Cerca:pride

Der vollständige Soundtrack von Paul Ruskay zur Homeworld 2 Remastered Edition (2015), der HD-Version des Echtzeit-Strategiespiels Homeworld 2 aus dem Jahr 2003. Während des HD-Restaurierungsprozesses holte Ruskay die Original-DAT-Tapes aus einem Schuhkarton, entstaubte jahrzehntealte Pro Tool Studio-Sessions und ließ von allen Titeln unkomprimierte Versionen erstellen, auch von bislang unveröffentlichten. Die Tracks wurden dann sorgfältig neu gemischt und sequenziert. Schwarzes 180g Triple-Vinyl mit 58 Tracks.

In the beginning was a half-truth, the truth was of war and the half-truth was post-war. Fancying the pretensions of its cultural superiority, a continent chose to hide the truth behind ridiculous jargon and the soothing distance of offshored ?????????. Europe wished itself beyond war because it thought the privilege of peace a birthright, just as it refused to understand that post-war was a euphemism for interbellum. Then the truth has set us free.

The delusion was discarded and war was revealed as an inconceivable horror. Almost immediately it turned familiar and virtually comfortable. Novelty songs of drones gutting tanks became a laughing matter and the burning tanks, their crew inside, entertainment. Consequently, a plurality of people started to collectively dream of new stages of the righteous kind of carnage. This happened within weeks.

Our imagination has swollen to the point of loss of consciousness, compounded by the narrative form long in the sways of atrophy. All of this raises the question of to what degree were the years of peace culturally squandered. The art of the previous age prided itself on self-awareness, today we fail to even notice that we no longer recognize ourselves. But we have arrived where we started and our issues were not too complex for expression.

Since no art form generates action, the most appropriate art for a culture on the edge of extinction is one that simulates pain. In these times we shouldn't produce any other music, none but this, intended to prevent our silence from being misinterpreted.

Riding the Low are fronted by actor Paddy Considine, who was inspired to start a band after seeing Guided by Voices play live. "Robert Pollard's songwriting is just incredible. The immediacy of it just blew me away. His presence on stage... Being a fan felt like being in a gang. I wanted my own gang". The name Riding The Low came from a biography on Lee Marvin that Paddy read before the idea of having a band was even conceived. "There was a section in the book where it described the way Lee felt after he’d completed a movie. He used to see a psychiatrist who advised him that after movies he should fill his time doing the things he enjoys to take his mind off things and settle him back into normal life. The psychiatrist called this period 'Riding the Low'." 'Riding the Low' initially came about as a hobbyist outlet for Paddy's musical interest and ability; writing Pavement inspired songs on acoustic guitar on his own, before developing them with The Leisure Society's Nick Hemming.

Previously Unreleased Album. In the Fall of 1993, between contracts with Capitol and RCA, The Smithereens ventured into Crystal Sound Studios NYC to write and record a new album for their own label. The results of those one month marathon recording sessions is this album, unheard by the outside world until now, and appropriately titled “Lost Album”. The Smithereens’ take no prisoners sound, reflecting their Garden State roots, has resonated with fans worldwide over the course of 17 albums and 2500+ live shows. They've also inspired generations of musicians, including Kurt Cobain, who counted The Smithereens as a major influence. Founded in New Jersey in 1980, The Smithereens have been creating electrifying, original rock’n’roll for 41 years. Jim Babjak (guitar) Dennis Diken (drums) and Mike Mesaros (bass) grew up together in Carteret and lead singer, the late Pat DiNizio, hailed from Scotch Plains. The Smithereens’ fame escalated, they were in heavy rotation on MTV and appeared on The Tonight Show, Conan O'Brien, and Saturday Night Live.

First reissue of these cult 1974 recordings of a Mayan brass band playing funeral dirges and popular songs in its distinctive extended harmonic and rhythmic style. The members of the San Lucas Band lived in the mountain village of San Lucas Tolimán, Guatemala, playing local events of both religious and social nature. The pride of their town since 1922, the band represented a fast-disappearing musical tradition when these recordings were originally released in 1975. Their unique sound derived from an unusual combination of instruments, a repertoire including pieces dating from more than fifty years before the recordings were made to more recent ones, and above all from the highland Maya style of their playing, which is characterized by a preference for freer rhythmic structures and a wider variety of pitches than Western scales allow. One of Jon Hassell and Charlie Haden's favorite records, it was nominated for a Grammy Award upon first release and has remained much beloved by a small community of enthusiasts for decades. A profound and rewarding musical experience for all adventurous listeners, notably fans of Albert Ayler, microtonal and raw cosmic music.

'Erotic Probitoic' is Nourished By Time’s debut EP on Scenic Route, following hot on the heels of his featured track , ‘Wild Thang, Sweet Thang’, on the critically acclaimed Scenic Route 16-track digital compilation, The Road Less Travelled Vol.1, supported by BBC 1Xtra, Dazed, CRACK, BBC 6 Music, Lot Radio, NTS, The Wire and Resident Advisor. The Erotic Probiotic is an intimate glimpse into the world of Baltimore native, whose two track EP shows the duplicity of this exciting singer/songwriter/producer.

Side A, ‘Give It Away’, a beautiful multi layered serenade, showcasing the breadth of his vocal range, with delicate textures sprinkled throughout; heartaching guitar riffs and celestial chords enveloping you into this contagious dream pop melody. Give It Away is a lush R&B ballad about choosing yourself over love but choosing love over pride. The Live performance video was shot at his sold out Servant Jazz Quarters show, in April, directed by Jono Canning.

Staring Into The Fireplace, a relatable anarchist anthem for anyone working a dead-end job, filled with angst and a foreboding energy driven by eerie drums and a melancholy tone. Written whilst employed by Whole Foods during COVID , spraying down shopping carts, what he describes as “the most soul destroying job”. The song explores America’s social constructs moulded by race and capitalism, through his gravelly baritone vocals over lo-fi punk sound, with lyrics reinforcing his ‘bun down Babylon’ sentiment. Along with a self directed music video.

The Erotic Probiotic is the first EP with Scenic Route as he looks to cultivate his unique off beat, guitar driven pop sound in the lead up to his album.

With their profound take on electronic music, Animistic Beliefs have steadily solidified their spot in the global underground. Influenced by cultural concepts such as ancestry, animism and mythology, as well as the languages of political techno, punk, bubbling and IDM, Linh Luu and Marvin Lalihatu consistently translate their visions into sensitive productions as well as high-octane live performances. On MERDEKA, the artists explore and embrace their cultural heritage in all of its pride, pain and complexity. It symbolizes Animistic Beliefs' breaking free, coming to terms with their changing selves and letting go of external expectations. The record rethinks childhood memories, confronts the generational trauma left by (post-)colonialism, and re-connects Linh and Marvin â?? respectively of Vietnamese-Chinese and Dutch-Moluccan descent â?? with their formative cultures. MERDEKA marks their first step in an overall departure from western club music. For its layered sound, Animistic Beliefs once again draw from the past, present and future of global club music, creating a sonic space where fast techno, warped breakbeats and ambient soundscapes make way for the augmented influence of (Southeast Asian) tribal music. The record incorporates Indonesian scales and recordings of the Tahuri (a wind instrument made out of a conch shell), Totobuang (Gamelan-like gongs) and Tifa drums, known as â??the Moluccan heartbeatâ??. In true Animistic Beliefs fashion, MERDEKA will set fire to sweltering clubs and (sleepless) dreams. Yet, for the artists, it is essential to amplify the stories that spark that flame and keep it burning. The release of MERDEKA follows CACHE/SPIRIT, their ongoing collaboration with visual artist Jeisson Drenth, which extensively explores the artistsâ?? intersectional identities. As such, the latest album is the next step within a bigger, introspective investigation. More unapologetic than ever, MERDEKA embodies a turning point on Animistic Beliefsâ?? ongoing journey towards self-acceptance â?? fuelled by the sound of urgency.

Music On Hold's second album raises to its climax an altogether well-cultivated ambiguity between new ambitions and the waiting posture of a band which has never lived up to its name so well. Produced in a cellar in the 7th arrondissement of Paris, supported by Ray Jane and "surrounded by a group of people who manage to concentrate on something for more than 15 minutes", "MOH4Ever" is one of the most personal things that Emile Cartron-Eldin delivers today, "from the salt-dough workshops in kindergarten". Opening, "His Master Voice" transforms the tribute to a recently deceased loved one into a sad clown's dancing homily. With no surprise follows "Wander" and roaming in a Paris traveled up and down at least ten thousand times already. "Music On Hold 4 Ever" then releases the title of this album in a cry accompanied by an invitation to "unplug" his singer. We hear a bit of the group's very first single, "Bread", taken through the prism of Beck's "Up all night". "Citadel", 6'30" end of side A, loudly proclaims as a chain-breaking the nostalgia of truant school and a desire not to die (at least not like Darby Crash). Mixed in - like this entire album - are the versatile ingenuity of LCD Soundsystem and Gorillaz with Italo-disco arrangements from Roberto Zanetti (aka Savage). With "Over", "Home", "Taming a Tiger" and "Last Laugh", side B prolongs the tightrope walker's delirium by summoning in no specific order, memories in Vienna, resumption of excessive consumption, the fact that "the director of the US Federal Reserve is a real fake-ass" and the cynical humo(u)rous swings of a guy overwhelmed by them in an everlasting after-party. From the first LP, "30 Minutes Of..." and its already delayed release, its chopped tour, "Music On Hold 4 Ever" digs a refined pop, no longer as "solar" as some could have described it when everything seemed to be going quickly. Retaining a semblance of immediacy, the 8 pieces of this second album open up new perspectives with their elegant sophistication, in a quite French and truly original touch of DIY and experimentation that the group can pride themselves on. " I'm twenty-nine, and i don't wanna die ".

The French feel good maestros over at Treasure, dig up another haul of glorious gold for ears to wrap around. F.R dusts off the goods on this find, delivering three functional and fearsome reworks of certifiable classic cuts, that will have the dancefloor in the palm of your hands.

Seven years after Shin Godzilla, the worst "despair" in history strikes.

Director Takashi Yamazaki's 70th anniversary film.



Since its first appearance in 1954, the monster "Godzilla" has fascinated and shocked not only Japan but the world. Godzilla-1.0" (Godzilla minus one)

marks the 70th anniversary of Godzilla, the 30th live-action Godzilla produced in Japan, and the first Godzilla produced in "2025". The film is directed, written,

and VFX directed by Takashi Yamazaki, who professes to be a Godzilla fan himself. Ryunosuke Kamiki plays the lead role. The heroine is played by Minami Hamabe.

The film also features a cast of talented actors, including Hiroki Yamada, Takataka Aoki, Hidetaka Yoshioka, Sakura Ando, and Kuranosuke Sasaki,

all of whom are ready to take on Godzilla. The music is composed by Naoki Sato, who has composed music for many of Yamazaki's films, including "Always: Sunset on Third Street,"

"Destiny: The Kamakura Story," and "Archimedes' War. The overwhelmingly powerful visuals and music will send viewers into a whirlpool of excitement.

ONE LEVEL is delighted to announce its latest release, the captivating 'Big Tal's Elements' EP by French DJ/Producer, ALEQS NOTAL.

Following the resounding success of One Level's debut release, the awe-inspiring Afro-futurism of Hagan's 'Forward Focus' EP - a production that ignited a dynamic and fruitful chapter for the London-based artist - the label has been meticulously crafting its return. One Level prides itself on championing quality over quantity, and this ethos is beautifully demonstrated in its second release...

Aleqs Notal, the former scratch champion and consistently evolving producer, joins the label family with a collection of four remarkable tracks. Despite his years of experience, Aleqs admits that he's still in the process of refining his own sound and with 'Big Tal's Elements’, a nickname affectionately bestowed by longtime friend and fellow artist Manaré, his four carefully curated house joints encapsulate a wealth of influences, all beautifully combining to create a modern and innovative soundtrack.

Following his early years of turntable virtuosity, and having embarked on a new creative chapter in the studio, it was 2014 and as a founding member of the innovative ClekClekBoom collective - a group of young French talents who spearheaded a groundbreaking movement that reshaped the Parisian electronic landscape - that saw Notal continue to cultivate his own sound, one rooted in the sounds of Detroit and Chicago. He became a respected DJ on the cities’ club circuit, and has gone on to to feature his music on esteemed labels including Phonogramme, Salon Recordings, Release Sustain and Patrice Scott's Sistrum Recordings.

The EP opens with 'Untwisted Delight', a homage to the timeless sound of the Motor City. A bass-driven DJ tool, pulsating with the resonance of the 808, evoking echoes of Pittman, and igniting a powerful dancefloor energy.

‘Save Ya’ is an ode to determination and self-preservation. A track with its roots deeply embedded in the dancefloor and featuring an archive sound-bank vocal alongside glorious hi-hats, it is a firm favourite of Notals. “I think its from my scratch background. I always work with the hi-hats. For me, when I hear the hats its as though I hear somebody singing." Fully road-tested at Fabric London, Save Ya is now set to rescue many a night.

'Come Get It' channels the spirit of early Chicago house. A fusion of spirited 606 and 808 drum patterns, coupled with the enchanting allure of resounding hi-hats, it offers a heartfelt homage to the revolutionary sounds that defined an era and continue to influence so much of today’s music.

Concluding the EP is 'Hymn Of Passion', a track inspired by Ron Trent's Future Vision imprint. Drawing on a diverse palette of Nigerian percussive elements and samples garnered from past projects, Aleqs weaves a sonic mosaic. Crafted in a single jam session, the track elegantly melds a rhythmic finesse with resonant congas, intertwining with the emotive Rhodes piano, to craft an unforgettable finale.

With a diverse array of influences seamlessly interwoven, Aleqs Notal’s ‘Big Tal's Elements’ EP is a journey through sound that fully captivates the listener.

Michael Chapman (1941-2021) released his debut album Rainmaker in 1969 on Harvest. He went on to release over fifty albums and influence many with his evocative songwriting and guitar prowess. From heady jams to expressive ballads to experimental noise, Chapman’s work continues to inspire. Tompkins Square recruited Henry Parker to curate a collection of covers by working musicians from Chapman’s home turf in Northern England. With stunning artwork by local artist Bunty Marshall mapping the important places in Michael’s life, this 12th volume of Tompkins Square’s Imaginational Anthem series is the ultimate tribute to a very dearly missed artist. Notes from Henry Parker: Tompkins Square approached me in Autumn 2022 about putting together a tribute album to Michael Chapman who had passed away one year ago, on my birthday, in 2021. I remember it well; Michael Chapman had always been a huge inspiration to me since starting out on the acoustic guitar and was the first artist I had heard who played the instrument with that heavy thumb, drop tuned sound. I first got the chance to see him live at the Bradford experimental music festival Threadfest in 2015 and then went on to watch him play many more times, in the northern towns of Halifax, Hebden Bridge and Preston, also getting the chance to support him on a couple of his Yorkshire dates in 2018, in Saltaire and his hometown of Leeds. With both Michael Chapman and myself proudly coming from the county of Yorkshire in northern England, Tomkins Square and I decided to make this compilation decidedly Yorkshire focused, bringing together seven other artists from the county who have drawn influence from the profound music of this man.For those who don’t know, Yorkshire is an area that spans much of northern England, with its people taking great pride in the county, never too seriously, and poking fun at the “soft south” or it’s near neighbour Lancashire. Michael’s sound always spanned from introspective folk songwriting to more experimental forms and naturally so does this album, created for Tompkins Square. When it came to choosing musicians to contribute to the record, I was grateful for the Yorkshire limitation on who I could draw from, as the resulting album is comprised of eight artists, who have all shared stages with each other across the folk and experimental scenes in the area. The lack of “bigger” names on the record feels natural, there’s no ego about this project as there never was with Michael, who always seemed content touring the smaller clubs and making records for anyone who was interested. The artwork for the project came together organically, and firmly within the Yorkshire cottage industry. Two months before I was asked to put this album together, I had played a show in Leeds for the launch of a new zine, centred on folklore and mythology. The artist and founder of the zine Bunty has an exceptional eye for detail and a profound love of Yorkshire landscape and culture. Her intricate maps and illustrations created for ‘Hwaet’ zine were the perfect starting point the for this record, and the cover art and inner sleeve is an ocean of detail for Michael Chapman’s incredible life, music and his connection to Yorkshire

Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.

Bachman has a dedicated fan base who is tightly focused on his next steps. While he has always been restless with his art, his stylistic changes in 2020's "Axacan" demonstrated - and excited - many within that fan base as to how transformative his work and vision can be for "traditional" music in these modern times. This fresh work continued with 2022's "Almanac Behind". "When The Roses Come Again" is a perfect next step to this trendline, a synthesis of tradition and abstraction. In other words, it is yet another vivid reimagining of what a "traditional" album can be in modern times. On this LP Bachman takes acoustic guitar, banjo, fiddle and mouth harp alongside oscillators, drum apps and more to construct one-man string band compositions. Integrating technology as a tool for collage, as well as acoustic instruments that pre-date all of us, Bachman excitingly creates an album that has as much to do with Terry Riley, Laraaji, Eno’s late 70’s ambient albums, and 75 Dollar Bill, as it does the Carter Family, Stanley Brothers, and Hobart Smith. "When The Roses Come Again" is destined to thrill those who have been so enamored with Bachman's past exciting turns as well as pull new folks into the folks who are excited by new sounds.

Run-D.M.C. leaves no doubt about its intent on King of Rock. The New York trio's hard-hitting sophomore album begins with a statement of purpose ("Rock the House") that serves as a stereophonic primer for the title track, a hybrid warning-anthem-theme song that swarms with justified boasts, heavy metal riffs, booming beats, cowbell accents, and dance-worthy grooves. The back-to-back tunes set the tone for a 1985 record that largely established the blueprint for the hip-hop that would follow for the next two decades – and which helped make rap a mainstream currency via the previously off-limits channels of radio, TV, and the national stage. "It's not Michael Jackson/And this is not Thriller," the group broadcasts early on in the record. Truer words – and music recorded with such honesty, pride, rawness, and integrity – have seldom been committed to tape.

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

“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.’

This fourth EP in the Time Crystals series sees Troy returning to the label with a low-key driver, carried by sharp percussion and filtered chords that keep the attention locked in before Ukrainian Svarog and Ma-gooch take over, delivering their signature sound - evolving pads, dreamy soundscapes - resulting in yet another beautiful early hours piece of music.

Wonderchild Luigi Tozzi proves once again that he is a master at blending ambient-influences with dubby atmospheres, resulting in music that fits both dancefloors and living rooms. For the EP's forth track Jonas Korbl, who you might remember from his debut album in 2017 on Dynamic Reflection LTD, combines energetic percussion patterns and synth rhythms.

His Primal Grade is a seemingly perfect successor to Tozzi's Haboob, as both artists obviously take pride in their carefully arranged and modestly performed pieces of techno.

Equilibrium is part of Dynamic Reflection's 15 year anniversary celebration: Time Crystals. This is the fourth of five EP's. Own all five and an all new, visual piece of art will appear.

A1 - Theia

Opening his Spatial account in an historic release for the label and a moniker dormant for over 25 years, JLM Productions opens the EP with Theia - a track which will take you right back to early Progression Sessions days - delicately introduced with blippy effects and hi hats, ushering in crisp metallic beats and relaxing padwork. The track develops continually with soothing melodies and amens added into the mix, resulting in a stunning and varied collage of finely tuned elements that never sound too busy to the ear - JLM Productions, welcome back!

A2 - Derealization

Changing things up while still showcasing the ability to combine a crazy level of detail into a cohesive mix, Derealization is a suspenseful, slightly moody track with JLM Productions laying down distinctive snappy breakbeats and sudden, fierce bassy hits, with tension rising from the eerie synthwork to envelop the listener throughout a track which demands repeated listens and will surely do damage on the discerning dancefloor.

AA1 - Quadrature

With a vibe reminiscent of his output in the mid-90's Reinforced era, JLM Productions drops Quadrature which takes that inspiration and brings it right up to date for Spatial in 2023, effortlessly combining synthetic breaks with understated echoing bongos, restless wavy notes and old school melodies punctuating the immersive atmosphere of the piece. This one thoroughly deserves pride of place in the "old school brand new" club.

AA2 - Translight Velocity

Continuing the old school theme, Translight Velocity quickly shows it's intent with inspired off-key notes before a lesson in joyous 90's style breakbeats leaps out of the speakers - not a single head in the room will be still with this on deck! Bouncy basslines and finely crafted drums from a variety of break samples jump around chaotically, sending your mind to the dancefloors of old in a way that feels incredibly fresh today

Words by Chris Hayes

TaxiCab Verses, Is What You Make It, is a project that was created by Athens musician, Jim Wilson. It’s an international collaborative project between TaxiCab Verses (a name inspired by the phrases
covering the backs of taxis Jim observed during his travels in Ghana) and Ghana’s Kofi Atentenben and the Warriors. The 10-track album is named Is What You Make It, and according to Flagpole Magazine it's "aggressive and propulsive, even on tracks lesser musicians would let devolve into simple swing patterns (like the darkly jazz-tinged “Step By Step”)...my only regret is that I didn’t write about it the moment it came out. It’s righteously excellent." Overall, 22 musicians contributed to this between Athens and West Africa. TaxiCab Verses was originally released on CD only in 2012 and became a sort of hidden gem of Athens. The album was mastered by Greg Calbi (Bob Dylan, Drive-By Truckers, Paul Simon, The National) and was produced by Drew Vandenberg (Faye Webster, S.G. Goodman).

Patterson Hood of the Drive-By Truckers also had a big role in the creation of this album. He says that he is "so filled with love and pride for what Jim, Drew and all of those amazing musicians from two continents have created. Kudos to George Fontaine and the Strolling Bones Records folks for spotlighting this amazing chapter of Athens music history (and beyond) and finally making this record available for the whole world to hear."

A unique encounter between Bantu lullabies from the Congo, electronic music
and hip-hop. A hybrid project that gives pride of place to dance and highlights the
daily life of Congolese women in a bold and above all contemporary way.
2023 will see the grand return of Les Mamans du Congo & Rrobin, with "Ya
Mizole" (which literally means "second album") due for release in autumn 2023.
The album was teased by the 4-track EP "Kikento" in spring 2023.
Their music has become a veritable laboratory, with Rrobin bringing his grime,
drill and boom bap riffs and layers to bear on the various rhythms of the Congo.
Electronizing percussion, rapping about everyday life in Brazzaville, preserving
Les Mamans du Congo & Rrobin perpetuate memories and bring a new
dimension to African music.

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

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

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

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

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

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

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

"Stravan" is the third opus from the enigmatic yet revered Swedish black metal duo Murg. Embarking on a sinister and sombre journey, the album is driven by deliberate, slow- paced riffs that emanate stoic darkness and fierce pride. Murg embrace a musical minimalism that cuts straight to the bone, defying simplicity and predictability.

"Stravan" stands tall and unwavering in its unyielding intensity - as a resolute farewell to creation itself.

Der „World Painted Blood“-Nachfolger ließ lange auf sich warten und macht mit dem packenden Intro und dem folgenden Titeltrack
„Repentless“ unmissverständlich klar, wer der Boss im Thrash-Metal-Bereich ist. Das war das stärkste SLAYER-Album seit 25 Jahren!

French label and promoter Much More recordings is proud to present the second vinyl of its collection. This vinyl features 6 tracks ranging from breaks to techno and passing electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

- In the cosmos of techno, a pear takes height,
As Hawking once mused, our past's pear-shaped light.
Evoking the essence of techno's design.
From acid's lemon embrace to bitter-sweet's delight,
Techno's past and future, in pear-shaped swirl.
Upon the tree stump, a glimpse of starlight,
A timeless journey, through cosmic embrace.
Techno's essence, expanding through space,
Techno's soulful evolution, a work of art. -

AudioKast joins, promoting sheer delight. Intelligent, smooth, with a touch of piano, A break-infused track, atmospheric glow. Falling Echoes, from France's southern land, Techno that lingers, both fresh and grand. Straight, mental, efficient, it ensnares, A captivating sound, with eternal affairs. Ricardo Garduno, Mexico's pride, Illegal Alien's head, his track provides heavy, straightforward, 4-to-the-floor, A dancefloor bomb, demanding much more. Johannes Astrup,
from Copenhagen's embrace, Smart-stepping techno, a timeless grace. Killing beats that reverberate and flow, Infinite rhythms, an everlasting show. Joton and Aicrag, a powerful duo, Break smart-stepping techno, boomy and true. Their collaboration, a vibrating spell, Moving bodies, a dancefloor's sweet swell. The Blackmailer, a friend tried and true, Driving, big room, a relentless beat, Techno's love, a symphony complete. Dear friends, in this cosmic dance we partake, Love and techno, our souls awake.We are back to the essence, and yet, much more.

“Vivian was a talented singer-songwriter who never realised his full potential. Leroy Smart’s popular ‘Pride and Ambition’ was written by Vivian, but he was not even credited on the record. When I decided to make reggae recordings of my poetry, it was Vivian who showed me how to go about it. He played bass on my first three albums, Dread Beat An Blood, Forces of Victory and Bass Culture.

I introduced him to Virgin Records and he recorded his first album, Bad Weathers, which was released in 1978. When I moved to Island Records, I also secured a deal for him to record an album with them. Two singles were released by Island but the album, which I had helped to produce, was never put out. Vivian never got the break he deserved in the music business.” – Linton Kwesi Johnson

The iconic voice of Luzmila Carpio rings out from the Andes, spreading messages of indigenous struggle, female empowerment and unceasing love for both the people and planet around us. An undeniable icon of Bolivian Andean culture whose career spans multiple decades, Luzmila has released more than 25 albums (there’s a reason that Rolling Stone described her as”one of the most prolific indigenous singers of South America”), inspiring millions while singing in both her native Aymara-Quechua language and Spanish. Yet Luzmila Carpio isn’t someone who’s content to simply rest on her laurels; she continues to take risks and push her music into vibrant new soundworlds. On new album Inti Watana: El Retorno del Sol (her first LP in a decade), she’s teamed up with Argentinian producer Leonardo Martinelli (a.k.a. Tremor), a ZZK veteran who’s spent the bulk of his career finding the common ground between Latin American folk rhythms and modern electronics. Building off the momentum created by 2015’s Luzmila Carpio Meets ZZK collection in which her music was reworked by not only Tremor, but standout electronic artists like Nicola Cruz, Chancha Vía Circuito and El Búho this new album is meant to stretch across genres, generations and continents, with Luzmila’s sonorous, occasionally birdsong-inspired vocalizations gracefully gliding amongst ambient textures, programmed beats and (of course) a bevy of traditional instrumentation from around the globe. Over the course of the LP, Bolivian charangos and quenas sit comfortably alongside the sounds of harmonium, violin, acoustic and electric guitar, Argentinian bombo leguero and sacha guitar, Armenian duduk and a litany of Asian percussion. Inti Watana: El Retorno del Sol which will be accompanied by a full length documentary might not sound like previous Luzmila Carpio releases, but on a spiritual, political and lyrical level, her core values remain unchanged. A native of Bolivia’s Potosí region, she’s long been a beacon for indigenous communities in not just her home country, but throughout Latin America, her voice inspiring joy and pride amongst ancient peoples whose culture and inherent beauty are often overlooked. Her pursuit of music a field traditionally dominated by men in Andean communities long ago made her a pillar of women’s empowerment, but Carpio has also been a vocal proponent for social change, using her influence to advocate not just for the rights of women, but for the protection and increased visibility of all indigenous people. Yet it’s the planet itself that Carpio is most passionate about, and she’s devoted much of her new album to conversations with Mother Earth and Father Sun

Celebrated composer, performer, saxophonist, soloist, band leader, educator, activist, and mixed-media artist Matana Roberts returns with a new installment of their acclaimed Coin Coin series. For over a decade, Coin Coin has been the central artistic project for Roberts, a remarkable exploration of American ancestry and the nature of memory through "sound quilting": modern composition that draws on a wide range of musical sources and traditions, along with research-driven historical and genealogical narratives that yield prose and poetry both spoken and sung, field recordings, and graphic scores. The Quietus declares "when the 12-album cycle is complete, it will be regarded as a singular masterpiece of 21st century sonic and narrative art" and Pitchfork calls it "one of the most provocative ongoing bodies of work by any American musician." Coin Coin Chapter Five: In the garden... is the first new recorded audio chapter since 2019 and centers upon reproductive rights, summoning the story of a family ancestor who died in early adulthood, from a cause kept obfuscated and hushed, shrouded in disinformation and shame. Roberts reimagines diaristic and oral narratives, delivered in strident streams of spoken word that punctuate the hour-long work, with recurring musical themes frequently accompanied by the declarative refrain "my name is your name / our name is their name / we are named / we remember / they forget." As Roberts writes in the accompanying liner notes essay: I find it absolutely disgusting that the same trauma my grand ancestor, whose story we are telling in this chapter, is closely mirroring the experiences of some poor soul today as I write this... Our aforementioned grand, who perished at a young age, leaving her growing children motherless, did not have to die. The negative consequences of her death have reverberated down through generations in my family line, in the same way that a similar resounding might happen for someone else's ancestral line generations from today. While often jazz-adjacent, and with Matana's inimitable saxophone and indomitable voice at the core, Roberts situates Coin Coin outside the Jazz genre and within heterodox pathways of post-modern composition, electroacoustic music, sound collage, experimental voice, and sound art. In the garden... undeniably continues to express and expand upon the project's magnificent iconoclasm, nonetheless being the most jazz-inflected chapter since Coin Coin Chapter Two: Mississippi Moonchile(2013). Recorded in Brooklyn with a stellar acoustic ensemble that includes Stuart Bogie, Gitanjali Jain, Darius Jones, Matt Lavelle, Mike Pride, Ryan Sawyer, Corey Smythe, and Mazz Swift, abetted by some sparkling pieces featuring modular synthesis courtesy of album producer Kyp Malone (Bent Arcana, TV On The Radio), In the garden... traverses a vivid stylistic array of thematic overtures, excursions and set pieces, ranging from spacious textural invocations to gorgeously tempered horn-led compositions to driving free jazz and exhilarating through composed bursts of cacophony. With storytelling spoken-word lead vocals by Roberts channeled recurringly throughout, alongside various other deployments of layered and group voices, the album is alternately a meditation and fever dream of narrative potency. This is some of the most intense and intensive music Roberts has composed and captured to date, richly conceived and deeply felt, restless yet focused, unflinchingly substantive and unique. Coin Coin Chapter Five: In the garden... channels epigenetic trauma and tragedy with teeming complexity and fierce beauty _ a eulogy, testimony, and celebration, melding music and language in a stunning polychromatic flow of vernaculars and poetics. A powerful work of subjective commemoration and historical-cultural communion that speaks indelibly to the present moment.



2x10” in 350 gsm widespine jacket w/interior colour flood + 300 gsm printed inners + 20”x 10” fold-out insert + DL card

Already bandmates within IDALG, Jean-Michel Coutu and Yuki Berthiaume-Tremblay have been working on new material for some time, from which a distinct identity emerges: the echoes of exotic post-punk, the polychrome and nervous plot of an art rock space opera. YOCTO, in addition to the name given to this new project, is a micro unit of measurement that reflects well this mini-cyclic and fractional music, drawing its DNA from mid-70s underground rock (Television / Talking Heads / Devo) and sci-fi series opening credits. As a leader of this band, Yuki Berthiaume-Tremblay (Jesuslesfilles, IDALG) sings rebellion anthems alongside Jean-Michel Coutu (IDALG) on guitar, Emmanuel Éthier (Chocolat) on bass, Félix-Antoine Coutu on drums, and Carl Matthieu Neher on v-organ. The first album, Zepta Supernova, co-produced by Emmanuel Éthier (Corridor, Pierre Lapointe, P'tit Belliveau) and Jean- Michel Coutu (Jesuslesfilles, CRABE, PYPY), is released on Canadian label Duprince and French label Requiem pour un Twister. An incisive odyssey where fatal obsession, pernicious pride, chained star, and judgment day are at issue. In this series of science-fiction fables, Yocto speaks to a completely megalomaniacal antagonist. The latter has a predisposition to indulge in his own vices - which Yocto has understood well and will makegood use of: through her cunning and pure ingenuity, she will undermineherrival untilhis lucky starbecomes asupernova

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong).

A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil».

Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks.

Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents.

If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's.

Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

Despite her pride in what she had created with The National's Aaron Desner, her faith in music in this new, unforgiving reality had started to falter. She realised in this moment that the one thing she could lean into was her own talent and workethic, after all her greatest ambition had always been to self-produce an album, and this was the moment.

Helped by her partner Sean Sroka (Ten Kills The Pack), who co- produced and together crafted the vision and balance between organic and synthetic production. The process of writing new album
'I'd Be Lying if I Said I Didn't Care' was a journey of catharsis and self-confrontation. Sometimes it gave her anxiety, sometimes it gave her a song. This is Hannah's first record on Lucy Rose's Real Kind Records (Bess Atwell, Samantha Crain, Memorial).

FÜR FANS VON: Gamma Ray, Helloween, Edguy, Blind Guardian, Stratovarius, Rhapsody, Primal Fear Auf ins höllische Metal-Vergnügen: Nach ihren bisher vier erfolgreichen Alben ‚The Unity‘ (2017), ‚Rise‘ (2018), ,Pride‘ (2020) und ‚The Devil You Know – Live‘ (2021), europaweiten Tourneen als Headliner bzw. im Gefolge von Bands wie Sinner, Edguy, Axel Rudi Pell oder Rhapsody Of Fire,
umjubelten Shows beim ‚Masters Of Rock‘, ‚Knockout-Festival‘ oder auf dem, Bang Your Head‘ zeigen sich The Unity auf ihrer fünften
Veröffentlichung ‚The Hellish Joyride‘ spielfreudig und variantenreich wie nie zuvor. „

Wir waren immer schon stilistisch breit aufgestellt, aber mit‚The Hellish Joyride‘ dehnen wir die Grenzen des melodischen Power Metals nochmals ein Stück weiter aus“, erklärt Michael Ehré und verweist auf die zwölf abwechslungsreichen Songs des Albums, die von temporeich bis balladesk reichen. Zudem hat Neuzugang Tobias „Eggi“ Exxel (Bass, Edguy) frische Energie in die Band gebracht und verstärkt die Gamma Ray-Mitglieder Henjo Richter (Gitarre) und Michael Ehré (Schlagzeug), Sänger Gianba Manenti, Gitarrist Stef und Keyboarder Sascha Onnen unüberhörbar. Veröffentlicht wird die neue Scheibe am 25. August 2023 über Steamhammer/SPV, bereits eine Woche später startet die Europatournee mit Primal Fear. Als erste Vorabsingle inklusive „sportlichem“ Videoclip gibt es am 14. Juli 2023 den Song ‚Always Two Ways To Play‘, fünf Wochen später folgt die zweite Auskopplung ‘Saints And Sinners‘. Die Spritztour kann
beginnen!

Das dreifach RIAA-zertifizierte Platin-Debütalbum, gepresst auf 140g kristallklarem Vinyl, enthält die beiden Platin-Singles "Really Really" und "2 Phones".

After decades of near silence, the old skool scene was shocked and thrilled to hear about a new Acen release, and here it is on vinyl! An absolutely amazing slice of old skool that also looks to the future in a classic Acen style, this one is sure to fly! All three tracks on the EP are authentic and incredible and deserve pride of place in any collectors collection!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Liquid, Hyper On Experience, Ant To Be, Ponder and many others

Originally released in 1996 — and for the first time here on vinyl — The New Standard features songs by Stevie Wonder, Prince, Sade, Nirvana and more getting creative, inspired and swinging jazz takes from Herbie and a world class band.

The recording features an all-star cast of Michael Brecker, John Scofield, Dave Holland, Jack DeJohnette, and percussionist Don Alias.

This compilation takes us on a journey to the Colombian coast where the passion for African music burns bright.It's impossible to understand this love affair without first looking to San Basilio de Palenque - the first free town in colonial Latin America, established in 1691 as a place of refuge and autonomy for black slaves. It's a place where pride in African heritage and culture could be kept alive, just 50 km away from Cartagena de Indias.

The Afro Caribbeans' connection to their roots gave rise to the "picós" - artisanal, high-powered sound systems akin to those found in Jamaica. These music aficionados have a keen ear for African melodies, leading to a vibrant collector's scene that brought Afro sounds to the streets of Barranquilla, Cartagena, and Santa Marta. This compilation showcases the best of Kenyan Benga music - a unique style with a distinct guitar-picking method that draws from traditional instruments like the nyatiti and orutu. Learn everything about the history and stories behind these African tracks, from the carefully guarded "exclusives" to the piconema - the practice of renaming songs in Spanish based on their lyrics or the reaction of the dancefloor.

The project has been led by Spanish vinyl collector Joan Pujol aka Golfo De Guinea surrounded by a team of passionate music lovers including Don Alirio, a musicologist from Barranquilla who offered a coastal perspective, and George Ouma, a Kenyan DJ, collector, and Benga advocate who helped with track selection and securing rights. The result is a compilation that captures the joy and energy of sub-Saharan polyrhythm, bringing together a vibrant mix of genres that are sure to move your feet. So sit back, turn up the volume, and let yourself be transported to the vibrant streets of the Colombian coast and the shores of Lake Victoria.

It's a Man’s World achieved Top Ten and Gold status in the UK, and featured the singles “Walking in Memphis,” “One by One,” “Not Enough Love in the World,” “The Sun Ain’t Gonna Shine Anymore” and “Paradise Is Here”. The album was supported by numerous remixes of the singles, and a selection of these remixes are included together for the first time on new physical and digital products. None of the remixes have previously been made available physically, and only one of the remixes is available digitally in the US.

The limited-edition vinyl box contains a 2-LP set of the original album – remastered from the best available sources – plus a double album of remixes, and includes two unique, numbered lithographs for worldwide retail and the artist webstore respectively. This reissue features the original 14-track UK version.

Originally released in October 1993, “The Crossing” was Paul
Young’s fifth and final album for Columbia Records. Produced
mainly by Don Was and featuring top musicians such as Billy
Preston, The Memphis Horns, Jeff Porcaro and Pino Palladino,
the album is regarded by fans and critics as one of Paul
Young’s very best solo works. When interviewed for this 30th
Anniversary release, Paul Young said: “If you were to ask me
the albums I most enjoyed making they would be the first
and the last for Columbia Records; No Parlez and The
Crossing. On The Crossing, it was the caliber of the musicians
that I worked with and I was working with my musical heroes,
some of which I’d admired since I was a teenager. The
sessions were so relaxed and all the people in the studio
were such lovely people to work with, I will remember it
forever.” 7A Records is reissuing The Crossing on 180g coloured vinyl and CD. The recordings have been remastered and
the packaging will include rare photos, extensive liner notes, an exclusive Paul Young interview and lyrics to all of the
songs. The vinyl version comes in a gatefold sleeve and pressed on 180g Turquoise Viny

The sounds of Cleveland seem to grow increasingly abstract with each passing release and a third Kalahari outing is no exception. Manipulating house and techno templates into newly mutated forms, ‘Lola Ran’ is a testament to a producer always playing fast and loose with concepts of genre. It’s possibly his most probing set of productions thus far.

Where predecessors came bearing remixes, it's strictly originals for the duration here.

‘Rand’ and ‘PrideBRK’ are direct but decidedly off-kilter; at once modern and faintly retro in their approach to breaks and deep-dwelling techno. ‘Lola Ran’, ‘Mano’ and ’Temp Oro’, on the other hand, shift gear into opiated, rhythmelodic territory. There are no doubt traces of Detroit-style sci-fi but the Brussels-based producer terraforms an alien microcosm unto itself.

Egyptian-Australian DJ/producer moktar announces his second boundary-pushing five track EP, ‘Immigrant’. An expressive and considered journey that combines his Middle Eastern heritage and influential club sounds in one.

‘Immigrant’ sees moktar continue to bring traditional Arabic instrumentation into the club by weaving samples like polyrhythmic drumming and the Arabic Oud into experimental club music which has captured the attention of many tastemakers. Giant Swan, Anz, Tash LC, Raji Rags, Jamie XX, Bonobo, Groove Armada, Hudson Mohawke, Mary Anne Hobbs and Jamz Supernova all championed his highly favoured self-titled EP in 2021, which topped the Australian community radio charts as a number #1 most played alongside the global support it received. The release represented re-learning the value of his Egyptian heritage following racism and stereotyping growing up. ‘Immigrant’ expands on the story.

Debut single ‘Immigrant’ was released in September and served as a backdrop for moktar to air the stories of many as well as his own, told through a chopped vocal sample of Arsenal Football Club’s host and hype man, Frimpon. ‘North Africa’ and ‘Al-Duqqi’ are a homage to moktar’s roots. ‘Crossroads’ represents his need to push himself and grow in life and music, and ‘Send it’ (a term in Australia that means you're about to do something wild) also aims to represent Middle Eastern communities in Bankstown, Sydney.

moktar explains - “Through Immigrant I wanted to highlight the struggle many people all over the world go through to be accepted, while representing the community in Egypt, North Africa and Australia. Fusing Middle Eastern sounds into sounds into my music has been a big part of helping me become proud of who I am. I feel passionate about bringing these sounds to a wider audience in the hope it helps others in the identity struggle feel a sense of pride too”

The EP falls just as moktar’s highly anticipated debut EU tour comes to a close, playing b2b with DJ Plead at Phonox for Yung Singh, Adaptations Festival, Repercussions Festival, Werkhaus Festival, b2b with Mr Scruff at Field Day, Lost Village, Amsterdam for ADE with Kode 9, Rex Club in Paris, and Takseer festival Berlin.

For MAN ON MAN, the duo of boyfriends Roddy Bottum (Imperial Teen, Faith No More) and Joey Holman (HOLMAN), 2021 was a monumental year. Without knowing exactly what they were making the year prior, the couple had recorded a batch of songs while traveling across the country to be with their ailing mothers during the pandemic, both of whom passed away in the span of just 6 months. The songs that came out during this time celebrated the love they have for each other while championing the queer scenes they surround themselves with. They are deeply intentional and their overall message is rooted in the Queer experience – songs about gay love, pride, acceptance, self-empowerment, and appropriation. The tracks would eventually appear on their self-

Band: VORNA Album: Sateet palata saavat Release Date: September 27th Clichés almost always have a true core. That artists from the (European) Far North tend to melancholy is one thing that has already been confirmed many times. VORNA is no different. The band from Tampere has been in existence since 2008, and still is today in its original line-up. The six-piece group is well-rehearsed and has continuously developed its sound over the years. With pride and self-confidence the musicians grasp their playing as "Finnish melancholic metal". This means songs with a dark mood and an emotional state-of-mind, which cause reactions from the developing atmosphere. The melancholy comes to bear on different levels, but without ever slipping into pessimistic gloom. VORNA's access to the heavy spectrum is broad and open-minded. The six musicians are guided by their emotions and transform them into dark tuned music. Starting from a base between Folk and Black Metal, the Finns have enriched their playing since 2008. The symphonic extension of the third album underlines the atmospheric and melodic composition of the songs. "Sateet palata saavat" means something like "Return to Rains". In other words: something is brewing before the sky opens its floodgates and the power of nature discharges. This picture fits very well to what VORNA musically have to offer. "Sateet palata saavat" develops to be tense and intense. VORNA's vocals, left in Finnish, don't compromise the access to VORNA's "Finnish melancholic metal". The underlying emotions can be empathized and create an interaction with the listener right from the beginning. The organic songwriting of VORNA underlines the down-to-earth approach, the Finns are following. Partially, however, "Sateet palata saavat" sounds uncanny and creepy.

In the years since The Aces released their acclaimed sophomore album, ‘Under My Influence’ in 2020, the band has been on a journey of self-discovery. Faced with the realities of a global pandemic, sisters Cristal and Alisa Ramirez (lead vocals/guitar and drums, respectively), Katie Henderson (lead guitar/vocals), and McKenna Petty (bass) used quarantine as a time to reflect, confronting personal mental health issues as well as processing experiences they’d had growing up together in Provo, Utah, as part of the Mormon church. When The Aces returned to the studio, their vision — and the honesty and trust between them — felt stronger than ever. The result of this growth period is ‘I’ve Loved You For So Long,’ the band’s third LP. Written and executive-produced by the group (along with Keith Varon, the sole collaborator on the project), the album is a sparkling indie-rock record that’s by far their most personal and self-assured work to date. From tracks that ruminate on mental health and self-sabotage to searing anthems about love, longing, and heartbreak, ‘I’ve Love You For So Long’ is a record that’ll work its way into your head and heart — and will have you singing along all the way through. ‘I’ve Loved You For So Long’ is also an opportunity for The Aces to reach new heights and build on their many previous successes. To date, the group has earned over 205 million career streams; ‘Under My Influence’ alone garnered more than 75 million (including 35 million on its lead single “Daydream”). The album also appeared on numerous charts, including #53 on Billboard’s Top Albums list. Further, The Aces have toured with the likes of 5 Seconds of Summer, X Ambassadors, The Vamps, and COIN, and have played at festivals all over the world, including NY Pride, Lollapalooza, Firefly, Bonnaroo, OUTFEST, and more. After selling out their last U.S. headline tour in 2021, the band will hit the road again this year, with dates soon to be announced.

The latest venture in the ToneShift imprint from UK-based label Comma Traxx welcomes emkay and Janthe to the Comma releases catalogue alongside label boss Hannd and frequent releaser Cosmic G. Each track stands out individually but works together seamlessly to create a complete compilation package. Hannd’s ‘Ratio Extract’ acts as the modernized progressive house representative on the VA, merging intricate sound design with developing goa’esque melodies forming a fine line between euphoric uplift and rolling peak time ammo. emkay’s ‘Rays Of The Sublime’ does as the title suggests, sending the listener into an uplifting state of bliss, combining raw break percussion with intricate synth developments - a strong representation of why the talented producer is a name to be reckoned with at the moment. Cosmic G draws on old-school goa trance influences for ‘Life Pride’ fusing tribalistic percussions tastefully immersed with deep and atmospheric sound design. Janthe’s ‘Conversations’ blends dubbed-out house flavours with prog-like rhythms to bring the fantastic finishing piece to the compilation puzzle.

repressed !

It takes a lot to achieve the status of legendary or era defining in dance music, its sands shift so quickly artists, genres and labels have often come and gone before you realise.

So it's with some pride and deserved justification that Yoshitoshi marks its 20th anniversary with celebratory remix packages of its most iconic tracks.

Already riding high in the Beatport charts with the success of the Uto Karem and Robosonic mixes of Eddie Amadors House Music, the latter of which has spent the past month in the overall top 5, the label now plans a one, two punch with the follow-up: Alcatraz seminal Giv Me Luv.

We thought long and hard about how we scheduled this 20th anniversary project, says label boss Sharam, little point launching big and then following up with a whimper so we deliberately chose Alcatraz for this difficult task.
But the challenge didnt end there; a massive record still deserves a massive remix and I think its safe to say we found the perfect woman for the job...

Step forward undisputed techno titan Nicole Moudaber who leapt at the opportunity to remix the track.
Ive got so many fond memories of Giv Me Luv, it was one of my favourite tunes from my formative clubbing days, recalls Nicole happily, so, when Yoshi mentioned the idea of me remix-ing it I just couldn't say no.

In fact I was so familiar with Alcatraz I was already awash with ideas of what I could, or should, do with it.

As I got into the mix one of those ideas just grew and grew, namely an extended breakdown that constantly builds; layering the memorable vocal to an intense pay-off and (hopeful) moment of real dancefloor drama. Nicoles humble description doesn't quite do the end result justice, which is a modern, masterful take on the classic.
Her iconic techno beats, dark twisted stabs and arrangement of that bassline drive toward the mentioned break, which will undoubtedly rival the fireworks of any impending NYE celebrations. In fact, expect this track to be THE soundtrack to many a dance floor come the all-important hand-over to 2015. And, just in case that weren't enough, Yoshi has also secured the skills of Tent Cantrelle to deliver the perfect deep house foil to Nicoles techno ferocity as Sharam concludes, We wanted a real slice of contemporary funk from the companion mix.

Yoshi is synonymous with exploring the line between deep house and techno, perhaps no more so than during its formative years, so this re-mix completes the package perfectly.

A precedent of sorts to, erm, Armand van Helden vs Fatboy Slim’s 1999 bout, ‘The Heavyweight Sound Fight’ takes pride of place among iDEAL’s hall of oddities with one of the zaniest recordings by three international leaders of the avant-garde. Double LP with an LP-sized 12-page booklet designed by Sean McCann of Recital.

Adapting all the pomp and ceremony of a boxing match to ludicrous ends - including a flier depicting each artist with their dukes up - they produced what sounds like a great night out for NYC’s experimental cognoscenti with Charlie Morrow (USA) vs Carles santos (Spain) each backed by a band - Soho Baroque Opera Company with the assistance of the New Wilderness Foundation - while Sweden’s Sten Hanson acts as referee, and Armand Schwerner takes the role of announcer in thick, nasal New York brogue. It’s brilliantly daft and subversive but accomplished in a witty way that maybe escapes too many solemnly po-faced avant-garde conceptualists nowadays, and remains a strange outlier in the history of NYC avant garde and beyond.

“Operating as an aural window into an happening that occurred more than 40 years ago, “The Heavyweight Sound Fight” unveils a different context of experimental music than is not often encountered today. Running across the album’s four sides, within all the seriousness of art and technique, is the unmistakable presence of humor, play, and the absurd. The audience can’t help but laugh and cheer as the announcer - effecting a deep New York accent and nodding toward notable attendees like Allison Knowles, Dick Higgins, and Jackson Mac Low - takes an active role in the fight, each artist delivering an array of vocalizations - from extended technique utterances to rants - against the next, with the bands weighing in and engaging in their own battles, ranging from big band dirges and marches, to outright experimental electronic madness. It’s a trully raucous affair that brings that radicalism carried by its sounds into entirely new zones.

According to Marrow, he was deemed “winner” in an “off-script” move by the judges, and Santos never spoke to him again, continuing the wild and wonderful mystery and humor of the performance into the present day. Who knows what Santos, who sadly passed away in 2017, would say.”

2023 Clear Vinyl Repress! nthng finally follows up his four stunning EPs with a full album proper, arriving in a whopping 3xLP pack.Arriving a good 6 months after the LT029.5 album sampler which debuted both Soms and In My Dreams, nthng adds another seven hazy, hooded techno bangers to those to make up a pretty dazzling body of work.Opener 'Touches' is true ambient bliss, with shrouded, blissful synths fuzzing into view and cut through by a soft low distant sunlight. Both Galaxy and Eternal thump into view with a hi-paced drums colliding and clashing with syncopated stabs and smooth dusty baselines, recalling the tender techno-trance precipice danced by Dutch producers at the start of the 90's. The huge mysterious fan favourite and title track It Never Ends gets it's pride of place with 9 mins of deep, cavernous techno, all rippling with epic string-synths and washes of mountainous reverb.Even deeper numbers are extracted from the hard-drive, including the pensively, digitally-bubbling computer jam Unity sitting tidily alongside the super deep and subtle rolls of Abyss. Rounding the album out is the appropriately-titled Last. A dark, shimmering, almost emotionless number that cements a different idea of the future. A hard, pounding, yelping, depth-charged technoid closer. For us, the album feels like a real masterpiece, conjuring a spectrum of intimate and emotive moods, feelings and nostalgia-tinged memories that float into the mind, like the settling fog in the valley on a crisp winters morning.

Sourcing influences from 90s Tech, house, trance and breaks Aiden Francis' pure passion for underground electronic music radiates through his music and DJ sets. Effortlessly drifting between different sounds and aesthetics, Aiden has managed to break himself free from the constraints of genre so that his true creative prowess can be flexed in full.

The lack of constraint overflows into Aiden's DJ sets, providing highly energetic experiences that flows through a unity of sounds, cultures and voices. This varied approach to DJing has found Aiden's name appear on high-quality events across Manchester and the UK, having played along Eris Drew at The Loft, taking the reins for High Hoops Pride Weekender at The White Hotel featuring on the lineup alongside D.Tiffany and Fafi Abdel Nour and regular intimate sets at Eastern Bloc.

Known as ‘Mr. Guitar’, Chet was one of the greatest and most influential musicians in Country
Music. He was an RCA Nashville Producer from the late '50s through to the mid-70's,
masterminding sessions for Dolly Parton, Charley Pride, Waylon Jennings and Jim Reeves. Chet
moved to Nashville and became a session man, playing on records by the Everly Brothers, Elvis
Presley and others, while also performing as a solo artist on the Grand Ole Opry. An in-demand
figure at this point, Chet commenced his own recording career with an instrumental version of
Indian Love Call. Followed by Yankee Doodle Dixie, a showcase arrangement on which Chet
played the Bass strings and Treble strings simultaneously! An architect of the Nashville Sound, he
recorded an instrumental version of the Chordettes' hit Mr. Sandman, which provided him with his
first Country Music chart entry. His records began to cross over into Pop and he enjoyed Hot 100
success with the percussive Boo Boo Stick Beat, Teensville, One Mint Julep, Sleep Walk and Oh
Lonesome Me

The highly-anticipated third studio album from critically-acclaimed singer-songwriter Greyson Chance, released through Lowly. Available on black vinyl with gatefold sleeve, featuring "My Dying Spirit”, “Homerun Hitter,” "Athena" & more.

“The album comprises three acts," says Chance. "The first one is rebuilding and growth. The second is absolute pride. The third is a realization. Life will kick you in the ass no matter what happens. It feels timid at points, but there are big confident moments. At the end, the hero falls down a few pegs. I’ve been writing my own songs since I was a kid, and that’s the story behind it.”

Paris remains the city of light, the city of lovers, the city of strollers, the city of artists. Each glance at the city gives off a perfume of history, invention, creation, nostalgia and energy. A thousand years of history, of a city that owes its place only to its inhabitants, its sovereigns, its artists and its struggles, will remain forever engraved in the memory of our humanity. A spirit reigns over Paris, which gives it this unspeakable charm, made of a mixture of sensitivity, pride, revolt and joy of living. The artists: composers, authors, interpreters, painters, pay here homage to the city which rocked them.

A lot can happen in ten years.

Rewind back to Gateshead in 2008 - the producer Smoove is round his friend and keyboard player - Mike Porter's house. Together they are working on tracks for his project and all of a sudden they hear a heavenly voice from the neighbour. Transfixed by the vocals that are caressing their ears they go and investigate to find a youthful John Turrell doing his thing at a practice with a local band he played with when he wasn't teaching carpentry at the local college. Together they woo him with their Geordie charms and the initial line up of 'Smoove & Turrell' is born. The group instantly gel and soon after have penned the killer track 'I Can't Give You Up'...

Flash forward to 2019 and the carpentry community looks on with jealousy as the group has gone from strength to strength. Signed to the independent label Jalapeno Records they are now five albums deep and they have achieved multiple radio-playlisted singles, won awards, toured with the likes of Chic, gained sync success across the world and continue to wow venues in all continents with their thrilling live shows on the regular.

All of this in an age where attention spans are shorter than ever and there is more access to music than ever. This is certainly an achievement worth celebrating. Doubly so in fact as not only is it their ten year anniversary collection but also it is the 300th official release on Jalapeno Records so it only seems right that the occasion gets commemorated properly - a double gatefold LP with brass coloured vinyl somehow seems appropriate...

Comprising of 18 tracks taken from all five of their studio albums as well as two new barnstorming tunes exclusive to this release - it's a veritable feast of northern funk gems from start to finish. Favourites from their deep catalogue including 'Slow Down', 'Beggarman', 'In Deep', 'Have Love' and 'You Could've Been A Lady' are all present and correct, lining up next to the two newbies which also hold their own.

"But what about the new tracks!" we hear you cry - well Smoove's solo rework of The Spencer Davis Group - I'm A Man is the stuff of legend with physical copies changing hands for huge sums (if you are lucky enough to be able to locate one in the first place!). The track has long been a staple of S&T live sets but they've never laid it down in a studio recording... That is until now. It's a monster of a tune and the perfect way to kick proceedings off on this record.

That's not all though, as the lads also serve up the aptly reflective 'Give it Back'. It's signature Smoove & Turrell stuff - full of soul with deep and heartfelt lyricism. Turrell's chorus refrain "We love the ones who give it back" is typically honest and true of a band that prides themselves on community. Proper canny that. Proper canny.

‘Songs of Surrender’ 2 x 12’’ Black Vinyl - features 16 new acoustic & re-imagined recordings from the U2 catalogue, Produced & Compiled by The Edge. Including ‘One’, ‘I Still Haven’t Found What I’m Looking For’, & ‘Pride (In The Name Of Love)’. U2 have sold over 175 million albums, won 22 Grammy awards and released 14 studio albums.

Exclusive Limited Edition Numbered Super Deluxe 4 x 12’’ Collector’s Boxset. Featuring 40 new acoustic & re-imagined recordings from the U2 catalogue, Produced & Compiled by The Edge and arranged into individual band volumes. This collector’s edition includes ‘With Or Without You’, ‘Beautiful Day’, ‘Where The Streets Have No Name’, ‘One’, ‘I Still Haven’t Found What I’m Looking For’, ‘Pride (In The Name Of Love)’, alongside fan favourites such as ‘Stories For Boys’, ‘Bad’, & ‘Desire’. U2 have sold over 175 million albums, won 22 Grammy awards, and released 14 studio albums.

‘Songs of Surrender’ 2 x 12’’ White Vinyl - features 16 new acoustic & re-imagined recordings from the U2 catalogue, Produced & Compiled by The Edge. Including ‘One’, ‘I Still Haven’t Found What I’m Looking For’, & ‘Pride (In The Name Of Love)’. U2 have sold over 175 million albums, won 22 Grammy awards and released 14 studio albums.

Tears are in the eyes of Xabiib Sharaabi, nicknamed the Somali King of Pop when he entered the stage of Berlin’s HKW. It is a mix of nostalghia, pain and joy. Like many Somalis he had been deprived overnight of both glamour and friends, the war in his homeland had sent him into exile. The glamorous discos and beachfront stages Mogadishu had once been famous for, had disappeared as the city was bombed to the ground. The King of Somali pop found himself stranded in Sweden, others like the members of Dur-Dur Band Int. ended up in London which until today has the largest Somali diaspora in Europe.

In the last decade many early recordings of Somalia’s funk, soul and disco era have been reissued. This record is not a reissue. The Berlin Session – is the first studio album of its kind since the golden days of Mogadishu came to a halt three decades ago. It is the living proof that Somali music is hot, funky and (!) well alive.

The record captures a historic reunion which took place in 2019 in Germany’s capital Berlin. London-based Dur-Dur Band Int. an eight-piece powerhouse of Somali live- music unites with three legendary Somali singers: Xabiib Sharaabi, Faduumina Hilowle and Cabdinur Allaale for a concert at Berlin’s HKW. Fueled with a restored sense of pride, the freshly reunited musicians decided to get together in a Neukölln studio for two amazing days of recording.

Female vocalist Faduumina Hilowle opens the album with an invitation to kickass: “Let’s shake off the dust, boys!” (Inta ka hurguf). Grooving with such a strong accent on the off-beat, any non-Somali listener may think of Reggae. But when you ask the musicians, they tell you: “They took it from us! It’s Dhaanto! It’s our rhythm”. Originating from the Ogaden region (now in neighbouring Ethiopia’s borders), Dhaanto dates back to the era of “clap & chant”. Some say it is an imitation of the camel’s bounce. Xabiib Sharaabi was once nick-named Somalia’s King of Pop for the body language and magnetising voice with which he incorporated the latest global musical trends - even recording two disco albums entirely in English. On the album Xabiib chooses to sing his Somali adaptation of “Lady” originally by Afrobeat pioneer Fela Kuti. Not unlike the Motown Sound of Detroit and Kingston’s Studio One: a small scene of musicians were fueling that new Somali Disco scene in Mogadishu. Cabdinur Allaale, the third vocalist on the album comes from neighbouring Djibouti. In the heydays the leader of then famous Sharaf Band was a frequent visitor, flying back and forth between Mogadishu, Hargeisa, Kismayo & Djibouti entertaining his fans on the Horn of Africa.

Dur-Dur Band Int. ‚The Berlin Session‘ brings the spirit, joy and hope of this era back: In the last decades Somalis stars have lived among us, spread all over the world, it is time to see them step into the limelight again.

Nicolas Sheikholeslami:
In 2015 Berlin-based Nicolas Sheikholeslami became fascinated by Somali music and ended up compiling a mixtape to share his passion. He did not know that his tape Au Revoir, Mogadishu Vol. 1 - Songs From Before The War would spark a massive international interest for Somali music. Soon later Nicolas co-compiled Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa for Ostinato records which got a Grammy-nomination in 2017. Berlin’s venue HKW took notice and asked him to set up a show with a selection of Somali artists from the golden era. This lead to this remarkable reunion. A studio was booked and within 2 days this album was recorded. The Berlin Session captures this emotional moment. In 2021/22 Nicolas Sheikholeslami finally sat down and mixed the recorded material. This record is the living proof that Somali music is hot, funky and well alive.

Multi-RIAA Platinum and Gold certified singer/songwriter and producer Cavetown, also known as Robin Skinner, announces a highly anticipated new album ‘worm food’ today to be released November 4th / Limited Green Vinyl released March 3rd 2023

The first full length since 2020’s Sleepyhead, ‘worm food’ finds Cavetown unpacking the inner workings of his mind and delivers some of his most intricate lyricism to date. The announcement is a long time coming for fans of Cavetown, who have been patiently awaiting news of a new album for over two years. In that time, the popularity of Cavetown songs has continued to snowball, with an ardent community of fans proliferating around the world.

Since the age of 14, Robin (he/they) has created self-produced songs both intensely diaristic and touched with offbeat imagination. Now 23, the Cambridge, UK-based artist has emerged as one of the preeminent voices in the DIY bedroom pop scene, with more than 1 billion global streams to date, including nearly 7.6 million monthly listeners and 2.5 million streams a day on Spotify alone. With over 2 million YouTube subscribers and 1 million Instagram followers, he kicked off 2022 with the release of “Fall In Love With A Girl” with beabadoobee, which was featured in Billboard’s “The 25 Best Pride Songs of 2022 (So Far)” and followed it with “Grocery Store” in July, a reimagination of his collaboration “Trying Not To Cry” with Kina Beats that received praise from PAPER and V Magazine. Robin has also co-written and produced for artists such as mxmtoon, Chloe Moriondo, Addison Grace, and more.

Cavetown opened for Bleachers this summer at the Kia Forum in Los Angeles, CA, following US Tour that wrapped up in May. With over 50,000 tickets sold, Robin sold out venues across the country including the Hollywood Palladium in Los Angeles and Terminal 5 in New York City. He will embark on an EU/UK tour this Fall with sold-out shows in Paris, Berlin, London, and more.

In Zusammenarbeit mit dem Indie-Game-Publisher Fabraz (u.a. Slime-san und Demon Turf) veröffentlicht Black Screen Records den gruselig-schönen Soundtrack zum Action-RPG Skellboy von Björn Schellin auf Vinyl. Der Soundtrack erscheint als limitierte Doppel-LP auf marmoriertem Skelett-farbenem Vinyl. Das Artwork des Gatefold Sleeves stammt von der Designerin @sabbi_tabbi von Umaiki Games.

2023 Repress

Shpongle came to light 20 years ago, emerging from the burgeoning Trance music scene. Simon Posford aka Hallucinogen and Raja Ram aka The Infinity Project were already leading lights on the pioneering new sonic realms of Trance music.

The Shpongle sound was formed out of the desire to share another side of the psychedelic spectrum of music and in doing so established themselves as important innovators and arguably, inventors of genres we now know as PsyChill, Psybient, Psydub or Psybreaks.

Are you Shpongled? contains 7 tracks of epic audio adventure. Each one taking the listener on a journey, with sensurround sounds emerging from the caves of tribal reality. Across the globe, both seasoned aficionados and new sonic surfers alike take delight in the original worlds of sound explored by these visionary pioneers on their debut album which still takes pride of place in many collections.

The Shpongle sound planted sonic seeds in fertile imaginations across the world and over the past 2 decades their fanbase has grown exponentially, creating an unforgettable impression on the minds ear of all who listen. With a full live band to compliment their studio origins, Shpongle have been headlining large scale concerts and festivals across the globe, most notably two sell out shows at The Roundhouse London in 2009 and more recently their legendary performance at Red Rocks in Colorado where Shpongle performed to a sell out crowd of 1000. They have also completed numerous tours of the USA with stateside crowds showing huge love for the band and establishing a loyal following. 

Parlophone Records proudly announces DAVID BOWIE, A DIVINE SYMMETRY, the vinyl companion to the 4CD/1 Blu-Ray box set, released in November 2022.

This 1LP brings together early mixes of HUNKY DORY tracks originally featured on the BOWPROMO album in 1971 along with new alternative Ken Scott mixes to create an alternative version of the Hunky Dory album, also featuring the session outtake ‘Bombers’.

1971 was a pivotal year for Bowie. He signed a record deal with RCA, he met Andy Warhol, Lou Reed, and Iggy Pop while in New York, became a father and penned the song ‘KOOKS’ as a show of paternal pride, played live for the first time that June with Mick Ronson, Woody Woodmansey and Trevor Bolder, the band that would later be christened the Spiders From Mars and recorded the classic album HUNKY DORY.

This land runs through Katherine Paul’s blood. And it called to her. In dreams she saw the river, her ancestors, and her home. When the land calls, you listen. And KP found herself far from her ancestral lands during a time of collective trauma, when the world was wounded and in need of healing. In 2020 she made the journey from Portland back to the Skagit River, back to the cedar
trees that stand tall and shrouded in fog, back to the tide flats and the mountains, back to Swinomish.

It is a powerful thing to return to our ancestral lands and often times the journey is not easy. Like the salmon through the currents, like the tide as it crawls to shore this is a story of return. It is the call and response. It is the outstretched arms of the people who came before, welcoming her home. The Land, The Water, The Sky is a celebration of lineage and strength. Even in its deepest moments of loneliness and grief, of frustration over a world wrought with colonial violence and pain, the songs remind us that if we slow down, if we listen to the waves and the wind through the trees, we will remember to breathe.

There is a throughline of story in every song, a remembrance of knowledge and teachings, a gratitude of wisdom passed down and carried. There is a reimagining of Sedna who was offered to the sea, and a beautiful rumination on sacrifice and humanity, and what it means to hold the stories that work to teach us something.

Chord progressions born out of moments of sadness and solitude transform into the islands that sit blue along the horizon. The Salish Sea curves along her homelands, and when the singer is close to this water she is reminded of her grandmother, how she looked out at these same islands, and she’s held by spirit and memory.

The Land, The Water, The Sky rises and falls, in darkness and in light, but even in its most melancholy moments it is never despairing. That is the beauty of returning home. When you stand on ancestral lands it is impossible to be alone. You feel the arms and hands that hold you up, unwilling to let you fall into sorrow or abandonment. In her songs Katherine Paul has channeled that feeling of being held. In every note she has written a love letter to indigenous strength and healing.

There is a joy present here, a fierce blissfulness that comes with walking the trails along the river, feeling the sand and th stones beneath her feet. It is the pride and the certainty that comes with knowing her ancestors walked along the same land, dipped their hands into the water, and ran their fingertips along the same bark of cedar trees.

This is a story of hope, as it details the joy of returning. Katherine Paul’s journey home wasn’t made alone, and the songs are crowded with loved ones and relatives, like a really good party. And as the songs walk us through the land it is important we hover over the images and the beauty, the moments that mark this album as site specific. The power of this land is woven throughout, telling the story of narrow waterways, brush strokes, salmon stinta, and above all healing.

Let it take you. Move through the story and see the land through her eyes, because it is a gift, a welcomed sʔabadəb.*

*The word “gift” in Lushootseed, the language of the Coast Salish people“

Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

White Vinyl Only
Once upon a time Mr. Cauliflower made his way to Amsterdam and met his friend Jo Bissa (one half of the electronic duo Umoja).
Mr. Cauliflower dropped an Lp on the turntable and played "Casa da Arvore" from Nomade Orquestra. The sound was deep and went direct to Jo's heart.
It sounded like gipsy music, but had a funky feeling; it had some reggae elements, but with a latin heart. That's the mixture of styles that better represent the Nomade Orquestra's signature sound.
A quartet that has since swollen into a decet from their beginnings in 2012, Brazilian band Nomade Orquestra musicians pride themselves on stretching far and beyond their jazz roots to create a sound that's hard to pinpoint, but inclusive of various cultures across the world.
While listening to the song Jo Bissa knew immediately how to twist it with a remix, and created an electro cumbia dancefloor killer!

The result is a tasty 7" inches called "Veggie Tales Vol. 5"!!
We hope you'll enjoy as much as we did.
Buon appetito!

Am 27. Januar 2023 veröffentlichen die Mercury Studios ”Greatest Hits Live in ’76”, eine Live-Performance
von Marvin Gaye, aufgenommen aus der Edenhalle in Amsterdam während seiner Europatournee 1976. Mit
23 Songs (die LP enthält aus Platzgründen nur 22 Songs) präsentiert dieses fantastische Set eine Fülle an
Material aus dem Verlauf seiner legendären Karriere, darunter ”I Heard It Through The Grapevine”, ”Let’s
Get It On”, ”Inner City Blues (Make Me Wanna Holler)” (alle 3 US #1 Hits), ”Ain’t No Mountain High
Enough” & viele mehr.
Marvin Gaye gilt als eine der ikonischsten Stimmen in der Musik. Er wurde 12-mal für den Grammy
nominiert, erhielt den Grammy Lifetime Achievement Award und wurde in die Rock and Roll Hall of Fame
und die Songwriters Hall of Fame aufgenommen, um nur einige der vielen Auszeichnungen zu nennen, die
seine Karriere kennzeichnen.
Diese Show wurde ursprünglich 2007 auf DVD veröffentlicht und ist nun zum ersten Mal auf CD und
LP erhältlich.

Remixes by Moodymann, Potatohead People, Moodorama.

Kenny Dixon Jr. acuminates it deep and groovy, well, it’s his holy trademark sound. Potatohead People from Vancouver have been championed by Soulection, Nightmares on Wax, Questlove, Big Boi a.o. and have releases on Jellyfish Recordings, or NY label Bastard Jazz. The duo has worked with artists such as Moka Only, Kaytranada, Pomo, Phife Dawg a.o.

On top Moodorama’s remixes are trippy dubby jams. Moodorama have a long recording history, starting in the 90s on Stereo Deluxe, but even before that Martin Sennebogen was the DJ and co-producer of Knowtoryus, the legendary first hip hop outfit on Compost.

Inkswel & Colonel Red started out writing together more than decade ago & over the time have developed quite a unique sound when recording together,..a chemistry that blends music melody & lyric into every verse chorus & hook. So when Inkswel approached Colonel Red to create the 'Holders of the Sun' album, Redz response was to move his hectic schedule around & start immediately. Inkswel dropped the beats Colonel Red dropped the vocals & some fine musical tuning & 'Holders Of The Sun' Vol1 was born….while they promise a Vol. 2.
The fantastic artwork comes from Our Machine, Netherlands, who designed a lot of sleeves for Kindred Spirit, Tom Trago, Versatile, Build An Arc and m.o.

Colonel Red is a groundbreaking soul singer, musician, producer and performer, often referred to as one of the most powerful voices in the UK soul music community, a champion in equal parts of the original Broken Beat scene, as well as the UK soul scene. Working with and writing for the likes of Teddy Pendergrass, Amp Fiddler, Maurice White, Bugz In The Attic, Tony Allen and countless others. His track 'Belive In Me' was awarded the WORLDWIDE award from Gilles Peterson in 2014.
Colonel Red’s foray into the music industry began when Epic Record company giant Sylvia Rhone signed the then lead singer, Nikki Romillie, of Pride n’ Politix, to Atlantic Records. An accompanying publishing deal with Warner Bros. established the artiste, now known as Colonel Red, as one of the UK’s top cutting edge singer/songwriters.

Inkswel has been heralded as one of the busiest and most prolific beat based producers from Australia, a true master of his craft he has worked with the likes of Talib Kweli, Lee Scratch Perry, Andrew Ashong, Dwight Trible, Amp Fiddler and countless others as well as putting out timeless musical projects on labels such as BBE, Sonar Kollekiv, Rush Hour, Warner Music, Boogie Angst and others. He hovers evenly between Hip Hop and Club sensibilities, blending new age approaches with nostalgic leans. 'Holders of The Sun' is the audio melting pot of two musical aliens, future directive soul music drenched in the nostalgia of what once was.

Das Album ”Disclaimer” von Seether wird am 20. Januar 2023 mit einer erweiterten Neuauflage auf
Vinyl, CD und digital gefeiert. Diese enthält das ursprüngliche 12-Track-Album mit Hits wie ”Gasoline”,
”Fine Again” und ”Driven Under” sowie eine bisher unveröffentlichte Live-Show, die 2003 im Hampton
Beach Casino in New Hampshire aufgenommen wurde. Abgerundet wird das Bonusmaterial auf Disclaimer
(Deluxe Edition) durch eine seltene akustische Live-Coverversion von Nirvanas ”Something in the Way”
aus dem Jahr 2002, die ursprünglich als B-Seite veröffentlicht wurde. Einmal mehr begeistert die Band
Seether ihre Fans mit ihrer Mischung aus Alt-Metal, Grunge und Lyrik mit Herz auf dem rechten Fleck.
Außerdem verglich der Rolling Stone Seether mit Grunge-Helden wie Pearl Jam und Nirvana und lobte die
”mitreißende Katharsis” der Gruppe.
Das Album ist erhältlich als 2CD und als Ltd. 3LP.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

Violence is the self-titled third album from Baltimore born/ New York based artist, multi-instrumentalist, and cult figure Olin Caprison.. Their compositions are known for vivisecting and seamlessly merging the idiosyncratic features of hip hop, metla, RnB, and electronica, creating a language all their own. A dense multilayered opus, the album takes us on a journey through religious ceremony, nightmarish visions, and the forgotten corners of a decaying cityscape, leading us to the celebratory catharsis of the club. Entirely written, produced and performed by Violence, the project is an ambitious and singular vision that takes their unique sound to transcendent new places. The album initiates with Small Body, a solemn hymn inspired by the procession of nurses encircling a congregation in black pentecostal tradition. It's freeform chanting and syncopated body percussion invoke the trancelike rhythms of call and response music. A hollowed chamber of reverence that pulls us deep into the vision of the album. It's followed by Reptile, a horrifying slab of industrial intensity that merges multiple narratives seen throughout history to interrogate a side of victimhood not usually explored. A baroque masterpiece of intricate instrumentation and celestial theatre, guitar melodies blast across a delicately woven tapestry, reflecting the manic, distorted, and unstable mindset of the central figure.

2022 Repress

Jamaican love songs always came across as heartfelt poetry whether they conveyed a broken heart, unrequited love or even the message ‘it’s all over don’t bother to come back’ anecdotes. But whatever the mood the singers of these songs were so good and versatile that putting such
subject matter over in a few verses was always so moving and believable.
 
Jamaican love songs were a constant in the ever evolving sounds and
journey’s that reggae music took us on, from ska to rocksteady to the early reggae sounds of the late 1960’s early 1970’s. We have complied a great selection of songs that all deal with that timeless subject matter. Max Romeo’s heartfelt ‘Sometimes’ opens our set in fine style, known more for his roots singing this song proves what a great singer he is. The Melodians a great Jamaican vocal group are featured here with ‘Best Girl’. The Sensations provide us with our title track ‘Born To Love You ‘and the theme for this compilation a great rocksteady tune with fantastic harmonies. Alton Ellis gives us the soulful ‘Room Full Of Tears’. Ken Boothe
provides us with his rendition of Dennis Brown’s ‘Money In My Pocket’  the ode that money cannot buy you everything. Cornell Campbell sings one of his most overlooked classic songs with his prideful `She Wears My Ring’. The great singer of love songs  himself  Mr John Holt tells us that we should all `Reconsider’, before giving up on love and a great lost singer Monty Morris gives us two great examples of how to find love in `Do It My Way’ and `Magic Moments’.
A great selection delivered as only Jamaica can do with style and feeling…….

Hope you enjoy the set …greetings from Jamaica… love songs for all…

“It was so great to see what came back when I gave these tracks from Flicker to various comrades, friends and heroes to play with,” says Andy. “They’ve given them a new technicolour life.” “David Holmes requested the opening track as he had formed a bit of a connection with it, and what he came up with turns the song into an hallucinogenic beast, taking pride of place here as the opening track but in a whole different way to how Flicker opens. “James Chapman AKA Maps has taken ‘It Gets Easier’ to a bigger, brighter and shinier place, he’s given quite a downbeat track a euphoric and epic sheen. James is an absolute master of electronic production and he’s taken the same care and attention over this remix as he does with his own wonderful music. “I couldn’t put Richard Norris’ lovely widescreen take on ‘Something Like Love’ better than the man himself – in his own words he found the ‘hitherto undiscovered sweet spot between ‘Roscoe’ and ‘Outdoor Miner’’ and he tapped into the melancholy euphoria at the core of the song. “bdrmm’s remix of ‘Way Of The World’ is one for headphones. There are so many great moments to love, all held together by a bassline worthy of Jah Wobble (by way of Andrew Weatherall). Astonishing!” A1 The Sky Without You (David Holmes Radical Mycology Remix) A2 It Gets Easier (Maps Remix)B1 Something Like Love (Richard Norris Remix) B2 Way Of The World (bdrmm Remix) Reworkings of songs from Flicker by David Holmes, Maps, Richard Norris and bdrmm.