- Vinylpressungen, originalgetreue Reproduktionen des Original Artworks von David Stone Martin. Im Schuber befindet sich auch ein 10x10-inch großes Buch mit neuen und exklusiven Linernotes von Ethan Iverson, einem neuen Aufsatz von Autor David Ritz und vollständigen Track-by-Track-Notizen.

Die Alben: „Charlie Parker With Strings“ (1950), “Bird & Diz” (1952), “Plays South Of The Border” (1952), “Charlie Parker With Strings Vol. 2” (1953), „Charlie Parker” (1954)

Auch musikalisch bricht man mit „Syberia: The World Before“ zu einem Abenteuer in andere Epochen
auf. So unterstreicht der originale Game Soundtrack durch seine Variation von bombastischen OrchesterInszenierungen bis hin zu intimen Solo-Piano Stücken den vielseitigen Charakter der Kult-Videospielreihe
Syberia. Komponiert vom EMMY-Gewinner Inon Zur in Begleitung der GRAMMY-nominierten Pianistin
Emily Bear, ist diese exklusive 2LP ein absolutes Sammlerstück. Sie enthält eine blaue und eine braune
Vinyl-Platte, sowie Zeichnungen des Game-Designers Benoît Sokal.

Der moderne klassische Komponist und Pianist Lambert kehrt mit einem neuen, atmosphärischen SlowTempo-Album zu seinen Klavierwurzeln zurück. Introspektiv und wunderschön karg lädt dieses 15-TrackAlbum mit Downtempo-Soloklaviermusik und Ambient-Elektronik in eine chillige Lo-Fi-Trance ein. Veröffentlicht auf dem Label Mercury KX.

Stage Fright is the third studio album by Canadian American group the Band, released on August 17, 1970. Engineered by Todd Rundgren and Glyn Johns, it features two of the group's best-known songs, "The Shape I'm In" and "Stage Fright", both of which showcased inspired lead vocal performances (by Richard Manuel and Rick Danko, respectively) and became staples in the group's live shows.

* 5.1 surround and hi-res stereo mix of album (by Bob Clearmountain) + new bonus tracks + previously unreleased Royal Albert Hall (1970) performance on Blu-ray
* CD of new stereo mix album + new bonus tracks and unreleased Calgary hotel demo tracks
* CD of the Royal Albert Hall performance (stereo)
* LP of main album new stereo mix (180gram, 33rpm)
* 7" reproduction of original "Time To Kill" b/w "The Shape I'm In" Capitol single (Spanish pressing)
* Photo booklet with new notes by Robbie Robertson and a reprinting of the original 1970 Robert Hilburn Los Angeles Times album review
* Limited

Lisa Batiashvili gathers all the places and memories that have been important in her life and career together with some of the world’s most beautiful music. A journey from her native Georgia to Paris, Berlin, Buenos Aires and Hollywood that features ground-breaking collaborations with artists as diverse as Miloš, Katie Melua and Till Brönner. City Lights shares the beautiful melodies from Cinema Paradiso and Chaplin’s own compositions with all time classics from Piazzolla, J.S. Bach and the late Michel Legrand - all in new arrangements by Nikoloz Rachveli - and last, but not least a new song by Katie Melua about the magic of London. This Special Edition of Lisa Batiashvili’s City Lights combines the most popular music from her latest album on a 10 inch vinyl. Including a brand new track: Desafinando recorded with the Georgian Philharmonic Orchestra in July 2021.

Undeniably one to watch, the release of his upcoming body of work is set to cement Sam’s status as one of the year’s most exciting new artists. His music has already been praised by the likes of MTV, Clash, BBC, and Notion magazine, played across BBC Radio 1 by Scott Mills, Clara Amfo, Ricky, Melvin and Charlie, and featured on flagship Spotify editorial playlists. Elton John and Bastille are fans, pop phenomenon Bebe Rexha has co-signed his work, while Justin Bieber is a prominent supporter. The two hosted a sensational IG Live together and more recently hung out in LA, while a video of Justin singing Sam’s single ‘Whole’ has gained more than one million views –and counting. Closer to home, JayKae jumped onstage on Sam’s last tour, and renowned UK tag-team Krept & Konan are fans. Such a broad spread of support simply represents his audience as a whole; there’s a literal army of TikTok followers moving alongside him, with Sam amassing almost a half million followers on Instagram –that’s more than some very established artists. In fact, he already has more Instagram followers than some winners at the BRITs last year. Matching pop touches to a classic feel, he’s often compared to Sam Fender’s anthemic truth-seeking or Tom Walker’s revelatory autobiography. Yet Sam’s work stands alone and is already scaling

Eight years on from the release of his compelling debut album ‘Sun, Cloud’, Luke Howard has now established himself as one of the most important and exciting musicians in contemporary classical music. The composer has been at the forefront of opening up piano music to a new generation, while challenging the notion of what can be achieved in the form. New album ‘All Of Us’ is not only an exquisite portrait of isolation, loss, resistance and reconciliation in both stark and rich shades of piano, orchestra and electronics, but the theme of quarantine provides a framework for the record. Throughout the album, Howard shifts between subtle permutations of shifting sound, etched with his trademark intimacy and restraint, and applied with a palate both minimalist and expansive; to his own piano, celeste and synthesiser, the Budapest Art Orchestra (conducted by Peter Pejtsik) plays strings, guests added flugelhorn, viola, contrabass and modular synth whilst fellow post-classicist Ben Lukas Boysen provides additional programming, production and mixing on ‘Critical Spirit’ and ‘The Opening Of The Gates’.