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PREGOBLIN II is a strange name for a debut album. For the artist who created it, Alex Sebley aka PREGOBLIN, its astonishingly heartfelt and brilliantly catchy assemblage of songs is the culmination of a tortuous genesis period. Its release finally, he hopes, will usher in a fresh, more positive chapter for him, a sequel to all the misery and bullshit up to this point – hence the title. The creative journey to this point has been labyrinthine and frequently painful. As far back as the early ’10s, Sebley was registering his embryonic talent alongside Lias and Nathan Saoudi in The Saudis, the chaotic pre-Fat White Family ensemble where he played guitar and co-authored raw, post-punk material including FWF’s breakthrough tune ‘Touch The Leather’. PREGOBLIN receive a healthy 50,000 plays a month on Spotify. Previous singles include: Combustion which to date has amassed 2.2M streams and was dubbed ‘Single of the year’ last year in The Quietus. Other PREGOBLIN songs include Anna (flowers Won’t Grow), Love Letters, Snakes & Oranges and Wimpy & Wimpy Love with the Pop Group. “PREGOBLIN II’s genre-straddling dexterity and melodic riches mark it out as a loser classic fit to rank alongside Beck and Daniel Johnston. The tunes are memorable and the execution’s forward-facing and inspired” ★★★★ MOJO MAGAZINE // Live Shows February: 2nd Friday London - Amp Studios (with Harry Merry) 17th Saturday Leicester - Academy 2 (with Pip Blom) 19th Monday Cambridge - Junction 2 (with Pip Blom) 20th Tuesday Brighton - Chalk (with Pip Blom) 21st Wednesday London - Heaven (with Pip Blom) 24th Saturday Bristol - Simple Things Festival 25th Sunday Milton Keynes - MK11 (with the Libertines)

Free, Dancing . . . is the first release by a new trio with percussionist and producer Carlos Niño, luminary multi-instrumentalist Idris Ackamoor (of The Pyramids) and wizard guitarist, producer Nate Mercereau. They have been playing concerts together in California since June 2022, sharing a unique vibrant sound, findings and energetics... Including download code for the full album.

Artwork by Nep Sidhu.

Australischer Rock-Glanz trifft auf 80s Sunset Strip! The Neptune Power Federation kehren mit ihrem sechsten Album zurück, einer Sammlung fieberhafter Night Stories, untermauert mit purem Rock! Die vertonten Kindergeschichten mit einem ausgesprochen US-Rock-Sound der frühen 1980er Jahre sind inspiriert vom unbeschwerten und rücksichtslosen Sunset Strip in LA. Und hier wendet sich die Band bei 'Goodnight My Children' auch dem Radiorock der späten 1970er Jahre zu. Die acht Tracks feuern mit purer Rock-Inbrunst, inkl. dröhnender Gitarrensoli und dem stets markant verlockendem und hypnotisierenden Gesang von Front-Lady Screamin' Loz Sutch. Dieses Album dürfte die bisher beste Vocal-Performance der Sängerin mit dem beeindruckenden Kopfschmuck sein.
Die Sessions waren organisch und intuitiv, ermöglichten es Sutch so, die klassischen Pop-Strukturen der Tracks zu erweitern. Perfekt zum Album-Thema, das eine Sammlung nächtlicher Geschichten symbolisiert, die, so schrecklich sie auch sein mögen, den Zuhörer in der fürsorglichen Umarmung von Sutch, der kaiserlichen Priesterin, zurücklassen. Und als zusätzlichen Bonus erhalten die Fans ein illustriertes Märchenbuch, das die Veröffentlichung begleiten wird.
Die Band wird Ende Februar / Anfang März auch Deutschland-Konzerte spielen und dabei u.a. in Hamburg das 'Hell Over Hammaburg'-Festival beehren.

Rock Hard (10/10 Pkt.)
"Wie starb Sid Vicious? Wo ist Richie Edwards? Wann kommt ein neues Guns-N´-Roses-Album? Was ist die wahre Identität von Jens Peters? In die Reihe der großen Mysterien des Rock fügt sich das Rätsel, warum THE NEPTUNE POWER FEDERATION in gottverdammten kleinen Clubs spielen, während die konzeptionell ähnlich gelagerten Ghost Arenen füllen. Mangelnde Vielfalt ist nicht die Ursache: Die Aussies packen rustikalen Rock´n´Roll, Düster-Doom und Schrägo-Psych ebenso in ihre knallbunte Wundertüte wie überlebensgroßes Musiktheater mit viel Pomp, Musical-Flair und Pop-Appeal. Die Songs stehen dem Durchbruch auch nicht im Wege. Sie sind entweder ziemlich gut, verdammt gut oder schlicht großartig. Manche tänzeln leichtfüßig im glamourösen Power-Pop-Gewand einher (´Let Us Begin´, ´Twas A Lie´), andere klingen, als würden Heart Black-Sabbath-Stücke interpretieren (´Lock & Key´). Wieder andere lassen New-Age-bewegte Queen auf die synthetisierten ZZ Top der Achtziger treffen (´Woe Be Father´s Troubled Mind´, ´Hariette Mae´). Viele lassen sich auf Anhieb mitpfeifen, wobei die Eingängigkeit nie auf Kosten der Tiefe geht. Vielmehr sind die Arrangements so detailverliebt und wendungsreich, dass es fast zu Tränen rührt. Doch kommen wir zum "unique selling point" der wahnwitzigen Truppe: dem intergalaktischen, Brautkleid tragenden Christbaum mit Hirschgeweih namens Screamin Loz Sutch. Dass sich die "Imperial Priestress" in den hochherrschaftlichen Gesangskreisen von Farida Lemouchi, Chrissie Hynde oder gar Ann Wilson bewegt, war bereits erwiesen. Der hochdramatische Titeltrack zeigt jetzt, dass sie nicht von dieser Welt ist. Kurz: Es gibt keinen Grund, warum TNPF nicht längst Megastars sind - außer einer großen kosmischen Ungerechtigkeit. Es ist an euch, diese zu korrigieren!"

Legacy (12/15 Pkt.)
"Die australische Ausnahmekapelle um Screaming Loz Sutch, ihres Zeichens Exzentrikerin und Frontfrau mit großartiger Stimme, legt das sechste Album auf den Tisch, und bereits nach dem ersten Hören ist klar: Das Ding könnte verdammt groß werden! Full Energy Rock'n'Roll spielst du nicht, ohne, wenn du es gut machst, an die Großen zu erinnern. Aber auch wenn die Dinos im Sound der Band präsent sind, wirken die Songs easy und frisch von der Leber weg gerockt ('Let Us Begin' und 'Lock & Key'). Manche Parts lassen einen fast unverschämten Pop-Appeal in den Rock'n'Roll tropfen und begeben sich auf Ausschweifungen in die psychedelisch poppige Ecke ('Woe Be Father's Troubled Mind'). Ein Stück, in dem die Musik mit einer überlebensgroßen Attitüde flirtet, was die Gitarrensoli vor dem beschwörenden Part schön ins Rampenlicht setzt. Danach die klassische Mitklatsch-Nummer, ab da mutiert die Platte langsam zum Überflieger ('Betrothed To The Serpent'). Am Ende strecken sich Musik und Songwriting und wachsen aus dem bisherigen, schon vielschichtigen Können der Band nochmals hinaus. Da trifft der Pop-Appeal auf gefühlvollen Blues-Sound und wird zu wuchtigem Siebziger-Rock. Das funktioniert bestens. Nicht zuletzt, weil die Instrumentalfraktion auf dem Album fast blind miteinander zu harmonieren scheint und Screaming Loz Sutch die Kunst vollbringt, die nötige Theatralik, das gewisse Quäntchen an Exzess und die genau dosierte Übertreibung in ihr Organ zu legen. Der Titeltrack legt davon erstaunliches Zeugnis ab! It ain't a long way to the top … anymore."

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

Marry Waterson – an essential part of the fabric of folk history in England – and Adrian Crowley– one of Ireland’s most acclaimed talents – collaborate for the first time on ‘Cuckoo Storm,’ a distinctive and powerfully lyrical album of 11 original songs produced with Jim Barr (Portishead).

The ‘Cuckoo Storm’ might never have been, were it not for a social media post Crowley wrote on a wintery late-night walk in a quiet neighbourhood of Dublin during lockdown. Struck by Waterson’s previous album ‘Death Had Quicker Wings Than Love’ (co-written with David A Jaycock), he wanted to mark the moment and pressed ‘send’ into the ether with no way of knowing what would follow. Drawn to his voice and seeing a kindred spirit in his poetic lyrics, Waterson was touched by his message and responded by asking if he would be interested in working together. His answer was a resounding ‘yes.’

‘Cuckoo Storm’ is a deeply compelling album. A serendipitous collaboration that has resulted in a collection of 11 beautifully crafted songs, sung by two voices that are a powerful match. Waterson’s brilliantly distinctive voice is underpinned by Crowley’s rich baritone and together it’s an intoxicating mix.

Joining Marry Waterson (vocals) and Adrian Crowley (vocals, piano, electric guitar, mellotron, harmonium, music box clarinet, marxophone, synth) on Cuckoo Storm are Jim Barr (Portishead) bass, lap-steel guitar;Pete Judge (Get The Blessing) trumpet, flugelhorn; Jake McMurchie (Get The Blessing) sax; James Gow, cello; Seán Mac Erlaine bass clarinet; Lisa Dowdall viola d’amore and Rob Pemberton on drums.

From the cold corners of the Canadian soil, Illect's Newselph returns with some fiery furnace baked heat in the form of a remix album. On If It Ain't Broke, Remix It, Newselph carries on tradition in the spirit of Hip Hop legends like Pete Rock, Erick Sermon and Buckwild in the sacred art of remixing and refixing. Like the boom baptists before him, Newselph's ear hears transmissions reserved for angels and dolphins. He takes tracks that in their original incarnations are perfectly fine, banging even, and gets all up in the inner workings of said slaps to create something entirely different. For his latest release, he mines his backyard and reworks ten tracks from his Illect labelmates. The lead single, Those Were The Days, features the UK's Kinetik and BREIS. Newselph turns breezy into bluesy, and the track morphs into a makeshift teleportation device to a simpler time when fat laces, arcade games and handwritten letters reigned supreme. The Flowers remix features Jurny Big and Brand Nubian's most recognisable voice, Sadat X. The two emcees come together to the world and the roles they play within it. Newselph's push-and-pull guitar groove would fit perfectly as the backdrop for a campfire convo filled with nostalgic stories and witty anecdotes. Things get deeper than Atlantis on Matters Of Man, where Newselph again links up with his man, Sareem Poems, and one-third of the Ugly Heroes crew, Chris Orrick. Serving up a healthy slice of adult contemporary musings, the two rhyme writers break down this thing called life with the kind of knowledge, wisdom and understanding that would make King Solomon chill. Like watery clay in the hands of Sam Wheat and Molly Jensen, Newselph scrapes and shapes a rubbery bassline, dreamy droplets of keys and pensive melodies into a reassuring ode of optimism. Other guest appearances on the album include Sivion, Sojourn, MidCentury Modern, Ozay Moore, Dre Murray, DJ Because and many more. Like the classic TV show The Wire, all the pieces matter, and the sum of parts come together seamlessly to form something more meaningful.








[h] 9. Matters of Man (Remix) [

By the turn of the 80s, the impact of David Bowie’s ground- breaking Berlin recordings – the synths, the alienation, the drily futuristic production – was being felt on music across Europe. What’s more, the records being made were reflecting back and influencing Bowie’s own work – 1979’s Lodger and 1980’s Scary Monsters owed a debt to strands of German kosmische (Holger Czukay), new electronica (Patrick Cowley, Harald Grosskopf), and the latest works from old friends and rivals like Robert Fripp, Peter Gabriel and Scott Walker, all of whom had been re-energised by the fizz of 1977.

Compiled by Saint Etienne’s Bob Stanley and the BFI’s Jason Wood, Fantastic Voyage is the companion album to their hugely successful Café Exil collection, which imagined the soundtrack to David Bowie and Iggy Pop’s trans-European train journeys in the mid-to-late seventies. “Fantastic Voyage” is what happened next.

Bowie’s influences and Bowie’s own influence were rebounding off each other as the 70s ended and the 80s began, notably in the emergent synthpop and new romantic scenes as well as through the music of enigmatic acts like the Associates and post-punk pioneers such as Cabaret Voltaire.

Like Low and Heroes, some of the tracks on Fantastic Voyage are spiked with tension (Grauzone’s ‘Eisbär’) while some share those albums’ sense of travel (Simple Minds’ ‘Theme for Great Cities’, Ryuichi Sakamoto’s ‘Riot in Lagos’) and others find common ground with “Lodger’s” dark, subtle humour (Thomas Leer’s ‘Tight as a Drum’, Fripp’s ‘Exposure’).

This is the thrilling, adventurous sound of European music before the watershed moment when Bowie would abandon art- pop for America and the emerging world of MTV with “Let’s Dance” in 1983. Fantastic Voyage soundtracks the few brief years when the echo chamber of Bowie, his inspirations, and his followers created an exciting, borderless music that was ready to challenge Anglo American influences.

For her first solo project, the French-Chilean singer Alsy has teamed up with producers Rose, Peter Dallas and Jimmy Whoo. Co- produced with Jimmy Whoo, this EP reflects the meeting of the two artists' worlds, between the nocturnal atmosphere of Motel Music and the sunny ambiance of the singer's South American influences.

With her project Candela, Alsy has imagined her own musical universe, intimate and deep, rich in the variety of her influences. The lyrics are passionate, the rhythms smooth and warm, and the project is a subtle mix of modernity and nostalgia, between steamy reggaeton, smooth synth pop and hypnotic electro.

The singer's smooth and bewitching voice is the hallmark of this debut EP, which takes us on a dreamy journey from Paris to Santiago, against a backdrop of rhythmic and atmospheric music.

Wir haben so großartiges Feedback zur Future Sounds Of Kraut Vol. 1 bekommen, also kommt hier Volume 2: 17 moderne Kraut-Elektronik-Tracks (9 davon exklusiv und vorher unveröffentlicht) inspiriert von Kraftwerk, Can, Neu!, Cluster, Harmonia, Klaus Schulze und vielen anderen. Kuratiert und zusammengestellt von Compost-Künstler Fred und Luna. Die Collage auf dem Cover wurde - wie schon auf Vol. 1 - exklusiv von der fantastischen Künstlerin Norika Nienstedt aus der Kraut-Metropole Düsseldorf gestaltet.

Gar nicht einfach oder im Grunde unmöglich, den Begriff "Kraut" stilistisch zu beschreiben. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er- und 1980er-Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken.
Nach dem großen Erfolg von Volume 1 wurde umgehend ein Nachfolger gestartet, der stilistisch an seinen Vorgänger anknüpft und darüber hinaus - da dies eine der Grundideen der Reihe ist - das musikalische Spektrum Schritt für Schritt um neue krautige Elemente erweitert. Auf Volume 2 finden sich deshalb nun auch ein paar cluborientierte und experimentelle Tracks.
Compost und Fred und Luna wünschen viel Pläsier beim Krautifizieren!

Format: - Schwarze 2LP mit Content-Sticker inkl. 9 exklusiven/unveröffentlichten Tracks

DJ Quotes:

- "A great compilation with a unique approach!" - Hans Nieswandt
- "Amazing contributions from all the artist involved ! Love this album ! Thank you Fred & Luna !" - Peter Kruder
- "Very interesting compilation ... Great music" - Laurent Garnier
- "Superb in every way" - Nick Warren

Idriss D welcomes to Memento Records UK electronic mavericks Dark Globe. The famed duo consisting of Pete Diggens and Matt Frost has been releasing influential music for the last 30 years, starting off with industrial noise inspired tunes and later developing their sound into an experimental blend of breakbeats and twisted melodies, in what they call “epic pop”, taking in influences from classical English composers to hip hop grooves. Collaborations with Television’s Tom Verlaine and Boy George add to the magic of their artistic journey.

For this special EP, Idriss D has acquired the licensing rights to Dark Globe’s own Take Me To The Sound: along with the original track, two exclusive remixes are included, one from Howie B. and one by Pete and Matt themselves.

The original version, although hailing directly from the early 90s, boasts timeless vibes and flavours: marching beats, drum rolls and analog squelching synth tones make it as relevant as ever, a sophisticated Electronica piece that would fit perfectly in every club compilation these days.

Howie B’s masterful version flows with a syncopated rhythm and trippy vibe, a stripped down rendition designed for an afterhour party in a dark basement. Dark Globe’s own remix features quieter vocals with reverb splashed over the 303.

■ "A Ghost Story" ist ein übernatürliches Drama aus dem Jahr 2017, verfasst und inszeniert von David Lowery, mit Casey Affleck und Rooney Mara in den Hauptrollen. Der Film erzählt die Geschichte eines Mannes, der nach seinem Tod zu einem Geist wird und im Haus verweilt, das er einst mit seiner Frau geteilt hat. Der Film erhielt lobende Kritiken und wurde mit mehreren Auszeichnungen geehrt, darunter von der Boston Society of Film Critics, dem Deauville Film Festival, den Houston Film Critics und dem Sitges Film Festival. Die Musik für "A Ghost Story" wurde von Daniel Hart (bekannt für "The Green Knight" und "Pete's Dragon") komponiert, wie bereits bei allen
vorherigen Filmen von Lowery.

Eine Limited Edition von 500 Exemplaren des Soundtracks ist auf Smoke Coloured Vinyl erhältlich und wird mit einem Druckbeileger geliefert.

The composer, percussionist and instrument builder Limpe Fuchs has spent six decades exploring the outer limits of sound and its effects on the listener. Born in Munich in 1941, Fuchs is part of a generation of German artists who sought radical new approaches to art, music and social organisation in the period following the Second World War.

Alloa, Bavarian for alone. Limpe likes to be alone, because she is never lonely. When she is not on concert tours, she cultivates the garden in front of the door or playfully handles her instruments in the house. Among these has recently been a restored concert grand piano, which she found orphaned at a performance venue in Switzerland and rescued from being scrapped in Peterskirchen. Since then it has been the center of Limpe's attention, is played daily, and can be heard on the recordings of this LP.

The music alternates between free improvisation and impromptu compositions, played also around fragmented recited poems. Beyond the boundaries of jazz, art song and classical music lies the freedom Limpe takes at the piano, laughingly commenting on her unorthodox, even carefree way of making music with a quote from Friedrich Gulda: "From seventy on, all pianists are bad."

Well, so what, Limpe is not a pianist anyway, she is much more than that. She is the most vivid proof of a long-lasting, versatile and intrepid musical career, the next chapter of which will also consist of Limpe no longer exclusively traveling through Europe heavily laden with all her self-made instruments, but every now and then light-heartedly from grand piano to grand piano, to then make music for everyone, as always but not necessarily alone.

Repress!

Mr Bongo are delighted to present an officially licensed re-issue of this underground Japanese rock rarity 'Uganda (Dawn of Rock)' by Akira Ishikawa & Count Buffaloes. This album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

The respected Japanese jazz drummer Akira Ishikawa was not messing around when he recorded the 'Uganda (Dawn of Rock)' album with his band the Count Buffaloes. For this offering, originally released in 1972 on Toshiba Records, Akira Ishikawa takes us on a deep tripped-out journey. 'Uganda (Dawn of Rock)' is a fusion of progressive and psych rock with African percussion workouts, dergy-wah wah blues-funk, and jazzy sensibilities; with different genres morphing and uniting as they progress.

A long way from his funk and afrobeat album 'Back To Rhythm’, re-issued on Mr Bongo in 2019, this record has a darker, deeper, abstract and experimental stoned tone with the listener being pulled into its vortex for the ride. This record doesn’t pull any punches.

For this album, Akira is joined by Hideaki Chihara on bass, guitarist Kimio Mizutani, sounding at times like an early 70s Peter Green, percussionist Larry Sunaga and composer Takeru Muraoka.

The album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

We are delighted to present an officially licensed re-issue of this underground Japanese rock rarity.

Available in 2 formats: Original LP in Box version & Tip-on Sleeve with OBI version.


• Highly sought-after underground Japanese rock rarity, originally released in 1972.

• Feat. Hideaki Chihara, Kimio Mizutani, Larry Sunaga and Takeru Muraoka.

• Available as the original LP in Box version & Tip-on Sleeve with OBI version.

Head Body Connector is the third offering from Noah Prebish, Peter Spears, and Brother Michael Rudinski’s Psymon Spine project. It is a record that relishes in the heady, the psychedelic, the abstraction of temporality as we know it. Head Body Connector is a studio record from a band obsessed with production. It’s also a record that more so than any other Psymon release is interested in explicitly sounding live. It’s a guitar-forward album. Something that is ready-made to be performed. It. features Liquid Liquid’s Dennis Young’s percussion and Angel Deradoorian (Dirty Projectors, Flylo, The Roots) on backing vocals as well as long time collaborator Sabine Holler. Head Body Connector also saw the induction of two longtime friends of the band, drummer Zeb Stern and singer/guitarist Sarah Aument, both on tour and in the studio.

German Funk, Rare Groove and 1970s Disco music (e.g. the highly regarded Munich scene around Italian producer Giorgio Moroder) have been widely recognized and featured on numerous reissues and compilations. However, the Boogie-ish post-disco side of German music history until now has remained undiscovered. One of the reasons might be that a broader national scene in Germany (unlike the UK for example) never existed. Even though tracks by US bands such as Dazz or Midnight Star were popular in discotheks in Germany around that time, bigger labels showed little interest in promoting German groups playing this new style of Disco Funk, now primarily known as "Boogie", that brought in electronical instruments and often lacked the iconic "four-on-the-floor" beat. Additionally, the number of bands that continued to play funky and soulful music in the 1980s diminished as other styles like Synth Pop, Punk, New Wave and NDW (New German Wave) ascended in popularity. Still, though German Boogie may have never existed as a national movement, great things were happening rather locally and each group featured on our compilation brings with them a particularly unique style and story.

Now, finally, "Boogie on the Mainline" sheds some light on 11 little-known German Disco gems that were released on small or even private labels. The album contains tunes by Imagination, Squish, Upstairs, Bernie L., The Poptown Syndicate, Peter Patzer, Ca$h, Trust, Publicity as well as classic tracks by Ströer and John Davis. It was compiled by John Raincoatman aka DJ Scientist

Following the success of their collaboration with Peter Hammill on In Amazonia (2019) and In Disequilibrium (2021), Sweden’s Isildurs Bane return with a new album, The Pearl of Ever Changing Shell. This time the Swedish band is joined by singer Jinian Wilde, best known for his work in The David Cross Band. The result is another shift in direction while remaining true to the ethos that inspires and animates IB. Mats Johansson, who joined IB in 1977 standing not only as its longest-serving member but also its principal composer and keyboardist comments, “Our work with Jinian is similar to how we worked with Peter Hammill and Marillion's Steve Hogarth who worked with us on 2017’s Colours Not Found In Nature release. In principle, the music was developed for a year or so before we made contact with Jinian. The reason was to try to keep IB's expression basically, but that Jinian would have a free hand when it comes to vocal melodies, vocal harmonies, and lyrics of course. A proven way of working that allowed both IB and Jinian to feel free and comfortable as things developed."

The Pearl Of Ever Changing Shell by Isildurs Bane & Jinian Wilde, released 23 February 2024, includes the following tracks: "Part 2 - Trigger Finger (the Spiraling)", "Born Afraid (the Binding)", "Avalon (the Knowing)" and more.

This version of The Pearl Of Ever Changing Shell comes as a 1xLP.

The vinyl is pressed as a opaque disc.

After the success of his first two albums, both received with critical acclaim, and his productive collaborations with Peter Greenaway, Peter Lindbergh and many others, Italian composer/multi-instrumentalist Luca D’Alberto is to release his third album entitled “In our hearts.”

A symphony in three acts that pursues his research into the perfect balance between neoclassical and electronic music forms.

Der Jesper Kyd-OST zu Fortsetzung der HITMAN-Videospielreihe: Das mainstreamig angelegte 'Hitman 2: Silent Assassin' (2002) erhielt großartige Rezensionen, u.a. eine 'Action Game Of The Year' Nominierung vom US-Magazin Computer Gaming World. Jesper Kyd schuf mit dem Budapester Symphonieorchester und dem Ungarischen Rundfunkchor ein orchestrales Melodram, das dem Spiel ein Gefühl von Unruhe und Pracht verlieh. Trotz live aufgenommener Orchestrierungen blieb sein Stil unverkennbar: starke Melodien, eingängige Rhythmen und groovige Electronica werden um harmonische Weltmusik-Elemente ergänzt, die zu den weltumspannenden Eskapaden von Agent 47 passen.

Six years ago, Oum Shatt released a critically acclaimed debut album that led to Song of the Year awards from Berlin Radio Eins ("Gold To Straw") and TAZ Popblog ("Power To The Women Of The Morning Shift"), as well as BBC and Arte features and appearances at SXSW, Transmusicales in France and Electric Picnic in Ireland. Now, the Berlin-based band, whose members are otherwise known from bands such as Kissogram, Fenster, Die Türen, Golden Showers and Peaches, consisting of singer and songwriter Jonas Poppe, founding member Chris Imler on drums, guitarist Richard Murphy, and Rémi Letournelle on bass and synthesizer – return with a second effort that even surpasses their debut. Building on the minimal-rock style of their debut album (Vogue Magazine), OUM SHATT weaves a mystic, at times psychedelic soundscape with meandering guitars, a wild percussive aesthetic, and Jonas Poppe’s evocative, mantra-like baritone. "Opt Out" also stands as a thematic concept album, delving into the individual's various forms of resistance against societal expectations. While drawing from obscure influences, the album remains unmistakably unique.

Opt Out by Oum Shatt, released 26 January 2024, includes the following tracks: "Love the Way She Stands", "Madame LeSoleil LeVant", "Over the World and Out", "Investors" and more.

This version of Opt Out comes as a 1xLP.

The vinyl is pressed as a blue disc.

Acoustic Sounds and Contemporary Records present this new reissue of Art Pepper’s 1960 album “Smack Up”. Recorded by legendary engineer Roy DuNann the album also features Jack Sheldon (trumpet), Pete Jolly (piano), Jimmy Bond (bass), and Frank Butler (drums). This new 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.

Godzilla returns once more to face the combined might of Japan's most extraordinary scientists in the second picture of the Millennium-era: GODZILLA VS. MEGAGUIRUS. Looking for new ways to defeat the Big G, the JSDF invent an incredible new weapon called Dimension Tide, which creates a miniature black hole that will transport Godzilla far away from Earth. However, a byproduct of weapon testing leads to thousands of winged insects invading Tokyo and attacking Godzilla. The Big G fights back, but their new queen appears, now kaiju-sized due to Godzilla's atomic breath. A thrilling battle then occurs as Godzilla goes head-to-head with Megaguirus while the JSDF frantically works to disappear both monsters forever.

GODZILLA VS. MEGAGUIRUS saw the introduction of composer Michiru Oshima into the franchise with a fantastic score that built on previous Toho musical traditions with a view to the future. While using music composed by the great Akira Ifukube for two sequences, Oshima also unveiled her own theme for Godzilla. First heard in a slow and foreboding mode, it's quickly unleashed in gigantic low tones, as terrifying and inevitable as the Big G himself. Soaring heroic material represents the JSDF and their advanced Griffon aircraft, while powerful brass is used for the threat of Megaguirus. Cementing Oshima's reputation as a great composer, GODZILLA VS. MEGAGUIRUS is a classic of kaiju musical mayhem. - Charlie Brigden

Composed by Michiru Oshima
Artwork by Attack Peter
Manufactured in Czech Republic

Complete Album + 6 Bonus Tracks. Known as the "King of the Slide Guitar," Elmore James was the most influential slide guitarist of the postwar period. His music went far beyond his premature death in 1963 at the age of forty-five. He was credited with helping to invent blues rock and his style influenced a generation of blues-rock players like Eric Clapton, Peter Green, Duane Allman, and The Rolling Stones. Blues After Hourswas James' debut album, and one of the greatest blues albums of all-time. "Blues After Hours, originally released on LP by Crown in 1960, was Elmore James' first long- playing record. The crunchy garage sound of James' arrangements coupled with his passionate edgy vocals, quickly made him one of the most influential blues artists of his time." - AllMusic, 4.5 STARS

After an impasse recording with tightly arranged groups and big bands with strings, Billie Holiday signed her last long-term contract with Norman Granz. He had showcased her as a star with his Jazz at the Philharmonic tours in the mid and late forties, and when he signed her as a recording artist in 1952, he endeavoured to repeat the small group magic of her early years.On Billie Holiday Sings, she is backed by an all-star sextet including Charlie Shavers on trumpet, Flip Phillips on tenor sax, Oscar Peterson on piano, and Barney Kessel on guitar, among others.Bonus Tracks: (Studio session for Aladdin Records):'Blue Turning Gray Over You' , 'Be Fair With Me Baby aka Be Fair To Me)' , 'Rocky Mountain Blues' , Detour Ahead' .

Mit dem wachsenden Wunsch nach früheren Werken von ELOY, dem gemäß Musikpresse "deutschen Flaggschiff des Art-und Progressivrock" kommt nun am 23.02.2024 mit "Destination" ein Album aus dem Jahr 1992 erneut auf den Markt, welches schon seit langem nicht mehr verfügbar ist. Da zu jener Zeit der frühen Neunziger die Vinyl-Platte quasi komplett "out" war, erscheint "Destination" nun als physisches Produkt erstmals auch auf Vinyl. "Destination" ist ein Album, auf welchem wir viele unterschiedliche Inspirationen und stilistischen Elemente verarbeiteten und vermischten. Obwohl Bassist Klaus Peter Matziol während der laufenden Produktion erstmals wieder für die Band zum Bass griff, entstand das Material überwiegend in der Zusammenarbeit von Michael Gerlach und mir, und es kam eine Melange aus atmosphärischen, aber auch sehr rockigen Klängen dabei heraus, wobei ich mich noch im Satzgesang mit mir selbst herausforderte, und wir durch diverse Fremdinstrumente das noch immer nicht komplett neu besetzte Line Up auffüllten. Es herrschte nach dem Erfolg des Vorgängers RA, welches ELOY nach dreijähriger Pause sofort in die offiziellen deutschen Albencharts zurück katapultierte, rege Aufbruchsstimmung. Der Sound und die Melange der Musik gelangen so, wie geplant." (Frank Bornemann, 2023)

In this Bukky's latest offering, he has assembled some of his favourite DJs and producers including his old comp Rende Gillies Peterson, Orlando Voorn, Lesley Lawrence. His dear friend the godfather of Dub Dennis Bovell. Featuring original material compositions:

OBEDUN (Sweet SOUP) - Mixed by Orlando Voorn Inspired by his cultural background Bukky goes in search of the cuisine traditions of his mother land Nigeria. He sings praises of his favourite traditional African cuisines. Sang in his native dialect Yoruba language.

GENRE JAM – Afrobeat recently became a recognised genre. Whereby the unique percussion driven with soulful guitar hook lines and melodic piano phrases can be incorporated any genre as a version.

UNISEX DILENMA - it's just light-hearted, tongue in cheek commentary on the interplay between men and women and some of the stereotypical ways we see relationships, it's nuanced and that's why it's called Unisex Dilemma. Meaning people shouldn't take the song too literally.

ANNARKEY – Mixed by the Godfather of Dub Dennis Bovell. This a great example 0f Genre Jam whereby Rock or Reggae can be intertwined with Afrobeat. Especially from the Latin Rhythms which are all influenced by Afrobeat.

SUMMER BREEZE – Mixed by Lesley Lawrence is Jazzy instrumental track. It draws from Bukky's past recording and associations with the giants of Jazz i.e. Clifford Jarvis, Bob Ra Kalan Moses, and playing with Tony Allen who is heavily influenced Art Blackey and Max Roach.

a 01: Obedun (Sweet Soup) Orlando Voorn Mix

Brownswood Recordings releases the 7th edition of their Future Bubblers Compilation. An expansion of Gilles Peterson's network supported by Arts Council England, the ongoing talent discovery and artist development scheme focuses on developing unsigned talent and building audiences for new left-field music. With support from PRS Foundation as Talent Development Partners, the professional recording, manufacturing and physical release of Future Bubblers 7.0 is made possible. Unlike any other initiatives within music, the compilation acts as a springboard for the musician's careers, with the cooperative model providing direct revenue to the artists by a share of the profits, resulting in a sustainable income to work from. Previous Future Bubblers include artists such as Yazmin Lacey, KinKai, MC Snowy, Forest Law, Victoria Jane, NeOne The Wonderer and Kayla Painter, to name a few.

The 8-track compilation is a musically diverse collection of tracks, fusing genres across Alt-R&B, Dance, Electronic, Jazz, Rap and Trip-Hop. Opening the project, ROMY NOVA flaunts her hypnotic harmonies on a tender offering, 'The Way', whilst Sheffield-born Jackie Moonbather delivers a Funk performance on 'Separate Ways'. Up next, Ney Liqa's 'Blomster' captures a blend of Trip-Hop and Swedish-Pop, fusing her earliest musical influences before Birmingham's very own Landel's cloud-Rap excellence on '2 Many'. Maintaining the ethereal sonic, Petrelli Purple's 'Brisk' is reflective of his ability to curate a "miscellaneous north" sound, followed by MARYSIA OSU's 'Stryder' that highlights her self-coined "harps, beats, and dreams" ethos. Michael Diamond showcases his ability to float between jazz and electronic landscapes on 'Aether' before COEX rounds off the project nicely with 'Reflections'.

Jakku are Per Ingvaldur Højgaard Petersen and Bárður Næs both born and raised on the Faroe Islands. On their debut EP “Fashion” they unveil their unique take on dark, spiritual electronica locked to chopped up traditional singing from the Faroes as well as other corners of the world.

Jakku have labelled it Kingodub after a primeval form of hymn singing which is still practiced on the isles. Expect deep, heavy beats with ancient marching and chanting

J. Robbins on Basilisk:
2020 gave us the pandemic, which despite all its awfulness also gave me a lot of opportunities to write and demo music - but everyone was terrified to get into the same room together to play. Finally, around February of 2021, I called up Brooks Harlan and Darren Zentek and asked if they would be down to meet me at the studio and do a 2-day session and see how it turns out. Brooks and Darren were into the idea - we were all in full cabin fever mode at that point and dying to do anything - so I sent them the demos and we did it. The musical connection had always already been there, but the energy that came from all being in the same room doing this together - something we had just spent a year wondering if we’d ever get to do again - was wonderful. It felt like having been lost in the desert, and then finding an oasis. I’ve never been so happy with a session - both the results and the experience, and the outcome was exactly what I had wanted: something more stripped down and very immediate.

We were all fired up and we did a second session in March 2022. In the interim I enlisted some collaborators:Gordon Withers to add cello and second guitar to a few songs, Janet Morgan and her two sisters to sing some harmonies, Dave Hadley to play pedal steel on “Not The End,” and Chicago punk legend John Haggerty to add an actual blazing guitar solo to the song "Exquisite Corpse." And I went on working on vocals and overdubs at home. The lyrics were (as always) somewhat therapeutical: “Automaticity” came out of thoughts on aging and remaining present in a world increasingly going on auto-pilot; “Last War” and “Dead Eyed God” work out fears prompted by January 6th and the rise of neo-fascism. More personal matters were trying to work themselves out as well. Recurring childhood dreams ("Deception Island"), surrealist games ("Exquisite Corpse"), and trephination guru Amanda Feilding ("Open Mind") were also in the mix.

Another result of pandemic isolation was that I had also been working on more abstract, electronic based music(inspired by my love of film soundtracks, Peter Gabriel’s music, and by studio work I had done not long ago with the band Locrian), using granular synthesis, sampling, and software synths. So as Basilisk came together, I wanted to see if I could pull those sounds into the flow of the record, open up its vocabulary a little and still make something cohesive. Connection has always been the whole point of music making for me. There are so many ways to come at it, and i don't want to close any of those doors. Going forward, I only want to open more of them.

Following her triumphant album 'Version Girl', Rhoda Dakar is back with another fabulous cover of ''I Don't Mind', originally recorded by Buzzcocks. As always the beautiful artwork has been created by Sheffield's finest Pete McKee.

Touring in support of their fifth studio album, "Airborne," The Flying Burrito Brothers performed at The Bottom Line in NYC on August 18, 1976. This never-before-available album features classic tracks alongside some bluegrass standards. The lineup includes Skip Battin and Gene Parsons (ex-Byrds); Gib Guilbeau, Joel Scott Hill and Burrito pedal steel legend, "Sneaky" Pete Kleinow

"The Mess We Seem To Make is the eagerly anticipated debut album from Crawlers. Digging deeper into what fans already know and love about their eclectic alt-rock sound, it builds on the relationship of trust they have with producer Pete Robinson and engineer Tom Roach at Liverpool’s Coastal Studios and takes on a whole range of challenging topics; trauma, sexual politics, mental health, the general goings on in a young person’s life.
The album features 12 tracks and on the Deluxe CD 20 tracks, including the single ‘Would You Come To My Funeral’, and is available on multiple formats including: standard CD, deluxe CD (with bonus tracks) Standard White Vinyl"

The Decline And Fall Of Heavenly’ Gets Re-Issued On Vinyl. Skep Wax Records are re-issuing all four Heavenly albums over a two year period, and this is the third instalment, following on from ‘Heavenly vs Satan’ and ‘Le Jardin De Heavenly’. Each LP includes relevant single releases as additional tracks, a 7” booklet with lyrics, pictures, and new sleeve notes by the members of the band. Altogether, the four albums will amount to a thorough collection of the band’s recorded output. Heavenly will be playing gigs in various countries in 2024. The third Heavenly album will be re-released by Skep Wax Records on Friday 2nd February. The re-release will also include all five tracks from the Atta Girl and P.U.N.K Girl 7” singles. The Atta Girl and P.U.N.K. Girl singles were released in 1993; album The Decline and Fall of Heavenly came soon after in 1994: collectively they show a band that is rapidly expanding its scope. The album veers confidently from high speed indiepunk (Me And My Madness) to cool surf instrumental (Sacramento) and back again to the sweetest indiepop (Itchy Chin). Meanwhile, the singles, which include the band’s most celebrated tune - P.U.N.K Girl – demonstrates how much confidence Heavenly were deriving from their involvement in the nascent Riot Grrrl scene. All the anger is there, the politics are direct and crystal clear – yet the whole thing is still delivered with the sweetest pop melodies. It’s like being punched and kissed at the same time. The three releases also show how Heavenly had come to feel equally at home in the UK and in the US. The album maybe feels more British, as demonstrated by the Old World irony of the ‘Decline and Fall’ title. At Heavenly gigs in the UK, often playing with other bands on the increasingly influential Sarah Records, audiences were getting bigger, while the bands were finding a sweet spot where anti-corporate understatement and a dismissive attitude to an increasingly misogynist UK Press was no barrier to success. P.U.N.K Girl and Atta Girl on the other hand, are more gleeful, more headlong, and somehow feel more American: they are carried along by the excitement and adrenaline of having found another spiritual home - the indiepunk Riot Grrrl scene that was focussed on Olympia, WA, the HQ of Heavenly’s US label K Records. (K released P.U.N.K Girl and Atta Girl together on one 10” EP.) Amelia Fletcher and Cathy Rogers were now confidently sharing vocals, sometimes harmonising, sometimes taking it in turns, sometimes singing over each other. Peter (guitar) Mathew (drums) and Rob (bass) had become adept at changing gear from ornate pop to full-on punk, unafraid of genre rules and increasingly happy to make up their own version of what pop music should sound like. The more delicate, more decorative arrangements of Heavenly’s first two albums had been left behind. The band – or more accurately, the women in the band – were still dogged by accusations of being too fey, too ‘twee’: not ROCK enough. But, as the chorus of Atta Girl makes clear, any attempts to define Heavenly by their ‘cuteness’ now received an unambiguous response: ‘Fuck you, no way!’ The fourth and final Heavenly album ‘Operation Heavenly’ will be released later in 2024. Heavenly were: Amelia Fletcher (guitar, vocals), Cathy Rogers (guitar, vocals), Rob Pursey (bass), Peter Momtchiloff (guitar), Mathew Fletcher (drums).

Another previously unreleased killer from the early '80s Radics / Scientist days, this one was played on dubplate by Volcano in JA and Jah Life in NY, alongside other cuts of the rhythm (also eventually to be released). This is Peter Ranking the singer, not the more well known deejay.

Egil Kalman has levelled up on this one; we were stunned by his last solo opus, and on ‘Forest of Tines’, the bassist/synthesist has traded the EMS Synthi 100 for the Buchla Series 200, recording at Stockholm’s illustrious Elektronmusikstudion (EMS). Here, he builds on themes he explored on his debut with a generous 20 track double album that marks firmer lines between Scandinavian folk music and contemporary electro- acoustic minimalism.

Using woody, synthesised tones that gradually open into sawing wails, Kalman suggests harmonies that lie between the 17th century polska and earlier, pre-Renaissance sounds, mimicking the tonal and textural fluctuations of strings with advanced tuning and sequencing techniques. There are plenty of artists delving into the past to unravel their identity, but Kalman’s approach is refreshingly unadulterated. He recorded the entire set on the fly, using just spring reverb to add extra texture, without overdubs or modern DAW-style layering, the Buchla 200 played almost like an acoustic instrument.

There’s a glimmer of vintage acid on the lithe ‘Dub One’, a complex, rhythmic experiment that lashes its pulses together with willowy portamento slides. And on ‘Klystron’, he absorbs warehouse techno’s architectural oomph, splaying psychedelic, reverberating ascending sequences over jagged kicks; listen carefully, and there’s something else going on in the background too, as Kalman meets his stabs with flute-like echoes. It’s a peculiar cocktail of ideas and provocations: ‘Mbira’ finds the composer shaping his synth into dusty, fluttering hits that resemble the titular Zimbabwean finger harp, and on ‘Drums’, he pipes pre-recorded percussion through the system, triggering its oscillators and helping shape its rhythmic patterns. He’s most comfortable when he’s mines a hazier past, ‘Autumn Leaves’ is a mystickal, just intoned droner that harmonises with Mattias Petersson’s awesome ‘Triangular Progressions’, and ‘Subtines’ sounds as if Kalman has deployed his instrument in a subterranean crevice, resonating his rumbles around synthetic water droplets.

If it’s uncanny court music you’re particularly interested in, there’s plenty of that too. ‘Polska’ is another sublimely hauntological Swedish folk interpolation, while closing track ‘Ocquet’ appears to blur Kalman’s ideas more thoroughly, melting folk phrasing and peaceful, uneasy drones to draw us to a neat conclusion. Soft-hearted but animated, it’s modern electronic music that isn’t afraid of employing vintage techniques to suggest new directions.

Arc Records präsentiert stolz 'Lost Takes', eine Kollektion von Songs, die Roberta Flack in den Sessions vor der Aufnahme ihres bahnbrechenden Debütalbums 'First Take' (1969) aufnahm. Noch nie zuvor auf Vinyl veröffentlicht, erscheint die Musik als Doppel-LP auf schwarzem 180g Vinyl im wunderschönen mitternachtsblauen Gatefold mit Liner Notes von Harmony Holiday (Tochter der Northern Soul-Legende Jimmy Holiday). Diese LP ist der dritte Teil der Reihe spezieller Reissues aus den geschichtsträchtigen Archiven des Atlantic Jazz-Archivs, kuratiert von DJ und Radiomacher Gilles Peterson persönlich.

Classic black vinyl pressing on 140g LP. CD digipack. Note new prices for the LP & CD. Spacemen 3's second album is a remarkable departure from the band's 1986 debut, SOUND OF CONFUSION. Reduced to a trio (guitarists / keyboardists Pete "Sonic Boom" Kember, Jason "Spaceman" Pierce, and bassist Pete Bassman) following the departure of the first album's drummer, Spacemen 3 makes an asset out of the newfound lack of percussion, giving THE PERFECT PRESCRIPTION a considerably less rock-oriented sound with much more open space in its varied, subtle arrangements.

From the Dolls-meets-the-devil opening title track to the desperate Sister Lovers-adjacent finale "The Findings," The Interrogator is thirteen vibrant, crackling, scary and hilarious songs which taken together represent nothing less than a thorough and thrilling moral inventory of our decadent and depraved times. Following up and doubling down on the themes of last year's lionized cult favorite For Executive Meeting, Elizabeth Nelson has authored an album as politically potent and pointedly hilarious as antecedents like The Mekons' Rock 'n' Roll and Neil Young's on On the Beach and wed it to the sound of ZZ Top's Eliminator. As writers like Rob Sheffield and Robert Christgau have known for years Elizbeth Nelson has been one of our very best songwriters for going on a decade. On the charged anthem "Bad Day for the Group Chat" she reassesses the current state of affairs: "I have bested all my peers." “Elizabeth Nelson showcases the simultaneously fraught and giddy frequency of our weird, wired world. The Paranoid Style may be the bearer of bad news, but at least the band bears it smashingly.” NPR // “You’ll forgive them for being critic’s darlings because they’re also the goddamn life of the party.” SPIN // Features performances by Peter Holsapple of The dB’s, Continental Drifters & REM through out. Elizabeth Nelson writes for the Oxford American, N.Y. Times, Pitchfork, The Ringer and more. She has over 15,000 followers on Twitter. A