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After a string of successful releases, Lenske regular AIROD is back on the label with a striking new single and subsequent EP.

A certified dance floor pleaser both in and out of the studio, AIROD's distinct sound has kept him at the forefront of cutting-edge underground techno as it continues to evolve rapidly. Circling back for another release on Lenske, his latest work is another bold statement of intent, staking his claim as one of the genre's most exciting talents.

Released first, on the 4th August is standalone single 'Meet Me In The Club', it teases with a wave of high-octane club-focused goodness. Building around a catchy vocal hook - the track comes in hot with racy grooves and riveting musicality. A core of thumping drums, fizzing hat sequences and erratic melodies flood the mix, twisted and pulled around with clever modulation and use of FX to carve out an energetic dance floor journey with hints of euphoric nostalgia throughout.

The title cut 'Golden Pills' emulates a progressively intensifying sprint. Ethereal melodies and unwavering drums create an ever-increasing sense of urgency, dissected by ominous vox chops, atmospheric breaks, and a sea of instrumental flare from start to finish.

'I Just Wanna Rave' has 'warehouse track' written all over it. Furious drum work and minimal accompanying percussion set the base of the track, paving the way for an onslaught of shuddering synth layers and electrifying bass tones that keep you stomping until the last beat.

'At All Costs' cuts a sinister line from the outset. Its striking selection of infernal musical layers make the perfect match for a potent beat structure and catchy vocals, leading into a continuum of peaks and troughs, steered by crescendoing snare rolls and huge throwdowns with gripping melodic progressions either side.

Die spanischen Old-School-Death-Metaller DECAPITATED CHRIST sind zurück in bester Form mit einem neuen Hammerschlag-Album namens 'Glorious Tyrannizing of Human Rats'.
Dieses 5. Album der Band ist ohne Zweifel ihr bisher stärkstes, eingängigstes und brutalstes Werk.
FFO: Fans von DEICIDE, AEON, VITAL REMAINS usw..

Die Könige des holländischen Black Metal Salacious Gods, die einst verloren und vergessen schienen, kehren mit ihrem magnum magistralis zurück!

Black Metal, wie er gedacht war: rein, schnell, intensiv und voller Hass!"Oalevluuk" hat eine so große und vielschichtige Bedeutung für Salacious Gods als Band und für die einzelnen Mitglieder, dass das Album nur für sich selbst sprechen kann. Es fängt die Mühen und die Ausdauer ein, die die Band aufbringen musste, um dieses Stück purer, ritueller Dunkelheit zu vollenden.Nach der Veröffentlichung des Vorgängeralbums "Piene" im Jahr 2005 hatten Salacious Gods ein neues Album geschrieben und im Jahr 2006 fertig aufgenommen. Das Material wurde auf die altmodische Art und Weise geschrieben: im Proberaum.

Doch nach einer Phase der Selbstreflexion und Selbstgeißelung wurde das neue Material als mehr vom Gleichen und nicht dem Standard der Band entsprechend angesehen. Aufgrund von Veränderungen im Schreibprozess und einer sich ständig weiterentwickelnden Denkweise, brach die Band zu neuen Horizonten auf, sowohl musikalisch als auch textlich. Das neue "Oalevluuk" Material wurde 2008 geschrieben und perfektioniert. Der Aufnahmeprozess begann kurz darauf. Doch zu diesem Zeitpunkt begannen die ersten ominösen Anzeichen des alten Fluchs ("Oalevluuk") ihr Haupt zu erheben.

Following the highly-acclaimed release of FEELING GOOD and INNER PEACE compilations, WEWANTSOUNDS is delighted to announce the reissue of two superb classic albums in our new MAINSTREAM RECORDS ORIGINAL CLASSICS series. The releases will be crammed with bonus material. WEWANTSOUNDS has gone back to the original negative to reconstruct the original artworks and will add many jaw dropping never-seen photo sessions and CD Bonus material with new liner notes. LPs will be released in glorious gatefold sleeves.



[a] 01: Awareness (Suite): Omnipotence/Babylon/Unity/Umility [Trio for Two Bassists and Tenor]

Guitar Legend! Songwriting Legend! Producer Legend! Blues Brother & Stax Legend!

Like the first words of a book, the opening notes of an album can make you lean in. Sometimes it’s like meeting a stranger who later becomes a lifelong friend, or on rare occasions, a spouse. Please drop your stylus on this record and say hello to your new best friend. Hear the confidence, hear the tone, feel the vibe.
—Robert Gordon (from his liner notes)

As a founding member of Stax house band Booker T. & The M.G.’s, Steve Cropper was involved in some of the most important music of the 1960s as a player, songwriter, and producer. The following decade introduced him to a new group of fans as guitarist for The Blues Brothers, appearing on both their records and film. A two-time Grammy® winner and Rock and Roll Hall of Fame inductee, Cropper has been an integral thread in the cloth of American music, writing, playing and producing into the 21st century to this very day.

In 1969, Cropper released his first solo album, producing and arranging its eleven tracks himself. His backing band? While there is no actual record of who played on the album itself, Grammy® winner Robert Gordon’s liner notes point to his fellow M.G.’s, Buddy Miles, Jim Keltner, the Bar-Kay’s James Alexander, and more as candidates. From original tracks to its well-known covers (including The Beatles classic the release shares its name with), it is a tour de force of pure Memphis rock and soul.

The core eleven tracks now appear again on an all-analog cut, new pressing of the LP as With A Little Help From My Friends returns for a new generation to experience. The CD version contains a whopping eight bonus tracks, including four tracks not included on the original release and alternate versions of four that do. Add in Robert Gordon’s notes and this release is as much a history lesson as it is a timepiece of pure musical magic.

After very long time, Presslab Records comes back to life with one of his most iconic number.

Jump Into Space is finally repressed alongside Finding An Escape Route, with a surprising cherry on the cake on the B side. Made with original takes from the Presslab archieve, Skyfunk is the first track of the new era by Barrell & Omar J Neri.

Mick Flannery is one of Ireland's most acclaimed songwriters and singers
The award- winning, double- platinum selling artist has released seven studio
albums, three of which have reached No. 1 status.
On September 15th he will release his eighth studio album 'Goodtime Charlie'.
Featuring collaborations with Valerie June, Anais Mitchell and Tianna Esperanza.
Mick has partnered with US Label Oh Boy Records, which for them will be their
first non-American signing.
"Mick Flannery has a voice for the ages, a complete Master of his craft" cited by
Clash Magazine, whilst The Sunday Times said he "conjures up exquisite storytelling." His last album in 2021 consisted of a collection of duets with up and
coming Irish artist Susan O'Neill. American Songwriter called 'In The Game' a
"Sorrowful Masterpiece." The record was nominated for the Choice Music Prize,
and won the RTE Radio 1 song of the year two years in a row for tracks 'Baby Talk'
and 'Chain Reaction.' The album was the biggest selling independent record in
Ireland in 2021.
Mick Flannery's songs are fluent in expressing layered aspects of the human
condition, its flaws, triumphs, and general uncertainty. Originally a stone mason
by trade, he once described his stage presence as that of a 'Mountain goat'
however over the years that shy awkwardness of said mountain goat has started
to dissipate. His live shows are renowned for his self- deprecating humor,
audience engagement and the ability to bring people on a journey of both
heartbreak and joy, often in the same instance

Bay Area technical death metal entity FABRICANT leverages any musical
tool for their riff and song fabrication
Speed, stillness, technicality, simplicity, consonance, dissonance... are all at play
for the express purpose of telling the stories of humanity's hubris, madness, and
frailty. FABRICANT glimpsed into this black vortex, extracted the raw materials of
inspiration, and refined the chaos into the ten fully actualized, death metal songs
on their debut album "Drudge to the Thicket".
This album was FABRICANT's obsession: a forbidden riddle to solve. From its
beginnings stretching as far back as their 2010 demo and to its ultimate end, this
album inhabited the deepest recesses of their minds as an omnipresent
consumer of thought. With the arrival of this debut, FABRICANT frees themselves
of this thicket. The battle was hard-won, but the next ones inexorably begin. From
new obsessions to delirium to the mundane, consciousness marches onwards,
screaming out at all of existence for answers, only to feebly fall on deaf ears.
Descend into the chaos with FABRICANT.
FABRICANT's debut album "Drudge To The Thicket" is unlike anything you'll hear
in the technical death metal genre all year, truly a unique and singular album of its
own kind. One that has been in the works for over a decade.
FABRICANT features members of celebrated technical death/ black metal outfit
Mefitis.
For fans of Necrophagist, early Pestilence, early Atheist, Defeated Sanity, and
Gorguts

Omon Breaker aka Maksym Nazarov is a DJ and musician who grew up in Kyiv, Ukraine originally from Dnipro. Now he presents his first ever full EP, Compromat, that traverses from cyberpunk dancefloor techno to trance-like work outs and wave inflected anthems including a special appearance from labelhead Phase Fatale. In his early works, he delved into questions of electronic culture and its impact on his life. As a result of his musical development and his quest for forging his own sound image defined by breakbeats and grooves reminiscent of early 90s electronica combined with the edge of modern techno, he released his first vinyl split 12" with D.Dan on Standard Deviation - the label from the ? club in 2021. Meanwhile, he quickly established his DJ path in Ukraine as a skilled performer, even becoming a resident at Kyiv's first LGBTQ+ friendly club Crest. Following the full-scale invasion of Ukraine, Nazarov was forced to leave his home and relocate to Berlin. In this new city, he came under the wing of BITE where he debuted with his track 'Stinger' from their recent VA and played the label showcase at Berghain in April 2023. While acclimatising and reflecting on his intense life experiences, Omon Breaker began work on his EP in which he seeks to express his emotions brought on by the tragic situations in his life: the loss of home, loved ones, and love itself. Compromat is Nazarov's first solo vinyl release where he attempts to musically depict his inner world shaped by the tragedies in his life.

new project from Remy Pablo (The Anomalys, Weird Omen, King Khan Unlimited, Escobar), with Triple Axelle (The Silly Walks) on drums, Weird Ben (Weird Omen) on guitars and Quentin Tarantula (72 records Bruxelles) on bass. "The album is a classic case of a punk-oriented Jack-of-all Trades-Master-of-None production effort laced with influences of psyche, post-punk, and industrial. "Harder We Fall" falls into such a description with Pablo's distorted, wailing vocals over crude, looping riffs reminiscent of the early Wax Trax! releases, screaming-loud psychedelic-guitar cues taking influence from the Kiss To The Brain LP by Helios Creed album, and hard-hitting multi-tempo drum work." (Matthew Hutchison, New Noise Magazine)

The album "Interstitial" is a document of a musical experiment, created in collaboration of the musicians Oh No Noh, Jenny Berger Myhre and F.S.Blumm.

The title refers to the process of the album's creation, to the letting go and filling of interstices, the temporally and spatially staggered collaborative composing, the accompanying addition and omission with the foresight to leave room for the ideas of others - without knowing how they would ultimately sound.

The three musicians layered individual elements from field recordings and improvisations into new units. The music developed in this way is a trance-like snapshot and spans wide arcs of ambient, sound art and soundscapes. Oh No Noh, Jenny Berger Myhre and F.S.Blumm each composed a piece, which served as the basis for the overlays of the other two musicians. Each of the three resulting pieces was processed, directed and shaped in its timbre and structure in different ways. The titles of the tracks describe the order of the overdubs (JBM Jenny Berger Myhre, FS Frank Schültge, MR Markus Rom).

Black Truffle is pleased to announce Tender Membranes, the label’s first release from Swedish-Finnish sound artist and electro-acoustic composer Marja Ahti. Active for a decade in the Finnish underground music scene, in recent years Ahti has developed a distinctive approach to patiently unfolding electro-acoustic constructions, documented on a string of solo releases and collaborative projects with Judith Hamann and her husband Niko-Matti Ahti. Working with concrete and instrumental sounds, field recordings, and electronics, Ahti favours neither disjunctive collage nor monolithic consistency; rather, her work is composed of organically unfolding sequences of details and textures, which, as she says, ‘can stretch out or cut fast as long as they have a sense of inner stillness’, a sense that she connects to moments of heightened attention in everyday life. Tender Membranes consists of four lengthy pieces, partly inspired by the image of the senses and mind as membranes allowing for the passage between inner and outer spaces, sensation and its causes, creating a world. Ahti’s unhurried pacing encourages this sense of listening as an opening or surrender to sound, which can often create the impression that the listener is moving through a space zooming in on details. The opening Shrine (Aether) exemplifies this aspect of Ahti’s approach: a bell clears the air with a single long tone, followed by the ambience of outdoor spaces, crackling electronics, an archival recording of a horsefly on a windowpane. Dozens of these moments, varying in length, density, and intensity, move past the listener’s attention, momentarily brought into focus then slipping away. Like those of the masters of the French musique concrète tradition, Ahti’s sounds are not often recognisable, though they might suggest proximity or distance, open environments or closed spaces, the urban or rural, day or night. In Ahti’s work, we do not encounter spectacular metamorphoses à la Parmegiani but rather a state of ambiguity where the listener is often unsure what is organic and what is inorganic, where the careful productions of the synthesizer might end and sounds discovered in the environment begin. What Ahti calls her ‘poetic way of experiencing and organising the familiar and the unfamiliar’ is sustained throughout Tender Membranes, but each piece has its own character. On Dust / Light, human presence is more overt, as what appear to be whispers, singing, and distant speech thread between high frequencies, untraceable drips and pops, and metallic shimmers. In all this there is a melody that you can sing and to which you may dance makes more prominent use of musical instruments, gaining a sombre beauty from half-buried piano chords and organ tones. On the closing Oh Fragrant Witness, a delicate cloud of subtly bending pitches is repeatedly disrupted by a resounding, almost ominous mass of low tones, at once a strange detour from much of what has gone before and an almost classical finale. Arriving in a sleeve reproducing contemporary Finnish photographer Sini Pelkki’s fragmented visions of the everyday, Tender Membranes is a balm to reawaken tired ears.

Martina Berther and Philipp Schlotter are prolific in their respective ways, having been active in pop and jazz music, respectively, as well as playing in bands and exploring the outer fringes of sound art or composing music for film. Their first joint album »Matt« was recorded over the course of four days in a church in the Swiss village after which the album was named. Berther and Schlotter worked with the buildingʼs organ as well as synthesizers and electric bass to follow an experimental approach that oscillated between composition and free improvisation. The five pieces, recorded directly to tape by Flo Götte without any additional overdubs, are characterised by an intimacy and rawness that calls to mind the introspective atmosphere of Hallow Ground label mateʼs FUJI||||||||||TA or mastering engineer Lawrence Englishʼs latest album for the Swiss label. »Matt« is the result of two versatile composers and musicians executing minimalist ideas by giving them plenty of space to unfold.

The album opens with »Unruhe,« a composition that is based on the twelve-tone technique. Using a stopwatch to ensure the adherence to the pre-determined temporal intervals between the individual notes, Berther and Schlotter used the church organ and synthesizers for an ominous piece that traverses different moods and levels of intensity throughout its 14-minute run time. »LFO1« and »LFO2« are different variations of the same concept: Based on a synthesizer preset and structured by an organ drone, two tone generators slowly fall silent, resulting in elegiac pieces that call to mind the work of Éliane Radigue. »Frachter« and »Gallia« put more emphasis on percussive elements. Again working with organ as well as Bertherʼs prepared electric bass, this improvisation comprises interlocking textures that sound almost menacing on »Frachter,« while they create a very different atmosphere on »Gallia.« These notable discrepancies in sound and mood are even more astonishing if you consider that the two pieces are based on the exact same recording, played at different speeds.

As two variations on the same idea with very different results, these two pieces perfectly represent how the duo effectively creates emotionally affective sound worlds with very few means. Berther and Schlotterʼs conceptual minimalism yields rewarding, multi-faceted aesthetic results. »Matt« is an intimate album, marked by a sense of vividness and spontaneity, but also the product of compositional conciseness.

Omnivium is the third studio album released by German death metal band Obscura, and the second album of Obscura's four album concept. The album was recorded at Woodshed Studio in southern Germany with engineer Victor Bullok (also known as V.Santura). It was released by Relapse Records on 29 March 2011. The album is based on Friedrich Schelling's Clara: or On Nature's Connection to the Spirit World (1810). Obscura released the track "Septuagint" to the public on 19 January 2011. The second song from Omnivium, "Vortex Omnivium", was released to the public on 24 February 2011. Omnivium debuted at #11 on the USA's Top Heatseekers chart, and at #14 on Germany's Media Control Newcomer chart. furthermore, within the first week the album sold 2,000 copies the US

Discrepant proudly presents the Vinyl edition of Lebanese trio Malayeen. Malayeen is the project of Lebanese musicians Raed Yassin (Keyboards, Turntables & Electronics), Charbel Haber (Electric Guitar & Electronics) and Khaled Yassine (Darbouka, Percussion). Born from Yassin and Haber's love for the music of quintessential Egyptian guitarist Omar Khorshid, Malayeen disassembles and re-configures the work and style of the iconic guitarist innovative take on Arabic music. The final result makes for an original and unique update of Khorshid & belly dancing inspired songs from the past. Over the course of 7 compositions, appropriately named after Khorshid and famous belly dancers from the Arabic diaspora, the three musicians' varied backgrounds and techniques collide and coalesce in an experimental yet magical fashion, not actually playing Khorshid's music, but inspiring themselves from the cult guitarist's genius to create something completely new, modern and unexpected. A unique LP featuring the combined talents by key players of the Lebanese avant-garde. The Malayeen LP edition is released by Discrepant in collaboration with Lebanese exploratory label Annihaya effectively combining East and West musical strains of thought as well as conclusively deconstructing and displacing this particular form of 'popular' music. Design by Studio Safar S.A.L. Comes with full color poster painting by Omar Khouri Special vinyl one time pressing to 500 copies. "Uplifting, beat-driven pieces, often melodic, definitely Arabic, with destabilizing touches from external sounds, sound manipulations, and textural plays. The 17- minute 'Samia' is a roller-coaster ride culminating in a dizzying solo/duo between Yassine's darbouka and a darbouka track from a record played by Yassin. Great stuff. Monsieur Délire

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.

Die japanische Band CHAI verzauberte die Welt 2017 mit ihrem Debütalbum PINK, einer Sammlung von Songs, die ihren einzigartigen, verspielten Pop vorstellten. Das enthusiastisch-feministische Nachfolgealbum PUNK wurde von der Musikpresse und anderen Künstlern hoch gelobt. Das führte zu WINK, das CHAI per Remote-Zoom-Sessions aufnahmen - eine Einschränkung, die sich als Stärke erwies, da MANA (Leadgesang und Tasten), KANA (Gitarre), YUNA (Schlagzeug) und YUUKI (Bass und Texte) mit Künstler*innen im Ausland zusammenarbeiten konnten, um ein Werk zu schaffen, das in ihrer internationalen Gemeinschaft Katharsis fand. Im Gegensatz zu WINK kehren CHAI auf ihrem neuen, selbstbetitelten Album zu ihren Wurzeln zurück und lassen sich von ihrem japanischen Erbe und der Musik, mit der sie aufgewachsen sind, inspirieren. "Alles, was sich in den Texten widerspiegelt, drückt unsere Erfahrungen als japanische Frauen aus", sagt MANA. CHAIs Ethos ist das der Inklusion, und die erste Ssingle "We The Female!" - die live aufgenommen wurde, um die krawalligen Auftritte der Band zu würdigen - lädt die Zuhörer zu dieser Mission ein. Während ihrer Tourneen nach der Pandemie, bei denen sie vor riesigen Menschenmengen in Städten wie Santiago, Buenos Aires und Sao Paulo auftraten, wurde CHAI klar, dass sie sich ein globales Publikum erschlossen hatten. CHAI schrieben das neue Album unterwegs und fanden zwischen den Auftritten im Stones Throw Studio in L.A., in der Ometusco Sound Machine in Mexico City und in der Grand Street in New York Zeit für die Aufnahmen. Als sie erkannten, dass ihre befreiende, ermächtigende Botschaft auch für Menschen außerhalb Japans gilt, überlegten CHAI, welche Facetten ihrer Erziehung beim Publikum außerhalb ihres Heimatlandes Anklang finden könnten. Auf CHAI schöpft die Band direkt aus dem City-Pop, einem in Tokio entstandenen Sound, der in den 70er und 80er Jahren populär war. City-Pop war eine japanische Interpretation westlicher Lounge-Musik, die Anleihen bei Jazz, Boogie, Funk und Yacht-Rock machte, um einen Sound zu kreieren, der sich zwischen zwei Kulturen bewegte. Während der City-Pop in letzter Zeit über TikTok und YouTube ein US-Publikum gefunden hat, sind CHAI mit diesem Genre aufgewachsen. Für die Produktion griffen sie auf ihren früheren Mitarbeiter Ryu Takahashi zurück, der ihre Vorliebe für City Pop, Eurobeat und die Melodien von J-Pop-Künstlern wie Maria Takeuchi teilte. "Sie wollten sich mit ihrer japanischen Identität auseinandersetzen, nicht im traditionellen Sinne, sondern auf diese gefilterte westliche Art", sagt Takahashi. Die Arbeit in gut ausgestatteten Studios ermöglichte es ihnen, mit einer Ästhetik zu experimentieren, die auf einem CHAI-Album noch nicht zu hören war.

Die japanische Band CHAI verzauberte die Welt 2017 mit ihrem Debütalbum PINK, einer Sammlung von Songs, die ihren einzigartigen, verspielten Pop vorstellten. Das enthusiastisch-feministische Nachfolgealbum PUNK wurde von der Musikpresse und anderen Künstlern hoch gelobt. Das führte zu WINK, das CHAI per Remote-Zoom-Sessions aufnahmen - eine Einschränkung, die sich als Stärke erwies, da MANA (Leadgesang und Tasten), KANA (Gitarre), YUNA (Schlagzeug) und YUUKI (Bass und Texte) mit Künstler*innen im Ausland zusammenarbeiten konnten, um ein Werk zu schaffen, das in ihrer internationalen Gemeinschaft Katharsis fand. Im Gegensatz zu WINK kehren CHAI auf ihrem neuen, selbstbetitelten Album zu ihren Wurzeln zurück und lassen sich von ihrem japanischen Erbe und der Musik, mit der sie aufgewachsen sind, inspirieren. "Alles, was sich in den Texten widerspiegelt, drückt unsere Erfahrungen als japanische Frauen aus", sagt MANA. CHAIs Ethos ist das der Inklusion, und die erste Ssingle "We The Female!" - die live aufgenommen wurde, um die krawalligen Auftritte der Band zu würdigen - lädt die Zuhörer zu dieser Mission ein. Während ihrer Tourneen nach der Pandemie, bei denen sie vor riesigen Menschenmengen in Städten wie Santiago, Buenos Aires und Sao Paulo auftraten, wurde CHAI klar, dass sie sich ein globales Publikum erschlossen hatten. CHAI schrieben das neue Album unterwegs und fanden zwischen den Auftritten im Stones Throw Studio in L.A., in der Ometusco Sound Machine in Mexico City und in der Grand Street in New York Zeit für die Aufnahmen. Als sie erkannten, dass ihre befreiende, ermächtigende Botschaft auch für Menschen außerhalb Japans gilt, überlegten CHAI, welche Facetten ihrer Erziehung beim Publikum außerhalb ihres Heimatlandes Anklang finden könnten. Auf CHAI schöpft die Band direkt aus dem City-Pop, einem in Tokio entstandenen Sound, der in den 70er und 80er Jahren populär war. City-Pop war eine japanische Interpretation westlicher Lounge-Musik, die Anleihen bei Jazz, Boogie, Funk und Yacht-Rock machte, um einen Sound zu kreieren, der sich zwischen zwei Kulturen bewegte. Während der City-Pop in letzter Zeit über TikTok und YouTube ein US-Publikum gefunden hat, sind CHAI mit diesem Genre aufgewachsen. Für die Produktion griffen sie auf ihren früheren Mitarbeiter Ryu Takahashi zurück, der ihre Vorliebe für City Pop, Eurobeat und die Melodien von J-Pop-Künstlern wie Maria Takeuchi teilte. "Sie wollten sich mit ihrer japanischen Identität auseinandersetzen, nicht im traditionellen Sinne, sondern auf diese gefilterte westliche Art", sagt Takahashi. Die Arbeit in gut ausgestatteten Studios ermöglichte es ihnen, mit einer Ästhetik zu experimentieren, die auf einem CHAI-Album noch nicht zu hören war.

Richmond's INTER ARMA, reigning masters of the slow build, continue to trace a distinctly ambitious trajectory through modern metal. Their impulses tend toward the epic, but never bloat; they meld several styles — doom, sludge, and hard psych — without coming off like dilettantes. This newest full-length, Sulphur English, finds them mining deeper in the proggy organic doom fields that made both Paradise Gallows and Sky Burial so thrilling while expanding further the on the psych-folk strain that made those albums' peaks seem so lofty. Few metal bands have ever made such effective use of acoustic instruments in truly heavy environments as INTER ARMA do; the acoustic guitar that stitches "Stillness" together is as effective as any overdriven bass; a two-minute gloomy piano-and-feedback piece titled "Observances of the Path" rolls out the carpet for "The Atavist's Meridian," an album highlight that rides a gigantic, roomy drum sound into realms akin to a murkier Paradise Lost, a more aggressive Om, and a dreamier, more stoned Kylesa all playing together at once. Few bands make music as engrossing as INTER ARMA; their lengthy, almost meditative songs rumble patiently forward until you're ready to get thrown off a bridge — and then they throw you, with great force. - Words by John Darnielle

New music from the Jellyfish co-founder Four new tracks on LP, plus four from 2020’s independently released Glamping CD & Digital contain eight bonus tracks, five previously unissued Roger Joseph Manning Jr burst onto the music world’s radar as cofounder of Jellyfish in 1990. After two critically acclaimed and now revered releases, the band parted ways, and Roger began a career that saw him in bands including Imperial Drag, The Moog Cookbook, and TV Eyes, as well as contributing to albums from Beck, Morrissey, Lana Del Rey, Blink 182, Johnny Cash, Adele, and more! He also continued to record as a solo artist, releasing the EP Glamping independently in 2020. That was soon reissued with three live bonus tracks, but neither received a wide release. That brings us to 2023, and Roger is ready to unveil 4 new songs – two co-written with Glamping Chris Price (Emitt Rhodes). Radio Daze / Glamping contains Roger’s four new studio tracks, plus the four from Glamping on LP. The CD and Digital add the three live bonus tracks from Glamping limited edition expanded edition, but three new live tracks and two instrumentals. Radio Daze / Glamping revitalizes the musical landscape of Roger Joseph Manning Jr., making his music available worldwide, on multiple formats, and essential.









[i] 9. What You Don’t Know About The Girl (Live) [Bonus Track]
[j] 10. Operator (Live) [Bonus Track]
[k] 11. Creeple People (Live) [Bonus Track]
[l] 12. Down In Front (Live) [Bonus Track]
[m] 13. Too Late For Us Now (Live) [Bonus Track]
[n] 14. I’m Not Your Cowboy (Live) [Bonus Track]

Five years since the release of the universally-acclaimed Omnivium, Germany's progressive metal masters OBSCURA are poised to return with their strongest and most dynamic release to date. The aptly-named Akroasis (Greek for "hearing" or "listening") draws on all the various elements of OBSCURA's signature sound and combines those qualities into a mind-blowing and cohesive whole. Produced by the band and V. Santura (Triptykon, Pestilence), Akroasis is eight songs diverse enough to serve as a near-comprehensive introduction to all of extreme metal. Packed to the gills with virtuosic musicianship, compelling themes, and airtight songwriting, OBSCURA will undoubtedly breathe new life into death metal, progressive metal and beyond.

'A joint venture label release covering 80s synth pop classics over 2LPs at an incredible price! . The likes of Ultravox, Paul Hardcastle, Japan, Soft Cell, The Human League, Aha, Jan Hammer, Harold Faltermyer, Yello, The Cure, OMD and many many more

Dunkelgrünes Vinyl. Vor einigen Jahren, irgendwo in einem Tour Van in Idaho, wurde den Chastity Belt Mitgliedern Julia Shapiro, Gretchen Grimm, Lydia Lund und Annie Truscott zu langweilig und sie fanden eine recht ungewöhnliche Beschäftigung: Sie fingen an einander Komplimente zu machen, sehr detailliert und umfangreich. Das mögen wir an dir am Liebsten; Deshalb lieben wir dich. An dieses Bild denke ich die ganze Zeit, die Vier, wie sie sich den anderen gegenüber auf diese Weise offenbaren, freiwillig. Es fällt schwer sich vorzustellen, dass das andere Bands tun würden. Jenseits ihrer doch recht omnipräsenten Social Media Seiten mit tonnen von Duck Face Schnuten, der ,I don't care" Attitüde, liegt ganz am Grund eine Ehrlichkeit und Intimität als auch eine emotionale Brillanz, die alles was Chastity Belt kreieren, verschmelzen lässt. Simple ausgedrückt: Sie sind witzig aber auch in der Lage sehr verletzlich zu sein. Giant Vagina und Pussy Weed Beer, zwei Highlights ihres 2013er Debüts No Regerts, wurden prompt gefolgt von dem großartigen aber leicht zu übersehenden Happiness. Bei dem 2015er Time to Go Home habe ich ständig meine jüngere, unstetere Version vor Augen gehabt. Der kommende Juni markiert die Veröffentlichung von I Used to Spend So Much Time Alone, ihr drittes und bisher bestes Album. Mit dem Produzenten Matthew Simms (Wire) live im Juli 2016 in Portland / Oregon (Geburtsstätte einiger ihrer favorisierten Elliot Smith Alben) aufgenommen, ist es ein dunkles und ungewöhnlich schönes Set aus Moody Post Punk, dass die Gefühlsbreite der Band aus Seattle in vollem Ausmaß und nicht durch Humor gefiltert zeigt. Da ist keine Ironie im Titel: Bevor sie Chastity Belt gründete, sah sich Shapiro klar als einsamen Wolf. Das ist keine kleine Geste. Ich kann dieses Album so sehr nachempfinden wie in meinen 20ern: Das ist ein mutiges und oft berauschendes Gewirr aus gemischten Gefühlen und quälenden Melodien, die atemberaubende Angst (This Time of Night) mit schimmernder Erkenntnis (Different Now) und hauchdünner Ungewissheit (Stuck - geschrieben und gesungen von Grimm) verbindet. Es ist eine ernste Platte. Shapiro definiert es wahrscheinlich am besten selbst: ,I wanna be sincere." Als ich die Band frage, wie dieser Text hier werden soll, war ihr einziger Anspruch, dass er kurz, ehrlich und ohne Übertreibung sein soll, Als ich mehr erfahren will sagt Truscott: "Just say that we love each other. Because we do." So sind sie, deshalb liebe ich sie. - David Bevan (Pitchfork), Februar 2017

Jessica Brankka makes her debut on Crosstown Rebels with new single ‘Musk’, joined by Audiojack and OMRI. on remix duties. Emerging from Brazil’s ever-evolving house music hotbed to make appearances at major venues across the globe, including Hï Ibiza this summer, DJ and producer Jessica Brankka is fast becoming an artist to keep an eye on. Debuting on Frau Blau alongside Floyd Lavine and racking up support from leading names in Solomun, Joris Voorn, Blond:ish and more, her outings via RADIANT. have only continued to help build and craft her growing sound. Stepping up for her most significant release to date, she joins the Crosstown Rebels family to open September with her new single ‘Musk’ - with remixes coming courtesy of Gruuv head honchos Audiojack and Tel Aviv’s OMRI.

Hooky, provocative vocals take hold from the off on ‘Musk’, with Brankka building via slick drum programming, vibrant stabs and sweeping melodies for an intensely catchy production shaped for all hours of the night. First up on remix duties are Crosstown regulars Audiojack, with their take introducing an abundance of additional energy via skippy percussion, zipping bassline grooves and swirling, off-kilter sonics, before launching into heady breakbeat territories. To close, returning Rebellion signee and OMRI. introduces his acid-tinged remix into proceedings, with wandering synth lines carrying the track towards more cosmic spheres.

The Keplar label presents the next instalment in a series of reissues from the catalogue of Sasu Ripatti’s seminal Vladislav Delay project. Originally released on Mille Plateaux, the vinyl edition of »Entain« from 2000 omitted two shorter tracks and included all others in an abridged form. With this reissue, the full album as it was pressed on CD is finally made available on vinyl. Besides a new remaster by Kassian Troyer, it was also given new cover artwork by Marc Hohmann that picks up on that of the »Whistleblower« reissue, released in early 2023 by Keplar. This serial visual approach highlights the conceptual continuity between those masterful explorations of the interplay between dub techniques, noise, and repetition.

Ripatti himself had reworked material from 1999’s »Ele« album for the release of »Entain,« which means that it can be considered the debut album proper of his Vladislav Delay project. It saw the Finnish artist aim more vigorously for abstraction than in his earlier releases as Vladislav Delay for labels such as Chain Reaction, which were collected on the iconic »Multila« compilation in 2000; another milestone from his back catalogue that has been reissued by Keplar in recent times. To mark this special occasion, »Multila« will be repressed by Keplar with a new artwork that matches the new design of »Whisteblower« and »Entain«.

»Multila« and »Entain« correspond with each other conceptually as much as they seem to differ on a musical level. The material on »Multila« was clearly indebted to the Berlin dub techno sound, marked by its grainy and at times abrasive sonic aesthetics. From the very first moments of the 22-minute long opener »Kohde« however, it becomes clear that »Entain« takes things further away from the dancefloor, aiming less for physical impact than for intellectual stimulation. A sort of electronic minimal music, it was primarily interested in letting discrete elements freely come into play with one another.

Much like »Multila,« however, »Entain« highlighted the subtle differences embedded in what only feels like repetitive music. Of course the massive bassline and ghostly dub riddims that permeate »Notke« as well as the deconstructed beat at the core of »Ele« still hint at Ripatti’s roots in beat-driven music. However, they also make his artistic transformation audible by turning their sources of inspirations into something entirely unheard of. »Entain« took the dub techno formula further than any other record before it—onwards into the realms of pure abstraction.

Weaponize your DJ record bag again with fresh ammo from the Greek studio machine, Aggelos Baltas does it again with another volume of remixes to the Sound Metaphors re-issue catalogues, an invigorating contemporary club touch to a wide range of dance floor material that was originally produced in the early 90s and late 80s. A new patina layer formed by the aging acid baths and chemical reactions of the experienced studio magician. Aggelos' signature atmospheric grandiosity and big room sound once again delivered with precision and high efficiency for the caring modern dancefloor. Can't go wrong.

Shuji Katayama is a composer and an arranger who is part of the Team-MAX group. He composed all the music for the series (4 seasons). He also participated in the musical compositions of Boruto and the film Naruto The Last. Synopsis of the series : We are in the year 2138.

Yggdrasil, the famous hit MMORPG is about to close. Momonga, the founder of the guild whose fame is no longer to be done, waits alone for the end of the game. However, the closing time has passed, Momonga does not disconnect and the non-playable characters find themselves gradually of a consciousness… A new world is about to make its appearance.


















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Ils Veulent Nous Tuer is Bérurier Noir's 3rd maxi 45tours, the title of which is borrowed from the slogan of a banner unfurled by the mutineers from the roof of Fresnes prison. It was an apt title for the group, too, since at the time of its release, the political and police authorities decided to destabilise them by associating them with the Black War activists and arresting many of the Bérus' entourage.

It's a dark album, with hard-hitting lyrics rooted in the social reality of the time (1988) and tackling subjects as diverse as the problems of access to food for the precarious (On A Faim !), prison repression (Sur Les Toits), the excesses of marginal youth (Mineurs En Danger) and the omnipresence of the military and police in our daily lives (Et Hop !). The album compo

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The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found themselves the driving force behind a vast "Mouv'ment d'la Jeunesse", determined to take control of their lives in the face of a society that was ultra-conservative at the time. Times have hardly changed.

From their first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances at demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir waged the most exciting war of independence in the history of French rock, with just a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

François, Loran and their 'Troupeau d'Rock' gave the last finger to this turbulent, irredeemable raia, committing hara-kiri at the height of their glory, during three final concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work continues to resonate, whether at demonstrations or free parties, fuelling the hopes of all those who wish to turn this world upside down and build a truly libertarian society based on solidarity and brotherhood.

For those who missed this unprecedented adventure, the Archives de la Zone Mondiale label is bringing you 8 recordings by Bérurier Noir in the form of limited-edition reissues on highly original colour vinyl ("crown" finish), distributed throughout the year.

Simone De Kunovich
Mythical Figure
Use variably, whenever you need: D.J. at MainStage, High Profile Fashion Event, Underground
Basement Club, Balearic Terrace Situation.
Gifted selector. Room filling presence. Oversized packaging.
He (here) deals three cards.
“Flow My Tears“ High Roller Euro House
„Super Mana Drain“ OMG Modern High Energy
„Warp Lord“ Early Morning, Playful Dark Eternal Bliss
„He who masters the sound glows“

Slade waren in den siebziger Jahren unaufhaltsam und wurden zu einer der größten Bands Europas. Sie veröffentlichten sechs Erfolgsalben, darunter drei britische Nr.1-Hits, und 17 aufeinanderfolgende Top-20-Singles.

Erstmals 2022 auf CD veröffentlicht, enthält diese Splatter-Vinyl-Version von "Alive! At Reading" den legendären Auftritt der Band beim Reading Festival von 1980 und enthält die Live-Hymnen 'Cum On Feel The Noise', Mama Weer All Crazee Now, Get Down And Get
With It und Born To Be Wild.

Chalice Hymnal, das neue Album der Experimental-Psych-Rocker von GRAILS, wurde von der Band über den Zeitraum von fünf Jahren produziert und ist teilweise beeinflusst von den Produktionstechniken des Gründungsmitglieds Alex Hall, der europäischen Psych und experimentellen Hip-Hop produziert und Emil Amos' anderer Band, LILACS & CHAMPAGNE. Amos meditative Metalband OM und sein Singer-Songwriter-Projekt HOLY SONS scheinen auch in Chalice Hymnal durch. Das schmalere Lineup wird durch Zak Riles (auch Mitglied des Experimental-Kraut-Trios WATTER) durch Synthies und Elektoprogramming ausgeglichen. Das neue Album von GRAILS ist gewohnt tiefgängig, sowohl musikalisch als auch emotional. GRAILS fünftes Album Deep Politics von 2011 wurde quasi aus dem Stand von Vielen als Kultalbum bezeichnet. Darauf kultivierte die Band erstmals einen ganz eigenen Sound. Anstatt dort weiter zu machen, haben sie nun die riffbasierte Heavyness ihrer früheren Alben in ein nuancierteres Riffmeisterwerk umgebaut. Die typischen Einflüsse aus Westernfilmsoundtracks, obskurer Musik, die man in Aufzügen hört und Psychedelischem Krautrock sind nach wie vor hörbar, aber Chalice Hymnal scheint mit größerer Geduld arrangiert und produziert. Keine andere Band klingt wie GRAILS, und auf Chalice Hymnal pflegen sie mehr denn je einen ganz eigenen Sound.

Toronto-based producer and DJ Ciel is renowned for a style of dancefloor material that’s as heady as it is visceral. The Xi’an-born artist’s ascendant profile has seen her cutting- edge and club-ready EPs released on UK labels Peach Discs and Coastal Haze, as well as Stateside imprints Spectral Sound and Mister Saturday Night.

As a member of the renowned collective Discwoman and the creator of femme-forward party Work in Progress Ciel’s thoughtful narratives are clear, running in parallel to the perception-altering sounds that are consistently woven deeply into her wide-ranging sets, beloved mixes and inventive collaborations. Now the Parallel Minds label co- founder is crystallising her imaginative and omnivorous sound with her !K7 Records debut, ORLANDO.

Written during her emergence from an uncharacteristic bout of writers’ block, the three original tracks of Orlando chart a return to the musical self, spurred along by a cinephile’s embrace of film, a love of classic literature, and a curiosity for the oddest corners of popular culture. “SCENES FROM A MARRIAGE” might share a name with the episodic series, but is rather a nuanced critique of the modern rite of union, moving through structured chapters, and mirroring the un-static nature of longtime love.Inspired by Virginia Woolf’s radical novel, and its superphysical protagonist, “ORLANDO” considers the cult literary figure who lived from the renaissance to the modern age, and embodies both sides of the sex binary.

The thrown sounds and aural illusions of “EL CALIFA” create the effect of a beckoning, beguiling psychedelic experience. To complete the EP, Ali Berger, Ciel’s recent collaborator on the Jacktone Records’ release Damn Skippy! repurposes the mind-bending flourishes of “El Califa” into a noodly and spacious deep house production, replete with pillowy, gauzy pads.

Founding member of Buffalo Springfield and folk-rock supergroup Crosby, Stills, Nash & Young, Stills' first solo album, Stephen Stills, earned a gold record, is the only album to feature both Jimi Hendrix and Eric Clapton, and climbed to #3 on the album charts. Stephen Stills’ single "Love the One You're With" became his biggest solo hit, peaking at number 14 on the Billboard Hot 100 and is the first track on this collection. 14 tracks from Stephen Still’s First US Tour, previously unissued and recorded Live at The Berkeley Community Theater in 1971, featuring David Crosby on two songs. In 1971 Stephen Stills embarked on a US tour, opening each show with an intimate acoustic first set, and closing each night with a riveting electric set featuring the Memphis Horns. These historic, previously unreleased recordings took place over two nights at the Berkeley Community Theater, with David Crosby joining him on vocals and guitar for "You Don’t Have To Cry" and "The Lee Shore." These recordings find Stills at peak performance in both vocal delivery and musicianship, effortlessly incorporating alternate instrumentation on his instantly recognizable tracks, including a seamless medley of “49 Bye Byes" and "For What It’s Worth” unexpectedly played on piano. Hand-picked by Stills from his personal archives, this album captures timeless and era defining performances. Fans who were lucky enough to catch his historic debut trek, dubbed “The Memphis Horns Tour,” were treated to the balladeer, the raving troubadour, the acoustic bluesman, the soul driver, and by far the most passionate music maker. Backed by a loyal cast of friends, including his usual steady rhythm section—drummer Dallas Taylor and bassist Calvin “Fuzzy” Samuels—along with keyboardist Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala, these Northern California shows were one of the most unique and intimate stops on the tour This album, rather than being an artifact from a bygone era, sparkles and stimulates. It cajoles you into thinking, feeling and—most importantly—moving. Stephen Stills Live At Berkeley 1971 is a cornucopia of priceless sound—and all of it bears the distinct and loving fingerprint of Stephen Stills.

Recorded in 1995 and 1996, mostly in John Fahey"s room at a Salem, Oregon boardinghouse, the performances on Proofs and Refutations prefigure the ornery turn of the page that marked Fahey"s final years, drawing another enigmatic rabbit from his seemingly bottomless musical hat. Cloaked in the language of dogma - what is he proving? refuting? - this is Fahey dancing a jig in the Duchampian gap, jester cap bells a-jingling. True believers? He"s got something for you: an uncompromising vision that you can sneer at ("guy can"t play anymore and refuses to concede!") or embrace as evidence of his genius ("the reinventor does it again!"). Skeptics? He"s there with you, too: sending up the fallacy of certitudes altogether. Institutions, systems, accepted wisdoms. Heroes. Alternative facts, indeed. Right out of the gate, Fahey re-materializes before us, somewhere between Oracle of Delphi and Clown Prince at Olympus. Mounting a thundering dialectic from on high, "All the Rains" resembles nothing else in his extensive discography - betraying roots in everything from Dada to Episcopal liturgical chant - and contains nary a plucked guitar note. You can"t fool him! When the lap steel of yore appears on "F for Fake," it serves more as soundbed for an extended sequence of vocal improvisations, running the gamut from wordless Bashoian caterwauling to free-form (but decidedly fake) Tuvan, even revealing a burnished falsetto in the process. Fahey takes on a different kind of provocation in the two acoustic guitar-based tracks closing Side 1 - "Morning" parts 1 and 2 - the first of 4 recordings in this session that have him wrestling with the ghost of Skip James, perhaps Fahey"s effort to wrench the "bitter, hateful old creep" (his words) back into the grave. Anchoring Side 2 is the two-part "Evening, Not Night," the second half of his extended cathexis on James (and the latter"s avowed castration complex - another story for another day, perhaps). Bit of a chill in the air - where"s the impish Fahey from earlier? Unmistakably working through some psychic wounds here, we might think: the unheimlich rendered in glistening viscera. Or is he playing with our notions of authenticity, of his reputation as troubadour of raw emotional states, a pilgrim of the ominous, the simmering unconscious? These cards are kept decidedly close to the vest. The opening and closing pieces again feature Fahey"s guitar as drone soundbed - employing distortion, oscillation, and an altogether absurd quotient of reverb to create texture and harmonics that are - if we wanna go there - not dissimilar to the sustained tonic clusters of Tibetan singing bowls, the hurdy gurdy, Hindustani classical music, or La Monte freaking Young. Portions of this material appeared on obscure late "90s vinyl in the 7" or double-78 rpm format, but as a "session" it has lain dormant more than a quarter century now. Taken together, we can now see these tracks as secret blueprints to latter-day Fahey provocations, several years prior to records like 1997"s City of Refuge and Womblife.

1968’s Love Cry mixes Albert Ayler’s free jazz with a catchy combination of nursery rhythms and brass band marches, resulting in a peak example of experimental jazz of the period. This was Ayler’s last recording with his brother, Donald, who keeps the pace fiery along with the rhythm section of bassist Alan Silva and drummer Milford Graves, and harpsichordist Call Cobbs.
This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Mila Stern's groove-heavy and highly danceable sound explores fringe soundscapes informed by Post-Punk and Electro. What sets her apart is a willingness to embrace unorthodox sounds, explore the beauty in harshness and dissonance, and transform jarring atmospheres into captivating dancefloor moments. With 'Five Finger EP', Mila Stern delivers an eclectic six-tracker featuring two high-pressure originals and four carefully selected reimaginations by Camea, mytripismytrip, Öona Dahl, and Hardt Antoine for Kiosk catalog number 021.

'Five Finger Discount' encapsulates Mila's uncompromising aesthetic: warm, powerful, energetic, and constantly teetering on the brink of disintegration. Morphing, overdriven stabs build energy atop a sub-heavy groove and a sea of pads. A sweeping break fractures the track into shuddering bursts of corroded machinery, before the compact groove returns with punishing dancefloor power.

Camea transforms 'Five Finger Discount' into a heavy-weight techno roller. Shuddering, pitch-shifting bass hits and salvos, sizzling white noise sweeps, and an ominous mantra morph the track into a darkly efficient peak- time banger.


Hardt Antoine builds his rendition of 'Deadline Disco' around an infectiously body-moving arpeggio. Layers of distortion add a searing edge, transforming the original into a stripped powerhouse with Dark Disco undercurrents.

Few artists move on the fringe so comfortably, make unconventional sounds so accessible, or pursue their vision with the same bright-eyed conviction.

With 'Five Finger EP', Mila Stern epitomises the magic that happens when uncommon sounds are embedded in the framework of commanding, floor-focused energy. 'Five Finger EP' embodies her stand-out style and the stunning range of musical interpretations it inspires.

Meshell Ndegeocello grooved jetzt bei Blue Note Records!

Die GRAMMY-prämierte Multiinstrumentalistin, Sängerin und Songwriterin gibt ihr Blue-Note-Debüt mit einem vielschichtigen Funk-Jazz-Album, das den Beginn eines neuen Kapitels in ihrer Karriere markiert.

Nach ihrem Coverversionen-Album „Ventriloquism“ (2018) kehrt Meshell jetzt mit 100% neuem, eigenem Material zurück, das ein breites Spektrum ihrer musikalischen Wurzeln abdeckt. „The Omnichord Real Book“ wurde von Josh Johnson produziert und präsentiert eine vielseitige Familie von Gastkünstlern, darunter Jason Moran, Ambrose Akinmusire, Joel Ross, Jeff Parker, Brandee Younger, Julius Rodriguez, Mark Guiliana, Cory Henry, Joan As Police Woman, Thandiswa und andere.