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Founded in 2014, Katalyst Collective has never been one for labels. Rather than strictly a live act, they've acted as an incubator for a fresh crop of local talent, helping hone the voices and talents of individual members, while collectively advancing like a phalanx. Each 'Kat' writes their own solo material, and everyone contributes and works together on each project, feeding off the communal energy. Leading to the group's upping collaboration for Jazz Is Dead, Katalyst has poised themselves as the next breakout stars of Los Angeles' rapidly expanding Jazz universe - a small army of creative firebrands, each burning more brightly together.

'Gulliver', the latest Condor Gruppe album, is a nod to yet another spiritual journey in the band's ever-evolving saga. Released 23rd September via the groove-obsessed Sdban Ultra, the Antwerp-based nine-piece ensemble take you on a hypnotic trip, paying tribute to obscure Italian 70s film soundtracks, krautrock and psychedelic grooves. Fuse the melancholy of Pink Floyd, the heroism of Ennio Morricone and the world grooves of GOAT and you get an idea of what Condor Gruppe is.

Always looking to push musical boundaries, Condor Gruppe rely on the adventurous use of their instruments and their intriguing musical patter. Melancholic, exotic, surreal, the band's sound is enriched by instruments including the handpan, Jew's harp, darbouka and tanpura. Diverse sounds, rhythms and melodies build, exciting the listener whilst always remaining familiar. From the thunderous, spacious prog rock sounds of 'What Could Have Been', to the loose, laidback grooves of the mystical 'Farid' and groovy 'Rhymes On Our Mind', 'Gulliver' is a soundtrack for visits to far-flung places and a mesmerizing trip through the band's own record shelves.

Condor Gruppe released their debut album 'Latituds del Cavall' in 2014 with nine exotica fuelled songs that echo the sound of an intoxicated ride through the desert. This was followed up in 2016 with 'FROG BOG - A Tribute to Moondog' - an adaptation of the work of the legendary composer and outsider. Containing six Moondog interpertations, trumpet player Dirk Timmermans, saxophonist Matti Willems and baritone saxophonist Hanne De Backer joined the five original members of Condor Gruppe, with the results a spectacular mix between Moondog's jazzy compositions and Condor Gruppe's dreamy instrumental sound.

Second album proper 'Interplanetary Travels' (2018) - a nostalgic, melancholic soundtrack - saw the introduction of the Anoushka Shankar-trained Nicolas Mortelmans on sitar. The title hinting at Sun Ra is no coincidence. Condor Gruppe recorded 8 songs that give you the creepy feel of a horror scene, the heroism of the best film scores and the hypnotizing grooves of jungle tribes.

At this year's Ghent Film Festival, Condor Gruppe performed a live version of the score for the dark, hypnotic, surreal, erotic vampire film 'Daughters of Darkness' (1971), directed by Belgian cult director Harry Kümel. The score was originally recorded by François de Roubaix, a self-taught musician and jazz enthusiast, and he composed almost a hundred soundtracks, mostly for French films. In 1976, he won a César for best soundtrack with his work on 'Le Vieux Fusil' - awarded posthumously as de Roubaix had passed away just the year before. De Roubaix has always been a great source of inspiration for Condor Gruppe, so they were only too happy to sink their teeth into his scintillating score.

Amsterdam based Mausovic Dance Band make madcap music intent on expanding musical universes. Powered by elastic rhythms and some potent dub wizardry, the five-piece are synonymous with flipping global music traditions and creating new, sound-system stylised, synth powered, dance-floor experiments. Whilst their 2019 debut album on Soundway Records offered a frenetic mix, imbued by the Colombian champeta, Ghanaian highlife and spaced out disco, their new forthcoming album Buckaroo Bank, set for release on Swiss label Bongo Joe Records, feeds off the industrial sounds of New York City, post punk and early electronic explorers. At the very centre of the project is the dub, the Mauskovic echo chamber, guided by their universal hero Lee Scratch Perry and made possible by their studio friend Kasper Frenkel who provided the tools this new Mauscovic riddim philosophy. A proper family band (4 of them are related), and fronted by Nico Mauscovic who is also part of Zamrock touring band W.I.T.C.H., the group have released various singles since their debut album including on Berlin label Dekmantel and most recently, on experimental Swiss label Bongo Joe, their perfect home for brand new album Buckaroo Bank.

On his third album Blizz Munich-based drummer and producer Simon Popp further blurs the line between electronic and organic sounds. In carefully crafted, slow-growing tracks tuned metal percussions cut through searing synth pads, sucking the listener into a sonic vortex.
Informed by personal and spiritual themes, Popp's debut album Laya, as well as his 2021 follow-up Devi make use of rhythms as storytelling mechanisms. Contrasting light and dark, organic and synthetic sounds, his compositions engage in a dance of subtle complexities, enticing the listener into the practice of close listening.
Throughout Blizz, a panopticon of metallophones takes flight, floating freely over earth-bound counter rhythms, conjuring up call and response techniques inherent in polyrhythmic music. This technique favors experimentation over perfectionism, leaving space for happy accidents to unlock new melodic possibilities. According to Popp, "it's much more interesting to try to push the boundaries of an instrument to see what's possible."

The first album of the acclaimed Drought Season series between Bay Area Heavyweights, The Jacka & Berner. Certified as a Bay Area classic, the album initially peaked at #55 on the Billboard R&B/Hip-Hop Albums chart and #25 on the Billboard Rap Albums chart, making it Berner's first album to chart and one of his most successful albums to date. With production from some of the Bay's top producers, such as Cozmo, Dunce, Gennessee, Rob Lo & Stinj-E, Drought Season taps in to a stable of cutthroat MCs, featuring the likes of Fed-X, Baldhead Rick, Don Toriano, Mike Marshall, San Quinn, Dubee, Cellski, Matt Blaque, Sky Balla, Goldtoes & Equipto.

Bristolian power-improv duo Run Logan Run continue their link-up with Worm Discs and producer Riaan Vosloo on Nature Will Take Care Of You – a monumental slab of contemporary energy music that draws on the heavy soul of David Axelrod and the fiery commitment of Archie Shepp. Working with an expanded line-up that includes singer Annie Gardiner (daughter of the late guitarist Ricky Gardiner, who played and collaborated with Iggy Pop and David Bowie) plus a string quartet and a brass section, saxophonist Andrew Neil Hayes and drummer Matt Brown have once again steered Run Logan Run in a dramatic new direction. Churning, future-forwards and emotionally tuned in, Nature Will Take Care Of You reaches out towards propulsive rock and psychedelic soul, while keeping one foot in the radical jazz-not-jazz of Bristol’s ever fertile improv scene.

The core of Run Logan Run’s sound is the dynamic conjunction of Matt Brown’s agile and powerful drums with Andrew Hayes’ looping, pedal-treated sax motifs. No matter how the duo augment and enhance their music, the kernel of their art has always been the spiralling energies generated by this essential musical relationship. Explorations of repetition, dissolution and dervish-like disorientation remain a central part of their project, with Brown weaving a tight rhythmic armature for Hayes’ unshackled journeys into sound. But though they began within Bristol’s improvised music scene, their vision has been increasingly structured and expansive, and the arrival of producer and bassist Riaan Vosloo (Nostalgia 77) for 2021’s For a Brief Moment We Could Smell The Flowers allowed to them move outwards to explore pulsing, cinematic synth-scapes. Vosloo is behind the boards again on Nature Will Take Care of You – and the duo’s vision has broadened a step further.

Sobald ein Song mit einer auf mehreren Spuren aufgenommenen Kakophonie des Kotzens beginnt, liegt die Vermutung nahe, dass er auf der dunklen Seite des musikalischen Spektrums zu verorten ist. Dies trifft bei TCHORNOBOGs epischen Track 'The Vomiting Choir' genau ins Schwarze. In 24:08 Minuten windet sich eine absteigende Spirale in eine schier bodenlose Grube, die mit einem größtenteils dissonanten Klangmiasma aus purer Negativität, aber auch überraschender Komplexität gefüllt ist. TCHORNOBOG wandeln weiterhin auf verschiedenen Wegen gleichzeitig, die von und zu ihrer mutmaßlichen Position in der Mitte der Kreuzung von Death, Doom und Black Metal weg- und hinführen. Freunde von DEATHSPELL OMEGA, THE RUINS OF BEVERAST und ULCERATE erkennen wahrscheinlich die allgemeine Richtung, aber die amerikanische Band aus Portland, Oregon schlägt einen ganz eigenen Kurs auf diesen stockdunklen musikalischen Gewässern ein. Wer in ihrem Kielwasser segelt, begegnet neben vielen anderen wundersamen Erscheinungen vielleicht auch dem Geist der frühen MOTORPSYCHO. TCHORNOBOG wurden 2014 von dem in der Ukraine geborenen Multiinstrumentalisten Markov Soroka ins Leben gerufen, der auch für andere Projekte wie AUREOLE, DROWN und KRUKH bekannt ist. Der ukrainische Name "Tchornobog" basiert auf einer rekonstruierten slawischen Gottheit, für die es kaum Belege gibt; außer einer Notiz in der "Chronica Slavorum", die der deutsche Chronist Helmold von Bosau im 12. Jahrhundert verfasste (und die später kopiert und phantasievoll angereichert wurde). Dieser vermutete Verursacher von Pech und Unheil, der in zahlreichen Schreibvarianten mit der Bedeutung "Schwarzer Gott" auftaucht, schaffte es als "Czernobog" untere anderem auch in Neil Gaimans Roman "American Gods" sowie dessen anschließender TV-Adaption. Das selbstbetitelte Debütalbum "Tchornobog" erschien im Jahr 2017 unter großem Beifall von Fans und Kritikern und wurde mittlerweile von Lupus Lounge weltweit wiederveröffentlicht. Derzeit arbeitet Markov Soroka an seinem zweiten TCHORNOBOG-Album. Als ersten Vorgeschmack auf die bevorstehende musikalische Dunkelheit dürfen wir alle aus vollem Hals in 'The Vomiting Choir' auf dem Split-Album einstimmen.

Sobald ein Song mit einer auf mehreren Spuren aufgenommenen Kakophonie des Kotzens beginnt, liegt die Vermutung nahe, dass er auf der dunklen Seite des musikalischen Spektrums zu verorten ist. Dies trifft bei TCHORNOBOGs epischen Track 'The Vomiting Choir' genau ins Schwarze. In 24:08 Minuten windet sich eine absteigende Spirale in eine schier bodenlose Grube, die mit einem größtenteils dissonanten Klangmiasma aus purer Negativität, aber auch überraschender Komplexität gefüllt ist. TCHORNOBOG wandeln weiterhin auf verschiedenen Wegen gleichzeitig, die von und zu ihrer mutmaßlichen Position in der Mitte der Kreuzung von Death, Doom und Black Metal weg- und hinführen. Freunde von DEATHSPELL OMEGA, THE RUINS OF BEVERAST und ULCERATE erkennen wahrscheinlich die allgemeine Richtung, aber die amerikanische Band aus Portland, Oregon schlägt einen ganz eigenen Kurs auf diesen stockdunklen musikalischen Gewässern ein. Wer in ihrem Kielwasser segelt, begegnet neben vielen anderen wundersamen Erscheinungen vielleicht auch dem Geist der frühen MOTORPSYCHO. TCHORNOBOG wurden 2014 von dem in der Ukraine geborenen Multiinstrumentalisten Markov Soroka ins Leben gerufen, der auch für andere Projekte wie AUREOLE, DROWN und KRUKH bekannt ist. Der ukrainische Name "Tchornobog" basiert auf einer rekonstruierten slawischen Gottheit, für die es kaum Belege gibt; außer einer Notiz in der "Chronica Slavorum", die der deutsche Chronist Helmold von Bosau im 12. Jahrhundert verfasste (und die später kopiert und phantasievoll angereichert wurde). Dieser vermutete Verursacher von Pech und Unheil, der in zahlreichen Schreibvarianten mit der Bedeutung "Schwarzer Gott" auftaucht, schaffte es als "Czernobog" untere anderem auch in Neil Gaimans Roman "American Gods" sowie dessen anschließender TV-Adaption. Das selbstbetitelte Debütalbum "Tchornobog" erschien im Jahr 2017 unter großem Beifall von Fans und Kritikern und wurde mittlerweile von Lupus Lounge weltweit wiederveröffentlicht. Derzeit arbeitet Markov Soroka an seinem zweiten TCHORNOBOG-Album. Als ersten Vorgeschmack auf die bevorstehende musikalische Dunkelheit dürfen wir alle aus vollem Hals in 'The Vomiting Choir' auf dem Split-Album einstimmen.

Produziert und gemischt von Sam Pura (The Story So Far, Hundredth), ist DEATHWESTERN ein klanglicher Hauch frischer Wüstenluft aus der Sin City Las Vegas. Das Album widersetzt sich dem Trend der 80er-Jahre-Thrash-Worship-Produktionen und liefert einen Sound, der nichts weniger als klassisch ist. Es ist druckvoll, schwer und absolut stampfend. Tracks wie 'Relic of Damnation', 'Ulcer' und 'Moonlight Torture' (mit einem Gastauftritt von Integrity-Mastermind Dwid Hellion) umarmen Hardcore, Old School Death Metal und Thrash mit lyrischem Blutrausch und reueloser Hingabe. 'Ich liebe riesige Schlagzeugproduktionen aus den 80ern', sagt Folsom, 'zu wissen, dass ich die fieseste, härteste Musik schreiben konnte und Thomas Pridgen (Mars Volta, Trash Talk) zurückkommen würde, um die Drums einzuspielen, gab mir den zusätzlichen Schub, um es auf die nächste Ebene zu bringen.' DEATHWESTERN erscheint am 25.11.2022 und ist auf schwarzem 180-Gramm-Vinyl mit 4-seitigem Booklet im LP-Format und DIN A2-Poster erhältlich. Eine limitierte CD-Version kommt in einem 4-Panel-PocketPack mit Top-Opening (Mini-Vinyl-Look) und 16-seitigem Booklet. Natürlich wird das DEATHWESTERN auch als digitales Album erhältlich sein.

grey marbled vinyl

Two young British producers share their skills for this thoughtfully constructed futuristic two-tracker. Jasper Tygner, who has been championed by Radio 1's Jamz Supernova, Jaguar and Sian Eleri, is a rising star crafting blissed out electronica. Meanwhile fellow Londoner Joe Hertz has also skyrocketed to success, especially since last year's soulful jazz-inflected Current Blues EP.

These two collaborative tracks are delicate soundscapes that borrow and reimagine club sounds. 'Equals' forms a slowly swelling early hours pulse with futuristic melodies, at once gentle and danceable. 'Second Thought' has a hazier beat, with swooping post-rave synths to ease you from the clubnight out into the morning light.

LIMITED PRESSING OF 2000


A SIDE

(Sabaody/Fishman Island/Punk Hazard) :

- To the New World!!

- Rebirth! The Straw Hat Pirates

- Jinbei Strait

- Surgeon of Death

- Master's Scornful Laughter

- Enemies Appear

- Spirit Of Guru

-The Weak Power Strengthens!

- A Man's Battle





B SIDE

(Dressrosa)

- I Think Of The Past

- Go Go! The Straw Hat Pirates!!

- Country of Love, Passion & Toys, Dressrosa

- Frenzy! Colosseum

- Donquixote Doflamingo

- Trafalgar Law

- Admiral "Fujitora"

- Violet's Dance of Passion

- Love Cannot Be Stopped

- Fight in the Colosseum

- Fierce Battle in the Colosseum





C SIDE

(Dressrosa/Zou)

- Revolutionary Army's Chief of Staff, Sabo

- Gear Fourth

- Ballad of Sadness

- Approaching! Birdcage Encirclement

- Doflamingo ~Overwhelming Force~

- The Thousand Year Island, Zou

- Garuchu~!!

- The Mink Tribe's Battle

- The Samurai and Mink Tribe's Bond

- Dressrosa's Hidden Secrets

- Brook ~Healing Violin~

- Eyecatch ~New World Version~





D SIDE

(3D2Y/Heart of Gold)

- To the Origin of Ace!

- Main Title ~ Teachings of Rayleigh

- Things We Desired

- World VS Luffy: Final Battle

- Destroyer of the World! World

- Loneliness, Solitude

- Gathering of the Straw Hat Pirates! Towards Battle

- Releasing the Trap

- Straw Hat Pirates VS Mad Treasure

- Luffy, to Victory

- Escape from Bonbori-sama

- Next Time Preview ~We Go! Version

The story about the lost recordings of Ghia continues: Following the recently released "At The Hilton" single, our label is extremely proud to present "Curaçao Blue", the band's first full-length album. And it is simply mind-blowing, to say the least! The LP features 10 unreleased tracks in a similar Balearic vein as featured on the single.

Incredibly, it was only just a few months ago that these tracks were rediscovered on some old tapes by band members Lutz Boberg and Frank Simon. Could anyone imagine that two physics students from a small German town could create such beautiful, thrilling music in their home studio? Although the technical aspects in the creation of the band's earliest tracks may have been straightforward, the outcome is high-quality, creative, modern jazz-funk, with one step in the electro-funk genre due to the use of a drum machine and synthesizer basslines. The album features mostly 4-track recordings, based mainly on the musicians' weapons of choice: a DX21 keyboard (later updated to the legendary DX7) and a guitar. Many things had to be done live in just one take, though the artists were unafraid of using overdubbing techniques to weave their instrumental journeys. The DIY aesthetics just add more beauty and uniqueness to the songs and compositions, and the result is an extremely harmonic work of undeniable musicality. Ghia delivers Balearic jazz-funk at its finest.

Though the music was recorded in Germany, Ghia had a true relationship with the Balearic region and effortlessly applied the vibes to their compositions. As a side note, one track on their earliest demo tapes was called "3 AM at Moëf Gaga" and we did not know what it meant. The band explained that Moëf Gaga is a nightclub on the Spanish coast that is actually still active today. Boberg and Simon, the two original band members of Ghia, visited the club in the early 80s and spent their holiday close to the sea. With their music, they intended to create a summery vibe, capturing a relaxed and soulful view of the seashore, likely with a drink in hand... Perhaps a Blue Curaçao?

The album starts with a revised version of the title track. The drums in this take are much punchier, and we thought that it would fit just perfectly as an introduction. We continue with the already classic "Down At The Hilton" that was featured on the single, but like us, we are sure you could happily listen to this track on repeat. Next up, "Jump In The Water" opens with a catchy delayed melody, which develops into another perfect jazz-funk piece with an extended guitar solo. Another remarkable song might be "In The Fast Lane". As the name suggests, an uptempo number, now with an electro-funk beat combined with speedy keyboard solos that almost sounds like a marimba. On side B, the album keeps the relaxed seaside vibes flowing. To round out the album, we are treated to two pieces that originated after the return home, with memories of the Spanish coast fading but still lingering, likely recorded between 1986 and 1988. Both are instrumental versions of songs to be used later for studio sessions with their new band member, singer Lisa Ohm (who you will hear on Ghia's next album!). On "Crystal Silence In Dub" we get a perfect downtempo groove, positively reminding us of the sound of the 1980s UK funk scene. The album ends with "Keep Your House In Disorder", here as an earlier, rougher, and funkier take than on the final vocal version, which could be found on the B-side of the "What's Your Voodoo" single.

We hope you love this album as much as we do! Nothing like this has yet been released out of Germany. We hardly can recall any privately produced, home recorded jazz-funk/fusion from the 1980s as free, creative, and uninhibited as Ghia's Curaçao Blue. The playful and creative approach, coupled with those nostalgic tones should make this LP an essential pick for any record collection, whether you are a DJ, a home listener, a music lover, or a modern jazz-funk/synth-funk aficionado.

The album is out now on The Outer Edge, the new label by record collector DJ Scientist, aka John Raincoatman. We also want to thank Frederic Stader for his awesome work mastering and sound restoration of the material on this LP.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1967, he met Jean Kluger who became his publisher. In the 1970s, their tandem stood out in those fields, for a plethora of popular French artists such as Petula Clark, Claude François, Joe Dassin, Dalida, Régine, Sheila and Ringo. 1975 saw the birth of Vangarde’s label, Zagora, and his first and only solo LP. Later on, Vangarde and Kluger were responsible for a number of hit songs by The Gibson Brothers, Ottawan and La Compagnie Créole. With or without Kluger, Vangarde also wrote and produced songs that remained underground, under several monikers (Starbow, Who’s Who, Soul Iberica Band, Yamasuki, Rocky & Vandella…) and for various artists. Let’s open these incredible cosmic disco funk vaults! Available on Double Vinyl (featuring 2 exclusive tracks) & CD .

solid white vinyl

For the third release on his own imprint, DTR, VII Circle launches the new split series by teaming up with THAM, on a full split EP.

Following the latest EPs 2020's 'Fearless EP', 2021's Warriors which saw the support from artists like Perc, Paula Temple, Headless Horsemann and Regal just to name a few, VII Circle is with two impactful tracks which are establishing once again his uncompromising sound and exposure to the dark post-punk and heavy music influences he got.

On the other side of the vinyl, THAM shows his genuine and real interpretations of how complex grooves, pounding bass drums and aggressive synths are driving his sound.

With this release, the duo wants to rise a new musical vision and musical compactness that has distinguished them in recent years, making them find their true personal sound.

solid white vinyl

After 11 long years Pohjola reignites it's furnace to bring a new release by a (let's pretend he's) young Serbian producer Lag. Finding a common language in pursuing the unsaid parts of techno, labelboss Rivet aka Grovskopa and Lag turned their long, meme-and-trolling-fueled friendship into a gorgeous-looking record (art by Trudy Creen, additional design work by Dejan Ilic). The music it bears is as offset as it is functional: offering a palette of both straight and broken beats driven by vocal snippets, genre-defying arrangements and, most importantly, scream-inducing club moments. Trust us, we tried them in the wild.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Swords and metal go hand in hand. That’s what crossover thrash band High Command say, having turned heads with their debut album Beyond The Wall of Desolation (2019). But it’s not solely metal music which influences the band, who cite the lustful violence of Robert E. Howard, Michel Moorcock, Jack Vance and many other legendary pulp writers of the 20th century as an impetus for their expansive storytelling.
“People would also be surprised to hear we drew quite a bit of inspiration from the music of Ennio Morricone, especially in regards to writing some more of the epic, grandiose passages and chord progressions.” says the band.
Now, with their second album, Eclipse of the Dual Moons, the band take their love of storytelling a step further, deepening and widening the world of Secartha, the realm of High Command’s songs. The band place themselves as omniscient narrators of the world they have created, and say that they are inseparable from Secartha and its people. “It’s one thing to make a good metal record, but it’s another to put on top of it a sort of overarching story that makes sense to listeners. The whole High Command project is enriched by lyrics articulating characters, a world, and trials faced within it. We want our records to be immersive and leave listeners with a feeling they’ve experienced something bigger than the music.”
It’s not just a question of widening the world, which the band first started exploring on The Secartha Demos (2016); Eclipse of the Dual Moons sees High Command honing their process to a fine art “it’s like we started with chiseling a rock… this record is the moment the rock in question begins to look like an actual sculpture.”

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Blue Vinyl

Leipzig-based musician, engineer, and producer Friedrich Brückner has, despite his youthfulness, been a decisive figure in the Leipzig music scene for literal decades, being involved, in one way or another, in many, if not most notable releases coming out of the city. Having received a classical musical education, Brückner most recently figured as part of the German-American band White Wine, playing the bassoon and bass, but has also, as either musician, producer or sound designer, toured internationally with the likes of Yoko Ono, Get Well Soon, Modeselektor, or Dear Reader.

For a few years now, Brückner has been working on his solo debut, which now comes in the form of his remarkable »Polyism«, out on Altin Village & Mine. On it, Brückner puts his considerable musical chops to use, in the service of a rollercoaster of an album that truly eschews categorization, being, as its title suggests, a work of being multiform. While the sound takes wide ranging cues from jazz, new age, dub, electronics to post punk, Brückner’s compositions never feel accidental in the slightest. Instead they share a distinctive sense of dramaturgy, a pronounced attention to sonic texture, and a sense of purpose both within the individual pieces as well as in the context of the album as a whole. The result is an LP that is astonishingly coherent, considering the multitude of means it employs.

On »Polyism«, Brückner also enlists a veritable all-star cast of guest performances, ranging from his parents Isabell and Bernd Brückner, both professional musicians, on saxophone, clarinet, and flute, Martin Wenk (Calexico) on trumpet, to Hendrik Otremba (Messer) and Brückner’s four-year-old daughter Rosa both on vocals, to name but a few. Each lend their own notes to »Polyism«, a work of what it means to live, that is, to be many. Truly exceptional stuff!

Debut single for NEW label set up by Savage Pencil (Art), Al From Hell (Printer) and Agitated Records.. primarily to release tasty limited 7” records by awesome new musics.. first release is by Pensylvanian guitar manglers Laurel Canyon, evoking strains of the Stooges via a distinct Pacific Northwest pop filter.. Fluid, Tad, Screaming Trees, Mudhoney etc..are easy points of reference.. but these songs have fire and melody in equal measure and burn their own path, recorded earlier this year with Steve Albini. Punk rock band Laurel Canyon – Nicholas Gillespie, Serg Cereja, and Dylan Loccarini – formed in 2019 when Nick and Serg met through a mutual friend in their hometown of Allentown, Pennsylvania. After connecting over a shared interest in both Arthur Rimbaud and The Stooges, the two began to rehearse together in Serg’s garage. By October 2020, Serg and Nick began composing original songs together as Laurel Canyon. Following their first release, “Two Times Emptiness” b/w “Enemy Lines,” in May 2021, Nick and Serg traded in their characteristic jangle for fuzz pedals and established a relationship with veteran producer Bryce Goggin (Pavement, The Lemonheads) at Trout Recording in Brooklyn. They released their 5-track EP “Victim” digitally on January 14, 2022, rounding out the line-up with bassist Dylan Loccarini. The artist Savage Pencil, who has created artwork for Big Black and Sonic Youth, drew the EP cover. Singles “Daddy’s Honey” and “Eczema” created a buzz online and were featured in Spotify playlists “All New Rock” and “Smells Like Stream Spirit.” Their debut LP, recorded by Bryce Goggin and Steve Albini, will be released in early 2023. More news on that real soon!

Das ikonische belgische DJ-Duo 2ManyDJs, bestehend aus den Brüder Stephen und David Dewaele, feiert das 20-jährige Jubiläum ihres Albums 'As Heard on Radio Soulwax Pt. 2' mit einer besonderen Re-Issue. 2002 erschien es ursprünglich nach einer Reihe von Radioshows der beiden Brüder, damals vor allem bekannt als die Köpfe hinter der Electronic/Indie-Rock Band Soulwax. Die Re-Issue erscheint mit dem Foto von Richard Young auf dem Cover, das ursprünglich als Cover vorgesehen, aber nach Rechtsstreitigkeiten mit Tipp-Ex verfremdet wurde.

Neuer akustischer Angriff der US Metaller Resistance. Die amerikanischen Power Metaller haben die Schwerter einmal mehr gekreuzt, um mit ihrem bisher besten Album den Donner zu beschwören. "Skulls of my Enemy" ist ein von Hymnen durchzogener Schlachtruf, der die Metaller Gemeinde weltweit begeistern wird. Resistance haben es geschafft, den Sound und die Energie ihrer Live-Performance auf den neuen Longplayer einzufangen. "Skulls of my Enemy" liefert alles, was man von der "Los Angeles Metal Machine" erwartet.

Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

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Ireland based American songsmith Peter Broderick announces the release of Piano Works Vol. 1 (Floating in Tucker"s Basement) - a new comprehensive album of solo piano recordings out November 25. Shining a light on the artist"s ongoing piano-based compositions, this release offers an opportunity to celebrate his more intimate work. A comprehensive collection of Peter Broderick"s piano work to date, these recordings were originally captured in Berlin to accompany the 2017 sheet music book Piano Works Vol. 1. The book contains 20 pieces for solo piano and a download code to access new recordings of all 20 pieces. Up until now, the only way to hear these recordings was to purchase the sheet music book. This release sees the original recordings receiving further treatment and processing by Tucker Martine in the customised echo chamber of his studio in Portland, Oregon-the region where Broderick grew up. The clean and unaffected original recordings were intended for educational purposes, so for this release Erased Tapes founder Robert Raths suggested to "throw the recordings into the well", for a more dynamic and conscious listening experience. "We gave these recordings a bit of a makeover. We sent all the tracks over to legendary engineer/producer Tucker Martine, who processed all 20 of them with unique tape and reverb treatments, utilising the echo chamber of his Portland studio, Flora Recording & Playback," explains Broderick.

Nice Girl is back with 4 Tracks sitting somewhere between chillout, club & experimental. Fans will already know about her unique approach to sound, always surprising & fresh very hard to categorize. Although the 4 tracks can very much be viewed as an extension of her debut album „Ipsum“, the overall tone of the EP is somewhat brighter with more light, at times almost euphoric! Glad to be sharing these, hope you enjoy!

MEILENSTEIN DES ETHNO-BEAT

Jahrzehnte weltweiter Konzerte, 30 Alben und abermillionen Streams haben den Dissidenten ein wunderbares Publikum auf dem ganzen Planeten beschert. Die „New York Times“ sah sie schon in den Achtziger Jahren als Vorreiter dessen, was später zum Begriff „World Music“ werden sollte.

Fast 40 Jahre nach der Erstveröffentlichung erlebt ihr legendäres Album Sahara Elektrik remastered auf Vinyl eine ungeahnte Wiedergeburt und vermittelt hautnah den musikalischen Aufbruch jener Jahre.

"Live in Paris" - Nathan Davis, (sax); Georges Arvanitas (p, org); Jack Diéval (p); Jacky Samson, Jacques Hess (b); Franco Manzecchi, Charles Saudrais (dr)

Style is not a given. Not many musicians reach the level of artistic personality where you can unmistakably recognize them. It takes character, roots, honesty, soulfulness. Nathan Davis had style.

His tone on tenor was unique. So was his soprano sound and his distinctive approach to flute. His musical world was equally original and knew no boundaries.

This concert in Paris is audible proof that as a performer, his fluid phrasing, distinct articulation, booming bottom register, growls and shrieks were fuelled by tremendous drive and furious invention - the man was on fire!

These live sessions demonstrate the limitless invention of Nathan’s solos. Holding no punches, weaving signature phrases, shouts and riffs into his solos, he was a fierce and fervid performer. With a sort of hollow resonance at the heart of his reedy and warm sound, Nathan Davis was a highly original artist, from an era when having a distinct sound on your instrument was the grail of jazz artistry. Harold Land, Jimmy Heath, John Gilmore, Paul Gonsalves, Charlie Rouse, George Coleman, Booker Ervin, Clifford Jordan ... Jazz is made of such giants and Nathan Davis was one of them.

Running Back regular Feater aka Daniel Meuzard puts his newly-transplanted studio through its paces for the first time since relocating from Vienna, swapping out the bustle of the city for the fresh mountain breeze of the West Alps. The Positive People EP proves that a change is as good as a rest, as the wide open nature not only had some rejuvenating effects on the creative process - it also gave Feater some room in his head to ponder questions about nature, nurture, and whether our inner morality is externally programmed.

The taut jazz funk of opening track Coding springs into action like the montage music of a lost ‘70s TV show, while the title track Positive People plays on the ambiguity of its title, with cascading synth notes, tastefully dubby 303 stabs, and an afro-cuban drum figure that forms the foundation for a spaced-out dancefloor workout. It's a combo of tracks that should appeal to chat room moderators and serotonin programmers alike.

Expensive Zeit kicks off sounding like grime maverick XTC had been brought up on Murder Capital electro rather than East London garage - before it morphs into a bumpin electrofunk and percussion session, with its sights set firmly on an aquatic worm hole. The EP rounds out with Decline All Cookies, which breaks out of a flanged-out half-time drum 'n' effects intro to reveal a lush chord progression, flipping a soul jazz piano mood into a trippy slice of modern instrumental funk.


Can man be the master of his own destiny? It seems with this change of location and musical direction, Feater might just have figured out the answer.

As a true reference cultural media, Trace completes its musical offer with a first collection of 3 vinyls! Find the cream of Salsa selected by Trace and journalist Osman Jr. With Tito Rodriguez-Setenta-The Alegre All Star....

For Dizzy everything starts and ends with laughter. In the meantime, all paths are possible. That of melancholy, of dance or of political commitment... Dizzy is everywhere at once, always elusive, he is this explorer who, after having been one of the founders of Bebop in the 40's, will never stop experimenting, surprising and pushing back the borders. Proud of his Afro-American heritage, he knew like no other how to confront it with other cultural horizons such as Latin America or Cuba. On 25 August 1973 Dizzy Gillespie came to the Dutch public in Laren. True to form, he introduced his musicians in a mischievous and generous mood and then launched thunderously into a Caribbean tempo that lasted 19 minutes! Then, in a deep voice, Dizzy evokes his friend Martin Luther King. He dedicates "Brother K" to him, a tender ballad punctuated by flashes of storm and anger. As a conclusion Dizzy invokes his roots: "The Blues", where he abandons his trumpet to unleash the full force and warmth of his voice. The musicians withdraw to a surprisingly light theme. We leave as we arrive, on tiptoe. However, we leave with a certainty: "Yes Dizzy, you made it".

Dizzie Gillespie, Trumpet and Vocals
Mike Longo, Piano
Alexander Gafa, Guitar
Earl May, Bass
Mickey Roker, Drums
Guest Artist : Jon Faddis, Trumpet on tracks 9 and 10

Recorded at the Singer Concert Hall

Laren Jazz Festival, 25.VIII.1973

STEREO ℗ 1973 VARA

Remastered by ℗ & © 2017 FONDAMENTA

Made and printed in Germany

Part 5 of the various artists series is at it again with 5 tracks by 5 different producers and a mixture of feel good party time music and contemplative music. You will hear familiar Running Back names like Storken (this time together with JStaaf) refining their comic tropes (or imagine Foreigner doing house music) next to newcomers like Archie Ward. His Pizza Girl puts musical toppings on a pounding underbelly that wouldn't be out of place in any warehouse, while Moritz and Amount dial it back a bit. Their respective tracks are gleaming with a special kind of elegant end-of-night euphoria that is hard to come by - and all the nicer if it happens. Remember: trance is a state of mind! Last but not least, Australia's Jonus Eric delivers an IDM-leaning piece of outsider dance. Hot soup, hot swallow!

The Singles soundtrack was released in early 1992, a full three months before the film opened, and it was an instant hit, eventually selling over two million copies. It's the perfect snapshot of Grunge, Seattle at a certain place and time.

2022 REPRESS -

The first Kranky collaboration with LOW was released in the fall of 1997.

The vinyl format for this has been out of print the longest of any of the band’s Kranky releases, and is finally available again for the analog purists.

Swords and metal go hand in hand. That’s what crossover thrash band High Command say, having turned heads with their debut album Beyond The Wall of Desolation (2019). But it’s not solely metal music which influences the band, who cite the lustful violence of Robert E. Howard, Michel Moorcock, Jack Vance and many other legendary pulp writers of the 20th century as an impetus for their expansive storytelling.
“People would also be surprised to hear we drew quite a bit of inspiration from the music of Ennio Morricone, especially in regards to writing some more of the epic, grandiose passages and chord progressions.” says the band.
Now, with their second album, Eclipse of the Dual Moons, the band take their love of storytelling a step further, deepening and widening the world of Secartha, the realm of High Command’s songs. The band place themselves as omniscient narrators of the world they have created, and say that they are inseparable from Secartha and its people. “It’s one thing to make a good metal record, but it’s another to put on top of it a sort of overarching story that makes sense to listeners. The whole High Command project is enriched by lyrics articulating characters, a world, and trials faced within it. We want our records to be immersive and leave listeners with a feeling they’ve experienced something bigger than the music.”
It’s not just a question of widening the world, which the band first started exploring on The Secartha Demos (2016); Eclipse of the Dual Moons sees High Command honing their process to a fine art “it’s like we started with chiseling a rock… this record is the moment the rock in question begins to look like an actual sculpture.”

Thirty-five years since the release of their landmark debut album This Is The Story, and 34 since the release of Sunshine On Leith, the second album that made them international stars, The Proclaimers are back with their 12th studio album. And, at the ripe young age of 60, the fire and ire of Craig and Charlie Reid remain righteously undimmed. Dentures Out is a record of the times, for the times, the twins at their political, observational, satirical and fist-punchingly tuneful best.
Dentures Out is 13 songs clocking in at a lean, tight, focused 34 minutes. Only one number, the closing What The Audience Knew, busts the 180-second mark. The rest are sub-three-minute miniatures of polemical pop perfection, recorded at Rockfield in Wales in three quick weeks in spring 2022, lent six-string wings by guest guitarist James Dean Bradfield and produced by Dave Eringa (Manic Street Preachers), his third consecutive album with the Scotsmen.

After a rollercoaster two years promoting his last offering King Of Clubs in the middle of a global pandemic, alt-rock legend Jamie Lenman returns with the most intimate, most ambitious and most accessible album of his career. Recorded at The Chapel studios in Chichester over January and February this year with producer Mark Roberts, The Atheist is eleven tracks of guitar driven indie-pop, each laden with enough hooks to catch Moby Dick. With themes ranging from toxic friendships to socio economics to the religious topics inherent in the title, Lenman eschews the aggressive approach of previous records for a more melodic mood. “I’ve had a few of these songs kicking around for years, just waiting for the right album,” says Lenman. “Some of them were written for my first solo project Muscle Memory, some of them were even written whilst I was still in my band, but they were all too pretty. After twenty years of hard edges, particularly the ugly overtones of my last record, it was a relief to mellow out and just revel in the pure joyfulness of the thing.” From the huge earworm of Talk Hard to the stadium-sized chorus of Lena (Don’t Leave Me), the sheer catchiness of the material is undeniable, and was proven when Lenman took his new-look three-piece band to this year’s Download and played a set of entirely unheard tracks. The capacity crowd erupted into spontaneous sing-alongs despite never having heard a single note before, resulting in one of the surprise highlights of the weekend. Combined with dazzling artwork from renowned Washington Post/Wall St Journal illustrator Michael Parkin, Lenman will be unleashing his new softer side on an eager public later this year, alongside a string of live shows and the third iteration of his own mini-festival, Lenmania.

"A new force, LEAGUE OF DISTORTION, unite to defeat the shadows cast upon the music scene with their fresh sound and style! Back in 2017, Anna Brunner celebrated remarkable international success with her symphonic metal band Exit Eden, and now, teams up with notorious guitarist Jim Müller - known from his famous heavy metal band Kissin’ Dynamite. Together, they’ve formed one of the hottest modern metal upstart bands of the year, combining their signature sounds to create a powerful soundscape. Now, having recently signed with Napalm Records, they are ready to fight the darkness yet again with their 2022 full-length, self-titled debut album, League of Distortion. Lifting the dark veil of stagnation caused by the pandemic, LEAGUE OF DISTORTION introduce a new sound that resonates with the uncertainty of this period. “Wolf or Lamb” - the addictive first stand-alone single that introduced the band as a force to be reckoned with - ushered in a completely new era by serving modern, melodic rhythms and technical prowess, igniting the fire of the full album, League Of Distortion. “Rebel By Choice” and “The Bitter End” show the band’s burning passion and dedication to the genre, while “My Revenge” convinces with a catchy hook and bashing guitar riffs. The elemental force of Anna “Ace” Brunner’s distorted, powerful voice merged with chunky riffs played by Jim “Arro” Müller, steady and strong beats delivered by Tino “Aeon” Calmbach and edgy bass by Felix “Ax” Rehmann unifies them, forming a strong blast of an album that cannot be missed! LEAGUE OF DISTORTION showcase the individual musical expertise of its members without ever becoming stagnant or pretentious - unabashedly distorting the order and launching a new age of metal. Songs like “I’m A Bitch” and “It Hurts So Good” abandon all rules, while catchy hooks like in “L.O.D.” mark anthems to claim their new reign. With songs like “Solitary Confinement” and “Sin”, the band shows their lyrical depth by turning their sadness into a powerful war cry, providing expressive pieces and hymns for the lost. LEAGUE OF DISTORTION convince with classic pieces featuring strong instrumentals, on-the-nose lyrics and energetic vocals, proving their penchant to stand out from the pack. They’ve transformed their frustration into a musical statement beyond compare. With “Do You Really Think I Fucking Care”, the band lands the final punch of the album to make the message clear: LEAGUE OF DISTORTION are here to set the scene ablaze! "

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

BYG album, facsimile-edition. Newly mastered to vinyl from original BYG tapes. Lacquers cut by Alchemy Mastering at AIR STUDIOS. Exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. Also available as expanded CD edition in deluxe gatefold sleeve with 6 original single-version tracks. Cd: expanded cd edition in deluxe gatefold sleeve & printed inner wallet Original 1970 BYG album. Expanded with 6 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with exclusive liner notes by author, journalist and BYG-authority Kevin Le Gendre. *** Formed in the late 1960s Alice was arguably the most interesting of the crop of French bands that put their own spin on the blues rock scene born in Britain and America. Playing a gaggle of instruments, including woodwinds and vibes, the combo had a sound that often departed from guitar-led grooves to incorporate European classical music and South American folk. “This re-mastered version of Alice’s auspicious BYG debut provides an opportunity to reassess a band that deserves wider recognition ...” Kevin Le Gendre, 2022

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

Grammy-winning global percussion collective Planet Drum reunite to make their first music in 15 years with In the Groove, out August 5th. Here is an inside look at the creation and inspiration behind In the Groove, featuring renowned global rhythm masters Mickey Hart (USA), Zakir Hussain (India), Giovanni Hidalgo (Puerto Rico) and Sikiru depoju (Nigeria) in the studio. Planet Drum's message of unity is needed now more than ever. In a world rife with conflict and division, Planet Drum leads by example with In the Groove, symbolizing the idea of bringing different cultures together to create one collective rhythm. Planet Drum's groundbreaking self-titled original release, which remains one of the most successful percussion recordings of all time, topped the Billboard Charts for 26 weeks. and won the first-ever Grammy Award for Best World Music Album, completely changing the perception of percussive world music. Their second effort, 2007's Global Drum Project earned their second Grammy Award for Best Contemporary World Music Album in 2008.

Matthew Doty didn't set out to write a solo album. His first batch of weightless and brightly lit material under the name Deserta began to take shape in 2017. Shortly after finding out he was going to be a father, Doty started working on a batch of songs inspired by the joy and the unknown of the world he was about to enter. That inspiration is the sonic and emotional backbone of debut album Black Aura My Sun.

Like a hot air balloon headed straight for the stratosphere, Deserta reveals yet another side of the songwriting Doty has spent decades refining. As experimental as it is enthralling, Black Aura My Sun applies the vapor-trailed production values and sublime dynamics of Doty's previous group projects (including post-rock band Saxon Shore and the synth-laced post-punk of Midnight Faces) to a shoegaze-y sound that splits the difference between Slowdive and Sigur Rós.

Doty began finding his own musical voice in the early '00s with the sky-piercing efforts of Saxon Shore. While it was initially a collaboration with Josh Tillman (a.k.a. Father John Misty), Doty was Saxon Shore's only consistent member over the course of five acclaimed records. His responsibility spilled over into everything from booking shows to the songs themselves. He was never completely alone in his pursuit of post-rock perfection, however, so Deserta is very much a new endeavor: a trial-by-fire that was written, recorded, and mixed in total solitude.

Deserta expands and contracts, with chords that drift like clouds, drums that drag and dissipate, and hooks that hang in the air for what feels like forever. That doesn't mean Black Aura My Sun is a subtle or soft record. It actually whips up quite a racket and is particularly heavy when piped through a pair of headphones.

Deserta is Doty's main creative outlet right now and a one-way ticket to another dimension entirely.

"Have you ever had this endless feeling of unconditional love for someone or music, between virtuality and reality, which seems to be eternal for your own heart... " — Nicolas Masseyeff French DJ and producer Nicolas Masseyeff shares his first album in almost a decade on Marc Romboy’s label Systematic. The release brims with lush tones, electronica-flecked rhythms and rich soundscapes, suitable for a club-based audience and home listening. Celebrated visual artist Yann Masseyeff—Nicolas’s brother—is responsible for the artwork of the release.
Raised on the French Riviera, Nicolas Masseyeff started out as a local record dealer before purchasing his own shop, Limelight, establishing it as the most respected vinyl haunt in the South of France. Pursuing music production full-time since the late noughties allowed Nicolas to follow his true path, shaping him into the multi-genre artist he is today. Having released on Herzblut Recordings, Systematic, KD Music, Mobilee and several other esteemed imprints, Nicolas has worked relentlessly to craft a sound that transcends house, electronica, downtempo and afro house. Collaborations with Kittin, Oxia and Parallelle wind throughout his back catalogue, as well as remixes for Frankyeffe, Pig&Dan, Nikola Gala, Hot Since 82 and many more besides.
Endless offers an insight into Nicolas’ spiralling world, detailing the artist’s lithe production skills and consideration when collaborating with other talents, like the interdisciplinary singer Kittin. The collection sums up where Nicolas is at now in his career—a storied producer who continues to evolve, sharing an aesthetic rich in melody while retaining a dance-driven flavour. It’s the kind of sound that comes with years of practice, patience and perseverance.

One of the 'holy grails' of 1960s Cuban music was not recorded, produced or released in Havana or New York; in fact it was made in Lima, Peru under interesting if somewhat unexpected circumstances. Pianist Alfredo "Alfredito" Valdés Jr. (May 31, 1941, Havana - January 23, 2016, New York), one of the most important figures in Latin music, came from an illustrious musical family in Cuba. In 1956, he emigrated to New York with his family, making him one of the forerunners of Cuban-based salsa music in the US. Three years later at age 18 Alfredito joined Arsenio Rodríguez and his conjunto; then in 1961 Ray Barretto recruited him for his Charanga La Moderna. Alfredito kept himself very busy, studying music and literature during the day and playing at night with the bands of Tito Puente and Machito as well as Arsenio and Barretto. He was a quick reader and writer of music and displayed an impressive versatility and level of skill on the piano. It was precisely these qualities, combined with random chance, that saw Alfredito become substitute pianist for Machito and His Afro-Cubans for a tour that would take him to Colombia and Peru for a number of engagements in the winter of 1964 and into the new year. While in Lima, several problems arose with the Argentine businessman and tour promoter Mauricio Támara who took the Machito gang to the Peruvian capital but forfeited their pay and left them stranded and penniless to fend for themselves in December of 1964.

Following the long-awaited Paradise Of Delusion LP from 2021, An’archives announces Lunatic Pearl, a 10” EP by Japanese psych-pop legends Shizuka. As with the material on Paradise, 狂気の真珠 Lunatic Pearl draws from the deep well of music the quartet recorded in 2001, this time from two studio sessions. Here, though, the group’s classic line-up of Shizuka, Maki Miura, Jun Kosugi and Seven is augmented – on the a-side, they’re joined by Yasushi Nagata on guitar; flip the record, and Kazuhide Yamaji chimes in on acoustic guitar and bass.

Both Nagata and Yamaji were members of long-running Tokyo psych-out gang Dip (also known as dip the flag); Yamaji eventually joined Shizuka for a time, appearing with them on the 2010 DVD, Owari No Nai Yume, released by PSF. Part of Lunatic Pearl finds Shizuka in Paisley Underground mode, the spaced-out acoustic mantras of “Shiroi Inochi” and the instrumental “The Street The Fairy Goes” surprisingly reminiscent of the smeared, slow-motion psychedelics of Opal’s early EPs. The latter, a weightless blur, hovers in the air on dreamy drifts of DX-7, drifting melodies landing on the track like an astral traveller, lost and delirious.

“Lunatic Pearl” itself is a monster, one of Shizuka’s most rock-reverent moments, its bold riff soaring over a rhythm section that thuds menacingly, as though they’re the kings of the rumbling spires. “Signs”, another track from the Studio EUN session, features some gloriously unhinged playing from Miura, as though he’s tearing the song’s seams apart, as the group push Shizuka’s simple, perfect song into the stratosphere. Brief yet perfectly formed, Lunatic Pearl is another gorgeous entry in the Shizuka discography.

The journey from trauma to healing and understanding inspired Andrew Oda’s beautiful new album: »Back To The Body«. More delicate and plaintive than his previous work, but no less adventurous in its broad palette of synthetic and acoustic sounds, this music is the topography of a descent into the wisdom of the body, “as frightening and unsafe as it may feel” as the composer puts it. A sweet piano, a gently plucked guitar, and a mournful cello sit alongside garbled synth melodies, rustling field recordings, and sweeping cosmic backdrops throughout, a mimic of the counterintuitive harmony of sensations that meet the traumatised body.

To Move is a new project by the trio of Anna Rose Carter (Moon Ate the Dark), Ed Hamilton (Dead Light) and Alex Kozobolis. Four-handed piano meets analogue manipulations to absolute wondrous effect from the London based friends.

We´re carried into a time and place not afraid to embrace a sense of optimism - even if it comes wrapped in a certain distorted shape. Transporting, blissful tones emanate free of concerns from the unifying keys; at least until the melodies are pulled and dragged from purity to become something wholly else – their own lived life; fitted with obstructions and unpredictability. The intertwining pianos linger like lovers in unison, full of drift, rhythm and life; all while analogue electronics and tape manipulations degrade and move them from their original form and closer towards earth itself.

The album came to light while Anna and Ed were temporarily residing in the English countryside between 2016 and 2019. Musical weekend visits from Alex turned into the fruitful collaboration presented here. 'To Move' is a compelling musical storyboard with a name that captures the essence of their music better than any written essay could do. This is music to resonate to, music to dance to, music to engulf your being. As for fans of the Sonic Pieces sound – if there is one – this record hits as close to home as it could do.

Amsterdam's much-tipped seven-piece Personal Trainer return today with news that their debut album, "Big Love Blanket", is landing on November 4th. It follows two excellent singles this year, and a debut EP "Gazebo" that landed mid-pandemic on tastemaker label Holm Front (Walt Disco, Krush Puppies, Sports Team).

The ten tracks of "Big Love Blanket" display a playful diversity of sounds and influences, landing on one all of their own that has been championed as "rapturously fun" by Ones To Watch, "incredibly catchy indie-led pop" by Record Of The Day, "curious and endearing" by Steve Lamacq, "remarkable" by CLASH and even compared to LCD Soundsystem by Marc Riley. The first song to be released ahead of the album, "Key Of Ego", was one of NME's New Bangers too, and rightly so.

Having already made her name in different UK scenes and subcultures, Eva has previously collaborated with Swindle, Mungo’s Hi Fi, Gardna, Benny Page and Zed Bias. Through Brandy Kisses, she explores an amalgamation of sounds and genres that have shaped her artistry. Effortlessly jumping from soulful croons to punchy rap verses, Eva showcases all avenues of her incredible singing and songwriting ability to create a seamless body of work. The album is entirely produced by UK Hip Hop Stalwart and beat maker extraordinaire, Dirty Dike - Adding to his already very impressive list of production credits, having produced LPs & EPs for names such as Rag'n'Bone Man, Ocean Wisdom, Ronnie Bosh, and more... it is safe to say that the production on this is top notch.

With endorsements from MTV UK, Clash Magazine, Line Of Best Fit, Crack Magazine, an epic album launch party at Rough Trade Bristol as well as a mesmerising acoustic set on BBC Radio 4 - ‘Brandy Kisses’ is tipped to to be one of the R&B albums of the year.

LIMITED WHITE COLOUR

Zwei Jahre nach ihrem mehrfach zum Album des Jahres gekürten Debüt für das Label Epitaph ("On The Impossible Past", 2012) veröffentlicht die Punkrockband The Menzingers ihren vierten Longplayer. "Rented World" entstand in Philadelphia, Pennsylvania. Erstmals an den Reglern: der Produzent Jonathan Low, dessen unverwechselbarer Americana-Sound schon die Werke von The War On Drugs, Sharon Van Etten, Kurt Vile und The National bereicherte. In der Vergangenheit haben The Menzingers bereits mit Bands wie Against Me! und Anti-Flag gespielt. Label-Boss und Bad-Religion-Gitarrist Brett Gurewitz über die 2006 gegründete Band: "Die Jungs spielen genau den reinen Punkrock, mit dem ich aufwuchs." Für Fans von Title Fight, Tigers Jaw, The Lawrence Arms, Frank Turner und Against Me!

On November 18th, Rural Tapes is back with a follow-up to the highly acclaimed debut album "Rural Tapes" from 2021. A year and a half ago, Arne Kjelsrud Mathisen was declared a genius by Mojo, who described his music as a hybrid between Kraftwerk, Air, Tortoise and Serge Gainsbourg. While the debut album was created over a period of almost 10 years, the music on "Inner space music" has been composed and recorded during one intense month in January 2022 in Mathisens own studio in the countryside of Grimstad, Norway. Again, a number of high-profile musicians have left their mark on Rural Tapes' music, including The Dream Syndicate frontman Steve Wynn, PJ Harvey saxophonist Terry Edwards and REM guitarist Peter Buck and Scott McCaughey, both of whom are Mathisen's bandmates in the psychedelic jangle pop group The No Ones. ACCLAIM FOR RURAL TAPES: “A level of its very own” MOJO "Rural Tapes delights in the unexpected. At every turn, you encounter something new, something to be marvelled over. Kjelsrud Mathisen has said he wants this music to stand the test of time. It will." The Independent “A dreamy self-titled debut full of broad soundscapes... Melding smooth jazz with floaty puffs of synth, the album is both meditative and uplifting, the sort of soundtrack you might expect from a dream sequence in a 1970s film." GQ Magazine “From the first notes of this debut album from respected Norwegian producer Arne Kjelsrud Mathisen, you know you’re in for a treat. As Rural Tapes he makes rich, warm technicolour soundtracks… it really is delightful stuff.” Electronic Sound "This is an excellent debut album." Prog Magazine "Mathisen’s musical pedigree makes Rural Tapes an intriguing musical journey of an album that takes in pulsating Krautrock, neo-classical moods and dreamy, proggy pop, all formed through an intuitive composition process." Shindig Magazine

LP is black vinyl + LP3 insert for full album Download. Check out the first 18 or so seconds of “Can I Ride”, the title track on the first release by Polvo, the two-guitar juggernaut that represented the other side of Chapel Hill indie rock (more on that in a moment). That two-note riff, and the guitar twang that follows, recalls the opening notes on another monster song: “The Sprawl”, a key track on Sonic Youth's epochal Daydream Nation, an album released in October 1988, less than two years before Polvo formed. This compilation's nine tunes—the first seven from the Can I Ride double 7” EP (1990), the last two from the “Vibracobra” b/w “The Drill” 7” (1991) are not quite the sound of a torch being passed, but they were a sign that Sonic Youth's weird tunings, the hardcore punk and proto-indie rock on SST Records, and R.E.M.'s hazy rock (three big influences on this era of Polvo) were changing lives. Even back then, the impossibly catchy roar from Merge’s flagship act Superchunk was known to outsiders as the sound of Chapel Hill. But Polvo was something different from the same region. While the band never cottoned to the “math rock” tag (and it’s hard to disagree with them), there is no question that there was a distinct “how can we make guitar rock sound different from all the other guitar rock” vibe going on in the mid-Atlantic, from Richmond (math rock’s true home, don’t @ me) to the North Carolina Triangle over to Louisville and down almost to Atlanta. (If the Mastodon dudes aren’t down with Polvo, I’ll eat your shoe.) No, Polvo were their own brand of squall, not afraid of big hooks (“Leaf ”), odd tempos and textures (“Lull”) and rolling thunder (“Totemic”), and answers to the musical question, “What if the Feelies grew up on Dinosaur Jr.?” (“Tread on Me”). Indie rock? Not the 2022 kind. Math rock? Eh, not really. This was the sound of a new Southern rock, of a pre-internet guitar storm that looked at what came before and said, “What's next?” Track listing: Side A 1. Can I Ride 2. Leaf 3. Lull 4. Totemic 5. Tread on Me. Side B. 6. Teen Dream 7. Snake Fist Fighter 8. Vibracobra 9. The Drill

Repress in on Red & Yellow Vinyl, note new price. 1000 only worldwide. Today's Active Lifestyles, the second full-length by North Carolina rockers Polvo, did exactly what a sophomore LP is supposed to do: It expanded the ideas put forth in the first album, gave them a new spin and shine, and presented the "where we are now" to the world. Produced and recorded over four heady days in December 1992 by former Bostonian and ex-Volcano Suns bassist Bob Weston (around the time he started in Shellac), Today's Active Lifestyles hit record store shelves in April 1993. From the whizzing crunch of "Thermal Treasure" to the loping, connective "My Kimono" to the 7-minute-plus blowouts "Stinger (Five Wigs)" and album closer "Gemini Cusp," the album asserted its place as a most worthy successor to Cor-Crane Secret. The foreboding title of a particularly screechy, fuzzy jam, "Time Isn't on My Side," proved to be nonsense; Today's Active Lifestyles has aged beautifully. “The band experiments with several ideas throughout the album, and each concept is successful. The album ranges from cascading guitar solos in “Stinger (Five Wigs)” to the straightforward “Tilebreaker” to the catchy, rolling, keyboard-punctuated “Time Isn’t On My Side.” Overall an excellent album with many layers.” ALL MUSIC GUIDE. Track Listing: SIDE A 1 Thermal Treasure 2 Lazy Comet 3 My Kimono 4 Sure Shot 5 Stinger (Five Wigs). SIDE B 6 Tilebreaker 7 Shiska 8 Time Isn’t On My Side 9 Action vs. Vibe 10 Gemini Cusp

“Toisten Todellisuus” compiles two 7”s by Helsinki, Finland’s YLEISET SYYT: their self-titled EP, originally released in 2019, and 2021’s “Umpikujamekanismi”. Despite members playing in well-known underground Finnish bands like KOHTI TUHOA and FORESEEN, YLEISET SYYT has flown under the radar in the Anglophone world, with only a small fraction of their records’ tiny pressings making it outside Finland. Fortunately for you, the hardcore fanatics at Sorry State and La Vida Es Un Mus have our ears to the ground, and we agreed that a band this killer deserves a much wider audience. YLEISET SYYT’s sound is both blistering and anthemic, moving nimbly from full-throttle rippers like “Hygieeninen Ruumis” to tracks like “Hyväntekijä” and “Luovan Keskiluokan Takapihalla,” whose big chorus hooks could have anchored a Riot City or No Future A-side. The combination of ferocious performances and songwriting chops might remind you of older Finnish bands like LAMA, MELLAKKA, and APPENDIX, but MINOR THREAT, THE FIX, and NECROS are equally apt comparisons. If you like your early 80s-style hardcore tightly-wound, razor-sharp, and bristling with hooks, you’re gonna love “Toisten Todellisuus” as much as we do (Daniel Lupton) Side A recorded in Helsinki, February 2019. Side B recorded in Helsinki, March 2021. Recorded, mixed and mastered by Ville Valavuo. Artwork by Fetal Brain. Genre: Alternative / Punk

Imaad Wasif returns with his sixth and most accomplished album to date. Produced by Bobb Bruno (Best Coast) and featuring appearances by Karen O (Yeah Yeah Yeahs) and Jen Wood (The Postal Service, Tattle Tale), So Long Mr. Fear is a sublimely intimate and rewarding listen.
Whether it’s the Eastern mysticism of album opener “Elemental,” the harmonic majesty and soaring catharsis of the single “Fader,” or the dark americana of “Poet of the Damned,” Wasif and company mesmerize with a perfect blend of artistry, timeless arrangements, masterful musicianship and pure songcraft. This is an album to get lost in.

Omochi, (honorific “O” before mochi) in daily parlance is a rice cake, a dense glutinous product suited to many recipes, sweet or savoury. Stick one under the grill, watch it burst open, wrap it in crisp seaweed and dip it in soya sauce - a healthy snack, and a staple around Japanese New Year. Like everything, Omochi also has its dark side - each year it kills off a small section of the aged community, the gluey bolus a hard act to swallow - the unwary can quickly choke to death.

This Omochi is in fact Tadaki Matsunaga, of early 2000s Tokyo three piece Femini Flyers. The original Feminis were Tadaki (bass), Sachie (vocals) and Koji (drums) that was it, no guitars, no synths, Tadaki's bass being the rhythm and lead, and boy could he make it sing. Their 7” single Like You See / Masterbed was an early Ethbo release was the most requested track from Japan Blues’ Boiler Room Collections video - now pulled off the internet by The Powers That Be - since it was first aired, way back in 2014. Now the single trades for a collector's premium with those in the know. Since that recording, Omochi has built, and been working in, his home studio. The first release being his Ethbo 7” Devil, in 2019.

The follow-up is a roller-coaster ride, his own take on several genres in his forage bag, marinated to his own recipe. You'll hear his expert bass in amongst the fungii, some slick R'n'B guitar styling, several dollops of glitch-tronics, some falling-down-the-stairs drum'n'bass, a slice of kraut, Omochi's louche voice, and a spot of Sachie, the lead singer of the legendary Feminis.

This modern psychedelic omnibus, flying in the face of logic (an Ethbo template) was pressed by Omochi at Toyo Kasei, the last independent Japanese pressing plant, housed it in a tip on sleeve and shipped it to the UK, grill-ready for release. Itadakimasu!

THE TRANSPLANTS are Tim Armstrong (Rancid), Travis Barker (Blink 182) and Rob Aston. Their sound is a highly original mix of stylistic influences that never strays too far from the home base of Punk Rock while managing to incorporate such disparate elements as blistering Hardcore Guitars, Hip-Hop and Dance Hall beats, Rap rhymes, and an overall un-wavering dedication to the spirit of Rock "N" Roll. Newly reissued on Blueberry vinyl to celebrate the 20th anniversary of their debut album.

Do noisy babies have you saying I miss you sleep? Rockabye Baby's quiet
versions of blink 182's pop-punk favorites will turn the lights off and help
keep 'em off all night long
.... do it for the kids!

Helga Myhr is a highly regarded Hardanger fiddle player and singer
She has participated in a number of ensembles and has played in a variety of
genres. In this work, originally composed for the 2020 Osa Festival, she combines
her roots in traditional music from Hallingdal with her distinctive form of musical
exploration. This release unites music and visual art on glorious vinyl, designed
by the award-winning artist Solveig Lønseth.Helga Myhr grew up surrounded by
folk music. Today, fiddle tunes are what lie closest to her heart:
"Fiddle playing encompasses infinite possibilities, and it is these possibilities that
inspire me when I create new music. People who know fiddle music well might be
able to hear which tunes or 'layers' I have used, but sometimes it is more subtle" -
Helga Myhr.
The music on this recording was composed specifically for the outstanding
musicians who appear on the recording. Their exceptional musical and creative
qualities have had a profound impact on how the music sounds: "Malin Alander
has a fabulous voice that she can shape and stretch with amazing suppleness;
Adrian Myhr produces a warm bass sound, with lovely and intricate melodic lines;
Michaela Antalová has a superb groove, and she creates elegant tones on the
willow flute; multi- instrumentalist Rasmus Kjorstad adds compelling sound
variations and tasteful contributions on the Norwegian zither, octave violin and
Jew's harp", Helga Myhr explains.
Poems by Margit Lappegard (1918– 2011), from Leveld, Ål in Hallingdal, are
included in three of the tunes. Lappegard was a beloved poet who attracted
considerable attention with her poetry collection "Noko vil alltid lysa", first
published in 1988.
Helga Myhr's solo album "Natten veller seg ut" was released in the autumn of
2019 on the Motvind Records label, and was nominated for a Norwegian Grammy
Award (Spellemannsprisen). Myhr plays in several groups and ensembles,
including the band Morgonrode, which won a Norwegian Grammy in 2019. She is
also a member of Kvedarkvintetten, Dei kjenslevare and a duo together with Tanja
Orning.

For fans this is the perfect genesis of a globally acclaimed guitarist and songwriter. A blend of youthful enthusiasm and innocence that never quite resurfaced again in his work, especially as he developed his jazz-folk fusion and became known for both immense skill on the guitar and his activism in support of social causes. Fans know this album as Bruce Cockburn's happy-go-lucky years, before the weight of his success encouraged him to use his songwriting for a purpose, never again having this much whimsy in the studio. The opening number, "Going to the Country," evokes the era's hippie back- to- the- earth movement, and as all good things come back around again, is just as fresh in today's enviro-movements. His hit song "Musical Friends" remains a fan favorite to this day.

Bruce Cockburn has written more than 400 songs on 35 albums over a career spanning 50 years, of which 23 have received gold or platinum certification. He has sold more than nine-million copies worldwide, is a member of the Canadian Songwriter Hall of Fame, and is the winner of 13 Juno Awards from more than 30 nominations. His world-wide hits include "Wondering Where The Lions Are",
"Lovers In a Dangerous Time", "If A Tree Falls" and "If I Had A Rocket Launcher".

Are you a 'Holly Head'? This limited edition vinyl release is a double disc
pressing on 180g heavyweight transluscent green vinyl with beautiful
gatefold packaging
Obsession can lead an individual down many different paths, it has drawn Kate to
her fifth festive long-playing offering. It's one of the warmest Christmas albums
you'll ever encounter. Winter is supposed to be the season of barrenness, of Jack
Frost nipping at your nose and of needing your big coat. It may get dark at four
o'clock but 'Holly Head' will illuminate and kindle hearts and hearths.

Moundrag members Camille and Colin from Paimpol, Brittany are giving a
new life to the 'hardprog' sub-genre
Camille plays Hammond organ, Colin plays drums, and both of them sing.
Moundrag clearly shows that you don't need a guitar to make rock music. They
have everything to have a massive and powerful sound: the Hammond organ
sound wrecks everything in its path like hurricanes, the drums rumble like a
storm, the vocals are dubbed, harmonized, highlighted, in that vintage rock style
that has been enjoying a revival for the last few years.
From their instruments to their look, everything is vintage, except them. However,
they seem to have come straight from a 1970s psychedelic trip! In any case, they
didn't forget to bring back the wild energy of the bands of that time to compose
their own music. Bold tracks with lacerating riffs, which evoke ELP, Atomic
Rooster and Deep Purple while adding their personal touch.
'Hic Sunt Moundrages' is the result of a journey where music, imagination and
visuals unite as one, transporting you into a transcendent universe.

Humour live together in Glasgow and formed in lockdown
The music is intended mostly to be a backdrop to Andreas' lyrics, which are a
mixed bag. We hope that each song looks the way that it sounds. Our musical
influences don't shed much light on the project – we don't listen to much postpunk although we all quite like it. We listen to stuff with good lyrics and stuff that
makes you feel sad.

Swedish Meatballs Vol 2 - The Psychedelic Hard Rock
Underground 1970-1977
Way-out heavy psych mindblowers with blistering guitars and pounding
drums! Sweden " heaven and hell
Strictly limited edition of 500 copies only. Comes with a striking day- glow
coloured sleeve and a massive 16- page booklet cram packed with photos and
previously untold stories. Subliminal Sounds swings open the portals to the long
lost, ultra-rare, or previously unreleased, music and history of these loud and hairy
underground hard rocking champions. Possessed zit covered Viking teens going
berserk and blasting loud and heavy sounds at youth halls making the stoner kids
go meatball crazy. Mini skirt moose hunters. Mid-70s communal people parks
hedonistic punch- drunk all- night benders. Local biker club bacchanalias with
fierce lesbian bikers make out on stage as the band's rambles on. Heavy metal
greasers in their imported American muscle cars chicken racing with ice bears.
Hard rock glam rockers accompanying XXX live shows and a previously unknown
connection to all mighty Bathory goat. All in a day's work for the Swedish
Meatballs. This is a tasty new release in our series: The Swedish Hard Rock
Underground " A Smorgasbord of Heavy Sounds !

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

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

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

Ltd edition Double Sky Blue Vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Classic Double Black vinyl, Gatefold sleeve w/ spot gloss, liner notes + DL card. Bending scuzzy boundaries, ‘Good Bad Not Evil’ is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches it’s 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. ‘Good Bad Not Evil’ perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics, which was recorded in a little house in Atlanta that had been converted into a studio called the Living Room. Referencing Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘Veni Vidi Vici’, ‘Cold Hands’, ‘Bad Kids’ and ‘O Katrina!’ immediately became Black Lips staples. This was a band caught in the eye of the storm, the touring continued, the parties didn’t stop, this was a band bending the scuzzy boundaries of their chosen genre. The record was hailed by the likes of Pitchfork, who proclaimed, “Black Lips are a go-to band for vintage lo-fi freaks, and their raucous live shows have helped them cross over outside of crusty dive bars. ‘Good Bad Not Evil’, however, is the record where naysayers, disinterested friends and acquaintances, people on the street, and anyone else within earshot has to sit up, shut up, and listen.” …and, shut up and listen they did. “A perfect tapestry of sordid pleasure.” NME // “The same rapturous energy as the Sonics and the 13th Floor Elevators.” The Guardian // Track List: Disc One – Good Bad Not Evil. A1 I Saw A Ghost (Lean) A2 O Katrina! A3 Veni Vidi Vici A4 It Feels Alright A5 Navajo A6 Lock and Key A7 How Do You Tell a Child That Someone Has Died B1 Bad Kids B2 Step Right Up B3 Cold Hands B4 Off The Block B5 Slime and Oxygen B6 Transcendental Light… Disc Two - B-Sides & Rarities. C1 Cruising C2 Make It C3 I Wanna Dance With You D1 Best Napkin I Ever Had D2 My Trouble D3 Leroy Faster D4 Buried Alive

“Arguably his generation’s best lyricist” – Mojo // “The year’s stand-out album for me” – Stewart Lee // “A sort of modern-day pastoral” – Simon Armitage, Poet Laureate // The follow-up to last year’s first volume, English Primitive II continues the themes introduced previously in a harder, more electric and psychedelic style. The songs were mostly recorded during the same sessions but, if EPII showcased the ‘songs of innocence’, this new set comprises ‘songs of experience’. Callahan's lyrical themes here are frequently the sleaze and corruption of our ‘betters’, the intentional and unintentional brutality meted out on those weaker and the sometimes perverse ways in which this happens. There are moments of reflection among the broken mirrors, but they allow scant solace or reassurance. Dressed in another of Scottish artist Pinkie McClure’s witty and detailed stained glass creations and recorded at home and under a railway arch, EPII rises above its origins and invades the wider world, in all its colour, gritand glory. Each song serves as a monument to its internal tale – in fact, the whole LP is as much a collection of musical short stories as it is an album of songs. Opening with Invisible Man, the impression of a regular person with hidden grievances, biding his time and waiting to lash out is given. Waves of distant samples ebb and fall as the warped guitars swell and crash behind the main themes. We don’t know when this explosion will happen – we only know it will. A sleazy celebration of Britain’s position as the laundering capital of the world follows in the form of Beautiful Launderette. It’s good that we keep everything nice and clean for the whole planet, isn’t it? Business as usual, keeping the globe turning – that’s our role and we love it. The Parrot rocks like only a prolonged evisceration of governmental mouthpieces and their court stenographers can. It’s a thankless task making sure that the powers that be retain their authority in all things and patrolling the borders of what is allowed to be said and believed, but somebody’s got to do it. If you’re providing a service, you’ll need to present a united front against the grievances of the public, so you’ll need The Scapegoat. Mistakes and accidents can’t be the company’s fault, so you’ll need to pay someone to be publicly and repeatedly sacked to make it appear as if you’re solving problems and getting better. Lessons will be learned, going forward. The disturbing tale of Bear Factory begins side two and is the real-life story of the murder of one of the singer’s primary-school classmates in the 1970s, and true in every detail. The victim’s body was never found but the killer justifiably imprisoned for life. A more ancient scent of death pervades The Burnet Rose. This ground-hugging plant covers the graves of the victims in a seventeenth-century plague village on the Yorkshire coast to this day, commemorating their sacrifices when all around have forgotten. It’s this particular songwriter’s favourite flower. Orgy of the Ancients describes the intimate intricacies of ageing politicians and the press as they decide whether to go to war. In grotesque scenarios worthy of Caligula, they decide the fates of our children. And it’s not even half the truth. To finish, the songwriter looks back to an admired predecessor, when he sets William Blake’s famous poem London in a groovier setting than we’re used to – in the form of London by Blakelight. If London swings, it’s from the Tyburn tree. Tracks: Invisible Man / Beautiful Launderette / The Parrot / The Scapegoat / Bear Factory / The Burnet Rose / Orgy Of The Ancients / London By Blakelight

Genre : Indie / Pop-folk The New Yorker Adam Green’s 11th and latest solo album, That Fucking Feeling, continues his musical explorations with longtime collaborators Loren Humphrey, James Richardson (MGMT), and Jesse Kotansky. The album places large-scale 'Wall of Sound' style productions alongside home-recordings done during COVID quarantine. Adam Green was touring in Europe in 2022 spring, and will tour in USA in November. When talking about the title track, Adam says: “I wanted to release something home-recorded. Back in the Moldy Peaches days I used to record everything on my parent’s kitchen table, but it’s been 20 years since I put out something like that. I wrote a few songs in quarantine singing into my laptop, and I like how direct it feels. Not every song has to be big, this is just a little song that felt like a sweet moment captured. I think of myself as a singing man, maybe that’s how I’m most comfortable in life” Tracklist : 1. Black Out / 2. That Fucking Feeling / 3. Red Copper Room / 4.Bitter Hearts / 5. All Hell Breaks Loose / 6. What's her face / 7. Dreidels of Fire / 8. Black Out (accoustic) / 9. What's her Face (accoustic) / 10. Little Failure

After the relative success of The Bitter Springs' last album, The Odd Shower, Simon Rivers promptly disbanded the long-running group and began recording his first solo album, Like Yer Wounds Too, under the name Poor Performer. As Jim Wirth wrote of a recent Bitter Springs reissue, "Weaving the messy threads of suburban life into dense tapestries, he has something of the Go-Betweens' gift for melody, something of Mark E Smith’s ear for language, something of Vic Godard’s common touch, and almost none of the acclaim that should have been his due." This holds true for Poor Performer's debut album, though the songs seem based around a loose concept of issues dealing with middle-age self-reflection . . . though nothing nearly as navel-gazing as that statement might imply! Rivers: "For as long as I can remember, I've been either making records or planning to make them. But for once, this is a record I didn't really plan to make. The strange circumstances of the Covid lockdown led to its coming together. I'd lost my Dad to a demential-related death, retired from work due to mental stress, and was shielded for seven months . . . I took my banjo, my Dad's Yamaha keyboard and a few of my guitars, and booked a month of studio days at One Cat with the brilliant Jon Clayton at the controls . . . after a week or so of recording backing tracks, Jon said, "I think 57 songs is a bit ambitious, Si", so together made the decisions that shaped this record and its accompanying EP." With 7" 45s now nearly as expensive to make as a full vinyl LP, a decision was made to include likely contenders on a bonus CD EP, which certainly rivals the album in quality and perhaps generally exceeds it in immediacy, but Like Yer Wounds Too is more of a grower than anything yet released by Tiny Global Productions, and one of the releases we're most proud to present to the public. Humour, insight and brilliance abound. Album tracks: Golden London Leaves / Kempton Park / Life U Chose / Hard To Be Happy / Lil' Bro / Sleepy Little Town / No Escape From Me And You / Right As Rain / The Point / Our Souls / The Frog's Tale / Can You Whistle? / Something's Gonna Kill Ya ep tracks: The World Has Had Enough / 2 Hard 2B Happy / For A While / Get Up Them Stairs / Daylight Robbery

BLACK VINYL REPRESS

NYC´s Superbloom debut LP Superbloom is Brooklyn’s latest entry into the alternative rock scene. Their debut album, “Pollen” is a 12-track love-letter to heavy alternative music that spans infectiously bouncy hard rock, instantly nostalgic acoustic songs, sing-along choruses and undeniable hooks. The album was mastered by Will Yip (Quicksand, Mannequin Pussy, Code Orange), mixed by Joe Reinhart (Remo Drive, Joyce Manor, Hop Along) and produced by Superbloom. The album’s two recent singles, “Whatever” and “Mary on a Chain” have both landed in several Spotify curated playlists including All New Rock, New Alt-Rock Mixtape, Noisy and Alternative Noise. While the album’s feedback-laced instrumentation is hard-hitting at every turn, the band’s sonic signature is embedded in the vocal performance that fills each track with complex layering, earworm melodies and lush harmonies that deliver discoveries of nuanced detail with each listen. Press Quotes: "Your next grunge revival obsession." -The Noise "...buzzing guitars that aren’t too far away from the ones that dominated DGC Records during their heyday... reminiscent of a bygone era when rock dominated the airways. Superbloom are most definitely a guitar band and they play their instruments loud and with the urgency of a ticking time bomb, it’s aggressive and in-your-face, but also catchy as hell." -The Alternative "The group's sonic approach is rooted in the fuzzy guitar atmospherics of bands like Hum and Amusement Parks on Fire. The hooks are plentiful, the arrangements lean and mean, and there's a bouncy rhythmic quality to much of their work so far." -No Echo

REPRESS ON PURPLE VINYL. New edition of the third Warthog EP. Raging hardcore punk from the hyped NYC group.

Whilst most of the North swung to the right in the 2019 General UK Election, the North West held onto their hope and long standing heritage of voting for what imagines itself to still be the ‘Left’. It’s 2022 and there are no political choices left, but to rise up and revolt to Stop the Rot. T.S. Warspite channel their message through a unique musical recipe that answers the question no one asked: What if Bad Religion grew up in Manchester in the 2000s? Made up of some long standing and productive members of the local scene, this sounds like friendship and experience, and some refreshing as fuck hardcore. Singer Marco Abbatiello weaves expertly through scenes of pulp reality where everything is fleeting and only some things stick. What’s left is a farcical montage of things that have rushed past you with no real sense of direction. Personally and politically, it’s all the same wretched soup of societal collapse and the rise of the technocracies. Do yourself a favour, and play this through your Tesla microchip whilst throwing a molotov at No.10. Members of Violent Reaction, Payday, Firearm, Arms Race, Rated X. T.S. Warspite is Paul Morgan, Tom Howard, Marco Abbatiello, Tom Pimlott and Miles Livingstone-Todd. Recorded and Mixed by James ‘Atko’ Atkinson at The Stationhouse. Mastered by Will Killingsworth at Dead Air Studios. Art by Chio. Photos by Meline Gharibyan

Nach fast 20 Jahren der Veröffentlichung ihres Debütalbum „Bohème“, welches mit über 500.000 verkauften Einheiten ihre erfolgreichste Veröffentlichung ist, erscheint nun erstmalig die englische Version des Albums.
Die englischen Bohème-Songs wurden 2009 in Berlin aufgenommen.
Adaptiert wurden die Texte von Martin Gallop einem kanadischen Singer-Songwriter. "Mit Annett Louisan trat er 2007 und 2008 als Gaststar auf ihrer „Das optimale Leben“- Tour und 2009 auf der „Teilzeithippie“-Tour auf, wodurch er einem größeren deutschen Publikum bekannt wurde, insbesondere da er von Sommer 2008 bis 2010 mit Annett Louisan auch privat liiert war, was auch von den Boulevard-Medien zur Kenntnis genommen worden war. Die Künstlerin war seinetwegen nach Berlin gezogen, wo Gallop seine neue Wohnheimat gefunden hatte.

Im Zuge dieser Veröffentlichung erscheinen auch ihre, als Tonträger lang nicht mehr zu erhaltenen, Alben „Bohème“ (2004), „Unausgesprochen“ (2005), „Das optimale Leben“ (2007), und „Teilzeithippie“ (2008) in neuem Gewand als „Gold Edition“ als hochwertiges Digipak und Gatefold DoppelVinyl, 180Gramm. „Unausgesprochen“, „Das optimale Leben“ sowie „Teilzeithippie“ erscheinen zum 1. Mal auf Vinyl.
Alle Alben enthalten unveröffentlichte Bonustracks des 2005 aufgenommen Livekonzerts bei „SWR1 Kopfhörer“.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

When they released their first single, ‘Give It To Me’, in the summer of 2021, Classless Act were immediately praised for their ability to sound both fresh and timeless. Loudwire instantly added the song to their ‘Weekly Wire’ Spotify playlist, identifying it as one of the top new releases of the summer. Other iconic outlets such as SPIN Magazine were also early to show support. It was a fitting public introduction to a band who embody what it means to be modern rock stars. The band initially formed in 2018 after connecting and bonding virtually by their love and passion of music. Now in Los Angeles, they are united on a mission to be the next great generation-defining act, drawing inspiration from classic rock acts of the ‘70s and alt-rock groups from the ‘90s. Their music echoes the hallmarks of previous generations - anthemic rhythms, shredding guitars, soaring vocals - but punches its way into the future with clever arrangements, sharp musicianship and proficient songwriting. Already making a big noise within the industry, the band have recently been in the studio with world-class producers such as Bob Rock, Michael Beinhorn and Joe Chiccarrelli, who have helped craft hits for the likes of The Red Hot Chili Peppers, Metallica, Soundgarden and The White Stripes. Their debut album coincides with the band hitting the road in North America alongside Mötley Crüe, Def Leppard and others on their 2022 Summer Stadium Tour.

The last flight – we have arrived! Fasten your seatbelt and buckle up – Denn die erfolgreichste Dance- & Trance-Compilation unseres Planeten setzt einmalig zu ihrem letzten Landeanflug an.

Anlässlich des 100. Jubiläums erscheint die beliebte Produktreihe als galaktische Sonderausgabe und Fans dürfen sich neben der 3CD und dem eAlbum auf eine streng limitierte Fan-Box mit 3CD, galaktischem Comic-Poster, Fan-Socken und Schlüsselanhänger freuen. Damit aber noch nicht genug: Diese letzte Ausgabe unserer FUTURE TRANCE erscheint am 25.11.2022 zudem exklusiv als 4LP inkl. Comic-Poster!
Echte Fans werden zudem bei der besonderen Optik ein Flashback erleben – das erste Mal seit der Landung der FUTURE TRANCE Vol. 60 erlebt die Reihe wieder ein Alien-Revival und erscheint in außerirdischem Design.

Die FUTURE TRANCE 100 besticht durch ein randvolles Aufgebot mit den größten Stars der Szene und ihren aktuellen Bangern. Ein letztes Mal zünden wir die Trance-Booster - mit dabei sind z.B. Scooter,
Pulsedriver, Armin van Buuren, Rocco und und und. Abgerundet wird dieser Senkrechtstarter mit einem exklusiven FUTURE TRANCE UNITED Mix „The last flight – we have arrived!“ Hier ist Gänsehaut vorprogrammiert!

We are delighted to announce RE:WARM 010 in this very infectious South African House-infused Pop record from 1991 drawing on influences from some of the greats in the genre. Sounding like a long-lost Frankie Knuckles L.P or Something The Pasadena’s might have put out in the early 90s. Small’s, “Don’t Leave Me In The Rain” is an under-the-radar grail for all those seeking good time House music for the feel-good slot at any party.

For all those that enjoyed the releases, we put out from Lucky Mereki or Bibbi this one is going to be right up your street. It's more of the same from the townships of S.As 1990’s Pop, Bubble Gum, Kwaito & House scene of the time. The sound was sweet, the message was positive, the clothes were loud and they seemed to be having the time of their lives.

Officially licensed and remastered for this small release run, 500 vinyl copies in total, pick it up here rather than paying the extortionate cost of the rare and hard-to-find original.

Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Her new album Miss Colombia takes her ecstatic hybridity to a new level, building on the “nu” intersection of electronica and cumbia established by her 2016 Polaris Prize-winning La Papessa as Canadian album of the year. Produced with Matt Smith, a/k/a Prince Nifty, Miss Colombia overflows with the kind of understated genius that promises yet another breakthrough. TOURING EUROPE IN 2020. Already confirmed: May 22 - London Calling (Paradiso), Amsterdam (NL).

Especial Specials and Chillmountain Recordings present the 2nd EP in the Enjoy Your Self EP, diving deeper into the Osaka based labels music to showcase their roster in detail.

The EP starts with label head, Ground's mesmerising Beatdown meets Trance inducing Utau Narukoyuri. A slow burning, late night trip out for deep parties or 'afters'.

Next, Especial 'favourite' Akio Nagase appears for the first time in the series with the heavy, tribal percussives of Arauma (Kobato Dub). The original link between the Chillmountain and Especial, Akio's name is on the rise and here the heavyweight dub basslines and ethereal, new age flute is perfect for late night dark room, psychedelic adventures.

The label's collaborative approach shines as Equador duo Josefina Gandara and Juan Diego Illescas are welcomed. Members of electronic cumbia project, Categal, his backgrounds in film and sound composition, sound design and visual media, highlights Illescas' mastery of the conscious sounds of the pueblos, working with Ground's dub minimalism, all elevated with the awe and lanquitidy of Gandara's natural vocals.

To end Akira Arasawa returns, here with Kun and Franky-Ch, and a meandering Balearic journey of hazy beats, guitar, Hoomii (Mongolian) throat singing, found sound, bird song and folkloric strings, beautifully together for the perfect come down.

Barbara Lynn is a singer, songwriter and musician from a golden era of soul. On Soul Brother Records the success of “Movin’ On A Groove” showed the popularity she retains, and Soul Brother’s earlier coupling of “I’m A Good Woman” with “I Don’t Want A Playboy” further illustrated this. “Mellow Feeling” was first issued in 1979. It’s a lesser known track from the time, but is now more in demand than ever before. Original copies have exchanged hands for over £1,000. Very few of those are known to be in circulation, and it is very unusual for such a well-known and revered artist to have made such a rare record. That makes this an essential purchase for soul fans.

Repress incoming...

Number 94 in the Brazil45 series is one for the Brazilian boogie lovers out there.

The vocal and instrumental group Os Carbonos from São Paulo had a long career that straddled the 60s, 70s and 80s. 'Pássaro Selvagem' is taken from the latter years of their career. Its a bass driven, boogie-funk groove (with a bassline not too dissimilar to Queen 'Another One Bites The Dust') that is Brazilian boogie at its finest. Taken from the B-side to a 7" campacto released in 1981 on Copacabana records, its proven to be a favourite of Luke Una and we foresee it becoming a staple in your DJ box for years to come too.

The B-side comes from one of our all-time favourite artists, the mighty Sandra Sa. Sandra is a wonderful vocalist, her intense and recognisable style is one of THE voices of the Brazilian boogie golden era. Check out her classic album 'Vale Tudo' (MRBLP230) on Mr Bongo for further proof of her credentials here. 'Palco Azul' is also taken off a 7" single from 1981 and is a feel-good dancefloor groover with punchy brass stabs, warm keys and uplifting chord changes. It contains all the right elements that we have come to associate with that knockout late 70s / early 80s Brazilian sound.

The ever wonderful Politics Of Dancing come with four remixes of label stalwart Tommy Vicari Jnr jumping, pumping house stormer 'Look I Your Eyes', each carefully crafted to cover slightly different areas of the dancefloor. The Silverlining Night dub remix takes pride of placer on side A, a mix of two halves for sure - it starts of all full pelt, adds a subtle layer of disco-style strings and then drops to a dramatic breakdown before re-building brick by brick. Josh Baker's version has a slightly 80s feel with its mechanised handclaps and swooping synths wrapped in echoey vocals, the Lowris mix is arguably the most no nonsense, straight ahead thumper and then we're left to luxuriate in the sumptuous ooze of Cosenza's dub house re-reub, taking us all the way back to the days of Guerrilla at their h=eight. Capital!

Arresto Temporaneo was born very spontaneously as the natural continuation of a collaboration that has lasted for over a year with Tamburi Neri, Adiel and Danza Tribale.

It is pure magic when seemingly different worlds meet and create a dialogue which is the foundation of successfully bringing the creation of this record into fruition. The EP functions as the fusion between the past and the present of the musical experiences of all of us.

Arresto Temporaneo was born by cutting a text "Prepariamoci ad un arresto temporaneo" that the artists liked. The sentence is free to interpret as any of the listeners wish, there is a deliberate reason why the subjective interpretation is avoided.

The EP is filled with the voice and lyrics of A.B. The track "Silenzio" symbolises a moment with which all of us, in spite of ourselves, had to deal with, the deafening noise of silence that can sometimes be devastating and for this reason it is important to understand it and not be afraid of it when it resonates within us.

"Nella penombra" refers to something that moves inside us, not too deep but just important enough to understand, with sounds that nature emits at dawn, when the light still reigns in the dim light, we must learn to move with skills and lightness without harming ourselves and especially others.

• Formed by drummer Bill Curtis in 1970, the Fatback band started off as a funk band although when disco began to break in 1974, they added that four-to-the-floor wrinkle to their sound to serve up some classics. In 1975 Fatback released both their fifth and sixth albums - “Yum Yum” and “Raising Hell” - in the same year. Although singles had been released Stateside as early as 1971, it was not until 1975 that Fatback began to appear on singles here.

• Their third UK 7” – ‘Yum Yum (Gimme Some)’ - got to number 40 in the UK charts in August. Later in November, ‘Are You Ready (Do The Bus Stop)’ got to number 18, which helped propel the “Raising Hell” LP into the top 20. This album also spawned the Top 10 hit ‘Spanish Hustle’ in early 1976. Both “Yum Yum” and “Raising Hell” have been out of print on vinyl for decades. These new editions allow funky Fatback fans to drop the needle and get back into the groove.

Eddie Piller & Dean Rudland present Acid Jazz (Not Jazz)

Back in the early 1990s as Acid Jazz began a period of extraordinary commercial success where acts like the Brand New Heavies and Jamiroquai sold millions of records, and US groups such as A Tribe Called Quest, The Roots and Digable Planets were actively influenced by what was being played in London, the whole scene was being fuelled by a small number of clubs, led by Gilles Peterson’s Sunday afternoons at Dingwalls but taking in nights in Leeds, Bari, Munich, Tokyo, Stockholm and New York. In those clubs funky jazz, latin boogaloo and 70s soul soundracks competed for time on the dance floor with import records from New York, and the latest sounds coming out of bedrooms and makeshift basement studios that created contemporary sounds out of the past.

Acid Jazz’s Eddie Piller and Dean Rudland have put together this compilation of the sort of sounds that we were playing at the time. They are releases on Acid Jazz and other label’s that surrounded the scene and they were mainly made by people we knew from either around the club scene, behind the counters of our favourite record shops, or from trips to New York or Europe. They range from The Ballistic Brother anthem ‘Blacker’ to the jazz house of A-Zel - a Roger Sanchez mix that still sounds fresh today. We have the Humble Soul’s instrumental version of ‘Beads Things And Flowers’ which at the time was only available as a DJ special on Acetate. There is the presence of A Man Called Adam before they went to Ibiza, and the early Mo’ Wax (before they went Trip Hop) single by Marden Hill ‘Come On’.

These records could fill a dance floor in seconds and we feel that they are today largely forgotten, as they were non-album, underground club records. It’s time to celebrate them!

Isaac Prieto is Mexico-born but Detroit based and that is presumably where he hooked up with the Motor City's assured house auteur Javonette. The pair take a trip through scuffed-up deep house brilliance here with the chattery claps and blurting bass of spaced-out opener 'One Take' before 'Brothers In Rhythm' is a more dance-y cut with pinging kicks and detuned synths stumbling about the mix to make for a brilliant sense of mechanical funk. 'High Energy' brings edgy chord stabs over busted beats and bass and 'Lost & Found' is more kinetic analogue madness with hurried techno hi-hats, spangled pads and punchy kicks all bringing an utterly fresh type of sound.

Dedicated to the dancefloor but completely untethered to traditional notions of genre, the music enthusiastically pulls from grime, jungle, techno, hardcore, footwork and other less-defined areas of the bass continuum, its chest-rattling thumps and fast-flying percussion offering a concentrated dose of instant energy.

DJ, Edit entrepreneur - Record Mission Records & Record dealer Nick The Record is adding another tab to his busy Calendar with the launch of a new label Natural House for showcasing new material & Remixes.

Studio 58's "Birds Of Paradise" is a place where Highlife meets House with a smile wider than its face.
Mandjou Koné hailing from Burkina Faso gives us "Wamian" which is perfectly pulled into the heart of the dance floor
with all manner of deftly deployed devices. Absolutely essential floor pieces from a man who knows.

In the late 90's Nick recorded a tribute to Fela Kuti with Tim Hutton under the Soul Ascendants moniker.
Tribute turned into an NYC underground anthem and was huge at Shelter & Body & Soul, often getting played 3 times a night.
For the Soul Ascendants project they worked with Tony Allen of Fela's Afrika 70 Band and on this new release Nick brings his love of African music onto the modern dance floor with 2 peak-time Remixes.