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Belgian duo Chassé keep the acclaimed Black Jukebox series rolling with a 4-track EP that pays homage to classic US house sounds in accomplished style.

‘Fake Real’ kicks off with sunny abandon, all breezy piano chords and synth sax creating an authentic early-’90s NYC house vibe over plump plucked bass and lazily skipping percussion. Deep pads, bright strings and delicate synth arps bring the atmospheric edge.

‘People Dancing’ ups both the chonk and swing factor, getting more jaunty with its live piano chords and lilting rhythm. Hazy, filtered electric piano chords swoon over classic drum hits, the deep and the pumping meeting in perfect harmony.

‘Nightlife’ takes snatches of classic house vocal and peppers them between melancholic chord samples and dramatic snare hits, and a tense breakdown that exacerbates the subtle qualities of this soulful stomper. A few carefully placed organ notes are all that’s needed to draw the most out of the cool bassline funk.

‘True Game’ rounds off this delicious EP, finding itself somewhere between the classic US house vein and the French touch era, where graceful pads cut against jazzy organ chords, pitched-down vocals, garage snare patterns and seductive bass throbs.

Not every day do you celebrate a 40th birthday. That’s why, the most famous French Jazz Festival, “Jazz at Vienne” is marking the four-decade – emerald – anniversary of France’s signature jazz and blues event not once, but twice. After a truncated 2021 edition, the festival’s storied history, dating back to 1981, is being celebrated with a full concert schedule this year, alongside a compilation album, Past & Future in collaboration with Heavenly Sweetness. The album - an amalgam of stories, emotion and resonant echoes – captures the festival’s essence. Listen in closely, then once again.

PAST
Listen to the best moments of live music in Vienne Antic Theater. With prestigious names of jazz : McCoy Tyner, trio Romano / Sclavis / Texier, Hank Jones, Milt Jackson, Lalo Schiffrin, Roy Hargrove and world music Gilberto Gil, Banda de Santiago de Cuba.

FUTURE
A selection of the best young artists of the French jazz scene, chosen following a call for candidates of several months ! 7 unreleased tracks specially recorded for this album. The young talents who will hopefully be part of the festival in the coming

DJ Black Low burst on the international scene last year with Uwami, a collection of his early, downright avantgarde amapiano work. The young producer and DJ makes electronic music that sounds like nothing else: glitchy and fierce while smooth and soulful, all under the rubric of South Africa's most-exported dance music movement to date. Now comes Uwami II, which features the rest of the tracks from the acclaimed debut plus a new song "Gijima." The Pretoria, South Africa-based artist has more work in the pipeline as we present these inimitable songs for the first time on vinyl. The song "Gijima" is a previously unreleased track Black Low chose to include in this collection as cremates more work at a furious pace. "This is essential listening from a 20 year-old star." - Resident Advisor Best Tracks of 2021 "Uwami keeps an adventurous spirit at its core and pushes far beyond genre conventions in the process." - The Vinyl Factory "A producer with a fully realized voice." - Bandcamp Best Albums of Winter 2021 "The hard hitting beats of the electronic percussions make the songs seem like they're out of this planet." - AfroPop Worldwide

What is there to say about this album that hasn’t been said before? Multiple words could be used to describe this album: Timeless. Essential. Masterpiece. Definitive. Sickening. Yes, even sickening falls into this category, because believe it or not, back in 1996 when Cryptopsy released “None So Vile,” it was unlike anything else at the time. From the first drum hits and guitar riffs of “Crown Of Horns,” it would have been obvious, and still is to this day, that Cryptopsy improved on themselves since “Blasphemy Made Flesh.” But then you combine some of the most technical and speedy Death Metal to date with the sickening screams, snarls, growls, and grunts of vocalist Lord Worm, and I’m sure that 1996 was the year Death Metal changed forever. “None So Vile” is a testament to the Death Metal formula, and the odd thing is is that not many have tried to emulate it. I don’t know why. Maybe it might be because of how difficult it would be to emulate an album of this calibur. Cryptopsy is a massive influence upon Death Metal. Many factors contribute to the influence Cryptopsy struck upon Death Metal. One of them is absurdly seen from Flo Mounier’s maniacal drumming. As far as I’m concerned, two words can sum up this man: Speed Demon. But just because he’s speedy doesn’t mean he loses any shed of technicality. But Flo is not alone in making Cryptopsy. With the duo of Jon Levasseur and Eric Langlois on guitar and bass respectively, Cryptopsy was noted for their technical music playing. Just look at songs like “Slit Your Guts,” “Graves Of The Fathers,” and “Phobophile” to see how this duo completely tore apart everything that may have been considered a standard for Death Metal at that time. These two remade the standard by bringing shredding guitar and audible, crushing, and technical bass playing into the mix. The playing by these two is a testament to technical playing. But what truly makes Cryptopsy, and many would agree, is Lord Worm. This man is down right beastly. No true word in the English vernacular could describe what this man brings to Cryptopsy and what he did for Death Metal on “None So Vile.” At this point in time, I don’t think anyone could have anticipated vocals like this. He is downright in-fucking-human. His screams are vicious, his gutteral growls are putrid, and the longevity at which he can perform and hold these vocals is insane. But not only did Lord Worm bring a sickening unnatural vocal style, he brings

Mures are Joshua Cordova and Santiago Leyba. They fit perfectly as MRT010, transporting the label from the cold, grey, drowned in concrete atmospheres of Acid Ernst to the working class heat of the American south. Electronic body music, factory music, machines intensify their rhythm as degrees rise. Hot iron is forged, sweat and black stains cover bodies, hard labor, the struggle and the hammers, tools for modern times restraint. Rare Metal and Workers have just paved the way to that bullet that is Trains of Thought.

Often duplicated, never imitated: the power of Lauer! Albeit being no stranger himself to musical influences from the outside, the producer from Frankfurt managed to carve out a sound that is very much his own. Indie-dance, Italo, power pop and house music in its traditional sense get mixed up in a blender of happiness.
Lauer’s latest achievement for Running Back and welcome return is a mini-LP called Cyclone Days. Aptly titled and ably executed, it’s everything you would expect or want from him. A world of merry music, where melody is king.

On top of that , you get value for your money: Vocal blockbusters like the upbeat Somebody (instrumental included) and the more restrained Friends (both with frequent collaborator Dena), sit comfortably between instrumental hits. Resonator and Neway take the role of the proverbial keys to happiness, while the title track or Exterminate balance it out with joyful melancholy.
Just imagine Righeira signing to Factory Records or Durutti Column on holidays in Rimini and you are halfway there. The days might be like a cyclone, but as long as there are records like this, the shelter isn’t blown.

New pressing on double coloured vinyl, (Disc one White & Disc two Pink), Gatefold sleeve, DL card. René Laloux’s celebrated 1973 sci-fi animation ‘La Planète Sauvage (Fantastic Planet)’, is overhauled with a re-imagined soundtrack by electronic modernists Stealing Sheep and legendary sound innovators The Radiophonic Workshop. This exclusive release is part of Fire Records’ re-imagined score series. “No institution has had a greater impact on the development of electronic music than the BBC Radiophonic Workshop.” The Vinyl Factory. It’s a real pre-Avatar conundrum that Stealing Sheep, with the help of Bob Earland, Dick Mills and Roger Limb from the Radiophonic Workshop, unravel. Creating an ethereal excursion that’s narrated by Roger Limb; like a futuristic Martin Denny, or Dr Who gone ambient techno, with a hint of Forbidden Planet 50 years on. It’s an analogue swirl set in an off-world paradise; a field recording from the future. This is a creative, generation-spanning, union brought together to score this unique cult film. A must for fans of psyche electronica and Stealing Sheep’s formidable ‘Big Wows’ album. “Stealing Sheep devour a broad range of styles, incorporating everything from the dark dance-pop of Grace Jones to the experimentations of Radiophonic Workshop pioneer Delia Derbyshire and John Carpenter soundtracks.” The Guardian // ‘La Planète Sauvage’ is a thing of ambient beauty punctuated with electronic earworms that switches from intensely ominous to otherworldly dream like moments. Track listing: Side A A1 Opening Credits A2 The Chase A3 Saved/Captured A4 The Bracelet A5 Council of Draags pt.I A6 Terr & Tiwa A7 The Knowledge pt.I Side B B1 The Fight B2 The Knowledge pt. II B3 The Initiation B4 Escape B5 The Big Tree B6 The Ritual B7 The Duel Side C C1 Theft/Zarek C2 The Bird C3 The Free Oms C4 The Purge C5 The Journey to Ygam C6 Council of Draags pt.II Side D D1 The City of Free Oms D2 Robot Attack D3 The Fantastic Planet D4 The Final Battle D5 Terr D6 End Credits

The experimental legends BASTARD NOISE and MERZBOW present their new collaborative album, RETRIBUTION BY ALL OTHER CREATURES. A lashing out against man-made institutions that perpetuate animal cruelty, every second of BASTARD NOISE's contribution to this collaboration is simply put - pitch-black, palpable fury. Elsewhere, the iconic MERZBOW's influence creeps in with a two part concept - the ZooNOsISE tracks, firing off MERZBOW's calling card - grainy, unsettling distortion that builds and builds, set against wretched technological wailing and alarming constants.

The record's intent is both a call to action, and a foreboding signal of end times. "Stand up against any form of animal abuse you witness at all cost," BASTARD NOISE mastermind Eric Wood writes in his liner notes. "Be part of positive, compassionate change and spit on the grave of the status quo." MERZBOW/Masami Akita's message is simple, but hits hard - "TIME IS RUNNING OUT. NOISE IS MUSIC"

Red Vinyl

CHARLES MINGUS (1922 – 1979)

At the end of the Fifties, hard bop was something else looking for a way out. The inexorable cycle of avant-garde trends needed renewal. These were years when both sides of the Atlantic saw wide-reaching deconstruction in philosophy, painting and music. Everything that seemed to belong to a healthy, normal, established order was seen with the most scrupulous scepticism.

In the history of art, successive pivotal years have always had an artificial aspect while at the same time they have revealed the state of an art that would define a new aesthetic. 1913… 1922 … 1959 … The Shape of Jazz to Come, Kind of Blue, Time Out, Ah Um … When creative minds decoded the structures of an art that was current, it was time to discover new ones. Charles Mingus was one of those who deconstructed, a creator and inventor who marked out a path for the other artists to come.

The Hunger Games is a series of 4 films based on the dystopian science fiction novels of the American author Suzanne Collins. Its futuristic universe and its commitment has seduced fans since the first opus which has become cult.

The soundtrack of the saga is composed by James Newton Howard, one of the greatest composers of the 7th art. You will find in this vinyl the 15 most iconic themes and pieces of the 4 films played by the Prague Philharmonic Orchestra.

Are you still here? Or are you still there? Berlin-based/Italian warehouse-rave warrior, Younger Than Me, and Italo-American romantic goth-wave prince, Curses are THERE. They're there where it's at!

It was the bond of bold friendship that brought these guys together - and of course a shared history of subgenre juxtaposition and meshing. Both grew up on Punk, Rap, and of course the early days of Techno. »Still There« is their first EP together and thus of course their first for Live At Robert Johnson. It's a venture into the euphoric, psychedelic power of early Trance and Breaks mixed with the attitude and energy of EBM and Electro.

Starting with the moody slow beats of the title tune »Still There«, Y2C takes you on a journey to a faraway chill-out room in some dark yet warm and cozy cellar. Or is this place to be found in synth heaven? It could well be if you listen to those dreamy melodies. Melodies as beguiling as the song of the Sirens that seduced good old Ulysses.

Y2C pick up on that dreamy vibe but throw in that slight and subtle Trance-factor, taking up speed with »Romantic Squat«, dragging you into their very own romantic squat.

Next up is »Love Your Enemy« - oh yes, shouldn't we all? Icey claps with lots of reverb and a bass line draw you onto the dry ice flooded aluminum floor and there's no way back - especially when that strange break with that crazy sound makes you stop for a second and think, why did I stop dancing? Get back on the floor y'all!

The last track »Lullapaluza« is indeed some kind of a lollapalooza ride, a very special ride. And no, it does not lull you to sleep because the beat created by Y2C here is a demanding one, a special which gets you going all over its eight and a half minutes. It's sheer bliss, you gotta believe it.

This is not a one-off novelty EP, it's a kinetic collaboration. Y2C is a force of nature, a force of RAVE/WAVE energy, with many more to come, a force to reckon with.

This new Studio collection on Soul Jazz Records delves deep into a melting pot world of reggae and funk and dub created at the music laboratory of 13 Brentford Road, Kingston in the 1970s - an intense collaboration of crack musicians, singers, DJs and engineers under the guidance of producer Clement 'Coxsone' Dodd. Here you will find some of the deepest and rawest cuts to emanate out the Studio One factory - truly hypnotic rhythms, powerful funk guitar and bass, soaring horns and more interspersed with occasional vocals and toasting as musicians reach for the highest heights and deepest roots of reggae music.

• Remastered for maximum fidelity.
• Features deluxe packaging, a fold out posted and a patch.
• Limited and individually numbered.

Fear Factory is an American Industrial Metal band formed in Los Angeles in 1990. Throughout their career they have released nine full-length albums with a tenth studio album coming in 2021. Soul Of A New Machine is the band’s debut album for Roadrunner Records, released on August 25, 1992.

AllMusic's Jason Birchmeier gave the album three stars out of five, remarking that "Fear Factory were quite ahead of their time in 1992". The critic also noted the diversity of the genres featured in the recording, saying that "Soul of a New Machine was so ground-breaking because it fused together some of the best aspects of numerous metal subgenres", which "[resulted] in a unique sound". Rock Hard rated the album highly, saying that the sound of the album was strange, indescribable yet required listening. Rock Hard also complimented the blending of various sub-genres, with particular note to Burton Bell for managing such an eclectic set of vocals.

Fear Factory ist eine amerikanische Industrial-Metal-Band, die 1990 in Los Angeles gegründet wurde. Im Laufe ihrer Karriere haben sie neun Alben veröffentlicht, ein zehntes Studioalbum ist für 2021 geplant. Sie haben sich durch eine Reihe von Klängen entwickelt, alle im Hauptstil von Groove Metal und Industrial Metal. Die Band hatte großen Einfluss auf die Heavy-Metal- und Industrial-Szene, vor allem Mitte bis Ende der 1990er Jahre, inspiriert aber auch heute noch junge Musiker. Soul Of A New Machine ist das Debütalbum der Band für Roadrunner Records und wurde am 25. August 1992 veröffentlicht.

Jonathan Kusuma is no stranger to club music. He has played, produced and re-edited multiple works. This is what he excels at. But on Dream Bot, he wants his audience to discover a more introspective side of his. Raised in Indonesia, where rhythms are abound, be it from a folk song sung in a ceremony, a machine in a soul-crushing factory or a Boombox on the back of a bicycle, Jonathan’s ears are destined for a career absorbed in rhythm and sound.

With 5 tracks of kaleidoscopic rhythms and introspective moods on Dream Bot, he is paying homage to his rich musical education and heritage. Layered percussive samples come to mind as well as the intricate interplay of gamelans and moody arpeggios. They both evoke their distinct mournful tunings. Dream Bot is a reminder of his roots and the beauty of the sounds on the Indonesian streets that have left many ears in awe.

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

'Kickstart The Sun', das ganze neun Monate Studiozeit in Anspruch nahm und teilweise in den legendären RAK Studios in London aufgenommen wurde, legt die Messlatte zu den vorherigen Alben noch einmal höher. Das vertraute Team aus Produzent/Gitarrist und Hauptsongwriter Greg Hart und Engineer Ian Caple haben 15 epische AOR-Nummern aus der taufe gehoben die eine Gesamtspielzeit von über 60 Min. haben. Das Album enthält einige ganz besondere Gäste, die bestätigen, dass die Band ihre musikalischen Grenzen bis zum absoluten Maximum ausreizt.

Der legendäre Pedal-Steel-Spieler B.J. Cole (Elton John, Humble Pie, Gerry Rafferty, Stranglers, John Cale, Uriah Heep u.v.a.) gehört dazu wie auch der australische Virtuose Ian Cooper, oder Emily Lynne und Lara Smiles die normalerweise bei The Australian Pink Floyd im Chor singen.

'Kickstart The Sun', wird neben der einfachen CD-Version auch als limitierte Doppel-RED MARBLE-Vinyl mit Booklet, als YELLOW MARBLE-Vinyl mit Booklet und als Super-Deluxe-Doppel-CD inklusive einer 10-Track-Bonus-CD mit exklusiven Aufnahmen und alternativen Mixes erhältlich sein.

Needle Mythology reissue a special expanded album edition of Finn, the album released by New Zealand’s most celebrated musical siblings Tim and Neil Finn to acclaim both from critics and long-time fans who had followed the pair’s work since their time in together in Split Enz. This is the first time Finn has received a vinyl release. Released in close collaboration with Tim and Neil, the newly-expanded Finn comes with an entire album The Finn Demos, which gathers together ten songs from 1989’s legendary Murchison St sessions, remastered by Miles Showell at Abbey Road Studios. Convening at Neil’s new Melbourne apartment with a view to making an album together, Tim and Neil embarked on an intensely productive period, writing several songs that would briefly result in Tim joining Crowded House for the resulting Woodface album. Assisted by the late Paul Hester on drums, the demos capture a host of songs that would go on to be played in arenas around the world in their newborn state: ‘It’s Only Natural’, ‘Catherine Wheels’, ‘Weather With You’, featuring a whole extra verse and the previously unreleased ‘Four Stepping in 3/4 Time’. For this release, long-time fan and collaborator on Neil’s 7 Worlds Collide project, Ed O’Brien (Radiohead) contributed liner notes, hymning the album’s “heavy” beauty and its “elemental energy.” Featuring brand new artwork designed by Needle Mythology’s James Gosling, the expanded Finn features newly-unearthed images of Tim and Neil taken by Darryl Ward during the sessions for the album. For this release, Tim and Neil have also shared the “listening notes” submitted by the brothers’ parents – something they would do for every song their sons wrote. For Finn, Tim and Neil enlisted the services of Tchad Blake, whose “feel”-based approach brought out the best in the brothers, who played every instrument on the record. Writing about the record for Mojo at the time, David Hepworth characterised Finn as a “warm and loose record” that hardcore fans would undoubtedly “adore”. Originally released on Parlophone Records, Finn spawned an unlikely top 30 hit, the mesmerising semi-improvised psych-rock fan favourite ‘Suffer Never’. The expanded double album edition of Finn has been cut at Abbey Road by Miles Showell and pressed on 180g vinyl at The Vinyl Factory.