Buscar:on land

There's no denying Marcel Fengler's profound impact on the ever-changing techno landscape. A pioneer in his own right, Fengler's works have flooded dancefloors and set lists worldwide for decades, and that shows no sign of changing anytime soon. His latest work is an all-encompassing four-track EP titled "Unleashed", including a remix from sought-after Stuttgart duo SHDW & Obscure Shape.

Kicking off with the title track, "Unleashed" introduces the EP with high-octane rhythms, pulsating low frequency sonics and rave like harmonic layers. An unrelenting onslaught of fast paced thumping techno, built around long, sweeping notes, vocal injections and a piston-like bassline, this one was made for the height of the party. "Caution" is next to feature, presenting itself as a robust industrial number with harsh percussive drive and endless layers of cadence throughout the mix. Weighty yet groovy in a unique up-tempo way, its robotic vocal splashes make the perfect accomplice for its potent warehouse vibes.

"Cypher" pulls you into the second half of the EP with rattling rhythms and more gritty sweeping musicality. Exhibiting the depth in his production skills, Fengler loads up the mix with a kaleidoscope of percussive elements alongside thumping kicks, surging synths, and another haunting robotic vox before SHDW & Obscure Shape get their teeth into a signature remix. Taking it deeper and darker, the duo's emphasis on subtle progressions and increasing intensity throughout the mix with offbeat trickery and creative unpredictability make their remix of "Cypher" a certified peak-time bomb.

"It has been quite a journey with this EP, as I've been exceptionally discerning about the sound and the entire production process. My goal was to create a release tailored for the dance floor, with the right amount of energy for peak-time moments, while also ensuring a profound and well-structured sonic experience. After testing potential tracks in my DJ sets, I distilled what I believe captures the essence I want to share with the audience. Furthermore, I'm thrilled to have SHDW & Obscure Shape on board for a formidable remix. Their work carries echoes of the raw and forceful sonic textures from earlier times, which I hold in high regard. I'm genuinely delighted with how everything has come together, and I hope you enjoy it!" - Marcel Fengler
Order IMF012 now

The Avengers remains one of the great institutions of British television, a landmark series and the epitome of the swinging 60s.

This debut release on vinyl features highlights of music from the Tara King era series of The Avengers by composer Howard Blake,

taken from the CD release (2011). Following on from Johnny Dankworth and Laurie Johnson (whose classic theme opens this release),

Blake delivered his own distinctive musical style to the hippest show on TV. He was awarded the OBE in 1994,

after a music career covering everything from choral works and ballet to film and TV. His music for the Christmas perennial

The Snowman, with its magical Walking in the Air theme has become a seasonal standard.

"Rural" is the first long-play work of Carlos Asimbaya aka Kaifo, which sees a fully matured vision of Ecuadorian keyboard tradition catapulted into the future and rhythmically sustained by the "bomba" percussion; an Afroandean element that bears witness to the unique history of this country.

Trained in classical music composition and inspired by jazz, Kaifo's repertoire features haunting, extensive melodies and scales that inform listeners on the landscapes of Andean styles while delivering a postmodern dancefloor experience. " Carlos Asimbaya is a keyboardist, composer and producer hailing from the small town of Machachi, Cantón Mejía, Province of Pichincha Ecuador. In 2016 he began a process of personal research and exploration of various musical expressions of traditional music, collecting sonic resources from remote localities such as Aloag, Machachi, Chalguayacu, Cotacachi, Alausi, Borbon, Santo Domingo de los Tsachilas and more - customs that identify the history of Ecuador.

In June 2019, he finally published his first single "Desvío" - a warm fusion of bomba, albazo, dembow, global bass, etc. followed by other digital releases culminating in the EP "Curtido" as part of the 'Kipus' series of Eck Echo Records. With "Rural" Kaifo uplifts the Ecuadorian organ tradition inaugurated in the mid-1960s by the likes of Polibio Mayorga into futuristic clubbing arenas. "Tres Caminos" is a magnificent opener where psychedelia meets the soft snare elegance of the "albazo", the indigenous genre that defines the soul of this country. "Monte Espeso" introduces clubbers worldwide to the contagious grooves of "bomba", the trademark rhythm of Afroecuadorian communities. The raw keyboard melody strikes fast like a proverbial lightning. "Hecho Leña" sounds like the one-man orchestra that is Kaifo. Relentless timbales fills and an alcohol-fueled family vibe characterize this unique "chicha" track.

The third album by Canterbury's own Caravan, originally released in 1971. This was the last album to feature the original Caravan line-up, before David Sinclair left to form Matching Mole with Robert Wyatt (Soft Machine) later that year. In The Land of Grey and Pink is of the defining albums of the era, deemed one of the Greatest Prog Rock Albums of All Time (Rolling Stone) and Best Cosmic Rock Albums (Q and MOJO). This reissue set features a pink and grey marble 2LP, which features live BBC live sessions tracks made available for the first time on vinyl.

Artist and multi-instrumentalist Flaer looks to the landscape to explore pastoral melancholy on debut release, Preludes.

Ensconced in his family home in rural Leicestershire in the early months of 2020, painter and musician Realf Heygate (b. 1994) picked up his childhood cello for the first time in several years and began to play. Setting himself parameters to only record onto 4-track tape with acoustic instruments – cello, piano and acoustic guitar – he assembled a suite of instrumental compositions that form the basis of Preludes, his debut album as Flaer and the inaugural release on Odda Recordings.

Channelling the tension and unease between the pastoral idyll of the English countryside and the darkness which lurks beneath the surface, the mini-album draws inspiration from the analogue aesthetic of 1970s folk horror films, weaving field recordings of birdsong, church bells and the natural environment into chimerical melodies that reflect on Heygate’s childhood experiences of rural England.

“It was really important not to isolate the sound from its environment,” he explains, describing the compositional and recording process as “site-specific”. Developed over a series of intuitive musical enquiries, the mini-album’s uncanny quality emerges from combining raw demo takes with overdubs of almost orchestral grandeur.

Heygate points to the final track as indicative of the work as a whole: “‘Follow’ really is the mantra for the release and embodies the practical approach I was taking to music making: not to force the music but see where it takes you.”

As a painter, Heygate’s practice takes artefacts through sequences of reproduction that embrace the fluctuating materiality of the copy. Since obtaining a degree in Fine Art from Central Saint Martins in 2017, he has exhibited solo at Peter von Kant and Springseason galleries in London, and has participated in group shows at Saatchi Gallery, Cob Gallery and Senesi Contemporanea.

Describing his artistic practice as one of self-erasure, music instead provides Heygate with a more personal and autobiographical outlet. Where the two worlds combine is on Preludes’ striking artwork, which features paintings of 13th century stone carvings from the font of the church in the town where he grew up.

Speaking to a time where people were connected to the land in a more profound way, each symbol is assigned to a track on the album, which Heygate likens to giving them a title.

“To add that one juxtaposition might open a whole new interpretation or language that might be hard to find otherwise,” he explains.“Over time it might reveal itself to you, which is why I'm excited about it being released. To throw them out there and see what comes of it.”

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

Radio Slave covers and rewires Audion’s modern classic, ‘Mouth to Mouth’. A painstaking, disco-inspired replay rather than a traditional remix, the Radio Slave version of Matthew Dear’s

Audion project’s mid-noughties defining track lands on the former’s Rekids imprint late-October.
This all-new Radio Slave vs Audion version keeps the original's iconic pulsating energy but brings fresh synth loops and a buzzing lead that tread a new path for an anthem that unified house, techno minimal and more scenes upon its original release in 2006. An ever-evolving refresh with dark and freaky spoken word fragments that will have the dance floor in raptures all over again, Radio Slave vs Audion’s ‘Mouth to Mouth’ has been seeing dancefloor action from the great and good for a few months now.

Radio Slave, aka Matt Edwards, has been synonymous with cutting-edge electronic music for decades. He has done it all, from underground techno anthems to rolling house tracks and plenty in between. Audion, aka Matthew Dear, is much the same - an artist with several different aliases and the ability to explore fresh musical territory each time he steps out. 2006's 'Mouth to Mouth' on Spectral Sound is one of his biggest hits - a truly unique track that united dance floors all over the world.

From Northern Ireland and the South of England hail Jetplane Landing - which, for the last two decades has been variously composed of: Jamie Burchell (Bass/Vocals), Raife Burchell (Drums), Andrew Ferris (Vocals/Guitars), Cahir O’Doherty (Guitars/Vocals) and Craig McKean (Drums). Big Scary Monsters are releasing their debut album Zero For Conduct on vinyl this January as well as putting their entire back catalogue back on streaming services. Their debut album ‘Zero For Conduct’, was recorded on an 8-track tape machine in Jamie's parents' garage in Bognor Regis and mixed during engineer Sean Doherty’s downtime in a London studio owned by a diamond mining company. Hailed a 'masterpiece’ (5Ks - Kerrang!) upon its release in 2001 - it contains fan favourites ‘This Is Not Revolution Rock’ and ‘Summer Ends’ and perfectly encapsulates the vitality of the 00's post-hardcore DIY scene that inspired its creation. Deriving their name from the moment a blissed-out Burchell/Ferris witnessed At The Drive-In perform ‘One Armed Scissor’ on their debut British TV performance - “Fuck me Ferris, they sound like a jet plane landing!” - ZFC channels that riotous energy across its heart-felt eleven cuts. Delicate acoustic confessionals sit alongside full-throated math-rock experimentation; this is an album as varied as it is ambitious. Jamie: “We initially set out to track the record during a two-week period Andrew had off from work. At the end of those two weeks, we didn’t even have all the drums recorded let alone the overdubs. So the idea emerged that Ferris and I would drive down every weekend from London to my parents’ house and we would make the album that way. Cut to… one year later…” Andrew: “When I listen back now, I can physically feel the conversations we had on those long drives, all those micro-decisions - getting the songs to be… right. It was a long process, but truthfully I’d have been happy to let it go longer. Jamie gave me so much confidence and pushed me to places I didn’t know I had or even needed to be. It was a really special time.”. Jamie continues, “There was this weird fusion between us musically which seemed to just work.” Fans of Elliot Smith, Nick Drake, J Mascis, and Stephen Malkmus will feel right at home with this lovingly crafted set. Spoiler alert: heavier sounds and bigger rooms were to come for Jetplane but on Zero For Conduct their musical universe feels at once expansive and deeply personal.

Symphonic metal powerhouse SERENITY unleash their new studio album, Nemesis AD! The successor to their previous full length, The Last Knight (2020), which landed #25 on the German album charts, is out on October 27, 2023 via Napalm Records and is the first record with Marco Pastorino (Temperance) as additional guitarist and backing vocalist. Known for their thematic albums inspired by historic characters and stories of the past, on Nemesis AD, SERENITY draw inspiration from the life and highly influential art of painter Albrecht Dürer of the German renaissance. Grandiose intro track “Memoriae Alberti Dureri” sets the scene for the album, before legendary singer Roy Khan (Conception, ex-Kamelot) lends his impressive vocals on the mighty “The Fall of Man”. ""Ritter, Tod und Teufel (Knightfall)” (named after Dürer’s famous artwork) features lyrics sung partially in German, for the first time in the band’s history spanning over more than two decades. The powerful track showcases SERENITY’s signature blend of orchestral arrangements, heavy guitar riffs, and soaring vocals. Heart-wrenchingly emotional yet empowering “Reflections (of AD)” mesmerizes the listener with its awe-inspiring instrumentation, multifaceted vocals and brilliant changes throughout the gripping eight-minute track. Theatrical “Sun of Justice” leads the listener to a faraway fantasy world while the vocal performance of skilled singer Georg Neuhauser ultimately unlocks the track's hit potential. “The End of Babylon” represents one of the darker, heavier tracks on Nemesis AD - climactic arrangements carry the dramatic storyline. Monumental orchestral version of “The Fall of Man” closes the album on a thrilling note that is sure to send a chill up your spine. With Nemesis AD, SERENITY add yet another bombastic symphonic metal masterpiece to their notable discography - there is no doubt that the talented unit’s standing in the scene is well deserved. BLURB "The Fall of Man" - Single No 2 Symphonic metal unit SERENITY unleash “The Fall of Man”, a mighty single off of the band’s new album Nemesis AD! With vocal support from legendary singer Roy Khan (Conception, ex-Kamelot), the song is a sure future hit with fans old and new. SERENITY’s previous studio album, The Last Knight (2020), hit #25 on the German album charts, and the band has gained millions of Spotify streams and YouTube views with their earlier efforts.

DELUXE 8LP BOXSET FROM THEIR ‘CAPITOL YEARS’, WITH STUDIO ALBUM HALF-SPEED MASTERING, LP OF BONUS TRACKS, 60 PAGE BOOK, POSTERS & NUMBERED CERTIFICATE

Currently on the 40 Years Live World Tour and sounding better than ever, W.A.S.P. is one of the most consistent and reliable forces in rock music - unstoppable and unassailable, like a heavy metal juggernaut sent back in time from a long, distant galaxy. Frontman Blackie Lawless is undoubtedly one of rock’s everlasting figures – someone’s whose attitude and vision changed the musical landscape around him, in the process bearing fruit to some of the biggest anthems of their time.

Their first five studio albums (W.A.S.P., The Last Command, Inside the Electric Circus, The Headless Children & The Crimson Idol) contributed enough on their own for W.A.S.P. to be considered one of the greatest rock bands of all-time. Those LPs are all presented in this set, mastered half-speed at Air Studios, London, for a superior, sharper, more direct and engaging sound.

Packaged within a deluxe red leatherette effect double slipcase, The 7 Savage: 1984-1992 is completed on vinyl with two more LPs: 1987’s Live… in the Raw and new compilation Bonus Tracks & B-Sides featuring the controversial breakthrough anthem ‘Animal (F**k Like a Beast)’.

Compiled with the full cooperation of Blackie Lawless, the box set also includes a 60-page book with exclusive and rare pictures from legendary metal photographers (including Ross Halfin, Tony Mottram, David Plastik and Paul Natkin), along with extensive liner notes from Amit Sharma (Kerrang!, Planet Rock). Also included is an exclusive Blackie Lawless poster, plus an individually numbered circular saw shaped certificate.

The 7 Savage: 1984-1992 will be released Friday 27th October 2023 on Madfish and is strictly limited to 2000 copies worldwide.






















































[yb] L.2. Phantoms In The Mirror [04:36] D.3. The Eulogy

In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Having been a frequent touring member of bands like Hand Habits and Fruit Bats, and often being called into the studio to lend her harmonies and multi-instrumental talents to records, Johansing’s phone no longer rang. Living in Los Angeles she feared her musical community was vanishing, as friends and collaborators continually announced they were leaving the city. It was in returning to her piano nightly that she found the greatest solace, feverishly writing the songs that would be collected on her next album. Resulting from this new sense of time and focus was a deepening of her songwriting. As Johansing recalls, “I felt like a metamorphosis happened during that time. There was a lot of personal growth and healing.”

Throughout Year Away Johansing traverses uncharted emotional landscapes brought upon by the changes occurring all around her. The forced self-reflection of the moment is aptly captured by “Old Friend”, featuring an aching melody and swooning production that recalls the best of Harry Nilsson. The epic piano and saxophone-driven “Smile with My Eyes” addresses the loss of community as friends became distant and political divides between family grew. On “Smile” Johansing pushes her vocals further than ever, expanding her range and using her peerless voice as the singular instrument it is. Facing the loss of a family home due to environmental destruction, “Shifting Sands” is marked by soaring Hlutes, Hield recordings and glassy synthesizers that nod to Japanese New Age.

“Daffodils”, the stunning album centerpiece, is built from a pastiche of looping samples, swirling Mellotron and dazzling vibraphone. “Keep your heart open wide, you never know your time / Keep your heart wild, true Hlower child”, Johansing sings as she says goodbye to an elder, while the band reaches a grief-stricken crescendo of woodwinds and chiming bells. On the title track, Johansing takes listeners on an eerily meditative journey of collective experiences. “I wanted to keep the progression simple and repetitive so that musically we could add new elements little by little, while the emotional tone of the lyrics becomes increasingly more strained and expressive”. The song grows to a fever pitch as Johansing sings higher than she thought possible; the tension of the repeating chords Hinally resolving into a hopeful coda as multiple soloists weave around each other.

Amidst heavier themes, Johansing still leaves room for her love of irresistible pop melodies and lush production. The driving “Last Drop” and mid-tempo “Valley Green” are two of her catchiest songs to date. On the former Johansing sings the anthemic chorus, “As if it were the last drop, and nothing ever lasts forever / As if it were the last stop, too far out to come back ever”, longing for a love that she’ll never take for granted, while also admitting that she doesn’t always know how good she has it. “Valley Green” features shimmering layers of 12- string guitars, stacked horns and an impeccable solo by co-producer and multi- instrumentalist Tim Ramsey (Vetiver, Fruit Bats), hinting at a love for bands like NRBQ.

Having been eager to capture the initial spark of songwriting, Johansing booked time at Highland Park’s 64 Sound Studio the week that it reopened. Over the course of three days, she and her band gathered basic tracks for 10 songs, before returning home to Hinish the record with Ramsey. Setting forth to make an album that paid homage to the music that kept them company during the months spent alone together, the duo pulled inspiration from a wide net including Burt Bacharach, John Carroll Kirby & Haruomi Hosono. Ramsey’s newfound love of early digital synthesizers dovetailed effortlessly with Johansing’s fondness for classic 70’s horn and string arrangements, creating a sound that is distinctly modern yet warm and familiar.

Once again Johansing called upon some of the Hinest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (HAIM, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (MGMT, Alvvays).

Though born of turbulent times, Year Away is ultimately interested in moving forward. The album ends with “Endless Sound,” where Johansing laments seismic global changes, (“The water is hotter, the mighty thaw / The current’s reversing, the last are lost”) but vows to keep going (“No storm can take me down / Endless light, endless sound”). It’s Year Away’s resilience that shines through despite the darkness. It’s a sound all her own and Johansing’s most cohesive set of songs yet.

Pink Vinyl. Original 1994 album remastered and repackaged in an expanded gatefold and pressed on 180 gram virgin vinyl. "On a family vacation to Florida in the mid-'70s, Bubba cut his head on the bedside table in a motel room. I still remember it vividly and how I was haunted by the matter-of-fact line: 'you cut your head on the bedside table.' Its ten syllables sounded right, but the content is what really haunted me. It felt like the ultimate betrayal, the bedside table taking advantage of its proximity to a serenely sleeping body." - Matt Kadane

Mia Gargaret” is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist & producer Gia Margaret. It’s also not the follow-up she intended after the critical success of her 2018 debut, “There’s Always Glimmer”. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily. Gia explains: “After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.” Documenting her self-healing and without singing or lyrics to steal the focus, the instrumental tracks on “Mia Gargaret” shine a light on Gia’s skills as a musician, composer & producer. Spare but immersive arrangements of synthesizer, piano & acoustic guitar simultaneously ache & soothe, building emotional landscapes that rise & recede like scenery through a train window. “Mia Gargaret” is a gorgeous experiment & a memorable meditation on the healing power of music. This version is a limited edition of 200 – pressed on pale blue vinyl with an exclusive lithograph print.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Fulco Ottervanger and Lander Gyselinck, you remember them from their debut album Duizeldorp which included cult classic Isabellade.

On October 27 they add the second album Altijd Bewust Bewegen to their discography.

On this album the duo goes in search of reasons for movement. Head and body harmoniously translated into Beraad-language. The two 2 improvisational athletes once again gracefully stretch themselves between the limits of gravity.

Admiration for movement culture takes them from gym to racetrack, from apps to abs. A breaststroke here, a backhand there. An aimless goalkeeper musing on a distant acquaintance. From village to town and back, the tandem rustles at to tennis lessons.

Talk about it with your coach.

The Living Mountain is the second solo album from songwriter Jenny Sturgeon (singer and multi- instrumentalist in Salt House and Northern Flyway), recorded and produced by Andy Bell at Clashnettie Arts Centre in the Cairngorms National Park.

The Living Mountain is inspired by Nan Shepherd's book The Living Mountain and Jenny's experience growing up near, and walking in, the Cairngorms. In the album Jenny explores her own connection to this highland area as well as delving into Nans philosophy of being in the mountains and peoples connection to the wild.

The twelve songs take inspiration from the chapter titles of Nans book; the lyrics tell of exploration, love, loss and wonder at the natural world from small scale mosses and moths to the wider landscape and ecosystem.

The album features Mairi Campbell on viola and vocals, Su-a Lee on cello, Grant Anderson on bass and vocals, and sound recordings from Jez Riley-French and Magnus Robb.

Move into the Luminous is the debut album by the trio Makushin.

Double bassist Jon Thorne (Lamb, Yorkston Thorne Khan), guitarist Peter Philipson (Jane Weaver, Fenella) and singer Nancy Elizabeth (Leaf Label, James Yorkston) lead this inspiring collective whose work explores the intersection between folk, jazz and ambient music.

The album also features contributions from Andrew Wasylyk, Raz Ullah, David A Jaycock and more.

Nancy Elizabeth is a singer and multi-instrumentalist who has released three chamber folk albums under her own name on the Leaf Label. She has also previously played with James Yorkston and recorded with the late ambient composer Susumu Yokota.

Jon Thorne is a double bassist best known as a member of the pioneering electronic band Lamb and, more recently, Yorkston Thorne Khan. He has worked with many other musicians, including Jon Hopkins, Robert Fripp and his mentor Danny Thompson, as well as releasing his own music.

Peter Philipson is a guitarist who has previously performed with Jane Weaver as her guitarist for a decade and has collaborated with her and Raz Ullah on two ambient albums under the artist name of Fenella. He has also released a number of instrumental guitar albums under his PJ Philipson guise.

Wir stellen vor: "American Gothic" von Wayfarer.Begib Dich mit Wayfarer auf eine transzendentale Reise, wenn sie ihr neuestes Werk "American Gothic" vorstellen. Die atmosphärische Black-Metal-Band aus Colorado taucht tief in den reichen Teppich der Americana-Themen ein. Dieses Album markiert einen bedeutenden Meilenstein auf ihrem musikalischen Erkundungszug.Dieses außergewöhnliche Album überschreitet die traditionellen musikalischen Grenzen und fasst die Essenz der verschiedenen Landschaften Amerikas zusammen. Wayfarers musikalisches Können malt eine lebendige und eindrucksvolle Klanglandschaft. Sie vereinen atmosphärischen Black Metal mit Elementen des Post-Rock und Folk und verbinden mühelos fesselnde Melodien mit wilder Intensität. Erhältlich als Ltd. 180g worn-steel silver LP mit Newspaper-look Booklet, sowie als CD Digipak.

James Blunt ist mit neuer Musik zurück: Sein kommendes Album "Who We Used To Be" erscheint am 27. Oktober bei Atlantic Records, inkl. der aktuellen Single "Beside You".
"Who We Used To Be" ist das erste neue Studioalbum seit der Veröffentlichung von "Once Upon A Mind" im Jahr 2019.

Mit dem Erfolgsalbum erreichte er die Top 10 der Albumcharts in Deutschland und schaffte es bis auf #3 in Großbritannien. Für die neue Platte arbeitete der Brite nun mit einer ganzen Reihe von Produzenten zusammen, darunter Jonny Coffer, Red Triangle, Jack & Coke und Steve Robson. Seine zuletzt veröffentlichte Greatest-Hits-Sammlung "The Stars Beneath My Feet" hat mittlerweile mit mehr als 100.000 verkauften Einheiten Goldstatus erreicht.

Blunts 2004 erschienenes Debütalbum "Back To Bedlam" brachte den weltweiten Hit "You're Beautiful" hervor und gehört zu den zehn meistverkauften Alben des zugehörigen Jahrzehnts. Es erreichte - neben einer Vielzahl von weiteren Ländern - auch hierzulande die Spitze der Charts. Im Laufe seiner Karriere wurde der Brite nicht zuletzt mit zwei Echos, zwei Brit Awards und zwei Ivor Novello Awards ausgezeichnet und fünf Mal für den Grammy nominiert.

Wir stellen vor: "American Gothic" von Wayfarer.Begib Dich mit Wayfarer auf eine transzendentale Reise, wenn sie ihr neuestes Werk "American Gothic" vorstellen. Die atmosphärische Black-Metal-Band aus Colorado taucht tief in den reichen Teppich der Americana-Themen ein. Dieses Album markiert einen bedeutenden Meilenstein auf ihrem musikalischen Erkundungszug.Dieses außergewöhnliche Album überschreitet die traditionellen musikalischen Grenzen und fasst die Essenz der verschiedenen Landschaften Amerikas zusammen. Wayfarers musikalisches Können malt eine lebendige und eindrucksvolle Klanglandschaft. Sie vereinen atmosphärischen Black Metal mit Elementen des Post-Rock und Folk und verbinden mühelos fesselnde Melodien mit wilder Intensität. Erhältlich als Ltd. 180g worn-steel silver LP mit Newspaper-look Booklet, sowie als CD Digipak.

Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The Nephilim was recorded in a former courthouse in the Somerset countryside where defendants who were sentenced to death were hung. "Moonchild" is the band"s best known song due to it reaching #28 in the UK single charts, and LouderSound called it a classic and said that it "perfectly encapsulates this era of the band: it has some nifty guitar work, great bass lines from Tony Pettitt, Nod"s stellar drumming and McCoy"s distinctive vocals." The song is named after a novel by Aleister Crowley, and there are several other nods to Crowley throughout The Nephilim. In a 2013 remembrance of the album, PopMatters said "The band"s sophomore effort, regarded not only as its best work but also as one of the UK goth scene"s masterpieces, is a seamless, hour-long trek into a surreal land populated by chiming guitars, hypnotic bass, found samples, and McCoy"s storytelling."

Mr. K’s series of edits on Most Excellent Unlimited is nothing if not eclectic, and utilitarian — as befits a veteran DJ of Danny Krivit’s stature. For our latest, Krivit pulls two disparate gems out of his bag of tricks and fits them neatly on a single 7-inch piece of vinyl.

In 1972 Ralph Bakshi’s landmark underground animated film Fritz the Cat was released, featuring a soundtrack performed by an all-star cast of San Francisco area musicians associated with the Berkeley-based Fantasy label. Perhaps Fantasy’s biggest artist was the vibes player Cal Tjader, who debuted in 1955 and was still going strong when songs were gathered for the movie’s soundtrack nearly twenty years later. Rather than simply using one of his older, already-recorded tunes, Tjader laid down a completely new version of his earlier hit record “Mamblues.” This time however, he swapped his standard latin percussion accompaniment for a can’t-miss rhythm section of Bernard Purdie, Chuck Rainey, and Arthur Adams. The result was a searing funk workout that took the latin jazz classic to new heights. Mr. K subtly warms this one up by adding a hint of reverb and bringing the tempo down a notch, pushing things from frenetic to funky, and firmly into friendly mixing territory for the DJs.

For our flip side, we turn to an unsung jewel amongst Philadelphia’s many contributions to disco music. Executive Suite released a series of singles in ’74 and ’75 that were recorded at the famed Sigma Sound Studios and had ties to a number of better known disco luminaries, among them the holy trinity of Baker-Harris-Young and, on “You Believed In Me,” the mighty Patrick Adams. Along with his longtime associate Stan Lucas, Adams garnished the vocal quartet’s composition with a driving arrangement and epic, soaring strings. The combined effect produced a vibrant, uplifting club cut that echoes the positive spirit of Curtis Mayfield’s “Move On Up” while being altogether its own thing. For our latest release Mr. K focuses solely on Adams’s instrumental section, returning repeatedly to that addictive string riff and creating a propulsive rhythm track that just doesn’t quit. And we don’t want it to!

As always, these connoisseur’s choice cuts have been remastered and pressed to Most Excellent Unlimited’s standards, and are primed and ready on 7-inch for DJs and home listeners alike.

“Praying to god whether or not I believe there is one” - PH

Petra Hermanova and Unguarded announce In Death’s Eyes (UGD-009), the debut solo LP under the artist’s own name. This LP features nine tracks utilizing folk and sacred musical technique and instrumentation which drift between song and heavy distorted drones. In a disciplined display of beauty, pain, and astute musicianship, Hermanova brings forth a notable accomplishment of an album. In Death’s Eyes confronts death from start to finish with a rare fervor that leaves one feeling it was utterly necessary for Hermanova to produce - to survive. The transcendent impulse, or the influence of religious music, bears heavily on Hermanova’s compositions in her choir arrangements, but is most apparent in her use of pipe organ, opening the record on Black Glass. Having written organ parts for a significant portion of the record, she sought out the renowned organist Denny Wilke to record with her in the Merseburg Cathedral. Captivated by Wilke's profound skill as a player and knowledge of the Ladegast organ, Hermanova invited him to collaborate on Two Deaths where he delivers an impressive improvisation. While religious music offers spiritual solace from grief, folk speaks to the human and earthly as told by the individual, be they songs of suffering or joy, sin or salvation. To Hermanova, the clean promise of liturgical music is not enough to alleviate the blunt pain of grief. Contrasting the spiritual is the voice of the individual sufferer - the folk musician. For Hermanova, the autoharp embodies this contrast. The autoharp, a familiar sound in Appalachian folk music since its mass production in the late 1800’s, is an affordable instrument designed for the unskilled player. It is the antithesis of the organ which is costly, gargantuan, reserved for skilled players, and quite literally a part of the church. Through In Death’s Eyes the sounds of transcendence blend with the worldly, the tension between them poignantly expressing Hermanova’s struggle for spiritual resolution against the reality of death and loss. Like Hermanova’s lyrics, the artwork, conceptualized by Enes Güç and Evelyn Bencicova, is riddled with symbolism and allusion. We find Hermanova on the cover, digitally rendered. Reclining like an anatomical Venus, her vital organs are exposed, suggesting she is denied a transcendent death and is instead immaculately human. Bearing a sickle, her legs are metallic like armor, both symbols of protection. We see here in this image, as we hear in the nine tracks of IDE, the metaphoric state of someone ravaged by loss, choosing to tear herself open in an attempt to heal. - Reece Cox Petra Hermanova is a musician and visual artist based in Berlin. In 2018, Hermanova began working with the autoharp, which has since become the central pillar of her musical practice. Drawing inspiration from folk, medieval drone, and contemporary textural expressions, as well as Appalachian autoharp music, she creates emotionally driven arrangements accompanied by vocals. In her lyrics, she speaks to the fragility and tenderness of the human condition, religious conceptions of death, and introspective landscapes through narrative and symbolism. Hermanova debuted live at the Berliner Festspiele event The Sun Machine is Coming Down, performed at Trauma Bar und Kino accompanied with her choir, and recently took part in Sorour Darabi’s durational performance From the Throat to the Dawn. Her debut solo album, In Death’s Eyes, is set for release in 2023 on the art platform and label Unguarded. The album, where she wrote for the autoharp, pipe organ, solo voice and choir, features the acclaimed organist Denny Wilke playing the 19th century Ladegast organ of the Merseburg Cathedral. She has toured internationally with previous projects, including extensive sound and visual collaborations with Jon Eirik Boska (Hydropsyche) as well as with her award-winning band Fiordmoss. She was recently announced as a SHAPE+ platform artist.

Lovers Rock at its finest with a beautiful cover version of Merlyn Brooks' "You'll Never Need Somebody". Originally released in 1981 this release is the work of Reggae heavyweight Geoffrey Chung (who also worked on Dhaima with Phillip Michael Thomas, previously released on MISSYOU). This release features the original 7" version along with a small collection of other new mixes.

On the A side, the Dub Organiser skillfully extends the original 3 minute track into a 7 and a half minute long trip along with a new "Dub" version, respectfully re-mixed from the original multitracks 40 years later.

On the B-side, the mixing console is handed over to a dedicated student of Dub, the Swiss Androo who's clearly no stranger to studio work when it comes to dubby landscapes. Elegantly walking the tightrope between traditional approaches and raw experimentation with 3 new mixes, each with very unique feelings.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

A much sought after repress of the Blunted Breaks Vol.1 LP sampler, sold out since release back in 2018 and pressed for the first time on black vinyl. Blunted Breaks Vol.1 was a landmark release for Western Lore, cementing the label as a lead player in the burgeoning jungle revival. An essential contemporary jungle compilation, featuring tracks from Dead Man’s Chest, Coco Bryce, Tim Reaper, Threshold & more.

Brian Auger’s Oblivion Express was the phoenix that rose from the ashes of sixties combo The Trinity. Fusing R&B, jazz, soul and funk, keyboard maestro Brian Auger created a new breed of music that took the US and the UK by storm. Auger’s unique experimentation culminated in rhythm-infused jazz funk that united Black and white ’70s audiences. The 6 studio albums that make up Complete Oblivion illustrate the group’s diverse musical influences and progression, from the 1970 self titled debut’s heavy jazz-rock to the jazz fusion, latin and disco tinged Reinforcements from 1975 - this process no doubt powered by the groups’ evolving line up, which included guitarists Jim Mullen and Jack Mills, drummers Robbie McIntosh & Steve Ferrone, bassists Barry Dean and Clive Chaman and vocalist Alex Ligertwood. The musical highlights within Complete Oblivion are many, but particular highlights to mention have to be Total Eclipse (Oblivion Express), Fill Your Head With Laugher (A Better Land), the blistering cover of Eddie Harris’ Freedom Jazz Dance (Second Wind), the Barry Dean composition Whenever You're Ready, the version of Marvin Gaye’s Inner City Blues (Closer To It), Beginning Again (Straight Ahead) and the mind bending keyboard tour de force Brain Damage (Reinforcements). Given the groups legendary status among fellow musicians such as Zucchero and Herbie Hancock, DJ’s like Kenny Dope and Gilles Peterson and Auger’s legion of fans worldwide - that mission was fully accomplished - or to put it another way, in the words of super fans The Beastie Boys: “Those who remain oblivious to the obvious delights of Brian Auger’s Oblivion Express do so at their own risk!”

Kalipo prepares to launch his new album Happy Little Accidents, which counts with twelve electro-focused tracks as well as the participation of feature artists Rampue, Ira Atari, Oberst & Buchner and subkutan. Iconic 80s painter and TV host, Bob Ross is celebrated for his thirty-minute landscapes, recognizably soothing voice as well as the 'happy little quotes' he imprinted on pop culture. One of Ross' most memorable turns of phrase, "We don't make mistakes; we just have happy accidents," went on to encourage thousands worldwide. And not just painters. "For me, this album was about letting the songs develop very quickly and not evaluating them too much, or trying to avoid mistakes," says German electronic music producer, Kalipo (Jakob Häglsperger) who named his latest release Happy Little Accidents after Ross' signature phrase. "Bob Ross really impressed me as a child, he was always so accessible to everyone and demonstrated how easy it was for anyone to work creatively," says Kalipo, who translated Ross' fast and instinctive wet-on-wet painting technique to music-making on Happy Little Accidents. The 12 tracks that make up PART I and PART II of the album are a celebration of the method - sometimes it's a floaty journey with tinkering sounds, at other times dark fast beats create the core of the music, but there's always a sense of intuition and heart driving Kalipo's productions.

Tommy Largo is a big deal in the world of jacking house and here he lands on Greenhouse Recordings with plenty of evidence to support that. His sound comes steeped with Southern influences on opener 'BBQ Ribs' with its noodling jazz chords and spoken word mutterings making for a lively atmosphere over funky beats. The Jam Funk Remix has a Chicago bump to it with the jazzy keys left in place over well-swung drums. 'On No Not Again' hints at new jack swing with its steamy sax lines and effortlessly catchy groove before 'BBQ Ribs' (Oddphonic remix) closes out with the deepest sound of the lot, perfect for when the sun has gone down and the party heads indoors.

In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil. Spike Field was recorded in the home of a family friend. The home featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener "Amber," showcasing Maria BC's looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of "Watcher". Strings, plucked guitar and buzzing swells accompany their classically-trained mezzo-soprano voice on "Return to Sender," a song that focuses on the frustrations and turmoil of being unable to reach a loved one--both physically and emotionally. Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves.

Brian Auger"s Oblivion Express was the phoenix that rose from the ashes of sixties combo The Trinity. Fusing R&B, jazz, soul and funk, keyboard maestro Brian Auger created a new breed of music that took the US and the UK by storm. Auger"s unique experimentation culminated in rhythm-infused jazz funk that united Black and white "70s audiences. The 6 studio albums that make up Complete Oblivion illustrate the group"s diverse musical influences and progression, from the 1970 self titled debut"s heavy jazz-rock to the jazz fusion, latin and disco tinged Reinforcements from 1975.

As a follow-up to the debut EP; Anaesthesia, Avilynn is back with another dynamic four track EP; Five Million Sunsets, which is accompanied by a remix from Ostgut Ton’s Answer Code Request.

‘Why So Serious’ opens the project and focuses on dynamically evolving and unfurling drums, plucked synths and modulating percussion while expansive reverberations and nuanced echoes further instil dynamism throughout. Answer Code Request steps up next, shifting the focus to an aesthetically industrial feel, twisting elements of the original’s synthesis and high-octane drums into an ominous, subtly unfolding take on things.

Opening the flip-side is title-cut ‘Five Million Sunsets’ which sees Avilynn explore a more textural landscape, dropping the tempo significantly and introducing circling dub chords, earthy sub tones and menacing bass swells throughout. Last up to round out the release is ‘Your Eye Was Bigger Than The Other One’, here Avilynn focuses her musical theme around “a trippy experience where the person has a distorted reality’’, the composition laid out across three and a half minutes melds together choppy broken drums, eerie tones and bubbling synths alongside gritty distorted moments and metallic chimes.

About the label:

Life experiences in macro and micro; daily reveries and introspections; byproducts of clubbing and city life…converted into sonic frequencies.

The focus of the label is on releasing physical products and the use of the cityscape as the primary interface between artist and music listener. Access to Avilynn’s music and multimedia output is made possible through stickers scattered about different cityscapes which feature personal quotes and QR codes. You can find sticker locations via insta’s highlights at instagram.

Knifeplay's sophomore full-length, and first ever studio album Animal
Drowning is a sprawling landscape of shoegaze and lofty slowcore
The album finds the band in a blend of folk instruments, walls of distortion,
orchestral strings and delicate vocals, all carefully organized by Philadelphia
engineer/ producer Jeff Zeigler, known for his work with Nothing, Kurt Vile, and
more.
Though their sonic palette is vast, Knifeplay craft a cohesive aesthetic to carry
frontman TJ Strohmer's thematically heavy songwriting, which touches on loss of
all kinds against the backdrop of a nihilistic world. These songs cry out with
urgency no matter their ever-varied tempo and dynamic, each painting a unique
vignette of tragedy. Yet the band's dense, meticulously composed
instrumentation exudes beauty, creating a lightness to balance the subject
matter.
With Animal Drowning, Knifeplay goes deeper into the sonic experimentation and
brutally honest lyricism so beloved on their early bedroom recordings, creating an
enrapturing experience that deftly builds on previous work.

Eins ist schon lange klar: U.D.O. machen keine halben Sachen und haben auch nach über 35 Jahren Bandgeschichte kein Stück Kraft verloren! Durch hunderte von Shows weltweit - bis hin in die entlegendsten Gebiete Russlands oder Südamerikas - und einer Diskografie von über 20 Alben, hat die Band jedes Mal bewiesen, dass sie nicht nur in den nationalen, sondern internationalen Metalolymp gehören. Alben wie „Steelfactory“, „Man And Machine“ oder „Animal House“ sind zeitlose Alben - präzise, druckvoll, eingängig und kraftgeladen. Fast jedes Album schaffte es in die deutschen Albumcharts mit der ein oder anderen Platzierung in den Top 10! Nicht umsonst sind nationale und internationale, prominente Kollegen wie Doro oder Lordi Anhänger und Unterstützer von U.D.O.'s Musik.
Keine Frage, dass man dem Propheten des deutschen Metal einen weiteren Tribut zollen muss und die Highlights dieser erfolgreichen Karriere auf einem Tonträger zusammenfasst. Insgesamt 33 Tracks von Alben wie Mastercutor, Holy, Solid oder Game Over gepaart nostalgischen Fotos machen nicht nur für alte Fans der Band diese Compilation zu einem Muss im Platteschrank.

Across the arc of Tristan Allen’s epiphanic, four part journey, Tin Iso and the Dawn, the New York based composer and puppeteer brings sonic life to a fantastical realm of characters whose universal longings mirror our own. In the first release of this mythic trilogy, intricate sound design and spellbinding leitmotifs make sense of loss and what’s beyond.

Formative exposures by way of travel through Asia, studies in Gamelan, a paper mache Christmas angel, and their dad’s Bread and Puppet Theater artifacts formed a web of inspiration from which Tristan’s desire to combine puppetry and their fascination for the narrative power of instrumental music emerged. Years of synchronistic inspirational encounters with “guardian angels” in the form of music mentors and puppeteer masters incentivized Tristan to pursue a project where they could focus on sound and diverse instrumentation.

Through this impulse, Tristan ceremoniously constructed the imaginary world of Tin Iso and the Dawn, loosely based on Wagner’s three act opera Tristan und Isolde. Composed and recorded between 2015 and 2022 across apartments from Boston to Brooklyn, with field recordings from locations of vivid sentiment: Upstate New York—where Tristan grew up, Quebec—where most of their close family lives, and Japan—where they lived briefly as a child, each moment of Tin Iso glimmers with nostalgic immediacy and the prescience of new voyages unfolding.

Kingdom Eighties is the latest videogame instalment in the award-winning Kingdom series by gaming studio Raw Fury. It's a single-player adventure game of micro-strategy and base building, heavily inspired by the memories and references of Eighties Americana. You play as The Leader, a young camp counsellor who will have to defend their town and family from the relentless attack of the mysterious Greed. Kingdom Eighties provides a minimalist feel with a beautiful, handcrafted modern pixel art aesthetic, combined with the neon lights of the Eighties and an Eighties inspired synthwave soundtrack.

The score is composed by Andreas Hald, a Copenhagen-based film and media composer who has written scores for movies and television. For Kingdom Eighties, Andreas used the exact same instruments that music producers were utilizing in the Eighties, using nothing but analogue gear and tools to create a signature, authentic Eighties sound. To top it off, the soundtrack was mastered for vinyl by Grammy Award-winner Adam Ayan at the Gateway Mastering Studios. The master audio went through multiple iterations to make sure the highest quality sound was obtained for this specific vinyl release.

Kingdom Eighties is available as a limited edition of 500 individually numbered copies on translucent magenta coloured vinyl. This 2LP set includes a poster of the game and a 4-page booklet with liner notes by the composer and game director. Additionally, it includes two full colour printed innersleeves and is housed in a deluxe gatefold sleeve with gloss laminate finish.

AN ABRASIVE POST-PUNK WITH A HINT OF PSYCHE GARAGE, PRODUCED BY SYD KEMP. After a short briefing on the steps of the Saint-Etienne Cathedral of Toulouse, the band chose the name Cathedrale. A simplicity that can also be found in their sound: sharp and abrasive guitars, nervous rhythm and a touch of pop in the vocals. Cathedrale draw their influences mostly from British punk and American power pop, bands such as the Buzzcocks, Wire, Parquet Courts or Protomartyr. To follow up their two previous EPs, recorded locally at Swamp Land Studios, the quartet chose to cross the channel to record their third album in London at Haha Sound Studios. Under the supervision of producer Syd Kemp, their sound gained both in clarity and scale, whithout losing any of the urgency that made their previous recordings so endearing. The 13 tracks of Houses Are Built The Same will undoubtedly confirm Cathedrale as one of the most exciting rock bands in the French indie scene.

The first release from Microtonal Records, Residents of Aotearoa: Microtonal Showcase (ROAMS) EP, presents producers currently living in New Zealand and their interpretation of a warm, atmospheric and dark sound with a groove that provokes movement and thought.

Track A1: Astral Aura by Seb Selknam
A pure analog production from Seb Selknam - Astral Aura provides an instant groove from a warm bassline that sits in pure harmony with the kick to give structure to the melodic and atmospheric landscape you are led into. Minimal crisp percussion and echoing vocals add a familiar and human element to the journey as you slowly float through vista's unknown and aura's unseen. This is 08:22 of pure bliss.

Track A2: Bosun by HRZNTL
The last beat drops, the party ends, the taxi awaits. Bosun by HRZNTL is a reflective piece, the transition from pure adrenaline and the buzz of the rave into a lasting memory of a night spent with family and friends dancing at a castle in the hills of Barcelona. The track itself is built around a detuned dubby key which represents the emotions of ending an epic night, it is surrounded by dark and haunting stabs to add to the atmosphere and a bubbling synth which brings an optimistic reality that it's only day one at Sonar.

Track B1: Admiral Frick by Harvo x Patella
The first ever demo sent to Microtonal HQ, Admiral Frick by Harvo and Patella is pure energy. Taking elements of tribal percussion and combining it with acidic stabs, it is balanced perfectly with a wandering atmospheric pad. There are subtle shifts between four four and breakbeat, as it builds with syncopated snares and a beautiful unrecognisable monotonous vocal calling you deeper into mysteries of the jungle at night. Calmness descends to create space for a powerful sweeping drone like bass that drops you back into a hypnotic state of being. Your relationship with this track will be like an addiction, constantly seeking a hit.

Track B2: Introspection by Felipe Martinez
The epitome of a Microtonal Records track; warm, atmospheric, dark and with a groove. Introspection by Felipe Martinez is a microbreaks track that draws you in with a wide pulsating low end and irregular percussive stabs that float from left to right at the high end. A soft acid synth builds and explodes like a solar flare creating an outer planetary experience. The beautifully crafted breakdown gives you time to pause, observe and contemplate, creating space to process your mental state and explore your emotions from the past, present and future. Introspection; 10 minutes of self healing.

A new compilation explores the far reaches of the post-punk, experimental and electronic landscape in Switzerland on Senza Decoro: Liebe & Anarchia in Switzerland 1980-1990 curated by producer / DJ Mehmet Aslan.

“Jack With A Feather” was the first vinyl album (after the private cassette only release of “Rowdy Dowdy Day”) by SPRIGUNS OF TOLGUS, just before they shortened their name to SPRIGUNS and signed to Decca, recording two classic progressive folk-rock albums.



Recorded in a cottage in the middle of nowhere, the album offers mostly traditional songs with charming homemade atmosphere, psychedelic touches, male / female vocals (by MANDY MORTON), acoustic/electric guitars, mandolin, dulcimer, fiddle… One of the tracks, “Seamus The Showman”, originally written by Tim Hart of Steeleye Span (future Spriguns producer), landed the band a deal with Decca Records.

Wie Galyas Debütalbum Aralkum aus dem Jahr 2020 kehrt die Komponistin, Produzentin und Musikerin zu Geschichten aus ihrem Heimatland Kasachstan zurück. Während es auf Aralkum um das Schrumpfen des Aralsees ging, erzählt Polygon die Geschichte einer der dunkelsten Episoden der kasachischen Geschichte. Obwohl es mehr nuklearen Fallout verursachte als Tschernobyl, ist die Geschichte des Semipalatinsk-Testgeländes in der Steppe im Nordosten Kasachstans (bekannt als das Polygon) international wenig bekannt.

Es war das wichtigste Testgebiet der Sowjetunion für Atomwaffen. Von 1949 bis 1989 wurden dort 456 Atomtests durchgeführt, wobei die weite Landschaft Anonymität und Isolation bot.

Jeder Track auf der LP ist nach einem Merkmal des Polygons benannt: Dörfer, Städte, natürliche Gegebenheiten und andere Wahrzeichen. Für die sowjetischen Machthaber war die Steppe "unbewohnt", doch in Wirklichkeit war sie der Schmelztiegel der kasachischen Kultur, Heimat von Dichtern, Musikern und der berühmtesten literarischen Figur des Landes, Abai Quananbaiuly, ganz zu schweigen von der außergewöhnlichen Ökologie der
Berge, Hügel und Kiefernwälder entlang des Flusses Irtysch.

Wie Galyas Debütalbum Aralkum aus dem Jahr 2020 kehrt die Komponistin, Produzentin und Musikerin zu Geschichten aus ihrem Heimatland Kasachstan zurück. Während es auf Aralkum um das Schrumpfen des Aralsees ging, erzählt Polygon die Geschichte einer der dunkelsten Episoden der kasachischen Geschichte. Obwohl es mehr nuklearen Fallout verursachte als Tschernobyl, ist die Geschichte des Semipalatinsk-Testgeländes in der Steppe im Nordosten Kasachstans (bekannt als das Polygon) international wenig bekannt.

Es war das wichtigste Testgebiet der Sowjetunion für Atomwaffen. Von 1949 bis 1989 wurden dort 456 Atomtests durchgeführt, wobei die weite Landschaft Anonymität und Isolation bot.

Jeder Track auf der LP ist nach einem Merkmal des Polygons benannt: Dörfer, Städte, natürliche Gegebenheiten und andere Wahrzeichen. Für die sowjetischen Machthaber war die Steppe "unbewohnt", doch in Wirklichkeit war sie der Schmelztiegel der kasachischen Kultur, Heimat von Dichtern, Musikern und der berühmtesten literarischen Figur des Landes, Abai Quananbaiuly, ganz zu schweigen von der außergewöhnlichen Ökologie der
Berge, Hügel und Kiefernwälder entlang des Flusses Irtysch.

“Cinematic electronica embraces intelligent Indian infused beat making”.

Belgian beat collective Up High Collective return with their new album 'Koinonia.' Their second full-length comes five years after their debut album in 2018. For 'Koinonia' they have invited Belgian iconic drummer Lander Gyselinck (STUFF.) and several other guest musicians. The first single 'Koi' is available now, the record is set for release on Wednesday October 11 on vinyl, Bandcamp and via all digital platforms via San Kofa Rhythm Records.

"Going with the cinematic tides of sound: first single 'Koi' features compelling South-Asian sitar, imminent strings, drums by Lander Gyselinck and carefully constructed beat making."

Spearheaded by producer duo Koen De Petter and Renaldo Maria, this record is Up High Collective’s most ambitious music project to date and has been in the works since 2015. The name of the record - Koinonia is Greek for "fellowship" or "community" - refers to the intense and inspiring interplay between the collective and several musicians they invited to contribute.

Raw analog recordings and beats by the producer duo, brimming with imperfections and samples from original Indian music, laid the foundation for live studio sessions by Bert Cornelis, one of the few sitar players in Belgium, drummer Lander Gyselinck (Lander & Adriaan, STUFF.), double bassist Jens Similox (Orchestre Collone) and multi- talented bassist Boris van Overschee (Okon, Delv!s). From their intrinsic penchant for deconstruction, the live elements were cut up by the producers, heavily rearranged and presented as new sounds. After several sessions in their Up High Studio (Leuven), carefully constructed collages gradually started to form with all of its layers filling the deepest corners of the sound space.

The result is a record that balances perfectly between cinematic electronica with complex harmonies to get lost in and solid club oriented beats with crunching textures and off the grid rhythmic patterns.

"All of these songs share an underlying, invisible force bound by the intense interplay and mutual inspiration between us and the live musicians.

Jorja Smith is officially back. Further to making a recent return to the musical sphere with her singles ‘Try Me’ and ‘Little Things’, today she has confirmed the details of her highly anticipated second album, ‘falling or flying’, set for release globally on September 29th 2023 via FAMM and available to pre-order now - here.

Alongside the announcement, Jorja has also unveiled the album's poignant artwork; a stunning portrait of her, shot on film by the prestigious British photographer, Liz Johnson Artur. In addition, Jorja has also announced a series of UK live shows in September, commemorating the release of the album. Further details below.

Through her new record, Jorja has delivered an undeniable modern classic, effortlessly condensing any number of disparate styles and genres into music which thrillingly broaches any gap between Jazz, Soul, R&B and Funky House. A bold, brave and courageous leap forward from her critically acclaimed debut album ‘Lost and Found’ - ‘falling or flying’ is an album that speaks to the musical and emotional era where Jorja is now, and how she got here. It isn’t so much an exploration of how she’s found herself but more a statement that she has arrived, and that her understanding of her life, her relationships, and her feelings, have deepened, matured and crystallised as she enters her twenty six year. ‘And despite it all,’ she says, ‘it's definitely a journey I've just started. That's what's crazy.

It's only just begun.’ Sonically, this album, a no-skips body of work, isn’t like anything you’ve heard before. It sits masterfully in this same space of excitement, self-exploration and self-assertion that Jorja does. Compromised of deep, thumping drums, racing basslines, irresistible hooks and distinctive beats, ‘falling or flying’ runs at the same pace that Jorja’s mind does. ‘I don't slow down enough’ she says. ‘This album is like my brain. There’s always so much going on but each song is definitely a standstill moment.’

Much of the creative energy that shaped the album emerged from studio sessions with the producer duo DAMEDAME* back in her hometown of Walsall, where, to Jorja, the heart is. The album is both a sonic and an emotional tour of where she’s been, and what she’s been about, in the two years since she dropped her latest offering, ‘Be Right Back’. ‘It touches on breakups, relationships with my friends, relationships with old friends, relationships with myself.’ She says. ‘It's definitely about a lot of relationships, but every song I write I can sing it to myself.’

Of the many British voices in music today, Jorja is among the most commanding, writing at a pitch of intensity and urgency that few can match. Over the past five and half years, since the release of her debut album ‘Lost & Found’, she has been celebrated unanimously across the world for her evocative song-writing, powerful delivery, pure emotion and unbridled talent as a young woman navigating her way through life and in 2021 was the year Jorja’s hiatus from music was broken. Enter ‘Be Right Back’, the holding space between the sensation that was ‘Lost & Found’, and ‘falling or flying’. ‘Be Right Back’ was born from playing, jamming, freestyling, and sounding out what Jorja had been on the edge of expressing all her life. It was a project entirely for her fans. “Be Right Back did exactly what I wanted it to do. It was a little waiting room so people knew I was coming back.”

And come back she has - entering a chapter of her return to music that’s certain to draw in and intoxicate Jorja’s fans and new listeners alike. And what has changed for her, in the five years since ‘Lost & Found’ dominated the charts and the soundscape? “I like this world that I've just come into. And I’m still figuring things out. Always figuring things out.” Jorja says. “This is the first time I’m putting stuff out there that I can connect with right now.” Over the last few years, it’s been a reflective and transformative step into her mid twenties for her.

She’s been able to step into herself and evolve as a songwriter and a woman despite an ever-changing musical landscape.

While she recognises that the global pandemic has been completely devastating, she acknowledges that it allowed her to stay still, to come more into herself, and to be more in control of the person she is, and of her musical output. Like some of the legendary musicians that came before her, Jorja is looking at the chaos and disorder in the world right now with resourceful, refined eyes, and she sees the glorious opportunity and enormous responsibility that affords. The net result is that while ‘falling or flying' sounds very much like Jorja Smith, it sounds like no Jorja Smith album you have ever heard before.

‘falling or flying’- released on September 29th

Lorenzo De Blanck breaks new ground and makes his Hot Creations debut with ‘Feel My Desire’. With an impressive year under his belt, earning recognition as one of the ANTS’ ‘Next Gen Top 10’ plus success on labels such as Hottrax, Moon Harbour, Repopulate Mars, Italian DJ/producer Lorenzo De Blanck now makes an electrifying debut on Hot Creations with ‘Feel My Desire’. The release showcases three thumping tracks already garnering support from leading figures, including label boss Jamie Jones and Joseph Capriati, embodying the label’s reputation for propelling pioneering artists to the forefront.

The title track ‘Feel My Desire’ combines speaker-rattling basslines with an unwavering sonic landscape, meticulously crafted to ignite a dance floor frenzy, while ‘Energy’ locks in a slick groove with percussive rhythms and eerie vocal snippets for a hypnotic trip. Closing out the release, Show Me The Way’ lightens the mood combining bouncing drums beneath a slick sample of Dave Lee's 2003 hit ‘The Way’, before blending escalating synths for a rolling workout.

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

We have known Big Bug for many years… 29 in fact! He lives near to us here on the South Coast and he has been a big inspiration. A truly authentic sound that was years ahead of the competition.

This release was originally put out by Bournemouth based Underdog Recordings, run by Olly Underdog, back in 1995. Around this time the musical landscape of drum and bass changed dramatically and the ‘intelligent’ sound of Bukem and Fabio lead the way. Big Bud ended up recording for both back then, he was just embarking upon his musical voyage.

Interesting fact – the B-Side was never supposed to be called New Vision. Keiron from Aquasky was recording under that name in 1994, also for Underdog, and Olly got the names muddled up when making the labels… so the track was accidently renamed and ‘New Vision’, the track name, was born!

Slave To Society pays homage to the legendary cultural theorist and philosopher, Mark Fisher. Diving into some of the conceptual ideas of Fisher’s literature and philosophy, you'll feel like you're wandering through a post-apocalyptic landscape in the future with this hard hitting, haunting and atmospheric piece.

‘The Future That Never Arrived’ experience the paranoia and anxiety of the digital age with this gritty and dissonant track. Fisher's ideas about technology's impact on society come to life in a sonic onslaught.
‘Cyberspace’ exploration of desire and its endless repetition. The frenetic energy of this track mirrors the insatiable hunger of consumer culture.
’Is There No Alternative’ the title track offers a sense of reflection and departure. It echoes Fisher's thoughts on escaping the boundaries of the present moment.
‘Ghosts Of My Life’ this track encapsulates Fisher's critique of our modern capitalist society. The heavy beats mirror the relentless grind of capitalism, while the haunting melodies reflect the loss of authentic experiences.

Land Of My Other is a place of memories and melodies, lyricism and lore. A place of sunlight, faerie-tales and rowan trees; of grief, incarceration and thunder in darkness. A place where ancestral trauma and colonial injustice meet blazing pride, romantic self-rule and hands held in a circle in the sea.

Where songs are sung with feeling, instruments are everywhere and music lives deep in the bones.

Land of My Other. The third studio album by The Breath.

Produced by renowned composer/pianist Thomas Bartlett, and with the wildly acclaimed duo that is singer Ríoghnach Ree-uh-na Connolly and guitarist Stuart McCallum at its core, it's a project that grabs you by the scruff from the off.

Ten original tracks. Raw, gorgeous, acoustic-minded music. Synths and effects so subtle they might be invisible. Negative space created, shaded, created again. Lyrics with meaning, power and an often terrible beauty. Songs that tell stories in ways that soothe, thrill and hit like a sucker punch.
credits
releases October 13, 2023

All tracks written by The Breath
Except ‘Don’t Rush It’ and ‘Without You in it’ written by The Breath and Thomas Bartlett
Produced and arranged by Thomas Bartlett

Ríoghnach Connolly - vocals, flute, shruti
Stuart McCallum - acoustic and electric guitars
Thomas Bartlett - piano, mellotron, op-1, rhodes bass, programming

The eponymous debut disc from German-Swedish supergroup 4
Wheel Drive went straight to the top spot as Best-Selling Jazz Album
In Germany For 2019. And the media didn’t hold back with their
praise either: “Four first-league jazz musicians with pure joy of playing
and a love of good pop music,” said ZDF’s ‘heute-journal’ about this
spirited and enjoyable group that combines trombonist / singer Nils
Landgren, pianist Michael Wollny, bassist / cellist Lars Danielsson
and drummer Wolfgang Haffner.
 For ‘4 Wheel Drive II’, it is evident that things have shifted up a gear
right from the start, with the rocky, pulsating opening track, ‘Chapter
II’, straight from Wollny’s compositional workbench. Landgren likes to
let his trombone roar like a sports car engine. In similarly dynamic
vein are pieces like Danielsson’s final track of the album, ‘The
Wheelers’, which, thanks to Haffner’s nimble brushwork, makes you
think you’re on a high speed train.
 Compared to the first album, there has been another change, an
increase in the proportion of original compositions written by all of the
participants, as Lars Danielsson, who has contributed a sensitive,
poppy ballad to the new album, ‘Just Another Hour’, remarks.
“Interpretations of worldwide hit songs were a factor behind the huge
success of the debut album, but the ratio to original compositions
here is getting closer to 50:50. That said, the fuel powering 4 Wheel
Drive has remained the same: this band is all about creating music
from deep within, and with like-minded people whom you can
absolutely and implicitly trust to be in the driving seat.”
 “It just flows,” enthuses drummer Haffner, “we’re a group of close
friends with nothing we need to prove, we can just go for it. I've had
so many magic moments with this band, it really is incredible!”
 On the new album, listeners are treated to several new moments of
pure magic, continuing 4 Wheel drive’s illustrious story. For example,
their new instrumental version of the Simon & Garfunkel classic,
‘Sound of Silence’, has something mysteriously Nordic about it. Or
their newly-cast version of the surprisingly infrequently covered
Genesis ballad, ‘Hold On My Heart’, putting it into a jazz context. The
courage to approach pop tunes that have become so ingrained in
many people’s minds from a completely different perspective pays off
in full. Within 4 Wheel Drive are four originals at work, each of whom
can be recognised from the very first note they play or sing.

Fantastic Twins, the ongoing project of Julienne Dessagne, is a sonic exploration of dual characters born from one distinct perspective. A producer, songwriter, and acclaimed live performer, Dessagne has spent the last decade sculpting a unique world.

On an ambitious new album entitled ‘Two Is Not a Number’, Dessagne immerses herself more fully than ever in the concept that inspired her artist name, exploring the entwined lives and fates of her imaginary twins, their schizophrenic dreams, small dramas, and big tragedies - a metaphor for our own psyche, our inner conflicts, and our relationship to others and otherness. These musings on the psychological, emotional, biological, and metaphysical qualities of Twins are expressed with assured clarity, using a palate of icy deep techno, eerie atmospheric soundtracks, tranced-out dark wave, and synth pop-noir. Whether through airborne dancefloor ascension, diamond hard rhythms, electronic thundercracks, or empathy drenched vocals and the palpable sense of unease, this standout album brings Dessagne’s powerful, affecting art into sharp focus.

I Was First takes listeners to the Fantastic Twins’ origin, a vocal transmission from within a sonic womb, as our protagonists prepare to emerge. Sisters at Odds sees our siblings emerge incongruous and freshly awoken to life’s absurdities in slow-motion. Suspensefully, the percussive heartbeat of Land of Pleasure Hi Fi wrings tension from numerology, blossoming into a scorched industrial ballet, a mirage of multiplicity.

Following the gothic connection of Master & Disciple, Silver Moon Dial incants a trance-like state that captures the physical energy of Dessagne’s live show, as Fantastic Twins take advantage of ‘putting the moon on speed dial.’ Euphoria soon splinters into tragedy with Twins Can’t Love, extracting unexpected melody and melancholy in brittle, IDM tinged electronics, beautifully tangled with Dessagne’s longing intonations.

From Above sees Dessagne’s vocals once again shift into a new form for a haunting interpretation of something approaching a ballad, echoing around a chamber from which the Twins have seemingly disappeared. Ultimately All of This is Resolved, both in title and form, within this album’s cathartic yet uneasy conclusion. Dessagne sends the siblings home at last... But what will we find if we follow?

Ríoghnach Connolly und Stuart McCallum sind das kreative Herz von The Breath, und bei ihnen dreht sich alles um den Song.
Connolly schreibt auf die einzige Art und Weise, die sie kennt: ein poetischer Bewusstseinsstrom, aus dem ehrliche, persönliche und zu Herzen gehende Songs entstehen, die von Sommern in der Kindheit und der ersten Liebe ebenso handeln wie von kultureller Entwurzelung, postkolonialen Ungerechtigkeiten und Trauer. Aber es ist ihre zutiefst gefühlvolle, äußerst einnehmende Stimme - ob zart und leise oder kraftvoll und ausdrucksstark - gepaart mit Stuarts unaufdringlicher ...

A live recording from 1977! First time on vinyl! Previously only available on CD as part of the Past & Future Landslide 3CD box set! LIVE AT THE QUEENS HOTEL MARGATE 1977 It was 1977 and things were progressing extremely well. We had signed to Beggars Banquet and our first single ‘Shadow’ b/w ‘Love Story’ had been released. John Peel had been playing both sides of the single most nights on his radio show, so we were getting heard by a lot of people. But we didn’t yet have a "proper" tour bus, so we all piled into a transit for the trip down to Margate with our tour manager Mike Stone in the driving seat. The Queens Hotel turned out to be a pretty good venue. There was a nice high stage which we much preferred over the low-slung platforms of some of the places we played. It meant that the crowd wasn’t totally swamping us the whole time, although there would still be a constant stream of people jumping on and off stage, bumping us, knocking equipment over and so forth. We weren’t sure if many people would turn up on a cold and windy night so close to Christmas, but it was a good turnout, and they were out for a good time too. There was none of the aggro stuff which would become a problem later on at our shows. The actual gig was typical of a Lurkers show at that time, being fairly chaotic with a lot of crowd "interaction". There is a recklessly fast version of ‘Pills’ on the recording, and I think we were playing ‘It’s Quiet Here’ for the first time live. Howard was on good form too; it would be his birthday on Christmas Day. My favourite quip from him is towards the end of the show when he says "eat your heart out Hank Marvin" after one of my more eccentric Shadows guitar intros. PETE STRIDE 2022

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!

Argent Sale welcomes Kaval for a strong third release on the label, presented in it's full artwork 12" vinyl copy.

Kaval has quickly risen among the heavyweights of the French bass music scene. Perfecting his MPC skills release after release, landing his productions on some of the finest outlets in the game: BBC radio, Rinse Fm, Boiler Room & Keep Hush.

Once again Kaval demonstrates his flawless control over percussion and rhythm as well as high levels of eclecticism: 'DRILL TOOL' is atmospheric and dark,

'WOODPECKER' is a straight up bongo-filled festival tune, 'MICRORIDDIM' is quasi- ambient, and last on the list 'SHAKER' built to mash up any club.

I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset

The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.

The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.

The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.

Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.

Even as a little boy, Johnny Cash has a feeling he was going to be famous one day. It wasn’t the kind of premonition he could go about telling people. They’d have thought dreams of fame and riches pretty far removed from the Cash’s barely-productive 40-acre cotton farm in Arkansas. Especially since Johnny had no idea how he was going to make his mark.

Johnny left the farm to go into the Air Force — and in his travels he acquired first, a wife — and secondly, a guitar. Assigned to Germany and forced to leave his wife behind, Johnny found a faithful companion in his guitar. The boys in his barracks seem to like his “pickin’ and singin'” and gradually the plan for a career began to take shape. He would be a singer — a country singer.

When he got back from service, Johnny was not so modest about his plans for the future. He let his Memphis friends know he was going to be a singer — a good singer, a famous singer — a singer who would revolutionize country music. No matter how long it took — he was determined!

As it happened, Lady Luck inclined her face toward Johnny almost immediately. His releases on the Sun label were instantly acclaimed, and in 1956, one year after Johnny Cash launched his recording career, he was named the most promising country and western artist of the year in four separate polls.

After the success of “I Walk the Line” as a simultaneous C & W and popular hit, it was indicated the course Johnny’s career should take. Though always identifying himself as a singer for the country fans — a favorite entertainer on the Grand Ole Opry — Johnny Cash with “Ballad of a Teen-Age Queen” came to be a top selling artist in the pop recording field.

Almost reluctantly, Johnny evolved a pop-county style in arrangement and instrumentation, evident in such hits as “Guess Things Happen That Way” and “The Ways of a Woman in Love” to supply the demand for Cash records by fans of both types of music. It is ironic that Johnny Cash caused more of a revolution in pop music than in country music, as was his aim, by being one of the first C & W artists exposed on national “general entertainment” TV shows; and the first C & W artist to capture the LP market with one great release (Sun 1220).

Johnny Cash — in his voice, looks and demeanor — carries a certain aura of “specialness.” He is a very dramatic figure — tall, muscular, with blue-black hair. He looks the part of a folk singer — a 20th century wandering minstrel. And his fatalistic style, both in composing and singing, has a quality of monotone, but of “emotional monotone” that defies analysis, but which is genuinely powerful.

Johnny Cash is one of those persons endowed with an exceptional talent which has to express itself. And being expressed, his talent has been uniquely recognized and applauded by many loyal fans, who will enjoy this reminiscent album of the songs which to date are landmarks in the career of the one and only Johnny Cash.

Jaheim H. Hoagland, known professionally just as Jaheim, is best described as an R&B singer, but as all his releases are post millennium, the term has a different usage now to the style of the 50s/60s/70s that once used the genre. A resident of Hillsborough Township, New Jersey, and the grandson of 1960s soul singer Hoagy Lands which gives him Cuban, African and Native American blood, plus a fine musical heritage.

His recording career started with Divine Mill Records (a division of Warner Bros. Records) and his debut album “Ghetto Love” was released in 2001 to great acclaim. His follow-up album “Still Ghetto” (2002) spawned two hit singles, “Put That Woman First” and “Fabulous”, that both went platinum, and his third album “Ghetto Classics” (2006) topped the US Billboard chart selling over 153,000 copies in its first week. He then was signed to Atlantic Records in 2007 and his success continued with another three albums, and his final album to date, “Struggle Love” (2016) was released through BMG on his own label Julie’s Dream. To date he has received three Grammy nominations and sold over 5 million records worldwide.

The tracks selected for their 7” debuts are “Just In Case”, which was from the 20-track album “Ghetto Love” and did actually get released on a 12” being a massive favourite at the more progressive soul events, and “Diamond In Da Ruff” from “Still Ghetto”, which was also released on 12” vinyl.

Roger Eno’s second solo album for Deutsche Grammophon invites listeners to reflect on the nature of sound and silence. The Skies, They Shift Like Chords… contains a dozen tracks that express nostalgia for something lost while projecting a sense of something timeless, like the renewal of the seasons or the rise and fall of the breath. The composer-pianist builds here on the soundworld of The Turning Year, his debut solo album for DG, adding layers of instrumental and electronic colours and including a song for his eldest daughter, the artist, vocalist and image maker Cecily Eno. The Skies, They Shift Like Chords… connects with universal feelings for place and home. It also reflects the particular roots of Roger Eno’s music in rural eastern England, a landscape shaped by centuries of agriculture and marked in recent decades by dwindling biodiversity and troubling ecological change.

"Acoustic Sounds celebrates Contemporary Records with this new reissue of Curtis Counce’s 1957 album You Get More Bounce With Curtis Counce! Originally released in 1957 the album sees Counce (bass) alongside Jack Shelton (trumpet), Harold Land (tenor sax), Carl Perkins (piano) & Frank Butler (drums). Recorded by Roy DuNann this edition is pressed on 180-gram vinyl pressed at QRP with (AAA) lacquers cut from the original tapes by Bernie Grundman and is presented in a tip-on jacket. US import. "

Since 2011, Mike"s been a Drag City stalwart, first with Sic Alps, then as a solo and with The Peacers - but Mike "The Mighty Flashlight" Fellows has been a behind-the-scenes figure at Drag City since the early early days, playing live and on record with Royal Trux, Silver Jews and Will Oldham. Mike D"s music, in all phases, takes the form of a next-phase roots-pop: soaked in the traditional waters of rock and roll and passed through a variety of after-punk sonic sieves, highlighted with DIY and lo-fi values, and making a jolly hallucinatory racket, at that! He prefers a particular density of obtuse angles colliding sweet and hot noise, an arrangement he has perfected over all his Sic Alps/solo/The Peacers years; his innate understanding of the mechanics of a pop song wends purposefully through the junk-strewn landscape, sharing secrets with cipher in hand. Playing in this cracked kingdom of sound/garden of verse, Mighty Flashlight alternately accents and balances Mike"s eccentricities with his playing and knob-spinning - and with the Flashlight shining bright upon him, Donovan"s serpentine path becomes ever so much more elastic, heightened from line to line, change to change, its motility creating different shapes in our ears. Mighty"s own kind of stereo imagining informs Donovan"s smoky subterranea with additional depth of field, while still allowing all the wayward details within the arrangement to diverge as one. Mike and Mighty wind it all together: art punk utterance and top 40 radio junk of yore, the primitivity that formed recorded music in its youth, honkytonk romanticism, liminal chamber-folk and ever-present disassociated psychedelia, transformed via self-medication into a gleeful, extramusical ennui while giving the listener impetus to sing along with Mike"s patented unlikely combos of melody and lyric.

HYbr:ID Vol. 2 is the second installment of Alva Noto’sHYbr:IDseries initiated in 2021. The new album captures the music commissioned to score RichardSiegal's Ectopia performed in 2021 by Tanztheater Pina Bausch with Shooting into the Corner (2008-09) by Anish Kapoor. Building upon the captivating blend of immersive dub and electronica from the first installment, HYbr:ID Vol. 2 takes the listener on a journey into the realm of intricately manipulated digital production. These ten compositions delve into infinity, drawing inspiration from resonance and elasticity, concepts rooted in Minkowski's four-dimensional spacetime model.

Throughout the album, Carsten Nicolai summons precise rhythmic patterns that gracefully hover, reminiscent of celestial bodies orbiting in perfect cosmic unison. The sonic landscape gradually unfolds with somber and brooding tones, incorporating spacious sound design, ethereal atmospheres, and cascading metallic percussions. These elements are delicately crafted with artistic finesse, set against a backdrop of expansive dub textures. At times, the music takes unforeseen turns, as melancholic chords skitter and meander through a digital haze, evoking an atmosphere of introspection and emotion. The ten compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes.

New The Hague based recordlabel Otherminds is landing with their first ever release ’Symbolic Language’, from local cosmox.

From day one OTM witnessed his obsession for electronics. Manifested by throwing countless raves, playing otherworldly dj-sets, co-running an atomic studio bunker & label and making mind-bending music. Now it’s time for his solo vinyl debut.

The 5-track EP is a blend between IDM, ambient and techno influenced pieces. A story which symbolizes a deeply shared connection and a transformative period in which the producer expands his palette further into the sonic realm.

Nach dem überwältigenden Erfolg von 'Roller Coaster' nahm die musikalische Karriere
von Danny Vera enorm Fahrt auf. Der Song brach alle Rekorde, führte sämtliche Charts an
und wurde mittlerweile auf Spotify fast 100 Millionen Mal gestreamt. Zwanzig Jahre harte
Arbeit und geduldiges Touren zahlten sich schließlich in Platin-Auszeichnungen und
einem ausverkauften Ziggo Dome aus. Und das alles nach seinen eigenen Bedingungen,
ohne Zugeständnisse zu machen. Doch wer denkt, dass Danny Vera sich jetzt auf seinen
Lorbeeren ausruhen wird, der irrt. Die Musik liegt ihm im Blut, und dieses Blut fließt
dorthin, wo es nicht hingehört. Amerikanische Country-, Blues- und Rock 'n' Roll-Musik
gehört dazu.
Sein neues Album 'DNA' wurde von Vera auf eine andere Weise geschaffen als üblich.
„Normalerweise dauert es zwei bis drei Jahre, um zwanzig Songs zu schreiben, aber
diesmal habe ich sie in zwei Monaten geschrieben“, sagt er. „Alles kam einfach spontan
heraus.“ Die Stimmung auf dem Album unterscheidet sich erheblich von der auf seinem
vorherigen Album. „Ich habe schnell gemerkt, dass in den Songs im Vergleich zu meinem
vorherigen Album 'The New Now' eine andere Atmosphäre herrschte. Es war etwas
authentischer, mehr Rock 'n' Roll und Blues – und so sollten die Songs klingen, so
authentisch wie möglich.“ In einer Zeit, in der ChatGPT Ihnen innerhalb von Sekunden
komplette Texte ausspuckt und alle Unvollkommenheiten im Studio ausgebügelt werden
können, war es für Danny Vera sehr erfrischend, alles auf einmal aufzunehmen. „So hat
man es früher gemacht, und deshalb hat es so gut geklungen, voller Spaß. Die
Unvollkommenheiten sind Teil davon, die Unvollkommenheiten machen es perfekt.“
Letztendlich landeten sechzehn Songs auf dem neuen Album. 'DNA' ist ein Album, auf
dem Danny Vera zu seinen Wurzeln zurückkehrt, mit Songs, die ihre Wurzeln in der
amerikanischen Roots-Musik vergangener Zeiten haben. Ohne Klickspuren, Autotune
oder die Beteiligung eines Autorencamps. Solide Songs, die von klassischen Danny
Vera-Balladen bis hin zu frischem, uptempo Rock 'n' Roll reichen. Eine Platte mit Ecken
und Kanten, aber vor allem mit starker Musik.

Nach dem überwältigenden Erfolg von 'Roller Coaster' nahm die musikalische Karriere
von Danny Vera enorm Fahrt auf. Der Song brach alle Rekorde, führte sämtliche Charts an
und wurde mittlerweile auf Spotify fast 100 Millionen Mal gestreamt. Zwanzig Jahre harte
Arbeit und geduldiges Touren zahlten sich schließlich in Platin-Auszeichnungen und
einem ausverkauften Ziggo Dome aus. Und das alles nach seinen eigenen Bedingungen,
ohne Zugeständnisse zu machen. Doch wer denkt, dass Danny Vera sich jetzt auf seinen
Lorbeeren ausruhen wird, der irrt. Die Musik liegt ihm im Blut, und dieses Blut fließt
dorthin, wo es nicht hingehört. Amerikanische Country-, Blues- und Rock 'n' Roll-Musik
gehört dazu.
Sein neues Album 'DNA' wurde von Vera auf eine andere Weise geschaffen als üblich.
„Normalerweise dauert es zwei bis drei Jahre, um zwanzig Songs zu schreiben, aber
diesmal habe ich sie in zwei Monaten geschrieben“, sagt er. „Alles kam einfach spontan
heraus.“ Die Stimmung auf dem Album unterscheidet sich erheblich von der auf seinem
vorherigen Album. „Ich habe schnell gemerkt, dass in den Songs im Vergleich zu meinem
vorherigen Album 'The New Now' eine andere Atmosphäre herrschte. Es war etwas
authentischer, mehr Rock 'n' Roll und Blues – und so sollten die Songs klingen, so
authentisch wie möglich.“ In einer Zeit, in der ChatGPT Ihnen innerhalb von Sekunden
komplette Texte ausspuckt und alle Unvollkommenheiten im Studio ausgebügelt werden
können, war es für Danny Vera sehr erfrischend, alles auf einmal aufzunehmen. „So hat
man es früher gemacht, und deshalb hat es so gut geklungen, voller Spaß. Die
Unvollkommenheiten sind Teil davon, die Unvollkommenheiten machen es perfekt.“
Letztendlich landeten sechzehn Songs auf dem neuen Album. 'DNA' ist ein Album, auf
dem Danny Vera zu seinen Wurzeln zurückkehrt, mit Songs, die ihre Wurzeln in der
amerikanischen Roots-Musik vergangener Zeiten haben. Ohne Klickspuren, Autotune
oder die Beteiligung eines Autorencamps. Solide Songs, die von klassischen Danny
Vera-Balladen bis hin zu frischem, uptempo Rock 'n' Roll reichen. Eine Platte mit Ecken
und Kanten, aber vor allem mit starker Musik.

Returning fresh off of his last project 'Goes On EP', Darone is back with another 12". This time, his project pays homage to two places which he calls home. A juxtaposition of his birthplace, Los Angeles, and where he feels a strong connection, Armenia. The A-Side features 'Dance of the Sun Worshipers', which was written with the petroglyphs of Ughtasar and the Armenian Stonehenges of Syunik in mind. The henges in question were set as an astronomical observation tool to view the Milky Way Galaxy by the ancient natives of the land.

Parts of the petroglyphs have carvings of beings dancing around a wheel of fire. A representation of the Sun or early signs of the Armenian Eternity Wheel. The B-Side features 'Far Away' by Sassounian and a remix of the same track by Byron The Aquarius. Far Away was written at the height of lockdown, with a local collective of the same name in mind.

Operating as a cassette label, mixtape series, and party, Far Away was based in Los Angeles, run by Cooper Saver and Jen Ferrer. Darone would frequently attend their events in Los Angeles and find comfort in a community that he can call home. On remix duties, Byron The Aquarius delivers a raw and chuggy tip to Darone's track, 'Far Away'. A dub of the original, Byron programs this one into a full and thick driving force for the dance floor and the heads. This is Rocky Hill.

Introducing the eagerly awaited second instalment of Fabio's meticulously curated collection of liquid Drum & Bass classics - 'Generation Liquid.'

Fabio, a true legend in the music industry for over three decades, kickstarted his illustrious career as a Pirate Radio DJ in the mid-80s. Throughout the years, he masterfully evolved his style across various musical genres, ranging from Dub and Hip Hop to House, until he ultimately solidified his position as one of the pioneering forces behind Jungle and Drum and Bass. Fate played a remarkable role in Fabio's extraordinary musical journey. Serendipitously, he landed a pivotal spot on the pirate radio station Phase One, all thanks to a connection through a close friend. This opportunity allowed Fabio to showcase his raw talent and hone his early skills. As destiny continued to guide him, Fabio formed a powerful partnership with Grooverider, and together, they soared to fame, headlining numerous major outdoor raves and orbital M25 parties during the late '80s acid house boom. The duo's magnetic presence and innovative sound captivated audiences, setting them apart as trailblazers in the electronic music scene.

As club culture blossomed, Fabio and Grooverider became the distinguished residents at the iconic club night RAGE, hosted at Heaven in the heart of London. Their influence was immense, as they were credited with moulding the early Jungle sound and orchestrating the world's first-ever weekly Jungle night. Fabio's unwavering passion and dedication to music have not only left an indelible mark on the industry but have also inspired countless aspiring artists. His boundless creativity and willingness to push the boundaries continue to shape the ever-evolving landscape of electronic music, solidifying his status as a true pioneer and a living legend.

After the Jungle scene declined and underwent a distinct shift in sound and style, Fabio took the initiative to establish London's first dedicated soulful deep Drum and Bass night, known as Speed. Week after week, Fabio shared the decks with LTJ Bukem, and their skilful sets eventually garnered immense popularity, drawing in not only junglists but also celebrities, club kids, record label A&R representatives, and the who's who of the West End at that time. When the curtain fell on Speed Fabio's legacy continued to flourish with the inception of his legendary Swerve weekly residency at The Velvet Rooms, which later relocated to the iconic club, The End. The influence of Swerve was profound, serving as a catalyst for the creation of influential labels like Hospital Records, Tony Coleman (also known as London Elektricity) became a regular attendee, further contributing to the scene's growth and innovation.

The term 'Liquid', was born out of Fabio's deep admiration and support for his protégé, the talented Northern Irish producer and DJ, Dominick Martin, famously known as Calibre. This inspiration led to the creation of his acclaimed 14-year radio show on BBC Radio 1, 'The Liquid Funk Show', which drew from Calibre's masterful productions that Fabio likened to "liquid gold" for the ears. Through this show, Fabio played a crucial role in breaking numerous iconic records, and artists such as Chase & Status, High Contrast, and many many more.

Now, 'Generation Liquid' takes the baton from the legacy of Speed, Swerve, and 'The Liquid Funk show', capturing the essence of the era and the soulful, deeper music that Fabio has championed throughout his illustrious career. This meticulously curated collection celebrates records that embody the spirit of soulful D&B, making it a must-have for anyone who has followed Fabio's musical journey since the vibrant days of the 1990s up until now.

The second volume of this immersive exploration into the soulful realm of Drum & Bass is just as indispensable as its predecessor. It boasts a curated collection of rarities, timeless classics, and straight-up anthems from the vibrant liquid D&B scene. Esteemed artists such as DJ Marky, Calibre, Calyx & TeeBee, and dBridge all contribute to what is undeniably becoming a seminal anthology of the subgenre. The track selection and seamless programming are expertly guided by none other than Fabio himself, providing listeners with a nostalgic glimpse into the electrifying atmosphere of being right on the dance-floor at iconic events Speed and Swerve.

Stix Records, a sub-label of Favorite Recordings, proudly presents Disco Reggae Vol. 5, pursuing the highly acclaimed series started 10 years ago.

Birth land of the Reggae music, Jamaica has also always been fed by Soul, Funk, R&B and Pop music from the US scene, delivering some of the best covers anyone could think of. With it’s Disco Reggae series, Stix Records therefore simply carried on this tradition, offering new versions of classic songs from a wide spectrum of musical styles.

On this 5th edition, the list extend to famous name such as The Undertones, Bobby Caldwell, Cerrone, Patti LaBelle, or Ray Parker Jr. to name a few. At the control to tailor these hits with new and exclusive Reggae suits, you’ll find the best producers from the Stix’ roster like Soul Sugar aka Booker Gee, Taggy Matcher, Simon Nyabinghi, or Mato.

Together they signed again a perfect soundtrack to extend your summer and fill your playlists, whether to light the dancefloors or just sip a nice cocktail facing the Negril’s sunset!

The Darkness announce Permission To Land… Again; a special 20th Anniversary reissue collection, to be released on October 6th 2023 via Warner Music. Britain’s beloved rock band celebrate this landmark with a special 5LP release including the full original album, rare B-sides, bonus unreleased demos, as well as live albums from their iconic shows at London’s Astoria (2003), Knebworth (in support of Robbie Williams in 2003) and Wembley Arena (2004).

Permission To Land was originally released in 2003 via Atlantic Records and stormed to the top of the UK Albums chart, where it remained for four weeks, and spent 53 weeks in the Top 100. It achieved the band three BRIT Awards, including British Album Of The Year, British Group and British Rock Act, where they fended off competition from the likes of Blur, Radiohead, Sugababes, Muse, Primal Scream and more. The record has sold over 1.4 million copies to date.

The release will be supported by a promo campaign with interviews featuring lead singer Justin Hawkins. TV, Radio, and Press opportunities are being discussed. For announcement Justin will be interviewed on Planet Rock and Kerrang! Radio. Heavyweight digital marketing campaign across socials and banner advertising.