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Originally released in 1976, the War compilation album Greatest Hits contains a monster set of Chicano funky grooves from L.A., most of which forever transformed the sound of funk. The album includes most of the band's best cuts — such as "Slippin Into Darkness," "Cisco Kid," "World Is A Ghetto," "All Day Music," "Me & Baby Brother," "Why Can't We Be Friends," and "Low Rider." One of the hippest funk, rock and soul groups on the Cali scene of the '70s, who just kept on making great music as the years went on!

Now with our 45 RPM release, plated and pressed at QRP, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound.

Another Michael's next chapter begins with Pick Me Up, Turn Me Upside Down, their new album due out this spring on Run For Cover Records. Following last year's sibling album Wishes to Fulfill, Pick Me Up is a more expansive output, patiently unfolding to reveal an exploratory side that brings new hues into the band's vibrant sound. Helmed by lead singer/songwriter Michael Doherty and producer/bassist Nick Sebastiano-along with signature contributions of multi-instrumentalist/vocalist Alenni Davis, drummer Noah Dardaris, and longtime engineer/co-producer/confidante Scoops Dardaris-Pick Me Up, Turn Me Upside Down came to life over three years of intermittent writing and recording sessions that proved unexpectedly fruitful. The band decamped at Headroom Studios in Philadelphia, PA, as well as the same Ferndale, NY house where they made their debut LP, 2021's New Music and Big Pop. The songs on Pick Me Up, Turn Me Upside Down often take the knack for melody that defined Wishes To Fulfill and apply it to left turns like the hypnotic quasi-krautrock of "I've Come Around To That," the sparse balladry of the title track, or the pulsating synth explorations of "The Diner's Spoon." The album's world is weirder and more improvisational, like in the twisting ends of "Hub of Dreams" or the spontaneous performances of "Like I Won A Car"-but Doherty's warm singing and conversational lyricism always keep things grounded. On Pick Me Up, Turn Me Upside Down, the band didn't set out to capture the all encompassing, existential value of music, but they did contribute to it-offering more songs to the world, and with them, chances to create one of those moments.

After five long years, Balance and Composure return with Too Quick To Forgive--newly signed to Grammy-nominated producer Will Yip's label, Memory Music, the alt-rock darlings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. "Savior Mode" finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while "Last To Know" is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out. Simmons' vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member--producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. "It was all magic," Jon says. With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they've ever played.

Listening to The Softies has always felt like peeking into a diary, with no personal detail spared. Lyrically the band documents a lovelorn heart in every manifestation, and hope is the bright silver lining adorning each song. As the third Softies album, Holiday in Rhode Island KLP119 presents a more accessible view to the humble honesty of their emotive universe. When Holiday in Rhode Island was originally released in Sept. 2000, it had been three and a half years since The Softies previous album Winter Pageant [KLP061]. In that time Jen and Rose's introspective musings are reborn, sparkling with renewed vision, both musically and spiritually. The trademark harmonies between Jen Sbragia (All Girl Summer Fun Band) and Rose Melberg (Tiger Trap, Gaze) simply shimmer, brighter than ever before, benefiting from strong yet simple arrangements and excellent production (at a house on Galiano Island near Victoria, British Columbia) by Dave Carswell and John Collins. The beautiful surroundings and supportive production crew inspired The Softies to extend their minimalist blueprint of two delicately jangling guitars and two crystalline voices to include acoustic guitar embellishment on "Just a Day," "You and Only You;" piano and sparse drums on "Me and the Bees;" a xylophone makes subtle appearances here and there. Holiday in Rhode Island is a stunning artistic accomplishment from these two much heralded pop icons.

The Gothenburg, Sweden based psychedelic rock combo Hollow Ship returns with Animated Music, a new EP and the follow-up to their acclaimed 2020 debut LP Future Remains which was praised by ex Prog Magazine, Shindig! and Raven Sings the Blues. With the band’s unique rhythm-driven blend of psychedelic rock and prog, with traces of jazz and hard rock as well as a myriad of other influences, at he forefront Animated Music pushes the band further into the instrumental realm than before. A cinematic journey over the space of 20 minutes, the music was originally written as an aural companion to the band’s Space Motion show visuals before being reworked into the shape of the Animated Music EP. With the band’s upcoming second full-length due in the winter, Animated Music showcases the band’s instrumental storytelling at great effect, further establishing the band at the orefront of the Swedish psychedelic scene alongside luminaries such as Dungen and Goat. Animated Music is due out on May 31 via Swedish indie label PNKSLM Recordings (7ebra, Chemtrails, ShitKid etc) on limited edition splatter vinyl (limited to 500 units worldwide) and digitally.

Kata No Wadachi is the latest album by Banetoriko, the solo noise project of Tamaki Ueda. Her first release both on An’archives and on vinyl, it follows several albums for the Neurec imprint – 2017’s Beside the Sluice and 2022’s Yorioto Hogiokuri – and several other cassettes and CD-Rs. With Kata No Wadachi, the Banetoriko world, inspired by the Yokai (“strange apparitions” – supernatural figures, ghosts, spirits) of Japanese folklore, is at its most resonant yet.

Recorded across 2022 and 2023, the three tracks on Kata No Wadachi have Ueda performing in a particularly elevated manner. Her sound is highly tactile and grittily sensuous, the better to capture the ritualistic repetitions, and hypnotic methodologies, core to Banetoriko. The scrape and scratch of Ueda’s self-made metal instrument, the Banetek, gives these improvisations a unique throb, even as their mood, of introverted focus and elaboration of minutiae, gestures towards broader histories of noise and abstract art. Kata No Wadachi evokes, to some degree, the urban ritual noise of the likes of The New Blockaders, Organum, or Ferial Confine; elsewhere, the abraded, rough-housing textures bring to mind the eighties tape works of Hands To and John Hudak.

Ueda embraces the dream evocation that’s possible when loops of blurred texture collide with the gnaw and groan of energised metal, while mantric, dissociated vocals, and the oppressive weight of deep breath, gather around these compositions like a ghost’s shroud. While she’s been making noise for some time, since the nineties, Banetoriko was formalised as a project in 2011, while Ueda lived in Los Angeles. Relocating to Osaka in 2021, she’s carved out an utterly unique space for herself in Japanese noise, and her music contains an absolutely elemental vibration. Framed beautifully with poetic liner notes by Aurélien Rossanino, Kata No Wadachi is an oppressive, yet quixotically blissful trip.

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

The self-titled debut album by Last Plane Out (S-Rock/Border) will be released worldwide on vinyl - The band: Last Plane Out is a duo consisting of Nils Erikson (music) and Anders Lundquist (lyrics) They describe their style as progressive pop: songs for those looking for some musical and lyrical chewing resistance, yet appealing to the casual listener.

Nils Erikson, based in Malmoo, Sweden, is a Swedish singer, composer and multi- instrumentalist. He has released a number of solo albums, one of which was nominated for two Swedish Grammys (Newcomer of the Year and Male Artist of the Year). He has also released several instrumental works that have been streamed millions of times.
In addition to that, Nils is the co-keyboardist and co-lead singer of the progressive rock band Karmakanic, led by longtime Steve Hackett bassist Jonas Reingold. Anders Lundquist, based in Stockholm, Sweden, is a lyricist, composer and bassist/guitarist, as well as a renowned music journalist. As the bassist and one of the two main songwriters of Swedish hard rock progsters band Future Elephants?, he released three acclaimed albums between 2016 and 2023.

Late Night Tales and Bonobo were pretty much made for each other, it just took them a while to both realise it. Stepping forward into the compilers spotlight for the 33rd edition is Simon Green - aka Bonobo - a musician, producer and DJ perfectly suited to soundtrack an evening spent reclining to some parallel beats. Six albums to the good (most recently 'The North Borders' released earlier in 2013), Green has been on a winning streak since 2010's breakthrough 'Black Sands', which has now sold in excess of 160,000 copies. His music has aided the sales of Citroen cars and Olay creams, as well as soothing the puzzlement of Lost. Wrapped in delicately programmed drums, Green's music is at once both sombre and reassuring. If what comes out the other end is the music of Bonobo, then this is the fuel that keeps the engine running: soul, jazz, classical, pop, funk, leftfield, rock. Pianos and brass are abundantly present. Our ivories are warmed and tickled by the classic, Bill Evans, and new school, with Matthew Bourne's mournfully beautiful 'Juliet' and Dustin O'Halloran's 'An Ending A Beginning'. The brass section comes courtesy of Menehan Street Band's jazzy 'The Traitor', 'Flipside' by the Hypnotic Brass Band. Exclusives include YouTube sensation 'One Thing' by Peter & Kerry . Not only that, but there's Bonobo's special LNT cover version, a brilliant reading of Donovan's 'Get Thy Bearings', As the light dims, the unsettling sounds of Lapalux or maybe even Shlomo pierce the misty evening air, before giving way to the ethereal splendour of Eddi Front's 'Gigantic' or even Nina's paean to an imagined rural idyll 'Baltimore'. Amble down to the riverside. It could be the Great Ouse, as willows weep into the water; it could even be in Brooklyn overlooking the Lower East Side, as the sun slides down the sides of the skyscrapers. Take a notepad for inspiration. Maybe even a hipflask for a slug of something warm. Sit down and reflect and let those beautiful pianos skim the water's surface. Sometimes, you think, life is good. You can't play a symphony alone, it takes an orchestra to play it: Simon Green is your conductor.

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.

Todos os Olhos is one of the most emblematic and essential records of the confrontational music of Brazil. By denouncing, criticizing, and mocking the trend of "heroes" who made "protest music" at the time, Tom Ze? signed his eremitic letter of exclusion but not without "contest the contestation". Excommunicated from the MPB and even from Tropica?lia, in Todos os Olhos Tom Ze? presented, with a lot of courage, an unusual way of fight Brazil's military dictatorship. All that would be later triggered in Tom Ze?'s career is here, always ready for a new rediscovery.

Introducing "Uprising Volume 2" by Zaratustra, the Highly Anticipated Second Installment of the Acclaimed Series on Skylax Records. Following the Groundbreaking Success of "Uprising Volume 1" in the Indie Dance Scene, Zaratustra Returns With a Collection of Tracks That Push the Boundaries of Genres, Inspired by Indie Dance, Italo Disco, Ebm, New Beat, Acid, and Ethnic Music. Prepare to Be Captivated by the Infectious Energy of "Uprising Volume 2." the Ep Opens With the Mesmerizing "Dark Clouds" (Club Mix), Reminiscent of the Futuristic Vibes of I-F's "Space Invaders Are Smoking Grass" and the Early 2000s Brilliance of Tiga. the Instrumental Version of "Amours Electroniques" Takes You on a Nostalgic Journey, Evoking the Spirit of Miss Kittin & the Hacker's Iconic Sound. Emilio Van Rijsel Delivers an Astounding Acid Trance Techno Remix of "Dark Clouds," Surpassing Expectations and Becoming an Undeniable Highlight of the Ep. for an Extra Treat, Those Who Purchase the Vinyl on Our Bandcamp Will Receive the Full Instrumental Version of "Dark Clouds," the Vocal Version of "Amours Electroniques" (Feat. Angst for Greta), and the Vocal Version of Naranja's Remix. Speaking of Naranja, the Ep Features a Dynamic and Uptempo Remix of "Amours Electroniques" (Instrumental) by the Talented Producer. Naranja's Remix Infuses the Track With a Pulsating Rhythm and Compelling Grooves, Elevating the Energy to New Heights While Maintaining the Essence of the Original. It's a Captivating Reinterpretation That Will Ignite Dancefloors and Leave Listeners Craving More. "Uprising Volume 2" Is a Powerful Testament to Zaratustra's Ability to Revive the Spirit of the Early 2000s New Wave and Electroclash Era. Each Track Encapsulates the Essence of That Time, Infusing It With a Modern Touch That Will Leave Listeners Craving More. Join the Uprising and Immerse Yourself in the Electrifying Soundscapes of Zaratustra. This Vinyl Release Is a Must-Have for Any Music Enthusiast Seeking a Sonic Adventure That Defies Genres and Rekindles the Spirit of a Bygone Era. Grab Your Copy of "Uprising Volume 2" and Witness the Evolution of Zaratustra's Artistic Prowess, as He Continues to Shape the Future of Electronic Music....

Die gefeierte Can Live Serie wird mit einem Konzert in Paris mit Damo Suzuki fortgesetzt! Die zweite Phase der gefeierten Can Live-Serie, Can Live in Paris 1973, wird am 23. Februar 2024 auf Vinyl, CD und digital über Mute und Future Days (das neue EU-Label von Spoon Records) veröffentlicht.

Live in Paris 1973 zeigt Can in magischer Form bei einem Auftritt, der am 12. Mai 1973 im Pariser L'Olympia aufgezeichnet wurde und bei dem erstmals Damo Suzuki am Gesang zu hören ist. Von 1970-73 wurde die Stammbesetzung von Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay durch den japanischen Improvisator und Sänger Suzuki ergänzt. Sie lernten sich durch eine zufällige Begegnung kennen, als Suzuki als Straßenmusiker in München unterwegs war; einige Monate nach dem hier veröffentlichtem Auftritt verließ Damo die Band. Dieses neue Album in der Reihe ermöglicht es uns, die Band in einer besonders wichtigen Phase ihrer Karriere zu erleben, da zwei ihrer am meisten gefeierten Alben - Tago Mago und Ege Bamyasi, wobei letzteres in den Pariser Auftritt einfließt - erst kürzlich veröffentlicht wurden. Die Aufnahmen wurden von Gründungsmitglied Irmin Schmidt und Produzent/Sound Engineer René Tinner, die alle Alben dieser Reihe zusammengestellt und bearbeitet haben, aus Aufnahmen in den Archiven von Spoon Records und von hilfsbereiten Fans eingesandten Aufnahmen zusammengesetzt und für das 21. Jahrhundert aufgearbeitet. CAN, die in den späten 60er Jahren gegründet wurden und sich ein gutes Jahrzehnt später auflösten, haben sich mit ihrer beispiellosen und kühnen Verbindung von hypnotischen Grooves und avantgardistischen Instrumentalstrukturen zu einer der wichtigsten und innovativsten Bands aller Zeiten entwickelt, und diese Alben zeigen die Gruppe aus einer ganz anderen Perspektive. Man hört vielleicht vertraute Themen, Riffs und Motive, die auftauchen und sich durch diese Jams wälzen, aber es sind oft nur flüchtig wiedererkannte Gesichter in einer wirbelnden Menge. An anderen Stellen hört man Musik, die es nie in den offiziellen Albumkanon geschafft hat. Bei diesen Aufnahmen gehen Can in noch extremere Bereiche als bei ihren Studioarbeiten: von sanftem, atmosphärischem Drift-Rock bis hin zu Momenten, denen die Band den Spitznamen "Godzillas" gab. Und selbst wenn sie sich von Minute zu Minute dem Rhythmus anpassen und hinterher jagen, kann man die außergewöhnliche musikalische Telepathie hören, die ihre Mitglieder miteinander teilen.

Die neue Veröffentlichung folgt auf Can Live in Brighton 1975 "Pure dynamite... keep them coming" - MOJO; Can Live in Stuttgart 1975, UNCUT's Reissue of the Year, #2 in MOJO's Reissues of the Year, #7 in THE WIRE’s Archive Reissues of the Year, und Can Live in Cuxhaven 1976, das ebenfalls in den “Reissues of the Year” stark vertreten war.

Can Live in Paris 1973 wird am 23. Februar 2024 auf Doppel-Vinyl, 2 x CD und digital über Mute / Spoon Records veröffentlicht.

Within the first few seconds of the opening song on Australian troubadour Peter Bibby's latest album, we get an unvarnished look at the man behind the music as he observes the late-night scene of a local watering hole with increasingly bleary eyes:"No one seems to want to talk to me / 'cuz I'm the arsehole, probably." Indeed, that lovable ambivalence is at the heart of Drama King, Bibby's fourth studio album for Spinning Top Records. The project was produced by first-time collaborator Dan Luscombe (The Drones, Amyl and the Sniffers) and mixed by White Denim's Josh Block a frequent collaborator with Leon Bridges. An artist who has been celebrated as inherently working-class and wholeheartedly independent, Bibby comes by this caution honestly, having cut his teeth in the rough-and-tumble underground rock scene centered around Perth's Hyde Park Hotel in Western Australia. Bibby's affable personality has gotten him plenty of mileage as a live act. He's toured the U.S. with Pond and performed at the infamous open mic night at Pappy and Harriet's in the California desert. He's also taken the stage at international festivals such as Laneway, Falls, All Points East, South by Southwest and South Africa's Rocking the Daisies while notching his fair share of rowdy headlining shows.

The Prodigy Carlos Nilmmns Is Back on Skylax With Once Again a Splendid 12 Inch! His Style Is a Mixture of Refinement and the Most Beautiful Things That House Music Has Ever Produced, Moodymann, Theo Parrish in the Lead but Not Only That, We Must Also Add the Masters Lalo Schifrin, Donald Byrd and Even Henry Mancini. This Ep Starts With a Bang With the Sublime "Nes", Three Letters Which Alone Sum Up the Small Miracle of Bringing Together Both the Ghosts of Detroit and the Most Beautiful Cinematic Music Directly Inherited From the Glorious 70s. "Believe" Plows the Same Furrow With a More Mental Universe and to Conclude "Parisian Nights" (Jazz Version) Which We Swear Would Not Have Been Missing on an Impulse Album. Side B Opens With "Celebration" Which Sounds More Club Tool for Once With Obviously This Je Ne Sais Quoi That Is Far Superior to All Current House Productions. and This Ends With the Club Version of "Parisian Nights", a Real Volute of Sound. His Style Reminds Us Very Strangely and Quite Paradoxically of the Illustrious Terre Thaemlitz Aka Dj Sprinkles. Music for the Soul and the Body....

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

Wormwood is undoubtedly one of the leading bands on the Swedish metal scene right now. The band now returns straight into the hot air to follow up the highly praised predecessors "Nattarvet" and "Arkivet". Albums that made the band soar on the national charts and led to numerous nominations for prestigious awards.

The release of "The Star", concludes the magnificent trilogy about death (NATTRAVET, ARKIVET, THE STAR). "NATTARVET" was about the grim famine that plagued the people in the 19th-century Nordic region. "THE ARCHIVE" focused on the inevitable downfall of mankind and "THE STAR" tells the story of the end of the universe.

There is no doubt that Wormwood musically has taken another big step forward, both in terms of songwriting and performance. Nothing is left to chance, and everything is refined down to the smallest detail, and this without sacrificing the bands unmistakable raw sound.

The album was mixed and mastered the renowned metal producer Sverker Widgren from Wing Studios in Stockholm, Sweden

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Winston Hytwr is a co-release presented by K and Perennial. Born in Columbus, Ohio in March 1993, Winston Hightower is a prolific home recording artist with an expansive discography that crawls across space and genre. A staple in the Midwestern punk/DIY scene, his first work under the eponymous moniker was a self-released tape in January 2015. Since then, he has put out over 100 songs on tape, online and on video. The music defies easy categorization, and instead breezes through a landscape of synths that effortlessly blend pop, rock, rap and jazz. In doing so, Hightower continues to build a cohesive, ever-morphing experiment in pushing the boundaries of underground guitar music, all with his signature wit and charm. This body of work is almost entirely written and recorded alone in his room, causing many to refer to him as `the Black R Stevie Moore,' a fitting epithet as his influences likewise include modern "lo-fi" progenitors such as Guided by Voices and Vivian Girls. Hightower has released much of his own work and more on his tape label, the FAH-Q Catalog, which boasts over 12 releases He has also collaborated with numerous other Ohio legends such as members of Times New Viking, Slant 6, and Ron House. Both mysterious and effervescent, Winston shape shifts into roles that have also included pro skater (UNITY, Adidas) and touring hardcore guitarist/bassist (most recently with the groups Minority Threat and Twompsax). With such an extensive pedigree, and having toured ceaselessly since he was a teenager, it's shocking that Winston Hightower is largely unknown outside of the Midwest. K records is thus thrilled to be putting out his first ever record, "Winston Hytwr" KLP292/PRNL50 which will cull songs from his previous and impossible to find releases. Remixed by Capt. Tripps Ballsington and Remastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground. 1000 vinyl copies.

“There goes my TARDIS!” Demon Records celebrates David Tennant and Catherine Tate’s partnership as the Doctor and Donna with two audio-exclusive stories, read by the actors themselves. In Pest Control, read by David Tennant, the Doctor and Donna face monstrous insects and a ruthless robot exterminator when the TARDIS is lost in battle on a distant planet. The Doctor sets off in pursuit of his craft, while Donna finds herself accepting a commission in the Pioneer Corps. Something is transforming soldiers into monstrous beetles - and she could be the next victim. In The Forever Trap, read by Catherine Tate, the duo find themselves imprisoned in a complex of luxury apartments in space, and neighbours to a terrifying assortment of aliens. Deadly mobs wage battle in the corridors and on the stairwells, and the travellers must cross their paths as they search for the ultimate authority. Who, or what, lies at the heart of the Edifice? This stunning box set, with an illustrated lift-off lid, features 6 x 140g vinyl LPs - three in Transparent Red and three in Transparent Yellow - each housed in a unique inner sleeve. A four page booklet features sleeve notes by authors Peter Anghelides and Dan Abnett, who reflect on the process of writing for the Tenth Doctor and Donna, and how they regard the stories 17 years later. Now for the first time on vinyl, accompanied by original sound design and Murray Gold’s Series 4 arrangement of the familiar theme music, these two high-octane adventures are a reminder of the excitement, humour and magical wonder of Doctor Who

When Richard Thompson began writing songs for his latest album, Ship to Shore, the artist was instinctively drawn to his own musical roots, employing them in the service of fashioning a deep and diverse 12-track collection that pulls from various styles, genres and eras, but remains unmistakably Richard Thompson. There’s the rumbling, Motown-style rhythm that propels “Trust,” and the straightforward riff-rock of “Turnstile Casanova.” The drone-y “The Old Pack Mule,” an “old man’s song” that takes musical cues from 1600s-era European music, and “Life’s a Bloody Show,” an ode to “snake-oil salesmen and hucksters” that floats on a glammy, cabaret-like melody that’s “almost like a parody of a Noël Coward song, or something from Berlin in the 1920s,” Thompson says. “I liked the idea of having a strong base to work from and reaching out from there,” he says. “And I think of my base as being British traditional music, but there’s also Scottish music, there’s Irish music. There’s jazz and country and classical. As far as I’m concerned, once you establish your base you can reach out anywhere. It’ll still be you ringing through, wherever you decide to go musically.”

Ship To Shore by Richard Thompson, released 31 May 2024.

This version of Ship To Shore comes as a 1xLP. This release comes with (a) Sticker(s).

Chicago DJ/Producer JAYCEE INDAMIX returns for the 2nd installment of GINZU EDITS. This hand stamped single-sided record brings the heat with an insanely groovy edit of GIL SCOTT-HERON's version of "GRANDMA'S HANDS" to kick things off, and closes with a disco edit of perennial favorite, LUTHER VANDROSS.

Freddy McKays "Creation"-Album, das von Ossie Hibbert produziert wurde, enthält eine gut gewählte Mischung aus Originalen, die bald zu Klassikern werden, sowie eine Auswahl inspirierter hymnischer Neuinterpretationen. Es spricht für die Qualität dieser Veröffentlichung, dass sich diese inspirierten Interpretationen mit den Originalen von Burning Spear und Dennis Brown messen können. Die Auswahl an subtilen Dub-Versionen der enthaltenen Songs unterstreicht die Brillanz der Musiker, die im Stil der klassischen "Rockers" spielen, die die zweite Hälfte der siebziger Jahre dominierten.

'Freaking Out', das Debütalbum der gefeierten Grunge-Rock-Newcomer LOWLIVES aus Los Angeles, wird am 31. Mai via Spinefarm erscheinen und Fans der frühen Foo Fighters, Bush und Stone Temple Pilots gleichermaßen abholen.

Sänger Lee Downer, Schlagzeuger Luke Johnson, Gitarrist Jaxon Moore und Bassist Steve Lucarelli gründeten die junge Band aus der gemeinsamen Liebe zum Alternative und Grunge der 90er Jahre und dem Wunsch, Musik aus reiner Freude daran zu machen. Das LOWLIVES-Debütalbum 'Freaking Out' ist von genau diesem Geist durchdrungen.

Das Album wurde in den Londoner Chapel Studios mit Produzent Adrian Bushby aufgenommen, der bereits mit Bands wie Foo Fighters oder Muse gearbeitet. Sänger Lee Downer hegt eine Leidenschaft für Nirvana und Alice In Chains, die in Tracks wie 'Vertigo' und 'Swan Dive' durchschimmert. Drummer Luke Johnson beweist seine Besessenheit von den Smashing Pumpkins in 'You Don't Care'. Fans der frühen Foo Fighters, Bush und Stone Temple Pilots werden sich auf 'Freaking Out' wohl fühlen. Bewunderer von Billie Joe Armstrong ('Freaking Out'), Matt Skiba ('Damien') und Rivers Cuomo ('Loser') ebenso. 'Freaking Out' zelebriert schamlos seine Einflüsse und die einfache Schönheit des Zusammenspiels von Gitarre, Bass, Schlagzeug und Gesang.
Tiefgang findet man auf 'Freaking Out' trotzdem, verwurzelt in Texten, die von Ängsten, Sorgen, Verletzlichkeiten und den existenziellen Fragen handeln, die uns in den frühen Morgenstunden an die Decke starren lassen. 'Freaking Out' ist vor allem eine Destillation dessen, was LOWLIVES wirklich ausmacht. Es ist Rockmusik, die einen dazu bringt, sich wieder in die Rockmusik zu verlieben.

Im Laufe der letzten zwei Jahrzehnte hat Kevin Barnes, kreative Kraft hinter Of Montreal, seine Fans mit faszinierendem Pop und hypnotisierenden Liveshows begeistert. Seine in der Szene zur Ikone gewordene Songwriting- und Produktionsästhetik mündete in Kollaborationen mit Solange, Janelle Monáe und Jon Brion. Auf dem neuen Album wechselt Barnes mit jedem Song zwischen den Genres, die von Gitarren-Psychedelia-Pop der späten 60er bis zu experimentellem Funk-Pop reichen. "Lady On The Cusp" ist ein weiterer spannender Hörgenuss von einem der produktivsten und einflussreichsten Künstler unserer Zeit.

A Human Home“ wurde während des Einschlusses in Lucys Zimmer in Berlin geschrieben.
Es ist eine intime und ausdrucksstarke Sammlung von musikalischen Skizzen, die erforschen, was es bedeutet, ein Zuhause zu finden und sich zu Hause zu fühlen.
Mit einer Reihe von zufälligen und absichtlichen Kollaborationen aus der Ferne dokumentiert es einen spezifischen, persönlichen und universell geteilten Moment in der Zeit.
Die Entstehung des Albums war ein bewusster Versuch, den Einfluss von anderen auf ihren kreativen und persönlichen Prozess zu fördern.
Sie erkennt an, wie viel Heimat nicht nur an einem Ort liegt, sondern auch an den Menschen, die wir lieben.
Das Artwork des Albums wurde von Julia Schimautz von Don't Try Anything New gestaltet, die Fotografie stammt von Francis Broek und das Styling von Lenny-Dee Doucha.

New music from Philadelphia’s recently rediscovered soul powerhouse Ron Aikens and his backing band the Hip Tones is a soon-to-be classic double sider. Following in the traditional “soul 45 rpm” single format, a ballad side with a funk side on the flip, here is the first physical release from the forthcoming LP “Ron And The Hip Tones”. The lowrider soul feel on “Tear On My Chin” comes from a brainstorming session with Ron, producer P. Maxwell Ochester, and the two main songwriters Dave Cope & Fred Berman.

It tackles heartache, pain, and loss coupled with the slow grinding groove only true heartache can produce. On the flip, you will find a nod to Ron’s former band, Power Of Attorney, and their breakout single “Changing Man” which inspired the uptempo groove and sweet flute part. Hinting at the classic Philly Soul style, there are lush strings and as a bonus, the impactful and powerful message delivered by Philadelphia poet Ursula Rucker.

“Not a lot of people talk about the true origins of bluegrass music,” says Swamp Dogg, “but it came from Black people. The banjo, the washtub, all that stuff started with African Americans. We were playing it before it even had a name.” Blackgrass, Swamp Dogg’s remarkable new album, is no history lesson, though. Produced by Ryan Olson (Bon Iver, Poliça) andrecorded with an all-star band including Noam Pikelny, Sierra Hull, Jerry Douglas, Chris Scruggs, Billy Contreras, and Kenny Vaughan, the collection is a riotous blend of past and present, mixing the sacred and the profane in typical Swamp Dogg fashion as it blurs the lines between folk, roots, country, blues, and soul. The tracklist is an eclectic one—brand new originals and vintage Swamp Dogg classics sit side by side with reimaginings of ’70s R&B hits and timeless ’50s pop tunes—but the performances are thoroughly cohesive, filtering everything through a progressive Appalachian lens that nods to tradition without ever being bound by it. Special guests like Margo Price, Jenny Lewis, Justin Vernon, and The Cactus Blossoms all add to the excitement here, but it’s ultimately the 81-year-old Swamp Dogg’s delivery—sly and playful and full of genuine joy and ache—that steals the show. The result is a record that’s as reverent as it is raunchy, a collection that challenges conventional notions of genre and race while at the same time celebrating the music that helped make Swamp Dogg the beloved iconoclast he’s known as today.

Brooklyn Sounds legendary 1971 debut album, full of heavy Nuyorican underground salsa dura propelled by raw trombones and in-your-face percussion, born of the barrio streets and the band’s Caribbean heritage.

Fully authorized by producer Bobby Marin, with liner notes detailing the Brooklyn Sounds story, featuring never-before seen photos and pressed on 180g vinyl.

"Good Grief" ist das erste neue Soloalbum seit 25 Jahren von Bernard Butler, Gitarrist und Songschreiber der Brit-Pop-Kultband Suede. Butler entwickelte sich zum mehrfach ausgezeichneten Songwriter und Produzenten (u.a. BRIT Award 2009 als Best Producer), zu dessen Referenzen zwei bahnbrechende Alben mit dem Folk-Musiker Sam Lee, ein für den Mercury Prize nominiertes Projekt mit Schauspielerin Jessie Buckley, Kollaborationen mit Bert Jansch, Ben Watt (Everything But The Girl), The Libertines und Tricky sowie das mit dem Grammy ausgezeichnete, millionenfach verkaufte Debütalbum von Duffy zählen.

Round-Circle-Shows mit seinen Freunden Norman Blake und James Grant in Schottland brachten Butler auf den Geschmack, sich wieder auf die Bühne zu wagen. Abseits der Sicherheit seiner Gitarre schrieb er Worte auf, bevor er die Melodien um die Zeilen herum schnitzte. "Good Grief" trifft auf einen Bernard Butler mit über drei Jahrzehnten Arbeit, frei um wieder aufzutreten, gestützt von wild kontrastierenden Erfahrungen von Verlust, Freude und Verwirrung. Das Album ist eine Reise von der Stadt zur Küste und zurück und dazwischen ein gesamtes Spektrum menschlicher Emotionen.

"Good Grief" ist das erste neue Soloalbum seit 25 Jahren von Bernard Butler, Gitarrist und Songschreiber der Brit-Pop-Kultband Suede. Butler entwickelte sich zum mehrfach ausgezeichneten Songwriter und Produzenten (u.a. BRIT Award 2009 als Best Producer), zu dessen Referenzen zwei bahnbrechende Alben mit dem Folk-Musiker Sam Lee, ein für den Mercury Prize nominiertes Projekt mit Schauspielerin Jessie Buckley, Kollaborationen mit Bert Jansch, Ben Watt (Everything But The Girl), The Libertines und Tricky sowie das mit dem Grammy ausgezeichnete, millionenfach verkaufte Debütalbum von Duffy zählen.

Round-Circle-Shows mit seinen Freunden Norman Blake und James Grant in Schottland brachten Butler auf den Geschmack, sich wieder auf die Bühne zu wagen. Abseits der Sicherheit seiner Gitarre schrieb er Worte auf, bevor er die Melodien um die Zeilen herum schnitzte. "Good Grief" trifft auf einen Bernard Butler mit über drei Jahrzehnten Arbeit, frei um wieder aufzutreten, gestützt von wild kontrastierenden Erfahrungen von Verlust, Freude und Verwirrung. Das Album ist eine Reise von der Stadt zur Küste und zurück und dazwischen ein gesamtes Spektrum menschlicher Emotionen.

witching seaside ambience for a sound shaped by inner-city living, Atelier’s second full-length studio album, Lights Towards The Exit, channels the mood of a sleepless cityscape.
Lights Towards The Exit is Atelier’s second full-length studio album. After the release of Varsam Court at the end of 2019 on Lossless, run by mentors and friends Mathias Schober and Thomas Herb, the duo experimented with different ideas in the studio, and at the start of 2020 a common thread began to appear between a few of the tracks which laid the foundation for the sound of their second album.
Both Alexander and Jas moved to Berlin in the period before the release of Varsam Court from their hometown of Cape Town, South Africa, where their first album was written and recorded. Moving provided some challenges, particularly with what was the most essential equipment to bring from their previous studio set-up, but those limitations proved to be useful in incorporating new instruments and techniques to the recording process.
Lights Towards The Exit was written and recorded in different spaces in Berlin – from bedrooms in apartment blocks to three different studios across the city. The different locations all had a specific ambience – such as 4th- and 5th-floor bedrooms with busy street views; a studio with no windows in a typical old Berlin backyard complex forever under threat of being sold and gentrified; and a bigger studio with windows on the opposite side of the corridor overlooking the backyard of a mechanic workshop. The final details and edits were completed in Atelier’s current studio, in a contrasting area surrounded by office blocks, plazas, 9-5ers and, most importantly, their friends and colleagues.
Swapping the mountains, sea and seclusion for tall buildings, backyards and a new community, Lights Towards The Exit channels the sensation of being surrounded by people, but still feeling like you're on your own. The album was written through three years of cold winters, sweaty summers and a period where the world stood still during the pandemic. Frustrated with the cease of momentum, but still optimistic, Atelier disappeared from public view, abandoning social media to focus on recording, songwriting and experimentation.
It was a difficult time: the duo longed to perform and continue producing music, and the imposed limitations sometimes felt like an impossible obstacle. Ultimately, though, this would provide inexpected inspiration and influence the sound and direction of the new album.
The sound of Lights Towards The Exit is not a departure from their first album, but a progression: influenced by the new surroundings in the duo’s adoptive city, Atelier’s second album is an ode to first-time experiences, new languages, challenges, club culture and the shift from youth to maturity, as well as a balm to those stuck somewhere in between.
The overall sound is a lift not in tempo, but in energy, matching the openness needed to make a new start in a new place.

Volume 3 of a set of collaborations between the prolific Argentine polymaths Reynols and the inescapable Acid Mothers Temple. Recorded in Buenos Aries on AMT’s 2017 South American Tour, the music has identifiable sonic elements from both groups but ends up sounding like neither, with a surprising weightlessness that keeps things jammy and psychedelic until the final track’s blustering rock. Taking up most of side 1, “Kicking Air Bricks” has a loose Gong/’70s Euro-classic vibe, with Satoshima Nani getting to swing on the drums in a way that isn’t always part of AMT’s steamroller, while the rest of the gang layers in abstract piano, percussion, glissando guitar, etc. “Multiverse Turtle Reflex” closes the side with a thick drone coda. Side two starts with Miguel Tomasin’s gentle vocal and organ accompaniment on “Smelling Oneiric Asado” before the group gradually gathers momentum with Wolf’s thick bass anchoring layers of clean and loose guitar interplay. “Lemurian Tsunami Inside A Hat” is a thriteen-minute heavy rock epic, with the Reynols’ guitars going head to head with Makota Kawabata’s easily recognized interjections, ramping up into a riffy crescendo.

The landmark 2006 album that showcased Brooklyn's legendary Hip Hop collective with their original lineup for the first time since their 1997 debut LP "For the People." Buckshot, Smif-N-Wessun, Heltah Skeltah, and O.G.C. sound as raw as ever over a hall-of-fame production lineup including beats by Pete Rock, Large Professor, Da Beatminerz, 9th Wonder, Marco Polo, and more.

Atmosphere and gravity lean into each other. They are simultaneously expansive, and anchoring. They hold us, and lend a sense of perspective. They provide a stability and a knowingness which is essential in the absolute, and yet we can't help but find ourselves gazing upward, outward and reaching towards that which sits outside those things and ways we know. Selene is a record about that this lingering desire for that which sits beyond. It is work that seeks new perspectives snatched from familiar vistas, and it meditates on that sense of anchor and perspective. The work is also a speculative hymn to the visions of the celestial zones that spill ever outward. These visions, once merely what we could perceive with the naked eye are now so much more. Our minds eye is fed in equal parts by radio telecopy, filmic dreams and fiction renders of a place most of us will never know first-hand. This recording ties into a linage that reaches back, while stretching forward. It is just one story of so many, told across places, across cultures, across generations. It sits in the in-between of before and after, and in that moment invites us to situate ourselves and lean into it.

"Tools of Oppression / Rule by Deception" ist das neue Album von The Hope Conspiracy. Das Album wurde von Kurt Ballou und Zach Weeks in den God City Studios produziert. Das Artwork für die Veröffentlichung stammt von dem gefeierten Künstler Alexander Heir (Death/Traitors).

Dies ist wahre akustische Gewalt, die sich gegen politische Spaltung, wirtschaftliche Manipulation, Kriegsgewinnlerei, Medienpropaganda und andere abscheuliche Formen globaler Unterdrückung richtet. Luftschutzsirenen heulen auf, während die ahnungsvollen "Those Who Gave Us Yesterday" und "The Prophets and Doom" wie brennende Schrapnells explodieren. Der Höllenritt geht weiter mit "A Struggle For Power" und "Live In Fear", zwei bösartigen Blasts, die vor Bosheit und Verachtung nur so strotzen. "Shock By Shock" und "Of A Dying Nation" leiten die doomig-düstere Schwere ein
und drosseln das Tempo auf ein mittelschnelles Sperrfeuer. "Confusion/Chaos/Misery" zieht das Tempo an und geht mit verbrannter Erde auf die soziopolitischen Alpträume los, die uns alle umgarnen, während "Broken Vessels" die Opioid-Krise und die Sucht als Ganzes thematisiert. Dies führt zu "The West Is Dead", einer dystopischen Hardcore-Hymne mit vielen Hooks, und dem epischen Schlussstück "The Specter Looms"; ein unheilvoller Soundtrack zum stetigen Niedergang unserer modernen Zeit.Keine Frage, The Hope Conspiracy ist zurück, um eine kalte, harte Aussage über die Existenz in der Endzeit zu treffen.

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

2LP Soundtrack for UbiSoft video game in the Avatar series on Translucent Blue & Pink Vinyl Set after the events of the first Avatar film, you’ll embark on a journey across the Western Frontier, a never-before-seen continent of Pandora, as you join other Na’vi clans to protect Pandora from the formidable forces of the RDA. Created in collaboration with Disney and James Cameron’s production company, Lightstorm Entertainment, you will experience a first-person open-world action-adventure game exclusively developed to maximize the power of new-gen consoles and PC. Abducted by the human militaristic corporation known as the RDA, you, a Na’vi, were trained and molded to serve their purpose. Fifteen years later, you are free, but find yourself a stranger in your birthplace. Reconnect with your lost heritage, discover what it truly means to be Na’vi, and join other clans to protect Pandora from the RDA.

Von seinem ersten Album „Minima Moralia“ („Excellent“ 8.1 Pitchfork) im Jahr 2006 bis hin zu den über 70 folgenden Alben hat Chihei Hatakeyama einen gewaltigen Kanon an Werken geschaffen.
Shun Ishiwaka, der mit Künstlern wie Ai Kuwabara, Hiroki Chiba, Kei Matsumaru, Gen Hoshino, Terumasa Hino, Tony Allen und unzähligen anderen zusammengearbeitet hat, ist einer der produktivsten Modern-Jazz-Schlagzeuger Japans.
Gemeinsam haben sie in Ambient-, Experimental-, Elektronik-, Pop-, Hip-Hop-, Jazz- und Metal-Projekten gespielt, und genau das repräsentiert diese neue Veröffentlichung - ein Treffen gleichgesinnter Musiker mit unzähligen Bezugspunkten, die an einem epochalen Punkt zusammenkommen, um ein Ambient-Werk zu produzieren, das vor Kreativität und Verständnis strotzt
Sie lernten sich bei Live-Auftritten im Radio kennen. Dies führte zu einer Reihe von Auftritten. Die Chemie stimmte sofort, und im März 2023 folgten die Aufnahmesitzungen für dieses 2-bändige Epos.
Zu Chiheis spezifischen Referenzen für die Gitarrenbearbeitung auf diesem Album gehören My Bloody Valentine, Les Rallizes Dénudés und Keiji Haino.
Beide Musiker schöpften aus ihrer Vorliebe für Free Jazz und Spiritual Jazz, insbesondere für die Werke von Alice Coltrane und später Sun Ra.
Psychoakustische Überlegungen, Zufall, Spontaneität und der Schnittpunkt, an dem Musiker in der Hitze des Gefechts aufeinander reagieren (oder auch nicht), waren allesamt Inspirationen für dieses bemerkenswerte Projekt, das in zwei separaten Teilen im Jahr 2024 veröffentlicht wird.

Following the release of Eric Chenaux's last album Say Laura (2022), The Guardian wrote "the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist." With Uncut describing his songcraft "as delicate and lovely as a rare orchid" and Record Collector praising the album's "sublime alien balladry" such are the accolades that have accrued throughout Chenaux's unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux's solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux's own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux's previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux's spartan home studio in rural France, Driver's harmonically warped organ and Melanson's electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux's signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing "This Ain't Life" that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux's tunes have the uncanny ability to sound like jazz standards; songs you feel you've heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind.

Die erste Singleauskopplung aus Jimi Tenors neuem Timmion-Album "Is There Love In Outer Space?" wirkt wie eine Wüstenbrise aus dem kosmischen Liederbuch des nigerianischen Keyboarders Mamman Sani aus den 1980er Jahren. Vielleicht ist es genau dieses Panorama, das Tenor und Cold Diamond & Mink uns vor Augen führen wollen, während wir die beiden Seiten dieser Vinyl-Single durchqueren. Spätestens das psychedelische Wüstenblues-Gitarrensolo versetzt uns auf eine kalte Sahara-Sanddüne, wo wir einen magischen Sonnenaufgang auf Mutter Erde beobachten, den nur wenige Menschen erleben dürfen. Dies ist die Art von Jam, bei der man die Augen schließen und sich von den Farblandschaften des Geistes erfüllen lassen kann. Die minimalen Gesangsparts wirken wie ein Willkommensgruß an die Sonne, die langsam am Horizont emporsteigt und bereit ist, ihre brennenden Arme um alle Dinge zu legen - lebende und tote gleichermaßen. Mit ihrem neuen gemeinsamen Projekt hauchen Jimi Tenor und Cold Diamond & Mink den bewährten Stilen des jeweils anderen eine neue Art von Leben ein und liefern eine natürliche Verschmelzung von kosmischer und rauer Soulmusik.

Die erste Singleauskopplung aus Jimi Tenors neuem Timmion-Album "Is There Love In Outer Space?" wirkt wie eine Wüstenbrise aus dem kosmischen Liederbuch des nigerianischen Keyboarders Mamman Sani aus den 1980er Jahren. Vielleicht ist es genau dieses Panorama, das Tenor und Cold Diamond & Mink uns vor Augen führen wollen, während wir die beiden Seiten dieser Vinyl-Single durchqueren. Spätestens das psychedelische Wüstenblues-Gitarrensolo versetzt uns auf eine kalte Sahara-Sanddüne, wo wir einen magischen Sonnenaufgang auf Mutter Erde beobachten, den nur wenige Menschen erleben dürfen. Dies ist die Art von Jam, bei der man die Augen schließen und sich von den Farblandschaften des Geistes erfüllen lassen kann. Die minimalen Gesangsparts wirken wie ein Willkommensgruß an die Sonne, die langsam am Horizont emporsteigt und bereit ist, ihre brennenden Arme um alle Dinge zu legen - lebende und tote gleichermaßen. Mit ihrem neuen gemeinsamen Projekt hauchen Jimi Tenor und Cold Diamond & Mink den bewährten Stilen des jeweils anderen eine neue Art von Leben ein und liefern eine natürliche Verschmelzung von kosmischer und rauer Soulmusik.

An outstanding Pablo pressing (A++ sound) featuring jazz piano legend Duke Ellington at the helm of a small group session with Joe Pass on guitar, Ray Brown on bass, and Louie Bellson on drums, recorded in January 1973 and released in 1974. Considered a timeless classic, Duke's Big 4 is described by AllMusic as "One of Duke Ellington's finest small group sessions from his final decade ... Ellington's percussive style always sounded modern and here he comes up with consistently strong solos. ... Highly recommended."

Duke Ellington teams up here with bassist Ray Brown in a set reminiscent of Duke's work with Jimmy Blanton three decades before. In addition to the four-part "Fragmented Suite for Piano and Bass," the duo plays five standards (including "Pitter Panther Patter" from the Blanton days and three other Ellington-associated tunes).

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

From weaving thought-provoking poetics to channeling the spirit of vintage West Coast gangsta rap, acclaimed Los Angeles emcee Blu is a dynamic musical presence, forever evolving and defying expectations. Supremely talented producer and musician Shafiq Husayn has a similarly diverse skill set, with a storied history as a member of Sa-Ra Creative Partners and solo production credits for top artists across the musical spectrum, from Erykah Badu to Ice-T to Anderson .Paak to Jurassic 5 and many more. After linking up for the mixtape The Blueprint back in 2018, Blu and Shafiq Husayn are reuniting for the new album Out Of The Blue, elevating their collaboration to a new level. “The Blueprint was just me rhyming over some of Shafiq's beats that I found online,” Blu explains. “This time we were actually in the studio together. We’ve been working together since 2008, but this is our first official album.” Awash in Shafiq’s dense sonic architecture, Out Of The Blue showcases the intricacy of Blu’s spiritual street talk while simultaneously delivering a series of bass-heavy L.A. anthems. Entirely produced by Shafiq Husayn, the collection features guest appearances by MED, Exile, Chuuwee, Thurz, Speed Walton, Jimetta Rose, and Freestyle Fellowship members Myka 9 and Self Jupiter. “Out Of The Blue is my G-Funk album,” Blu explains. “Big brother Shafiq gave us a master class in production. We just in here being funky and having fun.”

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered from the Analogue Mix-Down Tapes of the Original Digital Recording by Bernie Grundman!
Ultra-Luxe "Monster Pack" Jacket with a Deluxe 16-Page Booklet & Striking Outer Slipcase!

New lacquers cut after each run of 500 pressings!

Strictly Limited to 5,000 Numbered Pressings!

Impex 1STEP #5 celebrates Patricia Barber's 1999 "return" to The Green Mill, Chicago's fabled jazz club. Conceived as a "companion" to her Grammy-winning studio album Modern Cool, Companion finds Barber and her touring band in inspired form, playfully and energetically performing hits and deep tracks from her celebrated oeuvre.

The dynamic interaction between the artist and her reverent audience adds a palpable sense of space and community. At the same time, the fans' hushed attention creates a studio-like sense of precision and detail. The snap and crackle of Barber, her grand piano, and her onstage partners practically leaps off the groove into your listening room!

Companion's fan-favorite reputation is enhanced immeasurably by Jim Anderson's jaw-dropping, lifelike recording. Eschewing the crystalline sterility of digital recordings of the time, Anderson's sound is always warm, natural, and lacking unforced "hype."

Like Anderson, Impex aims to present great recordings that are as natural as possible. And we couldn't wait to put our favorite Patricia Barber release, using Jim's analog mix-down master tapes, on 180 grams of VR900 Super Vinyl. The deep, inky black backgrounds and absence of surface noise will pull listeners right into those three evenings in 1999, capturing a seminal modern jazz artist at a creative and professional peak and reveling in a perfectly rendered and joyous audio time capsule.

Finally, our deluxe Impex Treatment packages the whole party with a lovely outer slipcase, a booklet containing a new note from Patricia, and a dazzling array of photographs from the evenings by frequent Barber collaborator Valerie Booth, exclusive to our 1STEP. Heavy paper stock with spot gloss coating and a faithfully recreated exterior design will satisfy original fans and aesthetes throughout the music-loving world.

1973 was an amazing year for the pop/rock duo Hall & Oates as they ushered their superstardom further with the incredible second album masterpiece Abandoned Luncheonette.

Produced by the great Arif Mardin, this nine-song album fused with classic Philly soul, rock and acoustic pop anthems delivered in a big way for the history making duo. Including the huge hit single "She's Gone," as well as the celebrated title track, Abandoned Lunchonette was a watershed album which has rewarded them with non-stop success for the past four decades.

Abandoned Luncheonette is the most commercially successful of the duo's Atlantic Records period; the album reached No. 33 on the Billboard Top LPs & Tapes chart. Twenty-nine years after its release, the album was certified platinum (over one million copies sold) by the Recording Industry Association of America (RIAA).

This top-notch Analogue Productions reissue is pressed at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Thou has always been a force of raw energy and unapologetic dissent, defying easy categorization and challenging listeners to confront the complexities of existence. Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou transcends genre boundaries, drawing inspiration from a diverse array of influences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively) to the raw intensity of obscure `90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. Their latest record Umbilical, Thou's first full-length release of original music since their 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filled with mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic and political impulses have always been punk and like anyone embroiled in the subculture Thou have been exploring what it means to exist within and without a rigid morality. That exploration takes thematic center on Umbilical and their self-assessment is as harsh as that of the world around them.

Thou has always been a force of raw energy and unapologetic dissent, defying easy categorization and challenging listeners to confront the complexities of existence. Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou transcends genre boundaries, drawing inspiration from a diverse array of influences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively) to the raw intensity of obscure `90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. Their latest record Umbilical, Thou's first full-length release of original music since their 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filled with mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic and political impulses have always been punk and like anyone embroiled in the subculture Thou have been exploring what it means to exist within and without a rigid morality. That exploration takes thematic center on Umbilical and their self-assessment is as harsh as that of the world around them.

FREQ Records is the record label accompanying the manga "FREQ," created by Nicola Kazimir, illustrated by goodnewsforbadguys, and written by the legendary Dai Sato, who has written scripts for Ergo Proxy, Eureka Seven, Cowboy Bebop, Samurai Champloo, among many others.

The setting of Freq's lore unfolds in a futuristic realm where the influence of sound frequencies governs all aspects of life. In this world, everything from traffic and AR visuals to electricity, warfare, and of course, music, is orchestrated through the manipulation and extraction of sound frequencies. The narrative unfolds within the sprawling expanse of Rephlex, a vast city featuring diverse districts, factions, and social classes.

FREQ001, called Super FREQ, is composed by none other than Machine Girl, known for their breakcore-inspired sonic adventures and highly energetic live shows. For this EP, we might get a compositional glimpse of how Machine Girl will sound in the future.

Castle Face present Dan Rincon’s (OSEES, Wild Thing, Apache, Personal and the Pizzas) premier solo release Spotlight City.

Artificial landscapes and melodies comprised of Moog Grandmother, Mellotron and a kinky Modular system span from beautiful and lilting to haunting and etherial. The album was a years long learning experience of getting all components and ingredients to link arms and blend comfortably. Wrangling was part of the process. Strings soaring and sines weaving. Sometimes in the atmosphere, sometimes in the Earth’s core, sometimes flanked by neon blur as it hums & weave patterns through a world imagined in vintage sci-fi pulp.

“I was listening to a lot of solo Roedelius and Conrad Schnitzler records while writing this record and I’d say that both have been hugely inspirational on what I want to do as a solo recording artist. The way both of those of those artist pushed the early, chaotic electronic music into something more melodic is really inspiring to me, it’s not that dissimilar than trying to get melodies out of a modular synthesizer.”

An absolute necessary slab for anyone a fan of CF, OSEES, Popol Vuh soundtracks , 8 bit video game accompaniment & 80s Tangerine Dream. Burn one and burn out.

"Tools of Oppression / Rule by Deception" ist das neue Album von The Hope Conspiracy. Das Album wurde von Kurt Ballou und Zach Weeks in den God City Studios produziert. Das Artwork für die Veröffentlichung stammt von dem gefeierten Künstler Alexander Heir (Death/Traitors).

Dies ist wahre akustische Gewalt, die sich gegen politische Spaltung, wirtschaftliche Manipulation, Kriegsgewinnlerei, Medienpropaganda und andere abscheuliche Formen globaler Unterdrückung richtet. Luftschutzsirenen heulen auf, während die ahnungsvollen "Those Who Gave Us Yesterday" und "The Prophets and Doom" wie brennende Schrapnells explodieren. Der Höllenritt geht weiter mit "A Struggle For Power" und "Live In Fear", zwei bösartigen Blasts, die vor Bosheit und Verachtung nur so strotzen. "Shock By Shock" und "Of A Dying Nation" leiten die doomig-düstere Schwere ein
und drosseln das Tempo auf ein mittelschnelles Sperrfeuer. "Confusion/Chaos/Misery" zieht das Tempo an und geht mit verbrannter Erde auf die soziopolitischen Alpträume los, die uns alle umgarnen, während "Broken Vessels" die Opioid-Krise und die Sucht als Ganzes thematisiert. Dies führt zu "The West Is Dead", einer dystopischen Hardcore-Hymne mit vielen Hooks, und dem epischen Schlussstück "The Specter Looms"; ein unheilvoller Soundtrack zum stetigen Niedergang unserer modernen Zeit.Keine Frage, The Hope Conspiracy ist zurück, um eine kalte, harte Aussage über die Existenz in der Endzeit zu treffen.

In The Red Records is proud to announce a previously unreleased new album by Brooklyn-born master of minimalism Alan Vega, Insurrection. The eleven songs here showcase the unparalleled vision and uncompromising force from one of the most influential artists of all time. Alan Vega was born in Brooklyn in 1938. He co-founded the legendary New York City punk band Suicide with Martin Rev in 1970. Suicide’s groundbreaking 1977 debut is considered one of the most influential albums of all time. Vega considered his solo records the audio counterpoint to his visual art that reflected the world around him while simultaneously exploring universal themes. It makes his work as relevant today as it was when he created them. It was during his highly experimental period beginning in the late ’80s that he began working with Liz Lamere, who became the most crucial collaborator of his solo career until his death in 2016. Lamere, along with Jared Artaud, resurrected these newly unearthed collection of lost recordings, which they co-produced and mixed. Lamere and Artaud spearhead the Vega Vault project, which aims to bring rare, unreleased and back catalog work spanning Alan Vega and Suicide’s career to the public for the first time. On Insurrection, Lamere says: “Insurrection was created in the time period around 1997/98, after Mutator and prior to Vega’s 1999 release of 2007 and captures the intense energy of NYC in the ’90s rife with crime, killing, hate, fascism, racism, and moral bankruptcy. You can hear the tortured souls floating through this album. Post-Gulf War angst still enveloped Alan. He was having premonitions about a major terror attack in the US, well before 9/11. The upcoming birth of his son raised further awareness of the state of our world. All these emotions are mirrored in the sounds he magnetized. And true to Vega form, there remains hope and empowerment coursing through the tracks. In the almost three decades of going into the studio with Vega, we recorded significantly more material than the seven albums released. Vega’s intention was to experiment with sound which would become the canvas for the poetry that reflected his vision of the universe. Because the goal wasn’t to make albums, he had no timeline or constraints and would freely follow new paths uncovered along the way.”

Meridian Brothers & El Grupo Renacimiento' excavates the forgotten sounds of the fantastical 1970s salsa dura group El Grupo Renacimiento. The group identifies as "B-class" salsa whose music explores human struggles in the urban city landscape, with themes such as police brutality, social marginalization, and addiction. Meridian Brothers collaborated with El Grupo Renacimiento in Bogota's Isaac Newton studios to capture their "fantasy salsa dura" sound. Although the group came out of myth, its members have been created in spirit. Embodied by Meridian Brothers and depicted in the graphic creations of illustrators Glenda Torrado and Mateo Rivano, the members of El Grupo Renacimiento have now come to life.

Eine Platte zu machen ist beides: Musik, die als Momentaufnahme festgehalten wird, und gleichzeitig eine Dokumentation des Zeitraums, in dem die Lieder entstanden sind. Wenn man dieser Dokumentation und dem Zeitrahmen einen Namen geben möchte (wie einem Albumtitel), stellt sich die Frage: Was ist seit der letzten Aufnahme passiert - auf persönlicher, sozialer und vielen anderen Ebenen? Was hat sich verändert? Oder ging es einfach nur um "mehr" vom Gleichen: in immer kürzerer Zeit zig Dinge parallel erledigen, optimieren, wiederholen? Entwickeln sich diese Dinge in die Richtungen, in die sie sich entwickeln sollten? Schreitet der Fortschritt überhaupt voran? Oder geht es einfach nur darum, das zu tun, was wir schon vorher getan haben - nur schneller, effizienter? Der Ausdruck "L'inertie polaire" (fast 35 Jahre alt) erklärt nicht alles, was in der Welt vor sich geht, aber eine, ziemlich unangenehme, Menge_ 3 Jahre nach Extract.Transform.Debase veröffentlichen The Antikaroshi ihr 6. Album, das inhaltlich direkt an den Vorgänger anknüpft. Das Trio setzt genau dort an, wo es aufgehört hat: Lieder, die sich Zeit nehmen, die atmen um dann im nächsten Moment hektisch zu lärmen! Die Lautstärke ist immer ein Mittel zum Zweck und das Spiel mit ihr ein Markenzeichen von The Antikaroshi. Während Drums und Bass die Grundlage bilden, aber trotzdem immer wieder bekannte Muster durchbrechen, ist die Gitarre hypnotisch und forschend. Die Vocals wechseln zwischen rezitativem und melodiösem Ausdruck und geben der Musik genügend Raum. So bilden The Antikaroshi die Welt ab, die sie umgibt: Hektik und Stillstand schließen einander nicht aus, sondern sind kulturelle Pole zwischen denen sich Gesellschaft entfaltet. Und so wird ihre Musik politisch: Während eine Handvoll superreicher Menschen bereits Abschied von diesem Planeten nimmt (Lost In Compassion), läuft die Medienmaschine geölt wie ein Uhrwerk und hat gelernt, schlechte Nachrichten als gute zu verkaufen (Shiny White Teeth). Kriege werden zu Friedensmissionen (Authority) und das Ergebnis rechtfertigt allzu oft die Mittel (Gravity), wenn es darum geht, der eigenen Schwerkraft zu trotzen. Sogar Seen stehen inzwischen zum Verkauf (Thousand Lakes) und alle verfügbaren Mittel werden genutzt (Sticky Hands). Die Menschen schwanken zwischen gegensätzlichen Sichtweisen, handeln gegen ihren Verstand und viel zu oft auch gegen ihr Herz (Doxa). Was lässt sich dem entgegensetzen? Solidarität und metaphorisch die Wölfe zu vertreiben (Homohominilupus). Und natürlich der kollektive Protest (Tang Ping).

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

Galaxy Orange/Black Vinyl. Limited to 500 copies. Data Diamond is the sound of FOUR STROKE BARON at their most confidently unhinged. Originally conceived as two separate EPs (one purely electronic - Data, one heavy - Diamond) that would then meld together on one full length release, the idea morphed into what is now the succinct sucker punch of an album that is heading our way at speed. Heavily inspired by their own work on Data Diamond's predecessor, Classics, Witt and Vallarino got to work in their laboratory creating the most potent, concentrated form of FOUR STROKE BARON possible. Data Diamond - a dizzying sub-40 minute dive into the deranged psyches of its creators. The tracks on Data Diamond are lithe yet still allow enough room for idiosyncratic flourishes that mark this out as a true FOUR STROKE BARON opus. If Classics was a Man vs. Food belly busting plate of indulgence, Data Diamond is an upmarket Gordon Ramsay dish, served with a side of insanity. Finding a co-conspirator in Cynic's Paul Masvidal, the trio get somewhat psychedelic on the album's eponymous closing - and most expansive - track, which also features Vola's Adam Janzi on drums. Thematically, this is their most murderous anthology to date. Those who find themselves embroiled in these bloodthirsty tales include a Radio Shack CEO, an internationally acclaimed cyborg, an accidental trafficker of human body parts, and the leader of a death cult located in a convenience store. FOUR STROKE BARON's anomalous view of the world takes a particularly dark turn across the songs on Data Diamond, yet, as ever the macabre tragedies are dressed up with catchy melodies, pop hooks for days and a big shimmering bow of positivity.

To address the weight of the world without speaking of weariness. To march the song to breathlessness but loosen your grip when the band wanders. To tell all your secrets but shield your loved ones from vulnerability. To dress up in the charm and temptation of the pop song but maintain a core of peculiarity, of a single voice trying to navigate this world. This is the project of the Spatulas. Think of the few songwriters who know they're the only ones in the world who could write their songs. The ones who sing in the confidence that the song couldn't exist without them: Peter Jefferies, Jenny Mae, Ron House, Heather Lewis. Jonathan Richman? Put Miranda Soileau-Pratt and the Spatulas on this list. All eleven songs on `Beehive Mind' share a percussive, unshadowed presence, a steady, clear-voiced clop. Every note on the record is a little bit sad on its own but then they're organized in a way that you don't actually notice. Credit this to the band's skill_Jon Grothman, Lila Jarzombek, Kyle Raquipiso and Miranda Soileau-Pratt all play with no limits and they all play with profound ease. The songs breathe in warmth and patience, they are immediate and sweet. And then they start to meander. The guitar skitters with the deliberate unpredictability of a wild animal. Parts repeat and reset with the obsessiveness of an anxious mind. The lyrics open doors to unexpected scenes of lovers, family, and violence. This is all intentional: "I need to play music and listen to music as a form of therapy," explains Soileau. This means safety, this means encouragement, this means trauma, this means hard questions. Only a band so comfortable at the margins, only a band so capable, only a band so trusting can achieve all this. Miranda Solileau-Pratt wrote the first Spatulas song in 2020, while living in Oregon. Since that time, the band has released two cassettes and toured the United States. Members of the Spatulas have also played in The Blimp, Honey Bucket, Hot Gum, and Meerkaz. The band has shared stages with Helen, Lavender Flu, Debt Rag, Pink Reason, Blues Ambush, and Kath Bloom. `Beehive Mind' is their debut LP.

Sydney Northern Beaches' very own hard-biting rockers C.O.F.F.I.N are proud to announce their fifth full-length studio album entitled 'Australia Stops', the highly-anticipated follow-up to their monumental 'Children In Finland Fighting In Norway' album from 2020. Due for release on September 15th 2023 via Bad Vibrations in Europe, the new album comes off the back of the band's world tour with Amyl and the Sniffers in 2022, and their recent UK headline dates this May where C.O.F.F.I.N stunned audiences with the high-intensity rock action they are renowned for. 'Australia Stops' was recorded in January 2023 at The Pet Food Factory studio with producer Jason Whalley (Frenzal Rhomb) behind the desk. A record that showcases a collection of diverse and gripping new works that highlight the band's evolution into more melodious, 1970's Australiana and boogie rock and roll. Frenzied, high-voltage guitars, thumping rhythms, flowing melody and clever, captivating lyrics exhibit an undeniable progression in composition and songwriting, while still unmistakably the C.O.F.F.I.N that fans world-wide have come to worship over their 18-year lifespan. 180g green vinyl, printed inner-sleeve, download card included

Desroi & Robin Tasi have teamed up to launch a collaborative project called "R2R" (Record to Report), which diverges from each individual's productions & style yet creates a new character for both beginning with four new 4-to-the-floor songs.

Gemma Blackshaw is a scholar, writer and curator currently Senior Tutor for research at the Royal College of Art. She has curated major exhibitions for galleries and museums in London (National Gallery; Wellcome Collection and Vienna (Leopold Museum; Wien Museum).
This is her debut album.

Who Will You Love is the debut collaborative album from The Dengie Hundred with Gemma Blackshaw. In 2023, The Dengie Hundred co-produced with Japan Blues two albums for Demdike Stare’s DDS label, and released the solo album Tube on London’s Sagome imprint; their solo debut Brackenbank appeared on Ethbo in 2022, when they also contributed to World of Echo’s Thorn Valley compilation. Here, they collaborate with Gemma Blackshaw on an album of smudged dream pop.

Gemma’s vocals were recorded from home at night on an old iPhone. Who Will You Love surfaces dark, desiring songs on the passion and exhaustion of looking after others. Emerging in simple rounds that expand with layers of field recordings, synths and drum machines, the songs include lullabies for baby boys and men, enchantments of wary lovers and spells of protection for a daughter.

Moving between her children and her lover, the mother sings of the demands of daily intimacy (play with me, carry me, sing to me…) that echo through adult relationships too.

Who Will You Love was mastered by Carim Clasmann, and mastered and cut for vinyl by Stefan Betke (aka Pole). Artist Alexis-Soul-Gray gifted Screen Memory of 2022, a painting on found paper, for the artwork. Mark Thomson designed the sleev

‘EVERYTHING IS HERE’ is a journey through space and time, inspired by the more rarefied aspects of prog rock and the wistful side of psychedelia.


Fusing these influences with the accessibility of French electronic and the groove of R&B and disco, this album depicts the sweet dizziness of contemplation. Nostalgic, yet determined and modern in it’s genre blending, the first album of Kartell truly reveals what’s been underlining in his previous EP.

Taking influences in the space and dream pop aesthetic, the musical approach of the album embraces the 60’s and 70’s fascination for outer space, exotic locations, technologies and science fiction which was on the edge of becoming reality.

Nebulous textures and otherworldly sounds characteristic of space rock are infused throughout the record, while keeping a focus on making catchy songs, leaning on a minor-key groove and a pop yearning. It’s also a challenge and an artistic proposition to gather a wide range of genres to tell a story. Densely produced and cinematic, the album draws a truly living landscape where live bass, drums and guitars hold the line, evolving around hazy effects and synthesizer layers.

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.

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.

Introducing "Azerbaijani Gitara vol. 2" by Rəhman Məmmədli, the eagerly awaited sequel to Bongo Joe’s acclaimed debut featuring Rüstəm Quliyev. Born from the vibrant streets of Baku, Azerbaijani gitara culture has evolved into a mesmerizing fusion of indigenous traditions and global influences. From the oil boom era to Soviet rule, musicians have embraced the electric guitar as a symbol of cultural expression.

Rəhman Məmmədli, a legend in his own right, revolutionized the sound with his innovative techniques and impassioned performances. Drawing inspiration from mugham music, Məmmədli's compositions resonate with soul-stirring melodies and electrifying solos.

Join us as we honor the pioneers of Azerbaijani gitara culture while celebrating the continued evolution of this rich musical tradition. "Azerbaijani Gitara vol. 2" promises to captivate listeners with its depth, diversity, and unbridled passion, inviting you on a journey through the heart and soul of Azerbaijan's musical heritage.

The concept behind the entire EP revolves around the power of scents, exploring how smells evoke emotions and memories from the past. Doci's fascination with scents and molecular fragrances inspired him to create an EP centered on the emotional experiences tied to different scents. Have you ever noticed how a fragrance can transport you back in time, bringing a rush of memories before your eyes? This EP is born from that very sensation. Needless to say, Doci's infatuation with fragrances significantly contributed to the effectiveness of the project. Hedione (Intro): Begin your odyssey with "Hedione," an atmospheric IDM/Experimental track. This floral molecular scent-inspired introduction gently ushers you into the EP's sensorial realm, setting the stage for a unique auditory adventure. Iso E Super & Ambroxan: Explore the intricate layers of musky, woody, and ambery scents in "Iso E Super" and "Ambroxan." These tracks, weaving through Break/Electro/Drum n' Bass genres with subtle Techno accents, offer a sonic journey that mirrors the nuanced edges of their aromatic inspirations. Each note captures the essence, presenting a balanced dance of rough and light tones. Javanol: Experience the raw energy of "Javanol" a leftfield/break Techno exploration. Reflecting the rough and woody facets of its scent inspiration, this track unfolds with aggressive synths and sounds, immersing you in a visceral encounter. Doc's musical interpretation captures the intensity of scent, creating a distinctive and bold auditory expression. In this EP, Doci skillfully translates fragrance into sound, inviting listeners on a textured expedition through scent-inspired composition

Es ist das Jahr 2007. Die Welt gehört dir und der Rest deines Lebens beginnt. DIY ist das Motto der Stunde. Nach dem überbordenden Vorgänger „Geräusch“ wirken die ärzte harmonischer und kompakter denn je zuvor. Genau dieser Moment, er ist perfekt. Mit „Jazz ist anders“ präsentiert sich die Beste Band der Welt in exzellenter Spiellaune und vervollkommnet das System BelaFarinRod. Es gibt die irre vielen zwingenden Melodien, die elektrischen Gitarren, den Quatsch, das Nachdenken, das Rausbrüllen, die ganz großen und die ganz kleinen Gefühle.

„Lied vom Scheitern“ ist die schmissige Hymne zur Selbstermächtigung, „Niedliches Liebeslied“ hebt das Genre Rodballade auf ein neues Level, „Licht am Ende des Sarges“ probt den Perspektivwechsel zum lustigen Vampir. „Tu das nicht“ ist ultimatives Statement zur Lage der Musikindustrie im beginnenden Breitband-Zeitalter. Und „Junge“ protokolliert nicht nur pedantisch allseits bekannte elterliche Sorgen, sondern schafft auch ohne Versmaß und echte Reime die Aufnahme in den Klassiker-Kanon der deutschen Popmusik. die ärzte: Jetzt gegen Angst, Hass, Titten und den Wetterbericht. Immer noch ohne Festanstellung und Barry Manilow. Dafür mit Schalala und Schalalu und ein bisschen breit. Und ständig dieser Lärm.

Die »vielleicht letzte wichtige Rock'n'Roll-Band unserer Generation« (Zitat Musikexpress) ist zurück. Wanda, Amore, Bussi, Niente, Ciao! Fünf Alben der österreichischen Kultband Wanda, formal insgesamt weit über 300 Wochen lang in den Charts, mittlerweile 14-mal Platin. Unabhängig davon wachsen die Songs live dargeboten ins Unermessliche; als ekstatische Gewalt auf der Bühne spielt die Band ausverkaufte Konzerte und Festivals in Deutschland, Österreich und der Schweiz.
»Es gab nie einen Plan B, es gab nur das Leben als Problemstellung, Musik und Erfolg, hin oder her«, bringt Sänger Marco Wanda einen Hauch von Bandphilosophie in einem der hunderten Interviews zum Ausdruck. Diese Kompromisslosigkeit spürt man auch. Die Jahre zwischen Bühne, Tourbus und Studio verschmelzen zu einem langen Drahtseilakt ohne Sicherheitsnetz. Und die Energie bei jedem Konzert – jedes Mal spielt die Band als wäre es das letzte Mal – reißt das Publikum ausnahmslos mit.

»Wenn deutschsprachiger Rock'n'Roll tot war, dann haben Wanda ihn wiederbelebt«, sagt detektor.fm über die Anfangszeiten dieser Band, die sich 2014 mit Amore gleichzeitig in die Radio Playlists und die Herzen der Fans katapultierte. In der neuen Single vereinen sich aufgestaute Energie, Sehnsucht und Aufbruchsstimmung, und ziehen gemeinsam durch die Nacht. Die Stadt wird wachgerüttelt, die Botschaft ist klar: »Don't stop the rock«.

Die »vielleicht letzte wichtige Rock'n'Roll-Band unserer Generation« (Zitat Musikexpress) ist zurück. Wanda, Amore, Bussi, Niente, Ciao! Fünf Alben der österreichischen Kultband Wanda, formal insgesamt weit über 300 Wochen lang in den Charts, mittlerweile 14-mal Platin. Unabhängig davon wachsen die Songs live dargeboten ins Unermessliche; als ekstatische Gewalt auf der Bühne spielt die Band ausverkaufte Konzerte und Festivals in Deutschland, Österreich und der Schweiz.
»Es gab nie einen Plan B, es gab nur das Leben als Problemstellung, Musik und Erfolg, hin oder her«, bringt Sänger Marco Wanda einen Hauch von Bandphilosophie in einem der hunderten Interviews zum Ausdruck. Diese Kompromisslosigkeit spürt man auch. Die Jahre zwischen Bühne, Tourbus und Studio verschmelzen zu einem langen Drahtseilakt ohne Sicherheitsnetz. Und die Energie bei jedem Konzert – jedes Mal spielt die Band als wäre es das letzte Mal – reißt das Publikum ausnahmslos mit.

»Wenn deutschsprachiger Rock'n'Roll tot war, dann haben Wanda ihn wiederbelebt«, sagt detektor.fm über die Anfangszeiten dieser Band, die sich 2014 mit Amore gleichzeitig in die Radio Playlists und die Herzen der Fans katapultierte. In der neuen Single vereinen sich aufgestaute Energie, Sehnsucht und Aufbruchsstimmung, und ziehen gemeinsam durch die Nacht. Die Stadt wird wachgerüttelt, die Botschaft ist klar: »Don't stop the rock«.

10 Year Anniversary Gatefold 2LP 10 year anniversary gatefold 2LP edition of Cult of Luna's take on Fritz Lang's Metropolis film, Vertikal. "Somewhere Along The Highway" and "Eternal Kingdom" were inspired by the landscape of Västerbotten, the county we are from. We realised that there was only one way to go for us: to the city, into the future. Making a droney John Carpenter-esque album would be too easy and we've never been about taking the simple route. I was studying film at the time and had been floored by the aesthetic of German expressionism. This resonated perfectly with Erik Olofsson, who had just got into Italian futurism. This was a real challenge. We put in a lot of effort to realize our vision of the stale, artificial city in all aspects of what an album is. The way we played guitar (only down strokes), the production, artwork and band photos, everything was done with the vision as a guide. "Vertikal" is the album where we had the most precise vision of what we wanted to do and worked hardest to transform it from an idea into reality. A lot of things happened during the years between "Eternal Kingdom" and "Vertikal" and I could continue writing for ages but this will do for now. Ten years have passed since its release and what felt like a rebirth of the band, the band that is still ongoing with new goals and missions. It's a full circle kind of thing. At the time we had no label and now we are releasing it on our very own. Life is strange. Johannes Persson - Umeå December 2022

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.