Mit Horses In The Sky veröffentlichte Thee Silver Mt. Zion 2005 jenes Album, das von vielen Fans bis heute als kreativer Höhepunkt der Band angesehen wird und ihre Entwicklung zu einer eigenständigen, kaum kategorisierbaren Stimme zwischen Punk, Emo, Post-Classical, Klezmer und Folk eindrucksvoll festhielt. Mehr als zwei Jahrzehnte später erscheint das Werk nun als 21st-Anniversary-Vinyl-Neuauflage mit erweitertem Artwork, Gatefold-Cover, gestalteten Innenhüllen sowie dem restaurierten 12-seitigen Booklet und der originalen Vinyl-Gravur auf Seite vier. Die sechs Stücke verbinden Protestmusik mit emotionaler Dringlichkeit und reichen von zarten Momenten bis zu epischen, vielschichtigen Kompositionen. Besonders God Bless Our Dead Marines und Mountains Made Of Steam zählen bis heute zu den beliebtesten und intensivsten Songs des Ensembles und waren über Jahre hinweg zentrale Bestandteile ihrer Live-Shows. Mit seiner einzigartigen Mischung aus Hoffnung, Verzweiflung, Schönheit und Widerstandskraft überschreitet Horses In The Sky die Grenzen des Post-Rock und bleibt ein Schlüsselwerk im Katalog von Thee Silver Mt. Zion. Die Neuauflage würdigt ein Album, dessen künstlerische Kraft und politische Dringlichkeit auch heute nichts von ihrer Wirkung verloren haben.
The highly acclaimed U.K post- punk band Joy Division was originally called Warsaw . Formed in Manchester, England in the late 1970s, the group consisted of Ian Curtis on vocals, Bernard Albrecht (aka Sumner, aka Dicken) on guitar, Peter Hook on bass and Stephen Morris on drums. Hook, Albrecht and Curtis hooked up at a local concert and later formed the group Warsaw. The band's name was taken from a David Bowie- Brian Eno composition, "Warszawa". The 5 bonus tracks on this album are demos cut by the group at Pennine Studios in Manchester on July 18, 1977 with Steve Brotherdale on drums. The first eleven tracks presented here were the result of a recording session for that album that took place in early May of 1978. Rehearsals leading up to the session resulted in two new songs being added to the group's existing repertoire: "Interzone" and "Transmission." "Interzone" was based on the backing track of the song "Keep On Keepin' On," to which the band added their own lyrics. The result was a song distinctively their own. "Transmission" was written by the band during the final week of rehearsals. The first verse contains a quotation from Alistair Crowley's The Book Of Thoth. The two recordings are interesting renditions of songs which would later became famous.
„Song of Songs“ ist die zweite Sammlung von Hard-Bop-Avantgarde-Kompositionen des legendären Trompeters
Woody Shaw auf dem Label Contemporary, produziert von Lester und John Koenig. Mit einer hochkarätigen Besetzung, darunter Benny Maupin, George Cables und Henry Franklin, bringt diese Neuauflage von
Jazz Dispensary Top Shelf das Album nach fünf Jahrzehnten wieder auf Vinyl – geschnitten von Kevin
Gray direkt von den originalen analogen Bändern (AAA), gepresst auf 180-Gramm-Vinyl bei Fidelity Record
Pressing, in einer Gatefold-Tip-On-Hülle.
For the best part of the last decade, Dumfries-born, Glasgow-raised Liam Shortall AKA corto.alto has been in his home studio in the Southside of the Scottish city, cooking up frenetic improvisations, diligently wonky productions and genre-spanning compositions with a close-knit group of local collaborators. Now signed to Ninja Tune, the multi-instrumentalist producer, composer and performer announces “SOME SMALL FORTUNE”, which finds Shortall at his most expansive and unpredictably exciting, working with his widest range of features to date, collaborating with the likes of Mick Jenkins, Vector, anaiis, Oscar Jerome, Jacob Alon (Brit Award winner), BINA., Terra Kin and Eriff alongside his longtime Glaswegian band, drummer Graham Costello, Mercury Prize nominated Fergus McCreadie and saxophonist Mateusz Sobieski to produce an electronic, classical, pop and indie-influenced record that extends far beyond the confines of its meticulous making
The next WOLF Music EP is here, and once again it comes courtesy of a new addition to the label roster. New York-based DJ and producer DJ Alone Again is a natural fit for what we do at WOLF, delivering a sound that hits that sweet spot where deep meets soulful, with the raw, understated energy of the authentic New York underground running through every track.
With a growing catalogue of original productions and edits, DJ Alone Again has released music through labels including YORE Records, House Salad Music, Dobro, Fantin Zoo Records, and Dealt With Records. His musical roots extend beyond house, too. Earlier work with the band Vain Pursuit, alongside a wealth of SoundCloud mixes and underground edits, reveals an artist with a deep appreciation for melody, songwriting and the emotional side of dance music.
Opening the EP is ‘Freedom of House’, a sublime take on the classic NYC-meets-Chicago deep house sound. Warm, soulful and hypnotic chords sit at the heart of the track, surrounded by intricate, skippy percussion and a deep, driving bassline. Carefully placed female vocal snippets drift in and out of the groove, while a spoken-word ode to the freedom and self-expression that house music offers provides the track with its emotional centre. It’s a celebration of movement, individuality and that unspoken connection forged on the dancefloor.
On the A2, ‘State of Flux’ keeps those warm, evocative chords front and centre, building an infectious groove around an instantly memorable melody courtesy of the vibes. Subtle synth strings add depth and atmosphere, bringing a touch of late-night melancholy to the arrangement, while the rhythm rolls steadily underneath. Everything is expertly layered without ever feeling crowded, giving the chords, melody and percussion room to breathe whilst pulling the listener deeper into the track.
‘Horizontal Patterns’ takes the winning formula of ‘State of Flux’, adding a beautifully understated vocal hook that sums this track up perfectly: deep in the groove.
Closing out the EP is ‘In Your Orbit’, a serene, dream house number with a deeply hypnotic edge. Ethereal flute lines drift through the arrangement, weaving around vocal phrases that seem to lift the consciousness somewhere beyond the dancefloor. There’s a sense of weightlessness and escape in the arrangement, but the dance floor pulse courtesy of the warm chord stabs never lets you float too far away. Dreamy yet deeply rooted, it’s a meeting point between introspection and movement; music to lose yourself in.
If this EP had landed on Guidance 30 years ago, it would probably be changing hands for a small fortune on Discogs by now.
Ty Segall, precleared for flight in full rock congress with the band (Ben Boye/Evan Burrows/Mikal Cronin/Emmett Kelly), shifts Chrome. Songs of massive riffs, swung, tightly arrayed lines of fuzz & distortion, twin-guitar attack-and-parry, endopic keyboards kicking, precise & thudding power, a rhythmic core on the march in full BAND energy. The songs are lyrically allusive trips, dark passages in the labyrinth, everything in the air bristling collectively, as minds collide.
Multi-faceted artist Calibre today shares his sixteenth studio album "Feeling Normal". The album is out now to pre-order on Vinyl, CD and on digital platforms via his own independent imprint Signature Recordings.
The record is his first bonafide 140bpm record and a staggering body of work that shows the genius levels of one of electronic music's most respected auteurs. Across the 13 tracks, he transcends through space and time, creating music that will take the listener on a weighty sonic journey. The album announcement is accompanied by two dub versions "Bad" and "Badder" deconstructed from the track "Badman" with DRS from Mark Ernestus available via his Hardwax store January 29th and Bandcamp February 12th. "Getting to work with Mark Ernestus is a real honour, I collected Basic Channel, Rhythm & Sound and his other work for many years and still do. It's hard to avoid the influence of this guy in electronic music across genres and so it is a real pleasure to have him do his thing with the Badman tune which I think sounds closely related."
All of the tracks on the record have been road-tested in Calibre's DJ sets over the last 2/3 years with many of them being sought-out by his hardcore fans. It was only a matter of time then that he put them out for all to consume. With a nod to the dancefloor, the clear idea for the album came about following the release of his most personal album to date "Planet Hearth". "It still works in the headspace but ultimately it's been written for the sweaty club experience we miss now, also after an album like Planet Hearth it felt very liberating to do," he remarks. When writing albums, he often just puts it down to the general chaos of life, not citing any one influence but generally just waits to see what comes. With one of the tracks on the album written 7 years ago on the island of Valentia, It became a project that he spent the intervening years collecting tracks for, not really knowing when he was going to put it together as an album. "The whole album is special to me, everything on there has import and meaning beyond for me, I have spent much time on all these and hope they are special for other people too."
Belfast-born, Berlin-based Calibre - AKA Dominick Martin - shows no sign of slowing down. As a producer, DJ, songwriter, multi-instrumentalist and painter, he is one of the most unique and inspiring living artists. With a career spanning two decades, his ability to remain underground whilst being one of the most-respected is testament to who this enigmatic artist is. To this day, he has never been remixed and has a seriously impressive amount of unreleased music under wraps. With everything on hold and gigs on the backburner, this record is exactly what the world needs right now.
Cold, Bold & Together (CBT) CBT was founded in Bellingham, Washington in 1971 by percussionist Tony Gable and musicians Solomon Harris, Keith Hooks and twin brothers TC & Jamar Jenkins. It soon became evident that Bellingham was not a particularly welcoming environment for R&B music, so they moved to Seattle to try their luck and plumb the rich supply of venues, which they successfully did until disbanding in 1978. They spent their early Seattle years playing a combination of covers and originals in clubs, later becoming the "go to" opening act for various nationally known artists, such as Ohio Players, Kool and the Gang and Earth, Wind & Fire. While they were paying their club circuit and opening act dues, they squeezed in recording sessions whenever they could and released their own material, which was well-received and got strong regional airplay. However, because of the feudal nature of the music business at the time, they just couldn't break out, and like a lot of Northwest bands with great potential, they inevitably broke up and went their separate ways. Upon disbanding, they left behind a collection of original recordings at Seattle's legendary Kaye-Smith studios.
Unfortunately for CBT, the studio passed through several owners and at some unknown point in time, one of them did the unforgivable and destroyed the storied studio inventory of two-inch tapes and quarter-inch masters. Unknown to the band, a copy of their masters was smuggled out by their producer who added them to his legacy collection of cloned quarter-inch masters. After several years and many moves, he became concerned about the tendency for magnetic tape to deteriorate over time.
He sent the tapes to a Seattle lab to be restored and digitized, with the hope that perhaps, some day, they might be made available for the listening pleasure of R&B fans. The hoped-for day has finally arrived. Russell Paine and Super Disco Edits has pressed two of the Kaye-Smith CBT tracks: "Go For It", a jazz-influenced instrumental, featuring Kenny G, and "Unity", sung by the group en masse with Tony Gable singing lead. The musicians on these tracks are: Tony Gable, leader, vocals and percussion Harry Alexander, drums Kenny Gorelick (now world-renowned "Kenny G"), sax, flute and horn arrangements Chris Ishi, trumpet Michael Young, Trombone Jamar Jenkins guitar, vocals TC Jenkins bass, vocals 1 Philip Woo, keyboards Footnotes: CBT gave legendary saxophonist Kenny G his start in the music business. Kenny was still in high school when he was recruited to play sax and write horn arrangements. Kenny co-wrote, arranged and played sax and flute on the instrumental "Go For It." He rips a smoking tenor sax solo in the middle, which showcases his already masterful technique and solidifies his R&B bona fides. He went on to have a spectacular career recording for Clive Davis and Arista Records. Before his untimely passing in 2016, Tony Gable went on to found contemporary Jazz group, "Tony Gable and 206" (206 being Seattle's then only area code). With songwriting, performance and production help from Kenny G.
Seven-piece instrumental group Let Your Hair Down herald their triumphant return with super heavy new 7” Pingu’s Anthem b/w Gronk.
Hailing from the hotbed of Melbourne / Naarm, Australia, Let Your Hair Down step out from the shadows for the first time since their 2021 album‘Waiting Room’. The seven-headed cinematic funk group is a conglomerate of Melbourne’s thriving cinematic soul movement, comprising members of Surprise Chef, Karate Boogaloo, Owelu Dreamhouse and Temporary Blessings. The band’s sound is a sturdy mix of dusty minor key funk, off-kilter conguero psychedelia and horn-heavy boogaloo, represented robustly across both sides of the forthcoming College of Knowledge 45‘Pingu’s Anthem b/w Gronk’.
Side A, ‘Pingu’s Anthem’, pays tribute to the tune’s titular penguin protagonist. Emblematic of Pingu himself, LYHD’s horn section sticks its chest out boisterously atop the rock-solid drum feel of Hudson Whitlock. The tune is laced with a resolute flute solo from saxophonist Will Morrissey.
Side B, ‘Gronk’, is a punishing funk cut; relentless rhythm section careening through the tune, punctuated by the metallic, percussive sound of an empty gas bottle being struck. Razor sharp farfisa and menacing horns reinforce this deadly joint as one to handle with care.
Pingu’s Anthem b/w Gronk is out worldwide on 45RPM 7” vinyl on College of Knowledge Records August 7th 2026.
1st repress of the rare UK compilation “In Reggae Time”.
Originally released in 1970, it brings together a series of very rare tracks issued only on 7" singles around 1967 by Ember Records and its sub-labels.
The sound is not just Reggae—it’s only marginally so—offering a vibrant mix of 1960s UK mod, R&B, Ska, and Northern soul.
Opéra de Nuit emerge from their long slumber to grace Dark Entries with the frostiest of reissues. Formed in 1982 in Valréas in the southeast of France, Opéra de Nuit only released 3 records throughout their career: EPs in 1984 and 1986, with a full LP following in 1988. But devotees of dark music will need no introduction to this band, who are almost definitional of the coldwave genre, and whose rabid cult following has each record readily trading for three-digit prices. Opéra de Nuit’s sound is pure hellish heaven: frigid synths, jangly guitars, and sorrow-laden vox. Check out the pummelling desperation of “Annabella,” the uber-brooding vibes of “Boris Transylvania Camp,” or the elegant anthem “Karen Lloyd” (and don’t forget to watch the video!). This reissue collects their entire newly remastered discography - thirteen lucky tracks. This reissue marks the first time that their work will be reissued on vinyl and digital, and is presented in gatefold jacket with lyrics and photos. Whether you’re new to the genre or a veteran of the coldest waves, Opéra de Nuit brings the essential sound of immortal despair.
Echoes from Mozambique 1993-2005 is the first time Ghorwane's most cherished recordings have been pressed on vinyl, drawing from three landmark albums spanning the arc of their career. The tracks chosen represent the band at their best: soaring with musicality, punching with feeling, and lifting the spirit.
Remastered by Frank Merritt at The Carvery in London and pressed as a premium double LP by Merchant Records, this is an essential document of one of Africa's great bands, finally given the format their music deserves. Following a celebrated UK and European tour in 2026, Ghorwane remain as vital and active as ever.
For the first time in their celebrated history, legendary Mozambican band Ghorwane are released on vinyl.
Founded in Maputo in 1983, Ghorwane’s unique sound blends traditional rhythms with Afropop, soulful horns and politically charged lyrics that made them simultaneously heroes of the people and a headache for those in positions of power.
As Mozambique’s longest-running band, they have survived the tragic murder of two of their most influential members and institutional censorship, going on to become one of Mozambique's most respected bands and inspiring a generation of artists.
Scarface’s acclaimed NPR Tiny Desk performance arrives across all formats this December as part of Rap-A-Lot Records’ ongoing 40 Years campaign. Backed by a live band featuring legendary producer Mike Dean on keys, the Houston icon delivers intimate, reimagined renditions of career-defining classics including “On My Block,” “Mary Jane,” “Smile,” “I Seen a Man Die” and the Geto Boys’ “Mind Playing Tricks on Me.” Arriving just in time for the holidays, this special release commemorates one of Scarface’s most celebrated performances and an unforgettable moment in his storied career.
Scarface’s acclaimed NPR Tiny Desk performance arrives across all formats this December as part of Rap-A-Lot Records’ ongoing 40 Years campaign. Backed by a live band featuring legendary producer Mike Dean on keys, the Houston icon delivers intimate, reimagined renditions of career-defining classics including “On My Block,” “Mary Jane,” “Smile,” “I Seen a Man Die” and the Geto Boys’ “Mind Playing Tricks on Me.” Arriving just in time for the holidays, this special release commemorates one of Scarface’s most celebrated performances and an unforgettable moment in his storied career.
Scarface’s acclaimed NPR Tiny Desk performance arrives across all formats this December as part of Rap-A-Lot Records’ ongoing 40 Years campaign. Backed by a live band featuring legendary producer Mike Dean on keys, the Houston icon delivers intimate, reimagined renditions of career-defining classics including “On My Block,” “Mary Jane,” “Smile,” “I Seen a Man Die” and the Geto Boys’ “Mind Playing Tricks on Me.” Arriving just in time for the holidays, this special release commemorates one of Scarface’s most celebrated performances and an unforgettable moment in his storied career.
Scarface’s acclaimed NPR Tiny Desk performance arrives across all formats this December as part of Rap-A-Lot Records’ ongoing 40 Years campaign. Backed by a live band featuring legendary producer Mike Dean on keys, the Houston icon delivers intimate, reimagined renditions of career-defining classics including “On My Block,” “Mary Jane,” “Smile,” “I Seen a Man Die” and the Geto Boys’ “Mind Playing Tricks on Me.” Arriving just in time for the holidays, this special release commemorates one of Scarface’s most celebrated performances and an unforgettable moment in his storied career.
Scarface’s acclaimed NPR Tiny Desk performance arrives across all formats this December as part of Rap-A-Lot Records’ ongoing 40 Years campaign. Backed by a live band featuring legendary producer Mike Dean on keys, the Houston icon delivers intimate, reimagined renditions of career-defining classics including “On My Block,” “Mary Jane,” “Smile,” “I Seen a Man Die” and the Geto Boys’ “Mind Playing Tricks on Me.” Arriving just in time for the holidays, this special release commemorates one of Scarface’s most celebrated performances and an unforgettable moment in his storied career.
Scarface’s acclaimed NPR Tiny Desk performance arrives across all formats this December as part of Rap-A-Lot Records’ ongoing 40 Years campaign. Backed by a live band featuring legendary producer Mike Dean on keys, the Houston icon delivers intimate, reimagined renditions of career-defining classics including “On My Block,” “Mary Jane,” “Smile,” “I Seen a Man Die” and the Geto Boys’ “Mind Playing Tricks on Me.” Arriving just in time for the holidays, this special release commemorates one of Scarface’s most celebrated performances and an unforgettable moment in his storied career.
Die Band um ihren Sänger Felix Meyer bleibt auch bei ihrem neuesten Werk „Paradies“ dem Gestus vorausgegangener Veröffentlichungen treu,
wenngleich dieses Fundament in einem erneuerten Gewand erscheint. Autonom, unabhängig, einzigartig - lyrische Poesie in windschiefe Metaphern
gegossen findet über die Musik ihren Weg ins Epizentrum der Emotionen. Im Gegensatz zu den sechs vorangegangenen Alben, klingt „Paradies“
deutlich optimistischer, ohne dabei die delikate Grenze zum Euphorischen zu überschreiten. Die Texte, die zumeist von gescheiterter Liebe,
aufgegebenen Träumen und verlorenem Glauben handeln, gehören einem Typus von Lyrik an, die das Feld der individuellen Bedeutungen in eine
floskelfreie, poetische Gestalt verlagert. Instrumentiert vom mondëna quartet sowie den formidablen Mitmusikern, die bereits die Vorgängeralben
veredelt haben, verhindert der maßvolle und gelungene Einsatz der Streicher, dass das Gesamtkunstwerk „überzuckert“ wirkt. Ganz im Sinne der
Klangstruktur, deren sanfte Melancholie weder technische noch atmosphärische Härten hat. Denn andeuten ist mitunter mehr als ausspielen. Auch
finden sich etliche Songs auf „Paradies“, die in Kooperation mit anderen Künstlern eingespielt wurden. Durch die Mitwirkung von Jan Plewka (Der
versoffene Kater), Norbert Leisegang (Zug nach Marseille), Alin Coen (Himmel aus Stahl), Wencke Wollny (In den Wolken) sowie Fama M´Boup (Blume
mit Dornen), gewinnt das Album eine zusätzliche inspirierende, künstlerische Identität und Originalität, die dieses Album so einzigartig machen.
The songs of I Love You Dude have millions of streams over the different platforms and never lost their appeal. Songs like Miami Showdown, Circles or 2 Hearts still belong to the most streamed tracks of Digitalism's catalogue. To date the album tracks have been used in numerous games and commercials. The band just released their highly acclaimed new album Optimism alongside a European tour in November. This 2026 re-issue is the first edition since the album release in 2011. The LP was sold out for years and now it's back limited to 300 copies on sky blue vinyl.
Humpty Dumpty LSD erschien ursprünglich 2002 und versammelt seltene Aufnahmen, alternative Versionen und weitere Raritäten aus der besonders kreativen Schaffensphase der Butthole Surfers Mitte der 1980er Jahre. Die insgesamt 19 Stücke dokumentieren eine Band auf dem Höhepunkt ihrer experimentellen Kraft und zeigen eindrucksvoll, warum die Texaner zu den einflussreichsten Underground-Acts ihrer Generation zählen. Zwischen Psychedelic Rock, Punk, Noise und surrealem Humor entfaltet sich ein Klangkosmos, der ebenso chaotisch wie faszinierend wirkt. Die Songs spiegeln die kompromisslose Herangehensweise von Gibby Haynes, Paul Leary und ihren Mitstreitern wider und bieten einen tiefen Einblick in die Entwicklung ihres unverwechselbaren Sounds. Besonders bemerkenswert ist "Sherman (Backass Alt.)", eine frühe Version eines Titels, der später für Hairway to Steven überarbeitet wurde und hier erstmals digital verfügbar ist. Humpty Dumpty LSD ist weit mehr als eine Sammlung von Archivmaterial: Es ist ein spannendes Zeitdokument, das die kreative Wildheit und grenzenlose Experimentierfreude der Butthole Surfers in ihrer legendären Frühphase eindrucksvoll festhält.
Mit Piouhgd veröffentlichten The Butthole Surfers 1991 ihr fünftes Studioalbum und hielten damit einen entscheidenden Moment ihrer Karriere fest. Die texanische Kultband befand sich damals im Übergang vom kompromisslosen Underground-Phänomen hin zu einer größeren Wahrnehmung innerhalb der alternativen Rockszene der frühen 1990er Jahre. Das Album verbindet die chaotische Energie ihrer frühen Jahre mit eingängigeren Strukturen, ohne dabei den typischen, psychedelisch verzerrten Sound der Gruppe zu verlieren. Gewaltige Gitarrenwände, surreale Texte und eine bewusst exzentrische Atmosphäre prägen die Aufnahmen. Zu den Höhepunkten zählt die eigenwillige Interpretation von Donovan's "Hurdy Gurdy Man", die den Song in ein düsteres, gleichermaßen verstörendes wie faszinierendes Klangexperiment verwandelt. Piouhgd zeigt eine Band, die sich konsequent jeder Einordnung verweigert und dabei einige ihrer kreativsten Momente erschafft. Die Neuauflage präsentiert das Album mit klanglich überarbeitetem Audiomaterial und macht einen wichtigen Meilenstein der Alternative- und Psychedelic-Rock-Geschichte wieder neu zugänglich
To celebrate the 50th anniversary, "Tales Of Mystery And Imagination Edgar Allan Poe" is re-issued in a variety of different formats including as a picture disc LP. The Alan Parsons Project debut studio album was originally released in June 1976. The lyrical and musical themes of the album are retellings of horror stories and poetry by Edgar Allan Poe.
Musicians featured on the album include vocalists Arthur Brown of The Crazy World of Arthur Brown on 'The Tell Tale Heart', John Miles on 'The Cask of Amontillado' and '(The System of) Dr. Tarr and Professor Fether', and Terry Sylvester of The Hollies on 'To One in Paradise'. The complete line-up of bands Ambrosia and Pilot play on the record, along with keyboardist Francis Monkman of Curved Air and Sky.
The album was a worldwide hit selling almost a million copies and achieving platinum status in a number of territories including Germany and Canada.
About The Alan Parsons Project
The Alan Parsons Project was a progressive rock music entity comprised of engineer/ producer Alan Parsons and songwriter, musician and manager Eric Woolfson. They released 10 concept albums which focused on subject matter such as science fiction, supernatural, literary and sociological themes between 1976 – 1987 and have sold in excess of 55 million albums world-wide.
To celebrate the 50th anniversary, "Tales Of Mystery And Imagination Edgar Allan Poe" is re-issued in a variety of different formats including as a picture disc LP. The Alan Parsons Project debut studio album was originally released in June 1976. The lyrical and musical themes of the album are retellings of horror stories and poetry by Edgar Allan Poe.
Musicians featured on the album include vocalists Arthur Brown of The Crazy World of Arthur Brown on 'The Tell Tale Heart', John Miles on 'The Cask of Amontillado' and '(The System of) Dr. Tarr and Professor Fether', and Terry Sylvester of The Hollies on 'To One in Paradise'. The complete line-up of bands Ambrosia and Pilot play on the record, along with keyboardist Francis Monkman of Curved Air and Sky.
The album was a worldwide hit selling almost a million copies and achieving platinum status in a number of territories including Germany and Canada.
About The Alan Parsons Project
The Alan Parsons Project was a progressive rock music entity comprised of engineer/ producer Alan Parsons and songwriter, musician and manager Eric Woolfson. They released 10 concept albums which focused on subject matter such as science fiction, supernatural, literary and sociological themes between 1976 – 1987 and have sold in excess of 55 million albums world-wide.
,Memories Linger" ist das erste offizielle Album des britischen Duos 50/50, fast 50 Jahre nach der Gründung der Band. Die langjährigen Freunde Richard Haines und David Cowles verbanden Anfang der 1980er Jahre eingängigen Synth-Pop, New Wave und klassisches britisches Songwriting der 1960er Jahre zu einem eigenständigen Sound, der an die goldene Ära von Synth-Pop und Sophisti-Pop erinnert.Aus einem Archiv von über 150 zwischen 1979 und 1985 entstandenen Aufnahmen wurden zwölf Songs ausgewählt, darunter mehrere bislang unveröffentlichte Stücke. Die Mischung aus warmen Synthesizern, eingängigen Melodien und nachdenklichen Texten zeigt die musikalische Bandbreite des Duos zwischen Pop, Rock und elektronischer Musik. Obwohl 50/50 zu ihrer aktiven Zeit nie den verdienten Durchbruch schafften, gilt ihr Werk heute als bemerkenswerte Wiederentdeckung einer übersehenen Synth-Pop-Perle.Die Veröffentlichung wurde von Light in the Attic sorgfältig aufbereitet, neu gemastert und mit umfangreichem Archivmaterial sowie neuen Liner Notes ergänzt. ,Memories Linger" dokumentiert nicht nur eine außergewöhnliche musikalische Partnerschaft, sondern auch die jahrzehntelange Freundschaft zweier Musiker, deren Songs nun endlich das Publikum erreichen, für das sie ursprünglich gedacht waren.
Während ihr Schaffen mit Big Thief die Musik der meisten Menschen erstmals auf sie aufmerksam machte, beginnt ihre Geschichte nicht mit dem Debüt der Band. "Als ich nach New York zog, fing ich praktisch bei null an. Ich hatte nichts, was ich jemandem zeigen konnte, das wirklich widerspiegelte, was ich mache, außer den Sachen, die ich mit 13 aufgenommen hatte. Also entschied ich, ein Soloalbum mit meinen Songs aufzunehmen." 2013 kehrte Lenker in ihre Heimatstadt Minneapolis zurück und ging mit Produzent Rob Oesterlin in die Terrarium Studios. Dort nahm sie zehn Songs mit Akustikgitarre auf. "Im Grunde ist es wie ein Live-Solo-Konzert", beschreibt Lenker, "nur mit einer zusätzlichen besonderen Note." Hours Were the Birds erschien 2014. Durchzogen von wunderschönen Bildern und intimen Geschichten ist es das Werk einer Frau auf einer Reise, die mit Mut und Ehrlichkeit neues Terrain erobert.
Mit ihrem neuen Album Nine setzt das aus Chicago stammende Post-Metal-Trio Russian Circles seine bedächtige Weiterentwicklung und disziplinierte Verfeinerung fort. Dabei besinnen sie sich auf ihre Stärken und erweitern zugleich die Grenzen ihres Klangspektrums. Dies ist eine Band ohne Radio-Hits. Es gibt keinen Konsens unter Fans darüber, welches ihr bestes Album ist. Was bleibt, ist der Ruf nach Beständigkeit und Qualität - ein Ruf, der sie zu einer der weltweit bedeutendsten Bands im Bereich des instrumentalen Heavy Rock gemacht hat. Auch wenn sie betonen, dass ihre Musik aus einer Vielzahl unterschiedlichster Einflüsse schöpft, lässt sich sagen, dass sich die experimentierfreudige Vielfalt von Russian Circles zu einem unverwechselbaren, einzigartigen Sound entwickelt hat. Obwohl die Mitglieder von Russian Circles mittlerweile über das ganz USA verstreut leben - Gitarrist Mike Sullivan in Los Angeles, Schlagzeuger Dave Turncrantz in Chicago und Bassist/Keyboarder Brian Cook auf Vashon Island bei Seattle -, haben sie für Nine ihre jeweiligen Standorte musikalisch miteinander verwoben. Die sieben gewaltigen, fast seismischen Titel wirken wie Soundtracks zu den Herausforderungen und Tragödien des modernen Lebens. "Unsere Musik ist ein gemeinsamer Prozess der Versöhnung, der Orientierung und der Reflexion über das Älterwerden - sowohl als Individuen als auch als kreative Einheit. Das Leben hat reale räumliche Distanzen zwischen uns geschaffen, doch die Band bildet weiterhin unseren gemeinsamen Mittelpunkt. Diese kreative Zusammenarbeit ermöglicht es uns, den Lauf der Zeit zu erfassen und zugleich voller Zuversicht in die Zukunft zu blicken", erklärt die Band. Während frühere Alben beim Erkunden verschiedener musikalischer Gefilde fast spielerisch wirkten, ist Nine das Zeugnis einer Band, die ihr Terrain genau kennt und ihre Position in dieser vielfältigen Klanglandschaft festigt.
Die Rare Groove Collection: Ethiopian Rare Groove beleuchtet einen der faszinierendsten Schmelztiegel moderner Musikgeschichte. In den Clubs und Cabarets des vibrierenden Addis Abeba der 1960er und 1970er Jahre entstand ein einzigartiger Sound, der äthiopische Traditionen mit Soul, Funk, Jazz und Disco verschmolz. Diese Edition versammelt rare und prägende Aufnahmen einer Szene, die bis heute weltweit nachhallt. Künstler wie Mulatu Astatke, Mahmoud Ahmed oder Getatchew Mekurya stehen für eine Musik von hypnotischer Kraft, getragen von polyrhythmischen Grooves, markanten Bläserlinien und unverwechselbaren Melodien. Das Doppel-Vinyl ist mehr als eine Compilation: Es ist ein musikalisches Zeitdokument, das die kreative Energie einer urbanen Hochphase einfängt - rau, elegant und zeitlos zugleich.
In this post Sounds world, the boundaries of Post Punk have not only broadened but splintered. And over the course of (now) four releases, Index For Working Musik have seen to using the sprawling boundaries to great effect, flexing a polyglot of styles to convey the language of the moment. On Which Direction Goes The Beam, the murky, distant ambience that was 2023's Indexé has been fleshed out, incorporating everything from the Brian Aldiss laced, ground lightning shudder of Dome, to the chamber-like arrangements of This Kind Of Punishment. There's even a candle flickering in the window for Think Fellers Union Local 282 that warmed these ears. And if you're a fan of the great Dutch band, Trespassers W (who isn't?), the collective consciousness IFWM enunciates on here is a similar testament of a band growing more sure footed in the pursuit of not only knowing all the ways in, but carving a few of their own on the way out. And it's discerning releases like Which Direction Goes The Beam that keep us in the hunt. Long may they forge. - Tom Lax. RIYL: Brian Jonestown Massacre, Velvet Underground, TOY, John Cale, Wire, Dome
Power Of Soul is the third record as a bandleader by legendary jazz drummer Idris Muhammad, originally release in 1974. He embarked on his solo career in 1970 after years of work as a sideman for the absolute biggest names in jazz such as George Benson, Lou Donaldson, Grant Green, Ahmad Jamal, Pharoah Sanders, and many, many others.
This record was produced by Creed Taylor, founder of CTI, and engineered by Rudy Van Gelder. The architect of the Blue Note sound developed a deep relationship with Muhammad and played a big role in finetuning his sound. But, don't forget the rest of the line-up; the recorded features arrangements and compositions by keyboard legend Bob James and smooth jazz founder Grover Washington Jr., supplemented with performances by Randy Brecker, Joe Beck, and Ralph MacDonald. All in all, you can see why Muhammad's works ended up as samples on so many hip-hop records.
Power Of Soul is available as a limited edition of 2000 individually numbered copies on white vinyl.
For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms.
The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location proved crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.”
SUNN O))) have long welcomed collaborators into their self-contained world: past work has featured, Attila Csihar (Mayhem), composer Hildur Guðnadóttir, multi-instrumentalist Steve Moore, polymath Mark Deutrom, Silkworm’s Tim Midyett and legendary singer-songwriter Scott Walker. But on this album O’Malley and Anderson found fresh possibilities in the primal territory of the duo format, performing all the instrumentation themselves. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators has been really fresh and exciting,” says Anderson.
The compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Amidst howling feedback and glacial crunch, one finds surprisingly delicate moments: a field recording of water trickles beneath, piano interludes lend a hushed, solemn feel. All while the duo attains fresh heights of telepathic intensity as they shape music that breathes the bracing, earthy air of the Pacific Northwest.
Framing the album visually are two paintings by the late American artist Mark Rothko. Liner notes are by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the relationship between humanity and nature. Through the work of the band, Macfarlane, and Rothko, sound, word and visual combine into a fully immersive experience that is undeniably, completely SUNN O))).
"Lost Weekend" ist das erste Album von Phoebe Bridgers seit dem mehrfach für den GRAMMY nominierten Vorgänger "Punisher" aus dem Jahr 2020. Bereits ihr gefeiertes Debüt "Stranger in the Alps", veröffentlicht kurz nach ihrem 23. Geburtstag, machte deutlich, welch außergewöhnliches Songwriting-Talent in Bridgers steckt. Mit "Punisher" löste sie dieses Versprechen eindrucksvoll ein: Das Album wurde für seine kluge, eindringliche und zugleich fesselnde Komposition weithin gefeiert und etablierte sie endgültig als eine der prägendsten Stimmen ihrer Generation. Wer nun "Lost Weekend" hört, wird jedoch feststellen, dass Bridgers noch einen Schritt weitergeht. Auf dem neuen Album präsentiert sie sich auf dem bisherigen Höhepunkt ihres künstlerischen Schaffens. Mit bemerkenswerter Präzision verfeinert sie die Motive, die ihre bisherigen Werke ausgezeichnet haben, und erweitert ihren Sound gleichzeitig um zahlreiche überraschende Facetten. Das Ergebnis ist ein Album, das vertraut wirkt und dennoch immer wieder neue Wege einschlägt. Vor ihren jüngsten Pop-up-Shows stand Bridgers zuletzt mit ihrer Supergroup boygenius auf der Bühne, die sie gemeinsam mit ihren engen Freundinnen Lucy Dacus und Julien Baker gegründet hat. Für das 2023 erschienene Album "the record" erhielt die Band mehrere GRAMMY Awards, darunter "Best Alternative Music Album" sowie "Best Rock Song" und "Best Rock Performance" für die Single "Not Strong Enough". Phoebe Bridgers verließ die Preisverleihung zudem als meistprämierte Künstlerin des Abends. Ihren vierten GRAMMY gewann sie in der Kategorie "Best Pop Duo/Group Performance" für "Ghost in the Machine", ihre Zusammenarbeit mit SZA auf deren Erfolgsalbum "SOS". Zuvor war Bridgers als Support-Act auf ausgewählten Terminen von Taylor Swifts "The Eras Tour" zu sehen. Davor absolvierte sie fast zwei Jahre lang ihre eigene "Reunion Tour" mit mehreren ausverkauften Nordamerika-Etappen, rund dreißig Konzerten in Europa sowie abschließenden Shows in Südamerika, Asien und Australien. Auch abseits der Bühne prägte Bridgers die vergangenen Jahre mit einigen der eindrucksvollsten Live-Performances im Netz und Fernsehen, darunter ihr viel beachtetes NPR Tiny Desk Concert sowie ihr Auftritt bei Saturday Night Live. Seit ihrem letzten Soloalbum veröffentlichte sie zudem zahlreiche Singles, Coverversionen und Kollaborationen mit Künstler wie Paul McCartney, MUNA, Bright Eyes, The 1975, Lorde, Taylor Swift und The National.
On the occasion of the 40th anniversary of the release of Remek Depo, the very first electronic record from the former Yugoslavia, the group Beograd has decided to unveil eight previously unreleased tracks in the context originally intended. The band initially planned to title their first album as Mrak ( eng. Dark). Recorded with Du Du A and other collaborators, this album serves as a manifesto of resistance—not only in Belgrade and Yugoslavia but everywhere else.
The A-side opens with the track 1984, named after George Orwell’s seminal novel. This piece was recorded in a single night in the same year, featuring Zoran Zagorcic (Du Du A) and one of the first Yamaha DX7 synthesizers. It encapsulates the dark and tense atmosphere of Belgrade during a period marked by economic crisis, characterized by shortages of essential products like coffee and oil, as well as electricity restrictions. This oppressive environment also impacted personal relationships, leading to unconventional expressions of passion and desire, as exemplified by the subsequent track from 1985, Mracni Predjet Zelja (eng: That Obscure Object of Desire). However, the primary source of frustration was political, stemming from the abuse of nationalism and the incitement of inter-ethnic conflicts within the complex Yugoslav society. This sentiment is vividly illustrated in the songs Hare Krishna and Belgrade Beat, recorded just before the country’s collapse in 1991. Remarkably, despite their protest, these songs convey messages of strong optimism and hope. In “Belgrade Beat Dejan Kostic (Du Du A) raps and Dejan Stanisavljevic sings. ”Od Studija B do Amerike, Beograd širi svoje talase, mi nismo sami u nama je svet, dolazi veliki preokret” (eng. “From Studio B to the USA, Belgrade spreads its waves, we are not alone, the whole world is with us, a great change comes!”). It is no surprise that this song was frequently broadcast on student Radio Index during the student and anti-war protests in 1992.
The B-side features contemporary songs produced by Beograd, which reflect protests against the current societal conditions in post-war Belgrade. Crafted with musical clarity and irony, these tracks satirize figures of repression, hitting their mark with an almost childlike purity, reminiscent of Hans Christian Andersen’s fairy tale, “The Emperor’s New Clothes.” The collaboration between Dejan Stanisavljevic, the leader of the Beograd and the Du Du A group not only influenced his musical expression but also laid the groundwork for the group’s socially engaged music in their later career.
As we remember the two late leaders of the Du Du A group, Dejan Kostic and Zoran Zagorcic, alongside the recently departed member of the Beograd, Milan Bubalo, this gramophone record stands as an important testament to the contributions of previous generations of artists in the fight for a fairer society. We hope it will inspire the younger generation in their current struggles, especially at a time when such inspiration is needed more than ever.
The latest game in the stylish Katamari Damacy series in which you roll your katamari and collect items to become large enough to form a star for the cosmos, Once Upon A KATAMARI, is getting its own vinyl record release called Katamari Once Again! A total of 23 wondrous songs have been personally selected by the game"s sound composer, Yuu Miyake. The album features BGM stage music in addition to songs performed by an all-star lineup of various artists such as Saya Asakura, Amane Uyama, KAF, Clémentine, Kocchi no Kento, Masashi Sada, San Francisco Boys Chorus, Katamari Damacy feat. suis from Yorushika, Daoko, chelmico, Kenji Niinuma, Saki Hanami, Shigeru Matsuzaki, and Yakushimaru Etsuko. Once Upon A KATAMARI immerses you in the colorful worlds and eras of time and history. Product shown is a luxurious gatefold sleeve housing two records inside. The cover was designed by Kazuki Takakura with supervision from Yuu Miyake, the game"s sound composer. When you think of Katamari Damacy, you think of the colorfully chaotic artwork that comes hand in hand alongside it, and this packaging offers a high-quality, must-have item for a fan"s collection.
Katamari Damacy became a game beloved by fans across the world with its remarkable action mechanices of rolling your katamari and collecting items to become large enough to form a star for the cosmos. A vinyl pressing of Katamari Fortississimo Damacy, a collection of songs that brought the unique world of Katamari Damacy to life! Starting with "Katamari on the Rocks", and following up with "The Na-Na Song", you can feel the very soul of Katamari Damacy with every popular song. Plus, get a bonus track that was only featured in the trial version, "Katamari on the Rocks (Beta Version for Trial)"! Boasting a soundtrack that is packed with distinctive vocals and a broad range of musical styles, experience music that truly expounds on the feeling of Katamari Damacy at its best. Product shown is a luxurious gatefold sleeve housing two records inside. The outer packaging features an original illustration by Keita Takahashi, the creator of the Katamari Damacy series and art director for the first Katamari Damacy game! When you think of Katamari Damacy, you think of the colorfully chaotic artwork that comes hand in hand alongside it, and this packaging offers a high-quality, must-have item for a fan"s collection.
Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.
In 1978, Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.
Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet."
And now the follow up single of "Searchin/Tongue Tied"
Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascomb (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards, Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.
ON THE SCENE 1965 (part two) features more bands taking that Black American R&B sound and making it their own. The jazzy mod blues of The Bo St Runners, the pounding R&B of The Little Darlings and The Couriers and the smooth blues of The Mickey Finn make the third in the series essential - as follows:
This album marks a significant evolution for Dream Division, evolving from a solo project into a full band experience. Blending the rich sounds of Italian soundtracks with psychedelic rock, Tom McDowell, the band's core member and founder of Library of the Occult Records, has assembled an all-star lineup for this collaborative record. Featuring members of The Hologram People, Garden Gate, The Psychic Circle, Miles Brown and Men From S.P.E.C.T.R.E., the album navigates through genres while maintaining a cinematic essence. From the sinister melancholy tones of 'Black Rose' to the Giorgio Moroder-esque Giallo disco of 'Technicolor Terror,' ‘A Rose in the Garden of Winter’ unfolds like a lost soundtrack to a classic '70s Giallo film.
983 Cleveland Ohio funk bomb from Dennis “Cash” Roberson’s trio CASH. Co-Written with Mike Calhoun (C-Brand, Dazz Band) and Kevin Kendrick (Cameo, Flash) two midwest talents unmatched. PPU-121 also includes “I Know You Care” the unreleased follow-up single (re-discovered by boogie-times records, france)
Highscore is one of the newest-and quite sensational-discoveries in funk of the 1980s out of Germany. Two tracks Breakin' Out and Girls So Fine, both recorded about 40 years ago and shelved ever since, are finally receiving a long-overdue 12" release.
Label founder DJ Scientist tells the story of how the tracks were uncovered:
"Several years ago, while researching the Crea label-after we had already licensed 'You're Not The One For Me' by Peter Patzer-I also wanted to find out more about another band on the label: Nuages, who had released the stunning jazz-funk/fusion album Cumulus.
Interestingly, a Discogs user had uploaded a hand written promo letter from one of the band members along with the LP. In it, drummer Mike Bach mentioned plans for a second album, as well as a single featuring a 'coloured singer'-which caught my attention. (A note on language: the original letter from 1985 uses the term 'coloured.' We've chosen to quote it directly as a historical document, but want to be clear that this reflects the terminology of the era and not language we would use today.)
Digging deeper, more information was found on Bach's own website, where a project called 'High Score' was mentioned. I immediately got in touch and asked if the recordings from that project still existed. Unfortunately, Bach couldn't locate any of the material at the time.
Years passed before we reconnected, when we featured 'Strange Weekend' by Nuages on our recent yacht rock compilation. I still had the Highscore project in mind and asked again. Once more, Mike had to deny-but he made another effort and reached out to former collaborators. A few weeks later, guitarist and composer Hermann Behrens discovered cassette tapes containing tracks from the Highscore project. I couldn't wait to hear them…"
To go back a bit: Nuages were a jazz-rock band from Bremerhaven, originally formed by guitarist Joachim "Fussy" Fuß in 1982. The lineup included Mike Bach (drums and percussion), Klaus Hinners (bass), and Frank Fischer (keyboards). In 1984, John Dillard, a U.S. GI stationed in Germany, joined Nuages for several live performances as a soul singer.
Around 1985/1986, Dillard and Bach then teamed up with Hermann Behrens with a new focus on electro funk and disco: Highscore was born.
When the three demo recordings were finally sent to us, they immediately blew us away. Breakin' Out stood out as an incredible electro-funk boogie gem-exactly what we had been looking for. What's more, it didn't sound like a rough demo at all, Breakin Out was a well-arranged and almost perfectly recorded track, driven by fresh, vibrant synths, drum machines and guitar. The cassette mix wasn't entirely final, but the remaining details could be refined during mastering.
The B-side, Girl So Fine, impressed just as much-equally strong and just as captivating as the A-side. Our reaction was immediate: this had to be released without delay!
Most importantly, there are a few more recordings from Highscore. However, these only exist as multi-track studio reels, which currently cannot be transferred. In the best case, more material from the band may surface soon-hopefully without another long wait.
The 12" release Breakin' Out / Girl So Fine" comes with a newly designed picture sleeve, featuring an original photo of the band members, including background singer Ruben Hopkins who does not appear on these two recordings.
