Suche:o ma

Welcome to the psychedelic vibes of this weed-inspired double sider where Colombian salsa and Peruvian cumbia meet!

Cannabis is a killer organ-driven salsa song recorded by Colombian music legend Fruko while Marihuana by Los Darlings de Huanuco was conceived as an effort to combine rock and cumbia sounds resulting a perfectly balanced mix of both worlds.

First time 7" reissue of these extremely hard to find records!

The third studio album from Norfolk, VA hip-hop duo Timbaland & Magoo, Under Construction, Part II was released in 2003 by Blackground Records, and serves as the follow-up to Missy Elliot's album of the same name. With Timbaland handling a majority of the production, the album boasts the large and flamboyant beats that we've come to expect from Timbaland as one of the top producers of his time. The album features appearances from longtime collaborators such as Missy Elliot and Sebastian, as well as notable names such as Brandy, Wyclef Jean, and Bubba Sparxxx. Hit songs include "Cop That Sh*t," "Indian Flute," and "Naughty Eye."

Named by Q Magazine as one of the "5 Best Compilations of 2000," Romeo Must Die: The Album is the soundtrack to the Andrzej Bartkowiak 2000 film, Romeo Must Die. With executive production from Timbaland, Barry Hankerson, Jomo Hankerson and Aaliyah, the film's star, the album features production from Irv Gotti, Rapture Stewart, Ant Banks, Eric Seats, Mannie Fresh and J Dub. Appearances include B.G., Chanté Moore, Dave Hollister, Destiny's Child, Ginuwine, Joe, Lil' Mo, Mack 10, Playa, Stanley Clarke, and Aaliyah, who appears on four songs. The album debuted at number 3 on the Billboard 200 and was certified Platinum shortly after it's release.

Today, the Toronto-born-and-raised singer, songwriter, producer, and multi-instrumentalist Charlotte Day Wilson announces her highly-anticipated sophomore album Cyan Blue out May 3rd via Stone Woman Music / XL Recordings

Along with the announcement of her new album comes the release of first single, "I Don"t Love You", a stark and devastatingly beautiful confessional, highlighting Wilson"s immaculate production skills and chill inducing vocals laid atop smooth groove piano chords and soft drums. The track also arrives with a visual directed by Dani Aphrodite featuring layered low fi footage of the artist and producer performing at home, living every day life and having moments of solitude in her car, a theme that comes up throughout the album. Cyan Blue finds Wilson crafting a smoothly woven cyan tapestry of her eternal influences; thumping gospel piano, warm soul basslines, atmospheric electronics, and penetrating R&B melodies. Yet, it possesses a sense of vastness that rings in a new era for Wilson, one in which she"s embracing collaboration and newfound creative openness tinged with wistfulness and yearning and a reflection on youthful innocence. "I want to look through the unjaded eyes of my younger self again," Wilson explains of making Cyan Blue. "Before there wasn"t as much baggage, before so much life was lived. But I also wish that my younger self could see where I am now. It would be nice to be able to impart some of the wisdom and clarity that I have now onto her.

" Working with producers like Leon Thomas (SZA, Ariana Grande, Post Malone), and Jack Rochon (HE.R, Daniel Caesar), Cyan Blue demonstrates Wilson´s sonic expertise while also showcasing the next evolution of her time-bending songwriting. Through 13 hypnotizing tracks, she continues to use music as a vessel for unpacking relationships, which in turn allows her to meet and understand herself in life-spanning, panoramic focus.

But, on Cyan Blue, she challenged herself to kick her perfectionist tendencies. "Before, I was extremely intentional about creating music with a strong foundation, a bed of artistic integrity," Wilson reflects. "But that was a bit stifling, like, "Let me just make a great piece of art that will stand the test of time, no pressure." Now, I think I"m getting out of this frozen state of needing everything to be perfect. I"m more interested in capturing feelings in the moment as they happen and leaving them in that moment."

While this is only her second album, Wilson"s influence in music has made a major mainstream impact. Wilson broke out in 2016 with her critically acclaimed EP, CDW, followed by 2018"s Stone Woman and made her debut studio album an official coming out moment in 2021 with the critically acclaimed, self-released Alpha.

Over the past decade, she´s been sampled by Drake, John Mayer, and James Blake, while Patti Smith has recently praised and covered Wilson´s 2016 breakout single "Work." Additionally, she´s collaborated with artists like Kaytranada, BADBADNOTGOOD, and SG Lewis, demonstrating that there´s no sound Wilson can´t adapt to and sprinkle her cyan-colored magic over.

Art Blakey, whose career spanned nearly 50 years of Black music history, exemplifies the timeless role of the drums in jazz. This Album of the Year LP, originally released in 1981, features the Jazz Messengers: trumpeter Wynton Marsalis, saxophonists Robert Watson and Bill Pierce, pianist James Williams, and bassist Charles Fambrough, alongside drummer and bandleader Art Blakey.

The album was recorded in Paris, and tracks include “Cheryl” (written by Charlie Parker), “Soulful Mister Timmons,” and “Little Man,” among others. The accompanying liner notes were written by Ted Panken.

"Vangelis (29/3/1943 –17/5/2022) was a Greek musician, composer, and producer of electronic, progressive, ambient, and classical orchestral music. He composed the Academy Award-winning score to Chariots of Fire (1981), as well as for the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and the 1980 PBS documentary series Cosmos: A Personal Voyage by Carl Sagan. Vangelis started writing music when he was 4 and performed his first live concert at age 6. He started his career as a member of The Forminx. In the sixties, he was a founding member of Aphrodite's Child along with Demis Roussos and Lucas Sideras. He also enjoyed succes as part of Jon & Vangelis early in the eighties. The Best Of Vangelis from 1993 is an absolute classic. It contains Vangelis classics like “Alpha”, “To The Unknown Man”, “Pulstar (Audio)”, “Spiral” and “So Long Ago, So Clear” featuring Jon Anderson from Yes. Now for the first time available on vinyl as a Limited Edition 2LP set, on white coloured vinyl.
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Acclaimed folk-blues singer/songwriter Luke Winslow-King has recently inked a significant deal with the iconic Bloodshot records, coinciding with the label’s 30th anniversary, and marking a revival in the institution’s trailblazer history of outlaw country, folk roots, and rock n roll. To celebrate this exciting collaboration, Luke Winslow-King is set to embark on a midwest tour with guitar maestro Roberto Luti of Tuscany May 17 - June 1 of 2024. Tuscan Slide Guitar Maestro Roberto Luti is a founding member of the Playing For Change band and has collaborated with legends such as Taj Mahal, Keb Mo, Keith Richards, Ringo Starr, Dr. John and numerous others, accumulating over 100 million plays on YouTube. His unorthodox, angular and evocative slide guitar style is based on Mississippi and Chicago blues and is infused by soul and African roots traditions. Fans can expect the sincere and heartfelt roots blues stylings King has become known for, showcased alongside his continual artistic reinvention

True Game is the debut and sole studio album by American hip hop duo Mad CJ Mac. It was released on May 23, 1995 via Rap-A-Lot Records.

Man of the moment Bruno Mars, currently the record breaking No.1 most listened to artist on Spotify, has his first two No.1 albums reissued on limited edition colour pressings.

Currently riding high with the 1 Billion plus streamed track with Lady Gaga ‘Die With A Smile’ as well as over half a billion streams for the debut single APT. with ROSÉ from Blackpink.

Doo-Wops & Hooligans Product Description

Limited Edition Neon Yellow Vinyl

Bruno Mars' chart-topping debut launched the singer-songwriter into superstardom and spawned a string of blockbuster hit singles including the No.1 singles "Just The Way You Are," "Grenade," "The Lazy Song," plus "Talking to the Moon," "Marry You" and "Count On Me" and has sold over 15 million copies worldwide, going 7 x Platinum in the UK.

Unorthodox Jukebox Product Description:

Limited Edition Neon Coral Vinyl

Bruno Mars' sophomore record has gone 3 x Platinum in the UK and features the smashes "When I Was Your Man" and "Locked Out Of Heaven," as well as "Treasure" and "Gorilla". The album presents a wide range of styles such as R&B, pop, reggae, rock, disco, funk and soul music, and includes production from Mark Ronson, Jeff Bhasker, Emile Haynie, Diplo and Supa Dups, as well as The Smeezingtons. The album has since sold over 6 million copies globally.

Star Trek – „30th Anniversary Vol. 1“: Der Original Soundtrack auf Vinyl für alle Trekkies! Für alle Star Trek-Fans und Vinyl-Liebhaber gibt es jetzt ein ganz besonderes Highlight: Der „30th Anniversary Vol. 1“ Soundtrack entführt die Fans erneut in die unendlichen Weiten des Weltalls. Das besondere Vinyl-Release feiert die große musikalische Erbschaft, die Star Trek über Jahrzehnte hinweg mit seiner kraftvollen und atmosphärischen Musik begleitet hat. Auf „30th Anniversary Vol. 1“ finden sich einige der berühmtesten Tracks aus der ersten Serie, die das Gefühl von Abenteuer und Entdeckung im All perfekt transportieren. Das knisternde, warme Klangbild der Vinyl sorgt zudem für ein authentisches Retro-Erlebnis, das Fans der ersten Stunde genauso begeistern wird wie die neue Generation von Trekkies.

Originally release in March 2009, Midle Cyclone is repressed for 2025. 'Middle Cyclone' was produced by Case with Darryl Neudorf and recorded in Tucson, Brooklyn, Toronto, and Vermont. It features Case backed by her core band - guitarist Paul Rigby, bassist Tom V. Ray, backing vocalist Kelly Hogan, multi-instrumentalist Jon Rauhouse, and drummer Barry Mirochnick - along with numerous guests including M. Ward, Garth Hudson, Sarah Harmer, and members of The New Pornographers, Los Lobos, Calexico, The Sadies, Visqueen, The Lilys, and Giant Sand, among others. In addition to twelve new songs written by Case, 'Middle Cyclone' includes covers of "Never Turn Your Back on Mother Earth" by Sparks, and "Don't Forget Me" by Harry Nilsson.

In 2006, SPIN Magazine called Case "one of pop music's best" voices, and Interview Magazine hailed her album 'Fox Confessor Brings The Flood' as "one of the most original, beguiling, honest records of the year." The album also earned Case Female Artist of the Year honors from the PLUG Independent Music Awards, and a Top 10 placement in the Village Voice's annual Pazz and Jop Critics Poll of the year's best releases. 'Fox Confessor' was Case's first album to debut in the Billboard Top 100, and has sold nearly 200,000 copies in the U.S. alone.

Im Französischen sagt man oft, dass man in alten Töpfen die besten Suppen kocht. Dieses Sprichwort trifft auf Rash Panzer in idealer Weise zu. Anfang Dezember veröffentlichte die Genfer Power-Rock-Combo ihr neues Album, ihr fünftes, und das mehr als 40 Jahre nach der Gründung der Band! Im Januar folgt nun die Vinyl-LP für alle Liebhaber! Zu sagen, die Musik der Band sei älter und feiner geworden, wäre eine Untertreibung. Das neue Album von Rash Panzer, das den Namen „Born to Rock‘n Roll“ trägt, ist eine kleine Perle des kraftvollen und melodischen Hardcore, die Fans von Aerosmith, AC/DC und den Ramones begeistern wird. Aber weit davon entfernt, eine x-te Kopie der oben genannten Bands zu sein, sind die Kompositionen des Sängers JJay Guertchakoff und des hervorragenden Gitarristen Renato Dani furchterregend effektiv und originell. Sowohl beim Anhören des Studioergebnisses als auch live verdient diese „Born to Rock‘n Roll“ zwei Dinge: einen Platz in der eigenen Diskothek und einen Platz auf dem Plakat von Festivals. Denn neben der Musik wäre auch JJays Stimme allein schon eine Reise wert. Im Gegensatz zu anderen Vokalisten, die über 60 Jahre alt sind, ist sein kraftvolles Organ nicht gealtert. Rash Panzer ist ein sicherer Wert und sein Rock ist unsterblich.

February 2014 saw the band release their 'Back To Bagarmossen' EP on London/Stockholm indie label PNKSLM Recordings. The 10' vinyl received huge praise both internationally and at home, even picking up mainstream TV coverage on Sweden's TV4. Following the EP, Les Big Byrd are now preparing to unleash their debut full length release, 'They Worshipped Cats', on Anton Newcombe's A Records ,Anton has co written & plays 2 tracks on the album . They are supporting the Brian Jonestown Massacre on their European tour . When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, the guys accidentally ran into each other at a local record shop, and started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of "They Worshipped Cats" was conceived and recorded. Les Big Byrd was formed in Stockholm by Joakim Åhlund and Frans Johansson a couple of years ago. They each eventually joined different rock bands that brought them out of Sweden and into a different world. Frans' band Fireside, got signed by Rick Rubin to his label Def American and Jocke had a taste of international success with 60's-influenced garage-pop outfit Caesars, as well as his other, more electronically flavored project Teddybears. They decided that they still - in spite of everything - had their love for music intact, and the dream in common to get the perfect band together and give it one more shot. They recruited Jocke's former bandmate, drummer Nino Keller and keyboardist Konie and started jamming and rehearsing. Joakim had been running a recording studio in Stockholm, writing and producing for Swedish and international artists, including Robyn and Håkan Hellström, and had also directed music videos for prominent Swedish exports such as Bob Hund, Refused, Broder Daniel and The International Noise Conspiracy. Keyboardist Konie also runs a studio in Stockholm, where he's been recording a number of film scores as well as many of Swedens most interesting black metal acts.

An introspective dive into an ethereal atmosphere, "Glimpses of anEternal Bloom" is the debut album of Turkish producer, composer and pianist Berk Icli. The album is an attempt to frame certain moments of "being" no matter the emotional state concerned, whether euphoric, sentimental or dark and contemplative. At times, this is done through orchestrations of strings, brass and woodwinds. Other times with solo piano, field recordings, electronics and the use of samples.

brawther & daniel paul the house music makers think its time 2 play. indeed ))

Brandneue Auflage auf weissem Doppelvinyl: Mac Millers Mixtape "Macadelic" aus dem Jahr 2012 mit der Hitsingle "Loud" und den Featuregästen Kendrick Lamar, Lil Wayne, Cam'ron, Joey Bada$$, Sir Michael Rocks, Iman Omari, Casey Veggies und Juicy J.

Auf ihrem zweiten Album "Anywhere But Here" verfeinern Sorry ihr Songwriting und begeistern einer Mischung aus Post-Punk und Leftfield 90s Pop. Produziert von Adrian Utley (Portishead).

Sorry's Debütalbum "925" (2020) war nicht nur ein künstlerischer Erfolg, es wurde von Kritiker*innen hochgelobt. Der Zeitpunkt der Veröffentlichung hätte nicht unglücklicher sein können: März 2022. Es kam der Lockdown, an Konzerte war nicht mehr zu denken. Trotzdem hat die Band nicht stillgestanden und hat im letzten Jahr die Twixtustwain-EP und ein Charity-Live-Album zur Unterstützung ihres geliebten Venues Windmill veröffentlicht sowie im fleißig Material für ihr zweites Album geschrieben. Als die Zeit reif war, zog die Band nach Bristol, um mit Adrian Utley von Portishead zu arbeiten und die Welt von "Anywhere But Here" zu erschaffen. Das Ergebnis ist ein mysteriöses, grenzüberschreitendes Album, auf dem die Songschreiber*innen Asha Lorenz und Louis O'Bryen versuchen, mit dem umzugehen, was die letzten zwei Jahre für uns alle mit sich gebracht haben. Im Zentrum steht das zeitlose Songwriting des Duos, das zwischen dem hookigen Post-Punk von "Let The Lights On", dem schrägen RnB von "Key To The City" und dem leftfield 90er-Pop von "Screaming In The Rain" hin und her springt und überall dazwischen Halt macht.

Die aus Bristol (UK) kommenden IDLES haben heute ihr kommendes fünftes Album 'TANGK' angekündigt. 'TANGK', der 11-Track-Nachfolger ihres Grammy-nominierten Albums CRAWLER, wurde von Nigel Godrich (Radiohead, The Smile, Beck), Mark Bowen und Kenny Beats (Denzel Curry, Vince Staples, Benee) und der Band selbst co-produziert. 'TANGK' - ausgesprochen "Tank" mit einem Hauch von "g" und einer lautmalerischen Anspielung auf den peitschenden Gitarrensound, den sich die Band als eine Art Siegel für das Leben in der Liebe vorstellte - ist das bisher ehrgeizigste und eindrucksvollste Album der Band.

IDLES sind eine der stärksten Rockbands des letzten Jahrzehnts. Godrich, Beats und Bowen waren auch für die IDLES ein hervorragendes Tandem, das sie in neues Terrain vorstieß und dann die Zügel anzog, wenn es nötig war. 'TANGK' ist gleichzeitig ausladend und konzentriert, einfallsreich und unmittelbar. Über das Album sagt Sänger Joe Talbot: "TANGK. Ich brauchte Liebe. Also habe ich es gemacht. Ich habe der Welt Liebe gegeben und es fühlt sich wie Magie an. Dies ist unser Album der Dankbarkeit und der Kraft. Alles Liebeslieder. Alles ist Liebe."

Wo IDLES einst darauf aus waren, die Welt zu verarschen, den ewig Gestrigen die Stirn zu bieten und persönliche Traumata in Echtzeit zu exorzieren, sind sie in diesem neuen Akt angekommen, um die Früchte solcher Beharrlichkeit anzubieten: Liebe, Freude und tatsächlich Dankbarkeit für die bloße Möglichkeit der Existenz. Diese Musik gedeiht nicht trotz unserer Probleme, sondern wegen ihnen. Wenn wir uns nicht um uns selbst und um die anderen kümmern, so scheint 'TANGK' in einem gewaltigen Hook nach dem anderen auszurufen, wer dann?

This Is DJs Choice Vol. 4 brings you a great selection of Funk, Soul, Latin and Hip Hop.

Five years after the last installment of the series, Volume 4 is compiled by Gu, a long-time friend and DJ partner of Unique label founder Henry Storch, and the tracks represent the two decades they have known each other and played records together, as well as the music they enjoyed.

All choices are originally 7 Inch records from Gu's crates put together like a DJ-Set for you to enjoy: The Soul of The Sweet Vandals and Carlton Jumel Smith, the Deep Funk of Naomi Davis & The Knights Of Forty First Street, The Supersonics and Sharon Jackson & The Soul Destroyers, the Latin sounds of Diesler and Eli Goulart E Banda Do Mato and the Hip Hop grooves of Jay Are (aka J.Rawls and John Robinson), The Bamboos featuring Ohmega Watts and Daddy-O of Stetsasonic.

This compilation is a celebration of music from beginning to end.

About This Is DJs Choice:

The series started as a friendship project by Henry Storch, who wanted to immortalise friends and allies from the DJ scene, who picked vinyl as their format of choice. The genre didn't matter, as long as the vibe was right. In 2008 Vol. 1 featured a selection of organic Club Sounds and Break Beats put together by Soulinus & Pun, followed by Keb Darge & Lucinda Slim and their favorite Rhythm & Blues, Rockabilly and 60s Soul tunes on Vol. 2 in 2009. In 2019 Les Intouchables aka Marc Hype and DJ Suspect presented a variety of funky and soulful music with an addition of the occasional Boogie, Reggae and Hip Hop track.

About Gu:

Gu is a DJ, musician, label owner, producer, writer and producer from Northern Germany. His dedication to music started in his pre-teens in the late eighties and he is playing vinyl ever since. Over the years he has worked with a number of his favorite DJs and artists like Keb Darge, Andy Smith, Snowboy, The New Mastersounds, Osaka Monaurail, The Sweet Vandals, The Allergies, Andy Cooper of Ugly Duckling, Daddy-O of Stetsasonic and Chuck D of Public Enemy to name a few. His DJ career took him all over Europe again and again.

In 2005 he started Our Label Records with his brother Tom to release new Funk music on 7 Inch vinyl and added the Hip Hop 45 imprint Origu in 2015. Since 2009 and he is on air every week with his radioshow Home Diggin', which was also picked up by Chuck D's Rapstation in 2019. Additionally he is lead singer/rapper for the Songcore duo Sorry We're Closed and the Hip Hop outfit Alder Ego. He also does readings of his book of one-liners and competing on Slam Poetry stages.

MANOWAR is an American heavy metal band from Auburn, New York. Formed in 1980, the band is known for lyrics based on fantasy and mythology . The band is also known for a Loud and Bombastic sound. In 1984 the band was included in the Guinness Book of World Records for delivering the loudest performance, a record which they have since broken on two occasions. They also hold the world record for the longest heavy metal concert after playing for five hours and 1 minute in Bulgaria (at Kavarna Rock Fest) in 2008. MANOWAR have also been known for their slogan "Death to false metal » and have maintained a very strong following with dedicated fans worldwide as referred to by the band as "Metal Warriors", "Manowarriors", "Immortals" or "Brothers of Metal". The band signed with Atlantic Records in 1987. Via Atlantic, they released 'Fighting the World', which enjoyed more extensive distribution and increased the band's prominence in the international heavy metal scene. Album art was designed by Ken Kelly. In 1988, MANOWAR released the album 'Kings of Meta’l, which is the band's best known work. Songs like "Heart of Steel", "Kings of Metal" and "Hail and Kill" are performed regularly in concerts. 'Kings of Metal' is MANOWAR's highest-selling album worldwide. A new musical unit after the recent changes, MANOWAR released The Triumph of Steel in 1992. It gained some great success and was particularly famous for the presence of a suite lasting no less than 28 minutes entitled "Achilles, Agony and Ecstasy in Eight Parts", inspired by the events of the Iliad and the hero Achilles. After this release, the band went on a world tour for two years. Those MANOWAR’s album have become legendary and are still must have in any metal fan record collection . Vinyls formats Having been very rare and reaching high prices online, those three albums are now being made available again in quality coloured vinyls; Grab them now while you can !!

Kit Sebastian - bestehend aus K. Martin und Merve Erdem - veröffentlichten ihr neues Album, „New Internationale“, auf Brainfeeder.

Textlich porträtiert „Metropolis“ die Erfahrung von Immigrant:innen, indem es den Druck und die Enttäuschungen hervorhebt bei dem Versuch, Kontrolle, Bedeutung und ein Gefühl der Zugehörigkeit in einer scheinbar gleichgültigen und fremden Welt zu finden, während man sich mit den Kompromissen zwischen der Ausübung der Kunst als Beruf und der Suche nach Stabilität auseinandersetzt. Es geht um die Projektion der eigenen Hoffnungen und Sehnsüchte auf eine neue Stadt, das naive Gefühl von Freiheit, das sich daraus ergibt, und die unvermeidliche Desillusionierung und Verzweiflung, die darauf folgt. „New Internationale“, ihr musikalisch unbändiges und emotional anspruchsvolles drittes Album und ihr Debüt für Brainfeeder, ist auf eine Art und Weise durchdacht, wie es Kit Sebastian noch nie waren. „New Internationale“ ist eine fesselnde Synthese aus den Klängen und Stilen, die Kit Sebastian schon seit langem faszinieren, nämlich französischer Pop und anatolischer Psych, klassische Tropicália und früher Rock’n’Roll, mit einer Brise Soul und Prog, die durch die offenen Fenster der kollektiven Vorstellungskraft der beiden weht.

Ein Ltd. Reissue als Grünes Vinyl von Sizzlas Meisterwerk 'Black Woman & Child' von 1997!

- „Meisterwerk“ - Rolling Stone Magazin
- Produziert von Bobby Digital, gilt Black Woman & Child zu Recht als das wichtigste Reggae-Album der 90er Jahre.
- Black Woman & Child wurde 1997 von Greensleeves veröffentlicht und war Sizzlas Durchbruch, der ihm eine Nominierung für den International Reggae Artist Of The Year einbrachte und seinen Platz als Star der 90er Jahre sicherte.
- Vollgepackt mit Hit-Singles über einige Riddim-Relicks, darunter 'Make It Secure' (auf Drum Song), 'One Away (Satta Massagana)', 'Give Them The Ride' (The Lecturer) und der hymnische Titeltrack 'Black Woman & Child'.
- Enthalten sind zwei weitere Kombinationen mit Capleton bei 'Babylon A Use Dem
- Brain“ und Edi Fitzroy bei ‚Princess Black‘.
- Als einer der wichtigsten und erfolgreichsten Künstler der Reggae-Geschichte ist „Black Woman & Child“ auch fast drei Jahrzehnte später noch ein unverzichtbares Album.

Der offizielle Soundtrack zur Kult-Dokumentation "B-Movie Lust & Sound in West-Berlin" erscheint erneut in einer beson- deren farbigen Vinyl-Versionɏ eine LP in leuchtendem Pink und die andere in strahlendem Gelb. Diese Edition verbindet den unverän- derten musikalischen Kern mit einem frischen auffälligen Design das die bunte und kreative Vielfalt der Berliner Subkultur widerspiegelt:

Der Soundtrack von B-Movie erzählt von der letzten Dekade der geteilten Stadt. West-Berlin eingemauert und isoliert wurde zum magnetischen Anziehungspunkt für Künstler Musiker und Visionäre. Der Soundtrack fängt diese wilde Zeit ein von den düsteren Klängen von Joy Division und Malaria! bis hin zu den treibenden Beats von Westbam und den provokanten Rhythmen von Abwärts. Jeder Track erzählt eine eigene Geschichte und verwebt sich zu einem musikalischen Kaleidoskop das die Sub- und Pop- kultur jener Zeit lebendig werden lässt.

Classy and soulful collaboration with one original and three remixes For the Original Mix, label owner Sub Semantics teams up with Hanover-based Producer ANDERE. It features a highly stuctured groove, elegantly layered with energetic pads and a catchy lead melody. On A2, Map.ache from legendary Giegling label and co-founder of KANN records, delivers a minimalist, super-dreamy remix. On the ­ipside, the Argentinian producer Volpe delivers reduced dubby techno with an oldskool vibe, preserving many elements of the original. MELATRONIX, also known as Elad Magdasi and Mathias Weber, contribute to the EP on B2. The highly experienced artist duo and Front Left Records label heads close the EP with a particularly powerful remix, straightforward and with remarkable precision.

Pink Vinyl

Drifting on oceans of thunderous stillness, carried away by endless currents, whipped up by waves of darkness devouring you until you see the light. The first album from Platoo, a collaboration between Michelle Samba and Phil Mills, has an unrelenting cadence that grabs you and refuses to let go. A distinctive combination of calming soundscapes and highly-charged energy fitting any occasion, from dancing like lost souls in the empty halls of ancient barracks to ecstatically tripping on a distant desert planet.

To Phil and Michelle creating Platoo was about being given a sense of freedom and exploration, at once shaking off habits and rediscovering forgotten values. Phil's love of the mesh of ''real'' sounds and electronics, and quest to establish a balance where both would feed off each other saw him abandon convention and standard structures, deviate from the beaten path and let things come to life. Michelle's quest to create, to inspire and be inspired, to draw her conclusions from serendipitous events allowed her to break things open and be at ease with letting herself go to create the breathing space needed for this new sound.

What makes their symbiosis fruitful is a common yearning for the unknown, a search for what works without exactly fathoming why it works. The result is something that indeed meets those needs, a strange and beautiful musical exploration.

"Over the years, Ellende has released six full-length albums and three EPs. They achieved four official chart positions (Austria: #14, #21; Germany: #31, #37) with recent full-lengths, while the band has performed more than 120 international shows and reached over two million Spotify streams in the past year.

The lyrical themes have evolved alongside the music. From early reflections on misanthropy, nature, and isolation to later explorations of human nature, social criticism, war, loss, despair, and dementia. The upcoming full-length album “Zerfallˮ portrays the state of being shattered into fragments and the slow, painful process of rebuilding oneself: a confrontation with the void and ultimately a triumph over it. Shaped also by a tragic event in the life of its mastermind, Ellendeʼs work continues to fuse raw intensity with profound emotional depth."

A quarter century since their 1998 debut, No Fear of Time finally reunites one of the greatest hip-hop duos of all-time, Black Star. Group members yasiin bey and Talib Kweli first joined forces to deliver their iconic breakout, Mos Def and Talib Kweli are Black Star, which quickly became one of hip-hop's most revered works and launched both already-rising stars into the stratosphere. Although each has since enjoyed success and acclaim in their individual careers, they've never realigned for a sophomore follow-up to that release until now. Produced entirely by renowned beatsmith Madlib, No Fear of Time has a future vibe with vintage soul. The 9-track album was recorded guerrilla-style in hotels and dressing rooms around the globe, and initially saw a non-traditional release, being made available exclusively on a subscription-based podcast platform. Now, the album is officially available on physical formats for fans worldwide to own and appreciate the triumphant return of Black Star.

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

Die LP-Vinyl Edition des Erfolgsalbum aus dem Jahre 2016, mit bedruckter Innenhülle inklusive der Lyriks, ist wieder lieferbar!

"2 + 0 + 1 + 6 = 9. 2016 ist das Jahr der 9. Die Frau, die den Jazz in den Reggae gebracht hat, kommt auf ihrem selbstproduzierten zweiten, folgerichtig "9" betitelten Album mit einer Runderneuerung von Roots-Reggae um die Ecke. Auf neun Songs lotet sie die musikalischen Grenzen des Genres aus und erweitert das inhaltliche Spektrum um alte, aber selten ausformulierte Erkenntnisse, in denen sich spirituelle und materielle Einsichten zu revolutionären Calls to Action kondensieren." - Riddim Magazin

Die Doppel-LP im Klappcover ist in limitierter Auflage für kurze Zeit wieder erhältlich!

"Music Is The Rod" kommt mit den 24 besten Tracks des Sängers, mit Fotos und ausführlichen Liner Notes von Bridgett Anderson, der ehemaligen Managerin von Garnett Silk, und Anthony Rochester (seinem Partner für das Songwriting), sowie Zitaten der verschiedenen Produzenten: Bobby "Digital" Dixon (Digital B), Donovan Germain (Penthouse), Chris Chin (VP), Courtney Cole (Roof International), Richard "Bello" Bell (Star Trail), Sly Dunbar (Taxi), Danny Browne (Main Street), Richie Stevens (Pot Of Gold) und Phillip Smart (Tanyah).

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

Repress!

Code 718 aka iconic NYC DJ Danny Tenaglia dropped this 'E2-E4' riffing classic back in the mists of 1992. Manuel Göttsching's original track would have been a staple of NYC clubs back then and would have featured in the warm up sets of jocks like Tenaglia who favoured the longer, deeper sets as well as on the play-lists of institutional night-spots such as the Loft and the Garage. The track's influence on a whole era of DJ's and producers that followed is immeasurable and across 3 sublime mixes Tenaglia distills the magic of the original into something totally NYC and club-friendly without losing any of the Göttsching magic, even managing to sprinkle a little Grace Jones in the mix with her fabulous 'I floated on a cloud' vocal sample liberally applied. 'Equinox' takes us on a trip that is emotive, uplifting and warm. This is how House music is meant to sound, respectfully steeped in what preceded it yet moving forward in a fresh direction. Another example of how on the money Strictly Rhythm were in their early days, classic after classic rolled out of the labels' offices and us, the record buying legions, were / are better off for it! This one's a tasty 2017 reissue and remaster, featuring all 3 mixes, unedited, as per the original release way back when. Do not sleep.

After the incredible interest in the KOSMONAUCI debut album, we created a dedicated version for the Japanese market. "Japan Edition" has an insert translated into Japanese. The vinyl is black (180g). The label also has Japanese markings. Each record also has a special Japanese OBI.

U JAZZ ME is a boutique label rooted in U Know Me Records.

"Sorry, nie tu"is the debut album of the boys band KOSMONAUCI. The album consists of original compositions by the band members that were created over several years and evolved with the artists. The music of the Cosmonauts derives from jazz and improvisation, but over time the musicians have developed many new ways and possibilities to draw from many other, seemingly distant musical genres. Songs characterized by improvisation and rhythm of drum & bass or hip-hop are one of the characteristic features of the album "Sorry, nie tu". The music of the band KOSMONAUCI is stylistically extensive and at the same time very coherent, thanks to the combination of beautiful lyrical melodies with catchy and often surprising polyrhythms or bold improvisations. KOSMONAUCI have been playing together since high school, which can be heard very well in the chemistry of the whole band and the emotions flowing from the album. On March 21, 2024, the premiere of the debut album entitled "Sorry, nie tu" will take place. The album will be released by U Jazz Me, a sublabel of U Know Me Records. It will be the inaugural sublabel album.

KOSMONAUTS– a boys band originating from jazz traditions, which in its musical language draws onhip-hop,drum & bassandimprovisation. The instrumentarium, which includes saxophone (Miłosz Pieczonka), bass (Bartłomiej Lucjan), vibraphone (Tymon Kosma) and percussion (Jan Pieniążek), creates a unique style of the group, balancing between emotional melodies and polyrhythmic structures. The roots of the band's music go back to the jazz traditions of the 1950s to the 1990s. Their current sound, on the other hand, is much more varied by the search for ideas in genres such as hip-hop, drum & bass, alternative pop or the contemporary London Yass scene. KOSMONAUCI have been playing with each other since high school and have known each other since elementary school. They went to school together, to the concerts and grew up together in the field of music as well. The artists have classical and jazz education, which gives them a wide range of possibilities in the field of improvisation, performance and composition. Each of them has an individual style and different inspirations, which find a common denominator in the band, allowing them to create a unique style of playing and sound. Despite the fact that they have been active on the music scene in Poland and abroad since 2018. Their first album is released in 2024. Over the past few years, KOSMONAUCI have had the opportunity to perform at renowned jazz festivals, collaborate with renowned artists and learn from the best artists in Europe. The resultant of all these factors is the band's debut album "Sorry, nie tu", which will be released on the sublabel of the U Know Me label - U Jazz Me.

46 tracks on a 3-LP collection – including: Adam & The Ants, Kate Bush, The Jam, Madness, Diana Ross, Lipps Inc, Paul McCartney, Orchestral Manoeuvres In The Dark,

Spandau Ballet, Ramones, Siouxsie And The Banshees, Odyssey, Kool & The Gang…

Ein weiterer außergewöhnlicher Release in der hochgelobten WaJazz-Reihe ist dem Leben und der Musik eines der berühmtesten japanischen Jazzmusiker der letzten 60+ Jahre gewidmet, dem legendären Saxophonisten Jiro Inagaki mit seiner Soul Media-Band und ihrer goldenen Ära 1968-1980. Diese ultimative Kollektion erscheint auf goldfarbigem 180g Doppelvinyl im Gatefold mit detaillierten Linernotes von Yusuke Ogawa (Universounds), Kommentaren von Jiro und exklusiven Fotos. 16 mal pures Gold aus Jazz, Jazz-Funk und Jazz-Rock, darunter eine unveröffentlichte Version des Tracks 'Express' – erstmals auf Vinyl!

FTV004 is an artist mini album from Spains Sergio Garcia recording under his Uf0 Alias. His recognisable breaks and electronic melodies keep in style of previous releases on Altered Sense, Further Electronix, Gated and Withhold, which drift in and out of lush pad heaven breakdowns and skipping breakbeats. Limited to 140 copies worldwide on eco coloured vinyl in eitherblue, pink or purple. Comes with an insert instructions of how to make a crop circle/Uf0 landing site. 5/5 reactions from Carl Craig, Ame, Michel De Hey, Doc Scott, Moy, Nick Warren.

NOW is going back to the 1970s to proudly present the next instalment in our ongoing ‘Yearbook’ series.

Released on 49 tracks across 3LPs pressed in beautiful blue vinyl, celebrating a magnificently diverse year of Pop singles… NOW – Yearbook 1977.

Daniel Avery returns to fabric Originals with his second EP of 2024 following on from the ‘Wonderland / Running’ EP back in March, Avery’s only officially releases for this year.

“Broken euphoria. The other side of Room 1 that will crush your skull and fill your soul in equal measure. Being blinded by the most beautiful light you’ve ever seen.”

Daniel Avery plays fabric, 15th November – ALL NIGHT – Divided Love Party

Vinyl lands 6th December

Everybody Eats! debuts on RSD Black Friday in an exclusive clear red wave colored vinyl pressing. After endless requests for a Czarface and Dr. Octagon collaboration, the comic book inspired supergroup Czarface takes a turn for the cosmic, creating a funky full length adventure with the spacey Kool Keith! When the record is playing, they become a counterpart character that can even give the mighty Czarface a run for his money- Stress Eater! You can expect a rich blend of what makes both acts so special: block-rocking beats and bizarre, mind-bending lyricism...all served up with a cover from Czarface artist Lamour Supreme.

The much-anticipated fifth studio album from Rufus Du Sol, known for blending organic and electronic sounds, sees the Grammy-winning trio once again delving into familiar themes like love, heartbreak and euphoria across 15 tracks. This new record, featuring previously released singles 'Lately' and 'Music Is Better', marks the band's first new material in three years. Their latest single, 'Break My Love', shows the band's signature style, where smooth vocals from Tyrone Lindqvist weave into a hypnotic electronic backdrop. The track evokes hope and emotional depth while maintaining the group's dreamy, electronic soundscape. The accompanying retro-inspired music video, directed by longtime collaborator Katzki, adds a playful twist with a heist-themed storyline, reflecting the band's creative evolution. Inhale / Exhale represents a new creative phase for the trio, who describe this era as focusing on the joy of creation in the present moment. Fans can expect a mature sonic journey that carries forward the emotional highs and lows that have made RUFUS DU SOL a beloved force in the global electronic scene.

The Acidboychair music project started in the early noughties as a commentary on what journalist Simon Reynolds would summarise a few years later as Retromania. Initially conceived by Thomas Baldischwyler and Andreas Diefenbach as a performative revival travesty with large-format drum computers and synthesizers reconstructed from cardboard, everything took a surprising turn when DJ Mooner (the man behind the now defunct Munich music label Erkrankung Durch Musique) took an interest in the adventurous audio material produced by Baldischwyler. In 2005, the LP 1987 (EDM1016), produced almost exclusively with long-forgotten software (SoundEdit 16, RB-338, etc.), was released on Mooner's label. As a result of the growing number of bookings, Baldischwyler had to think about improving the performability of his intentionally amateurish productions. Fortunately, the Ableton Live programme became a DAW with a MIDI sequencer and support for VST plug-ins as early as 2004 - and this made it easier for him to execute his intuitive, error-friendly version of acid house. This can be heard on the first two sample-heavy tracks on the A-side of Come Down Easy, which were recorded in 2005 and 2006 respectively at Acidboychair gigs at Hamburg's Golden Pudel Club and Munich's Registratur. The first two tracks on the B-side (produced sometime between 2006 and 2008) were actually supposed to be part of a solo release on the Acido label run by Dynamo Dreesen, but this never materialised. However, the final tracks and the 133.3 BPM lock grooves that follow are the title and central to this catalogue number TBG123: Through ethno-musicologist Arthur Boto Conley, who had already released a one-sided 12 on his label with material from one of Baldischwyler's audio installations, he met Florian Meyer (Don't DJ) and Marc Matter (Spoken Matter), who introduced him to their collaborative project Institut F?r Feinmotorik (IFFM). Baldischwyler's attempt to approach the sound aesthetics of IFFM led to the tape 60 Minutes Of Barely Modified Lock Grooves (TCCC06), recorded in Rome in 2018. A buyer of this tape introduced him to the Detroit collective Pure Rave, which he immediately contacted and introduced to the work of the IFFM. It was important for Baldischwyler to have an analogue update made and so both the Detroiters and IFFM, who now live in Berlin, were given 8 copies of EDM1016's backstock to remix the material in their own way. At their jam in Detroit, Pure Rave opted for the almost identical material that IFFM had also used for a live performance in the Hamburg project space Beek. The dominant jumps in both arrangements come from the track Eightyseven, produced in the early 2000s for the LP 1987, an awkward remix of the Spacemen 3 track Come Down Easy, which is also referred to in the liner notes on the inner sleeve of TBG123. The almost two-decade-old revival idea thus turns into false memory syndrome and runs into a - in keeping with our times - clean-cut (endless) groove. Kassem Mosse (The KM of MM/KM) on Come Down Easy after a first listening session: I think it all works very well as a mix, no matter where you start it carries you further forward back in the loop. if I understand the liner notes correctly, it's about the music's turn from tradition preservation (doing everything right) to ecstatic delusion (not doing everything right when intoxicated). Now that I'm reading again instead of listening, the titles give me a different understanding of the connections; how the skipping belongs together, which playtime is connected. Now I can name my favourites. Thank you for the journey!

Mary Coughlan, oft beschrieben als die grösste Sängerin, die Irland je hervorgebracht hat, feiert ihr 40-jähriges Jubiläum mit einem neuen Album. Coughlan verbindet whiskyverhangene, rauchig-heisere Töne mit dem lakonischen Witz von Billie Holiday und Peggy Lee, und den deepen, düster-schmutzigen Blues von Bessie Smith mit Edith Piafs sarkastischem Trotz und bittersüsser Verzweiflung. All das mit ihrem köstlich-kompromisslos-irischen Akzent: skeptisch, reumütig, traurig, schmelzend und glühend nach Liebe. "Repeat Rewind" ist ein gelungenes, gefühlvolles Album, ehrlich, offen und introspektiv, scharfsinnig und doch humorvoll. U.a. mit einem exzellenten Cover des Beach Boys-Klassikers "God Only Knows".

Restock!

From Karma Recordings comes their ninth EP. Another huge producer in Dead Dred brings his famous basslines and overhauls the track Tina by DJ Ande. Adding awesome brekbeats and you have a sure fire jungle anthem on your hands Oldskool style.

The second track on the A side is the creepy original Tina which builds to a scary crescendo. We are very proud to be introducing the first vinyl release from Dubious, an absolute jungle master and his track Iron Lung fits on this EP with ease.

Then last but not least we have an absolutely blinding Tina remix from the hardware extraordinaire 12Bit Jungle Out There who hails from down under. An absolutely brilliant 4 tracker not to be missed. Karma Recordings are going from strength to strength.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

2024 Repress ON BLACK VINYL

The album and single news follows closely on the heels of Daudi’s recent tracks “oMo” and “Fool Me As Many Times As You Like” which have received high praise from the likes of Gilles Peterson on Worldwide FM and BBC 6 Music as well as Lauren Laverne, and have been featured in several Spotify editorial playlists including The Most Beautiful Songs in the World, The Other list, The Listening Post, and Fresh Finds. Having released just two independent EPs – “A Brief Introduction to Failure” and “The Lingering Effects of Disconnection” – to date, Daudi has toured with GoGo Penguin, Keaton Henson, and Portico Quartet, whilst also being a participant of the Red Bull Music Academy in Montreal 2016. He also received a standing ovation at this years The Great Escape Festival, and plays as a member of Do Nothing’s live band, who he is currently on tour with. Through his unique brand of modern albeit reverent folk, Daudi continues to offer his listeners a space for understanding and introspection. Deft, melancholic picking reminiscent of Nick Drake is tempered by contemporary percussion and instrumentation. Matsiko’s vocals derive their strength from their seeming fragility. With every song, his confessional lyrics cut to the marrow.

Girl With No Face: Das vierte Album von Allie X, Girl With No Face, ist eine gewagte Ausgrabung ihrer Identität. Eine wahnsinnige Reise in den Kopf
einer Künstlerin, die gerade drei Jahre in der Isolation verbracht hat und jeden Input verweigert hat, während sie zum ersten Mal in ihrer Karriere die
alleinige Produzentin, Autorin und kreative Stimme wurde. Inspiriert von der Technologie und dem Hedonismus der New-Wave-Szene der frühen
80er Jahre, sind die analog angehauchten Songs des Albums eine Reihe von krassen Widersprüchen - retro im Gefühl, aber ultramodern in der
Thematik, pointiert, unvorhersehbar und doch tanzbar, zugänglich und doch herrlich bedrohlich. Kurz gesagt, Girl with No Face ist völlig untypisch fü
die hypergetunten, automatisierten Formen, die den heutigen Alt-Pop dominieren.
Durchdrungen vom britischen Experimentalismus der frühen 80er Jahre, mit Anklängen an The Human League und New Order, ist das Album ein
deutlicher Schritt weg vom 2020er introspektivem und sparsamen "Cape God" - so viel schneller und bedrohlicher.

The album's diverse instrumentation, from ethereal synths to soulful guitar riffs, showcases remarkable versatility. Lyrics delve into profound themes, invoking introspection. Seamless production maintains a consistent flow, ensuring a compelling narrative. While a couple of tracks slightly falter in cohesion, the overall impact remains undeniable.

2024 feiern die Broilers ihren runden Geburtstag: 1994 - 2024, 30 Jahre Broilers. 30 gemeinsame Jahre bedeuten Wachsen und Zusammenwachsen. Auch miteinander streiten und zusammen streiten – für die gute Sache. Zusammen feiern und zusammenstehen, in den Besten aller Zeiten und den Schlechtesten aller Zeiten. Und weil es für jede gute Geburtstagsparty auch die passende Musik geben muss, hat die Band zum ersten Mal alle ihre Hits und Lieblingslieder auf einem Album versammelt. Und nicht nur das, die Broilers machen sich selbst ein Geschenk: Zehn der 22 enthaltenen Songs, nämlich alle, die vor 2011 eingespielt wurden, haben sie noch einmal komplett neu aufgenommen. So erstrahlen legendäre Broilers-Klassiker in zeitgemäßem Glanz, ohne ihre Wurzeln zu verleugnen. Die Broilers sind ein Phänomen: Seit über einem Jahrzehnt gehören sie konstant zu den erfolgreichsten Rockbands im deutschsprachigen Raum. Millionen verkaufter Konzertkarten, Nummer- 1-Charts-Platzierungen, Edelmetallauszeichnungen in Folge, kaum ein Superlativ, den die Gruppe sich noch nicht zu eigen gemacht hätte. Ein paar Schulfreunde aus den Vierteln am Stadtrand von Düsseldorf gründeten 1994 eine Band, die sich am ruppigen Sound einer Streetpunk-Variante orientierte, der schon Anfang der 80er-Jahre unter der Bezeichnung „Oi!“ auf der britischen Insel das Licht der Welt erblickte. Die bedingungslose Liebe, die ihnen bis heute von vielen ihrer Anhängerschaft entgegengebracht wird, hat ihren Ursprung in dieser Zeit. Neben den Liedern, mit denen sie über die Jahre ihren Hörern stets aufs Neue aus dem Herzen sprachen, führte aber auch die Kombination der individuellen Charaktere der einzelnen Musiker an die Spitze: Wie fünf Superhelden aus einer Comicserie bündeln sie als Team ihre Kräfte, begeistern so die Fans und können aus dieser Unterschiedlichkeit Kraft schöpfen und spenden. Die Broilers haben keine Angst vor Pathos, Emotionen und Kontrasten: In ihrer Musik sind wuchtige Bläsersätze, Offbeats, da ist Soul und Rocksteady, da sind Flirts mit Power-Pop und Kitsch und das alles, als wäre es das Logischste und Normalste auf der Welt. Diese eklektische Mischung trauen sich nicht viele. Die Broilers wollen es sich anders gar nicht mehr vorstellen. »Jolly Good Fellas – Best of Broilers 1994 - 2024« legt davon eindrucksvoll Zeugnis ab!

Merzbild Schwet, the second album opus released in 1980, is considered one of Nurse With Wound's major releases, and is part of the famous "Silver Edition" on Rotorelief Records, with a luxurious chrome-plated cover in double Gatefold sleeves, and sumptuous 200g vinyl discs issued in 300 copies on silver and black vinyl, and 700 copies on black vinyl.

The first track, Futurismo, begins with clanking rhythms, record skip clicks, and horn riffs before veering off into a crazed quilt of women singing, laughing, and talking in French. About halfway through, wild screeches of distortion disrupt the piece, and then more bizarre sounds take over before the piece ends with a collage of over modulated electronic hum and rambling piano. The other cut, Dada X, goes further into weirdness with lots of silences, creepy creaking noises, tones that build up and collapse, and scattered spoken word in French and English from Eve Libertine from the political punk band Crass, and the piece certainly lives up to the Dada of its title.

Togo’s most celebrated vocalist, Bella Bellow, first achieved international attention in 1966, when she represented her country at the first World Festival of Negro Arts in Dakar, which caught the attention of the pioneering Paris-based Togolese musician/producer Gerard Akueson, who sought to market her as the next Miriam Makeba. Album Souvenir compiled singles cut for Akueson between 1968-71, including ‘Nye Dzi,’ ‘Zelie’ and ‘Bem Bem,’ all marked by the slick production values that aimed for international audiences, rather than the grassroots African niche. Tune in and understand the iconic Bellow’s commanding appeal!

Moody cacophonies, sonic dispatches from Japan, crystalline breakbeats that are more environment than rhythm: Jake Muir’s enmixed, described by Muir as a “(re)mixtape,” is a mind-bending deep dive into the enmossed archive. Besides reflecting the history of the label, Muir’s mix is a production in its own right. A Los Angeles native based in Berlin, Muir is a DJ and field recordist who “sees mixes as a vehicle to explore narratives outside of the album format.”

In Bathhouse Blues (2023), where Muir sampled various sources to explore gay cruising culture and sensuality, his more expansive, conceptual approach to the form is illuminated. Mixes are not just a linear succession of tracks with transitions—they’re excavations that also result in the creation of new audio artifacts. Inspired by the psychedelic impulses of illbient, Muir uses DJ and sound engineering techniques to melt down genre distinctions and create alien atmospheres.

From the enmossed community, Muir pulls from artists like bad lsd trips, Angelo Harmsworth, Nick Klein, Tetsuya Nakayama, and Patrick Gallagher to coalesce a super-compendium of the global sonic underground, all viewed through his own unique lens. Muir takes major liberties with processing and effects automation to carve new worlds from the soil of these preexisting works. Some of the tracks and material on enmixed are heavily edited, emphasizing specific harmonics or bass frequencies, and some portions contain three or four layers, putting artists in direct conversation with each other.

This heady approach—using the tools of both mixtape and remix—results in a super textual and dense palimpsest of the enmossed catalog. “Because mixes are more open- source,” Muir says, “it’s easier to express some ideas since there is more material to pull from.”

- Rob Goyanes

Silver foil printed j-cards on heavyweight iridescent ('Lapis Lazuli') recycled paper Duplicated at a carbon-neutral facility

“My introduction to “noise” came from a record shop in Lake Worth, Florida ran by a musician named Kenny 5. Kenny had left Detroit sometime in the mid nineties and had begun selling used records and CD’s from the downtown strip of this tiny southern Florida city in a humble shop sandwiched between a deli and a dog grooming business. Kenny previously was on labels like Amphetamine Reptile and timeSTEREO, and the records and videotapes that would be on repeat at his shop were a vast sonic expanse that spoke to the eclecticism of his experience as a touring musician participating and adjacent to American noise culture through the early to late 90’s. In 1998, I was eleven years old and I would order a pizza with him and watch VHS tapes of Japanese noise and deathmatch bootlegs, as well as any other sonic and subcultural rarities that far outstripped my age to comprehend (notably the RRR “Journey Into Pain” compilation and various Vanilla Tapes videos). This widecast net of information formed an introduction to a reality that did not fall deaf on me, but it took many years later for me to reorient the specific freedoms of what this dense and cathartic sound culture had imparted on my life and would continue onward to.

What does this have to do with this selection of choice recordings from the Secret Boyfriend catalog for the enmossed label? For the uninitiated, Secret Boyfriend is the long running moniker of Ryan Martin, North Carolina musician and label proprietor of the Hot Releases imprint. For over a decade from this writing I have watched Secret Boyfriend, and Hot Releases by extension as a curatorial and archival effort, embodying the multiplanal capacity that noise loosely functions from as an umbrella ideology and formalist avenue for sound creation. For anecdotal purposes, from (before) 2006 until roughly 2023 the East Coast of the United States showcased a vibrant network of eclectic regional festivals that saw wide swaths of artists addressing and negotiating the notion of what qualified “noise” from a conceptual and ideological perspective. Some festivals honed in on particularities in aesthetics and tropes, and others had a kind of “catch-all” implementation that allowed for a salvation of the sort of alienated and singular artistry that was amassing throughout these territories. While clear guidelines had been set from regional predecessors as to how noise with a capital “N” should maneuver, Secret Boyfriend is emblematic in the spirit of fluidity that was either implicitly coupled to the notion of the genre, or grew to evolve towards or devolve from.

Within Secret Boyfriend performances, I have seen and admired a mirroring from a ravenous appreciator of this culture at large back towards itself. Typical of a Secret Boyfriend set is an interchangeable narrative arc wherein blistering feedback laden scrap metal improvisations are forayed into naive ambient or “pop” songs, or skipping CDs, or mixer feedback play, or delayed Roland 707 drum workouts all at once and in a unique hegemony. Secret Boyfriend's stylistic mastery of each endeavor is at once an homage to a history of loving listening and enacting, while a brave step into the realm of actualizing the unique fluidity of his own practice. In performance and the action of network engagement, Secret Boyfriend operates a survey of that which he sought to hear and that which he cultivates around his work. His operations are mirrors, and the project (alongside his other peers) is a reflection on the ethos of his time.

Conversely his recording practice narrows in on these moments and allows for a different kind of intimacy or alienation for the non live listener. This record of selected “pop songs” (let's call them that) is particularly poignant at a time when the culture Martin mirrors is at a strange crossroads with itself. The aforementioned festival networks necessarily change and shift. The onlookers become the artists, the artists find new horizons, and the spaces for these cycles fade into locales of a distant memory. It seems, from my perspective, that audiences currently yearn for a more bottlenecked experience, searching for some ontologically vetted manifestation of an idea, of a sound and less for an experience that functions in opposition to our collective banalities. This makes sense in the face of general global catastrophism that plagues us. We need certainty of what something is somewhere, don’t we? Noise as an idea has expanded and contracted to so many iterations of itself it is hard to tell what it even is, and it is particularly difficult to identify in the absence of solid network activations a moment to reflect on its own complexities and nuances. In the face of so much change, I argue that the language of noise culture at large has on one hand become increasingly didactic and predictable, and laughably inclusive and non linear on the other. Probably has always been this way, but now we are in the midst of a moment of extreme access and indexicality, which somehow cauterizes expansion and naivety and chance.

This record highlights the Secret Boyfriend that obscures didacticism by highlighting output that opens up for more challenging catharsis and emotive signal processing. It provides an entry to the materialism of a cultural field full of ecstatic complexity and beautiful inconsistency. In these muted moments Secret Boyfriend has given us over his career we have an argument for evolving languages that further challenge our notions of what is supposed to happen and how it is supposed to be presented. In his more song oriented expansiveness, we can punctuate the ability to think in new modalities. Listening to these recordings reminds me of the polarity of sitting in the record store as a kid and understanding that His Name Is Alive is on 4AD and (gasp!) timeSTEREO. This trite early impression that nothing is really as different as our imaginations might want them to be, and that we can do whatever we want mostly within the creative realms we work through is an important filter to look through Secret Boyfriend as a project and a vessel. If we can achieve abandon and vulnerability through our artistic endeavors, then we have a sound model for, maybe, new potentialities. If that’s too much projection, or just complete liberal bullshit, I am fine with that. Secret Boyfriend's oeuvre at best offers us moments of reprieve to ponder these complexities, or at least a moment to zone out on a drive through North Carolina Highway 54.

You have one pocket of life that you must do whatever you want to inside of. Secret Boyfriend does it affectionately, in a variety of forms, and always with deep sentimentality. These recordings are a wonderful set of songs to begin further investigation from. Thank you Ryan for allowing as many avenues as possible to continue a broad cultural exchange and conversation that intersect and refract while being the kind of artist that is brave enough to not phone in the effort.”

- Nick Klein , May 2024

"Sirene" is the second album of the duo composed by Stefano Ghittoni (TheDining Rooms, Le Petit) and Bruno Dorella (Ovo, Ronin, Sigillum S), following their 2019 release "Estatico."This composition explores a captivating territory where the artists has been working for many years, combining experimental techniques with inviting elements from different genres of popular and underground music.

The album starts with ethereal and ambient electroacoustic sounds, gradually incorporating subtle rhythms, arpeggiations, and slightly broken beats. It creates a moody and introspective sonic landscape that maintains a sense of abstraction. This is enhanced by the textural complexity derived from various sources such as samples, tape manipulations, field recordings, and unconventional sounds woven together with traditional instruments.
The album encompasses a range of electronic practices, psychedelic minimalism, and dense ambience, with a touch of shoegaze, resulting in a truly beautiful experience.

"Atria" is an exceptionally deep, easy-to-play-on-repeat work from Denver-based FOANS, a continuity of heartbreaking melodic interludes and nostalgic, otherworldly softness. Originally self-released in 2014, "Atria", comprised of 9 tracks simply titled "Diorama", is a plunge into dubby textures, meditative rhythmic cadence, lamenting chords, and shimmering neon pads. While growing to become a household name, especially for fans of 100% SILK and the now sadly defunct Danish label Speaker Footage, FOANS has offered numerous beloved releases over the last decade, showing listeners who stumble across his artistic microcosm that he has his own trademark sound, one that is often very recognizable even in a crowded space; a remnant from his early years as a bedroom producer, Atria shows us that FOANS’ sound has always shimmered, has always moved through heavy emotions and uneasy silliness. It will likely continue to do so for years to come.

Perfect Location Records is honored to commit this stunning work to vinyl for the first time, with a digital remaster for digital collectors as well. The record will be packaged in a black die-cut jacket and include a download code along with a small matte print of the acrylic-on-canvas cover art by painter Andrea Willems.

Limited run of 200 physical copies.

The Ghentian skyline has low peaks and hides its horrors in full view ~ walk streamside and you’ll quickly be confronted with façades that leer with their tales and secrets, the angels and demons that built this city holding up its mortar and stone in an inextricable embrace. It is within this incongruous backdrop that Benoît Monsieurs has fostered the Venediktos Tempelboom persona. Using the 12-string guitar as his main instrument, the self-taught musician creates passages that take fingerpicking Americana and Eastern transcendence into the Flanders fields, with winding compositions that distill the essence of giants like John Fahey, Robbie Basho and Jack Rose and folds them into the dark drone melancholia of Funeral Folk/KRAAK stalwarts like Silvester Anfang, Helvete and Ignatz. The results are ringing meditations of awe and terror, flamboyant and grotesque yet utterly mesmerizing in their unrooted sonic imagery.

In his debut LP, Syne Vuyle Hoeck, the Tempelboom amalgamates his influences - East, West and deep Flanders alike - into a flurry of acid-drenched tracks that spread out into a distinctive musical iconography. Each composition carries a facet, highlighting angel and demon in equal measure: the solemn opener “De woelige rit op een roze wolkje” is a threading of melodies that carry pensive heft and hopeful asides, as hints of ragtime buoyancy lead into sullen ruminations in a fully lucid change of course; “Ocharme Ochgod” is a sober penitence, slowly and almost imperceptibly building up into a tangle of lines that inexorably coil back into their brooding backbone; the echoing tape loop of “In Flock” reverberates and torments, steel sharpness and frayed magnetic disintegration finding improbable common ground; “El Contrario” swerves unforgivingly in an Eastern-infused openness reminiscent of Six Organs’ rawer days and unnervingly giving way to a forceful - dare we say upbeat - conclusion. And so one treks into the depths of the Tempelboomian universe, a place of high drama and low morals inhabited by a prankster creator who deploys euphoria and distress in equal measure. Just as the strings of his guitar are left to echo like sparkles in the dark, so his music lingers in the soil of our humanity, redolent of the kind of peace one can only make with the demons of the self.

BACK IN PRINT ON BLACK VINYL

“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.
“The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.
“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors.
“We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”
—John Corbett (excerpt from the liner notes)

Following their groundbreaking collaboration with Art Ensemble of Chicago, Comme à la Radio, Areski and Brigitte Fontaine began recording almost exclusively together as a duo.

Deeply rooted in North African and European folk traditions, the album features evocative vignettes with breezy vocals and minimal accompaniment of classical guitar, strings and woodwinds.

As always, there is a mercurial quality to their lyrics. The title track (translated as "I Do Not Know This Man") suggests at once Apostle Peter's denial and a poetic acknowledgement. On "C'est Normal" Fontaine playfully questions the status quo while Areski offers satirical answers. What makes Je Ne Connais Pas Cet Homme one of their best-loved albums, though, is its remarkable sense of intimacy – as if Areski and Fontaine beckon listeners into their strange and beautiful world.

This first-time domestic release continues Superior Viaduct's reissue campaign of Fontaine's classic '70s catalog.

Superb album from 2013, a Dub malian melting point from High Tone familly.
All the tunes are definitly magic !

The Gatefold sleeve is splendid, and a booklet with paintuings from Emmanuel Prost.

BIG UP !

eve is the debut collaboration between Past Inside the Present label head zake and Benoît Pioulard captures the serene magic of a quiet December night. Spanning four side-length tracks, the album grew from a decade of sound fragments all layered up "like family album photos." zake shaped the sonic base while Pioulard added textures with guitar, voice, dulcimer, melodica and synths. The title track evokes a wintry stillness with low swells and turntable crackles, while 'Frost' drifts on reverent vocals and shimmering drones. 'Pine' conveys forest mystery and 'Slept' closes with haunting loops and a delicate resolution like snowfall on an open field.

2 long side of pure psychedelic delirium at Walldorfed kicks tape manufacture :)... Yes that's a lot of private joke in a single sentence !