After years of visiting graveyards, combing through haunted houses, and pursuing (heh heh) dead ends, we finally tracked down the rights to the legendary Frankie Stein and His Ghouls series! Why did we risk life, limb, and livelihood to find these records? Well, first of all, long-time Real Goners know we LOVE these campy ‘60s takes on horror rock—witness our previous macabre moves into the Zacherle, Munsters and Groovie Goolies franchises. But there’s something extra special about these Frankie Stein and His Ghouls records. You wouldn’t think that Halloween records released by a subsidiary (Power Records) of a children’s specialty label (Peter Pan Records) would be so…er…visceral, but these records are definitely the most out there of their kind. And there might be a reason for that…you see, it has been revealed that the Power label enlisted the aid of some very, very interesting musicians for some of its projects. For instance, the imprint’s 1966 album Batman and Robin by The Sensational Guitars of Dan and Dale was actually produced by Tom Wilson of Bob Dylan, Velvet Underground, and Mothers of Invention fame—and the band was made up free jazz legend Sun Ra and members of The Blues Project! Which has led to all sorts of speculation about who Frankie Stein and His Ghouls actually were; among the names bandied about are guitarist Duane Eddy, jazz saxophonist Max Greger, and, yes, Sun Ra and the Blues Project again. At any rate, prepare yourself for frenetic rock-and-twist workouts punctuated by deranged howls and shattering sound effects. And with a back story like this, it’s no wonder original copies of these albums sell for downright horrifying prices…here come the last two for a truly fiendish finale!
Suche:pro 7
The album art proves nobody can do The Twist quite like a giant snake! This never-before-reissued 1965 classic offers “de-compositions” for dancing like “Be Careful, It’s My Throat” and “Saturday Evening Ghost,” pressed in coke clear with yellow “serpentine” swirl vinyl limited to 900 copies!
- Prologue/The Tale Of Master Seth
- Hitler And Witchcraft/ Witchcraft In History
- Women As Witches/ Witch Burning
- Witch Tortures
- Witch Tortures (Cont.)/The World Of Spirits And Demons
- Preparation For Magic/ Instruments Of Magic
- How To Invoke Spirits, Demons, Unseen Forces/ The Magic Bloodstone
- The Witches Cauldron/How To Communicate With The Spirits
- How To Communicate With The Spirits (Cont.)/Gerald Yorke And Necromancy
- How To Make A Pact With The Devil/How To Become A Witch
- Curses, Spells, Charms
- Curses, Spells, Charms (Cont.)/Potions
- The Hand Of Glory/The Witches Sabbat
- Witchcraft Today/Epilogue
This is going to be the scariest spoken word record you’ve ever heard. We’re not joking…and neither is Vincent Price. The star of such horror classics as House of Wax, The Abominable Dr. Phibes, and Theatre of Blood (and, of course, narrator of Michael Jackson’s Thriller video) can barely hide his delight while he takes his audience through a graphic and occasionally grisly history lesson in witchcraft from the Bible through the Middle Ages, the Spanish Inquisition, and Nazi Germany. Then, accompanied by occasional eerie, abstract electronic music, Price’s sinister satisfaction only mounts as he provides instruction in the dark arts, with such tracks as “How to Make a Pact with the Devil” and “Curses, Spells, Charms.” It’s all in good fun, of course…or is it? The mysterious writer of the script, one Terry d’Oberoff, has only one other credit to his name: as the “mascot” of an early ‘70s band called…wait for it…Black Magic. This 1969 double-LP release has long been coveted by collectors of the curious and macabre, and for its first reissue in over 50 years, we are giving it the Real Gone treatment, reproducing the gatefold jacket and the full-size, 8-page booklet that accompanied some copies. It’s a combination history textbook and how-to manual in witchcraft, with a title page depicting a particularly unsettling spell called “The Hand of Glory” involving the severed, salted, and dried hand of a convicted felon. We are releasing this one-of-a-kind album on clear with orange “pumpkin” swirl vinyl…Happy Halloween.
- Prologue
- Main Title
- Dead Vampires
- Survival
- The States
- Dead Vampires (Taken Away)
- Pit Smoke
- Goes For Supplies
- Killing Vampires
- Wife Gone
- To The Cemetery
- Face From The Grave
- Sunrise
- New Discovery
- Vampires Iron Stakes
- Dog Is Hurt
- Buries The Dog6
- Girl's Existence
- Injection Needle
- Girl Infected
- Transfusion
- Vampire Bop
- To The Chapel
- Beside Casket
- Watching Home Movie
- Retrospect
- Baby's Room
- Smoke
- Taking The Dead
- Still Troubled
- The Deserted Lab
- Death Of Baby
- Raging Inferno
- Transfusion A Success
- Iron Lancers Attack
- After The Last Man
- Last Man Shot (93X)
- Last Man Shot
- End Title
- Besides Casket #2
- Fights Off Vampires #2
- Finds Vampires At House #2
- Face From The Grave #2
- End Title #2
- Fights Off Vampires
- Finds Vampires At House
Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks! “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker.
“I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie
Rob Zombie and Waxwork Records are thrilled to announce the debut vinyl release of THE LAST MAN ON EARTH Original Motion Picture Score by Paul Sawtell & Bert Shefter. The Last Man On Earth is a 1964 post-apocalyptic science fiction horror film based on the 1954 novel I Am Legend by Richard Matheson. Starring Vincent Price, the plot follows Dr. Robert Morgan (Price) who lives in a world where the human population is infected by a plague that has turned them into undead, vampiric creatures that cannot stand sunlight, fear mirrors, and are repelled by garlic. Every day, Morgan follows a routine where he marks days off the calendaqr and sets out to hunt the vampires, killing as many as he can and then burning the bodies.
After working together on the successful release of the official soundtracks to Zombie’s films House of 1000 Corpses, The Devils Rejects, 3 From Hell, The Lords of Salem, Halloween 1 & 2, and The Munsters, Zombie explored other ways to collaborate with Waxwork in an effort to unearth, re-master, and release classic, left-of-center Horror soundtracks from films that he is a life-long fan of. The line of soundtracks features deluxe packaging, heavyweight colored vinyl, new artwork by prominent Horror illustrator Graham Humphreys, liner notes and interviews conducted by Rob Zombie with filmmakers and actors. Titles include premiere releases of Spider Baby, Carnival Of Souls, The Last Man On Earth, The House On Haunted Hill, The Legend of the Seven Golden Vampires, and many selections from the HAMMER film library.
The true test of originality for any musician comes when you hear an instrument being played and you instantly know who’s playing it. For electric guitarists, certainly Hendrix qualifies; Page and Clapton, too. Maybe Eddie Van Halen before the legion of imitators. You probably have your own list, but to us, standing toe-to-toe (or pick-to-pick) with those legends is Television guitarist and solo artist Tom Verlaine. His self-taught, jazz-influenced style, largely devoid of effects, and vibrato tone (oh, that tone!) makes any Verlaine solo unmistakably a Verlaine solo. That he was quite an accomplished, idiosyncratic songwriter is just a bonus. Real Gone Music is very, very proud to announce that we have arranged with the Verlaine estate to release Tom’s last three solo albums on LP; Songs and Other Things was the last record he released, in the same year (2006) as the all-instrumental Around. As the title indicates, this was indeed a return to lyrics and vocals, the first record with “songs” since 1990’s The Wonder (although the first track, “A Parade in Littleton”—one of the “Other Things”—is a low-key, funky instrumental that would have been home on a late Talking Heads album). The time off clearly allowed Verlaine to build up a strong cache of compositions, with “Nice Actress” and “The Earth Is in the Sky” among the highlights. The record also marks a welcome return of Verlaine’s enigmatic lyrics, which as always prompt head scratching while somehow making intuitive sense. But in the end, it’s the amazing guitar work—ably supported by Fred Smith of Television fame and Jay Dee Daugherty of The Patti Smith Group among others—that elevates Songs and Other Things to essential status, worthy of its exalted position as the final release of Tom Verlaine’s career. Bassist and original engineer Patrick Derivaz has mastered the album for its vinyl debut; Verlaine’s long-time partner Jutta Koether contributes notes. Teal vinyl pressing!
Die Hohepriester des finsteren Dooms kehren mit "Evil Remains" zurück, ihrem sechsten Album und dem ersten für Hammerheart Records!"Evil
Remains" ist ein hakengeladener Heavy Metal-Thrill-Ride in Nosferatu-Nächten!
Zurück nach einer sechsjährigen Pause mit voll aufgeladener schwarzer Magie, hat Castle einen Moloch von Riffs in einer hakengeladenen Mischung
aus Doom und psychedelischem Classic Metal abgeliefert. Elizabeth Blackwells geisterhafter, vollblütiger Gesang trägt zur majestätischen
Doom-Atmosphäre bei und ist eine elektrische Hexenhymne des Todes und des Wahnsinns: "Hear my warning, heed my call".
Aufgenommen bei Raincity Recorders in Vancouver B.C. von Produzent Jesse Gander (Anciients, 3 Inches Of Blood, Brutus), hält "Evil Remains"
klanglich die Waage zwischen warm und kuschelig und der bombastischen Kraft einer alternativen Stadionrockband. Bassistin/Sängerin Elizabeth
Blackwell und Gitarrist/Sänger Mat Davis bringen ihre einzigartige weibliche und männliche Gesangsattacke und ihre glühenden, schlangenartigen
Riffs zu schwindelerregenden neuen Höhen.
All killer, no filler type biz as Naarm hardware donny Furious Frank makes his Oyster Cult return.
Strictly dancefloor wreckers from beginning to end. Girder-strength rhythm and driving, direct torque on the menu as Frank opts in favour of club-ready ordnance. Those with a taste for the rough n’ ready have never been in safer hands.
He’s bringing the heft like it's going out of style while keeping true to sci-fi and hallucinatory tendencies. Future-proofed forays into acid and trance backed with some of the toughest breakneck groove you’re likely to hear this summer. Darting synths, flourishes of 303; all the good stuff.
Dealing damage from the controls of his drum machine, urgent basslines and lacerating percussion are primed for maximum impact. Quintessentially Furious."
Schmeiß alles hin und werd PRINCIPESS! PRINCIPESS. Das sind die drei Musikerinnen Maria Moling, Julia Viechtl und Teresa Staffler. Schlagzeug, Bass und Orgel. Alle singen. Irgendwo zwischen feministischem Kraut Pop und Italo Post Wave einzuschubladen. Oder Italo Kraut Pop Deluxe. München als nördlichste Stadt Italiens ist dafür die Wahlheimat. Selbstbewusster Sound, der genau so nur in Alpennähe entstehen kann. Die PRINCIPESS-Themen: Feminismus. Mansplaining as its best. Gender Pay Gap. PMS. Hormone. Sexismus. Keine neuen Themen? Leider nein. Aber dafür immer noch viel zu aktuell. Am eigenen Leib haben die drei oft genug die strukturellen Probleme des Patriarchats - auch in der Musikbranche - gespürt. Sie sind wütend. Und das hört man. Ungeschminkt und unrasiert. Auf italienisch und auf Deutsch, im Sprachenmix, ganz im europäisch grenzübergreifenden Sinne, denn sie sind Freundinnen der Interkulturalität und Grenzenlosigkeit.
Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) - who was a mere 17 of age when they recorded the album - on guitar. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl, housed in a deluxe heavyweight gatefold sleeve.
Between December 2022 and January 2024, the collective De Niemanders (producer Rick Wiegerinck joined the team) visited asylum seekers' centers in the Netherlands with a mobile studio, searching for singers, musicians, and their music and stories. The music sessions were mostly filled with pure joy, while the conversations were heavy, hopeless, hopeful, cheerful, and everything in between. The collective connected with creative individuals from all over the world, who in turn introduced them to even more artists, writers, and storytellers. Rocco, Wout, and Rick quickly realized that they needed to offer more than ‘just’ the music album as a platform, so a completely unique Niemanders newspaper was born, and journalist Christianne Alvarado joined for a six-part podcast series.
Following their instincts, they created a new Niemanders album that became a genuine collaboration between the people they met and themselves. A significant difference from the prisons was that this time, the singers and musicians could be recorded in a mobile studio. As a result, the album is a mix of many singers and languages, telling the stories of their journeys, dreams, families, past lives ‘back home,’ and their current situation as refugees. There are songs inspired by the stories that residents of asylum seekers' centers told or wrote down, sung by Rocco, while other tracks emerged from writing sessions with singers Isma IP, Guy-El Mabiala, Q-Mars, and Hamid Reza Behzadian, and are also sung by them. The song material is a creative melting pot of colorful music that ranges from swinging afrobeat, highlife, desert rock, and rootsy psychedelia, but the alternative rock for which Ostermann and Kemkens are known also seeps through. You could say that, with few exceptions, each song is a film soundtrack for the text.
Unfortunately, the harsh reality of asylum procedures also intruded into some of the blossoming musical friendships. Due to a negative decision by the Immigration and Naturalization Service (IND), one of the great singers was forced to leave the Netherlands. This is just one example of the lack of control over—and the nerve-wracking wait for—an IND decision, which unfortunately seems to be something every person in an asylum procedure must endure. The asylum process can bring years and years of uncertainty and waiting, or sudden deportation.
Empty Empty is Cinema Paradiso's 3rd album. Cinema Paradiso functions as a trio without a leader, consisting of Kurt Van Herck (Brussels Jazz Orchestra, Dizzie Gillespie Big Band, Bert Joris Quartet), Eric Thielemans (A Snare is a Bell, EARR, Talking About the Weather) and Willem Heylen (KRAKk, Aki, Sargam).
After his guest contributions on several tracks during the recording sessions that resulted in the compilation of the first two albums (Volume I and Volume II), Jozef Dumoulin (Lidlboj, The Red Hill Orchestra, True Company) was involved in the entire creation and recording process of Empty Empty.
Now focusing on original compositions (along with some Indian chants and a piece by Claude Debussy), this album also distinguishes itself from the previous two albums by presenting a new sonic landscape. Blending the rich timbres and textures of both the acoustic and electric sonic worlds of the musicians, we were looking to get a strong, direct, full sound that still retains enough detail and acoustic warmth.
The album was recorded and mixed by Joris Caluwaerts (Stuff) at his Finster Studio in Antwerp.
After six years, the American alternative rock band Buffalo Tom are back in 2024 with their tenth full-length studio album, titled Jump Rope. During the lockdown, the band kept on writing and sent each other ideas for arrangements and parts, which resulted in a sizeable backlog of song ideas. A sort of direction made itself apparent from the ideas they were trading; most of the songs called for an acoustic, quieter production. Eventually, emerging from their basements, they slowly got to actually working together on the songs in the same room, rehearsing quietly (especially for the super-loud Buffalo Tom), with acoustic guitar. After giving most of the songs a good amount of overdubs and a lot of electric guitars, the songs evolved into this beautiful and thrilling new Buffalo Tom album: Jump Rope. Jump Rope features the singles “New Girl Singing”, ""Helmet"" and ""Autumn Letter"" and is available on black vinyl.
Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. Absurdists jazz-infused post-punks, The Cravats originally released single 'Rub Me Out' with Crass Records in 1982. A favourite of John Peel's, the Redditch band left a long legacy, reforming in 2009. Penny continues; “Fast, furious, fiery and often very funny, the Cravats were nothing like the average punk band, indeed, like Zappa before them, their sensibilities leant more towards progressive jazz mixed in with an ample helping of gallows humour; ‘make mine rare’. Dada also comes to mind as The Shend weaves his way through the complex vagaries of everyday existence. ‘Now you see me, now you don’t’. There’s no doubt about it, the Cravats are worth keeping your ears open, and your eyes out for, but mind the gaps!”
Much Afraid is the second studio album by American Christian rock band Jars of Clay and was released in 1997. Following the charting success of the band's debut album, Much Afraid earned the band a Grammy Award for Best Pop/Contemporary Gospel Album. It debuted at #8 on the Billboard 200 and was certified Platinum. The album features the multi-instrumentalist Greg Wells, who went on to produce OneRepublic, Katy Perry, Pink, and Rufus Wainwright, playing drums and bass guitar on almost every song; he also co-wrote ""Tea And Sympathy"" and the single ""Crazy Times"". The tracks ""Fade to Grey"" and ""Frail"" were both from the group's 1994 demo recording Frail. All other tracks from that demo appeared on the debut album Jars Of Clay in 1995. Much Afraid is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl.
Dutch artist LEYO delivers his debut album via Cécille Records this September, comprised of eight originals and featuring collabs with Toman and Thierry Ganz.
LEYO is a project based out of Amersfoort in the Netherlands, marking its beginnings here with an LP composed utilising a
full band set up, vocals from Thierry Ganz and a singular collaborative appearance from fellow Dutch artist, Toman. The debut album showcases LEYO’s depth of influences, straddling the lines throughout between soulful electro-pop and funkinfused disco jams through to more raw house and sun drenched lounge cuts.
Opener ‘Hello (Intro)’ sets the tone with bumpy drums, psychedelic guitar tones and a dreamy phone call voice before
‘Don’t Do It’ picks up the pace, blending funky guitar lick, organic percussion and resonant synth leads with sporadic vocal
chants. Thierry Ganz first appearance on the album follows with ‘Know Your Name’, merging together Ganz hypnotic vocal
stylings with choppy bass stabs, cinematic strings and crisp disco drums. ‘Open Up The Trunk Do It’ then shifts gears into
jazz-tinged raw house territory via twinkling keys, saturated drums and a vacillating low-end drive.
Up next LEYO welcomes both Toman and Thierry Ganz into the mix for ‘That Booty’, a high octane disco house jam fuelled
by swinging drums, soulful vocals and tension building atmospherics. ‘That’s Why’ then brings down the pace to a more
dreamy aesthetic with fluttering keys and wandering synths intertwined with congas and breathy vocals. The final full
length track ‘Without You’ then lays down a shuffled rhythm section and plucked guitar lines with hypnotic chords and
filtered vocals throughout its six and a half minute duration before ‘On My Mind ft. Thierry Ganz (Outro)’ concludes the
package in a fully- fledged funk fashion, Ganz lays down his signature vocal style uttering the tracks title while underpinned
by wandering bass notes, bouncy drums, wandering guitar notes and Moog style synth licks.
Von der griechischen Insel Paros kommt der Sound zum Alltag der Arbeiterklasse. Markenzeichen sind melodiöse Refrains, so geil, dass man sofort einsteigen will. Dazwischen ein fettes Brett Punkrock mit Einflüssen von Hardcore, Ska und Rap. Bisher nur digital vorhanden erscheint hier endlich das Album als LP mit zusätzlichen Bonustracks. "Relentlessly Truthful" ist hart und schnell wie die bittere Realität der Arbeitssklaven die längst die Schnauze voll haben von Korruption und Machterhalt um jeden Preis auf Kosten derer, die schwer schuften. Proteste werden von der Hand des Gesetzes niedergeschlagen und die Gegengewalt ist Notwehr. Wenn sie einem nichts mehr lassen dann muss man sich wehren und sich erheben - so heißt es im Text von "The Ones You Lost". Persönlicher Frust ist Thema in "Roll On The Summer". Mieses Wetter bedeutet keine Jobs, nix zu fressen und keine Kohle um abzuhauen. Die Einsamkeit lastet schwer und da gibt auch noch die Lieblings-Pornoqueen Sasha Grey ihre Karriere auf. Beirhythmischem Offbeat wird im Song "Grey Void" ihr Comeback gefordert. Um echte Liebe geht es bei "All Our Own Devices", so turbulent wie der Taumel der Gefühle, wenn die Achillesferse der Emotionen auch den Stärksten verwundbar macht. "Tribute Punk Rock Song" ist ein Rückblick auf die Zeit des ersten Iros, der ersten Glatze, als Reaktion auf zerstörte Träume und Ungerechtigkeit. Am Ende bleibt die Message dass man durch harte Tage durch muss um voller Stolz wieder aufzustehen. Die Mucke dazu ist elektrisierend und ehrlich und macht sowas von Lust auf mehr! Schwarzes Vinyl, nummeriert.
MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.
„Unrepentant Geraldines“ markierte 2014 Tori Amos’ Rückkehr zur Pop- und Rockmusik, nach einem
Ausflug in eher klassische Gefilde. Aufgenommen in ihren eigenen Studios, und von ihrem Ehemann
Mark Hawley sowie Marcel van Limbeek produziert, besticht das Album durch seine Reduktion auf das
Wesentliche: Toris Stimme und ein Klavier. Bei den Texten ließ sich Amos von Gemälde und Fotografien
inspirieren. Der Rest ist Geschichte: Das von den Kritikern gefeierte Album wurde ein voller Erfolg! Diese
Deluxe Version ist als schwarze 180g Doppel Vinyl erhältlich und umfasst alle 17 Tracks des Albums,
einschließlich drei Bonus-Tracks, die zum ersten Mal veröffentlicht werden.
BLUE NOTE TONE POET EDITION: Stereo, produziert von Joe Harley, komplett analog von Kevin Gray
von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Single Sleeve, wattierte Innenhülle.
Auf seinem Album ”Let Freedom Ring” spiegelt Saxofonist Jackie McLean den Wandel wider, der 1962 in
der Luft lag: die musikalischen Freiheiten der aufkommenden Avantgarde und die sozialen Veränderungen,
die von der Bürgerrechtsbewegung gefordert wurden. Begleitet wird er von Walter Davis Jr. am Klavier,
Herbie Lewis am Bass und Billy Higgins am Schlagzeug.
Vol.2[32,73 €]
Die Cardigans-Compilation-Alben „The Rest Of The Best“, Vol. 1 & 2 umfassen einige der Aufnahmen
der Band, die zwischen 1994 und 2006 als B-Seiten auf Singles, Soundtracks und als Bonustracks auf
japanischen, französischen und britischen Versionen ihrer Alben veröffentlicht wurden. Volume 1 umfasst
20 Tracks und Volume 2 rundet das Projekt mit weiteren 16 Tracks ab.
Das Artwork basiert auf Fotos des Fotografen Martin Bogren, der von Anfang an mit der Band zusammengearbeitet hat. Die 1CD-Version enthält ein 16-seitiges Booklet, die 2LP Formate sind auf 140g
schwarzem Vinyl gepresst.
„Wir freuen uns sehr, diese Compilations zu veröffentlichen. Songs, die aus verschiedenen Gründen nicht
auf unseren Studioalben zu finden waren. Jetzt kann unser Publikum alle B-Seiten in chronologischer
Reihenfolge durchhören, und es ist eine reine Freude, in Erinnerungen zu schwelgen, bis zurück ins Jahr
1993. Es ist fast wie eine vergessene Platte, oder besser gesagt vier. Wir hoffen, dass ihr die 13-jährige
Reise genießen werdet!“ - Die Cardigans
Beide Alben wurden von The Cardigans zusammengestellt und von Ryan Smith bei Sterling Sound remastered und sind ab dem 06.09 überall erhältlich.
Vol.1[32,73 €]
Die Cardigans-Compilation-Alben „The Rest Of The Best“, Vol. 1 & 2 umfassen einige der Aufnahmen
der Band, die zwischen 1994 und 2006 als B-Seiten auf Singles, Soundtracks und als Bonustracks auf
japanischen, französischen und britischen Versionen ihrer Alben veröffentlicht wurden. Volume 1 umfasst
20 Tracks und Volume 2 rundet das Projekt mit weiteren 16 Tracks ab.
Das Artwork basiert auf Fotos des Fotografen Martin Bogren, der von Anfang an mit der Band zusammengearbeitet hat. Die 1CD-Version enthält ein 16-seitiges Booklet, die 2LP Formate sind auf 140g
schwarzem Vinyl gepresst.
„Wir freuen uns sehr, diese Compilations zu veröffentlichen. Songs, die aus verschiedenen Gründen nicht
auf unseren Studioalben zu finden waren. Jetzt kann unser Publikum alle B-Seiten in chronologischer
Reihenfolge durchhören, und es ist eine reine Freude, in Erinnerungen zu schwelgen, bis zurück ins Jahr
1993. Es ist fast wie eine vergessene Platte, oder besser gesagt vier. Wir hoffen, dass ihr die 13-jährige
Reise genießen werdet!“ - Die Cardigans
Beide Alben wurden von The Cardigans zusammengestellt und von Ryan Smith bei Sterling Sound remastered und sind ab dem 06.09 überall erhältlich.
Onyx Vinyl[32,14 €]
Wage War bewegen sich mit Lichtgeschwindigkeit vorwärts und treiben nicht nur ihren eigenen Sound
voran, sondern dringen mit ihrer Musik diesmal auch in neue Bereiche vor. Das Quintett aus Florida ist
dafür bekannt, metallisch-stampfende Sounds mit sanfteren Melodien zu kombinieren. Ein fast zehnjähriger
Prozess hat Wage War an diesen Punkt gebracht. Sie haben eine Reihe von Alben herausgebracht, die ihre
Fans lieben, darunter Blueprints 2015, Deadweight 2017, Pressure 2019 und Manic [2021].
Auf ihrem fünften Album STIGMA [Fearless Records] haben sie diesen unverkennbaren Stil mit einer
industriellen Note und elektronischem Glanz versehen und sich damit musikalisch direkt in die Zukunft
katapultiert, so wie in den Songs „Magnetic“ und „Nail5“.
Since dropping his first single in 2021, Michael Adebayo Olayinka, the artist known as Ruger, has made a habit of standing out amongst worldwide audiences, not least thanks to bright pink hair, an eyepatch, and an unequivocally true-to-himself attitude. Spending the bulk of 2023 on a sold-out international tour, Ruger has steadily granted fans a stream of top-tier projects in two short years, from the debut EP ‘Pandemic’ to follow-up ‘The Second Wave’. Breakout single ‘Asiwaj’” would catapult him to wider fame, the track going #1 in Nigeria and #3 on the OCC Afrobeats Chart in the UK, whilst “Girlfriend” and “Bounce” would catch further attention from fans worldwide.
Pour Un Homme Seul, the debut EP from Pete Beardsworth, is a cathartic exploration of the spiritual world of jazz and the healing force within. Originally just simple melodies jotted down in the back of a small leatherbound notebook, the songs were written during a long period of solitude in the year following a traumatic accident that left Pete without the bottom parts of his legs. Charting a journey of hope and rediscovery, the tracks are aural fragments of a voyage through a harsh, personal wilderness, and back again to civilization and consciousness. This voyage is painted with woodwind, electronics, vocals, found sounds, and synthesizers provided by Pete.
Accompaniments by renowned Erhu player Ling Peng, Yazmin Lacey's drummer Tom Towle, guitarist Roshan Gunga, bassist George Butt, and vocalist Daisy Godfrey. It follows long-standing collaborations with Yazmin Lacey, for whom Pete produced EPs Black Moon and When The Sun Dips 90 Degrees, the genre-crossing Invisible Orchestra, Brooklyn's own Chris Rock, and work as part of free-jazz inspired electronic outfit Three Body Trio.
Stretching genre and medium boundaries, 'Being Waves' leads listeners to explore their own concepts of reality and perception. The new record marks an evolution from Kinkajous' acclaimed debut, Hidden Lines (2019, Running Circle). This release, engineered by long-term collaborator Brendan Williams, gives life to a wide aural landscape made up of rich and diverse musical influences. With its blend of acoustic and orchestral instrumentation, analogue synthesis and sampling processes, there is an elaborate yet organic feel to the music that makes Being Waves the five-piece band's most introspective work to date.
Led by drummer/producer Benoît Parmentier and saxophonist/clarinetist Adrien Cau, Kinkajous have earned a reputation for conjuring up a powerful and cinematic sound, being described by CLASH as "a key part of the British music landscape". Joined by Jack Doherty (synths), Maria Chiara Argirò (keys) and Andres Castellanos (bass), this album is exhilarating yet intimate, reflecting the band's outstanding musicianship and versatility.
This debut full-length album by Stockholm-based composer and electroacoustic experimentalist Theodor Kentros, could easily be interpreted as 'just' an assemblage of pieces written between 2021-2024. Named after the paranoid hallucination (or, if said hallucination is real, the underground secret mail system) figuring in the 1966 Thomas Pynchon novel ‘The Crying of Lot 49’, it should rather be perceived as a very distinct, coherent stream running through his output during these years.
The six tracks – ranging in sound and disposition from serialised organ drones constructed to reach screeching and beautiful culminations, to minimalist, repetitive studies in tape loops and string synthesis – were composed and recorded in Stockholm and Visby at different occasions during down-time from his many other projects, which include a myriad of other commissions, co-running labels XKatedral and Kalkatraz Cassettes and touring with punk groups and solo shows.
- Ocean Motion Mildew Mind
- Yes Sir Ree
- I Can’t Stand It
- Country Time
- If I Were A Poet
- Torero Piece
- Peachy Keen-O
Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.
‘Zerinjit’ invites us to the molecular world of sound, where every sonic entity is meticulously compounded to constitute the alchemic matter of the doomed reality and post-tribal escape, putting every cell into motion. Born out of debut collaboration between Den Haag’s JEANS and Florence’s TOMO from DE RIO, the EP is a massive merge of like-minded brains in a sonic dialogue, re-shaking the otherworld of techno music. An exhilarated heartbeat amidst industrial cries, shrieks, and squeals is levitated by fat hypnotic synth lines, while the rudimentary “chuckles” over the fate of the progressive, amplifying towards infinity in a symphonic and rhythmic celebration. The “Spectral Pattern” unveils the mystic force behind dragging and pulling the Hertz of the wavelength cycle, reflecting the emitted energy from the hardware core. We are turning around in vertigo, trying to capture “Gengar” bouncing across space, catching the liquid multiples of themselves. We are approaching the smoky clouds around “Acondrite-ung”, the unclimbable mountain that samarium creatures obsessively climb in hypnosis, never destined to reach the peak.
‘Zerinjit’ is a tale of the otherworld, its creatures, patterns, rhythms, saints, and martyrs, science and utopia, translated into a dance floor body language of the ordinary.
“If rock ’n’ roll’s a dream, please don’t wake me.” Midwife’s No Depression In Heaven, her fourth studio album, was written primarily in the back of vans while on tour endlessly over the course of the past few years. The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion. No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving. Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen. Inspired by ephemeral moments that make up life on tour, the totemization of vehicles, outlaws, and the psyche of America’s underbelly, No Depression In Heaven affirms Johnston’s existential status as a woman of the highway
Blue Matter are extremely proud to be releasing a brand-new album by the great English eccentric, Paul Roland. ‘Morbid Beauty’ will make its’ appearance in mid 2024 and is a fantastic example of Paul’s trademark mixture of gothic rock and psychedelia, if perhaps a little more rock flavoured than usual. To Blue Matters’ surprise and delight the album features our old friend Mick Crossley (Flyte Reaction) on guitar throughout. Paul Roland is from Kent and has been making music since the late 70s. He has issued countless albums on a variety of labels and has been cited as a ‘psych legend’, a ‘true cult hero’ and a ‘great innovator’. Frank Zappa is quoted as saying somewhat amusingly ‘Paul Roland writes nice music, but it’s too complicated for me!’ Paul’s musical reputation is probably somewhat greater in Europe than in the UK, which seems strange as he has been so influential to many British acts. Paul is also a celebrated music journalist and successful author having written books on cinema, history and music. For us, to be able to release a new album, and a fantastic album at that, by an artist of his calibre is a long and handsome peacocks’ feather in Blue Matters’ Edwardian top hat
Mit dem neuen Album The Crux präsentieren sich KILLED BY 9V BATTERIES facettenreich wie nie zuvor. Sie überraschen mit einer Vielzahl an Ideen und bewahren sich trotzdem ihre Bissigkeit; breitangelegte Klangwände erheben sich und umgarnen die feinsinnigen Melodien, Krach und Pop reichen einander die Hand. Das Sound-Universum ihres bisherigen Oeuvres war geprägt von unorthodoxen Klängen aus dem Verzerrer, von harschen Noise-Skizzen und wütenden Ausbrüchen. Auf The Crux findet sich all das in ausgereifter Form wieder. Killed By 9V Batteries haben lange getüftelt, bis alle Details zu einer wahren Gitarrensinfonie verwoben waren. Mit dem Produzenten Patrick Pulsinger und dem Aufnahmeleiter Oliver Ollmann Brunbauer standen dabei zwei der renommiertesten Studiofüchse Wiens Pate. Das mit ihrer Hilfe entstandene Album präsentiert die Lockerheit und Verschrobenheit einer Band, deren Eigenständigkeit unbestritten bleibt: Killed By 9V Batteries demonstrieren mit The Crux ihr Gespür für raffinierte Gitarrenmusik, die aus dem Bauch, aus dem Herzen kommt.
Fünf Monate arbeitete David Gilmour in Brighton und London an »Luck And Strange«, dem ersten neuen Longplayer, den er seit neun Jahren veröffentlicht. Die LP wurde von David und Charlie Andrew produziert, den man für seine Zusammenarbeit mit ALT-J und Marika Hackman kennt. Der Großteil der Lyrics stammt von Gilmours Co-Autorin Polly Samson, mit der er schon seit 30 Jahren zusammenarbeitet. Auf dem Album sind acht neue Tracks zu hören, dazu kommt eine Coverversion von Between Two Points (Originalinterpreten: The Montgolfier Brothers), auf der Romany Gilmour Harfe spielt und singt. Auf anderen Songs der LP war Gilmours Tochter für die Backing-Vocals zuständig. Zu den Musikern, die an der Entstehung von »Luck And Strange« beteiligt waren, gehören: Guy Pratt & Tom Herbert am Bass, Adam Betts, Steve Gadd und Steve DiStanislao am Schlagzeug sowie Rob Gentry & Roger Eno an den Keyboards. Für die Streicher- und Chor-Arrangements war Will Gardner verantwortlich. Auf dem Titeltrack, der 2007 während eines Jams in David Gilmours Scheune entstand, ist der verstorbene Pink Floyd Keyboarder Richard Wright zu hören. Das Cover-Foto von Anton Corbijn wurde durch den Text von »Scattered«, dem letzten Song des Albums, inspiriert.
A 140 gram pressing in 3mm spine red disco sleeve with sticker.
Vermelho Wonder is a Brazilian duo formed by music producer and DJ Márcio Vermelho and performer/singer Ivana Wonder. Since their formation in 2016, they have been acclaimed for their avant-garde and experimental style. ‘Se Você’ is an electronic torch song that was originally released digitally in 2021 by Gop Tun (also one of Brazil’s main festivals for Electronic music). For the first time the single is brought to Vinyl alongside a new Jura Soundsystem interpretation. Bonus track ‘Catman’ (Dub) rounds off the 12” with a touch of underground house.
Vermelho Wonder is a unique phenomenon, creating a one-of-a-kind atmosphere with their mix of performance, vocals, and DJ sets. Ivana's mysterious and captivating presence, combined with Vermelho's elegant production, has seen their live show delivering captivating performances at iconic venues such as SESC, CCSP, Oca do Ibirapuera, Teatro Oficina, and Hélio Oiticica's installation in Brasília.
Design by Bradley Pinkerton.
Welcome to the fascinating musical universe of EXOTIC ROOSTERS! It emerges as a burst of freshness and originality, blending an eclectic variety of musical influences to create a truly unique and exciting auditory experience. Comprised of experienced and virtuosic musicians on their respective instruments, the group captivates audiences of all ages with its energy and unmistakable style. Exploring the intersection between tradition and modernity, EXOTIC ROOSTERS combines the rich soundscapes of marimba, vibraphone, double bass, percussion, and drums to create an expansive and nuanced musical landscape. From frenetic rhythms that invite dancing to captivating melodies that transport the listener on an emotional journey, each performance aims to be a celebration of cultural diversity and artistic expression.
In the relentless musical era of the late 90s, two passionate souls, Eugeni Camacho and Rafa Navarro, embarked on a unique sonic odyssey by blending the melodious marimba with the pulsating drums. Together, they successfully created STAMINA PERCUSSIO in their concerts. However, life composed its own score, separating Rafa, who was abducted by the Canary Islands, and Eugeni, who was drawn to vibrant New York. Upon their return, after years of musical exploration in different projects with the Oscars (Oscar Cuchillo and Oscar Rocher), their hearts aligned with a new melody. In the loom of destiny, they discovered the emerging talent of Bernat Cucarella. A prodigy with drumsticks and a 4.0 brain. By uniting Rafa's island experiences, Eugeni's resonant jazz from the Brooklyn alleys, and the rich musical diversity harvested in life's journeys by each of the members, they gave birth to a magical musical tale: EXOTIC ROOSTERS
The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.
The world is a firework of overstimulation - and Future Palace have dedicated an album to this feeling of overwhelm. On the new record "Distortion", the Berlin post-hardcore trio deals with an almost oppressing mass of mental illnesses and problems. In doing so they create music that - appropriate to this topic - hits more hooks than ever before from one moment to the next, from the quietest depths to the loftiest heights. While the band had already leaned more towards musical extremes on their previous album, "Run", "Distortion" is the ultimate culmination of all the tones that Future Palace have absorbed on their Europe-wide journey as one of the most exciting acts in alternative guitar music: the most powerful metalcore breakdowns meet trembling darkwave beats, anthemic emocore refrains a la Bad Omens are contrasted with sacred choirs, the coldness of industrial encounters the powerful emotionality of Sleep Token. An album like a manifesto.
Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.
So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.
Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.
With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.
It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.
Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.
To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.
Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.
Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.
Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.
So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.
Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.
With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.
It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.
Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.
To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.
Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.
Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.
- A1: Indoor Cat
- A2: It's Hot
- A3: Rollin' Scrolls
- B1: Crow's Nest
- B2: Visiting The Twelfth Bar
- B3: Talking To Myself, Feeling Old
- B4: Super(!)Sitar
- B5: Mind Lines
Mind Lines, the second record from Silver Scrolls, is the follow-up to 2020's Music for Walks. Dave Brylawski (Polvo, Idyll Swords) and Brian Quast (Polvo, the BQ's) once again team up with producer and de facto third Scroll Greg Elkins, to make an album that plants you firmly in your rock feelings. All of them. Classic rock, psych rock, indie rock, post rock, pre rock. Rock as hell.
Mind Lines. Follow them. Inspiration, spotted in the wild, lured out of dusty record bins and chased down scum alleys and garden paths, sounds stalked and collected, wrestled and arranged, until everything is in its proper place and the final LP is as it should be. Or shouldn't be. Nine minute and seventeen second radio hits. Indie rock drum solos. Whatever. Whatever dumped from the butterfly net of their collective unconscious. Whatever stumbled through the door of their open minds. Whatever works.
At this point in their collective music careers, the Scrolls are free to emulate, ignore, or destroy convention, as they see fit. Dave and Brian have seen enough, the Mind Lines have been drawn, traced... The songs are as classic as they are brand new. Yesterday chasing tomorrow. Noon is the verse, midnight the chorus. and right now is the bridge. The Scrolls chug deep from the fountain of spooky tooth, shooting sparks through their teeth. Let's go.
On Mind Lines, the Silver Scrolls are still walking, shredding, open to whatever comes next. The music came down from the mountain. Please stay a while.
Ink Spot Vinyl[25,17 €]
Die Welt ist ein Feuerwerk der Überstimulation - und Future Palace
haben diesem Gefühl der Überforderung ein Album gewidmet. Auf der
neuen Platte "Distortion" befasst sich das Berliner Post-Hardcore-Trio
mit einer fast erdrückenden Masse an psychischen Erkrankungen und
Problemen.
Ein Album wie ein Manifest.
Twister Vinyl[25,17 €]
Die Welt ist ein Feuerwerk der Überstimulation - und Future Palace
haben diesem Gefühl der Überforderung ein Album gewidmet. Auf der
neuen Platte "Distortion" befasst sich das Berliner Post-Hardcore-Trio
mit einer fast erdrückenden Masse an psychischen Erkrankungen und
Problemen.
Ein Album wie ein Manifest.
- A1: Kotms Ii (Feat Kingpin Skinny Pimp - Intro)
- A2: Ultra Shxt (Feat Key Nyata)
- A3: Set It (Feat Maxo Kream)
- A4: Hot One (Feat Tiacorine & Asap Ferg)
- A5: Black Flag Freestyle (Feat That Mexican Ot)
- A6: Headcrack (Feat Kingpin Skinny Pimp - Interlude)
- A7: G'z Up (Feat 2 Chainz & Mike Dimes)
- A8: Lunatic (Interlude)
- B1: Sked (Feat Kenny Mason & Project Pat)
- B2: Choose Wisely (Feat Kingpin Skinny Pimp - Interlude)
- B3: Cole Pimp (Feat Ty Dolla Sign & Juicy J)
- B4: Wishlist (Feat Armani White)
- B5: Hit The Floor (Feat Ski Mask The Slump God)
- B6: Hoodlumz (A$Ap Rocky & Playthatboizay)
- B7: Kotms Ii (Feat Kingpin Skinny Pimp - Outro)
Black Vinyl[32,98 €]
Denzel Curry's forthcoming King Of The Mischievous South Volume 2 finds him presenting a sequel to the project, and bringing back the sound, that helped launch his career. While the first installment of King Of The Mischievous South was performed from the perspective of his Raven Miyagi persona, a name bestowed upon him by Raider Klan founder SpaceGhostPurrp, Volume 2 finds Curry operating under his Big Ultra persona -- an elevated version of Raven Miyagi that is bragadocious and revels in the success that Curry has seen over the last decade of his career. Creating King Of The Mischievous South Volume 2 has been a goal of Curry's for some time, though his earliest attempts to do so ultimately morphed into other projects, namely his 2016 album Imperial and 2020's 13LOOD 1N + 13LOOD OUT. It wasn't until he stopped overly attempting to create Volume 2 that its songs started to emerge naturally.
Given the project's sound, which pays homage to the great musical heritages of the South -- from Memphis to Houston and Curry's own South Florida -- its features include the region's greats, both old and new, as well as others whose style is indebted to the South's musical legacy. Features include fellow former Raider Klan member Key Nyata, Memphis stalwarts Juicy J and Project Pat, Texas' Maxo Kream, That Mexican OT and Mike Dimes, North Carolina’s TiaCorine, Atlanta's 2 Chainz and Kenny Mason and South Florida's Ski Mask The Slump God and PlayThatBoiZay, as well as ASAP Ferg and ASAP Rocky, among others. The project more broadly and the intentional inclusion of Rocky and Ferg is Curry's attempt to show what could have been had relationships not soured with SpaceGhostPurrp, fulfilling the promise that existed at the rise of their respective careers in the early 2010s.
With all of the otherworldly adventures Denzel has taken listeners on over the course of his last few conceptually-driven albums, this project serves as a showcase for the fun, spontaneity and technical mastery that has made him one of rap's most in-demand talents over the course of the last decade.
WWM012 is Brenko's long-awaited release, a mini album that takes you on a musical journey through various emotions and soundscapes.
The project maintains a consistent feel, making it a cohesive work of art.
Brenko showcases a great talent for blending electronic and ambient elements, creating an album that’s both innovative and deeply engaging.
The album opens with "Alpha Wave," pulling you into a hypnotic electronic vibe with its pulsing rhythm and layered sound waves, creating a calming, introspective sonic landscape. This sets the tone for the whole release, offering a deep, meditative listening experience.
The next track, "Lisolia's Voice" introduces a more structured and dynamic melody. Here, Brenko plays with complex rhythms and diverse sound textures, striking a balance between energy and melody. The smooth transitions and use of synthesizers evoke a sense of journey and discovery.
"The Sky Vanished" takes the album to a darker, more intense place. The aggressive beats and distorted sounds create a stark contrast with the earlier tracks, exploring themes of tension and release while maintaining a constant energy that keeps you hooked.
With " Subconscious Activity" the album shifts back to a reflective tone. This track features a slower rhythm and ambient sounds that float freely in space. The skillful use of sound effects and pauses creates a sense of depth and mystery, inviting full immersion in the music.
" Beginner's Luck" changes the pace significantly with its mix of precise percussion and enveloping melodies, making it more dancefloor-friendly while still fitting the album's overall vibe.
"Sirius" experiments with organic sounds and vocal samples, adding a human dimension to the album by blending elements of concrete music with electronics.
The album concludes with "I Stayed Motionless In Air" a track that captures the project's essence perfectly. The ambient sounds and ethereal melodies create a peaceful and conclusive atmosphere, inviting reflection on the journey you've just experienced.
Norwegian talent Meera makes her Crosstown Rebelsdebut with the atmospheric ‘Stikk’. Landing on 30th August, the EP sees the young artist flex her production prowess with remixes from Dennis Cruz and Tripolism.
Riding the success of her debut single ‘Music For Humans’ in 2023, Norway’s Meera was swiftly recruited by Damian Lazarus, joining him at his Hï Ibiza residency before heading to Rebellion for the release of the resonant ‘Teflon’. The sought-after artist has shown no signs of slowing, releasing a series of remixes this year amongst European shows, festival appearances, and Ibiza
pit stops. Continuing this momentum, she now makes her label debut on Lazarus’ renowned Crosstown Rebels with ‘Stikk’, with imprint regular Dennis Cruz joining on remix duties alongside melodic Danish trio and former collaborators Tripolism, who also make their first outing on Crosstown.
Landing in realms of afro-house, Meera’s production is cool, confident, and creative. With eclectic influences audible throughout her standout sound, her ‘Stikk’ EP proves why she first garnered the attention of artists such as Jimi Jules and John Digweed. The title track leads with minimal climbing percussion, introspective piano melodies and delicate, dreamlike vocals. In contrast, Tripolism’s remix turns up the intensity to a biting crescendo, adding sharp synths for a more dancefloor-focused feeling. ‘Sykkelkurv’ reaches for higher planes of emotion with its atmospheric soundscape, moody chords and driving drums, toeing the line between light and dark. Next, Dennis Cruz’s interpretation drives the track off the line and into deeper rhythms with chunky low-ends, picking up the pace for peak time. Digital purchasers are treated to a bonus track titled ‘Stikk Reprise’, a pulsating trip back into the lead single, with a heightened focus on the song's hypnotic vocals and raw emotive energy.
Alliyah Enyo’s genius 2022 ‘Echo's Disintegration’ album infused William Basinski's "Disintegration Loops" with choral smoke, and she now returns with an even more immersive followup alongside ambient enigma and Kelela producer Florian T M Zeisig, making heady and translucent loop-finding vocal soundscapes.
In 2022, Enyo worked with the Edinburgh Sculpture Workshop on an epic two-hour composition made from tape loops inspired by selkies, mythical creatures in Celtic folklore. Contemplating memory, grief and time itself, Enyo devised a "sonorous myth" installation and performance that drowned her voice in the deep sea, using echo to help parallel the communication of humpback whales. It was powerful enough for her to net the award for Sonic Arts at the Scottish Awards for New Music last year, and it's this material that she revisits here, entering into a dialog with Berlin-based producer Florian T M Zeisig, here adopting a new avatar - Angel R.
On the A-side, Enyo distills two hours of the original composition into 11 haunted fragments that ooze in and out of each other like a dream. Reworked at Glasgow's Green Door studio, she sculpts her voice into weightless Radigue-style incantations, leaning into the tape loops' corroded inconsistencies. Enyo's voice becomes the selkie's song: wordless echoes that sound as if they're being dragged slowly towards the sea bed. There are remnants of folk forms in there; we hear traces of church music and Celtic ballads - but she obscures her influences with dubbed reverb, distortion and repetition. Phrases disappear and re-appear, time becomes a loop, best absorbed in a single sitting to properly perceive its graceful, sinking bliss. By the end of the side, Enyo’s vocals are completely waterlogged, dimmed against Robin Guthrie-like shimmers, all brassy, blurred incantations emanating from the depths of a floatation tank.
Florian T M Zeisig responds on the B-side with three flooded, longer-form pieces that will appeal to anyone who devoured his album of corroded Enya loops a couple of years ago. Enyo's voice is now reduced to a whisper, blistered and gauzy expressions that float over dense pads on 'Untitled I' before getting lost in the weeds completely on the muggy 'Untitled II'. On the closing 'Gates of Heaven', he sculpts Enyo's voice until it's just an illusory, hypnotic reflection, slow-fading into the aether.
2024 Repress
Following the Recent Dip Into the Theo Parrish Archives That Was the Twin Cities, Phil Weeks' Robsoul Imprint Looks to Another One of Detroit's Adopted Sons in the Form of Rick Wade. Like That Recent Parrish Reissue, Weeks Re-Releases Another Three Tracks From Wade's Bulging Discography. the Upbeat Disco Loops of "Players Theme" Was Originally Released on French Label Funky Chocolate in 2002 and Still Sound Fresher Than Anything Being Plied by the Soundcloud Dwellers Today, While "Can't You See" From 2003 Provides a More Soulful Take on House Music. on the Flip, the Tracky Funk and Cascading String Melodies of "I Feel Good" Originally Graced Wade's Own Harmonie Park Imprint in 1998, but Sound No Less Vital Today. Essential....
Groove Minority Is a French Dj/ Edit Producer and Vinyls Lover. Inspired by Rare Disco Gems, Underground Early House Music Producers and Disco Edit Lovers. Since 2019, His Label Is Created to Release His Own Tracks, Vinyl Only....
- A1: Brownswood Rockers / Golden Shovel (Somebody Else’s Idea)
- A2: Dancin' Your Own Time
- A3: Limebike Getaway
- A4: General Rubbish Vs The Sportswear Mystics
- A5: Tottenham
- B1: Crow Foot Hustling
- B2: Numbers Click
- B3: Circles Going Round The Sun
- B4: Golden Shovel 2 (Somebody Else's Idea)
- C1: Jazz
- C2: Halfway Somewhere
- C3: Of Peace
- C4: Move As One
- C5: In The Brakes
- D1: 57Th Min / Power And Glory
- D2: Kingsland Road
- D3: Cabin Fever Dub
- D4: Euston Warehouse
- D5: Pleasure, Joy & Happiness
Original 2LP[30,88 €]
Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.
Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.
When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).
Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”
UFC presents Cybernetic Implant, its seventh release, an EP where electro and cyberpunk go hand in hand with hardware equipment for a trip to an unpromising future. The Ep consists of six tracks, three originals mixes produced by Ático Corp. and three remixes by producers Hd Substance, 7053M4R14 and Robot City.
In the three original tracks we find three different visions of electro where broken and sharp rhythms are mixed with bursts of synthesizers, atmospheres and samples that refer directly to less optimistic science fiction.
On the other side we have the three remixes where each artist contributes their particular vision by reimagining the tracks in their studios directly from their hardware gear. Synthesizers, drum machines and hardware effects are once again invited to the journey. Welcome this time not to a credible future, but to a dystopian future.
Rapha Mundi’s debut EP is finally ready on Buenobueno Discos, the label he runs alongside his fellow DJ / producer PIEK.
For this second EP on the label, Rapha brings his deeper side and delivers 5 tracks ranging from House to Techno or Electro, heavily inspired by the Chicago and Detroit scenes. Everything is lovely crafted by his unique style playing and recording with analog gear.
After a slight hiatus Jad & The’s Speed Dial imprint is back and this time joined by a myriad of underground talent to give you the Various Artists “Rhythm Rituals” EP.
The A side is jam packed with 3 uptempo tech-prog-chug goodness featuring Eora Nation based up and comer Mtty, label head Jad & The, and a re-issue of Pocket’s timeless “Smoke Signals” previously released via Australia’s seminal “Thunk” Recordings in the year 2000.
On the flip the tempo is slowed but Australian DJs DJ Relax and Local Support deliver arguably the finest moments on the record - broken beat Balearic badness in the best way, hell yeah!
Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.
Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.
On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.
This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.
Remastered with refreshed artwork.
Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.
’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.
On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through.
Remastered with refreshed artwork.
„Infinite Health“ ist das fesselnde sechste Album von Tycho, dem zweifach GRAMMY-nominierten Projekt des gefeierten Songwriters, Musikers und Produzenten Scott Hansen aus San Francisco.
In ‚Infinite Health‘ geht es darum, einen Raum für Heilung und Reflexion zu schaffen, ein Mantra für geistige, emotionale und körperliche Heilung. Klanglich kehrt er mit dem Album zu seinem eher elektronisch geprägten Produktionsstil zurück und konzentriert sich auf Breaks, Drums und rhythmische Elemente. Seit den Anfängen des Projekts im Jahr 2001 hat Scott Hansen den Tycho-Sound kontinuierlich weiterentwickelt und sich als Vorreiter in der elektronischen Szene etabliert. Auf dem Weg dorthin haben Tycho zwei GRAMMY-Nominierungen erhalten, Remixe produziert und mit unzähligen namhaften Künstler:innen wie ODESZA, Maggie Rogers, Little Dragon, Leon Bridges und Death Cab For Cutie zusammengearbeitet.
Jetzt haben Tycho nach „Simulcast“ (2020) - einem Schwesteralbum zu „Weather“ (2019) - dieses fesselnde neue Werk vorgelegt. Obwohl es das Personal der letzten Werke beibehält - wie üblich mit Zac Brown an der Gitarre und Rory O'Connor hinter dem Schlagzeug - sieht Hansen „Infinite Health“ als eine vierte Ära für Tycho an: er stürzte sich in den Aufnahmeprozess mit dem Ziel, den Sound unverwechselbar und prägnant zu gestalten.
Das Bristoler Jazz-Kollektiv Ishmael Ensemble verdeutlicht mit "Visions Of Light", dem Nachfolger ihres gefeierten Debüts "A State Of Flow" (2019, "Album Of The Month" Mojo, The Guardian), wie zwischenmenschliche Beziehungen unter den Musikern atemberaubend ehrgeizige und emotional eindrucksvolle Kompositionen entstehen lassen können. Unter Leitung des Saxofonisten Pete Cunningham hat sich das Ensemble als explosive neue Kraft im UK Jazz profiliert, deren cineastischen Tracks Dub und elektronisches Feingefühl aus der vitalen Bristoler Szene kombinieren. Cunninghams Aufstieg als gefragter Produzent führte zu Remixen für Techno-Legende Carl Craig und das legendäre Blue Note-Label.
For over three decades Toby Marks, aka Banco de Gaia, has been redefining world electronica, leaving an indelible footprint on the global music scene, rousing many a dancefloor, and inspiring countless musicians to follow. At the forefront of blending acoustic and electronic sounds, integrating themes and techniques from cultures and traditions the world over, Toby has worked with musicians and producers as ingenious and diverse as Pink Floyd's Dick Parry, Natacha Atlas, Tim Wheater and Hawkwind– to name just a few.
Ranging from cinematic ambience to pounding dancefloor-fillers, his music defies genres, and borrows from a wealth of musical sources and styles. Toby's background in jazz and rock combine with his love of dance and world music to produce a glorious, uplifting and, at times, mesmerizing sound.
Long Vehicle is back on the street with a new record that's ready to take us on a journey as diverse and exciting as a cross-country road trip from Leipzig Neuschönefeld to Vienna Ottakring. Presenting "Bumper 2 Bumper Two" by Reece Walker & Salomo sharing the driver's seat again – already proven their prowess with a hithouse EP for the label three years ago, and now they're back with another quartet sustainable pieces – guaranteed to get your Birkenstocks tapping while jiving.
The second Nug-Net Vinyl Winner’s Circle is here. These are 4 of the top 8 tracks we received out of 400+ submissions. These have been played and tested by Gene and are certified for the dancefloor. Nug-Net will continue to shine a light on up and coming producers now and in the future.
Absolutely electrifying and timeless, the 1973 Philly disco anthem is back! Now fully licensed and repressed for 2024 on a premium 12" single, "The Love I Lost" shines brighter than ever. This all-time classic showcases the extraordinary vocals of a young Teddy Pendergrass, who was on the cusp of becoming one of the era's most successful male performers. This full-length LP version, generously spread across an entire side of the 12" single, is an essential addition to any collection. It's one of those formative tracks that laid the foundation for the disco explosion—pure perfection!
Flip the record, and you'll find another landmark tune: "Wake Up Everybody." This 1975 mellow dancer carries a powerful, heartfelt message and stands as another monumental hit in the Blue Notes' impressive catalog. With socially conscious lyrics that resonate even today, this track has solidified its status as a timeless classic, exuding depth and soul. The entire B-side is dedicated to this one track, providing ample room for its message to resonate and ensuring top-quality sonic playback for DJs and dancers alike. If you appreciate soulful sounds, this record is a must-have—peerless and unforgettable!
This summer is all about the Toxic Funk jams over at Breaknbeat Paradise Recordings and for the 15th installment of the Toxic Funk series we have welcomed back the Suckaside team to produce 2 timeless funky joints.
Suckaside aka DJ B-Side and Sucka Timmy is always on point when putting their tasty funky mashups together and this time around they're keeping it fresh with some soulful funky twists on some catchy RnB jams.
This is the second time Suckaside is dropping a toxic funk 7"inch after their highly successful Vol. 7 from 2021.
Starting things off with the catchy Sometimes Bootyful that featuring some smooth RnB vocals on a funky organ riff with a steady rocking breakbeat.
On the b-side the smoothness continues on the highly addictive Sugar Face, that's take a big slow-rockin' groove and mashes it with some catchy RnB vocals that will leave you asking for more every time it's played.
Another timeless 45 that will be going quick so get it while you can and look out for more Toxic Funk coming very soon…
Get ready for a musical revolution! The Antwerp Gipsy Ska Orkestra is back, and this time, they're turning the music world upside down with their electrifying new album, "Revolution (Never Has Been Simple)." This groundbreaking project, produced by the modern genius Lunaman, features an infusion of new energy and talent with the remarkable addition of 18-year-old sensation Ramadan Sali, who has been a fan of the band since the tender age of three. But before we dive into the future, let's take a moment to appreciate the rich history of the Antwerp Gipsy Ska Orkestra.
A Journey Through Time and Sound: The Antwerp Gipsy Ska Orkestra Story
The Antwerp Gipsy Ska Orkestra's journey is a testament to the transformative power of music. Rooted in the vibrant city of Antwerp, Belgium, this innovative collective began its musical voyage decades ago. Their story is one of passion, diversity, and an unshakable commitment to crafting unforgettable sounds.
The band's unique blend of Gypsy and Ska, along with an eclectic mix of world influences, has earned them a dedicated global following. With each album, they pushed the boundaries of musical fusion, forging a path where genres intertwined, creating something entirely unique. Their evolution has been an ongoing exploration of culture, rhythms, and the unifying language of music.
"Revolution (Never Has Been Simple)": A New Era of Sound
And now, they're back with "Revolution (Never Has Been Simple)" – a title that perfectly encapsulates their journey. Produced by Lunaman, known for his innovative approach to modern soundscapes, this album is a breath of fresh air for the music world. It's a bold step forward, a revolution of their own creation, and a testament to their constant willingness to reinvent themselves.
Meet the Prodigy: Ramadan Sali
But that's not all that makes this album special. The Antwerp Gipsy Ska Orkestra has also welcomed a young prodigy into their ranks: Ramadan Sali. At just 18 years old, he's not only an extraordinary talent but a lifelong fan of the band, having followed their music since he was three years old. His fresh energy and creative spirit have injected new life into the band, making "Revolution" a truly remarkable chapter in their history.
"Revolution (Never Has Been Simple)" Unveiled
This album is more than just a collection of songs; it's a testament to the band's enduring spirit, their journey of growth, and their unyielding commitment to the craft of music. The tracks on "Revolution" are a thrilling mix of genres, emotions, and messages. From the high-energy dance anthems to soul-searching ballads, this album encapsulates the complexities of life and the raw power of music to connect with our hearts.
Get Ready for the Revolution!
As we eagerly await the release of "Revolution (Never Has Been Simple)," mark your calendars and prepare to join the musical revolution. This album is a testament to the Antwerp Gipsy Ska Orkestra's ongoing legacy, a fusion of the past and the future, and a celebration of the unifying power of music. Stay tuned for release dates, sneak peeks, and all the excitement surrounding this revolutionary musical masterpiece. The Antwerp Gipsy Ska Orkestra is back, and the world is about to witness a "Revolution" like never before!
Purple, the second studio album released in 1994 by the Stone Temple Pilots, stands as a monumental achievement in the band's career and a defining moment in the grunge and alternative rock music scene of the 1990s. With a potent blend of raw energy, introspective lyrics and masterful musicianship, Purple not only catapulted Stone Temple Pilots to superstardom, but it also marked a significant evolution in the band's sound.
The album, building on the foundations laid by the band's debut album Core, was a huge success for the band, debuting at No. 1 on the Billboard 200 chart and quickly achieving multi-platinum status, worldwide.
Its chart-topping single, "Interstate Love Song," became an anthem for a generation, and the album as a whole showcased the band's artistic prowess.
Lyrically, "Purple" also revealed a more introspective and mature side of Stone Temple Pilots. Scott Weiland's songwriting delved into personal struggles and emotions, addressing themes of addiction, love, and self-discovery. This depth added a layer of authenticity to the album, allowing listeners to connect with the band on a profound level.
Purple also demonstrated that Stone Temple Pilots were more than just another grunge act; they were a force to be reckoned with, capable of delivering powerful and emotionally resonant music. Purple remains a crucial chapter in the band's history and an essential listen for any fan of rock music.
Analogue Productions has given the showstopping Purple the full reissue treatment: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
Typically, a band's big indie label debut doesn't come 15 albums into its career, but with Constant Smiles' Paragons, here we are. Primary songwriter and sole "constant" member Ben Jones_who considers Constant Smiles a collective_sees its impressive output as a way to document the group's evolution. Since its live debut as a noise duo on Ben's home of Martha's Vineyard in 2009, Constant Smiles has grown to include contributions from 50 other members, all of whom have personal connections to the group's extended family. And while the collective has indulged an array of musical whims along the way - including Ben's penchant for penning a new set's worth of material for each live performance - Constant Smiles' sound has tightened up considerably over their past couple of albums, in large part as a result of Ben's working relationship with Mike Mackey, who has become his main creative partner. This increased focus manifests on Paragons in the band's most cohesive batch of songs to date, ranging from shimmering psych-pop excursions to bittersweet, piano and string-accented strummers, and an execution that feels like a massive step forward for the band. Through its recent forays into dream pop and shoegaze (Control) and synth-pop (John Waters), Constant Smiles has learned how to incorporate its experimental inclinations more fluidly into the mix. Artists like Yo La Tengo, and the more recent Rat Columns, are good touchstones for Constant Smiles' musical approach - tethering to an indie-pop core while perennially mining genres, always finding new ways to intrigue listeners and pursue a unique vision. Paragons was produced and engineered by Ben Greenberg in the last two weeks of December 2020 at Gary's Electric, with additional recording done by Ben Jones at his home studio, The Void, and his Aunt Leanne's house. The album was mixed at Circular Ruin Studio and mastered by Josh Bonati. The band on Paragons consists of Jai Berger (who performed "Introduction"), Spike Currier (bass and synth), Matthew Addison (drums), Emma Conley (violin), Nicky Wetherell (cello), Adam Lipsky (piano), and Ben Greenberg (guitar and Mellotron).
Campo's debut album, released in 2012, was a milestone in the new South American music scene. The brainchild of Juan Campodónico - one of the creators of Bajofondo - combines sophisticated pop, electronica, and South American roots, uniting past and present in a unique way. Neo-cumbia, tango, and candombe shake hands with Britpop, soul, and trip-hop in a timeless album. A place where indie rock intersected with the great Latin bands of the 1950s, fringe genres like cumbia villera were transformed into sophisticated music, tango joined alternative pop, and track music became contemplative and landscaped. Juan Campodónico has a long artistic career (Peyote Asesino, Bajofondo) and extensive experience as an artistic producer on some fundamental records of Uruguayan and South American music (Jorge Drexler, Cuarteto de Nos, No te Va Gustar among others). In 'Campo' is a very heterogeneous group of composers, performers and instrumentalists from different genres and geographical locations (Jorge Drexler, Martín Rivero, Ellen Arkbro, Pablo Bonilla and Verónica Loza, among others). 'Campo' was based on the song format, jumping the limits of the Río de la Plata, immersing himself in rhythms, genres and forms of South American songs from the past and present, seeking the link with pop, rock and electronic music. The album -which received nominations for the American Grammys, the European MTV Awards and the Latin Grammys- broke schemes and prejudices. He brought together opposite worlds such as cumbia and britpop, songwriters and dance music, or bolero and electropop, finding beauty and sophistication in unexpected places.
2023 color vinyl repress Ghost Funk Orchestra are a mystery. Plain and simple. Dirty, soulful production, verbed and fuzzed out guitars, mysterious vocals that feel like a lost score to a Quentin Tarantino film. The brainchild of one-man producer/musician/arranger Seth Applebaum, GFO is forging new territory and blurring the line between soul and psychedelic.
This is the quartet's second LP, recorded in 1971, and contains mostly Peruvian songs with a strong Cuban flavor where Pancho Acosta’s electric guitar reaches vertiginous heights and is combined with outstanding conga and timbales playing. Extremely rare and hard to find in its original issue, this is the first-time reissue. Remastered from the original tapes. The guitarist Francisco "Pancho" Acosta Angeles (1946) played a significant role in spreading love for Cuban rhythms across Peru, those sunshine beats breaking through the cloudiness that hangs over Lima most of the year, as the city bears a closer resemblance weather wise to London than to Havana. In 1967, after making a name for himself with his six-stringed skill, he made his vinyl debut with Compay Quinto. Shortly after Pancho left Company Quinto, he joined Los Kintos. When Los Kintos disbanded, Pancho Acosta swiftly moved on to his next project for MAG: the Cuarteto Yemayá, formed by tumba drummer and singer Miguel Montoya, bassist Máximo Pecho and timba drummer José Luis Fiallega, all under Pancho's direction and arrangements. The quartet's debut album, "Ecos del Trio Matamoros", was a tribute to the Cuban trio of the title and comprised cover versions as well as a couple of their own songs. This is the quartet's second LP, recorded between July and August 1971. "El Tic Tac" contains mostly Peruvian songs. The foreign versions on the album include the classic 'Compay Gallo', written by Miguel Matamoros; 'Toribio carambola' and 'El Tic Tac', from the repertoire of the Cuban Trio Servando Diaz; and 'Sandunguéate', best known in Celia Cruz’s version. ‘Oye Mi Son' and 'Oye Mi Guitarra' were composed by the album's lead vocalist, Miguel Montoya. Percussionist Jorge Mariazza (Los Pachas, Manzanita y su Conjunto) co-wrote 'Descarga Yemayá' with Pancho, which features outstanding conga and timbales playing. Pancho also composed tracks on his own: 'Me Voy a Monsefú', 'Mi Provinciana', 'Yo Me Voy de Aquí' and 'Flaca y Fea', the latter
with a Beatle-like intro where his Japanese electric guitar reaches vertiginous heights (he never used sound effects in his recordings). Cuarteto Yemayá released one more album for MAG. In 1973 Los Kintos reformed, with the addition of the bass, percussionist and guitarist from Cuarteto Yemayá. Pancho Acosta has continued his career as a composer and arranger to this day
At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.
Harde Smart is back again! With the new Harde Smart 7" Sampler, you get a taste of the upcoming Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's, the successor to the acclaimed original Harde Smart compilation that showcased the best of the Dutch-linguistic territory back in the '70s. Even in the decade that followed, a whole host of gems were made that were remarkably danceable, catchy and playful, as proven by the two tracks on this sampler. Joost Belinfante puts it nicely on the B-side: 'nothing to prove, nothing to claim, it is as it is.' Harde Smart never disappoints.
Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's
Harde Smart is on it with the sophomore compilation effort Flemish & Dutch grooves from the 1980's. Vinyl aficionado's No Sleep Richy and Micha Marva teamed up with Sjefke De Kok (one of Holland's illest to rack those crates!) to continue their journey. While raking deep in the dusty bins with Dutch and Flemish records, they once again discovered an exquisite selection of tracks. Too weird to play, too rare to throw away. From butt-shaking boogie to weird disco adventures on wax, this album is sounding like all the good stuff the eighties had to offer: both smooth and sexy as well as dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.
The Harde Smart 7" Sampler will be released on Friday 15 March 2024 via Sdban. Harde Smart volume 2: Flemish & Dutch Grooves From the 80's will be released soon via Sdban
Schwarzes 140g Bio-Doppel-Vinyl mit bedruckten Innenhüllen ohne Beilagen
Einstürzende Neubauten präsentieren ihr neues Album. Sie suchen nach neuen Formen. Nach dem unentdeckten Ton und dem noch unausgesprochenen Wort. Seit ihrer Gründung am 1. April 1980 verschieben die Einstürzenden Neubauten die Parameter von Mainstream und Subkultur, um das Unhörbare hörbar zu machen. Und vielleicht auch das Unerhörte. Ein sich über vier Dekaden erstreckender Feldforschungsversuch, der nun ins nächste Stadium tritt. In ihrem 44. Bestehensjahr geht die Formation weit zurück zu ihren Wurzeln, um sich gleichzeitig neu zu definieren. Ein verändertes Selbstverständnis, für das das Berliner Quintett plus eins 2024 sein eigenes Genre kreiert hat: apm - alien pop music. Ständige Weiterentwicklung - so könnte man das Schaffen der Einstürzenden Neubauten kurz und knapp zusammenfassen. Eine musikalische Evolution, die beim 1981 veröffentlichten Albumdebüt "Kollaps" beginnt und sich nun auf dem im April 24 erscheinenden Album "Rampen - apm: alien pop music" manifestiert, auf diesem präsentieren sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser und Felix Gebhard nun von ihrer unberechenbarsten und eigenwilligsten Seite. Auf ihrem neuen Album setzen die Neubauten nun allen Sound-Spekulationen ein - wenn auch spätes - Ende. Schon seit Mitte der 1980er-Jahre experimentieren die Einstürzenden Neubauten auf der Bühne mit sogenannten Rampen: Öffentliche Improvisationen mit offener Entwicklung und Ausgang; Abschussrampen ins noch Unerforschte, die die Band im Jahr 2022 auf ihrer letzten "Alles in Allem"-Tournee im Zugabenteil performte und deren Mitschnitte als Basis für das neue Album dienen. "Rampen - apm: alien pop music" ist Popmusik für Paralleluniversen und Zwischenwelten. Für Hyperräume und Interzonen. Mikrokosmisch und intergalaktisch zugleich. Eine demimondäne Behauptung außerhalb aller physikalischen Gesetze, mit der die Einstürzenden Neubauten ein stilistisches Niemandsland zwischen Vergangenheit und Zukunft betreten. Rückkehr zu den Wurzeln einerseits, andererseits entsteht aus lärmgewaltigen Kracheruptionen, auf kryptische, oftmals fragmentarische Lyrics treffend, eine neue Kunstform: Populäre Musik für Aliens und Außenseiter. Aus Anti-Pop ist Alien Pop geworden. Fremdartig. Kokonhaft versponnen. Ungehört. Sonus inauditus. Nicht ganz unabsichtlich erinnert das reduzierte Coverartwork an das ikonische Layout des "Weißen Albums" von den Beatles. "Ausgehend von der Idee, dass die Einstürzenden Neubauten in einem anderen Sonnensystem ebenso berühmt sind wie die Beatles in unserer Welt", so Blixa Bargeld über die Gratwanderung zwischen Avantgarde und Augenzwinkern, Provokation und popkultureller Diskontinuität. Womit auch direkt das zentrale Thema vorgegeben wäre, das sich wie ein roter Faden durch alle Songs zieht: Veränderung, utopische Gedankenspiele und Vergänglichkeit. "Ich habe auf der Platte ein paar Lösungen gefunden und Dinge formuliert, wie ich sie vorher noch nicht formuliert habe, weil sie mir noch nicht so klar waren. Ich bin jemand, der denkt, durch Musik Erkenntnisse zu gewinnen. Das war schon immer so. Die Überzeugung, in der Musik etwas zu finden, was ich vorher nicht wusste. Und etwas zu singen, was ich vorher nicht wusste. Etwas, was sich dann als Wahrheit herausstellt. Oder zumindest als sinnvoll, wenn man es ein wenig kleiner halten will." Dieses Album repräsentiert die nächste Stufe der Evolution, auf der man die bekannte Sprache schließlich hinter sich gelassen hat. Und die Eröffnung weiterer, unendlicher Möglichkeiten: alien pop music.
Italian artist Fedele unveils exciting upcoming album ‘Depth Of Being’ which again finds him exploring all new electronic music realms. The 11 track album arrives on his own label Obscura and is his first since going solo. Fedele is a key part of the underground scene and has been working alone for the last three years since his departure from Agents of Time.
He has truly made his mark in that time with music on the likes of Ellum Audio, Tiga’s Turbo Recordings and his own Obscura. This superb new album is a mix of stylish progression from the signature sound Fedele is known for while the other side of the album dives more into the experimental world, using more vocals than before.
The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.
Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.
The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.
Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.
The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.
In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."
Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.
Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.
MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.
- A1: Brownswood Rockers / Golden Shovel (Somebody Else’s Idea)
- A2: Dancin' Your Own Time
- A3: Limebike Getaway
- A4: General Rubbish Vs The Sportswear Mystics
- A5: Tottenham
- B1: Crow Foot Hustling
- B2: Numbers Click
- B3: Circles Going Round The Sun
- B4: Golden Shovel 2 (Somebody Else's Idea)
- C1: Jazz
- C2: Halfway Somewhere
- C3: Of Peace
- C4: Move As One
- C5: In The Brakes
- D1: 57Th Min / Power And Glory
- D2: Kingsland Road
- D3: Cabin Fever Dub
- D4: Euston Warehouse
- D5: Pleasure, Joy & Happiness
Blue 2LP[34,87 €]
Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.
Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.
When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).
Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”
Mindgames' commitment to capturing the essence of golden era Jungle while infusing it with updated production techniques perfectly complements ASC's approach. On these two EP’s, ASC bridges the expansive soundscapes of his Spatial releases and the raw dynamism of his 2020 jungle trilogy for Samurai Music.
From the heads down launchpad of Shadow Of The Beast, to the deep stepping glide of Phaaze, and onto the epic scapes of Cells Interlinked, ASC writes a sonic manifesto of his mastery of deep jungle. Snowblind is a reverent nod to Photek’s fascination with space jazz, while Flux is a floating groove that snakes itself around one of the most infectious b lines you will hear anywhere.
Seven timeless entries in the Jungle story book that embody the spirit of the 90s while reshaping it’s framework into entrancing new forms.
Mindgames' commitment to capturing the essence of golden era Jungle while infusing it with updated production techniques perfectly complements ASC's approach. On these two EP’s, ASC bridges the expansive soundscapes of his Spatial releases and the raw dynamism of his 2020 jungle trilogy for Samurai Music.
From the heads down launchpad of Shadow Of The Beast, to the deep stepping glide of Phaaze, and onto the epic scapes of Cells Interlinked, ASC writes a sonic manifesto of his mastery of deep jungle. Snowblind is a reverent nod to Photek’s fascination with space jazz, while Flux is a floating groove that snakes itself around one of the most infectious b lines you will hear anywhere.
Seven timeless entries in the Jungle story book that embody the spirit of the 90s while reshaping it’s framework into entrancing new forms.
Dubstep's origins lie in dark 2-step mutations that evolved on dancefloors and in studios in the early 2000s. That same fusion of swing and space and subs can be found by the bucketload throughout the new EP by one of DNO’s staples, Kercha.
Skippy speed garage hats and slippery globules of bass animate the otherwise sparse production on the opening track ‘Feature’, while the wild beat on ‘Absurd’ could catch out any DJs not giving it their full attention. Wrapped in Kercha’s signature sonic debris, it delivers three and a half minutes of rattling, clicking, squelching wizardry.
The B-side gives us ‘Stimulate’, a collaboration with new-gen rising star Hypho. Indebted to trap, it’s full of militant 808 hi-hat rolls and the kind of firing synth tones that spell doom in a sci-fi movie (and tear up festival stages).
Finally, ‘Saturday’ is classic Kercha: sub-bass from the Seventh Circle, and so many suspicious chirps, whistles and hoots that it could soundtrack a nighttime stroll through the woods just as easily as skanking in a smoked-out sweatbox. The track is peppered with voice notes from a friend — snatches of funny, halfcut chatter, as random in content as Kercha's non-vocal sampladelia. The final snippet, which translates to “Saturday dictates its rules”, gives the track its name. A statement that can be read in all sorts of ways, it could even confer a motto for this whole collection, reflecting Kercha’s trademark originality.
The ‘Absurd’ EP is one of Kercha’s most dancefloor-directed releases to date, and whether conjuring the ghosts of club nights past or envisioning the raves of the future, it’ll be dominating sound systems for a long time to come.
Rhythms of postmodern realism at the very bottom of the DNO.
WRWTFWW Records is continuing its fruitful and blissful collaboration with New York ambient / jazz / downtempo musician Danny Scott Lane with the first ever vinyl release for his 2021 cassette album Caput. The 12-track beauty is available as a limited edition LP (500 copies worldwide) housed in a marvelously designed heavy 350gsm sleeve. The album is also available digitally.
Originally released on cassette only, Caput is desert music inspired by the city, a serene and cozy soundtrack of contemplative synth, mini pleasure-grooves, and botanical ambient jazz, sure to gently pacify the emotionally conflicted and make small moments the best moments. Scott Lane’s smooth downtempo is like a cushiony bubble of simple life, protecting the mind from noise and stress. It’s the comforting hand on the shoulder, the blanket that keeps warm, the easy Sunday morning breakfast - caring chillout music to escape from the brouhaha.
Dam Swindle return to Heist in excellent form with a 4-track EP in their signature style.
The iconic Amsterdam duo returned to the studio after their much-lauded ‘Minor Fools’ EP, where the lead track ‘That’s Right’ became one of the most heartwarming tracks 2023. Their recent contribution to the Phonica 20-year compilation -‘Allright (just a tribute)’- is turning into one of the biggest hits of this year with big plays on pretty much every festival around, whether it’s Glastonbury or Dekmantel. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The ‘Touch Me Again’ EP sees them go from sample-heavy house to classic 90’s piano-driven tracks with a touch of acid and it’s one you don’t want to miss.
The record starts with ‘Touch Me Again’, a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you’ve got a follow-up to their Phonica hit of 2023.
‘Hang On’ takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there’s always something new happening while keeping the attention on that catchy main hook.
On the flip, we see the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track ‘The Joy of Melancholy’. Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful ‘hands-in-the-air’ dancefloor moment.
The EP closes with ‘Forever and Ever’, a gospel-inspired Deep house tune full of organ hits and off-kilter sample chops. This 4-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.
Grab this record while you can and share the love,
Heist Recordings.
COEO back on Toy Tonics! The German duo has been part of Toy Tonics since day one. Now they celebrate their return to Toy Tonics with an outstanding EP full of timeless, contemporary house music that also marks their 10th contribution to the label after their first release on the imprint 10 years ago. Their house vibes have been defining the sound of the Toy Tonics label for many years and still now they regularly play the Toy Tonics events around the world. (The Toy Tonics Jams).
On this new EP one more time the boys dive deep into the Italo & Piano House world- getting more electronic than ever. This EP is 100% in the vibe of now. With great piano chord drops that make everybody scream on the dance floor, with horn and synth melodies that you can sing along after you heard them one time only and with classic house beats that are THE sound of today.
The main title “Nostalgia” is inspired by and a tribute to all the intimate and ecstatic moments they were able to share over the years with music lovers on festivals and in clubs around the world. While the piano house theme on the A1 brings you in that festive mood of your last summer festival you have been to with your closest friends, the second track of the EP „Breeze“ takes it on a higher energetic level and combines a funky bass guitar with progressive house elements. Remember that special moment when you were attending your first full moon party in that far away country after you have finished school? That gentle wind blowing through the trees? „Breeze“ could be the soundtrack of that adventure.
On the B side Italo house influenced „Meet me at the cascades“ captivates through an hypnotic approach and unfolds dreamy synth pads and arpeggios to take you on a imaginary journey to your favourite retreat, a place you feel safe.
The EP features 3 original tracks and also a remix by COEO friends Stump Valley. The former Dekmantel artists who now joined Toy Tonics. Stump Valley btw are Francesco and Aleksei. Aleksei also works under the name of Brian de Palma and will release a solo album soon on Peggy Gou’s label Gudu. Stump Valley‘s remix of „Nostalgia“ rounds up the EP with its stand out piano solo and marks the perfect end to an EP that is meant to stay in your head just like all those intense memories which life in general evokes.
Milio is back on Atomnation with his third full-length Invisible Lands in September 2024. It is the glorious result of an artistic journey in which the Dutchman has discovered new production skills and techniques so he can translate the rich fantasy world of his childhood into a musical form using only analogue sound.
Kwench Records is synonymous with homage-driven house and techno. Cassy's guilefully-curated selection of releasing DJs and producers is to be admired yet again with the arrival of heritage artists Jesper Dahlbäck and Alexi Delano under their respective aliases The Persuader and AD. Together they collaborate on a deftly-cut four-tracker with artist and writer Bella Hardcover adding her touch in spoken word.
After releasing my album 'ÖÐRUVÍSI,' which was a very personal and emotionally challenging project, I felt the need to make something weird and energetic for the club. I’m really into tunes that feel both slow and fast simultaneously.
The first track on the EP, 'Let’s be Havin u,' was initially hard to place genre-wise, i ended up sending it to Darren, who loved it and wanted to sign it. Releasing on Exit kinda feels like earning a black belt as a producer hah. I never imagined that a decade after buying Exit 12”s in 2014, I’d be releasing my own music on the label.
When I started making the EP, I had just begun performing again. I often saw people on the dance floor, too out of it to enjoy the music and often some of them having to be carried by their friends to backstage. This made me wanna make tunes for the dance floor as a bit of a statement on this. I first tested 'Let’s be Havin u' at Prikið in Reykjavik, sounded mad on the little old funktion one. The moment I knew that I was onto something with the EP was when I was Performing in Bristol at Thekla for my friend Boofy. It was wild, the ceiling started leaking during the show. I Love Bristol, feels like home to me.
Most of the percussion and hats on the EP are made with an Elektron Model Cycles, and the synths and pads are from a 80s Yamaha hybrid FM/sample synth I found at a thrift store. It doesn’t have MIDI, so I have to record perfect takes for chords and melodies. I often use pedals afterwards or resample the sounds for more tonal control.
I enjoy digging for records with unique breaks to sample, as I feel this is lacking nowadays. I usually make all my drums from scratch but when I use breaks I like it to be something I haven’t heard before. The alien percussion sound in the last track is actually me biting my teeth together, resampled repeatedly and ran through pedals and interfaces. I also recorded myself chewing gum for the second track to give it that hand on the hip feel. Most of the EP is made with hardware, outboard gear, or real-life recordings.
I’m not concerned about the EP fitting a specific genre or playlist. Too many artists play it safe by focusing on their Spotify stats and abandoning projects that don’t work instantly. I think also Obsessive nostalgia stifles innovation, keeping things stuck in a loop by replicating to the tee, tunes from 2 decades ago. I get it, but there has to be a middle ground sometimes.
- A1: Moon's Milk Or Under An Unquiet Skull (Part One)
- A2: Moon's Milk Or Under An Unquiet Skull (Part Two)
- B1: Bee Stings
- B2: Glowworms/Waveforms
- B3: Summer Substructures
- B4: A Warning From The Sun (For Fritz)
- C1: Regel
- C2: Rosa Decidua
- C3: Switches
- C4: The Auto-Asphyxiating Hierophant
- C5: Amethyst Deceivers
- D1: A White Rainbow
- D2: North
- D3: Magnetic North
- D4: Christmas Is Now Drawing Near * Featuring – Robert Lee, Rose Mcdowall
- E1: Copal
- E2: Bankside
- F1: The Coppice Meat
- F2: Ü Pel (Insense Offering)
Black Vinyl[54,58 €]
Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.
The notion of house music as a form of uptempo soul music is intrinsic evidence with a record like the one on hand. Professor Supercool’s If You Love Somebody is many things at once: an example of a special brand of British pop music, influenced by US-American soul more or less from the get-go, the Second Summer of Love, the conception of Balearic as a music genre, the cultural interchange of European dance floors and DJs from across the pond and underground music marketing through the vessel of special one-time pressings. The mysterious Professor Supercool is actually a moniker for Dr. Rob of The Blow Monkeys’s fame, who produced the song with a veteran and legendary DJ of the Northern Soul scene „The Real Hector“ – a resident at the famous Wag Club.
Originally a part of the band’s Album Spring Time For The World, it appeared first as a special For-Promotion-Only-12“ in 1989 with limited information as a trial ballon to „avoid preconceptions“. The fear was without reason. Like the band’s other big dance floor record and Balearic fave LA Passionara a year later, it got played and supported by the DJs of its time. Next to Graeme Park at the Hacienda or Paul Oakenfold, it also got picked up by Mastermixer Tony
Humphries and became a staple at his radio and club sets for KissFm respectively Club Zanzibar. While the vocal mix found its way on said album, the preferred 12“ instrumental version has never been released anywhere else up until now and made the record go for a substantial amount of Discogs dollars.
Expanded with an edit by the label’s in-house DJ Gerd Janson that is supposed to work as a dub alternative to the vocal mix, the 12-inch and bundle download contain the original plus a faithfully restored and remastered version of the instrumental in demand. If you love this record it is impossible to let it go.
Vol.1[12,40 €]
Classic material from the old school and arguably one of the best hip hop producers of all time - they don't make dope jams like this anymore! Limited to only 300 copies worldwide.
Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, The San Francisco Sound.' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.
By the mid-70's, Patrick's synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like You Make Me Feel (Mighty Real)', Dance Disco Heat' and Stars.' This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer's I Feel Love' and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12 singles, like Menergy' and Megatron Man'. He also had founded Megatone Records, the label upon which he released his debut album, Menergy'. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, Do You Wanna Funk' for Sylvester, and Right On Target' for Paul Parker, as well as a second solo album Mind Warp'. On November 12, 1982, he passed away.
In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scenes. The result was the VHS collections Muscle Up' and School Daze' released in 1979 and 1980. Afternooners' is the third collection of Cowley's instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we've used the titles from Fox Studio's 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Afternooners' reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.
Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick's 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.
We present UT006, a compilation featuring six dynamic tracks, each with its own unique flavor. This
collection showcases the diverse sounds found within the electro universe.
Dark Vektor and The Bandit, united by the bass, unleash a high-energy blast brimming with
intricate sound details, power, vocoders, and versatility—all in one.
Cyberdom offers a captivating track with arpeggiated bass lines and a nostalgic 2000s vibe. His
signature style and well-crafted arrangements create a journey through sweet and subtle darkness.
Amor 307 joins the lineup with an aggressive track featuring thick, looped sounds and strident acid
elements, revealing his techno influences.
Spectrums Data Forces delivers a high-end track that defies conventional electro norms. If not for
its broken rhythm, it could be described as a storm of quality techno with intense melodies.
The Belgian Dark Prophet contributes a 4x4 hit designed to ignite any dance floor, blending a
touch of classic electro that resonates with our audience.
Promising/Youngster has once again proven his mastery. This track exudes pure quality,
demonstrating that simplicity can be the ultimate form of beauty, and a sample can evoke powerful
memorie
How do you do when you are a tribe kicker as well as a Drum & Bass producer ?
Collision EP brings 4 acid banging tunes, dark and insane as expected, with one superb tune, called Supernova (A2), playing the acid break pressure leading to the beat… A superb new release we are proud to issue, in the same time as we organise Collision's venue in Paris for a set at Glaz'Art on 13th of september.
DJ Support: Sidney Charles Chris Stussy, Archie Hamilton, Toni Varga, Catz 'n dogz, Tough Love, Neverdogs, De La Swing, Marco Carola, REBOOT, Rich NxT, Steve Lawler, Josh Butler, Okain, Ilario Alicante, Joseph Capriati, Leon, Marco Faraone, Riva Starr, Hector Couto, Archie Hamilton
Feel the infectious beats and raw energy of Sidney Charles' latest EP, 'Reso Riddim', which is dropping on his very own Heavy House Society imprint. Renowned for his distinct take on house music, Sidney Charles delivers a powerhouse two tracker that embodies his signature sound and energy for the dancefloor. As a DJ and producer, Sidney Charles has carved out a unique niche in the electronic music scene with what fans affectionately refer to as 'The Sidney Sound.' This signature style is built on heavy low ends, chunky drums, and cavernous low frequencies that connect directly with the body. With tracks like 'House Lessons' and 'Warehouse Romance,' and more recent 'Space Bass' and 'No Way Out,' Sidney established himself as a force to be reckoned with, showcasing his affinity for rough, dirty sounds with a modern twist. 'Reso Riddim' kicks off with the title track, a driving and edgy peak time weapon that boasts a stripped-back groove and an infectious bassline. Breakbeat elements add depth and dimension in the break, creating a track that is guaranteed to get the dancefloor moving and jumping. With its pulsating energy and relentless rhythm, 'Reso Riddim' sets a strong tone for the EP's journey. On 'Rawline 98,' Sidney Charles channels the spirit of the '90s with pumpin' jackin' beats, garage-inspired chords, and an old-school bassline that harkens back to the golden era of house music. The track exudes a bouncing energy and infectious swing that transports clubbers to a bygone era while keeping the dancefloor firmly rooted in the present. The 'Reso Riddim EP,' is also available on Vinyl which will include two extra tracks 'Objection' and 'Charles’ List,' for those who love the feel of wax both in their hands and on the decks
Industrias94 is back at the frontline with 3 new rave hits, lovingly pressed on 12” vinyl. Pre-order and digital downloads available now on our Bandcamp.
Euphoria Jones represents a sonic journey towards the golden era of UK hardcore, filling our heads with catchy stabs that will stick with you for days, alongside heavy and distorted drum breaks. After some years mashing dance floors as a dubplate, we are very proud to finally announce its release in a special limited edition.
This record is brought to us by the Sevillian regent of breaks and bass, Hartta! Producer and DJ from Seville, who lived in Bristol for some years where he drank from the legendary local sounds and its soundsystem culture which shaped the current electronic music scene. Alongside Random Vestax, they manage the label-collective Dead Trax, releasing music and putting on iconic club nights featuring local artists and international bookings, some of them playing for the first time in Andalucía, such as Nikki Nair, Aloka or Interplanetary Criminal.
“Who said that the hardcore would die?” Thus yells out the sample in Midnight Eulogy, the second track of this record, which in itself is proof that this genre is more alive than ever. The evolution of 90s breaks crystalizes in this banger, containing all the classic sonic elements from the rave anthems we love, but creating a fresh piece by combining these elements with an idiosyncrasy unique in its species.
The B-side is completed by a radical and ruthless remix of the title track “Euphoria Jones”, by none other than our own Bazofia! From the Fontanal, he brings us an acidic and darker version taking us through an all-terrain 4x4 beat to a drop representing a truly electrifying slap to the face.
Black Vinyl[29,37 €]
Seit ihrer Gründung 2014 in Melbourne, Florida, haben Bodysnatcher nichts anderes als das Feinste an wütender, extremer Musik zu bieten. Durch
die Kombination von erdrückenden Breakdowns mit unheimlicher Atmosphäre, vernichtenden Riffs und gruseligen Grooves ist die Band zu einem
Synonym für "heavy" geworden, das in jeder Stadt, die sie besuchen, Gewalt hervorruft und Moshpits hervorruft, die nichts als Krater in ihrem
Kielwasser hinterlassen. Jetzt, mit der bevorstehenden Veröffentlichung ihrer 2024 EP, Vile Conduct, ist die Band zurück mit einer weiteren
Demonstration purer Kraft, die einmal mehr zeigt, dass Bodysnatcher aus konventionellen Genre-Zwängen ausbrechen, um etwas herauszubringen,
das einfach nur... heavy ist. Produziert vom legendären Will Putney (Fit for an Autopsy, END, Knocked Loose), erzählt Vile Conduct von persönlichen
Geschichten über den Verlust durch Sucht und Drogen, alles durch eine einzigartige Linse aus bitterer Reue und gnadenloser Aggression, wie sie nur
Bodysnatcher bieten können.
Six meticulously selected tracks by Black Quasar Records once again reflect the synergy of sounds between the pulsating rhythms of electro and the textures of IDM in this fourth release.
Despite the differences in the personalities and styles of the six artists featured in this V.A., there is an undeniable harmony that connects them into a single creative system.
Weaving new networks between the passion for music and respect for the essence of the Underground is the main goal of “Conexiones Electrónicas”.
“En este varios artistas no existe la posibilidad de respiro hasta el final”
La segunda referencia del sello DIALECTO PERIFERICO ya esta disponible en formato físico 12”.
Esta referencia abre sus brazos a Dagga y Manao, Lord Jalapeños, Saigg, PromisingYoungster, Korrupted brothers y Vema-Diodes.
1- Dagga X Manao - Cuidao
-Estos dos Colombianos afincados en Berlin, revientan la pista con este track de patron reinventado, haciendo que el tecno y el electro sean uno solo para que las suelas de las zapatillas se desgasten hasta llegar al hueso.
2- Vema-Diodes - Trois
-Sin duda la energía industrial mezclada con el sampleo funk de este tema no te dejara indiferente, las trompetas punzantes de este track son la clave, el sazonador principal la distorsión y para acompañar un chupiito de acido.
3- Saigg - Perfect Result
-Track extraído del recopilatorio solidario “ELECTRO U.N.I.T.Y 2”, donde si o si tanta potencia tenia que reflejarse en vinilo. Voces de ultratumba y bajos punzantes como una navaja hacen que este track funcione en todas las pistas de baile.
4- Lord Jalapeños - Cosmic Microwave Background
-Este joven francés con un estilo muy particular, uno de los mejores en el manejo de lo oscuro y la distorsión.Un diseño sonoro que hará que leas esta historia de terror se lea hasta el final.
5- Korrupted Brothers - Dark Holes
-Como no ivamos a contar con este grupo de la vieja guardia de Iruña; responsables de la escena electro de Navarra y compañeros en el sello “GENTE SERIA VISTE CHANDAL”.
Verdaderamente nos llevan a un agujero oscuro con esa pregunta respuesta que los bajos y los sintes tienen en este ritmo que parece sacado de los 80´s.
6- PromisingYoungster - Signals
-Y como todo final tenia que llegar la claridad, La Luz.
Este leones últimamente lo encontramos en los mejores sellos nacionales, desde “Analogical forcé” hasta “Util récords”, Electro-Brain-dance es nuestra definición para este track, el cual nos da ganas de cerrar los ojos y sentir la energía del sol.
La Sonora Mazuren is the latest addition to the already rich indie-tropical scene out of Bogotá, Colombia. Deeply rooted in the popular sounds and rhythms of South America, the group draws from cumbia, chicha, guaracha, champeta and other styles mostly from Ecuador, Colombia and Peru.
Far from being revivalists or folklorists, the group combines synthesizers and electric guitars with accordion and percussion to create a style indebted to early pioneers such as Polibio Mayorga or Bogota’s own Eblis Alvarez, of Meridian Brothers fame, who also produced their new album. The result is a psychedelic feast reminiscent of the golden years of tropicalia.
Dive into the pulsating depths of the electronic cosmos with "Star Travel," the groundbreaking double album vinyl release from the visionary techno maestro Orlando Voorn. Renowned for his innovative soundscapes and masterful command of the genre, Voorn takes listeners on an electrifying journey through the uncharted realms of techno music. Across two meticulously crafted vinyl records, "Star Travel" delivers an immersive sonic experience that transcends boundaries and defies expectations. Each track is a sonic odyssey, meticulously designed to ignite the senses and propel listeners into a state of euphoria. From the hypnotic rhythms of "Aerosol Waveforms" to the relentless energy of "Extraterrestrial" Voorn's mastery is on full display as he seamlessly blends intricate melodies with driving basslines and hypnotic beats. With a keen sense of experimentation, he pushes the boundaries of the genre, infusing elements of ambient, acid, and industrial techno to create a truly immersive sonic tapestry. As the needle glides across the vinyl grooves, listeners are transported to a dimension where time and space dissolve, and the only thing that matters is the pulsating rhythm of the music. Each track unfolds like a sonic revelation, inviting listeners to lose themselves in the hypnotic vibrations of Voorn's musical universe. With its lush artwork and meticulous attention to detail, "Star Travel" is not just an album, but a testament to the enduring power of techno music to inspire, uplift, and transcend. Whether experienced on the dancefloor or in the solitude of a dimly lit room, this double vinyl release is sure to leave a lasting impression on all who dare to embark on its exhilarating journey. Experience the future of techno music with "Star Travel" - a testament to Orlando Voorn's boundless creativity and unwavering commitment to pushing the boundaries of electronic music.
Jaw dropping album from Egypt's Dijit, featuring his own vocals for the first time alongside a star studded roster!
A vast array of moods fluctuate throughout the album, from gnarly drill & trap with the help of Brodinski, to wayward folk & ambience with vocals from Lella and Sarah Shedid, encompassed with tinges of pop and Kelesh's own trip-hop style. It's also the first time Dijit uses his own vocals, which creates an introspective and deep feel to the LP, with his voice being a constant throughout. Kelesh has exuded everything in to this piece of work, a true culmination of his personal experiences over the last five years, which ultimately converts into a supremely diverse but beautiful album.
Tuff Trax and Jay Ward are two of the most potent producers in the UKG scene right now and they both appear together in collaborative mode on this new EP for Rhythm N Vibe, which also happens to be their tenth outing. It's pure filth from the off with 'Higher' sure to get the gun fingers out and the fists pumping. 'Something Like This' is a more raw and percussive garage bumper with sleazy low ends and naughty bass, then 'Crazy' gets funky with some nice retro r&b vocal samples and warm chords surging through the mix. 'Give Me Love' shuts down in soulful fashion with great colour bursting out of the beats.
With extensive practical and academic understanding of the ‘remix’ process, Stian Balducci takes on the role of audio architect in this refined and redesigned remix album.
His meticulous approach has not replaced, but built upon Kjetil Jerve’s piano material and boasts a thorough dedication to mood and timbre through-out. The outcome combines new strokes of colour and delicately layered textures, offering fresh perspectives to an old canvas. The aural landscape takes shape in progressive, parabolic pulsations, coupled with sparse, rhythmic heart-throbs that embody the faint silhouettes of drum reverberations. This atmospheric landscape is complimented with subtle, pensive keys from Kjetil’s piano recordings that add emotional depth to the work and pay diligent tribute to the free structures of jazz.
The final project may be understood as a window, giving view to life’s sentient and evocative themes, without ever infringing on their delicacy. The sonic progressions tap into nature’s cycles through meditative repetition and offer the listener some brief respite from innate human habits of over-thinking.
As the contents of the album unfold, we are taken reassuringly by the hand to familiar, foreign lands, filled with curious sonorous tales and subtle insights that shed light on a world of deeper perception.
In keeping with the communal ethos of Dugnad Rec, ‘Tokyo Tapes: Piano Recycle’ reflects a thoughtful exchange between Stian and Kjetil. Stian professed that the project went ahead with just one rule: “to work only with the original source material, no external samples or sound sources”. This puritan approach spotlights a shared characteristic between them; namely, a unified desire to explore vibrations and a wholistic dedication to sound experimentation.
Labels Theory Therapy and co:clear come together to release the debut album by Italy-based artist CHANTSSSS (with a special feature from k2dj, aka Ben Bondy).
‘Shyness’ suggests something subtle, intricate and ethereal – but it also demands your attention. Over 10 tracks of spacious, sub-aquatic ambience, CHANTSSSS pulls you deep into his vaporous sound world. The songs themselves, a blend of ambient pop, chamber music and pulsing low end rhythms, feel cloaked in mystery. Layers of reverb and zonked vocals float in the atmosphere, moving between and through one another, mist on mist. It’s not necessarily a quiet record, the low end can shake a room if you turn the volume up, but it does feel extremely intimate – proof that some art speaks loudest in its quietest moments.
Credits:
Written & Produced by CHANTSSSS
Mastered by Ike Zwanikken
Lacquer cut by Henry Rudkins
Artwork & Design by Lucas Dupuy
Deep hypnotic techno for fans of mid 2000's Mills, Token and Semantica
Very proud to introduce the next Voyager Recordings instalment, a full on 9 track album from Spanish artist A4.
Asier Morillas has had many releases on the hypnotic, sci fi and space theme, with such established labels like Axis Records, Warm Up Recordings, Evod, Illegal Alien and Subsist to name but a few. With this vinyl release, he takes his sound for a more dancefloor orientated outing, with his ever excellent use of drums, hats and groove on top of hypnotic synths. Early support from Oscar Mulero, Adrian Lopez, Sverca, Kr!s Token, Slam.
Black Vinyl[28,15 €]
Russian Circles kehrt mit einer Wiederveröffentlichung ihres legendären Albums Empros zurück, komplett mit einem neu gestalteten, geprägten Klappcover, erhältlich auf klassisch schwarzem Vinyl. Empros machte da weiter, wo die hymnischen Riffs und Melodien des 2009er Albums Geneva aufgehört haben, und injiziert noch mehr schleppende Rhythmen inmitten von Schädel-zerschmetternder Wucht mit der ganzen viszeralen Intensität von Godflesh, Swans und Neurosis. Einfach ausgedrückt: Empros ist Russian Circles' Master of Reality: eine radikale Überarbeitung von sowohl Heavy als auch Melodie, die in ihrer Klarheit und Perfektion monolithisch ist. Oder, wie ein einzelnes überlebendes Wolltier, das aus dem brutalen Frost des Winters auftaucht, ist Empros der Sound einer Band, die das Alter von ihren Schultern schüttelt, mit all der brutalen Kraft eines erwachten Ungetüms. Seit jeher arbeiten Mike, Dave und Brian an derselben Statue. Sie meißeln, sie schlagen, sie hämmern auf sie ein. Manchmal mit voller Wucht, manchmal sehr filigran. Die Meister monolithischer Melodien und monumentaler Rhythmen in absoluter Klarheit dargelegt, sind wieder am Werk. Mit "Empros" legen sie wieder ein Stück dieser gewaltigen Statue frei. Und vielleicht gibt es sogar ein paar Überraschungen in den sechs Tracks des Albums. Es gibt Riffs, ja - viele davon. Aber bei Empros scheint die gesamte Band die Verkörperung des Riffs selbst zu sein. "The six-song album intricately blends fat, grisly, discordant riffage with melodic, atmospheric, proggy sprinklings to create a sonically elaborate and raw package." - Premier Guitar Nur wenige, streng limitierte Magenta-Black 2024-Vinylauflage!
Alter is proud to present the debut full length release from devotional music outfit Unstern, a collaborative effort between deep ambient artist Arzat Skia and prodigal pianist Leo Svirsky. Co-mixed by Swedish electronic music luminary Civilistjävel! and Arzat Skia and mastered to tape by Stefan Betke, the album features lush electronics, two pianos refracting across the stereo field, processed recordings from the Peruvian Amazon, bowed percussion by Greg Stuart, alongside strings and renaissance meantone organ recorded at Orgelpark in Amsterdam.
The results are an abundant audio illusion where what seemingly repeats slowly over time morphs in a manner where the destination escapes the departure point with extreme discretion, a reverent nod to Morton Feldman's compositional method of "Crippled Symmetry."
Throughout Es Geht Der Tag there is a muted, refined melancholy imbued with a constantly fluctuating pulse which generates a sense of temporal disorientation, leaving the listener lost in a strange yet not at all unfamiliar sonic labyrinth. It is a journey whereby a glorious subtle tension exists between the grandiose and the restrained.
This is environmental music, not in the sense of capturing nature itself, more with regards to an unfolding of audio elements which move in a manner in tune with the multitude of flows in the world.
Unstern’s Es Geht Der Tag is a deep mental journey, rich in subtle transcendental tendencies and psychic liberation.
The very first Buchla synthesiser performance by revolutionary composer Suzanne Ciani finally makes its fifty year journey from its switch-on New York art gallery to its long deserved and discerning global phonographic audience.
With this previously unheard vinyl pressing, Finders Keepers Records are proud to present an archival project of ‘art music’ that not only redefines musical history but lays genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we have come to understand it. To describe Italian-American composer Suzanne Ciani’s resurrected Buchla concert records as genuine gamechangers would be a gross understatement. These records represent a musical revolution, an artistic revelation, a scientific benchmark and a trophy in the cabinet of counterculture creativity. This sonic installation album, alongside her recently liberated WBAI/Phill Niblock 1975 sessions (FKR082), are triumphant yardsticks in the synthesiser space race and the untold story of the first woman on the proverbial musical moon. While pondering the early accolades attached to these golden era New York recordings it’s daunting to learn that these records were in fact not even records at all.
What exists on this disc now was a manifesto and a one-time gateway to a new world, which somehow was only partially pushed ajar. Captured here is a genuine live act exploring new territories with a fully performable music instrument. If the unfamiliar, modernistic, melodic pulses, tones and harmonics found on these 1970’s artistic gallery collaborations/ live presentations (then soon to be followed by academic grant applications and educational demonstrations) had been placed in a phonographic context alongside the widely marketed work of Morton Subotnick, Walter Carlos or Tomita, then the name Suzanne Ciani and her infectious influence would have already radically changed the shape, sound and gender of our record.
With the light of Buchla and Ciani’s initial flame Finders Keepers continues the journey through the vaults of this increasingly celebrated music legacy, illuminating these ‘non-records’ that evaded the limelight for almost half a century. You can’t write history when you are too busy making it. With fresh ink in the bottomless well, let’s start at the beginning. Again
'Tape 1' is a cut & paste collection of original productions & edits by London's Samson A.K that navigates the gamut of outsider sounds whilst somehow remaining coherent. Apart from the rawness of the music the common thread seems to be its slightly unhinged quality and its irreverent take on the dystopia of modern life.
There's plenty of nods to the sub cultures that have informed Samson A.K along the way but plenty besides, and as moody as it is in places, it's certainly not taking itself too seriously. The genre thing doesn't really work when here but if you like skewed electronics & beats, but also go for antisocial guitar music this will probably connect.
Mastering by Miles Whittaker / Design by Jon K
After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970. Label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result. It was the group's swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. Still, AllMusic gives the album 5 Stars and Pitchfork calls it a "perfect rock 'n' roll record — 40 minutes long, five songs to a side, and not a single wasted note." Loaded is the sort of proper album that feels like a greatest hits collection, with each track thoroughly inhabiting and mastering a dominant rock archetype. Although the songs "Sweet Jane" and "Rock & Roll" distinguished the band as a "seminal proto-punk" act, "The trifecta of 'Who Loves the Sun,' 'Sweet Jane' and 'Rock & Roll' is among the best three-song openings on any rock and roll record," wrote Paste contributor Jeff Gonick Analogue Productions has given Loaded the deserving full reissue treatment: Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.
Before Shotgun Willie, Willie Nelson had struggled to gain widespread recognition as a solo artist, despite having written many successful songs for other artists. Nelson's big break came when he signed with Atlantic Records in 1973. The pivotal moment in his career came after Atlantic Records executive Jerry Wexler, known for his work with artists like Ray Charles and Aretha Franklin, took an interest in Nelson's music. Wexler saw potential in Nelson's unique approach to country music and signed him to the label. With the creative freedom offered by Atlantic Records, Nelson was able to record Shotgun Willie with the artistic freedom he had long desired. The album's unconventional sound and honest lyrics resonated with both critics and fans.
Shotgun Willie marked a new beginning for Willie Nelson's career, and it set the stage for his subsequent albums and his emergence as one of the most influential and iconic figures in the history of country music. The recording was one of the first albums of outlaw country — a new subgenre of country music and an alternative to the conservative restrictions of the Nashville sound, the dominant style in the genre at the time
The album — the first to feature Nelson with long hair and a beard on the cover — gained him the interest of younger audiences. It peaked at No. 41 on Billboard's Top Country Albums and the songs "Shotgun Willie" and "Stay All Night (Stay A Little Longer)" peaked at Nos. 60 and 22 on Hot Country Songs respectively.
We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of the timeless Willie Nelson classic, Shotgun Willie. Cue it up and prepare to be transported!
PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts.
- - - -
Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury, Love Supreme and Brainchild Festival.
Described by Jazz Wise Review as having “a groove propelled with dynamism and formidable technique”, PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.
Their debut self-titled album ‘PYJÆN’ was released on 20th September 2019, both digitally and physically with 300 limited copies of Vinyl being distributed across selected UK record stores, as well as Bandcamp.
The album will also be supported by a graphic novel, which will tell the story of PYJÆN and the influences and stories behind the songs.
- A1: Aperitif
- A2: The Nightbus
- A3: Beetle Juice (Feat Nix Northwest)
- A4: Free Your Dreams Ii (Interlude)
- A5: Disco Boy
- A6: Moonlight (Feat Melissa Imperilee)
- A7: Stay Home (Feat Corto Alto)
- B1: Mr People Pleaser (Feat Hilts & B-Ahwe)
- B2: Feast
- B3: Shipwreck (Interlude)
- B4: The Movement
- B5: Goodbye
- B6: By Your Side (Feat Renato Paris & Byulah)
PYJÆN are delighted to announce the release of their second album 'Feast', planned for September 2021 on DeepMatter Records. The five-piece outfit reaches inside the deep, multidimensional well of what is broadly called Jazz, bringing together all its diverse components in a singular, emotional sound. After setting a blueprint for their multifaceted artistry, combining cross-genre sensibilities with ferocious talent on their first two releases, PYJÆN have been busy writing and recording music for their second album, their most accomplished offering yet. ‘Feast’ was recorded at Peter Gabriel's legendary Real World Studios in Bath over a full week in November 2020. This proved to be an unforgettable experience, which elevated the music and created an unrivalled connection between the 5 band members and the albums featured artists Nix Northwest, Elisa Imperilee, Hilts and Corto Alto.
With the recording of this new record, each member of the group brought their own specific flavour to the table.
They explain: “We want the album to showcase our growing abilities and confidence as a group of 5 individuals, each with strong personalities and varied sets of influences, while still leaving room for featured artists, an exercise we thoroughly enjoyed on our 'Sage Secrets' EP with Blue Lab Beats and Odette Peters.” The EP reached over 1M streams on Spotify within only a few months, testimony that the band has become a major force in the UK "Jazz and beyond" scene. Their new album will fearlessly navigate the world of funk, jazz, hip-hop and punk. With their trademark raw energy, their objective is to bring people together in their love for music.
Adventurous songwriting, meticulous timing, incredibly tight horn arrangements and an obvious joy to play together are the PYJÆN trademarks. These are brought to the table in ‘Feast’ through vibrant melodies and rich cadences. The band presents a full course musical experience with four singles: in ‘Beetle Juice’ the band joins forces with rapper Nix Northwest to offer a delicious tune characterized by an easy-going yet alluring atmosphere. ‘The Nightbus’ sees a vivacious journey narrated by enticing piano, guitar and trumpet motifs. ‘Moonlight’ sets a sultry tone with Elisa Imperilee’s ethereal vocals accompanied by delightful and intricate beat sequences. ‘By Your Side’ is the final instalment before the great ‘Feast’ showcasing an enchanting vocal exchange between Byulah and Renato Paris. With its mouth-watering combinations of jazz, ‘Feast’ is a witness to the band’s exponential growth, taking listeners on a vivid sensory experience
Formed in 2016, PYJÆN is composed of Dani Diodato (guitar), Dylan Jones (trumpet), Ben Vize (sax), Benjamin Crane (bass) and Charlie Hutchinson (drums). Releasing their debut self-titled album to wide critical and public acclaim, they have gathered support from the likes of Gilles Peterson, Huey Morgan, Jazz FM, and Clash Magazine to name a few. Live, as seen at A Love Supreme, Ronnie Scott's, Jazz Cafe or Brainchild Festival, the atmosphere is sizzling and the sense of enjoyment communicated from the stage is infectious.
Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.
A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.
Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.
Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”
First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.
Repress!
Condition is the 2019 debut, full-length album from Natty Reeves. 11 tracks painting internal monologues and complex feelings across mesmerising groove-driven melodies and brightly coloured guitar soundscapes.
“I wanted to create an honest musical reflection of my past year. Condition is an attempt to balance my perfectionist approach and the imperfections in day-to-day life. The album was made in my bedroom with some help from close friends.”
All music throughout is written, performed, mixed and mastered by Natty, with the exception of Living Lonely & Living Lonely (Reprise) in which he brought in his good friend and long-time collaborator, Simon Jefferis. As well as being an expression of himself as a musician, it was also an opportunity for Natty to show off his artistic side with a paintbrush – Using paintings he has created himself as the artworks throughout.
- - - - - -
Natty Reeves is a multi-instrumentalist, producer and singer-songwriter currently residing in Brighton, UK. Taking inspiration from the likes of Chet Baker, Blake Mills and Antonio Carlos Jobim, Natty produces music riddled with charm and honesty that blurs the lines between Soul, Jazz and Hip-Hop. Drawing from real-life events and human interactions, Natty's song-writing is simple but potent, often cutting straight to the core of an emotion with a single turn of phrase.
UNSURPASSED SPACIOUSNESS, IMAGING, AND TRANSPARENCY: MASTERED FROM THE ORIGINAL TAPES, MUSIC EMERGES WITH NEW DETAILS AND TONES
1/2" / 30 IPS analogue master - Plangent Processed - to DXD to analogue console to lathe
Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman – his first appearance in what would be a long string of collaborations with Mark Knopfler – ensures stunning sonic properties that now come to life like never before.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments – marimbas, acoustic and electric guitars, vibes, synthesizers – further enhance the ambitiousness of the 1982 album.
On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.
It doesn't take long to realize Love Over Gold is like no other Dire Straits album – and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening "Telegraph Road" is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.
Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions colour the sweeping "Telegraph Road" and barren "Private Investigations," which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed "wracking schizophrenia between the heart and the heartless, the loving and the pain."
Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labelling and avoids ageing.
- Lover
- It’s Only A Paper Moon
- My Blue Heaven
- It All Depends On You
- You Do Something To Me
- Should I
- The Continental
- When You’re Smiling
- You Do Something To Me (Orchestral Backing Track/False Starts/Alternate Vocal Take)
- It’s Only A Paper Moon (Alternate Take)
- Farewell, Farewell To Love (“Barbecue Riffs”)
- Deep Night
- American Beauty Rose (Orchestral Backing Track)
- American Beauty Rose (Vocal Take)
- Meet Me At The Copa
- It All Depends On You (Includes Previously Unreleased Session Material)
1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata
A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case
We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!
Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.
Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!
The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!
The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
Live Wire/Blues Power by Albert King
All-analogue mastering by Grammy-nominated engineer Matthew Lutthans
180-gram vinyl pressed at Quality Record Pressings
Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington
Highlighting trailblazing blues musicians from legendary labels
Live Wire/Blues Power is a live album from Albert King recorded in 1968 at the Fillmore Auditorium in San Francisco, California. Featuring originals and King's rendition of classics, the album demonstrates Albert King's blues prowess.
Featuring all-analogue mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket. According to Rolling Stone, this album is "Just the unadulterated pure and simple blues.
The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
Last Night Blues by Lightnin' Hopkins with Sonny Terry
All-analogue mastering by Grammy-nominated engineer Matthew Lutthans
180-gram vinyl pressed at Quality Record Pressings
Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington
Highlighting trailblazing blues musicians from legendary labels
Last Night Blues is Lightnin' Hopkins' 1961 album, featuring Sonny Terry.?The second of three album collaborations, Last Night Blues showcases Hopkins' and Terry's different yet complementary styles to create a well-rounded listening experience. AllMusic declared, "this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth."
Featuring all-analogue mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket.
An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!
The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.
The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.
Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.
The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.
Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.
Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.
Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.
Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.
The complete iconic Bill Evans LP Sunday at the Village Vanguard, featuring Scott LaFaro on bass, and Paul Motian on drums. LaFaro would die in a car accident shortly after this LP was recorded. Contains perennial versions of "Solar," "Gloria's Step," and "Alice in Wonderland." This edition also offers an exclusive collector's item consisting of a replica of the very rare Japanese 7" disc Riverside single SR-3033, containing Evans' readings of "My Foolish Heart" and "Polka Dots and Moonbeams."
THE COMPLETE LP + 1 BONUS TRACK - PLUS 7" BONUS SINGLE ON COLORED VINYL INCLUDED INSIDE - 180-GRAM VIRGIN VINYL - LIMITED EDITION
Another gem from the extensive Flipper Music catalog, more precisely from their Flower sublabel, "Dreams For Sax" is possibly one of the most stand-out productions from their studio ensemble Gruppo Sound, this time around featuring saxophonist Paolo Russo with keyboardists Stefano Galante and Vittorio Quattrini. First released in 1987, the songs recorded for "Dreams For Sax" are a beautiful melange of easy-listening electronic and jazzy vibes, from mellow tunes such as "Dawning" and "First Class" to some killer floor-filling italo disco bangers such as "Walking On Air" and "Dance Power". A groovy Italian library banger from the 80's now available on vinyl for the first time since its original release as a limited edition of 500 copies.
Directed in 1972 by Romano Scavolini, "Un Bianco Vestito Per Mariale'" features a cast with some familiar faces from the Italian thriller genre like Evelyn Stewart and Ivan Rassimov. The film was scored by a great name of the Italian film music scene, Fiorenzo Carpi, whose music was superbly arranged and conducted with his own and unique great style by Bruno Nicolai. Originally released on vinyl by Gemelli in 1975, three years after the release of the movie, this score is dominated by the Mariale' theme both with Piano and orchestra and Edda Dell'Orso's voice and orchestra versions, and also features several lounge and tensive themes. Long out of print, we are proud to bring this beautiful soundtrack back on vinyl as a limited edition of 500 copies, including the instrumental version of "Mariale'" and an alternative arrangement of "Garden Party", available on vinyl for the first time.
Composed by legendary library guitarist and founding member of I Gres, Silvano Chimenti, and accompanied by his orchestra, "Disco Music" is an essential release of the Usignolo catalog and probably one of the most sought after titles of the series. This album displays a broad range of styles masterfully blended together by Chimenti, going from disco-funky bangers "Happy California" and "Autostrade Americane" that lead way to the more dramatic and suspenseful vibes of "Society Problem" and "Tragedy", finishing off with the rock vibes of "Indian Summer" and the mellow atmospheres of softer, lounge-like songs such as "Lady Primavera" and "Chiara". One of the most complete and well-rounded library albums of its era, "Disco Music" is finally available on vinyl once again after a very long time as a limited edition pressing of 500 copies.
- A1: Peaks & Ferns
- A2: Sit In Your Discomfort
- A3: The People's Changes
- A4: The People's Shadow
- A5: To The Before Time
- A6: When We Could Dance Together
- A7: African Folk Song
- B1: Back In The Days
- B2: A Night In Berlin
- B3: Two Chords & The Truth
- B4: Quinnies For The Boys
- B5: Ancestral Mathematics
- B6: Crisis & Oppprtunity
Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.
On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, Sfjazz Collective) on double bass - the trio exchange motifs over the length of 7 tracks.
Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.
Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:
‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’
El original de Teusaquillo is back with a weird trip of minimal acido tropicalismo from Bogotá!
Credits:
Compuesto, grabado y producido por Pedro Ojeda Acosta en los estudios Romperayo, Teusaquillo, Bogota,
Colombia. 2024
Arte por Mateo Rivano
Romperayo en vivo es:
Ivan Medellín, Nicolas Eckardt, Juan Manuel Toro, Pedro Ojeda
Sellos discográficos del vinilo: discos elgozo y Girando Discos
- A1: Prowler
- A2: Remember Tomorrow
- A3: Running Free
- A4: Phantom Of The Opera
- B1: Transylvania
- B2: Strange World
- B3: Charlotte The Harlot
- B4: Iron Maiden
Wilson Simonal and Trio Mocotó provide a double dose of Brazilian classics for this Brazil 45’s 7 inch.
First up, an infectious, samba-MPB hit from one of Brazil’s most popular artists of the ‘60s and early ’70s, Wilson Simonal. Originally released on 7 inch by Odeon in 1967 and landing on Simonal’s Alegria, Alegria !!! album in the same year, ‘Nem Vem Que Nao Tem’s fame had a new lease of life in 2002 when it was used as part of the soundtrack to the critically acclaimed film, ‘City Of God’.
On the B side, one of Jorge Ben’s main backing bands and a group that was highly influential to his sound, Trio Mocotó. Alongside recording with Ben on the seminal Força Bruta, Negro É Lindo and Tábua de Esmeralda LPs, they were also key figures in the development of the samba rock sound – a fusion of samba, soul and rock influenced by music from the USA.
First appearing on Trio Mocotó’s self-titled 1977 Arlequim LP, ‘Nao Adianta’ is a dynamic orchestral-infused gem, laced with that sun-kissed, samba flavour.
Remastered with refreshed artwork.
The collection spans the decade-plus career of this remarkable band, whose goth-tinged, theatrical punk-pop sound earned them legions of devoted fans. It features their most beloved songs, including the hits 'I'm Not Okay (I Promise)', 'Helena' and 'The Ghost Of You' from 2004's 'Three Cheers For Sweet Revenge'; 'Welcome To The Black Parade', 'Famous Last Words' and 'Teenagers' from 2006's 'The Black Parade'; and 'Na Na Na (Na Na Na Na Na Na Na Na Na)' and 'Sing' from 2010's 'Danger Days: The True Lives of the Fabulous Killjoys', plus many others.
It also includes a previously unreleased song, 'Fake Your Death', one of the last songs the band worked on in the studio together, three songs from the infamous 'Attic Demos', as well as a long-form DVD with two hours of never-before-seen outtakes from MCR's official music videos.
'The title is fitting, because as sad as it was to say goodbye to the band, we look at this collection as a celebration of our best songs, and hope the memory of them continues to bring joy to you all as they have for us,' said band members Gerard Way, Mikey Way, Frank Iero and Ray Toro in a statement. 'We hope you take the journey with us into MCR's past, and enjoy the small taste of what might have been.'
Vinyl:
1. Fake Your Death
2. Honey, This Mirror Isn't Big Enough For The Two Of Us
3. Vampires Will Never Hurt You
4. Helena
5. You Know What They Do To Guys Like Us In Prison
6. I'm Not Okay (I Promise)
7. The Ghost Of You
8. Welcome To The Black Parade
9. Cancer
10. Mama
11. Teenagers
12. Famous Last Words
13. Na Na Na (Na Na Na Na Na Na Na Na Na)
14. SING
15. Planetary (GO!)
16. The Kids From Yesterday
17. Skylines And Turnstiles (Demo)
18. Knives/Sorrow (Demo)
19. Cubicles (Demo)
DVD:
20. I'm Not OK (I Promise) Version 1
21. I'm Not OK (I Promise) Version 2
22. Helena
23. The Ghost Of You
24. Welcome To The Black Parade
25. Famous Last Words
26. I Don't Love You
27. Teenagers
28, Blood (previously unreleased)
29. Na Na Na (Na Na Na Na Na Na Na Na Na) and Art
- Punk Fatwa 03:28
- Prog Suite Ii 02:09
- It Wears A Kilt 02:16
- Licensed 2 Rock 01:42
- S.m.r (Speed Metal Rocker) 01:15
- Alien Chord Ostinato (A.c.o.) 04:43
- Cheap 'N' Nasty 03:42
- Prog Suite 02:54
- The Axes Of Evil 03:18
- Prog Suite Ii 03:10
- A.c.o. 04:01
- It Wears A Kilt Ii 02:05
- Punk Fatwa/Axes Of Evil Segue Into Cheap'n'nasty
- Eti (Extra Terrestrial Intelligence) 04:29
- Prog Suite Iii 03:03
- 13: Th Bar Blues 02:18
- 2: Minute Noodle 00:53
- Guitarmony Suite 03:51
- Cheap'n'nasty Segue Into Licensed 2 Rock
- S.m.r
- The Axes Of Evil
- N.s.a.g (Non Stop Action Groove)
KIM SALMON. Muss man da tatsächlich noch mehr Worte verlieren oder reicht es, zu sagen, das Mr SALMON der unerreichte Meister des Swamp Sounds ist? Mit seinem neuen Projekt und ,Rock Formations" ist er über alle Grenzen erhaben und entwickelt eine Theorie maximaler Brutalität. Dazu tragen auf den Instrumental-Stücken sicherlich die sechs Gitarren und zwei Schlagzeuge bei. Das erinnert an eine potente Mischung aus frühem Grunge der MELVINS oder GREEN RIVER mit BLACK SABBATH in der Ozzy-Ära und dem modernen Sound von Kim Salmons eigenen SCIENTISTS oder SURREALISTS.
[m] PUNK FATWA/AXES OF EVIL SEGUE INTO CHEAP'N'NASTY [LIVE] 04:40
[s] CHEAP'N'NASTY SEGUE INTO LICENSED 2 ROCK [LIVE] 02:30
[t] S.M.R [LIVE] 01:20
[u] THE AXES OF EVIL [LIVE] 03:34
"Even God Has A Sense Of Humor" is the long-awaited follow up album to Maxo's critically acclaimed 2019 release Lil Big Man. Across the 14-tracks, Even God Has A Sense Of Humor pays tribute to the mercurial nature of life and includes features from Liv.e, keiyaA, LastNameDavid, and Melanie Charles along with the previously released singles "Free!," produced by Dev Morrison and "48," produced by Madlib and featuring Pink Siifu. The FADER recently sat down with Maxo to discuss the album, which they described as having "a defiant glow, like a bronze statue still standing after an intense tornado."
Born Maxamillian Allen, Even God Has A Sense Of Humor finds Maxo earnest, full-hearted, and lyrically agile. His delivery punches as he poetically unpacks the trials and blessings that have marked the last three years since Lil Big Man, his stirring and meditative debut album. “Life is always gonna be life-ing,” Maxo says, speaking to the spiritual lessons that inspired this new project and an album process that has revealed to him the many ways in which he’s divinely protected.
The album’s striking cover features three casted sculptures of Maxo by legendary NYC-based artist artist John Ahearn, photographed by the rapper’s friend Steven Traylor. The image both preceded the music and set the tone for the record’s overall aura. Experiencing the casting process—which required long periods of stillness for form, and breathwork to avoid claustrophobia—became a metaphor about ego death for Maxo. “I had to go to a space where I was just not there,” he says. As the molding was poured over his body and the voices of those in the room became distant, Maxo’s inner world came into focus. “By the time it hardened, it seemed like the sculpture had risen to be 20 feet above where it was first— almost like it grew tall,” he explains. EGHASOH, in its aural ebbs and flows, honest questioning, profound revelations, and elegant verse, is Maxo standing spiritually tall following a period of challenges with family and friends.
Maxo’s writing process has always been rooted in imagery, observation, and capturing moments. Growing up in Southern California, Maxo spent a lot of time combing through old family photo albums, some of whose contents have become the artwork for prior releases. But his fascination with visual memento is less about nostalgia or remembering, and more about exploring concepts of growth, healing, and cycles. His artistry is intentional and deeply sensitive: “If I’m not feeling it, I’m not gonna record.” While his past records openly grappled with emotional turbulence, anger and depression, EGHASOH is Maxo’s acceptance stage: “I can't really judge nothing. I can't sit up and be mad at shit because everything is, everything is kind of coexisting,” he says.
Musically, EGHASOH is an impressive evolution from Maxo’s earlier, unornamented lo-fi projects. With an emphasis on jazzy instrumentalism and soothing, intricate vocals from both the artist and featured chanteueses Liv.e, Melanie Charles, and keiyaA, EGHASOH is a welcome and beautifully complex sonic effort. Its contributors include a range of musicians: Pink Siifu, LastNameDavid, Madlib, GrayMatter, Karriem Riggins, Beat Butcha, Lance Skiiiwalker, and more. The album was executive produced by Mount Kimbie’s Dom Maker.
“Nobody talks about the fact that we’re changing as we get older... Everybody just acts like you supposed to know,” Maxo says on album standout, “Face of Stone”. It's moody bassline meets a cinematic accordion melody that paradoxically both broods and uplifts—a fitting production choice that mirrors the song’s story. “I’m seeing how this world is chipping you and withering your bones,” Maxo says. “I’m talking about myself, talking about my bro. But it’s never nothing you gonna do that’s a one stop shop in this life. You gotta keep staying diligent and consistent.” For Maxo, Even God Has a Sense of Humor is nothing more than another moment on the timeline of his offerings of self-expression as an artist—one whose sole intention is to, in his words, develop as a human being and heal.
Yannis Philippakis von Foals veröffentlicht sein erstes Solowerk, eine Kollaboration mit dem verstorbenen legendären Schlagzeuger Tony Allen. Yannis & The Yaw" präsentieren die EP 'Lagos Paris London', die nach den Orten benannt ist, an denen sie geschrieben und aufgenommen wurde und an denen sie beide gelebt haben. Das fünf Tracks umfassende Werk wird am 30. August auf Transgressive veröffentlicht.
Im Jahr 2016 bot sich Yannis die Chance seines Lebens: eine zweitägige Session mit dem großen Schlagzeuger Tony Allen, den er für seine einflussreiche, genreübergreifende Arbeit mit Künstlern wie Fela Kuti, Sébastien Tellier und Jeff Mills sehr bewundert.
Als Yannis sich in ein verrauchtes 70er-Jahre-Studio in Paris begab, erwartete er, dass sie eine nostalgische Afrobeat-Platte aufnehmen würden. Doch es kam etwas ganz anderes dabei heraus. Die beiden entwickelten schnell eine intuitive Telepathie, die Musik entstand aus Jams und Loops, und die verschiedenen Berührungspunkte - Rock, Funk, Jazz, Dub und mehr - wurden durch die einzigartige Atmosphäre des Aufeinandertreffens zweier Kulturen und kreativer Köpfe ergänzt, deren Ausdruck durch das Musizieren im und für den Moment selbst befreit wurde.
Zusammen mit Tonys regelmäßigen Mitstreitern Vincent Taeger (Schlagzeug), Vincent Turrell (Tasten, Marimba) und Ludovic Bruni (Bass, Gitarre) entstand bei diesem ersten Treffen eine Handvoll fast fertiger Songs, die in einigen nachfolgenden Sessions weiter entwickelt wurden. Aufgrund von Terminproblemen und Corona-Einschränkungen wurden die Aufnahmen jedoch nie abgeschlossen, bevor Tony im April 2020 im Alter von 79 Jahren verstarb.
Yannis fühlte sich zutiefst verpflichtet, das Projekt zu vollenden, nicht nur als bittersüße Art, seinen alten Freund zu ehren und zu feiern, sondern auch, weil Tony so begierig darauf gewesen war, diese Songs mit der Welt zu teilen. Das Ergebnis ist die kommende Fünf-Track-EP 'Lagos Paris London' unter dem Dach von Yannis & The Yaw - ein Projekt, zu dem er in Zukunft zurückkehren möchte, um weitere Kollaborationen mit inspirierenden Musikern aus der ganzen Welt einzugehen.
- Ltd. 12" EP
Black Metal, Symphonic grandeur and Deathcore brutality collide in the majestic new album from A WAKE IN PROVIDENCE. 'I Write To You My Darling Decay' is a swathing monster of a record, citing influences from all across the heavy spectrum. As one of the established veterans of the Blackened Deathcore movement, AWIP are now here to set their sights on total domination as they rise to the upper echelons of the genre.
Limited to 350 copies
Stop what you're doing and give us your full attention because Hell Yeah mainstay My Friend Dario's new album Senza Estate is going to define the sound of summer 2024. It's an eclectic eight-track collection that has something for everyone and is inspired by dreamy Italian soundtrack composers Piero Piccioni and Umiliani.
Curveball Italian talent Dario is a real dance floor don who collides acid, nu-disco, breakbeat and electro. His take on Balearic is unique and always sends dance floors wild, as proven with his last outing Food For Woofers Vol 2 earlier in the year. His new album is the sound of life by the Mediterranean, Balearic audio pleasure for daytime dreaming and nighttime dancing with vocal tracks written and performed by the UK's Space Echo Records associate Darene Obika.
Dario hails from Catania on the island of Sicily and his inspiration for Senza Estate, which translates as 'without summer,' was an imaginary holiday, weekends at the seaside, car journeys in the sun, relaxing sunsets and late-night dancing. 'For five years, I worked in a shop six days a week so despite living on a Mediterranean island I could never enjoy these things. Instead, I locked myself in the studio and jotted down the ideas, sensations, melodies and rhythms I had about another lost summer.'
'Keep On Cruising' is a downtempo opener with innocent synths that are filled with hope and promise for the warm months ahead. 'Zingarella' is a wide open sea view with wispy pads, seductive flutes and jazzy melodies that bristle with life and the tropical title cut gets more dancey on shuffling broken beats and radiant synth glows. There's a seductive laid-back cool to the tumbling keys of 'Marittimo' and 'What You Need' is a horizontal groove with loved-up vocals, 'Falò' pairs sensual acoustic guitar with work with pillowy drums and 'Il Pianeta Proibito' layers up sci-fi synths and stuttering bass into a bubbly sound that leads to cosmic take-off. 'Acid Panorama' is the melancholic closer which hints that the summer sun is setting one final time after weeks of carefree fun.
But the good news is, you can repeat the joys of My Friend Dario's masterful Senza Estate over and over again.
- 01: Aha Mama
- 02: Srdce
- 03: Benefit Na Amazon (Feat. Dusan Vlk)
- 04: Nemám Koho Obdivovať (Feat. Katarzia)
- 05: Kde Budeme Bývať
- 06: Million Dollars (Feat. Drax)
- 07: Hotel Kyjev 2
- 08: Hotel Kyjev (Feat. Fvlcrvm)
- 09: Najkrajší Ľudia Robia Najškaredšie Veci (Feat. Edúv Syn, Temný Rudo, Paris, Dusan Vlk &Amp; Fvck_Kvlt)
- 10: Vyhor
- 11: Keď Sa Páči Niečo Všetkým Tak To Smrdí
- 12: Poor But Sexy
- 13: Outro
The Slovak trio Berlin Manson was formed as a so-called apartment band in the dark days of Corona lockdowns. The founders Patrik Nagy and Adam Dragun compensated for the lack of cultural activities by creating new and original music, where Patrik provided D.I.Y. made electronic beats with live guitar playing and Adam provided his lyrics full of irony and criticism of the scene and society.
After the first successful concerts and singles, the cloud around the name Berlin Manson is steadily growing. It wasn't until a track and music video titled I'm not dancing I'm nodding my head that catapulted them into the limelight of the alternative scene, heralding their debut EP Life Ends When You're Thirteen (2022). Later, the original duo were joined by drummer Tomáš Tabiš, who is also in the band 52 Hertz Whale, whose album was also released under the Weltschmerzen label. Their concert performances have gained more momentum and their drive has made them one of the most popular club and festival line-ups in Slovakia and the Czech Republic.
After a successful collaboration on the 2023 single Hotel Kyjev with Pisht Kralovic a.k.a. FVLCRVM, the band is releasing their first full-length album Poor but Sexy, with which they are moving under the Weltschmerzen roof. The fusion with roots in electronica, punk, pustpunk, rave and HC is once again complemented by Adam Dragun's great lyrics, which alternate social engagement with sarcasm, irony and cynicism, or nostalgia and sadness. On the current release we can also hear collaborations with guests such as Katarzia, Edúv Syn, Fvck Kvlt, Temný Rudo, Dušan Vlk or Paris.
First ever vinyl edition of Deuce’s only album from 1995 (UK Album Chart #18). Specially
pressed in Dayglo lime green vinyl. The Phil Harding (PWL, East 17, 911, Boyzone) and Ian
Curnow written and produced album contains all of Deuce’s Top 40 singles chart hits ‘Call
It Love’ (UK #11), ‘I Need You’ (UK #10) and ‘On The Bible’ (UK #13) and, for the first time,
also includes, as a bonus track, their fourth and final single ‘No Surrender’ (UK #29) as
produced/mixed by PWL legends Mike Stock and Matt Aitken.
Deuce were the brainchild of pop impresario Tom Watkins (Pet Shop Boys, Bros, East 17,
Electribe 101). Remastered by Kinky Roland.
THE LIGHT IS LEAVING US ALL is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the Astonishing Aeonic Beautiful Talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the Voice in the Mask of one of my favourite authors, and longest colleagues, Thomas Ligotti, also joined C93.
The album’s title was given to me in a dream, in which I saw The Souls of humans pouring out of their eyes, and returning to God—The Light Had Left Them Quite!
On THE LIGHT IS LEAVING US ALL, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also Channelled my fascinations with The Red Barn Murder of 1827 and “The Witchcraft Murders” of “Bella” in Hagley Wood in c.1941 and Charles Walton in Lower Quinton in 1945.
All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead—all this while the birds were softly singing, and The Light Was Leaving Us All.
Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.
This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.
Human Worth are proud to present the killer second album ‘Celestial Devastation’ from UK supergroup COWER, featuring members of The Ghost of a Thousand, Petbrick, USA Nails, Yards, The Eurosuite and JAAW, with a portion of proceeds donated to charity. Featuring the musical might of Tom Lacey (Yards, The Ghost of a Thousand), Wayne Adams (Petbrick, JAAW, Big Lad) and Gareth Thomas (USA Nails, The Eurosuite) Cower is a collaborative project of 3 friends celebrating a lifetime of music exploration together. Each bringing their own distinct flavour to this new record, which pushes the boundaries even more than their acclaimed debut ‘BOYS’, exploring further into the realms on gothic darkness, but still with a real kick, highlighting the trio’s noise roots.
Recorded, mixed and mastered at Bear Bites Horse Studio by Wayne Adams, ‘Celestial Devastation’ explores the idea of technology becoming the guiding light in our lives, for better or worse. In the words of the band’s lyricist Tom Lacey “We give up a lot of decision making to the algorithm more and more, so these songs are an attempt to make sense of that. I think that kind of power speaks to certain type of men, they seem to want to try and harness it, make others see it’s value, so this record speaks a lot to tech bros and the weird cult of silicon valley.” Human Worth have pressed up a limited run of ‘Celestial Eco Mix’ vinyl, housed in a gorgeous package designed by Thomas Lacey using MidSommar AI – linking perfectly with the album’s themes. Featuring a super high gloss cover, with additional photographic inserts illustrated by Daniel Holloway. 10% of all proceeds will be donated to Hackney Foodbank, supporting people in crisis or trapped in poverty with compassion and dignity.
Human Worth are proud to present the killer debut EP 'God Pile' from Leeds duo Grub Nap, featuring members of Thank, Dvne and Cattle, with a portion of proceeds donated to charity. Grub Nap are a 50/50, double headed, four legged, semi haggered, party at the front business at the back mash up of Dan Barter (Dvne, Joe Pesci) and Steve Myles (Thank, Cattle, Groak, Khuda). They first played together in a hardcore band in their late teens and have teamed back up to churn out sludgecore for folks with short attention spans and no interest in wizards or flag waving. A reunited earful, a midlife distraction, a questionable whiff from the back of the fridge. Crawl on in, the water’s foul. 'God Pile' is a golden brown, 15 minute, crumbly, introspective riff lattice. Snappy(ish) songs about greed, crippling anxiety, suburban nuclear mishaps and flagellant rozzers – 6 knuckle dragging clods of down tuned insolent rage. So pummelling is their racket, that they caught the ears of "supergroup" Empire State Bastard (featuring members of Biffy Clyro, Oceansize and Slayer) who invited the duo on the debut UK tour. Human Worth have pressed up a limited edition of black vinyl, with a stunning etching on side B featuring the art of Steve Myles, with 10% of all proceeds donated to Leeds Mind – promoting positive mental health and wellbeing and providing help and support to those who need it most.
Human Worth are proud to present the stunning new full-length from the ferocious noise rock duo Modern Technology, with a portion of proceeds donated to charity. How two players can make this much racket just has to be heard to be believed. The bass guitar and drums duo Modern Technology sound deceptively larger, louder and noisier than one could expect. The duo of Chris Clarke and Owen Gildersleeve (Old Mayor) present their second full length album 'Conditions of Worth' through rising leftfield heavy label Human Worth. Encapsulating influences of ‘90s Touch & Go era noise rock, the grubby grit of sludge metal, and the ferociousness of post-hardcore, Modern Technology hit you with the same energy and volume as their lauded live shows – which for those who caught them on their recent UK tour with Chat Pile will be able to attest to!
Marching forwards as thoughtful as they are sonically unhinged, ‘Conditions Of Worth’ takes the duo’s voiced concerns and socially conscious outlooks further and louder, tackling issues including mental health, the effects of austerity, societal degradation, and the ever increasing climate emergency. ‘Conditions Of Worth’ is available as a limited edition heavyweight 180g Transparent “Utility Yellow” Vinyl in a stunning package designed by Chris Clarke. 10% of all sales proceeds will be donated to charity Choose Love, helping to provide humanitarian aid, search, rescue and legal advice to refugees and displaced people across the globe.
2024 REPRESS
Fourth corner. Physically, it's where four states in the U.S. come together at one singular point. Symbolically, it's where the four great rivers in China come together as one. Or, it could be the cycle of life during the four seasons of the year. For Trixie Whitley, it's a metaphor for trying to find balance and belonging from the songs that make up her scintillating debut album, Fourth Corner.
Whitley burst into public consciousness in 2011 as the lead singer of Black Dub, super-producer Daniel Lanois' (U2, Bob Dylan) project, blowing people away with a voice and presence beyond her now-25 years.
And it's that voice: an emotional, blues-drenched instrument that ranges from a lilting slap to a knock-you-backwards uppercut. On Fourth Corner, Whitley explores the range of human emotion in another set of four: utter love, total rage, unadulterated happiness, and crippling loneliness. "It's those elements of life I keep coming back to," she says. "Both as a person and musically as well."
Recorded in New York with producer/keyboardist Thomas Bartlett (aka Doveman, who's also worked with Glen Hansard, Antony and the Johnsons, Grizzly Bear and the National) engineer Pat Dillett (David Byrne, St. Vincent, Mary J. Blige), and string arrangements by Rob Moose (Antony, Bon Iver), aching songs like "Need Your Love" have Whitley working from a spare beginning that explodes into a blossom dripping with pleading vocals and delicate piano. On tracks like the sassy "Irene" and the sinister "Hotel No Name," Whitley lays down a snarling guitar line on top of scuzzy beats while her voice veers from defiant to remorseful.
It's a tantalizing mix of sounds that can come only from someone who says: "I'm from everywhere but have never felt like I belong." Whitley lived a nomadic life: born in Belgium, she split her time growing up there and in New York but also frequently visiting family in France, Texas, and Mexico. Her mother came from an artistic European gypsy family, filled with musicians, painters, writers, and sculptures, while her father, renowned singer-songwriter Chris Whitley, thrust her into the world of music as a toddler when she joined him onstage in Germany at age three.
After a few years of touring and recording experience with some of the most inspiring artists around, Trixie is ready to presenther anticipated first solo full length.
"I'm psyched and petrified," says Whitley in her archetypal wide-eyed wonderment mixed with a fierce determination. "As a songwriter, I want to go to places people don't expect and with that is complete freedom of expression." Perhaps that place is another version of a fourth corner: something spiritual perhaps, certainly emotional, but most definitely real.
repress !
“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee
King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.
Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.
Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....
“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee
Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.
repress !
* A brand new recording from the legendary Max Romeo whose recording career spans six decade. Max is of course best known for hits such as `War in a Babylon', `Chase the Devil' (aka `Iron Shirt' - as sampled by The Prodigy), `One Step Forward', `Wet Dream' and so on.
* This is a recent collaboration with producer Daniel Boyle from Rolling Lion studios who has been nominated for a Grammy Award for his recent album he produced with Lee Perry: `Back on the Controls'.
* This crisp musical biscuit features Max's vocal cut, a horns piece from Hornsman Coyote plus a dub version.
* This will be sure to move fast and won't be repressed
- A1: Wise Man
- A2: Skylarka
- A3: Wild Man Street
- A4: Cow Town Skank
- A5: Northern Sound
- A6: Convention
- A7: The Joker From La Boka
- B1: Legs Man
- B2: Greenwich Farm
- B3: Girls Town
- B4: Tip Toe
- B5: Gold Coast
- B6: Boys Town
repress !
If one band could be cited for the emergence of Ska music, that band would be the Skatalites.
Formed around June 1965 and built around the many musicians that had honed their craft at the Alpha Boys School in Kingston, Jamaica. The early line up consisted of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Tommy McCook (Tenor Saxophone), Johnny ’Dizzy’ Moore (Trumpet), Lester Sterling (Alto Saxophone), Jerome ’Jah Jerry’ Hines (Guitar), Jackie Mittoo (Piano), Llyod Brevett (Bass) and Llyod Knibbs (Drums).
Named originally The Satellites after the big news of the day, the Soviet space satellite. They became The Skatalites when band member Tommy McCook introduced a play on the characteristic ‘Ska’ sound, made by the guitar when following the’ after beat’ of the music.The group had already cut its musical teeth by playing under various guises around the Jamaican island in numerous ‘hotel bands’. When the big Sound System operators Sir Coxsane Dodd, Duke Reid and King Edwards needed new material to play out with and their usual source of the material, American R & B records were drying up. They turned to this pool of musicians to back up their main singers of the day. Delroy Wilson, Alton Ellis and Lord Creator to name but a few. Also to cut the many instrumental tracks they needed usually under the tutor ledge of Don Drummond, official band leader and main musical director. Their knowledge of the old mento tunes and an understanding of Jazz and R&B music somehow blended to make this musical sound that was to dominate the island from the early 60’s up until around 1966 when the sound would slow down to what we now know as Rocksteady.
The time span of the Skatalites career considering their output of litually 100’s of sides of music, was a relatively short one of just over two years. We have delved into the vaults of Wirl Records and have selected some tunes that show the dexterity of the band and what great sounds this group of musicians were capable of producing and the high quality they maintained. They recorded before they were named as a collective The Skatalites, when personal and financial problems became an issue the band split into two halves. Jackie Mittoo and Roland Alfonso going on to form The Soul Brothers band for Coxsone Dodd. Tommy McCook moving over to work with Duke Reid as musical director. Sadly, Don Drummond suffering for years from depression would see his career cut short ending in Belle Vue hospital in 1969.
But while together they cut some of the finest Ska Sounds to be found on record. We hope you enjoy this set as much as we have in putting it together.
So, stand Up, Listen Hard and do the Ska……
- A1: Sekiro, The One-Armed Wolf
- A2: Rebellion
- A3: Emma The Physician
- A4: Ashina Reservoir
- A5: Divine Heir Of The Dragon's Heritag
- A6: Knife's Edge
- B1: Ashina's Crisis
- B2: Sculptor Of The Dilapidated Temple
- B3: Ashina Outskirts
- B4: A Shinobi's War
- B5: Strength And Discipline
- B6: Serpent Valley
- C1: Great Serpent
- C2: Gyoubu Oniwa
- C3: Hirata Estate, Dragonspring River
- C4: Approaching Forces
- C5: Up In Flames
- C6: The Phantom Lady Butterfly
- C7: Ashina Castle
- D1: The Ashina Clan
- D2: Genichiro Ashina
- D3: Sunken Valley
- D4: Snake Eyes
- D5: Guardian Ape
- E1: Altered Form
- E2: Folding Screen Monkeys
- E3: Children Of Rejuvenation
- E4: Mibu Village
- E5: Thirsting Horde
- E6: Apparitions
- E7: Corrupted Monk
- F1: Incursion
- F2: Lone Shadow
- F3: Gentle Blade
- F4: Isshin Ashina
- F5: Great Shinobi
- F6: Fountainhead Palace
- F7: Okami Lineage
- G1: Great Colored Carp
- G2: Old Dragons Of The Tree
- G3: Divine Dragon
- G4: Overrun
- G5: The Red Guard
- G6: Demon Of Hatred
- H1: Conspiracy
- H2: The Owl
- H3: Sword Saint
- H4: Hend Of A Vicious Struggle
- D6: Senpou Temple, Mt. Kongo
- D7: Seekers
The clans of Activision, FromSoftware, and Laced Records have come together to release the majestic music of Sekiro: Shadows Die Twice on deluxe quadruple vinyl.
Set in a fictionalised 16th Century Japan, players take on the role of the shinobi Wolf in trying to protect the young Divine Heir Kuro from the remnants of the Ashina clan. Progression requires a mastery of stealth combat and extreme precision while battling some of From’s most iconic boss encounters to date. No one forgets the first time they bested Genichiro atop Ashina Castle...
The vinyl sets feature 50 tracks by lead composer Yuka Kitamura (Bloodborne, Dark Souls III) and co-composer Noriyuki "α" Asakura (Tenchu series.) The dramatic score features traditional Japanese instruments, orchestral and choral elements, and outlandish, mysterious sounds that transport listeners to a war-ravaged Japan during an alternative history Sengoku period.
- A1: Getachew Kassa - Tezeta Slow
- A1: Getachew Kassa - Tezeta Fast
- A2: Mulatu Astatke - Munaye
- A3-: Teshome Meteku - Yezemed Yebaed
- A4: Abayneh Degene - Balendjere
- A5: Alemayehu Eshete - Temhert Bete
- B1: Menelik Wossenachew - Belew Bedubaye
- B2: Alemayehu Eshete - Alteleyeshegnem
- B3: Teshome Meteku - Mot Adeladlogn
- B4: Essatu T. And Seyfu Y. - Feqer Bequmena
- B5: Muluken Melesse - Enbayen Teregiw
2024 Repress
The follow up to the highly acclaimed reissue of the first volume Ethiopian Hit Parade. This 2nd volume features 'Ethiopian Hits' from 1972 to 1975. The track layout is Identical reissue to the original vinyl
"After releasing around fifty 45 rpm singles and his first 33 rpm album (Ethiopian Modern Instrumental Hits AELP 10, re-released by Heavenly Sweetness HS092VL), Amha Esthèté set about compiling his best 45s on a series of now legendary albums (the originals are impossible to find) in 1972. The first four volumes of Ethiopian Hit Parade were released in September and October 1972, with the fifth volume appearing in January 1973. You are the proud owner of Volume 2.
It is worth reminding ourselves that when Amha Esthèté set up his Amha Records label in 1968-69, it was in defiance of a state monopoly designed to regulate the imports and production of records by an imperial decree of July 1948. This extravagant state privilege had produced only 78s of traditional music , which though thrilling, excluded anything at all modern. To the best of our knowledge, only sixty-seven of these prehistoric discs were pressed in Great Britain between 1955 and 1961 and released by His Master’s Voice. They were supposed to be part of celebrations of Emperor Haile Selassie’s silver jubilee . . . even though 33s and 45s had existed since 1948 and 1949 respectively! Such incompetence and servility, combined with a rejection of an effervescent contemporary music scene, were symptomatic of the decadence surrounding the end of an era.
An audacious, funky outlaw, a music lover and an entrepreneur in tune with the baby-boomer generation, young Amha Esthèté (he was only twenty-four when he launched his label) will be remembered as the instigator of a peaceful revolution thick with soul and rock’n’roll.
After the acclaimed reissue of the first volume Ethiopian Hit Parade. Here is the second volume that include all the greatest Ethiopian Hits from 1972 to 1975. Identical reissue to the original vinyl which is extremely rare and expensive.
The opening track of the compilation is the song Tezeta Slow and Fast by GETACHEW KASSA were featured on the album Ethiopiques, Vol. 10: Ethiopian Blues & Ballads. and originally released on 1972. The other tracks on this second volume celebrate such pioneers of modern Ethiopian groove as Abayneh Degene, Tèshomè Meteku, Menelik Wossenachew Mulatu Astatqe and Muluken Melesse, alongside “tradi-modern” singers representing Amhara and Oromo culture, so rich and so long marginalized."
Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”
Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).
"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave
- Limited Vinyl Edition + Art Print Bundle: (Transparente Vinyl in Premium Tip-On-Sleeve mit bedruckten Inner-Sleeve plus limitierten 12” Artprint – Prägedruck auf hochwertigem Karton.)
Nick Cave & The Bad Seeds melden sich mit ihrem neuen Album 'Wild God' nach fünf Jahren Pause zurück! Auf zehn Tracks tanzt die Band zwischen Konvention und Experiment, indem sie Linkskurven und Umwege macht, die die reiche Bildsprache und Emotion in Caves herzergreifenden Erzählungen verstärken. Es gibt Momente, die liebevoll an die Vergangenheit der Bad Seeds erinnern, aber sie sind flüchtig und dienen nur dazu, dem unerbittlichen und ruhelosen Vorwärtsdrang der Band eine weitere Facette zu geben. Nick Cave sagt über das Album: “It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious.”
Produziert von Cave und Warren Ellis und gemischt von David Fridmann, begann Cave am Neujahrstag 2023 mit dem Schreiben des Albums. Bei Aufnahmen in der Provence und in London fügten die Bad Seeds schließlich ihre einzigartige Alchemie hinzu, mit zusätzlichen Auftritten von Colin Greenwood ( Bass) und Luis Almau (Nylonsaitengitarre, Akustikgitarre).
"Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it." - Nick Cave
Free Nationals are back with “Gangsta,” their first single since 2020. The GRAMMY Nominated group enlists longtime collaborator Anderson .Paak and A$AP Rocky for the smooth yet ominous track, infused with the funky retro-soul sound that brought the four-piece to prominence. With an accompanying video by renowned director Francois Rousselet, who has worked with The Rolling Stones, Jack White, and Pharrell in the past, Free Nationals give fans a taste of what’s to come and reintroduce themselves as the leaders of the funk.
Waxwork Records is thrilled to announce the soundtrack release of the 1987 horror cult-classic, EVIL DEAD 2.
Directed by Sam Raimi and featuring Bruce Camp- bell reprising his role as Ash Williams, EVIL DEAD 2 is known not only as the quintessential entry of the EVIL DEAD TRILOGY, but also of 1980’s cult-classic horror cinema as a whole. EVIL DEAD 2 remains the outstanding follow up to 1981’s THE EVIL DEAD, picking up where the first film leaves off, with even more blood, possession, dismemberments, and with generous elements of slapstick comedy.
The music by composer Joseph Loduca (The Evil Dead, Army Of Darkness, Ash Vs. Evil Dead) is the sophisticated follow up to the first film’s outstanding soundtrack, engrossing the listener in classic orchestral horror, electronic cues, and haunting lullaby compositions.
Waxwork Records is proud to present the deluxe, re- mastered-for-vinyl edition of the soundtrack to one of the most beloved films in the history of horror cinema.
Metronomy haben heute ein neues Kapitel ihres langen und bunten musikalischen Lebens aufgeschlagen. Es ist erneut ein kollaboratives Kapitel, es ist die kommende „Posse EP Volume 2“, die am 12. Juli 2024 bei ihrem neuen Label, Ninja Tune, erscheint. Auf den fünf Tracks schlüpft Bandgründer und -leader, Joe Mount, in die Rolle des Produzenten und erschafft musikalische Welten, in denen neue Sänger:innen und Künstler:innen ihre Stimme zu Mounts feierlichen Instrumentals veredeln können.
Auf der „Posse EP Volume 2“ arbeitet Mount mit Miki, Faux Real, Nourished By Time, Lynks, SPIDER, Master Peace und TaliaBle zusammen. Die Geschichte der „Posse“ EPs begann im September 2021, als Mount den ersten Teil veröffentlichte, eine fünf Tracks umfassende Kollaboration mit einer Reihe neuer Freund:innen, darunter DJ und MC Pinty, der bereits bei Rhythm Section veröffentlicht hatte, und Biig Piig. Im darauffolgenden Jahr veröffentlichte er das bislang letzte Metronomy-Album, „Small World“, das die Party fortsetzte, indem er Künstler:innen von Nadeem Din-Gabisi bis Katy J. Pearson für eine spezielle Remix-Edition einlud.
Format: - Schwarzes Standardvinyl (140g) mit Artwork von James Vinciguerra inklusive Downloadcode.
A Social Grace[31,05 €]
Bleeding[21,64 €]
Into The Everflow[21,64 €]
To Chase The Stars[27,69 €]
Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.
- A1: And The Devil Cried (Psychotic Waltz Demo 1989)5 38
- A2: Successor (Psychotic Waltz Demo 1989)4 04
- A3: Halo Of Thorns (Psychotic Waltz Demo 1989)5 24
- A4: I Of The Storm (Psychotic Waltz Demo 1989)4 31
- B1: To Chase The Stars (Aslan Demo 1987)4 47
- B2: No Glory (Aslan Demo 1987)5 41
- B3: Spiral Tower (Aslan Demo 1987)5 28
- B4: The Fry Tape (Aslan Demo 1987)7 18
- C1: Burn The Night"(A Social Grace Rehearsal 1988)3 50
- C2: I Of The Storm (A Social Grace Rehearsal 1988)4 45
- C3: Halo Of Thorns (A Social Grace Rehearsal 1988)5 09
- C4: Another Prophet Song (A Social Grace Rehearsal 1988)5 32
- C5: Successor (A Social Grace Rehearsal 1988)4 11
- D1: The Keeper (A Social Grace Rehearsal 1988)7 02
- D2: Hanging On A String (A Social Grace Rehearsal 1988)3 58
- D3: Back Again (A Social Grace Rehearsal 1988)5 09
- D4: I Remember (A Social Grace Rehearsal 1988)
Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.
Elf Songs und ein Klavier-Intro bieten den Hörern erstklassigen Speed/Thrash Metal, der sich locker zwischen internationalen Klassikern der 80er und 90er-Jahre, sowie aktuellsten Tipps von Heute einfügen wird.
Die Aufnahmen wirken wie ein zweiter Frühling der Band: ehrlich, direkt, frisch und ultra heavy!
Dies mag mitunter am bisher stärksten und reifsten Line-up in der Geschichte der Band liegen. Zu Beginn des Vorjahres rekrutierte man niemand geringeren als den aus Bulgarien stammenden und in Dänemark lebenden Saitenhexer Nikolay Atanasov (u.a. AGENT STEEL). Er komplementiert mit dem bereits davor dazugestoßenen Bassisten Lorenz Kandolf (u.a. TRAITOR) das Line-up. Den Kern der Gruppe bildet, seit dem mittlerweile als Klassiker gehandhabten, im "New Wave Of Thrash Metal" geltenden Debüt "Have Gun, Will Travel" (2010), Band-Gründer, Sänger, Gitarrist und Hauptkomponist Ricky Wagner, sowie der Ausnahme-Schlagzeuger Bastian "attt" Santen. Noch nie hat REZET so frisch geklungen und vor Angriffslust gestrotzt.
Produziert, gemixt und gemastert wurde das Album erneut von Eike Freese (HELLOWEEN; DEEP PURPLE; HEAVEN SHALL BURN uvm.), Hamburgs Rock & Metal-Produzenten par excellence, wobei Teile der Aufnahmen in den bandeigenen "Rad Toad Studios", im hohen Norden Schleswig-Holsteins, selbst durchgeführt wurden.
Pär Oloffsson (Exodus, Aborted, Pathology, Traitor, Finsterforst uvm.) bietet die dystopische Visualisierung der Scheibe und zeichnet das Bild einer mechanischen Landschaft, die von neuem Leben zurückerobert wird. Der "große Reset" war vermutlich noch nie so nah…
Elf Songs und ein Klavier-Intro bieten den Hörern erstklassigen Speed/Thrash Metal, der sich locker zwischen internationalen Klassikern der 80er und 90er-Jahre, sowie aktuellsten Tipps von Heute einfügen wird.
Die Aufnahmen wirken wie ein zweiter Frühling der Band: ehrlich, direkt, frisch und ultra heavy!
Dies mag mitunter am bisher stärksten und reifsten Line-up in der Geschichte der Band liegen. Zu Beginn des Vorjahres rekrutierte man niemand geringeren als den aus Bulgarien stammenden und in Dänemark lebenden Saitenhexer Nikolay Atanasov (u.a. AGENT STEEL). Er komplementiert mit dem bereits davor dazugestoßenen Bassisten Lorenz Kandolf (u.a. TRAITOR) das Line-up. Den Kern der Gruppe bildet, seit dem mittlerweile als Klassiker gehandhabten, im "New Wave Of Thrash Metal" geltenden Debüt "Have Gun, Will Travel" (2010), Band-Gründer, Sänger, Gitarrist und Hauptkomponist Ricky Wagner, sowie der Ausnahme-Schlagzeuger Bastian "attt" Santen. Noch nie hat REZET so frisch geklungen und vor Angriffslust gestrotzt.
Produziert, gemixt und gemastert wurde das Album erneut von Eike Freese (HELLOWEEN; DEEP PURPLE; HEAVEN SHALL BURN uvm.), Hamburgs Rock & Metal-Produzenten par excellence, wobei Teile der Aufnahmen in den bandeigenen "Rad Toad Studios", im hohen Norden Schleswig-Holsteins, selbst durchgeführt wurden.
Pär Oloffsson (Exodus, Aborted, Pathology, Traitor, Finsterforst uvm.) bietet die dystopische Visualisierung der Scheibe und zeichnet das Bild einer mechanischen Landschaft, die von neuem Leben zurückerobert wird. Der "große Reset" war vermutlich noch nie so nah…
“I want it to feel like you’re right there in the room with us.” And in 10 songs and 40 minutes, Wunderhorse capture the raw power and energy that has set them apart as one of the most formidable live acts of recent years. With rugged hooks, unfiltered noise, and fierce melodic sensitivity, Midas rips up the script of traditional second albums and establishes the band as an endlessly addictive and rousing generational talent.
In late 2022, the release of their debut album Cub saw singles ‘Purple’ and ‘Leader of the Pack’ dominate radio airwaves. Landmark performances filling Glastonbury’s Woodsies Tent (FKA John Peel Stage) and selling out London’s Kentish Town Forum months in advance followed tours with Pixies and Fontaines D.C. and stadium appearances with Sam Fender, signalling the band’s arrival as one of the most prominent and exciting new guitar acts in the UK.
With Grammy Award-winning producer Craig Silvey (The Rolling Stones, The National, Florence + The Machine) on board for their sophomore record, the band looked to do something different. Their goal – in the very same studio that Nirvana put In Utero to tape and PJ Harvey recorded the Mercury Prize-nominated Rid of Me – was to push themselves outside of their comfort zones.
“There’s absolutely no faking on this record,” ends Slater, “it's not supposed to be perfect; it’s supposed to be a snapshot, even if it is a bit of an ugly portrait. That's how it was then, and that's how you're gonna see it.” And it sounds like you’re right there in the room with them.
"WINDSWEPT is yet another creative vehicle for the esteemed Roman Saenko, known worldwide for his pioneering work in Drudkh, Precambrian and Hate Forest among others. While most of his musical creations stem from black metal, thankfully, WINDSWEPT is consistent in this regard and unapologetically restrictive, retaining Saenko's characteristically hypnotic riffing coasting atop a wintry atmosphere.
Now, after a couple albums with Season of Mist, WINDSWEPT join forces with PRIMITIVE REACTION, who released the debut album of his PRECAMBRIAN project in 2020, with the brand-new mini-album "Der eine, wahre König". Uniquely, this four-song / 28-minute recording features two equally esteemed vocalists - Winterherr of Paysage D' Hiver, and Meilenwald of Ruins of Beverast - with both men splitting duties evenly.
Indeed, with such a structure, "Der eine, wahre König" is a portrait of evenness: unwavering, unflinching, immovable, engrossing. Movement manifests in subtlety, as is Saenko's stock in trade; further and deeper listens reveal a wealth of nuance even if it's not always apparent. All four tracks comprising the record feature all-German lyrics, evoking a different-yet-related sense of austerity from the mainman's proudly Ukrainian ruminations, and both vocalists rise to the challenge of pushing their respective throats to the limit whilst remaining rooted to WINDSWEPT's core consistency. That "Der eine, wahre König" attacks from the very first second and successively expands, concluding with the near-11-minute "Jedes Todes Lohn", and retains its a stute balance of urgency and epicness speaks to Saenko's never-faltering mastery.
Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.
Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.
Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.
Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.
Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.
Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.
Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.
Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.
Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.
Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.


























































































































































