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Multi-instrumentalist Oscar Browne's roots lie in the foundational intricacy of golden-age songwriting A founding member of the London based folk- collective Broadside Hacks (amongst other banded- ventures), Oscar Browne's debut solo endeavour 'Never Quite Right' was released in 2022 to critical acclaim; an established inauguration which saw him eventually signing to So Young Records in the spring of 2023. Following a six-month spree in which Browne found himself tirelessly writing in order to process the changes taking place around him, the five songs which would eventually go on to form his debut EP 'If Only', are a deep- dive into the heart and soul of an artist who masterfully captures all the joys and heartaches of life in your early-twenties. Recorded over one week at Bristol's The Playpen, home to producer Ali Chant (Aldous Harding, Katy J Pearson), 'If Only' was all-in-all, a long time coming. Selfaccustomed to doubling things up and hiding imperfections, it was through the art of collaboration, and Ali's teachings in the power of emotional transparency that the pairing of Browne and Chant really shined. "Ali was a massive part in keeping the recordings minimal" notes Browne "he kept the rawness". Oscar Browne's creative- capability is a limitless array of captivating delights. These aren't simply re-interpretations of eras gone by. Browne channels as much Ben Howard or Kurt Vile as he does Nick Drake and John Martyn. Rather, it's through his ear for musical- lucidity, highlighted throughout the course of these selected songs, that enables Browne to transport his love of traditional folk and folklore, into a uniquely contemporary realm. His fearlessness in baring- all to those who'll listen creates an artistic magnitude will only keep growing with fine prowess, as Browne continues to cut his teeth as a beguiling 'one to watch'

Having been re-discovered as a groundbreaking slice of proto-grime from 1994, Dylan Beale’s legendary soundtrack for the SNES game Wolverine: Adamantium Rage finally gets the reissue treatment it deserves via Sneaker Social Club.

When the game came out in 1994, Beale’s soundtrack for the SNES edition stood out from the pack for its gritty beats, deceptively weighty low end and edgy orchestra stabs, but few would have guessed how certain tracks would predict the shape of music to come. Around 2016, the ‘Tri-fusion’ track in particular was picked up on by London-based producer Sir Pixalot as a mind-blowing slice of Eski beat coldness. To prove his point, Pixalot ran an acapella from J-Wing over the track and the results spoke for themselves.

While ‘Tri-Fusion’ is a straight-up accidental grime sheller, there’s scores more heat packed away in Beale’s soundtrack for Adamantium Rage. The limitations of the space on the game cart meant Beale had to get creative with the most limited samples. Fortunately his background producing UK hardcore and jungle in Rude & Deadly and Stuck To Your Lips meant he knew his way around the restrictions of an Akai s950. Fuelled by the inspiration of jungle and West Coast rap, he worked on the game soundtrack with a similar spartan attitude, limited to 200kb with which to load up the music engine for the game, samples and all.

Given the importance of minimalism in the effectiveness of soundsystem music, it’s not surprising tracks like ‘Cyber’ and ‘Dark Queen’ pack a punch which could absolutely set a dance off. Watch out for ‘Weapon X Lab’ too - another stand out bomb creating a deadly machine funk out of the tightly clipped bass samples and weird animal groan loops. Alongside the full, original soundtrack, this first issue of Wolverine: Adamantium Rage OST comes with additional tracks never used in the original game which widen out the styles Beale was exploring within the shockingly limited means at his disposal.

“I vividly remember when we first played the soundtrack on a bigger set of speakers to the boss,” Beale recalls, “his initial reaction was one of amazement that we had created something so ‘real’and different in comparison to everything else out there in terms of video game music, which I remember with great pride and fondness. Comparing to everything out there, it was totally unique- a moment in time.”

“I believe that if they ever had a singing Olympics Donald and I would get (into the) top 3, if not win some gold. If you put us all together and let us have a singoff, we could hold our own with anybody from any era. That maybe sounds a little prideful, but that’s what I believe.” Phil Everly’s words to author and music historian Joe Smith will ring very true to anyone who listens to this compilation. All the tracks on it are half a century old, yet sound as fresh as ever. The fact is, that the harmonies Don and Phil brought to the charts were widely influential on a generation of pop performers on both sides of the Atlantic. For most of their recordings, Don sang the baritone and Phil the higher tenor part. Paul Simon and Art Garfunkel were just one of the acts that copied the Everlys, while Bob Dylan added to the praise by saying, ‘We owe these guys everything. They started it all.’

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

Sometimes, space is the perfect catalyst for intense creativity. Following the release of their fourth LP, 2019's Your Church On My Bonfire, PAWS - the Scottish DIY indie rock songwriting partnership of Phillip Jon Taylor and Joshua Swinney, toured briefly, and as the world began to shut down, they slipped out of sight. Phillip retreated north to the Highlands where he focused on his painting, solo work and the rewarding demands of fatherhood. Josh headed south to London, pursuing his other passion as a chef at the highly acclaimed Plimsoll. It would have been easy for both to settle into their new lives, but PAWS never died…and neither did the tie connecting the two friends. Having missed playing together for too long, a plan was set and in October 2022 Josh travelled to Phillip's home studio in his crofters cottage where work began on the band's fifth self-titled LP. Relying on a set of phone demos and chemistry honed after years on the road the songs came together surprisingly fast. Having recorded previously with both Blink 182’s Mark Hoppus and Frightened Rabbit’s Andy Monaghan, the band once again seized control of production duties as they had on their sophomore release Youth Culture Forever. Utilizing all they had learned and adding their own DIY ethos into the mix, the music was done in a week. Josh headed home and Phillip set to work on lyrics. The resulting record finds the band as grounded and assured as they ever have been. Marrying the deafening assault of youthful abandon with the whispered reasoning that comes with getting older; swaying from anger and exasperation to wide eyed optimism. PAWS is a succinct, razor wire encased documentary chronicling the pains of modern living. Delving into the dark underbelly of 90s alternative rock, painting with evocative instrumentals and reveling in celebratory indie punk, the band also embrace sordid pop and ambient electronics. And while it pays homage to where they have come from, it also signals a clean slate for the pair. Two friends united over distance. After some time apart, all they needed was a spark.

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.

In 2005, Chiodos came onto the scene with their odd, theatrical and weirdly catchy debut, All’s Well That Ends Well. Now a cult-classic of 2000s post-hardcore, Craig Owens and Co. expressed a unique blend of zany metalcore and heart-on-sleeve emo that drew from Thursday, Glassjaw, At the Drive-In and AFI without sounding like any one of those bands in particular. With unreadably long song titles and scrappy production, this LP is both a product of its time and a lasting vessel of post-hardcore vision. This exclsuive Ultra Clear vinyl variant is printed with Greenyl, eco-friendly, PVC-free, 100% recyclable record. Limited to 300 copies worldwide. This exclsuive Ultra Clear vinyl variant is printed with Greenyl, eco-friendly, PVC-free, 100% recyclable record. Limited to 300 copies worldwide.

British Sky Empire is back with their second album "The Shifting Tectonic Plates of Power - Part One". This time has Jeff Scott Soto (Yngwie J. Malmsteen, Talisman, Journey) taken over the position as vocalist, and he is doing a fantastic job. The album will surely appeal to fans of both 70´s, 80´s and 90´s eras of progressive heavy rock/metal, but also to the fans of the new age spotless equilibrism of prog-artists, like Tesseract, Haken or Vola.

Sound Like: Dream Theater, Threshold, Kings X, Rush

Repress! We at Now-Again unearthed so much information about the bands that recorded the definitive disco and modern soul contained in our recently launched Soul Cal anthology that we decided we had no choice but to release an album and a book at the same time. Well, following that line, the music contained on Loving On The Flip Side music is too damn good to be anonymously relaunched, decades after musical visionaries blended the best of heavy funk and sweet soul into a unified whole. And simply telling the stories of these vocalists and bands without allowing their lovelorn pleas to be heard again wasn’t an option. Thus, Loving On The Flip Side again offers the enthused a chance to listen to, read about and reflect on another great burst of black American creativity: the creation of the sublime
genre we like to call “sweet funk.”
It seems laughable to skip past Thomas East’s “Slipping Around” 7” for the cheesy funk of ‘Just A Trip,” or to listen obsessively to Lou Ragland’s instrumental funk on the Hot Chocolate LP and ignore his indolent-yet-stirring “We Had True Love.” Yet we did just that, until we first heard the Darling Dears and Funky Heavy’s beautiful
two-sider nearly ten years back. This was the record that set Loving On The Flip Side in motion, as the Darling Dears and Funky Heavy’s two songs precipitated the sweet funk genre: the dichotomy of Funky Heavy’s skull snapping rhythm section and the teenage Dears’ angelic harmonies didn’t sound like anything we’d heard before. That discovery set off a decade long search for the band and culminated in their discovery, the documenting of their stories, the emergence of their master tapes and the inclusion of their songs on Loving On The Flip Side.
The excitement we felt while listening to the Darling Dears and Funky Heavy’s masterworks forced us back into the field, in search of other sweet funk swooners and beat-heavy ballads to round out this anthology. The opportunity to present anew such wondrous soul music made the exhaustive process that produced Loving On The
Flip Side worthwhile, and allowed us to collect one-offs that escaped prior investigations into the deep funk and sweet soul genres.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

History has shown that the greatest bands–bands with that certain, ever elusive quality called lasting power–neither conform to nor buck the trends of their time, but rather force the times to catch up to them. Sheer Mag has such lasting power in droves. After almost a decade spent carving out a career that has already become the stuff of modern underground legend, the band’s new stand-alone single, “All Lined Up,” comes alongside the announcement of their signing to Third Man Records–their first partnership with a larger independent label–who will also be physically and digitally re-releasing the entirety of Sheer Mag’s back-catalogue, including their cult-beloved early EPs I (2014), II (2015), and III (2016), as well as their first two breakthrough LPs, Need To Feel Your Love (2017) and A Distant Call (2019). Sheer Mag’s sensibility, as fervently beloved by baseball-tee clad garage rockers and tattoo-less indie kids as it is by leather-and-stud-loyal punks, finds its strength in an unconventional mixture of refined complexity and straight-forward pop prowess. Seamlessly trading between head-turning guitar heroics and a charmingly timeless blend of disco, hard rock, and garage inflected hooks, Sheer Mag’s oft-referenced, never-replicated sound has played an undeniably large role in stoking the current resurgence of interest power-pop forward rock music. While quickly adopted as a fan-favorite amongst the sweat-caked crowds of the early 2010’s underground, time has attested to Sheer Mag’s singular cultural mutability: though never straying too far from their home-town Philadelphian origins

Produced by legendary rock historian and Bomp! Label founder GREG SHAW, the Los Angeles all-female combo delivers a neo-60's garage punk classic.

"Paula Pierce refused to play it cute. On the Pandoras' debut album she outsnarled, out- screamed, out- fuzzed and out araged the male- dominated competition--like a well-aimed go-go boot to the jugular." - Mike Stax

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

Video Age make breezy and timeless songs that are so ine­able, they can only be the result of a decades-long friendship and songwriting partnership. Across four albums, Ross Farbe and Ray Micarelli have gleefully worn their influences on their sleeve, writing inviting tunes that reference sounds ranging from disco to pop and indie rock. On their latest LP, Away From The Castle, the New Orleans duo have strayed from nostalgia and instead have honed their own unique musicality, making songs that sound like themselves with a taste of inspiration from classic singer-songwriters of the 60s and 70s. The album is a testament to the possibilities that come from getting out of your comfort zone, the freedom of writing vulnerably and unselfconsciously, and the joys of getting to work with your closest companions. After releasing and eventually touring their critically-acclaimed third album Pleasure Line in 2020, Farbe and Micarelli sought inspiration for their next project through collaboration. They worked with Drugdealer on his album Hiding In Plain Sight, Micarelli gigged throughout New Orleans' jazz and blues scenes, and Farbe recorded local artists at his home studio, most recently producing Esther Rose's new album Safe to Run. Feeling refreshed, they rented a cabin in Eunice, Louisiana with touring members Nick Corson and Duncan Troast, where they spent eight days in August 2022 jamming, cooking and writing together. Through this process, Video Age have made their best collection of tracks to date by perfectly alchemizing their influences and experiences into a record still tinged with nostalgia, but moving towards a more succinct and authentic voice. Away From The Castle is a document of a band having fun and rediscovering their love for making music together, but it's also their most honest and personal work yet-Video Age distilled to its purest form.

The new record is Bombino’s first full album in over
five years, and follows 2018’s ‘Deran’, which garnered
praise like, “the Sultan of Shred” from The New York
Times, and “the World’s Best Guitarist” from Vice.

Paisley Park Enterprises, in Partnership with Sony Music Entertainment and Warner Records, announces expanded reissue of Prince & the New Power Generation’s multi-platinum album Diamonds And Pearls. This 12LP+ Blu-ray features 47 previously unreleased tracks and over two hours of live filmed concert footage in high definition.

Following the successful release of the 1999 Super Deluxe Edition (2019), and Sign O’ The Times Super Deluxe Edition (2020), the Diamonds And Pearls Super Deluxe Edition represents the third deep dive into Prince’s vault. It includes a total of 75 audio tracks across 7x CDs and 12x 180g vinyl records.

The set offers a newly remastered version of the album, plus 15 of the incredible remixes and B-sides from the era, including the never commercially released “Gett Off (Damn Near 10 Min.)” mix. The Super Deluxe Edition also features 33 previously unheard studio gems from Prince’s Illustrious vault, ranging from alternate versions of album tracks to numbers Prince gave away to other artists, and songs recorded while on the road in 1990.

Prince & The NPG previewed the Diamonds And Pearls Tour at Prince’s Minneapolis club, Glam Slam, on January 11, 1992. The sweaty, sold-out, last-minute show captures the sheer joy and sense of endless possibility that came to define this era. This previously unreleased live concert performance has been mixed from the 24-track master and rounds out the audio content of this 12LP set.
This same previously unreleased concert is also presented in stunning 2K video on the Blu-ray disc that accompanies both Super Deluxe Edition formats, in Stereo, 5.1 Dolby True HD, and Dolby ATMOS audio formats. The Blu-ray also features Prince & The New Power Generation’s performance at The Special Olympics at the Metrodome in Minneapolis in July 1991 (also in Stereo, 5.1, and ATMOS), as well as a previously unseen soundcheck.

The Blu-ray is completed by the long out of print Diamonds And Pearls Video Collection, originally released on VHS and LaserDisc in 1993. The 120-page hardback book which accompanies the SDE set features unseen photos by Randee St. Nicholas, and essays by: author & broadcaster Andrea Swensson; Archivist and Senior Researcher for the Prince Estate Duane Tudahl; British music critic and Prince expert Jason Draper; De Angela L. Duff, an Industry Professor at NYU Tandon School of Engineering in Brooklyn; Social Media Personality KaNisa Williams; and an introduction from Public Enemy founder, Chuck D.

Wewantsounds is delighted to announce the release of "TOUCH," a selection of sought-after tracks produced by Yuji Ohno, one of the most revered producers and arrangers on the Nippon music scene. His blend of Jazz, Space Funk and Disco have long been highly sought-after by DJs around the world and we've been given unique access to the Nippon Columbia vaults and to Mr. Ohno himself to come with a versatile selection from his 70s body of work, all bearing his uniquely recognisable sound. The set includes works with singers Nanako Sato, Hatsumi Shibata and Ken Tanaka alongside tracks from his cult anime soundtracks for "Lupin III" and "Captain Future." Approved by Yuji Ohno himself, "Touch" was remastered in Tokyo by Nippon Columbia and features liner notes by Nick Luscombe in conversation with the maestro and artwork by Optigram's Manuel Sepulveda.

Born in Atami in 1941, Yuji Ohno started learning the piano at a young age and formed his own band during his teenage years, getting into Jazz in the process. After high school, he entered the prestigious Keio University in Tokyo and played in the revered university big band alongside two other pianists, Masahiko Sato and Hirosama Suzuki, who would have an illustrious career in their own right. After University, Ohno became a professional musician and started playing with the new wave of Japanese Jazz musicians forming his own trio and recording with the likes of Hideo Shiraki, Terumasa Hino and Masahiko Togashi from 1967 onwards.

At the turn of the 60s, Ohno started to veer away from the Jazz scene as he realised, as told to Nick Luscombe that "the jazz music being played by the Japanese at the time was only chasing the cutting edge, and was ignoring the roots and origins of jazz." Ohno therefore shifted his efforts to film and TV and also to producing artists for various Japanese labels, becoming one of the most in-demand composers, arrangers and producers in Japan. This is when Ohno developed his unique sound across a wide variety of styles. More than anything else, he got renowned for his anime soundtracks, particularly with the Lupin III series - represented here by the superbly funky "Silhouette" - which made his fame in Japan

Whether it's jazz, funk, disco or Pop, the "Ohno Sound" is unmissable both in terms of melodies and arrangements, on a par with those of such legends as Quincy Jones and Michel Legrand. Ohno's melodies are sophisticated yet accessible and there's a great sense of space in his productions especially when it comes to slow-burning grooves as heard on "Kirameku Inner Space" from the cult anime soundtrack "Captain Future" or "The Soaring Seagull" from the sought-after 1975 album "Electro Keyboard Orchestra." This album was recorded with seven fellow musicians including Kentaro Haneda and Ohno's old friend, Masahiko Sato and using twenty Korg synths to create a unique blend of futuristic jazz funk. "The Soaring Seagull" could be the perfect embodiment of Ohno's signature sound when it comes to instrumentals. The producer was however equally at ease with producing lush disco extravaganzas such as "Subterranean Futari Botchi" by Nanako Sato or "I Wish You Love" by Hatsumi Shibata, a revamp of Charles Trenet classic, both colourful and glitzy.

Ohno's versatility is on display here with a couple of jazz vocal tracks, "Speak Low" by Ann Young accompanied by the Yuji Ohno Trio and Mieko Hirota's fast and furious "I Want to Be Happy" while he also excelled at crafting gorgeous mellow songs such as Ken Tanaka's "Lilac-gai No Aki" and Hatsumi Shibata's "Mouichido Kikasete" closing the selection on a perfect note. "Touch" is just a tiny selection from Yuji Ohno's immense body of work and it will hopefully open the ears of Japanese music lovers to one of the most important musician, producer and arrangers of his generation.

The first Latin soul collection featuring a mix of chart-topping hits and deeper cuts from the crown jewel of the mambo era Tico Records, celebrating the iconic imprint’s 75th Anniversary. The 2-LP set includes 26 tracks from trailblazers Tito Puente, Ray Barretto, Joe Cuba, Celia Cruz, Eddie Palmieri, La Lupe, Willie Bobo and more. New liner notes by DJ Dean Rudland that tell the story of the New York City label that launched the careers of some of the most revered names in Latin music.

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

The Spanish-Dominican label led by the Spanish Sergio Parrado and the Dominican Jee Bear presents its Lmtd series, where art, design and music go hand in hand. A collectible series where each reference is a piece of a mural by the Argentine designer Lucien Le Grub, this being the first of four.

This first reference is the work of Chilean Alejandro Vivanco (Cadenza, Melisma) who joins forces with fellow Chilean Dorian Chavez (8bit, Viva Music) to bring us this incredible “Dabtrack”.

The original cut (A1) is to go back in time, return to the essence of the mid-2000s where artists like Luciano or Ricardo Villalobos put the Andean country in the eyes of the world with their organic micro house. “Dabtrack” is about this, but with a renewed sound, where the organic and the digital embrace to create an intense track, with fat basses that will make the sound system rumble. Special synths that catch you to create a magnificent sound collage.

The A2 is for the master master and lord of the deep sound. We are talking about the Romanian Mihai Popoviciu, who brilliantly reinterprets the track and takes it to his own terrain, but without neglecting the essence of the original and giving it his particular groove that works so well late at night. The groove, together with the set of synths, which elaborates it magnificently, makes his remix of Dabtrack” an indispensable work in the DJ's suitcases.

Now it's time to close this incredible album. For this we have reserved the entire B-side for one of the Chilean artists who has left the most mark in the last two decades on the international electronic scene: Pier Bucci. He takes us on a 12-minute journey through his signature style where anything can happen. Little more to say, we invite you to discover it for yourself. Because it is a work of art.

Exarde’s just keep it spinnin’. This time our protagonist was originally born in Transylvania, so he knows something about the dancing vampires you often see at parties. This is confirmed by the fact that his release also contributed a lot to the gothic side of the dancefloor.

MAR.C is obsessed with dark sounds but specifically loves a guitar, acid and weirdly uplifting electro sounds. So, by his words this EP is exactly concentrated on frequencies between these two spectrums. On the remix duty’s we got P.O with his interpretation which gives an even more unique vibe as a groover for the closing scene.

Now on vinyl - limited to 200 copies. Brazilian composer, guitarist and singer Pedro Rosa release his debut album ´Midnight Alvorada". Pedro, who was born in São Paulo in Brazil but has lived in Spain for over 15 years, has a long musical road behind him and soon share his debut album that reveals his most intimate and respectful relationship with music and composition since he was 10 years old. Midnight Alvorada is an invitation to see with someone else's eyes. Above all, to feel with the heart of the other.

The album features a combination of rhythms, such as samba, baião, ijexá, bossa nova and waltz and features the participation of prominent names in Brazilian music, such as Jurandir Santana, Mônica Salmaso, Vanessa Moreno, Zé Luis Nascimento and Ivan acerdote.. "This album was conceived with my songwriting partner Rafael Mourão, who wrote 8 of the 10 songs on the album in partnership with me.

Rafael is an extension of me and vice versa. A bizarre similarity in the way of seeing and feeling the universe " says Pedro. In Midnight Alvorada, Pedro had great support from Jurandir Santana, an instrumentalist, composer and music director residing in Barcelona. "Jurandir, who has been one of those favorite musicians for a long time, and I started to have an increasingly strong friendship. He is an artist who is motivated by the sound. If he likes

For us at 1985 Music, our Various Artists series are extremely important. It not only provides a great platform to celebrate music from a wide range of artists, but it also enables us to push the parameters of underground music. We are very excited to share the third and final part of our Atlas series which includes both new and familiar faces.

Scott Monteith is the Berlin-based but Canadian-born artist best known as Deadbeat. But here, for the first time in some two decades, he steps out with new alias Ark Welders Guild. It is an audio-visual performance and recording project with Italian singer and curator Letizia Trussi, whom he met in winter 2021 and has since formed a strong creative bond. They work in Trussi's Rooms of Kairos studio and have already cooked up two album length pieces that come on Monteith's BLKRTZ imprint. Mons Clepsydra is the first and is an epic drone in four parts with string recordings permeating the moody, grainy, heavy atmospheres.

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

Prolific producer Stu Bangas is back with a new collection of hard-hitting collaborations on Death Wish (Part II), the much anticipated sequel to the 2021 original. The project finds the Boston beatsmith rocking with some of his favorite emcees of all time as well as familiar names who always seem to bring their best work to his instrumentals.

For Stu, it’s an honor to work with the likes of Ras Kass and Psycho Les (of the Beatnuts). He made the connections while creating the phenomenal Empires LP with Eric Bobo (of Cypress Hill), and it led to the bangers you hear on Death Wish (Part II). The track with Ras, “Sus,” is an equally hilarious and hardcore takedown of weak-willed phonies, while Psycho Les teams with Celph Titled for the gangster-but-lighthearted “Y’all Clowns.”

“I grew up on all the Beatnuts albums, my whole group of friends loved them,” Stu says. “And Soul on Ice by Ras Kass? That’s a certified classic for any hip-hop head.”

Heart's Ann Wilson is releasing a new record with Tripsitter, 'Another
Door'
Prior to starting the 2023 tour, Ann Wilson and her band Tripsitter finished
'Another Door', a record of all-original material, which marks the first time since
the '70s that Ann has written a full- length album collectively with a band.
Tripsitter features Tony Lucido (bass), Ryan Wariner (guitars), Sean T. Lane
(drums), and Paul Moak (guitars and keyboards). Tom Bukovac (guitars) was also
a primary contributor.
ANOTHER DOOR marks the first time in her career where Ann was the sole lyricist
and her presence on a record has never been greater. Ann says, "This is an
exciting time in my creative life; so much new and fresh to remind me of why I
love my calling!"
The cover for 'Another Door' was created by Storm Studio which began in the
early 1990s with Storm Thorgerson, Peter Curzon, Rupert Truman, and Dan
Abbott. Storm Thorgerson and Aubrey Powell co- founded Hipgnosis, who
between 1968 and 1983 created artwork for the likes of Pink Floyd, Led Zeppelin,
Paul McCartney & Wings, 10cc, AC/DC, Genesis, Peter Gabriel, and many others.
Following Storm's passing in 2013 Aubrey Powell has worked closely with Storm
Studio on numerous projects since.
** Widely praised as one of the greatest singers in the history of Rock, Ann's
extraordinarily powerful voice has been sending chills down her audience's
collective spine for over five decades, earning record sales of more than 35
million, an induction into the Rock and Roll Hall of Fame, and a Grammy Lifetime
Achievement Award.
** "Barracuda," "Crazy On You," and "Magic Man" are among the many songs she's
written that now reside in the pantheon of Rock's greatest hits. "This Is Now" from
ANOTHER DOOR plays seamlessly alongside the classics in her current live set.
** Last year Ann sang with Disturbed's frontman David Draiman on the duet,
"Don't Tell Me," from their recently released DIVISIVE album, and lent her voice to
Dolly Parton's forthcoming rock record "Rock Star." Ann Wilson defies genre!!

How do you define an artist who has never performed live, nor DJ’ed, nor ever had his photograph published and has never partaken in an interview? By the music of course. Jürgen Paape has proven this time and time again. How? Listen. Here. Right. Now. Co-owner of Kompakt. The house’s most elusive member remains the uncompromised, untainted shining star. He, who has launched the label with its very first release “Triumph“, Jürgen Paape has left a legacy of music that is a true core of the sound which Kompakt’s foundation is built on.

We celebrate Jürgen Paape with “Kompilation”. A well deserved opportunity to hear Jürgen Paape for fans and newcomers – revived and remastered and for the very first time on double vinyl – in a way that it plays through like a full length album. Some of the biggest moments of Kompakt over a three decade history are here; the chorus of “So Weit Wie Noch Nie” remains timeless – there to send shivers of pleasure down your spine as we feel at the end of exhaustive end of a night. “Take That” is an anthem for the still to be built rock stadiums of tomorrow. It’s a bonafide hit that put him in the charts in Australia and Italy. – “Come Into My Life” remains undeniably one of Kompakt’s catchiest pop tracks ever. “So Wird Die Zeit Gemacht” – builds on Paape’s signature sound with the spirit and vitality of classic house and a truly demented vocal hook. Then there’s the unique Schaffel quirkiness of “Ofterschwang” and so many other hits Jürgen Paape has delivered over the years. Well, it’s Paape!
Wie definiert man einen Künstler, der noch nie live aufgetreten ist, der noch nie als DJ aufgelegt hat, der noch nie ein Foto von sich veröffentlicht hat und der noch nie an einem Interview teilgenommen hat? Natürlich über die Musik. Jürgen Paape hat das immer wieder bewiesen. Und wie? Hört selbst. Hier. Genau. Jetzt. Er ist Miteigentümer von Kompakt. Das am schwersten fassbare Mitglied des Hauses bleibt sein kompromissloser, ungetrübter leuchtender Stern. Er, der das Label mit seiner allerersten Veröffentlichung “Triumph” aus der Taufe hob, hat ein musikalisches Vermächtnis hinterlassen, das der wahre Kern des Sounds ist, auf dem Kompakts Fundament aufgebaut ist.

Wir feiern Jürgen Paape mit “Kompilation”. Eine wohlverdiente Gelegenheit, Jürgen Paape für Fans und Neueinsteiger wieder zu entdecken – aufgefrischt, remastered und zum ersten Mal auf Doppel-Vinyl. Einige der größten Momente in der drei Jahrzehnte währenden Geschichte von Kompakt sind hier zu hören; der Refrain von “So Weit Wie Noch Nie” bleibt zeitlos – er lässt einem noch immer Schauer der Freude über den Rücken laufen, als würden wir nach durchtanzter Nacht morgens aus dem Club taumeln. “Take That” ist eine Hymne für die noch zu bauenden Rockstadien von morgen. Es ist ein echter Hit, der ihn sogar in Australien und Italien in die Charts brachte. “Come Into My Life” bleibt unbestreitbar einer der eingängigsten Popsongs von Kompakt überhaupt. “So Wird Die Zeit Gemacht” baut auf Paapes charakteristischem Sound auf, mit dem Geist und der Vitalität von klassischem House und einem wahrhaft verrückten Vocal-Hook. Und dann ist da noch die einzigartige Schaffel-Schrägheit von “Ofterschwang” und so viele andere Hits, die Jürgen Paape im Laufe der Jahre abgeliefert hat. Well, it’s Paape!

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.

'I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album 'Jazz, Jazz Jazz' ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Vinyl version comes with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather
tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.
A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is PUNK. We hope you enjoy the indulgence.

"Dahab Days" is the highly anticipated third album from acclaimed British guitarist Rob
Luft, who has witnessed remarkable growth in Europe in recent years, notably as a BBC
New Generation Artist and through collaborations with Elina Duni. Luft's debut album,
"Riser," released in 2017, made a lasting impact, showcasing his exceptional talent and
distinctive musical voice. Building on the success of "Riser," his second album, "Life is the
Dancer," further solidified his reputation as a versatile guitarist and composer.
With "Dahab Days," Luft embarks on another significant stride in his artistic journey. This
album represents a notable expansion of his sound, incorporating a string quartet and
reinforcing the contributions of his talented band members, who have become an integral
part of his musical identity. Luft's well-deserved reputation as a versatile guitarist shines
through as he delivers uplifting improvisations that evolve in hypnotic and contemporary
ways, captivating listeners with their compelling and immersive qualities.
The album derives its name from Dahab, a location in Egypt where much of the music was
written. Over the past three years, Luft has spent considerable time there due to the
Covid-19 pandemic's limitations. While not overtly drawing from the music of the region,
"Dahab Days" subtly reflects the influence of his experiences in that unique setting.

The heralded Minneapolis-based band Barbaro forges an exhilarating
new musical path on 'About the Winter', their inaugural outing for
StorySound Records
Featuring guitarist Kyle Shelstad, bassist Jason Wells, and violinist Rachel
Calvert, the dynamic young group developed a strong following for their
modernist bluegrass sound on their 2020 debut, 'Dressed in Roses'. Their new
album, however, represents a "coming of age" for Barbaro, according to Shelstad,
as it more authentically reflects the band's adventurous musical evolution over
the past few years. All three band members point to the title tune, "Let's Talk
About the Winter" as the song that established the tone for the album. The song,
Wells explains, "fully captured the soundscape that now defines us as a band."
The ten tracks on 'About the Winter' provide a wonderful showcase for the unique
dynamic created from Shelstad's string band roots blending with Calvert's and
Wells' backgrounds in classical music. The album also finds Barbaro expanding
its sound by having Shelstad share vocal duties with Calvert for the first time,
along with weaving electric instrumentation into the group's acoustic- based
music. The bandmates all agree on the key contributions of producer Brian
Joseph (Bon Iver, Sufjan Stevens). "His production," Calvert revealed, "elevated
these tracks to an entirely different level." Together they have fashioned a
captivating pastoral Americana sound on 'About the Winter' that is both
traditional and progressive.
The new album adds to what has been already exciting time for Barbaro, who
were selected by the U.S. government to perform concerts and conduct music
workshops in Qatar, Turkey, and Bulgaria as part of its 2023 American Music
Abroad program.

Repress!

Four Units is a kind of Japanese jazz “all star”. Recorded in Tokyo on April 1969, it was released the same year on Union records.
On the first two long songs that open this album, “Four Units” and “Dull Slumber”, we can feel the influence of the “avant-garde” scene of US jazz (and in particular ESP Disk), without however the music sounding too “free”. A whole new vibe on the astonishing cover of “Scarborough Fair”, in a modal style, where the shadow of McCoy Tyner seems to hang over the piano.
The next two tracks, “Rainbow Trout” and “Black Bass”, are still pretty much along the same line, sometimes oscillating towards “hard bop”, the album ending in a blaze of glory with a solo by Masahiko Togashi. While this album had a second pressing in Japan in the 70s, this is the first time it has been reissued with its gatefold cover. Musicians : Tenor Sax, Flute - Akira Miyazawa Piano - Masahiko Sato Drums - Masahiko Togashi Bass - Yasuo Arakawa Recorded in Tokyo, April 2 and 25th 1969

Short Attention has more than grabbed ours with its first two EPs and this third one keeps up that good early form. It's a heavy-hitting mix of pivotal house talents starting off with prolific Windy City player Boo Williams.

The big man's 'Transformation' is a smooth and chord-laced house roller that has a more reflective vibe than his usual party-starting offerings.

Atlanta don Kai Alce's 'Love Exists' is a heartfelt house romance then the long-time partnership of Owen Jay & Melchior Sultana douse us in star-gazing chords on 'Soul Expression' that leave you feeling refreshed. Hector Ram's 'Morning Sun Vibes' then uplifts with beautifully gentle piano chords.

Man With A Gun is the debut long player from Singaporean prog and funk group Funkgus. It has a famously enigmatic toxic blue jacket that lurks you in and musically it is no less intriguing. As well as a passionate cover of King Curtis's 'Memphis Soul Stew' there are plenty of supremely psychedelic sounds. The opener is steeped in funky bass riffs with rock-tinged drum breaks and plenty of raw vocals and from there the grooves come thick and fast, often with plenty of texture and charismatic vocals such as on 'Spill The Wine' and the leggy, expressive sounds of 'Everyday People' with its twisted wah wah guitars.

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.

After collaborating together for more than a decade, Jenny Hval and Håvard Volden released their first album under the Lost Girls moniker in 2021: Menneskekollektivet. The record received rave reviews, including a Best New Music mark at Pitchfork. On October 20th, 2023, the duo will release their second album Selvutsletter.


Like its predecessor, the album title is a made up Norwegian word, a word that almost exists. The band’s own translation of Selvutsletter is «self-effacer»: Someone who tries to erase themselves. Someone who is cleaning out themselves. Performing exorcism. Or perhaps just getting older, less interested in their own present self.


In 2022, Lost Girls were booked to perform a concert at Les Subsistances in Lyon, together with a few Norwegian performing arts groups performing their pieces. The band decided to use the opportunity to create all new material, and think of it as a coherent piece. Working in tandem, with Volden creating beats and wild sets of guitar chords and Hval restructuring the parts, creating melodies, words and adding more sounds, they started spiraling into unchartered territory of shorter, more concise and melodic songs than their debut LP Menneskekollektivet.


As the material developed, words already embedded in the chords, guitar sounds and rhythms began to dance around. Lyrics about cities after dark, music rituals and band practices of the 90s, and the early days of the internet began to take shape. These were Hval's own memories of her hometown and her obsession with creating music as a way of leaving it behind or even setting it on fire. Selvutsletter is, in that sense, about retracing Hval and Volden's steps back to how it felt to discover music, the intensely physical and communal experience of creating something. Certain tracks even go back further, to discover possible happenings in Norwegian towns and cities before any of us were born, using elements of faux folk singing.


Where Menneskekollektivet was about exploring club beats, and expanding and trying out structures, Selvutsletter is about disappearing in experiences. It combines the intuitive, late night feel of Lost Girls’ previous work with experimental rock music as its object. The result is more adventurous than nostalgic: A fiery, bilingual whirl of colors, words, vegetation and electricity.