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63 Jahre setzte dieser bisher unveröffentlichte Soundtrack im Archiv von Lou-Mood Pictures Staub an. Mit dem hochtönigen Timbre und dem hochprozentigen Swoon des Pop der Nachkriegsjahre ist "Call Me Old Fashioned" ein 40-minütiges Stereo-Klangabenteuer für 7 & 7 Spionage-Film-Fanatiker, das zuckersüße Diven, fassgelagerte Big Bands und "zoo be zoo be zoo"-Schwung mit einem Latin-Jazz-Luxardo zum Garnieren vereint.

Folgeformat der transparent-roten Erstauflage (39226201) auf schwarzem Vinyl.

1.12Bangin' On The Freeway - Bonus Track
1.13ECRP - Bonus Track

In diesem Jahr hat Kim Gordon ihr hochgelobtes und bahnbrechendes zweites Soloalbum The Collective veröffentlicht. Das Album wurde von Fans und Kritikern gleichermaßen gelobt. Die New York Times, Pitchfork, Rolling Stone, VOGUE, Vulture, NME, The Quietus und viele mehr nannten es bereits eines der besten Alben des Jahres 2024. Nun erscheint eine Deluxe Edition des Vinyls. Die Deluxe Edition enthält zwei neue Songs, das bereits veröffentlichte "ECRP" und den neuen Track "Bangin" On The Freeway", der von einem Video unter der Regie ihrer Tochter Coco Gordon Moore begleitet wird. Kim sprach über die neue Veröffentlichung und 2024 und sagte: "Ich fühle mich, als würde ich gerade erst anfangen! Danke für die ganze Liebe!" Die limitierte Deluxe-Version der Vinyl-Platte enthält eine 7" mit den 2 Bonustracks im LP-Sleeve und ist auf silbernem Vinyl gepresst. Gordon hatte ein turbulentes Jahr, in dem sie in ausverkauften Sälen und auf Festivals auf der ganzen Welt spielte, darunter Auftritte beim Glastonbury, Le Guess Who, Bumbershoot Festival und Ohana Festival. Das in Gordons Heimatstadt Los Angeles aufgenommene Album The Collective folgt auf ihr 2019 erschienenes Debüt No Home Record und setzt ihre Zusammenarbeit mit Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor) fort, mit zusätzlicher Produktion von Anthony Paul Lopez. Das Album treibt ihre gemeinsame Welterschaffung voran, wobei Raisens beschädigte, aufgeblasene Dub- und Trap-Konstruktionen die Folie für Gordons intuitive Wortcollagen und hooky Mantras bilden, die Kommunikation, kommerzielle Sublimierung und sensorische Überlastung beschwören.

Preceded by some of Bolan’s most fondly-remembered singles, “Children Of The Revolution”, “Solid Gold Easy Action” and the classic “20th Century Boy”, 1973’s Tanx was the first T. Rex album to make full use of the ever-expanding range of studio gadgets. And while the album represented a new musical departure, several tracks maintained a direct link to the old sound.

The album reached number 4 in the UK album charts and has gone on to influence numerous musicians from Suede to Depeche Mode’s Martin Gore. This edition includes the complete album remastered by producer Tony Visconti and Ted Jensen.

Rhythm Section International, the impossible-to-define label founded in South East London by Bradley Zero in 2014 has reached the ripe old age of 10 years.Spanning 6 discs and 30 tracks, the compilation begins by taking us on a walk down memory lane and presenting one track from each year of the labels output

Rhythm Section International, the impossible-to-define label founded in South East London by Bradley Zero in 2014 has reached the ripe old age of 10 years. Funny thing is, it feels like it could have been almost double that. It’s hard to imagine the Landscape of the London music scene without this foundational force whose influence is felt more than ever.

With this special anniversary release, the label takes stock at this milestone to present a compilation in 3 parts: PAST, RE-IMAGINED AND FUTURE: honouring the labels tradition of always paying homage to what has come before while setting sights firmly forwards.

With 100-odd releases in their extended back catalogue covering every imaginable style and boasting influence in every inhabited continent on earth, it’s been quite a decade for the independent label, which began on a shoestring budget with funds made via the now legendary Rhythm Section pool hall parties in Peckham.

From humble beginnings to an era defining output - few would have predicted the slow and steady rise of the imprint and the impact it has had on generations of Dj’s, musicians and listeners - at home and abroad.

Spanning 6 discs and 30 tracks, the compilation begins by taking us on a walk down memory lane and presenting one track from each year of the labels output - highlighting some forgotten classics from the archives over the first 2 discs. For discs 3 & 4, the label invited it’s stable of artists to pick a track from the back catalogue to re-imagine in their own style. This process resulted in some incredibly playful contributions from the likes of Ruf Dug, Session Victim and Private Joy - whose playful reinterpretations add new depth to old material.

Finally, the last 2 discs are entirely new material for 2024, carrying the torch of the previous SHOUTS compilations - whose sole aim is to shine light on new music from emerging artists

In den 1990er Jahren mit dem Album "A GRAND LOVE STORY" bekannt geworden, hat sich KID LOCO als Massstab der internationalen Trip-Hop Sene etabliert. Mit "SLANDS, LIES & VANITÉS!" kehrt er zu seiner ersten Liebe zurück. Featuring Horance Andy, Don Letts, Lex Amor, ...

"Across The Tracks" ist das erste gemeinsame Albumprojekt des Detroiter Rappers Boldy James (Mitglied des Griselda-Kollektivs) und des Grammy-prämierten Produzenten Conductor Williams (Drake, Conway The Machine, Westside Gunn). Die LP trieft vor Nostalgie mit Old-School-Beats und beeindruckender Lyrik von Boldy und erhielt Lobeshymnen von der Musikpresse (Pitchfork, Billboard, NPR, Stereogum,...). Bone Coloured Vinyl.

The War On Drugs, "one of the premier live bands of their generation" (Pitchfork), announce Live Drugs Again, via Super High Quality Records and Transgressive / Canvasback. In support of Live Drugs Again, the band will kick off their Zen Diagram North American co-headline tour with The National, with support from Lucius, on September 12th. Recorded on tour between February 2022 through December 2023 in America, UK, Europe and Australia, Live Drugs Again follows 2020's Live Drugs and represents The War On Drugs at their ragged, righteous best. Bandleader Adam Granduciel comments, "Live Drugs Again chronicles the evolution of these songs from the studio to stages all over the world; documenting our continued growth as a live band. This series ensures that these versions, and some of our favorite moments on stage, will live on." As Consequence so accurately hailed, "it's hard to imagine a musical experience that's more enveloping and uplifting." This is hearing a band at its peak.

The SteelDrivers are more than the launching pad of Chris Stapleton’s career and the home-base to the multi-talented musician and songwriter Tammy Rogers. They’re an ever-evolving group of seasoned veterans who have reinvigorated bluegrass by mixing in their individual influences and histories. Stirring Southern soul, Nashville country, deep blues, and wooden-church gospel into bluegrass, The SteelDrivers created a hybrid old as the hills and fresh as morning dew. Or, as a slack-jawed Vince Gill described their sound more directly, “an incredible combination.” Over the past 20 years, The SteelDrivers have become one of the biggest names in progressive bluegrass. After four Grammy nominations, the Americana Music Association’s New Artist of the Year and IBMA’s 2009 Emerging Artist of The Year, The Muscle Shoals Recordings took them to the next level, winning the band their first Grammy Award and landing them another #1 Bluegrass album. In every way, The Muscle Shoals Recordings was a major step forward for the group. Former bandmember Chris Stapleton contributed a new song, “Drinkin’ Alone,” and longtime fan Jason Isbell shows up on a few tracks as co-producer and guitarist. The core of the SteelDrivers stepped up as well, with even richer and more evocative songs and performances that cut deeper than ever. It sounds like an album that should have always existed on vinyl but somehow never was. Until now. Vinyl debut of the Billboard #1 Bluegrass Album & Best Bluegrass Album Grammy winner Featuring production & guitar by Jason Isbell Includes "Drinkin' Alone," written by former SteelDriver Chris Stapleton "Their playing is magnetic" —NPR "The group has rarely sounded more focused or passionate

In 2019, Resistencia Sonora was launched as a collaborative project where urban resistances and ethnic-peasant rural resistances converge in the greater area of Montes de Maria, situated in Colombia's western Caribbean region. This initiative originates in one of the musical epicenters of ancestral sounds that have fostered a now global recognition for styles such as gaita, cumbia, bullerengue, son palenque and son de negro, as well as Sabanero accordion music like porros and pajaritos.

The aim of this extensive project has been to serve as a rare living archive of festive gatherings, conversations, knowledge exchange, and co-creative processes that have spawned specifically from the municipality of Ovejas, which sits in the Sucre Department of Montes de Maria. Resistencia Sonora's documentation in Ovejas is more than just a musical recording, rather an all-encompassing snapshot of a very real folkloric life within neighborhoods such as El Bolsillo, El Corea and La Ciudadela. The initial inspiration of the project can be credited to a specific call to arms from composer Andrés Narváez, who expressed the dream to record his own original compositions set amongst this region's local history. Andrés, like many leaders from the old sabanas beyond Montes de Maria, is a social leader and land-rights activist. He proposed not only to record his songs but also to invite other musicians and composers to take part in this documentation, an extended hand to uphold the legacies, knowledge, and traditions of the region's elders.

All songs recorded between 2022-23 on location in Ovejas and Bogotá, Colombia. Mixed in Brooklyn by Names You Can Trust and mastered by Frank Meritt at The Carvery, London. Limited Edition 250 vinyl press with included 12-page booklet and liner notes in English and Spanish.

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.

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…

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!

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).

“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

Dj Koncept is of course a wicked turntablist, and this is an early vinyl release of his, old skool hip hop vibes with legendary collaborations and awesome scratch tracks, all timed with a hint of downbeat and a smattering of jungle...

Stu Keating returns with this epic EP on K, very limited edition, full on old skool vibes and proper tough breaks, not to be missed!

From a club-friendly chrysalid onto deploying his wings as a full fledged pop artist in recent years, Saint Petersburgs Kito Jempere has enjoyed a journey unlike any other and his newest album, Part Time Chaos Part Time Calmness live-documents the chameleonic changes / game-changing paradox experienced this year between his life both as a musician and as a family man.

Better known for his work as a house producer which has earned him accolades from prominent dance music outlets throughout well over a decade of intense work both into and outwith the limelights, Kito has for all that never been focussed on writing solely discoid material, throwing as much effort over the years into multi-faceted parallel ventures, far and apart from strictly dance floor-oriented functionality. Yet, from this partition between various projects and mindsets, this is through a radical shift towards downtempo pop and out of the 4x4 loop that Kito got to fully assert himself as a musician, embracing the rejoicing variety of tone and mood of his tender loves, secret and not. The movie Ive never made but have the soundtrack for, Part Time Chaos Part Time Calmness is the fruit of change as much as change itself. A return to the simple means of his young self, his old trusty guitar from his late teens serving as the backbone to Killer Line and Love Myself But I Cant Make It Love, and the natural development to last years Green Monster, which
initiated these deep tectonic movements in Kitos approach to his art, PTCPTC is an intimate trip down the kaleidoscope of his present life. Joined up by an impressive cast of artists, including Jimi Tenor, Adam Evald and Hard Ton, Kito didnt just bin his old persona, he took it back to where it belongs. From the low-slung emotional folk of the opener, Killer Line, to the eerie flamenco-jazz hybrid Before Music Dies. via the broken soulfulness of Put Love Into Your Heart and anthemic 80s balearic breaks meets coastal synthwave vibe of Sounds of Love, the album pulsates with a refreshingly genre-unbound vision. To the naive, laid-back sonic bokeh of Footsteps,
succeeds the left-of-centre cinematic narrative of In The Countryside, which includes some fun nods to fictional brands taken from Tarantinos imaginarium (Red Apple cigarettes) or other movies like High Fidelity, after Nick Hornbys eponymous novel.

Freed from gridlocked programming and impersonal tropes, PTCPTC showcases a wide array of songs, beats, grooves old and new, some dating back to 2018 and improvised sessions with his 9-people Kito Jempere Band, all of which were finished within the same timeframe and with this all-inclusive momentum in mind. Through the epic synths of Absent Ascent. in revamping the universal classic Over The Rainbow with Celebrine, on the appeasing ballad Shorespotting feat. Evald or in the waves-ready closing cut Lovers, Jempere tells a tale of hard-earned emancipation and life-affirming freedom.

From a club-friendly chrysalid onto deploying his wings as a full fledged pop artist in recent years, Saint Petersburgs Kito Jempere has enjoyed a journey unlike any other and his newest album, Part Time Chaos Part Time Calmness live-documents the chameleonic changes / game-changing paradox experienced this year between his life both as a musician and as a family man.

Better known for his work as a house producer which has earned him accolades from prominent dance music outlets throughout well over a decade of intense work both into and outwith the limelights, Kito has for all that never been focussed on writing solely discoid material, throwing as much effort over the years into multi-faceted parallel ventures, far and apart from strictly dance floor-oriented functionality. Yet, from this partition between various projects and mindsets, this is through a radical shift towards downtempo pop and out of the 4x4 loop that Kito got to fully assert himself as a musician, embracing the rejoicing variety of tone and mood of his tender loves, secret and not. The movie Ive never made but have the soundtrack for, Part Time Chaos Part Time Calmness is the fruit of change as much as change itself. A return to the simple means of his young self, his old trusty guitar from his late teens serving as the backbone to Killer Line and Love Myself But I Cant Make It Love, and the natural development to last years Green Monster, which
initiated these deep tectonic movements in Kitos approach to his art, PTCPTC is an intimate trip down the kaleidoscope of his present life. Joined up by an impressive cast of artists, including Jimi Tenor, Adam Evald and Hard Ton, Kito didnt just bin his old persona, he took it back to where it belongs. From the low-slung emotional folk of the opener, Killer Line, to the eerie flamenco-jazz hybrid Before Music Dies. via the broken soulfulness of Put Love Into Your Heart and anthemic 80s balearic breaks meets coastal synthwave vibe of Sounds of Love, the album pulsates with a refreshingly genre-unbound vision. To the naive, laid-back sonic bokeh of Footsteps,
succeeds the left-of-centre cinematic narrative of In The Countryside, which includes some fun nods to fictional brands taken from Tarantinos imaginarium (Red Apple cigarettes) or other movies like High Fidelity, after Nick Hornbys eponymous novel.

Freed from gridlocked programming and impersonal tropes, PTCPTC showcases a wide array of songs, beats, grooves old and new, some dating back to 2018 and improvised sessions with his 9-people Kito Jempere Band, all of which were finished within the same timeframe and with this all-inclusive momentum in mind. Through the epic synths of Absent Ascent. in revamping the universal classic Over The Rainbow with Celebrine, on the appeasing ballad Shorespotting feat. Evald or in the waves-ready closing cut Lovers, Jempere tells a tale of hard-earned emancipation and life-affirming freedom.

In 1969, producer and boogaloo godfather Bobby Marin conceived this undeservedly obscure funky, psychedelic Latin soul gem. Released on Ralph Lew’s short-lived Dorado label and engineered by Jon Fausty, Bobby was backed by a top-notch studio band that included Ricardo Marrero, Joey Pastrana, Bernard Purdie, Louie Ramirez, Orlando Marin and Ozzie Torrens. Includes liner notes by genre expert Pablo Yglesias telling the story behind the music. 180g vinyl. Generally, when discussing the first wave of Latin soul and boogaloo, it’s the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers? One of the top old-school New York Latin music producers, Bobby Marin, was behind the scenes for some of the best independently produced boogaloo and salsa of the ‘60s and ‘70s. “Saboreando - Pot Full Of Soul”, is the album Bobby created in 1969 for his friend Ralph Lew’s newly launched Dorado label. Fifty-five years later, Bobby confirms that he commemorated his humble Barrio beginnings playing stickball on West 107th Street and singing doo-wop while some kids played percussion on junkyard drums, by christening the band The 107th Street Stickball Team. The 107th Street Stickball Team was basically the same pool of friends as Ricardo Marrero’s group (Bernard Purdie on drums, Mike Viñas on guitar, Ricardo Marrero on vibes), with the addition of Louie Ramirez playing piano and organ, Orlando Marin, Joey Pastrana and Ozzie Torrens on percussion, Mike Viñas handling the electric bass, and Butch Johnson and Danny Agosto on lead vocals for a few numbers. At that time, soul music was seen by the present Latin generation, indeed the youth market in general, as something that was different, that broke with tradition. The record, with Bobby singing several of the best tunes including ‘Mojo Shingaling’ and ‘Rhythm and Soul’, highlights an affinity or connection between African American and Cuban music in a convincing blend that was emblematic of the scene and allowed the young generation to feel they had a fresh kind of music all their own. No wonder the LP notes boast The 107th Stickball Team is “a bunch of groovy youngsters.” We are now happy to make this undeservedly obscure funky, psychedelic Latin soul gem available again!

"Through the old school" ist ein wütend-kompromissloses Manifest gegen den Ungeist dieser Zeit und hochexplosiver Hybrid aus NYHC und englischem Streetpunk/ Oi der rauhen Sorte. Die Südeuropäer von "No Restraints" könnte man auch als "Italien's Agnostic Front" bezeichnen! Nach ihrem längst vergriffenem Debüt-Album "Stand your ground" und der Split mit "This means War" haben sie sich nicht nur live einen exzellenten Ruf erspielt - ihr Song "Streetcore Worldwide" ist längst über alle Grenzen zur Szene-Hymne geworden. Mit dem Opener "Another kind of hate" ihrer neuen 5-Track Mini-LP setzen sie ihre Mission beeindruckend fort: Fernab von Klischee's und aufgesetzter Strassenromantik knallt dieser kranken "world of deception" die ganze Verachtung und Hass von Shouter Johnny Wesson entgegen. "No Restraints" wissen wovon sie singen! "Suburban Dreams" sind alles andere als "easy living". Ihren Sound hat die Band dabei weiter perfektioniert ohne ihren Stil zu verändern. Eben "through the oldschool"! Einseitig bespieltes 5-Song Minialbum als klassisch schwarzes oder Blutrot mit Schwarz farbiges Vinyl!

"Through the old school" ist ein wütend-kompromissloses Manifest gegen den Ungeist dieser Zeit und hochexplosiver Hybrid aus NYHC und englischem Streetpunk/ Oi der rauhen Sorte. Die Südeuropäer von "No Restraints" könnte man auch als "Italien's Agnostic Front" bezeichnen! Nach ihrem längst vergriffenem Debüt-Album "Stand your ground" und der Split mit "This means War" haben sie sich nicht nur live einen exzellenten Ruf erspielt - ihr Song "Streetcore Worldwide" ist längst über alle Grenzen zur Szene-Hymne geworden. Mit dem Opener "Another kind of hate" ihrer neuen 5-Track Mini-LP setzen sie ihre Mission beeindruckend fort: Fernab von Klischee's und aufgesetzter Strassenromantik knallt dieser kranken "world of deception" die ganze Verachtung und Hass von Shouter Johnny Wesson entgegen. "No Restraints" wissen wovon sie singen! "Suburban Dreams" sind alles andere als "easy living". Ihren Sound hat die Band dabei weiter perfektioniert ohne ihren Stil zu verändern. Eben "through the oldschool"! Einseitig bespieltes 5-Song Minialbum als klassisch schwarzes oder Blutrot mit Schwarz farbiges Vinyl!

For the first time ever you can get both Copse EPs 'Mara | Mondrem' and 'Old Belief | New Despair' on limited edition vinyl!Copse began life in 2020 as as an exchanging of musical ideas between guitarists and work colleagues Phil Vernon and Craig Mallard during the lockdowns enforced by the global pandemic

Back In Stock!

'It was such an honor to play on Dwight Trible's album.

His singing has inspired me since I was 15 years old. He has a way of bringing such a unique life and feel to every song that he sings.

His voice has power, soul, and beauty, qualities that all us horn players strive for.

Thank you Dwight for having me on this masterful piece of art'

Kamasi Washington (early 2019)

The godfather of the LA sound, and possibly the World's greatest living Jazz Vocalist, returns with his masterpiece.

Timeless, yet made for our times - this is a double album of spiritual jazz, soul, gospel, and psychedelic rock.

Recorded at LA's Sunset Sound, and backed by a band of legendary musicians (including Kamasi Washington), this is a
work of true beauty. A tour de force that reveals Dwight's kinship with Spiritualism.

Musicians:

Dwight Trible vocals
Kamasi Washington tenor sax
Mark de Clive-Lowe piano
John B. Williams double bass
Ramses Rodriguez drums
Maia harp
Miguel Atwood Ferguson viola
Derf Reklaw percussion
Carlos Nino hand percussion

Repress!

Uzi monumentum !
Old school Tribe Killer with the first extract liveset.
Now you know this is where it's happening.

Zel Zele are thrilled to announce the debut album of silhouwaves. "ripples" is a solo project of London based Turkish multi-instrumentalist and producer Bora Dayanikli. Ripples is a DIY, guitar led album performed using a combination of pedals, drum samples and Bora"s elevating poetic vocals. At its core silhouwaves loops his guitar into infinity and creates a sentimental space echoing the mysteries of space and time. Ripples is inspired by 70s kraut, prog and psychedelic music. There are surprising eastern riffs throughout the album with kozmiche effects. Loops to ponder, edgy drum samples and perfectly produced modern vocal lines bring in a wow factor to the album. It feels like an old recording with a modern vocal edge.

Sourcing rare records to reissue can involve meticulous research and years of digging, but then occasionally, Lady Luck smiles upon you. We probably would have never heard of the Medium Wave Band if Gary from Mr Bongo hadn't known Wolverhampton-based record dealer, Steve Ward. Whilst offering Gary some records for sale, he remembered he had a spare copy of an old 7" single that he thought Gary might like. Steve didn't know much about the release, and it had never sold on Discogs. Looking at the record itself, it was minimalist in appearance and information, there wasn't much to go on other than that it was from the Birmingham area. The mystery drew us in…

The A-side, 'So Tender’, is a late-night, jazzy slow-jam, with beautifully sultry, soulful female vocals which sounded vaguely familiar. On listening to the B side, 'Games (Instrumental)’, you are rewarded with a superb example of Britfunk / independent UK jazz-funk. The pulsating, bass-led dancefloor groove and sensibility is a sound reminiscent of productions usually found on labels such as Elite, but the 7” was not released on a label, it was a private press by the band themselves. So who are the enigmatic The Medium Wave Band?

After some fruitful internet digging and correspondence, we got the answers. The band lineup featured Elliot Browne on guitar (lead & rhythm), Ron Lyseight on guitar (rhythm), Andrew Proverbs on keyboards, Tony Peart on drums, Paul Snook on bass, Linton Levy on saxophone, and surprisingly, the beautiful vocals we had been enjoying were those of Jackie Graham, aka the hugely successful UK vocalist, Jaki Graham. Maybe best known for her pop hit with David Grant, 'Could It Be I'm Falling In Love', but also featuring on the cult classic track 'Fire In My Heart' by Escape From New York.

Influenced by artists and bands including George Benson, Ronnie Laws, Weather Report, George Duke, Azimuth and Chick Corea to name a few, the guys booked into a studio near the Botanical Gardens in Birmingham and recorded the two tracks that make up this 7”. Only 200 copies of the original 7" were ever pressed and were sold mostly in Birmingham at Summit Records by the band’s friend DJ Frenchi, as well as at live shows. Despite its limited distribution channels, the record received solid support from fans and those in the music industry, including Morgan Khan of the influential record label, Street Sounds. DJ and journalist, Lindsay Wesker, reviewed the release and this led to the band travelling to London for several radio interviews. They played live shows across the country, including at the prestigious Ronnie Scott's in London, and supported both Shakatak and Weapon of Peace in Birmingham.

Thanks to all those involved bringing this release into fruition and for solving the mystery behind a wonderful Britfunk and UK soul record that could have otherwise been lost in the mists of time.

Out of the murky, mystic world of Komodo Kolektif slides the Gamma Knife.

In the corner of a dank, dark mind, a nebulous notion condenses and solidifies, featureless and blind...and from that Komodo Klay a new kreature is hacked, molded and (mal)formed.

“The foundations of some of these pieces were laid almost a decade ago, others more recently. All of them came into being as sketches intended as Komodo Kolektif tracks to develop but for various reasons this didn't happen. The Seven Heavenly Elements was first presented to the group in 2019 but partly through personal differences in musical taste as well as COVID throwing a spanner in the works it was put aside and never worked on collectively. The two Disciple of the Drum 'dubs' are essentially rhythm tracks using the rhythm and percussion of Disciple Of The Drone, also from 2019, stripping away the drone, the gamelan melody and finally, even the bass line, which was initially intended to be the fundamental driving force of at least one of these dubs. In the end neither of these two tracks became anything like the idea that I had in mind, but that's how creativity works sometimes. The vocal parts in Cantation Dub were added most recently, just a few months ago. Fire Dub is just an exercise in me trying to rein in some insane delays and barely managing. The Ghost of Water is an anomaly because many of the fundamental parts are taken from the same jam session recorded in 2015 that led to Djakarta 3001 from the first EP. If you listen closely you'll hear Graeme Miller on guitar (back when guitar was still featured in our weekly jam sessions). I discovered this unedited hour-long jam session on an older hard drive in late 2023 and decided to fashion something from it until what became Ghost of Water materialised: the heavily delayed saron instruments, the jaw harp, the percussion and so on. What makes the track an anomaly is that it is in some ways both the oldest and newest piece of the five. The Seventh Element takes one of the seven elements of The Seven Heavenly Elements (in this case the Mopho synth tuned to the Indonesian pelog scale and ran through the Boss DE-200's depth modulator) to which I then added some gong parts and field recordings from Bali.

Once complete, I realised with an album's worth of material sitting there which was more “Komodo Kolektif” than anything I would normally produce solo, there came the problem of trying to work out what to do with this distinctly Komodo-esque, non-Komodo material. I came up with the idea of releasing it under the name Komodo Kuts...but a part of me felt I'd be cashing in on the Komodo name so ditched that part entirely...but the kuts remained, which seemed appropriate when used alongside my Gamma Knife moniker (which has a long story of its own...in a nutshell I had a benign brain tumour which only 1 in 10,000 people get and which is most frequently removed with a gamma knife (radiation). In medical parlance the device used in this treatment is often shortened to GK machine. I had been using the DJ name GK Machine, which came from my signature GK Mackinnon, since 1994, in other words long before this diagnosis. In the end I had brain surgery in Spain without use of gamma radiation...but the synchronicity of the name connection fascinated me nevertheless. Sometimes the world works in mysterious ways).

Lastly, now that I've sent these tracks out into the world, I feel somewhat liberated and can move on from this fairly niche and specific sound. The gamelan instruments have been returned to Gamelan Naga Mas, from who we'd borrowed them, and the masks hung up. This does not mean that Graeme Miller and I won't work together again in future...I'm sure we will...it just means we won't be tied to working within the constraints of gamelan, synths, percussion and dub that we became known for. So stay tuned...surely something lurks around the corner” GKM, November 2024

- The Premiere Vinyl Release of the Soundtrack - 180 Gram Black and White Swirled Colored Vinyl - Old Style Tip-On Gatefold Jackets with Satin Coating - Artwork by Phantom City Creative - 12"x12" Booklet - Scoring Session Photography - Liner Notes // Waxwork Records is proud to announce THE BRIDE OF FRANKENSTEIN Original Motion Picture Soundtrack with music by Franz Waxman. In celebration of the film's 85th Anniversary, we are thrilled to present the premiere vinyl release of the film's music as a deluxe album featuring re-mastered audio, new artwork, and likeness approvals from famed actress Elsa Lanchester's estate. THE BRIDE OF FRANKENSTEIN is a 1935 horror movie directed by James Whale and starring Boris Karloff & Elsa Lanchester. It is the first sequel to the 1931 film FRANKENSTEIN and widely regarded as one of the greatest sequels in cinematic history. The film has been praised as Whale's masterpiece. In 1998, it was selected by the Library of Congress for preservation in the United States National Film Registry, having been deemed "culturally, historically or aesthetically significant". Sourced from the original master acetates housed in the composer's archives at Syracuse University and original masters from Universal, the album has been meticulously restored and re-mastered. Working closely with Universal Pictures, this historic release marks the very first time the original film music has been made available on vinyl. The album features new artwork by Phantom City Creative, a 12"x12" booklet including artwork and original scoring session photography, and liner notes by album producer and restoration engineer Mike Matessino.

- The Premiere Vinyl Release of the Soundtrack - 180 Gram Black and White Swirled Colored Vinyl - Old Style Tip-On Gatefold Jackets with Satin Coating - Artwork by Phantom City Creative - 12"x12" Booklet - Scoring Session Photography - Liner Notes // Waxwork Records is proud to announce THE BRIDE OF FRANKENSTEIN Original Motion Picture Soundtrack with music by Franz Waxman. In celebration of the film's 85th Anniversary, we are thrilled to present the premiere vinyl release of the film's music as a deluxe album featuring re-mastered audio, new artwork, and likeness approvals from famed actress Elsa Lanchester's estate. THE BRIDE OF FRANKENSTEIN is a 1935 horror movie directed by James Whale and starring Boris Karloff & Elsa Lanchester. It is the first sequel to the 1931 film FRANKENSTEIN and widely regarded as one of the greatest sequels in cinematic history. The film has been praised as Whale's masterpiece. In 1998, it was selected by the Library of Congress for preservation in the United States National Film Registry, having been deemed "culturally, historically or aesthetically significant". Sourced from the original master acetates housed in the composer's archives at Syracuse University and original masters from Universal, the album has been meticulously restored and re-mastered. Working closely with Universal Pictures, this historic release marks the very first time the original film music has been made available on vinyl. The album features new artwork by Phantom City Creative, a 12"x12" booklet including artwork and original scoring session photography, and liner notes by album producer and restoration engineer Mike Matessino.

A longtime banner carrier for fiercely independent DIY punk in the UK, Wonk Unit are teaming with Pirates Press Records to release their ninth studio LP, Good Good Glad To Hear It. Based in the South London town of Croydon, the band has its origins in lead singer, songwriter, & guitarist Alex Wonk's experience in rehab 25 years ago, where he found journaling & sharing his experience with others liberating. After completing his time in hospital, Alex set about crafting songs from his "addiction journals," and from this sharing of unvarnished honesty, Wonk Unit was born. The 12 songs on Good Good Glad To Hear It are the diverse fruits of a long term process of songwriting and collaboration that takes the listener on an emotional journey. "These songs need to be written. They all had, for whatever reason, a burning desire to be released from my head," says Alex, who estimates that more than half of the vocals, guitars, and keys on the finished product were recorded as voice notes using nothing more than his cell phone mic. Aside from "EQ magic" courtesy of long term engineer & co-producer Andy Brook, there is no studio trickery to hide behind, and what appears on the record are the raw takes as played by Alex and his bandmates Vez, Max, Pwosion, Ryan, and AJ, as well as a group of studio collaborators adding instrumentation such as keys, horns, and banjo.The confessional spirit & emotional honesty of the songwriting shines through in every song on the record, such as the opening track & lead single, a "sad, depressing song about addiction" titled "Rapidly Declining Dignity," which recalls Alex's journals, or the song "Overwhelmed," in which the songwriter turns his focus to his relationship with his daughter in the aftermath of his marriage falling apart. "Those were the saddest, most precious, painful, terrifying times of my life," he shares, before adding, "Things are good now." Ultimately, these songs could only be written by someone who survived to tell the story. Just as journaling and sharing with others in rehab helped Alex to get sober and see a way through to the next stage of life, sharing songs that speak the truth of his experiences with the band's audience continues to carry him through life's ongoing struggles. Consequently, the band has attracted a large and diverse group of devoted fans who immediately recognize that these are true stories of resilience that can serve as a touchstone in their own lives. The true stories on Good Good Glad To Hear It are certain to find their way to even more.

Von mitreißenden Partyhymnen bis hin zu tiefgründigen Balladen und energiegeladen Punkrock-Tracks - 'Coming Home" ist ein Album, das Geschichten erzählt - von Heimat, von Zusammenhalt und von der Freiheit, seinen eigenen Weg zu gehen. Es ist eine Einladung und ein Versprechen: Kommt mit den Paddyhats auf eine Reise und ihr spürt den Rhythmus des Irish Folk Punk in jeder grünen Ader!"

Von mitreißenden Partyhymnen bis hin zu tiefgründigen Balladen und energiegeladen Punkrock-Tracks - 'Coming Home" ist ein Album, das Geschichten erzählt - von Heimat, von Zusammenhalt und von der Freiheit, seinen eigenen Weg zu gehen. Es ist eine Einladung und ein Versprechen: Kommt mit den Paddyhats auf eine Reise und ihr spürt den Rhythmus des Irish Folk Punk in jeder grünen Ader!"

Von mitreißenden Partyhymnen bis hin zu tiefgründigen Balladen und energiegeladen Punkrock-Tracks - 'Coming Home" ist ein Album, das Geschichten erzählt - von Heimat, von Zusammenhalt und von der Freiheit, seinen eigenen Weg zu gehen. Es ist eine Einladung und ein Versprechen: Kommt mit den Paddyhats auf eine Reise und ihr spürt den Rhythmus des Irish Folk Punk in jeder grünen Ader!"

The very young band from Bilbao, Head Holes, present their second full-length album, 'Requiem'. A concept album at 45 RPM, in which the narrative rides on the back of 90's punk, grunge and hard rock. They are an ambitious reality that will surprise fans of previous generations and are the great Basque hope of rock'n'roll. After releasing their first album 'Decade of Decay' in 2022, Head Holes decided to explore new artistic horizons by working in an unconventional way. Therefore, they set out to do something that few people in the Basque Country had tried before: a conceptual narrative album, where every detail matters, but where each track can also be enjoyed independently, without the need to know the backstory. None of them is over 21 years old. Eder del Valle (vocals), Naroa Esturo (drums), Xabier Aguado (guitars) and Jon Mikel Batiz (bass) make up a band without musical prejudices combining influences from 90s punk, grunge and hard rock, among others. Their hard-hitting, hard-hitting live shows, full of attitude and followed by an ever-growing fan base of their generation, are a must-see. They have also attracted the attention of 'older' people who think that Head Holes sound like what they have been listening to since they were their own age. An ambitious reality embodied in Requiem, which confirms them as the great hope of Basque rock'n'roll.

10 Inch and Pyramids is an old love story... This one brings a view on some of the best Obs.cur state of mind & familly... Acid dancefloor precious sound ! Take care !

Ultra-Rare Old School Hip Hop!

As featured on the fourth volume of Tramp's "Santa's Funk & Soul Christmas Party" compilation series, it was high time to put it out on a good old 45! Here you have it. Be quick - limited press!

Writing music, for singer-songwriter and producer Fine, “feels like being entrusted with a secret.” On Rocky Top Ballads, the Copenhagen-based musician’s debut album, these secrets take the form of minimalist compositions that search for glimpses of beauty in the everyday. Recorded, produced, and mixed by Fine, the album is a mystical soundtrack to a captivating songwriter’s explorations of process and intuition.

“The whole album is about the moments when you see a crack in something,” Fine explains, “where you briefly see another side of yourself or of someone you've known forever.”

Fine grew up in Denmark’s rural Northern Jutland; there, her father’s guitar and banjo playing formed the sonic backdrop of her childhood. In the years since, her musical curiosity has led her to work across a range of styles and sounds. In her early twenties, she became part of Danish electronic trio Chinah, which released three albums. You might also have caught her sampled vocals on the joyfully rollicking Two Shell song “Home,” from 2021. Then, last year, she — along with Erika de Casier and Smerz — co-wrote three songs for the massive, critically lauded K-pop group New Jeans. Fine is also a part of Clarissa Connelly Canons group back home in Denmark, and writes music under the moniker Coined with composer and songwriter Astrid Sonne.

But Rocky Top Ballads is a turn back towards a more personal, stream-of-consciousness songwriting style. Fine wrote and recorded these songs sporadically over the course of the last few years. In light of Chinah’s collaborative, piecemeal production style, Fine craved a more organic, intuitive process for these songs. Her work on the record combines sample-based production with the sounds of instruments she and her collaborators could hold in their hands, ones that inspired free-flowing improvisation: electric and acoustic guitar, even the Ensoniq keyboard that was in her childhood home. The resulting songs are equally inspired by the country and folk of her childhood, the hazy beauty of Mazzy Star, the avant-garde pop of Dean Blunt, and the songwriting of ’90s singer-songwriters like Suzanne Vega.

Fine describes her songwriting process as a “magical thinking method”: being in contact with the present moment and pretending as if she already knows the song she’s about to write. Many of the songs on Rocky Top Ballads use the original takes of Fine’s vocals, an attempt to capture a song’s initial essence and avoid disturbing the song’s generative idea as much as possible. You can hear that well-preserved spark on songs like “Losing Tennessee,” a minimalist and wistful reflection on the inherent loss and change of growing older. She wrote other tracks, like the piano-led “Whys” and the woozy “Coasting,” through a process of cutting and layering her improvisations, carefully merging multiple musical snippets into newly seamless compositions. And the stunning closing track “A Star” is the product of a slow process of evolution: beginning as an understated expression of sincerity before dissolving into a rich, distorted guitar-driven exploration.

As a songwriter and producer, Fine’s work often peers into the universes of experience that can be hidden inside a fragmentary moment. Sometimes she explores this literally — as in “Days Incomplete,” which she built off a short sample from “A Star.” This impulse — to zoom in, to recontextualize, to excavate — threads throughout her lyrics, too. What happens, her songs ask, when we pay close attention to those everyday images and physical realities we might otherwise ignore: the sky, the rain, the sun, the sea? On the spacious and swoony “Big Muzzy,” with its gentle sway and Cocteau Twins-inflected vocals, Fine sings about watching the “summer turn blue”; the grooving, propulsive “Remember The Heart” is a love letter to the sea where she grew up. In her airy voice, Fine traces meandering melodies that continually unspool with fresh insights.

A particular mantra guided Fine’s songwriting throughout the creation of Rocky Top Ballads: “Everything has potential.” In these songs, small moments are worthy of deep contemplation, and gentleness can evoke worlds of emotion. The resulting songs offer a gift of momentary pleasure, flowing and unhurried as a gentle breeze.

Marissa Lorusso

Amsterdam Bound East countries kind of Tribe.
In the DSP a bit also ?
Quiet close from the spiral tribe old records in a sense too...

Bassy and mental , soundmorphing evolutions, no vocal samples... Sound. Sound and Beats... A night cruiser !

Notice a Locked Groove end of A side :)

"Love and the Russian Winter was released in 1999, the band’s 7th studio album, and included a hit cover of ‘Ain’t That a Lot of Love’. All other tracks were Hucknall originals. The new release includes remastered audio for vinyl.
"

A few years ago, Angel Olsen quietly formed somethingscosmic, a new imprint and a home for Olsen to have “the flexibility to release when and how I want to with the help from my longtime partners at Jagjaguwar.” Somethingscosmic’s second release, ‘Cosmic Waves Volume 1’ is a compilation reimagined as a dialogue; side A features artists chosen by Olsen, with each artist choosing their own song for the collection. Side B is a collection of songs from the same artists, but chosen by Olsen and recorded by her. Each song, unsurprisingly, illuminates a new artist Olsen finds spectacular. Hearing Olsen refract the artists’ songs back to them reveals the depth of Olsen’s imagination, while spotlighting multiple exciting artists at work.

“As someone that emerged into the music scene through a small tape label,” says Olsen, “I’ve wanted to continue the spirit of discovery and of my debut release, ‘Strange Cacti’, while supporting and collaborating with artists and friends whose music I have been moved by. I feel there is something unique and special about covering another artist's song,” she continues. “We all make it our own, or we try to, but I personally always learn something new about the process when I’m engaging someone else’s words and melodies in such a close way. Time and again I find that putting myself into various different styles of songs can lead to new ways of thinking and creating.”

The artists on “Cosmic Waves Volume 1” draw from a sprawling, myriad sounds, eras and inspirations. Poppy Jean Crawford’s magnetic growl and guitar-god heaviness; Coffin Prick’s reckless, psychedelic fuzz; Sarah Grace White’s hypnotic voice and melody; Maxim Ludwig’s expert minimalism; and Camp Saint Helene’s beautiful, big sky folk. “Thank you for listening and supporting this experiment,” Olsen says. “If you like what you hear, please support these artists by buying some of their music, merch, a ticket to their show, or telling your friends about them. It goes a long way. Love, Angel”

Frank Sinatra was one of the greatest performers and first musical superstar of the last century. His voice, timing and performance created the standards for vocalists ever since. Even today’s performers like Michael Bubble, Jamie Cullum and Robbie Williams are highly inspired by ""Ol' Blue Eyes."" On Frank Sinatra Collected, his career and musical legacy is celebrated on 2 LPs, spanning over 5 decades. In association with Frank Sinatra Enterprises, the 31 recordings on Collected include not just his most famous songs, but also delves into some of his best album tracks and collaborations with Count Basie, Quincy Jones and his daughter Nancy, all showcasing the versatile artist he was. Frank Sinatra Collected is available as a 2LP, housed in a deluxe gatefold sleeve with liner notes inside. 10.000 numbered copies are pressed on “Sinatra Ol' Blue Eyes"" translucent blue coloured vinyl."

Friendsome Records and Ams Are Very Happy to Present to You Her 4th Ep Sunrises. This Record Might Be Out in the Fall, It Is Like Its Name, Full of Sunshine, but Also Mysterious Atmospheres. Inspired by Nature Whom Ams Is Very Attached To, as Well as Influenced by Progressive House and Trippy Electronic Music, This Ep Finally Summarizes Her True Style ! After a Few Years as a Producer It Is Undoubtedly the Best Record She Produced So Far, Full of Proggy Vibes, Old School Uk Tech-House Influences and Jumping Rhythms. Get Ready to Hear It Being Spun by DJs and Radios All Over the World, and Join Us for the Release Party at Badaboum in Paris on November 23rd, With Special Guests Xxx & Xxx !...

A limited repress of this unreleased set of proper old skool tracks by the legendary Dj Force & The Evolution. Proper breakbeat piano hardcore, lovingly repressed on mad marbled vinyl!

Feiern Sie die schönste Zeit des Jahres mit Olivia Newton-John... und Freunde! Angels In The Snow bietet
zeitlose Weihnachtsklassiker wie ”White Christmas” mit John Travolta und ”AllThrough The Night” mit
Michael McDonald; sowie ein brandneues Duett mit Jane Lynch auf ”O Come, All Ye Faithful”. Holen Sie
sich den neuen Soundtrack für Ihre Weihnachtszeit, verpackt mit Stimmen, die Sie kennen und lieben.
Als CD und auf schneeweißem Vinyl.

„La symphonie des éclairs (Le dernier des voyages)“, die Deluxe-Edition von Zaho de Sagazans preisgekröntem Debütalbum mit 7 brandneuen Titeln, wird am 25. Oktober veröffentlicht.
Die neue Version enthält sieben persönliche und bisher unveröffentlichte Songs. Während aufmerksame
Zuhörer bei ihren Live-Auftritten bereits das sehr tragische ”Dernier des voyages” zu hören bekamen, sind
”L’Envol”, ”Est-ce que tu vas bien?”, die erste Single ”Ô travers” und die in Teilen auf DEUTSCH
gesungende, sinnliche Nummer ”Hab Sex” oder auch ”Parler l’amour” neu. Eines der Highlights ist mit
Sicherheit ”Old Friend”, der Song, den sie mit der Person geschrieben und aufgenommen hat, die ihren
Wunsch und ihre Dringlichkeit Musik zu machen, ausgelöst hatte...
„Großer Pop aus Frankreich: Schaut auf diese Frau!“ (Süddeutsche Zeitung)
Die junge Französin ist bereits mit ihrem ersten Album viermalige Gewinnerin des Victoires de la Musique
2024 und die Kritik überschlägt sich mit Lob.
Eine Kooperation mit Louis Vuitton, der Titeltrack ihres mehrfach ausgezeichneten Debüts als Musik
der aktuellen (globalen) Renault-Kampagne und ihre viel beachteten Auftritte bei der Abschlussveranstaltung der Olympischen Sommerspiele in Paris und bei den Film-Festspielen in Cannes sorgen für Furore
nicht nur in Frankreich. In Deutschland wurden ihre Shows im Oktober in größere Venues verlegt und sind
ausverkauft. Gleiches in London & New York.
Zaho de Sagazans Musik verbindet Kraftwerk und französischen Chanson auf unwiderstehliche Art und
Weise.

Following a four-year hiatus from solo releases, the British musician Matt Karmil returns with the soft-focus gentle beauty and subtly stealthy beats of new LP, ‘No Going Back’.

With inspired moments of creation happening incrementally, the album came together amidst a busy mixing/remixing/ mastering/co-production schedule. Artists who’ve enlisted his^multiple skills includes Bicep, Underworld, Mall Grab, Jayda G, DJ Koze, Neneh Cherry, Sofia Kourtesis, DJ Fett Burger, Matias Aguayo and Carmen Villain.

Feeling the benefits of this new approach, ‘No Going Back’ is the strongest expression of Matt's artistic vision to date, honing the spectrum of styles for which he’s renowned, all smudged together by a warm, gauzy haze. The microhouse anthem ‘SFP’ is followed by the broken tech science of ‘No Going Back’, the spectral dub techno spookiness of ‘Old Haunts’ and the sublime misty shimmer of ‘The Last Time’.

Further switching things up is the oddball dancefloor experimentalism of ‘Still Something There,’ the washed-out electroid balm of ‘Things Really Happen’, and the epic dark ambient closer ’15 mins’.

Dutch musicians Han Litz & Olivier Schreuder found each other again, after their initial collaboration in a John Coltrane tribute with the Kindred Spirits Ensemble, in their wish to create spiritual animistic music inspired by nature. Together with Thai-Dutch musician and visual artist Angkanang Pimwankum they start making audiovisual improvisations in which they are lead by fieldrecordings made by Schreuder, and their intuition.

The 40th Anniversary Edition of this holiday classic offers a delightful blend of nostalgia and fresh takes. The original version remains as timeless as ever, with its catchy melody and bittersweet lyrics that perfectly capture the essence of love and heartbreak. The 'Pudding Mix' offers a playful, slightly altered version, adding a new layer of festive charm while still staying true to the original's spirit. A live rendition from Wembley Arena in 2006 brings a burst of energy, with the crowd's enthusiasm amplifying the track's warmth and excitement. For those who appreciate the finer details, the instrumental version removes the vocals, allowing the lush synths and intricate production to shine. This holiday classic never gets old. With these different versions, you can enjoy the song in many new exciting ways.

The 40th Anniversary Edition of this holiday classic offers a delightful blend of nostalgia and fresh takes. The original version remains as timeless as ever, with its catchy melody and bittersweet lyrics that perfectly capture the essence of love and heartbreak. The 'Pudding Mix' offers a playful, slightly altered version, adding a new layer of festive charm while still staying true to the original's spirit. A live rendition from Wembley Arena in 2006 brings a burst of energy, with the crowd's enthusiasm amplifying the track's warmth and excitement. For those who appreciate the finer details, the instrumental version removes the vocals, allowing the lush synths and intricate production to shine. This holiday classic never gets old. With these different versions, you can enjoy the song in many new exciting ways.

Das von Percussion und Bläsern getragene 'Night Of The Wolf' wurde bei Northern Soul-Events in GB als auch in Brooklyn-Discos in den 1970er Jahren gespielt und war ursprünglich ein italienischer Progressive-Rock-Albumtitel. Es wurde 1975 als äußerst seltene US-45er unter dem Namen Al Foster Band herausgegeben und ist die erste offizielle Neuauflage. Der 70er-Jahre-Modern-Soul-Midtempo-Klassiker 'It's The Same Old Story' von ACT 1 wurde auch in den frühen Discos von New York, Chicago und LA gespielt, war aber immer nur ein Albumtitel. Dies ist die erste Veröffentlichung überhaupt als 7inch.

Since ever great fans of DJ Ralf's music, both Marcellino and I decided of dedicang a tribute to him... a record that could
always feature him in his DJ sets!

There was a video on YouTube with an interview with the "uncle from Italy" who told a li$le about his career... with
various anecdotes...

We therefore thought of "building" him a musical ou&it specifically so that he could play it himself...
Groove, great rhythmic bass, and a very Old Skool sound that recalled the Chicago and Detroit periods... we therefore
gave life to the project (ino)2 (Walterino & Marcellino and Keller)
We took the most interesng phrases from the interview, and looped the phrase... Ralf, Ciao Ralf, thus giving the song the
tle!

Silver coloured double vinyl. Guitarist Olli Tukiainen, known as Ollie T, will release his solo album Lost Within the Fire on December 13. Composing and releasing instrumental music has been a long time aspiration for the internationally successful guitarist. With Poets of the Fall on a brief break, the opportunity finally arose. "When I released my first single in 2017, I knew I wanted to release a full album of songs someday. During Poets of the Fall's short break in 2024, I had the chance to work full-time on my own music. Some of the oldest tracks date back to the '90s, while the newest were composed during last year's tour," Ollie T explains.

Enjoy The Ride Records, in conjunction with Equal Vision Records proudly presents HRVRD - From The Bird's Cage. HRVRD's long-awaited follow-up to their debut album, The Inevitable and I, this deluxe edition of their sophomore release is housed in a 400gsm gatefold jacket. Pressed on 140g vinyl, the A/B record has a printed inner sleeve, featuring artwork by Lee Herrera (the C/D record is housed in a black poly-lined sleeve), and the screen printed D side features new artwork, also created by Herrera. Side C consists of bonus tracks, including 2 previously unreleased tracks.

The 40th Anniversary Edition of this holiday classic offers a delightful blend of nostalgia and fresh takes. The original version remains as timeless as ever, with its catchy melody and bittersweet lyrics that perfectly capture the essence of love and heartbreak. The 'Pudding Mix' offers a playful, slightly altered version, adding a new layer of festive charm while still staying true to the original's spirit. A live rendition from Wembley Arena in 2006 brings a burst of energy, with the crowd's enthusiasm amplifying the track's warmth and excitement. For those who appreciate the finer details, the instrumental version removes the vocals, allowing the lush synths and intricate production to shine. This holiday classic never gets old. With these different versions, you can enjoy the song in many new exciting ways.

DESTROY BOYS" catalog vinyl is back in stock!

2024 has been a big year for the band with the release of their new album, Funeral Soundtrack #4 (available on Hopeless Records) and Epitaph Records are harking back to these two seminal vinyl releases from the band"s early days, just in time for Black Friday! "Sorry Mom" (2017) ( on vinyl for the first time!) and "Make Room" (2018)- both albums will be available on black vinyl. DESTROY BOYS formed in 2015, when founding members Violet Mayugba and Alexia Roditis were just 15 years old, and each release has marked a period of growth and change. "Looking back, our first three albums marked the deaths of things," says guitarist Violet Mayugba. "They were soundtracks to our funerals, whether they were for our ages, our mental states. We"ve gone through a lot of changes as a band and as people." "The first one (Sorry, Mom) was our high school album," Mayugba explains. "On the second record (Make Room), we went to college and were saying goodbye to our childhood. On the third one, we"d just gone through COVID and, speaking for myself, I lost my entire sense of self and gained a new one." Now, at 24, Mayugba and Roditis are standing firmly on solid ground with more resolute and confident than ever in their place as musicians.

Fang Island's second and last record, long out of print and back in stock as gray splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Two years after Fang Island released what they expected to be their first and only album, Major became the "highly anticipated sophomore LP." The songs were bigger, shinier and hookier, forged under the pressure that comes with being a band rather than a couple of weekend warriors - label pressures, grueling tours and the frequent personnel changes that ultimately brought the band to their amicable end. Fang Island began with the crackle fireworks and, as the band heard fireworks going off in the distance as they played in Barcelona, they took it as a supernatural sign that this show would be the perfect bookend to their career. "We were getting older, we were in serious relationships, we were getting tired, and that just felt like the right way to end it."

Poetry of the Deed is the third studio album by London-based singer-songwriter Frank Turner. Unlike Turner's previous solo albums, Poetry of the Deed was rehearsed, arranged and recorded with his full band. This marked a significant change in the singer songwriters musical output, spawning the singles ‘Poetry Of The Deed’, ‘Try This At Home’ and ‘The Road’. The video for ‘The Road’ saw Frank play 24 shows in 24 hours.. The successes of the third album included further Radio 1 daytime playlists, sessions with Zane Lowe and headlining a sold out show at London’s Shepherd’s Bush Empire and a few months later, The Roundhouse, London, setting him firmly on the course we see him on today, as a headline act the world over. Produced by Grammy nominated Alex Newport.

The Equatoguinean Norberto de Nöah established in Madrid in the early 80s, where he became a firebrand of African culture in the vibrant Movida. In 1988 he self-released his first solo album, a blend of homeland sounds —modern and traditional— with new synth and drum machine touches. The vanished album finally gets its well-deserved reissue.

Edition of 500 albums on vinyl (Bandcamp download code included) - Original artwork with new 14 pages insert and poster

In the mid-1980s, the European media, music industry and public became increasingly interested in African music. This was a period of international success for King Sunny Adé, Salif Keita, Youssou N’Dour, Ray Lema, Touré Kunda, etc. Spain, with its own particular conditions, wasn’t oblivious to the phenomenon and the Equatoguinean Norberto de Nöah may be its best exponent.

Norberto moved in the early eighties from his hometown in the island Fernando Po (now known as Bioko) to its former colonial capital, Madrid. While studying dramatic arts, he created and led the band Nohkis, made up of African and Spanish musicians. In 1985 they released the maxi-single “Mujer española” / “África, ¿dónde está tu gloria?”, and the song “El loco”, was released on a compilation LP called Esto es increíble, both on the label Lollipop. According to the journalist Patricia Godes, they were first artists to record an African music record in Spain. It received positive reviews and a great impact on the most independent side of Madrid’s La Movida movement. Very soon afterwards, Nohkis’ band split up.

Afterwards, Norberto would concentrate on his solo career, and Norberto de Nöah and The Böhöbé Spirits Müsic was released in 1988, definitely a solo album. Norberto created his own label, Kilimandjaro Productions, and composed, arranged and produced all the songs of the LP. Moreover, he sang and played all the instruments: a vast selection of organic instruments, a Yamaha RX-5 drum machine and a Roland D-50 synthesizer.

In the album he exposed his deepest roots, updating the lexicon of traditional Bubi music, the musician’s ethnic group, a compendium of ceremonial melodies that ancient troubadours composed for the court. Doing so he showed new possibilities to one of the oldest ethnic groups in the world. Besides all this, he was also inspired by American music such as funk, R&B, Latin American music and also by a wide range of African and Caribbean rhythms.

Mixing the traditional and the avant-garde in a spontaneous and natural way, the music contained in the record’s grooves flows freely and takes you to places full of magic and mystery, while still transmitting new and exciting sensations. Even more, according to the Equatoguinean musician and writer Baron Ya Búk-Lu based in Madrid, the album’s sound was “the perfect combination of all characteristics that defined the Equatoguinean Afropop music made in Madrid during the 1980s”, a story that still needs to be told in all its depth and intensity!

Following the release of two LPs and several singles, the activity of Norberto de Nöah and Kilimandjaro Productions (and the subsequent Bananas Podridas) ceased. Nevertheless, Norberto’s links to music continued, as a promoter and DJ in Madrid’s nightlife.

Norberto de Nöah contributed greatly to changing Spain’s musical landscape, breaking barriers and mental frameworks. He was the first to make contemporary and popular Guinean music known to the Spanish public.

The repercussions in the African market of a Spanish (and Bube) speaking African musical project, where English and French dominate, was very difficult. In addition, the passage of time and changes in phonographic formats have diluted the memory of Norberto's legacy. Now it’s time to reverse the situation and break all the outdated frontiers!

Norberto de Nöah and The Böhöbé Spirits Müsic, as every important music piece, was at the same time part of a universal phenomenon of recognition of African music and a very personal project, based on the artist’s nostalgic and heartfelt need to show and homage his ethnic group, the Bubis. In this process he also refreshed his hometown music legacy, giving it a new air and opening the door to lots of other great Equatoguinean artists coming afterwards, as well as being an inspiration for many musicians in Spain.

"This record explores the relationships between mid century architecture, consumerism and community. The gradual or sometimes brutal removal and change of places in the name of progress. These changes leave traces that people have to deal with on a psychological level but probably never really acknowledge. This record explores loss of community and loss or unsympathetic altering of shopping spaces. When something is unceremoniously knocked down or altered and something else replaces it then the thing before it becomes ghost like and is at risk of being forgotten. Not dissimilar to when the Christian faith built their buildings upon Pagan sites. It has a similar purpose (to pray or to shop in this case) but the older thing becomes dreamlike and is confined to folklore. The community is always fed the propaganda of progress but looking back, I certainly cannot deny the beauty of what has now gone. Maybe there is a sense of dissolution and denial about such matters. The record is also interested in the sense of community of these past spaces and how shopping centres have generally declined mainly due to the rise of neo liberalism and tech giants. When you see old footage of these spaces in their prime, you get a sense of a space age future, everything looks new but paradoxically the people look to be from an older time. Today I can see real poverty and complete disenfranchisement from being in these new spaces. It's not all doom and gloom though as spaces, especially the ones in Plymouth are not that much altered and could be brought back to the architects original dreams."

David A.

Carlisle City Council is the latest project of acclaimed musician and producer Jonathan Sharp. Well known
for a raft of musical incarnations, including more lately acclaimed 'hauntological' musings as Jonathan
Sharp, and The Heartwood Institute, this latest revision sees Sharp turn his attention to the evolution of
town planning, where the intersection of civic and the personal proves to be fertile new ground. The
Lanes shopping centre in Carlisle (a city in Sharp's native Cumbria, in the North of England) opened its
doors in 1984, with the development proving to be controversial.

"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.

When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.

Over time, to evolve is to find oneself facing only two roads.

On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.

And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.

Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.

This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "

Following a period of five years establishing himself and blossoming into an innovative and in in-demand creative force on the New York jazz scene, 26 year old Danish pianist/composer Rasmus Sorensen returns to his home country to present his third accomplished piano trio record in two years. Combining musicianship far beyond his years with a distinctive contemporary voice, At The Right Time is set to release on November 15th on April Records. The record follows his 2022 debut Traits " which showcased his capabilities as a modern jazz composer and instrumentalist and 2024" s Balancing Act "", which saw the rising star stretch out on American Songbook classics alongside New York bassist Alexander Claffy and celebrated drummer Kendrick Scott. Now, in 2024, At the Right Time cements Sorensen s position as a trailblazing voice on his instrument whilst providing subtle nods to modern jazz piano greats of the 21st Century: there"s some Fred Hersch counterpoint, Brad Mehldau Mehldau-esque improvisational elasticity, Vijay Iyer influenced rhythmic cycles, a touch of Robert Glasper"s acoustic hiphip-hop inflection, and hints of Craig Taborn s polytonality. Featuring 12 diverse original compositions, the focus of this trio is on togetherness, with which the three formidable players bring the music to life. Jon Henrikssons bass sound holds the trio in an enveloping warmth that seems destined to become well known to European audiences. At the drums, Francesco Ciniglio, most recently heard by those audiences as a member of Wynton Marsali"s quartet, brings out the color, energy and movement sewn into the writing. The trio juxtaposes the feelings of being tightly locked locked-in and suspended in free free-floating time, and spends most of its time in the best of both rhythmic worlds.

Denovali presents the new album of the prestigious Swedish pianist and composer Matti Bye. Matti is well-known for his regular performances at various silent film festivals and screenings worldwide, where you can see him perform solo and with artists such as Lau Nau. Bye has been involved in several collaborations, including Hydras Dream, where he recorded and released an album with Anna von Hausswolff. Additionally, Matti is recognized for his scores in projects like ”Young Royals," ”Tove," „The Hundred-Year-Old Man Who Climbed Out of the Window and Disappeared,“ and "A Traves de tu Mirada” among many others.

Matti Bye's third album, "Capri Clouds", moves through the element of the air and further into space. A lone piano sounds, echoes - sometimes like a waltz. We have the sound of the wind with us and the sound of the sea below us as we fly, and above we hear the stars and planets spinning. A piano from the past, as if Satie met space - as if Spiritualized and Satie talked to each other across timeand space.These songs go straight to the heart and to the senses, and create images in your head. Stories from your own memory bank, as well as new visions – music to lean into, meditatively and hopefully longing. But there is also an undertone of something dark and desolate. Musically, Matti Bye moves within the realm of neo-classicism, but he is also approaching romanticism. References to composers suchas Schubert and Beethoven are to be found here, as well as to post-romantic bands such as Kraftwerk and The Cure. In this third album of a trilogy – the first was "Bethanien", the second "The Forgotten Land" – Bye continues his musical journey. Here we encounter a brighter and lighter production. Anders af Klintberg has brought "Capri Clouds" up from the underworld and the dreamscape, towards clouds and skies.

Pedro The Lion Covers “B” By Lync. Lync “B” Original Version On The Flip Side. One-Time Retail Pressing Limited To 450 Copies. Pressed On Opaque Purple Vinyl, Includes Download Coupon. The early ‘90s Olympia trio Lync harnessed the same raw energy and passionate discord of the era’s San Diego and DC chapters of post-hardcore while building their songs on the foundation of the Pacific Northwest indie rock scene’s clever hooks and sophisticated melodies. In celebration of the recent reissue of Lync’s sole LP, These Are Not Fall Colors, singer-songwriter David Bazan has re-envisioned the album opener “B” under his Pedro the Lion moniker, stripping away the celebratory distortion and riotous clamor of the original for a hushed acoustic rendition in line with Bazan’s most austere slow-core moments. Paired together as a 7” single on Suicide Squeeze Records, these two versions of “B” highlight the multifaceted power of the original song, with Pedro the Lion’s version elevating its fundamental melodic weight, idiosyncratic chord structure, and poetic power, and the original Lync version reminding us how their distinctive brand of expressive dissonance and adrenalized execution transformed their cerebral pop songs into jagged masterpieces of the post-Nevermind punk underground

Irishman Dom Martin is a multi award winning artist from Belfast Northern Ireland.
The 34 year old's music is steeped in the atmospheric celtic hallways of the past with many likening his style and stage presence to the likes of the late greats Rory Gallagher and Belfast's own Gary Moore.

Equally at home with an acoustic guitar in hand tearing at the heartstrings of the audience, he's an inducted UK Blues Hall of Fame Artist as a result of three consecutive acoustic awards, and his trusty telecasters and Les Pauls that lead his power trio, delivering him two consecutive Instrumentalist of The Year Awards, Dom tours internationally on a regular basis and has built a reputation for his emotional and powerful legendary shows.

His latest album 'Buried In The Hail' garnered rave reviews and was voted Best UK Blues Album of 2024 at the UK Blues Awards.

Whilst touring the UK and Europe in 2023/2024, many tracks from 'Buried In The Hail' were recorded live along with several from his previous albums, 'Spain To Italy' and 'A Savage Life'.
The result is 'Buried Alive', a double live album by one of the most exciting artists to come out of Ireland in a very long time.

Performed by:
Bob Anderson - drums
David Archibald - vocals
Jessica Argo - cello/theremin
Sophie Askew - harp
Ronan Breslin - keys
Jen Cunnion - vocals
Mark Ferrari – bass guitar/vocals
Therese Martin - vocals
Sarah Martin - vocals
Olivia McLean – cello
Simon Whittle – guitars/vocals

Recorded at La Chunky Studios, Glasgow by Ronan Breslin, and mixed/mastered by Johnny Smillie.

Possible Damage (Lisa (vocals), Jan (drums), Timo (guitar, vocals)) is a three-piece powerviolence/grindcore band from Oldenburg/Münster (Germany) with members of Svffer, Unrest and Atomkrieg. The band formed in April 2021 and released their first demo in May 2022 by Mackys Law. After many shows, festivals and several tours Possible Damage will release their entire self-titled LP on Holy Goat Records (Germany) and Loner Cvlt Records (Belgium) in December 2024. The album was recorded, mixed and mastered by Fabian Schulz @Sunsetter Recording Studio / Bremen in February 2024. The cover artwork was done by Panik Plum @Grimoire_dsg. So_ if you like bands like Insect Warfare, The Swarm, Lycantrophy or Deathtol 80k you've come to the right place. Expect 17 high speed pure fucking Powerviolence/Grindcore destruction, kick ass shit songs! Album comes as regular black LP or in purple coloured vinyl, including 12" lyric sheet.