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First time on vinyl features extra tracks than the cd. After five successful studio albums in 12 years, here is their first live album, by popular demand we should add. A popular concert attraction in Norway through Europe, Russia and South East Asia, the trio have constantly been asked when they will release a concert recording. Five of the seven tracks were recorded live in concert at Oslo´s Nasjonal Jazzscene in 2018 and 2020, one at a special one-off intimate concert at Propeller Music Division in Oslo in 2020 and one in Poznan, Poland, in 2021.

The long-awaited repressing of THE WARRIORS. This deluxe double LP features the re-mastered 1979 original soundtrack, in addition to, the vinyl debut of the complete film score by Barry DeVorzon.

Directed by Walter Hill and based off the 1965 novel by Sol Yurick of the same name, THE WARRIORS is the absolute definition of an influential cult-classic film. THE WARRIORS has permeated the landscape of pop culture, music, film, fashion, comics, and video games.

Waxwork worked directly from the original master tapes of both the original 1979 soundtrack and film score to bring audiences a brand-new transfer of every musical cue heard in the movie, for the very first time on vinyl.

Features artwork by Marvel Comics artist Dave Rapoza, Double LP 180 gram “Warriors” red and rust vinyl, printed insert, and deluxe packaging.

This record captures the amazing live energy of Santrofi, a young 7 piece from Ghana with a mission to bring Highlife back. For this record they are backed by Berlins finest 14 piece brass band: the Omniversal Earkestra. Over 25 great musicians on stage all playing their hearts out, all captured on this live LP.

The album documents the grande finale of the ‚Deep into Highlife‘ project taking place 2021/22 in Ghana and Germany. The project started off in Accra with Highlife shooting stars Santrofi inviting numerous artists on stage for a series of concerts and jamsessions. The guests included Highlife legends A.B. Crentsil (RIP) and A.K. Yeboah, but also newcomers like Camidoh, Black Sherif or drill rapper Yaw Tog from Kumasi.

In May/June 2022 Santrofi brought the ‚Deep into Highlife‘ experience to Germany. The lineup featured two special guests: The guitar band legend A.K. Yeboah, a pioneer of Ghanas Highlifescene and father of famous guitar ace Kwame Yeboah. And Ghana drill pioneer Yaw Tog from Kumasi known as ‚young bull‘ by his fans back home.

The final concert of the tour took place at Kulturbrauerei in Berlin on June 2nd 2022. For this very special event Santrofi was backed by Berlin’s finest brass unit the Omniversal Earkestra. The band is a 14 piece brass collective making waves recently with their ‚Le Mali 70‘ album which took them on a recording trip to Mali.

The album features live versions of some of Santrofis most popular songs backed by the Omniversal Earkestra who wrote horn arrangements for this special session. It also features ‚Suru nipa‘ an original composition by A.K. Yeboah in which the singer gives invaluable advice to his audience: „Don’t be afraid of ghosts, be afraid of humans“. And a version of Yaw Tog’s single ‚Sei mu‘.

We invite you to witness the incredible live energy of Santrofi and their lovely collaborators: Let us share this beautiful night with you.

Explorations was born from the inquisitive spirit that Hypnotica Colectiva has always had for the world of experimental music. We can classify it as an ambitious project, based on the fact that it is the first official sub-label of HC Records, but also pointing to the musical section both on the publishing side and on the live art side. The main objective is not to adhere to any pigeonhole, seeking to cover a wide range of unconventional sounds and rhythms without straying too far from recognizable and danceable patterns. That is why we want to create space for this project on and off the track, without barriers, and with our eyes mainly set on the future.

To kickstart the project, we look within for answers, paying attention to our mother label. John and Paul Healy hide under the name of Somatic Responses, two Welsh brothers with a long and proven career in intelligent music. We won't say that they are pioneers, but they did manage to forge a characteristic sound and style that has accompanied them since they began their career in the mid-90s.

EXPLORATIONS 01 was not conceived as an LP is usually made. When contacting the artists, they sent us a large number of tracks that they thought would fit the label's preferences. From here, the Explorations team selected the 13 tracks that now come to you, trying to find the balance between the three main styles we bet on for this first release: IDM, Ambient and Drone.

"HC Records is expanding its horizons with a new parallel yet ambitious project. In an effort to broaden its recording legacy from an evolutionary perspective, the Valencian label is venturing into the field of experimental sound. This new direction signifies a rejuvenation and adaptation to a new era, where music fragments and expands towards infinite horizons. Complex compositions, abstract designs, and extreme sound treatments define this innovative approach, pushing music beyond its limits and sacrificing some of its essential properties in the process."

Ximo Noguera @Industrial Complexx

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

Wewantsounds is delighted to announce the release of Ryuichi Sakamoto's classic LP "Ongaku Zukan", originally issued in Japan on his own School label in 1984.

The reissue will replicate the original Japanese release which offered two versions: a normal edition featuring the LP with a bonus 2-track 7" EP (WWSLP71), and a limited edition which includes a 3-track 12" EP in place of the 7" (WWSLP72)

Remastered by Saidera Mastering in Tokyo the reissue boasts the original gatefold artwork plus an extra 2-page insert with new liner notes by Andy Beta



The early '80s were a turning point for Japanese musician Ryuichi Sakamoto. As a solo artist, the smash hit soundtrack he had composed for 1983's "Merry Christmas Mr. Lawrence" (a film in which he had also acted), had put him on the verge of becoming a global superstar. Meanwhile he had called a halt to his work with Yellow Magic Orchestra; the influential, globally successful pop trio calling it quits after the release of their 1983 album "Naughty Boys".

Against this backdrop, Sakamoto descended on Tokyo's Onkyo Haus Studio to record his fourth solo album, "Ongaku Zukan" ("Musical Encyclopedia") accompanied by a handful of musicians including his ex-YMO partners Haruomi Hosono and Yukihiro Takahashi, and the prolifically talented Yasuaki Shimizu, Tatsuro Yamashita and Toshinori Kondo. Sakamoto began with no particular plan in mind, recording 30 basic tracks over the best part of 1983. It was on his return to the studio the following year that the album truly began to take shape. Accompanied by a newly acquired Fairlight CMI sampler, the musician made extensive use of the revolutionary equipment to create a wide palette of sound textures which he added to the tracks, a creatively fertile process that was captured on film for the French documentary "Tokyo Melody, A Film about Ryuichi Sakamoto".)

Released in August 1984 the album "Ongaku Zukan" proved a huge success, providing Sakamoto with his first top 5 hit in Japan. Filled with inspired melodies that showcase his unique gift as a composer, it offers up a fascinating mix of styles. Asiatic electro pop nuggets ("Tibetan Dance") share space with futuristic ambient pieces ("Hane no Hayashi de"), and brilliantly creative fusions of jazz, funk, techno and reggae ("Etude" and "Tabi no Kyokuhoki.")

Two simultaneous editions of the album were released in Japan: the regular one featuring a bonus 7" EP with two extra tracks: "Replica" and "Ma Mère l'Oye" while a limited edition added a 12" EP (in lieu of the 7") which included a third track, "Tibetan Dance (Version)." An international version was released two years later in 1986 by 10 Records/Virgin under the title "Illustrated Musical Encyclopedia," but with a very different track list. Five tracks from "Ongaku Zukan" were dropped, namely "Self Portrait," "Tabi no kyokuhoku," "Mori no Hito," "A Tribute to N.J.P" and "Tibetan Dance (Version)", to be replaced by two non-album singles from 1985, "Stepping Into Asia" and "Field Work."

This is the very first time that the two 1984 Japanese editions of Ryuichi Sakamoto's classic album have been released internationally in collaboration with the artist's management and Midi Inc., with remastered audio and the original artwork faithfully reproduced, paying tribute to one of contemporary music's undisputed geniuses.

180gr./Insert/1000 Cps On Crystal Clear Coloured Vinyl

To Get Her Together (Ltd. Crystal Clear Vinyl) is an album by Anouk, released in 2022. To Get Her Together (Ltd. Crystal Clear Vinyl) includes a.o. the following tracks: “To Get Her Together”, “Ms. Crazy”, “Little Did I Know”, “Better Off Alone” and more. The album is a Coloured Vinyl, High Quality, Insert pop LP.

180gr./Printed Innersleeve/1000 Copies On White Vinyl

Queen For A Day is the tenth studio album by Dutch pop/rock singer Anouk, originally released in 2016.

It features the hit single “Run Away Together”, a collaboration with singers Jennie Lena and Shirma Rouse, both known for being contestants on the hit show The Voice of Holland, where Anouk is one of the coaches. A preview of the song was premiered on the show.

Another single off this album is “Wanna Little Something”, a soulful dancerock song. Other well-known tracks are “New Day” and “Dirty Girl”.

This is the first time the album is released on coloured vinyl. It’s a limited edition of 1000 individually numbered copies on white vinyl and includes a printed innersleeve with song lyrics.

After re-signing to Nuclear Blast in early 2021, the Finnish heavy metal sextet BATTLE BEAST are once again getting ready to unleash their force upon the world in the shape of their brand new masterpiece »Circus Of Doom«. The album is set to be released on January 21st 2022 via Nuclear Blast and in true BATTLE BEAST fashion, the 10 tracks blend true heavy metal with pop and rock-vibes, paired with Noora Louhimo’s unique voice. »Circus Of Doom« was once again recorded at JKB Studios in Helsinki, Finland and produced and mixed by keyboardist Janne Björkroth, while the stunning artwork was created by Jan Yrlund (KORPIKLAANI, MANOWAR etc.), who already took care of BATTLE BEAST’s previous two album designs.

Having only formed in 2008, BATTLE BEAST first signed a record deal with the renowned German metal label Nuclear Blast in 2011. The release of their acclaimed debut »Steel« (2012), won the band a support slot for their labelmates NIGHTWISH. Frontwoman Noora Louhimo finally joined the band in 2012 and the band’s self-titled record (2013) was released shortly afterwards. BATTLE BEAST then got the opportunity to open for bands such as SONATA ARCTICA and POWERWOLF on extensive runs. Their ascent up the metal ladder was quick and the band’s 3rd studio album »Unholy Savior«, achieved remarkable chart positions all over Europe (#1 Finland, #23 UK Rock, #39 Germany etc.). This release was accompanied by another big European tour, but this time with Swedish heavy metal heroes SABATON and DELAIN. BATTLE BEAST’s very first headline run throughout the Continent rounded off their »Unholy Savior« touring cycle.
Their 4th studio album, »Bringer Of Pain« in 2017 reached even higher chart positions (a.o. #1 in Finland, #14 in Germany) and was also BATTLE BEAST’s first output without their original songwriter Anton Kabanen. In 2019, alongside the huge #1 success in the album charts of their home country, Finland, their last album »No More Hollywood Endings« reached a remarkable #11 in German album charts and proved to be their most successful piece yet.
Their latest masterpiece, »Circus Of Doom«, is overall heavier, but still as catchy as ever with bangers like “Masters Of Illusion”, “Freedom”, or the title track “Circus Of Doom”. Once again, the band stay true to their formula of “100% heavy metal - 0% bullshit!”

"Dance My Hurt Away" is the first single from the upcoming debut album by The Faithful Brothers from Tel Aviv/Israel. Is there a Northern Soul scene in Tel Aviv? The surprising answer is - yes, there is. If you're a soulie and in town, look for the Tel Aviv Soul Club, and you might find yourself swaying across a talcum-powder covered floor to Tel Aviv's own unique blend of classic Northern Soul 45s and early 1960s R&B sounds. Chances are that those 45s will come out of the record boxes of one of the brothers Neeman, Johnnie and Bin. Tel Aviv Soul Club, aka TASC, is the brainchild of Yashiv Cohen, a DJ who, in 2006, lured the brothers Neeman, whose massive soul collections been hitherto confined to their respective living rooms, into playing their records to the Tel Aviv public. Yashiv is also the lead singer of Men of North Country (MONC), a Tel Aviv band with a distinct sound, blending rock, British pop and soul. Since Neeman means Faithful in Hebrew, Yashiv woke up one morning with the crystallization that MONC must create a spin-off, a more puristic soul band, called the Faithful Brothers. It took a few more years, but gradually the brothers succumbed to their fate, to continue their musical progression, from collectors to DJs to musicians. Johnnie took his guitar, Bin took to the piano, and the brothers began pouring out some of their influences, creating new songs. It is finally all coming together now.

With fresh energy and bright intuition, Abby Johnson's confident selftitled debut (due in late 2021) offers timeless folk songwriting teeming
with a classic Nashville golden-era sheen
Johnson draws upon genre-spanning influences and wrangles them effortlessly
into her own expression: "I want my songs to sound familiar, but tell you
something new," she says. The duality of Laurel Canyon nostalgia and indie rock
blend effortlessly in her songs, polished further by the airtight backing band of
fellow Nashvillians, Ornament (and produced by the band's drummer, Ryan
Donoho).
Raised in North Carolina on the earnest mythos of Taylor Swift, she describes her
first songs as "diary entries -- playing guitar alone in my bedroom until I was
twenty three." Moving to Nashville for college introduced her to an immersive
musical community, where she steeped in the influence of folk- and- country
stalwarts like Emmylou Harris and Bonnie Raitt in equal proportion to more
contemporary indie songwriters like Phoebe Bridgers.
In addition to music, Johnson is known and admired for her film and photography
work. Capturing the mood of a scene in a single snapshot is an ability she
translates to her vivid songwriting: bringing the subtlest details into sharp focus --
vignettes in a soft- grained atmosphere. Intimacy and longing push and pull
thematically, as well as a sense of motion: driving through the desert; penning
love letters in the mountains; and pulling up a chair to a grandmother's kitchen
table. These songs are rooted but travelling, moseying through American folk-pop
traditions and toward something altogether fresh and dreamlike

The band’s first hits collection, from 1966, this 14-track hits collection is still one of pop music’s most compelling and potent singles compilations ever released. Reflecting the band’s remarkable run of singles through the early to mid-sixties, it includes six UK number ones!

GER JUNG IN WIEN - NEUE JANGLE-POP GRUPPE MIT 80ER INDIE WAVY VIBE. IHRE ERSTEN BEIDEN MINI-ALBEN "TROUBLE" & "LIGHTNING TRAILS" JETZT AUF EINER LP. "Der gerade erst volljährig gewordene Tobias Hammermüller steht für weichgespülten Bedroom-Wave und formte für sein Debütalbum auf Siluh Records die Band Laundromat Chicks." (THE GAP) - Hinter dem Namen LAUNDROMAT CHICKS verbirgt sich das Musikprojekt von TOBIAS HAMMERMÜLLER, der gerade 19 Jahre alt geworden ist. Nach dem selbstproduzierten Debüt "Trouble" haben die LAUNDROMAT CHICKS ein neues Album vorgelegt, das deutlich ruhigere Töne anschlägt. "Lightning Trails", das Band-Mastermind Tobias Hammermüller zusammen mit Martin Rupp (Jansky) produziert hat, ist ein folkiges Manifest für die leisen Töne geworden, die wir dringend brauchen. Beide Alben sind jetzt auf einer LP verewigt. Seite A mit dem eher ruppigeren "TROUBLE", auf der B-Seite das folk-inspirierte Kleinod "LIGHNTING TRAILS" "Lightning Trails" ist ein Meisterwerk an Musikalität und Zurückhaltung zugleich, eine Ode an die Verträumtheit und Nachdenklichkeit in Zeiten des Aufruhrs und der aufeinanderprallenden Ideologien. Es ist eine Einladung, aus dem Fenster zu klettern und eine aus den Fugen geratene Welt von einem versteckten Sims aus zu betrachten. Wie das Nachglühen eines Blitzes auf der Netzhaut, in der nahen Ferne." (Paul Buschnegg) Für Freunde von PASTELS, THE RADIO FIELD, THROW THAT BEAT, COMET GAIN, UK-Indie, Teen Angst, Twee-Pop...



[ENG] BEING YOUNG IN VIENNA - NEW JANGLE-POP GROUP WITH SOME 80S INDIE WAVY VIBE. THEIR FIRST TWO ALBUMS "TROUBLE" & "LIGHTNING TRAILS" ON ONE LP "Conversational lyrics depict a night on the phone amid claustrophobic misgivings and obsessive mental wanderings. Energetic, bittersweet sentiments ignite wandering clusters of shimmering strumming riffs and jangly wistful guitar melodies to weave swaying paths of vibrant nostalgia through low pulsing bass lines, skipping drumbeats, and pinpoint synth stabs to accompany heartfelt yet angsty vocal harmonies, haloed in distant echoes of doubt, through a sad discomforting timeline of uncertainty and dread." (WHITE LIGHT / WHITE HEAT) Behind the name LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 19. After their selfproducued debut "Trouble", LAUNDROMAT CHICKS has presented a new album that touches on much quieter tones. "Lightning Trails", which band mastermind Tobias Hammermüller produced with Martin Rupp (Jansky), has become a folky manifesto for the quiet nuances that we desperately need. Both albums are now immortalised on one LP. Side A with the rather rough "TROUBLE", on the B-side the folk-inspired gem "LIGHNTING TRAILS". "Lightning Trails is a masterpiece of musicality and restraint at the same time, an ode to dreaminess and thoughtfulness in times of turmoil and clashing ideologies. It is somehow an invitation to climb out the window to view an unhinged world from a hidden ledge. Similar to the afterglow of a flash on the retina, in the near distance." (Paul Buschnegg) RIYL Pastels, The Radio Field, Throw That Beat, Comet Gain, UK-Indie, Teen Angst, Twee-Pop...

Erste offizielle Vinyl-Neuauflage.

POP TRASH war das 10. Studioalbum der englischen New-Wave-Band DURAN DURAN. Es wurde ursprünglich am 19. Juni 2000 veröffentlicht und ist seit der Erstveröffentlichung auf CD nicht mehr zu erhalten. POP TRASH war das letzte Album der Band, auf dem das Trio Simon Le Bon, Nick Rhodes und Warren Cuccurullo. Das Album Artwork, das von Andrew Day entworfen wurde, zeigt einen mit Strasssteinen verziertes Auto, das Liberace gehörte.

Brotherhood Of Peace (aka B.O.P.) brought the world some of the best breezy power pop, Southern rock and heavy boogie all packed into one brilliant album in 1976, the fittingly titled Cuttin’ Loose. The album is a free-flowing nine song collection of genre blending would-be hits suited for both ’70s AM gold and FM album rock that never received its proper due, until now. The album flows somewhat similar to the way Big Star combined heavy riffs with airy pop sweetness, but B.O.P. brought more of a blues rock groove to the proceedings, resulting in heavier undercurrents to songs with glowing three-part harmonies and impeccable power trio musicianship. By the mid-’70s, rock ’n’ roll was truly anything goes. Experimentation, excess and inventing new genres was all the rage, and the trio of spritely young men—guitarist / vocalist Dennis Tolbert, bassist / vocalist Mike Arrington and drummer / vocalist Ronnie Smith—gamely tackled whatever sound they pleased. Fortunately, the band captured it all on their lone album, released on the small independent label Avanti Records in March 1976. The Mount Airy, North Carolina trio got its start as teens in 1969 as the backing band to a large 20-50 person traveling church choir called the New Americans. By 1970, the band was ready to move on to performing on their own. First as a sextet, the band soon trimmed down to a three-piece, working the local club circuit like madmen, sometimes playing three shows a day. At the height of their live tightness, B.O.P. recorded the album with local musicians Don Dixon and Robert Kirkland of the band Arrogance who worked at Charlotte recording studio Reflection Sound in October 1975. The band laid out the highlights of their live set in the studio, which ran the range of influences from The Raspberries to Deep Purple, Doobie Brothers to Nazareth, Lynyrd Skynyrd and Grand Funk. The initial pressing of 1000 copies was released in March 1976, but without major label machinery for retail distribution, radio and press, the album never took off. The band mostly sold them at live shows, via consignment at local stores and in limited distribution in the Southeastern region. However, to date, the record still occasionally pops up for sale online worldwide at exorbitant collectors’ prices. Until now, finally getting a proper reissue via Riding Easy Records.

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

Jay Tripwire has popped up a lot recently, which is always going to be good news for fans of those freaky late-night tech sounds that he is so well known and loved for. He kicks off Serenity's fifth release here alongside Jehr on 'Magic Man', a deep cut underlapping drum funk and lots of whirring machine sounds.

Parisian space techno talent Cyberduck then takes care of both tunes on the flip - firstly 'Arzach', a deep and dynamic cut that hurriedly scans a vast cosmic world with silvery drums and lush melodies. Then 'Cerclon' gets a little more edgy, with dark and nagging baselines moving up through the mix as the crisp, well-swung tech drums power along.

Neon violet vinyl.

Bergen, Norway- Blood Command have announced their new studio album, "World Domination"(Produced by Yngve Andersen) to be released on the 29th September 2023 through Hassle Records. Whilst early singles have cradled audiences with their ethereal death pop sound, make no mistake, the album "World Domination" is 20 rapid bursts of every side the band has to offer. Infectious grooves, blast beats, singer Nikki Brumens powerful screams and riot grrrl chanting, techno interludes and that delicate side which lulls you into a false sense of security before ripping into the listener once more.

The record dives into unrequited love, the hatred of the unjust, the power of faith and the darkness of the abyss and never giving up on trying to climb out of it. "Like various underground religious groups throughout history, Blood Command's ever growing following, The Awaketeam, is rising around the globe, and we are not stopping until World Domination. So keep your eyes peeled for purple shrouds, three stripes and black and white sneakers."

This is Blood Command at its most interesting. Come and be a part of the movement.

Milky clear vinyl w/ black / neon green splatter.

Bergen, Norway- Blood Command have announced their new studio album, "World Domination"(Produced by Yngve Andersen) to be released on the 29th September 2023 through Hassle Records. Whilst early singles have cradled audiences with their ethereal death pop sound, make no mistake, the album "World Domination" is 20 rapid bursts of every side the band has to offer. Infectious grooves, blast beats, singer Nikki Brumens powerful screams and riot grrrl chanting, techno interludes and that delicate side which lulls you into a false sense of security before ripping into the listener once more.

The record dives into unrequited love, the hatred of the unjust, the power of faith and the darkness of the abyss and never giving up on trying to climb out of it. "Like various underground religious groups throughout history, Blood Command's ever growing following, The Awaketeam, is rising around the globe, and we are not stopping until World Domination. So keep your eyes peeled for purple shrouds, three stripes and black and white sneakers."

This is Blood Command at its most interesting. Come and be a part of the movement.

Blues Lawyer is back on Dark Entries with a new 7” EP of summery alt-pop. Fresh off the heels of their critically acclaimed Dark Entries debut, Sight Gags On The Radio expands the Blues Lawyer universe, one where lovelorn millennials struggle to find their place. The four songs were recorded one afternoon by Rob I. Miller, Blues Lawyer co-founder and chief songwriter, in the band’s Oakland rehearsal space. It was recorded just days before Elyse Schrock (singer, songwriter, drummer, and music video creator) would be leaving the Bay Area – her home for the past decade – due to the soaring cost of living. The first single, “Have Nots,” shows the band moving away from the rapid chord changes that characterized their earlier work towards hazy guitar textures. It is accompanied by a tender music video portrait of the band reuniting in Portland, where Schrock now resides. The video documents the band’s touring life: playing pizza parlors and billiard clubs, sleeping on floors, and killing time between gigs. These touching images are elevated by Schrock’s trademark animations and editing style. Blues Lawyer also experiment with new songwriting configurations on this EP. “True Love’s Only Name,” was musically developed by Blues Lawyer guitarist, Ellen Matthews, lyrically by Miller, and sung by Schrock. Sight Gags On The Radio captures the essence of the band's sound but also reflects their development as songwriters. The outcome is Blues Lawyer’s most compelling artistic proclamation to date. Each 7” is housed in a warm orange toned jacket designed by Eloise Leigh featuring lyrics on the back. Blues Lawyer - Sight Gags On The Radio 7” EP releases Friday, September 29th via Dark Entries days before the band embarks on their first tour of Europe and the United Kingdom.

ENG The new Will Toledo from Austria? - LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 18 and still goes to school. He recorded most of the songs from his debut on Siluh Records by himself. Live he performs them with his band featuring Lena Pöttinger (drums), Theresa Strohmer (guitar, vocals) and Felix Schnabl (bass). Felix Schnabel, on the other hand, has his own garage punk project called SALAMIRECORDER, with Tobias playing bass. Musically, the whole thing sounds like an exquisite jingle-jangle indie/twee-pop sound. It almost seems like a lost album from early influential labels like Flying Nun, Cherry Red, Postcard Records. The songs from "Trouble" were mostly written at home, in the bedroom, in front of the TV and at his favorite spot at the movies. The basic mood of the songs is mostly melancholic, though that you can still cook or dance to, or listen to on the bus when you're on your way to going out with your friends. Tobias Hammermüller took inspiration from the indie rock sound of the 2010s (Snail Mail, Chastity Belt, The Babies, Best Coast, The Drums) and from many new wave hits (Aztec Camera, Psychedelic Furs, Echo and the Bunnymen, Prefab Sprout). The lines of text are largely based on quotes from films. He is particularly fond of the old strips by Éric Rohmer and Wim Wenders, and from New Hollywood/Nouvelle Vague movies, because they often deal with identity crises and escapism, just like his songs.

„Dick This!“ von dem Rockabilly-Projekt Dick Brave and the Backbeats wurde erstmals 2003 veröffentlicht und erreichte Platz 1 der offiziellen deutschen Album-Charts und wurde mit Doppel-Platin ausgezeichnet. In dem Album wurden Pop-Klassiker im Rockabilly-Projekt neu interpretiert. Jetzt wird es als 1LP auf schwarzem Vinyl wieder neu aufgelegt.

Das neue Studioalbum TIMBRE des portugiesischen Singer-Songwriters Salvador Sobral enthält elf neue Originalsongs.

Sobrals Musik führt uns auf einzigartige und vielfältige Reise von Jazz inspirierten Eigenkompositionen über Pop und Rock zum melodischen Sound des Brasilianischen Bossa Novas.

Salvador Sobral: "Der Name TIMBRE entstand aus zwei Hauptgründen. Der erste - und vielleicht offensichtlichste - ist, dass ich in diesem Leben in erster Linie Sänger bin, ein Performer, und was mich am meisten definiert und auszeichnet, ist meine Stimme, mein Timbre. Der zweite Grund ist, dass ich mich für das Konzept der Klangfarbe als Farbe interessiere, die Farbe der Stimme, die Farbe
der Instrumente. Das Album wird wie eine bunte Palette von Klangfarben sein, die Klarheit erzeugen.

Ah! Und es gibt noch einen dritten Grund für den Titel des Albums: Das Wort ?timbre? wird in vielen lateinischen und germanischen Sprachen verwendet. Es wird gleich buchstabiert und bedeutet dasselbe. Das Konzept von TIMBRE scheint also universell zu sein, und wir können uns alle darauf verständigen."

Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. Carole King has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting.

Love Makes The World was officially released in 2001 and features a variety of well-known musicians, including Babyface, Steven Tyler, Céline Dion, Wynton Marsalis and k.d. lang. The album was produced by Humberto Gatica (Céline Dion, Michael Jackson, Barbra Streisand), Babyface, and King herself. The tracklisting includes “You Can Do Anything” and “The Reason”.

Love Makes The World is available as a limited edition of 1500 individually numbered copies on translucent pink coloured vinyl and includes a 4-page booklet.

Mother I’d Like To Funk are back with another sizzling hot re-issue, this time straight from Denmark. Danish pop group “Boulevard” released an obscure LP back in 1981, called “American Dream”.

This official re-issue features the street funk anthem “Ready For Your Love” on the A Side, with a special “Synthphonic” Dub version on the B Side (previously only available on the album)

This special 7’ version is guaranteed to light up any dance floor

You are about to embark on a new intergalactic journey into black space, fuelled by funk, powered by computers. Soul Jazz Records" new second collection of twisted hyperspace electro/funk "Space Funk 2: Afro Futurist Electro Funk in Space 1976-84", continues its intergalactic journey. Featuring rare and off-the-wall space funk and electro rarities and obscurities, all released on small independent USA record labels in the late 1970s and 1980s. Artists on this release include Alien Starr, Bobby Demo, Maggatron, Mid-City Crew, Tribe, Junie, Rich Cason and the Galactic Orchestra and many more intergalactic space warriors! This is space age bionic funk, programmed to make you dance!!!

Vinyl mit Downloadcode. Die LP und CD Versionen dieses Albums unterscheiden sich in einigen Details: Nicht mit an Bord bei der LP-Version sind die Songs "Intro" und "Ends", die sich auf der CD finden lassen. Dafür gibt es auf der LP den Track ,Body And Blood" in einer längeren Version. Außerdem tummeln sich auf der D-Seite 100 Locked Groove Audio Loops, die exklusiv nur auf dem Vinyl auftauchen. ,CLIPPING. machen Partymusik für den Club, bei dem man sich wünscht, nie in ihm gelandet zu sein; das Auto, bei dem du dich nicht erinnerst, wie du eingestiegen bist und die Straßen, auf denen man sich nicht sicher fühlt." (Aus der Pressemitteilung für das CLIPPING. Debüt ,Midcity", das im September 2012 veröffentlicht wurde). Seit das verfasst wurde, hat sich einiges geändert für CLIPPING. Die Band fand heraus, dass die potentiellen Hörer bereiter für sie waren, als sie es erwartet hatten. Vor ,Midcity" erwartete keins der Mitglieder (Rapper Daveed Diggs und die Produzenten Jonathan Snipes und William Hutson), dass ihr kantiger Rap ein Publikum finden würde. Die Band war ursprünglich als Remixprojekt und Fußnote im wahren Leben der Mitglieder gedacht: Diggs ist ein Bühnenschauspieler; Snipes komponiert Filmmusik und Hutson ist ein etabliert Noise Musiker (Snipe und Hutson kollaborierten beim Soundtrack zur IFC Dokumentaion ,Room 237"). Doch seit der Gründung von CLIPPING. weitete sich das Feld der kommerziellen Musik leicht aus, so dass plötzlich Platz für mehr Noise und mehr Abenteuer in der elektronischen Produktion war (obwohl CLIPPING. selbst natürlich darauf bestehen, dass sie Rap Musik machen). ,Clppng" ist ambitionierter als ,Midcity". Das Album wartet mit Gästen wie Gangsta Boo (Ex-THREE 6 MAFIA und momentan bei DA MAFIA 6IX), Guce (Veteran der Bay Area; Mitglied von BULLYS WIT FULLYS), King T (Gangster Rap Legende der Westküste; Gründer der Likwit Crew; Mentor von XZIBIT und THA ALKAHOLIKS) und COCC PISTOL CREE (Newcomerin aus Compton, bekannt vom DJ MUSTARD Mixtape ,Ketchup"). ,Clppng" weitet die experimentellen Sounds der Band aus, um eine größere emotionale Palette zu bedienen. Doch die Band ist nicht zum Softie geworden; das Intro des Albums ist eins der brutalsten Stücke, das die Band je aufgenommen hat und ,Or Die" (feat. Guce) ist so bitterböse wie alles auf ,Midcity". ,CLPPNG" ist ein Album, das unter Beweis stellt, wie vielschichtig Sound sein kann, wenn die Regeln eines Genres mutwillig in Frage gestellt werden.

Ed Sheeran’s brand-new album Autumn Variations will be available for pre-order on the 24th August at 5pm before a worldwide release on the 29th September. It will be available to stream on all platforms as well as purchase physically as a CD or various limited Vinyl editions.

Ed Sheeran is an era-defining artist who has sold over 52 million albums and 150 million singles across the world. Through his fusion of thought-provoking songwriting, universal pop and multi-genre influence, his rich tapestry is not only perfectly suited to his audience but it’s something that transcends generations.

Since surfacing on the UK circuit in 2010 with his ‘No.5 Collaborations Project’ – an eight-track EP featuring his favourite grime artists of the time – the Suffolk-raised recording artist has resonated with fans across the world through his peerless songcraft and versatility. And now, with six consecutive UK No.1 albums to his name – ‘+’ (2011), ‘x’ (2014), ‘÷’ (2017), ‘No.6 Collaborations Project’ (2019), ‘=’ (2021) and ‘-‘ (2023) – Sheeran continues to reaffirm his status as one of the most in-demand pop stars on the planet.

Prior to the release of ‘=’ (October 2021) – an album that’s now surpassed five million global sales - Sheeran secured two UK No.1 singles in the UK with ‘Bad Habits’ and ‘Shivers’, which sat atop the UK’s Official Singles Chart for a combined total of 15 weeks. Moreover, the LP saw him take home 2 x EMA’s for ‘Best Artist’ and ‘Best Song’; an American Music Award for ‘Favourite Male Pop Artist’; British GQ’s ‘Solo Artist of the Year’; 4 x Los40 Awards; a BRIT Award for ‘Songwriter of the Year’ alongside a nomination for ‘Song of the Year’ at the 2022 GRAMMY’s.

Sheeran’s most recent album, Subtract, secured Ed his sixth No.1 album. Produced by Aaron Dessner, the album was anchored in his love of singer/songwriter compositions and written against a backdrop of personal grief and hope. Ed’s most critically-acclaimed album to date, it housed the heart wrenching UK No.1 single ‘Eyes Closed’ – a song about his late friend, Jamal Edwards.

But it’s not just his recorded music that’s seen the former Glastonbury headliner become one of the sought-after artists of the 21st century. Possessing a mystical ability to turn 90,000 capacity venues into the pub back-rooms that he first started playing in, Ed made history in 2015 after becoming the first-ever artist to play Wembley Stadium solo - without a band, just with his guitar and loop pedal - over three, consecutive sold out nights. Move forward to the summer of 2019 and Ed would re-enter history books after the completion of his mammoth two-year Divide tour, officially becoming the most-attended tour of all time after it culminated with special homecoming shows in Ipswich, Suffolk. Beginning last summer, Ed is currently travelling the world on his ‘+ - = ÷ x Tour’ (pronounced ‘The Mathematics Tour’), which saw him return to Wembley Stadium for a five-night run last June.

Ed Sheeran, who was awarded an MBE for his services to music and charity in 2017, is the proud recipient of 1 x IFPI Award (best-selling global artist of 2017); 4 x Grammys; 4 x Ivor Novello’s; 7 x BRIT Awards (including two consecutive wins for ‘Global Success’ in 2018 and 2019); 7 x Billboard Awards + more. Moreover, to this day, his blockbusting third studio album ‘÷’ remains the fastest-selling album, ever, by a male artist in the UK, while the LP’s lead single, ‘Shape of You’, maintains its status as the most-streamed song in Spotify’s history.

At the end of 2019, Sheeran was presented with the Official Chart Company’s first-ever ‘No.1 Artist of the Decade’ award following a host of accomplishments in his native UK including the most No.1’s across the UK’s Official Singles and Albums chart from the years 2010-2019. Most recently, Ed scored two more feats with the OCC after becoming the first British Solo Artist to claim 52 weeks – an entire year – at No.1 on the Official UK Singles Chart, with only Elvis Presley and The Beatles achieving more overall weeks at the top, as well as becoming the first-ever artist with four albums spending an entire year or more in the UK Top 10.

Alek Lee is back on Antinote to release his debut LP ‘You’. Covering 16 songs and crafted in theproducer’s studio over the past few 4 years, the Tel Avivian has swapped the misty aura of his first two EPs for a smoked out haze. ‘You’ effortlessly blends digi-dub, boogie, and yacht rock to create a washed out, dub-pop sound befitting of its place of recording sat at the edge of the desert and the sea. If Lee’s earlier works were defined by brooding downtempo beats with kids television vocal samples sprinkled amongst them, then the album hears the producer open himself up to the process of the singer-songwriter, getting behind the microphone and optimistically speaking words of his own.

But perhaps that may be put too bluntly. Fankly, Lee fluidly moves between crooning, whispers, gasps all the way to full on ballad style singing effortlessly and with ease. His newly develop vocal experiments are too supported by an impressive array of collaborators which can be found in the LP’s liner notes. These collaborations also help to mix far-flung musical styles into the LP. For instance, take Kol Hayom featuring Keren Ilan. It’s a laid-back tune that would sit comfortably beside Rita Lee tropicália. Or Love To Puff You Baby featuring $hkuru, which upends Donna Summer’s bodily groove into a heady bop.‘You’ is a testament to Alek Lee’s prolific exploration of his own brand of dub: shimmering off-beat guitars, low-fidelity beats and deep grooves. Oh and always a melodica line found somewhere amongst it.

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo- psychedelic resonance of a uniquely bowl - shaped 12 -string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untet hered, silhouetted against an open horizon. "Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic fingerpicking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect baggy, soaring, grey skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure - esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place." "Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15 minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.

Bobby Caldwell's second album, Cat In The Hat, from 1980, is one of his greatest moments and another masterwork of soulful sophistication. Featuring the eternal "Open Your Eyes", brilliantly sampled by J Dilla for Common's "The Light", it's about as essential as records get. Like its eponymous predecessor, it's been out of print for far too long. To finally release the hugely-anticipated reissue is one of our sincerely proudest moments.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

Right from the off, it's easy to tell that Cat In The Hat is a deeply special record. It's fantastically produced and incredibly well-rounded, carving its own lane with deep soul, warm jazz and a stunning vocal delivery that really helped Bobby reach out to some big new audiences at the time. Goosebumps at the ready for the rolling power-piano funk of "Coming Down From Love", opening up the album with a track as good as anything Steely Dan or The Doobies ever crafted, with a vocal performance from the heavens. Pumping AOR wonder "Wrong Or Right" is up there with the slick, classy rhythms of prime Ned Doheny whilst the cool, skipping soul of guitar-drenched "To Know What You've Got" is a funky ballad par excellence, with elemental traces of "What A Fool Believes". No bad thing. Closing out Side A, the folk-funk of "You Promised Me" is a bright, soulful strut with a wonderful vocal coda that just builds. Sensational.

The delicate bounce and falsetto self-harmonising of "It's Over" offers a truly delightful introduction to Side B, and serves as a great precursor to what follows. Bobby's dynamite "Open Your Eyes" is likely the reason you're all here. As if he needed it, the eternal J Dilla further immortalised Caldwell in the hip-hop canon with his production of Common’s epochal “The Light,” which heavily samples the magical “Open Your Eyes.” On a post paying tribute to Bobby in March 2023, Questlove claimed that he "got word Brother Bobby loved it". Bobby's original has seen new life even more recently from the likes of Dwele and Kendrick Lamar and deservingly so, as its insistent drums and staccato piano created a modern-soul classic. You'd think that would be hard to follow, wouldn't you? Not so, when you're Bobby Caldwell. Indeed, the horn-drenched stepper "Mother Of Creation" is absolutely ace, and, whisper it, possibly the album's finest track, all funky piano and guitars with horn lines to die for. Exquisite ballad "I Don't Want To Lose Your Love" rounds out the album beautifully.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of Cat In The Hat will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

It’s long believed that dreams are a way for our subconscious and conscious selves to interact. A chance meeting between cognitive thought and the expanse of imagination. Our dreams are often half remembered upon waking, leaving bits and shards of the story left to be pieced together. That process of pulling together fragments feels infused within Austin’s Neckbolt, a band with a radiant understanding of pairing disparate elements together to create something magnificent. Introduced back in 2021 with Midwestern Drawl, their self-released debut album, the duo of James Roo and Benjamin Krause formed the project with a specific energy and an alien sound. At its core, that record laid the blueprint for the band, a forward thinking mix of caustic noise rock and vivid psychedelic pop, combining to create something wild yet ingenious, reshaping common genre ideals.

At some point between the recording and release of their debut, Neckbolt expanded, reverse engineering their sound to form a live band that could pull off the music of their recordings. The line-up grew from a duo to the quintet, with Roo (vocals) and Krause (guitar) joined by longtime friends and collaborators, Bill Indelicato (bass), Brent Hodge (drums), and Kilyn Massey (guitar), forming an instant chemistry apparent in their earliest of live shows. With members split between Austin and Oklahoma City, the band adapted their approach to songwriting, opting to record in bits and pieces as they wrote, bouncing ideas back and forth, watching songs take shape in ways that none of the members had intended, but all were quick to embrace. Neckbolt are a freaky band and their second album, Dream Dump, seizes the opportunity to dial up the strange in their own vibrant way.

Transparent-bernsteinfarbenes Vinyl, limitiert auf 100 Exemplare! Values Here ist eine neue Band, gegründet von Sängerin Chui und dem legendären Gitarristen John Porcelly (Youth Of Today, Shelter, Judge). Die Entstehungsgeschichte von Values Here ist lang: Chui und Porcell trafen sich zum ersten Mal vor Jahren bei einer Shelter-Show in Chuis' Heimatstadt Barcelona, Spanien. Sie führten ein eher scherzhaftes Gespräch über die Gründung einer Band und Chui hielt den Kontakt zu Porcell über die sozialen Medien, bis er ihr eines Tages während der Pandemie einige ungenutzte Demos schickte und sie am nächsten Tag mit "Will Be Tomorrow" zurückkam, komplett mit mehreren Gesangsspuren und Harmonien. Von da an verbrachten die beiden ein Jahr mit dem Schreiben von Songs und beschränkten sich auf das, was schließlich die dreizehn Tracks auf "Take Your Time, I'll Be Waiting" werden sollten. Das Album selbst ist optimistisch und hoffnungsvoll und vermittelt ein positives Mindset. Es gibt Tracks mit klassischem New York Hardcore-Einfluss wie das treffend betitelte "Bring Me The PMA" und solche, die sich in Pop-Rock-Gefilde wagen, wie "We Get Stronger". Durch die Produktion von Tom Soares (Judge, Shelter) und dem Mastering von Dave Kutch (Billie Eilish, The Weeknd) war die Band in der Lage, einen dynamischen Sound zu kreieren, der sowohl ins Radio passt als auch zum Herumspringen in einem Moshpit geeignet ist. Über die klangliche Ausrichtung sagt Porcell: "Personally I always like to push the envelope with every band and record I do. I never just want to live off of past accomplishments and recreate a sound I did with previous bands just because I know it will be immediately accepted. I'd rather push forward and always challenge myself to make newer and more interesting music. I knew Chui was an amazing singer so I wanted to write songs that would showcase her voice and harmonies. I'm a punk rocker at heart so I'll always make music that's energetic and rallies around a message, but for this record I wanted to go further into the melodic side of things." Eines ist sicher: Values Here kreieren hymnische, energiegeladene Songs zum Mitschreien und Tanzen, die sich an die positive, optimistische Perspektive anlehnen, die dem Hardcore-Punk überhaupt erst ein Gefühl von Gemeinschaft und Verbundenheit verliehen hat.

Punk pioneers Crass continue their vinyl reissue series, repressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Farce’ by Rudimentary Peni and ‘Can’t Cheat Karma’ by Zounds.

Zounds are an English post-punk band from Reading, Berkshire, formed in 1977. Originally, they were part of the cassette culture movement, releasing material on the Fuck Off Records label, and were also involved in the squatting and free festival scene. The name of the band is derived from the old English ‘zounds’, a contraction of ‘God’s wounds’, referring to the crucifixion wounds of Jesus Christ, formerly used as a mildly blasphemous oath.

The band met up with fellow anarchists Crass when, legend has it, their van broke down on the road. They made their way to nearby Dial House, where Crass were based, who helped them with repairs. The two bands became friends, and although musically very divergent, they shared many common political views. Zounds shortly afterwards released their first EP, ‘Can't Cheat Karma’, on the Crass Records label in 1980. The EP featured possibly their most well-known track ‘Subvert’, a call to arms against the grind of daily life. The release of this EP and association with Crass led to an increase in the band's profile in the embryonic anarcho-punk scene, touring with both Crass and Poison Girls. They split in 1982 but reformed in 2007, and remain active today.

Penny continues; “Zounds could have made a fine pop group, but they were far too socially sassy to fall for that one. No, their commitment to radical political change, so abundantly clear in their lyrics, set them apart from the commercialism that had so blighted the likes of The Clash and other punkish pretenders. Having been drawn from the ranks of hippy bands like Here and Now, Zounds encouraged dissent and personal change, and, at their own cost, to pursue and promote them as ideologies. Can't cheat karma? No, nor ever beat it. Zounds were hip to this fine point. Want a better life?

Then make it for yourself. Ain't no one gonna help you out on that one. Find your own way, it's the only way there is.”

First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.

Zaoui is the former leader of Therapie Taxi (over 500,000 albums sold, over 900M streams...). Today he unveils his first solo album, on which he worked for three years, after a first EP released in June 2022. The album features feelgood tracks, sunny pop and raw songs. He can sing deliciously provocative lyrics as well as words of abysmal depth. Zaoui is a human, and like all humans, he is multiple. He is Doctor Jekyll and Mister Hyde, lightness and turmoil: at once a brat and a caring father. This is a modern album by a man who has torn off all his masks. And taken a lot of risks. A furiously lively record.

„Reparatur“ heißt das am 22. September erscheinende dritte Albums des mehrfachen Amadeus-Preisträgers JOSH. In den zwölf abwechslungsreichen und mit viel Liebe zum Detail eingespielten neuen Songs des Albums zeigt JOSH., dass er es nicht nur versteht, mit humorvollen Texten und unwiderstehlichen Melodien zu unterhalten sondern auch ernstere Themen - wie z.B. seinem Burnout - in eingängige Pop- und Rocksongs zu verpacken. Unüberhörbar ist, dass sich die „Wolke aus Fiktion und Wirklichkeit“, auf die JOSH. sich bei Fragen nach dem autobiografischen Bezug seiner Texte gerne bezieht, diesmal ein klein wenig mehr in Richtung Lebensrealität bewegt hat. Einige der Texte setzen sich nämlich offen mit seiner Krankheit und dem Weg zurück auseinander, so z.B. in „Ich gehör repariert“, einem der absoluten Höhepunkte des Albums. Trotzdem schafft es der gebürtige Wiener souverän, textlich nicht resignativ und düster zu werden sondern stets auch das eine blaue Stück Himmel am tiefgrauen Firmament zu entdecken. Mit „Reparatur“ präsentiert sich JOSH. 2023 also gereifter denn je, bleibt aber stets unverkennbar er selbst.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.

Still on and about after years of the most intense crate digging, gem mining, desperate head-scratching and avid schooling, thirsty as ever for the next musical thrill to wrap our ears and brains around, here comes the fruit of our life-long love story with Japanese electronics, Denshi Ongaku No Bigaku Vol. 1 and Vol.2. From the soul-fulfilling first crush felt upon hearing the iconic soundtrack of ‘Merry Christmas Mr. Lawrence’ by Ryuichi Sakamoto onto our release of Inner Science ‘Cosmo Tracks’, through the life-affirming sets of Laurent Garnier at Dijon’s seminal club, l’An-fer, which have at all times nurtured and expanded our taste for Easternmost delicacies, the influence of Japanese music on our vision and endeavours was paramount to the development of our catalogue, whether directly or indirectly.

This first volume gets the ball rolling with a fine assortment of mostly ambient, electronica and deep house-focussed joints. Draped in organic membranes and ASMR-like synth tapestries, K. Inoue’s nu-agey opener ‘Em Paz’ takes us on a ride across the most serene dreamscapes. Jazzing up these lush and oneiric coastal vibes, Gabby & Lopez ‘Drive form the Miracle’ merges a sense of Californian psychedelia with a straight out hard-bop swing. No stranger to our catalogue, Inner Science returns to serve up a crystalline slice of laid-back house on a mystique-imbued tip he holds the secret to. Flip it over and here comes Aquarium with the splendidly immersive ‘Rainy Night in Shibuya’, which very much feels like wandering amidst its neon-upholstered streets and swarming hallways in a bubble of your own.

Naohito Uchiyama treats us to a synth-drenched nocturnal ballad with the ‘80s-inflected vibes of ’Shugetsu’, whereas Keta Ra cuts a path of ethereal sublimation via the mischievously fun and bouncy balearic lounge of ‘equals’. Masterly crafted by Yuu Udagawa, ‘Infinite Possibility’ eases us in a realm where weightless pop and low-slung abstract hip-hop combine to further exhilarating effect. All in harp-driven brittleness and velveteen sub-bass stealth, Noah ‘Gemini - Mysterious Lot’ has us drifting to a lavishly orchestrated headspace, laying down an impressive work on textures and arrangements. All in on the sedated drip-tease flex, Sauce81 ’Sign of Secret Love’ is a blast of freaky hedonism, just as ready to cast its hypnotic spell down the sweatbox as it was upon its original release ten years ago.

Languid jacking house tune ’Tai+Dai’ from Keita Sano blows the winds of discoid luvin’ across the room with its impeccable balance of sharp, glimmering synthwork and driving bass onslaughts from the depths. An odd slice of reshuffled folk music, Waltz ‘Folkesta’ makes for some eerie invitation of sorts, enchanting and spookily haunting in equal measure. Back to a fevered, hip-swaying mindset, Kuniyuki hi-NRG jazz number ‘Free’ is an absolute wonder of piano and drums-driven boogie, cut from the same cloth as some of Blue Note’s finest Cuban jazz classics. Rounding off the package, Japanese legend Ken Ishii’s version of Larry Heard’s house Hall-of-Famer ‘Can You Feel It’ is pure bliss in a can, tailored to turn any crowd into a shapeless cloud of balmy euphoria and universal love, whatever the place or time.