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Trans-Millenia Consort is the near mythical debut album by the late West Coast composer, healer, and medium Pauline Anna Strom. First released in 1982, the album is a bold and beautiful evocation

of a life that exists between and beyond time. Evoking ancient rituals and primordial futures, the music of Trans-Millenia Consort glows with a strange iridescence; its pulsing embryonic waveforms flutter and drift, tones fall like raindrops of the long- ago, and melodies shimmer and dance across the ages like fireflies of a lost world. Restored and mixed from the original reels by Marta Salogni, and newly remastered, this is the album’s first ever official reissue, and the definitive edition of a visionary statement.

On Side A, smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on the second track on Side 1 in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Let's talk about Side B...

We Got A Thing is up first — a crossover soul dancer that invites you to sing along with an infectious, call-and-response chorus. It pairs nicely with The Teacher Haters as fun, simple party music from the 60s — though this time from a female perspective.

Things go deeper with Guys Today. As the name suggests, the content is about the enduring tension between the sexes and the heartbreak it can lead to. It’s a deep soul beat ballad in the vein of Betty Wright or Helene Smith. A grand opening is followed by a clear, crisp female vocal that brings the singer’s lament into focus. The band is tight, and it all comes together to portray a woman who has made up her mind and is offering a warning about guys today: I know you love your man, but I know they will hurt you in every way they can.

At first glance, these artists seem to share only a few things in common — party-themed music conceived in the 60s with an R&B flavor. But between sides A and B, it feels like these groups are talking to each other — perhaps different perspectives of the same party. Perhaps the party itself and then the fallout. The result is a balanced EP release that feels whole and satisfying. We hope you feel the same as we proudly present these found recordings as an exclusive 12” on 180 gram vinyl. Please enjoy.

"Welcome to the first of the Masters Series, a cache of limited releases for people who understand that some things, no matter how hard you try, just can't be tamed. (Read: these are scratchier/rougher recordings that are cleaned up as best we can get them - if that's going to not work for you, don't order!)

Already championed by the likes of Michael Robinson (Dig Deeper, NY) and just entering the collective consciousness of the R&B scene worldwide, this release is a double-sided dancefloor destroyer. Both sides rip with tremendous energy.

Those who know will recognize the name Carl Holmes from well established winners like ""Soul Dance No. 3"" and ""Unchain My Heart"". Here he is with an unreleased song called ""Love With A Feeling"", featuring a raucous drum break with his soulful vocals throughout. Not that the tune needs a pedigree, but things like that never hurt.

On the flip is an unknown funky Soul R&B bomb ""Some Of These Days"". This female led tune is perfect for either a Northern Soul or R&B party.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the dusty basements from whence they came, we press them in small batches to share with those who love to share."

Welcome to Masters Series - for people who understand that some things just can't be tamed. (Read: these are scratchy, poppy, and rough recordings from busted acetates. Click the listen tab to preview quality. These are cleaned up as best we can get them - if that's not going to work for you, don't order!)

For the third installment of our Master Series we present This Is Me by Mark Bluford. A heavy slice of early 70s Psychedelic Deep Funk from the Bay Area. Hard to miss the massive wah-wah guitar leads, but the arrangement is pretty complex with piano, bass, and strings backing the earnest vocals.

There are breaks on both sides, parts one and two. The first break is a string break, very unique to a Funk record. But, somehow this fits for a Bay Area Funk record. The break in part two is one of the heaviest drum breaks no one has heard in 50 years.

A very limited special upgrade option for this release: choose to get MS-003 in a one of a kind, hand-painted sleeve by the legendary McBoing Boing. Only 12 completely unique sleeves were hand painted by the man himself, and one of those 12 is staying right here in our HQ. So there are now only 11 out there! (Yes, the vinyl comes with the sleeve.)

Big thanks to Dr. Scott Bulleit for digging this acetate out of a flea market and contributing it to the Preservation Project! This is a sure shot, don't miss out on this limited run!

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the moldy basements from whence they came, we press them in small batches to share with those who love to share.

Welcome to Masters Series - for people who understand that some things just can't be tamed. (Read: these are scratchy, poppy, and rough recordings from busted acetates. Click the listen tab to preview quality. These are cleaned up as best we can get them - if that's not going to work for you, don't order!)

For this limited edition Masters Series release, we enlisted the help of two of the world's heaviest collectors and djs, and champions of the Preservation Project from day one, Supreme la Rock on Side-A, and Skeme Richards on the B-Side.

Both gentlemen tackled reworking and re-editing funky previously unreleased psych songs. Both songs, "Sad Country Boy" on Side A and "Your Mind" on Side B, are by unknown groups and both feature drum breaks intros - perfect for you to cut up, so you're gonna need two copies. We won't be mad at you if you feed the breaks and chop them up either. This one is for the heads.

The story behind The Masters Series

In our hunt for unreleased soul, we occasionally find some incredible gems that are just a bit too beaten to restore to the ears of the general public. Rather than return them to the moldy basements from whence they came, we press them up to share with those who love to share.

'Of No Fixed Abode' gathers fragmented recordings by the Madrid duo of Pablo Mirón and Juan Vacas, the multi-disciplinary artists behind the collective Real No Real (realnoreal.org) and Ediciones Fontenebro label. Working with field recordings, found materials, instruments such as Violin and Harmonica and by manipulating old radios, turntables and reel to reels the pair have been performing across the world of late taking their collage style process with them. 'Of No Fixed Abode' uses cross-continental sound diaries from the 2019-2022 period and has been central to shows at venues and festivals around Europe and South America.

Contributing to the wider field of post-fluxus 'broken music', the duality of natural sound and decaying, processed tape loops along with gentle instrumentation across the record follows in the footsteps of the Dieter Roth school, Anne Gillis, Leyland Kirby or Henry Krutzen yet is anchored in a charming restraint in which each element seems to fall into place perfectly. Miradasvacas have a long history with presenting experimental music through shows on Madrid's Radio Relativa, concerts and gatherings across the city and self-published mixtapes and sound art, though debut here on 12th Isle with their first proper album. Far-flung gallery sonics at their finest.

Much has been written about Young Marble Giants' small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about his long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG's minimalism into a new sound. This Is Love, Public Girls and Fool For A Valentine showed his songs to be razor-sharp, but the album's fragmented pieces were a step too far for some, though even the strangest, Carnival Headache, when cast in sunlight by Alison Statton's combo Weekend, was as fine a song as any he'd written - and Love At First Sight became a million-seller when covered by Etienne Daho. Then Stuart disappeared. A rmid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist's 2018's release Holding Pattern - unexpected and then quickly followed by YMG singer Alison Statton's first new album with her accompanist Spike in two decades, adding fuel to public interest. The Devil Laughs, recorded a few years back, is a compelling addition to the canon of the 21st century songwriting. Stuart's generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world. Nor does the unvarnished solidity of Stuart's arrangements deter Louis from hearing possibilities for their presentation in styles which take inspiration from the perfection of 1960's studio technology that led to the rise of Brian Wilson, Burt Bacharach, along with less-recognised names such as Bones Howe and Roy Halee. Tidy Away is Young Marble Giants redux, though the backing vocals hint at maturity which band didn't live to see. Fighting To Lose, written with producer Ken Brake, would pass as a worthy b-side to Bridge Over Troubled Water, and although the songs are otherwise Stuart's, Louis fans will delight at several, like Love Hangover and Sky Over Water, which display his style and production genius as succinctly as anything on his own albums. The Devil Laughs is as out of its time as Colossal Youth was - its subtle but immediate beauty, devoid of "rock", is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson's work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant's modernist folk abstraction to satisfy longtime fans. The Devil Laughs is a small masterpiece of pure expression.

While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP.

Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here.

The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix.

The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman.

While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out.

'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'.

Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

RIYL: Cardopusher, Bochum Welt, Cygnus, D'Arcangelo

TERMS is responsible for signing Just Waxx's first release, 3 tracks ranging from electro techno, acid house and deep techno accompanied by a remix of the Berlin-based duo Omega Men.

On side A we find ‘Collateral Damage’, a direct cut with sweeping bass and 909 rhythms: pure energy for demanding clubs. ‘Always with Cream’ is slower and calmer, transporting us to a warm passage with chords and melodies typical of the Balearic sound.

Opening side B, Omega Men remixes 'Always With cream’ giving it a more gelid touch. In it, toms and snares merge with acid sequences, creating a sense of speed and claustrophobia. On ‘Cosmic Energy’, the track that closes the album we find basses and syntheses combined with vocals and a main pad, bringing colours and textures close to the classic Detroit sound.

Parallel Minds’ fifth label release is a major landmark for the Toronto-based label. Not only is it their first full length LP, it is also the debut album from co-founder Ciel, who is also making her first solo appearance on the label since its inception.

In 2021, spurred on by a productive creative streak and the economic austerity of pandemic lockdowns, the Xi’an-born and Toronto-based DJ Ciel (real name Cindy Li) applied for grant funding from the government of Canada to write her debut album. Self-proclaimed “DJ first, producer second”, Ciel never thought she would have the self-confidence and desire to write an album. It wasn’t until after spending prolonged time away from clubs & festivals whilst dedicating herself to daily sessions in her studio that she gained the motivation and aspiration to make a musical statement that only an album could express.

Since the start of the covid19 outbreak, Ciel, like many other Chinese diaspora people in the West, had felt a great deal of anxiety and pain at the rise of anti-Chinese sentiment and racism in the media — even in her corner of the dance music industry. Tired of expressing her frustrations fruitlessly online, she felt inspired to channel that into her music, to turn something that was filled with hate into a thing of joy and beauty. It was within this context that Homesick began to take shape.

After researching the rich history of Chinese instruments, a concept began to form around the album in which she could marry her love of sampling and analogue instruments. Using the eight types of traditional Chinese instruments (silk, bamboo, wood, stone, metal, clay, gourd, and hide) as a guideline, Li began writing each track with a focus on one of the eight. She hired traditional Chinese instrumentalists to play the guzheng and the xiao, whilst purchasing and teaching herself the smaller hand drum instruments like the kuaiban (bamboo clappers), and muyu (temple blocks). With the news that she had successfully been granted funding from Canada Arts Council, she wrote, recorded, arranged, and mixed all nine tracks of her album over the first three months of 2022. More than just highlighting Chinese instruments, the music on this album encapsulates so many musical influences from Ciel’s childhood when she began her lifelong love affair with music. True to her style as a DJ, the LP incorporates a diversity of genres she loves, from drum & bass to house, electro to breaks - even downtempo.

What has come out of these sessions is a deeply personal dancefloor record, a true expression of love for Cindy’s culture that came out of a time of relentless chaos, negativity, and uncertainty. Ciel sees her compositions as a distillation of herself — her life experiences, her wide interests and passions, and her often-turbulent emotions. Immersing oneself in the LP feels like listening to the musical confessions of an artist heading towards the peak of their career, who is finally starting to make sense of her artistic identity. What a joy to witness it.
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Mit „Rockstar“ veröffentlicht Dolly Parton, die am meisten geehrte und verehrte Country-Sängerin aller Zeiten, ihr erstes Rock Album. Sie wurde bereits für ihre musikalische Arbeit in die „Rock n‘ Roll Hall of
Fame” aufgenommen. Mit Alben in mehr als vier verschiedenen Genres, darunter Country, Folk, Bluegrass und jetzt Rock, überzeugt die international erfolgreiche Künstlerin bereits seit mehr als 5 Jahrzehnten.

Out of the Krishna-core punk scene of Buenos Aires and into the rave underground, Candido's debut LP on Natural Sciences Recs "La Muerte de Occidente" (death to the western world) has club culture in it's cross-hairs, with eight tracks of crushing jakbeat, industrial and freestyle stabs around an Eastern spiritual mindset. The first Krishna house LP? You be the judge

Michael Chapman (1941-2021) released his debut album Rainmaker in 1969 on Harvest. He went on to release over fifty albums and influence many with his evocative songwriting and guitar prowess. From heady jams to expressive ballads to experimental noise, Chapman’s work continues to inspire. Tompkins Square recruited Henry Parker to curate a collection of covers by working musicians from Chapman’s home turf in Northern England. With stunning artwork by local artist Bunty Marshall mapping the important places in Michael’s life, this 12th volume of Tompkins Square’s Imaginational Anthem series is the ultimate tribute to a very dearly missed artist. Notes from Henry Parker: Tompkins Square approached me in Autumn 2022 about putting together a tribute album to Michael Chapman who had passed away one year ago, on my birthday, in 2021. I remember it well; Michael Chapman had always been a huge inspiration to me since starting out on the acoustic guitar and was the first artist I had heard who played the instrument with that heavy thumb, drop tuned sound. I first got the chance to see him live at the Bradford experimental music festival Threadfest in 2015 and then went on to watch him play many more times, in the northern towns of Halifax, Hebden Bridge and Preston, also getting the chance to support him on a couple of his Yorkshire dates in 2018, in Saltaire and his hometown of Leeds. With both Michael Chapman and myself proudly coming from the county of Yorkshire in northern England, Tomkins Square and I decided to make this compilation decidedly Yorkshire focused, bringing together seven other artists from the county who have drawn influence from the profound music of this man.For those who don’t know, Yorkshire is an area that spans much of northern England, with its people taking great pride in the county, never too seriously, and poking fun at the “soft south” or it’s near neighbour Lancashire. Michael’s sound always spanned from introspective folk songwriting to more experimental forms and naturally so does this album, created for Tompkins Square. When it came to choosing musicians to contribute to the record, I was grateful for the Yorkshire limitation on who I could draw from, as the resulting album is comprised of eight artists, who have all shared stages with each other across the folk and experimental scenes in the area. The lack of “bigger” names on the record feels natural, there’s no ego about this project as there never was with Michael, who always seemed content touring the smaller clubs and making records for anyone who was interested. The artwork for the project came together organically, and firmly within the Yorkshire cottage industry. Two months before I was asked to put this album together, I had played a show in Leeds for the launch of a new zine, centred on folklore and mythology. The artist and founder of the zine Bunty has an exceptional eye for detail and a profound love of Yorkshire landscape and culture. Her intricate maps and illustrations created for ‘Hwaet’ zine were the perfect starting point the for this record, and the cover art and inner sleeve is an ocean of detail for Michael Chapman’s incredible life, music and his connection to Yorkshire

4LP is four black vinyl discs in two gatefold jackets + two 18 x 24 folded posters in a side-load slipcase + a printed insert for full album download. This is strictly for Indies only. 2CD is two discs in a six panel wallet + a 28 page booklet + printed insert. Misfits & Mistakes: Singles, B-sides & Strays 2007–2023 is Superchunk’s fourth singles compilation, a massive, 4-LP (or 2-CD) collection covering their triumphant return from hiatus. The amount of ground covered within its gorgeous packaging is staggering: 50 songs, 16 of which are on physical media for the first time, sourced from out-of-print releases, digital singles, compilations, and more, a vital piece of the Superchunk canon. Featuring extensive liner notes by Mac McCaughan (with additional notes from Laura Ballance), Misfits & Mistakes tells the story of each release, from why they chose to cover songs by The Misfits, The Cure, Destiny’s Child, and Bananarama, to working with collaborators like Katie Crutchfield (Waxahatchee), Jane Wiedlin (The Go-Go’s), Eleanor Friedberger, Damian Abraham (Fucked Up), Norman Blake and Raymond McGinley (Teenage Fanclub), and more! Mac writes: Who knew it would take a cartoon hamburger to kick off a new period of activity for Superchunk? When we recorded “Misfits and Mistakes” for the Aqua Teen Hunger Force soundtrack at Overdub Lane in Durham, we also recorded the first version of “Learned to Surf” which gave us an on-ramp for making new music after 8 years of playing sporadic gigs. It also reminded us what we liked about playing Superchunk songs, whether they’re our own or written by our musical heroes. This collection covers a lot of ground, from heavy touring years to a pandemic where we made singles and an album at home. One difference between this comp and our first three is that this time span completely falls in the digital age; the distance from a final mix to everyone hearing it is shorter than ever. I’ve always liked artists that were prolific—throwing out singles in between albums when you least expect it. A surprise release from your favorite band is one of the few things that can still bring a little excitement to what can seem like an endless deluge of “content” (puke). Hopefully the wild swings between lo & hi fi and originals and covers on this comp still allow for some coherence and, more
importantly, convey what’s FUN about this punk rock thing.

Mostly known for his work as founder, vocalist and main songwriter for The Legendary Pink Dots, Edward Ka- Spel has long forged an equally prolific career as a solo artist given to sometimes exploring similar sonic realms as his group but clearly working at such a pace the need to channel ideas and songs in this capacity must be enforced. And just as well too, because Edward Ka-Spel is one of those rare and exceptional artists whose high workrate doesn’t betray a keen sense of quality control. Long known as somebody unafraid to venture wherever he pleases, his work has for a few decades now long traversed the more outward-bound or so-called ‘fringe’ areas of electronic music, psychedelia, hypnotic rock, kosmische sounds and the avant-garde. Heartily sewn into all of this is Edward’s fantastic grasp of spinning a twilight tale or spiralling deep into the mind’s recesses to craft a song from comparatively nimble melodies and words of Kafka-esque proportions. It’s a strikingly rich blend that’s always deserved far more attention than the cult audience it thankfully at least has.'Tales from the Trenches' is the second release by Edward for Lumberton Trading Company. Following on from the abstract-flavoured ‘Permission to Leave the Temple’ 10” released at the start of 2023, this LP collects eight tracks of a personal nature mostly pinned into place by some refined electro rhythms, molten cosmic textures, plaintive strings, introspective keys and a late night hue that sways effortlessly between the beautiful, haunted and even, a couple of times, a steam-pumped and sweat-ravaged dancefloor. Limited to 500 only, 'Tales from the Trenches' delivers exactly as the title indicates. Everything may at first feel ominous or sombre in tone, but there’s also a glimmer of hope laid bare in all its sun-drenched glory poking between the cracks.

Since 1983, Justin K. Broadrick (Godflesh, Jesu, Council Estate Electronics, The Sidewinder, etc.) has been producing largely solo, but sometimes collaborative, work under the Final moniker. Beginning as a more obviously power electronics-inspired project it has during the past two decades or so evolved into one which still retains that sonic intensity but has a more expansive sound. I Am the Dirt Under Your Fingernails is the latest album, closely following It Comes to Us All on Alter in July 2022 and the now mostly o/p CD version already released in October 2022. Comprising nine tracks each named and numbered after the album’s title, IATDUYF violently pushes us through a murky world of suffocating textures, crepuscular guitars, serrated noise and what appear to be random bursts of sawmill grind which together create the perfect backdrop to today’s newscape. This is a relentless sound that’s absolutely unforgiving as it hammers home anger and despair with little respite, illustrating very clearly that JK Broadrick has been one of the very few to contort the uncompromising approach of early power electronics into wholly new and contemporary forms rife with greater possibilities.

Die-cut sleeve. In the fall of 2013 Bry Webb was putting the finishing touches on his second album Free Will. Released on May 20th 2014, Bry, with his newly assembled band The Providers, spent the following few years traversing North America playing clubs, festivals and storied stages such as Toronto’s Massey Hall. Nothing new for an artist who had spent the aughts in a constant state of motion with Constantines, a band who on average had performed one of every three nights on a stage somewhere in the world. In fact, running in parallel to Bry’s solo touring schedule was a reunion with his former Constantines’ bandmates to once again present their incendiary live show and celebrate the 11th anniversary reissue of the band’s Shine A Light. It is what happened as the decade wound down that seemed out of character for an artist who had spent close to 20 years immersed in the studio and on the stage: the music stopped altogether. Bry explains his feelings at that time, “I lost the musical plot about 5 years ago and stopped playing music entirely, sold instruments and recording equipment, and committed myself to the idea that I was absolutely done”. Webb dedicated himself to his ongoing work in community radio, months turned to years and musical life seemed to be all but gone from view. Now in an unexpected turnaround 10 years on from the recording of his last studio album, there is not only a return to the stage for Bry but also a new record. Primarily composed in a season of upheaval, Run With Me contains some of Bry’s rawest sentiments. Fresh and painfully present there is an immediacy one can hear as emotional walls collapse in real time. Bry explains the context of the album’s creation: “In early 2023 my personal life exploded. In the process of dealing with that, I started writing music again and started recording at home. Advised that I needed to figure out how to ask for, and accept, help from other people, I sent early recordings of songs to friends from twenty-five years of music making - many folks I hadn’t connected with in years - and asked if they’d contribute anything to the songs. People came through in ways that overwhelmed me to the point that I cried when I wrote out the list of players for the liner notes. I felt incredibly cared for. From Andy Magoffin, who recorded the first Constantines album in 1999, to members of the Cons, to my nieces Addy and Ella playing drums, and a doppler recording of my daughter’s heartbeat, the record is a document of my creative life, and the people who made it possible to make music again.” If the cover of Run With Me looks familiar, it is with full intent. The album’s technicolor marbling and die cut text serve to signal the inclusion of the album in a trilogy started with Bry’s first record Provider. Just as that album starts with the track Asa, this new one introduces itself with the instrumental Webb. The trilogy is now completed with his daughter's first, middle and last names represented as the first tracks on each of the three albums. While the LP’s package signals its place in the collection, and tracks such as Older Than The Dirt and What I Do revisit their predecessor’s familiar sonic starkness, Run With Me is the outlier of the trio. A number of new tracks forego the quietude of Provider and Free Will, clearly recalling the rallying rhythms of Constantines’ anthems. Thunder Bay (instrumental backing courtesy of The Harbourcoats circa 2009), with its insistent kick drum and wall of electrics, support one of Webb’s most indelible melodies, and the not so subtly psychedelic Modern Mind reveal an expansion of Webb’s palette. Perhaps the furthest afield is the contextual centerpiece of the album, Goodbye, where we not only hear a joyful voice that lay dormant for years, but hear it reclaim its power. Backed by Constantines’ Will Kidman, Doug MacGregor and Dallas Wehrle, Bry belts out “I’m through with all the rage, now watch the light pour out of me.” As with all of Bry’s work, Run With Me’s lyrics take their time to settle in. Songs of self-examination, reconfigured love ballads, and songs for those who work to help others. Songs of singing abound. It’s there in Older Than The Dirt’s second verse: "Logic to the last intention, logic in the way we kept holding on forever, singing as the floor- was swept”, ten thousand birds sing a warning song in Thunder Bay and again in Goodbye’s telling of a cathartic return to one’s true self with its celebration of those “Who sing - sing all joy - all joy of language, in a single word”. Joining Bry in singing Run With Me’s songs of “death, transition and hope,” are kindred spirits Jennifer Castle, Julie Doiron, Daniel Romano and Steph Yates. All of these singers elevate the album’s healing sentiments and help express the album’s central plea; a prayer of sorts wrapped in the traditional Scottish Gaelic melody of She Is Here’s second verse: “Let the sun rise in the morning and any witness bring. Let all the blooming cosmos teach us to sing”.

Million Seller is the new electro-acoustic album and project led by Matt Calvert, one of the founding members of the underground alt-rock sensation Three Trapped Tigers The inspiration for the project originated as Matt revisited his collection of early 70s releases by Herbie Hancock's Mwandishi group - some of the pianist's most overlooked and least understood albums. "The concept of Million Seller was to create a contemporary sound with similar elements to the Mwandishi band, putting the electronics and percussion at the forefront, merging organic and synthetic." Mwandishi (originally a sextet, later a septet with added electronics) had three horn players: Million Seller has none, instead using three synth players: Calvert himself is joined by Stale Storlokken of free- form experimental legends Supersilent, and by the unclassifiable improvisor Matthew Bourne. The line-up is completed by drummer Dave Smith, who brings his comprehensive knowledge of the Gambian tradition of Sabar drumming alongside his extensive jazz background, and a trio of guest musicians: Mamadou Saar on sabar and djembe drums, Kadialy Koudate on kora, and Sam Wilson on contemporary percussion. The results are a striking fusion of ancient and modern sounds, of heavy yet playful synth interactions topped by driving acoustic percussion, of wild improvisation mixed with moments of ambient beauty, all creating a sonic identity that's every bit as unique, wide-ranging and unforgettable as its inspiration.

The garage punkrock lieutenants of Sweden are back with a bang!
Formed in 1999, this high energy garage punk outfit is known for their
intense live shows, which have taken them all over Europe and even USA -
Now they're back with their sixth album, 12 brand new tracks, 100% made
for volume levels cranked to the max
It's hard hitting, raw, trashy, primitive yet with a twist of finesse that makes you
wanna hear it over and over again. This album is sure to keep your feet moving
and bring garage rock to the masses. For fans of garage rock of yesterday and
today, Buzzcocks, The Hives, The Nomads,The Marked Men, The Kidnappers, The
Devil Dogs

The garage punkrock lieutenants of Sweden are back with a bang!
Formed in 1999, this high energy garage punk outfit is known for their
intense live shows, which have taken them all over Europe and even USA -
Now they're back with their sixth album, 12 brand new tracks, 100% made
for volume levels cranked to the max
It's hard hitting, raw, trashy, primitive yet with a twist of finesse that makes you
wanna hear it over and over again. This album is sure to keep your feet moving
and bring garage rock to the masses. For fans of garage rock of yesterday and
today, Buzzcocks, The Hives, The Nomads,The Marked Men, The Kidnappers, The
Devil Dogs

The Kotiomkin band was born from a great passion for 60s-70s-80s Italian genre cinema, a series of movies characterized by aesthetically innovative approach, in complete opposition to the mainstream and to more or less politicized intellectual cinema of the time The duo are devoted to the creation of instrumental soundtracks for non-existent movies, with invented plots featured in the liner notes, having as a reference the classic soundtracks of the time but revisiting them with the violence of the most modern stoner, pushing the boundaries of doom. It is the rediscovery of a never really finished cinematic world that is also celebrated in terms of its extraordinary soundtracks by musicians such as the masters Ennio Morricone, Nico Fidenco, Fabio Frizzi, Franco Micalizzi, Berto Pisano, Lallo Gori, up to bands such as Goblin, Osanna, Libra, Marc 4 and many others. Kotiomkin not only look at horror movies but also at those more niche genres, ranging from erotic, to "giallo", to "poliziottesco" and more extreme subgenres such as cannibal movies, "mondo" movies or sexploitation, all with a violence of sounds unknown to Italian B-movies.

The Kotiomkin band was born from a great passion for 60s-70s-80s Italian genre cinema, a series of movies characterized by aesthetically innovative approach, in complete opposition to the mainstream and to more or less politicized intellectual cinema of the time The duo are devoted to the creation of instrumental soundtracks for non-existent movies, with invented plots featured in the liner notes, having as a reference the classic soundtracks of the time but revisiting them with the violence of the most modern stoner, pushing the boundaries of doom. It is the rediscovery of a never really finished cinematic world that is also celebrated in terms of its extraordinary soundtracks by musicians such as the masters Ennio Morricone, Nico Fidenco, Fabio Frizzi, Franco Micalizzi, Berto Pisano, Lallo Gori, up to bands such as Goblin, Osanna, Libra, Marc 4 and many others. Kotiomkin not only look at horror movies but also at those more niche genres, ranging from erotic, to "giallo", to "poliziottesco" and more extreme subgenres such as cannibal movies, "mondo" movies or sexploitation, all with a violence of sounds unknown to Italian B-movies.

For fans of Mt. Eerie and Wolves In The Throne Room. Experimental, highly idiosyncratic take on black metal from Oakland California / Olympia Washington two piece. Recorded, mixed and mastered by Nicholas Wilbur (The Microphones, Have A Nice Life, Planning For Burial). Previous releases with on cult DIY label An Out Recordings. 2018 split release with Thou. Ragana is a duo whose members alternate duties on drums, guitar, and vocals to produce some of the most unique and affecting dark music in metal today. The two-piece came together in 2011 in the DIY punk scene of Olympia, WA and are now based in Olympia and Oakland, CA. In their time together so far, Ragana have self-released five albums and teamed up with genre-favourite Thou for a split release in 2018. The following year, Ragana released their heralded We Know That The Heavens Are Empty EP and have quietly been working on new music ever since. The band signed with The Flenser in late 2022 and now present their forthcoming debut album for the label, Desolation's Flower. On Desolation's Flower, Ragana draws upon a number of influences from the flora and fauna of their Pacific Northwest origins to the darkly nostalgic folk of Mt. Eerie and, yes, their Olympian forebears Wolves In The Throne Room, synthesising them into an experimental, highly idiosyncratic take on black metal. Held together by an intense focus on raw emotion and haunting atmospherics, Ragana shifts seamlessly from tender, mesmerising vocal harmonies to piercing, heart-ripping screams and back again, yielding music that is heavy, beautiful and punishing all at once. Written over the past few tumultuous years, Desolation's Flower is the band's most devastating effort to date, containing seven incantations of loss, rage, pain and hope. Expertly engineered by the masterful Nicholas Wilbur at the Unknown Studio in Anacortes, Washington (Planning For Burial, drowse, Divide and Dissolve, Have a Nice Life), the album serves as the culmination of the past decade plus of the band's ethos and execution.

For fans of Mt. Eerie and Wolves In The Throne Room. Experimental, highly idiosyncratic take on black metal from Oakland California / Olympia Washington two piece. Recorded, mixed and mastered by Nicholas Wilbur (The Microphones, Have A Nice Life, Planning For Burial). Previous releases with on cult DIY label An Out Recordings. 2018 split release with Thou. Ragana is a duo whose members alternate duties on drums, guitar, and vocals to produce some of the most unique and affecting dark music in metal today. The two-piece came together in 2011 in the DIY punk scene of Olympia, WA and are now based in Olympia and Oakland, CA. In their time together so far, Ragana have self-released five albums and teamed up with genre-favourite Thou for a split release in 2018. The following year, Ragana released their heralded We Know That The Heavens Are Empty EP and have quietly been working on new music ever since. The band signed with The Flenser in late 2022 and now present their forthcoming debut album for the label, Desolation's Flower. On Desolation's Flower, Ragana draws upon a number of influences from the flora and fauna of their Pacific Northwest origins to the darkly nostalgic folk of Mt. Eerie and, yes, their Olympian forebears Wolves In The Throne Room, synthesising them into an experimental, highly idiosyncratic take on black metal. Held together by an intense focus on raw emotion and haunting atmospherics, Ragana shifts seamlessly from tender, mesmerising vocal harmonies to piercing, heart-ripping screams and back again, yielding music that is heavy, beautiful and punishing all at once. Written over the past few tumultuous years, Desolation's Flower is the band's most devastating effort to date, containing seven incantations of loss, rage, pain and hope. Expertly engineered by the masterful Nicholas Wilbur at the Unknown Studio in Anacortes, Washington (Planning For Burial, drowse, Divide and Dissolve, Have a Nice Life), the album serves as the culmination of the past decade plus of the band's ethos and execution.

»Tropic of Capricorn« is the second album by Lawrence English and Werner Dafeldecker. Based on field recordings made by the prolific Room40 owner that were subtly but decisively altered with electroacoustic techniques through the German improv legend, these two long-form pieces blur the lines between acoustic ecology and aesthetic interventions, concrete local sound worlds and boundary-defying art. They put a focus on our relationship with nature as listeners as much as they call into question where nature ends and human perception begins. They are deeply confusing, disorienting perhaps, in the most beautiful ways.

English recorded the material that form the basis of the duo’s Hallow Ground debut on two different field trips. One led him from the Western coast to the Pilbara region in the North of the country called Australia, the other to the central desert into the lands of the Arrernte people. »These are vast spaces, and in some respects they shun contemporary ideas of civilisation which seek not to listen to the country,« says English. When recording the soundscapes, the artist put a focus on the residues of failed colonial aspirations. »The buildings and objects that remain from the failed cattle pastures and other endeavours create uneasy sound worlds of their own,« he says of the regions that are also places of extraction, especially the heavily mined Pilbara. »There is a distant drone of industry in even the most remote of places; an unsettled sense of heavy breath on the land.« He brought home a document of natural reclamation in time.

The rich source material was then given to Dafeldecker. Spatialising the recordings with transducers applied to different surfaces such as wood, stretched animal skin, glass, or metal surfaces and also re-recording parts of the recordings, he created discrete events that were inserted into, or rather enmeshed with English’s recordings. You’ll hear plenty of birdsong, insect noises and the sound of rain during these 39 minutes; the sounds of a life you can tap into if you tune into your environment. But there are also other things, things that are impossible to categorise even after repeated listens and that call into question whether or not those were really birds, insects, or the sound of rain in the first place. What »Tropic of Capricorn« invites its listeners to listen beyond the preconceived notions of how nature is supposed to be represented in sound and to instead embrace the immediacy of the sensation.

• Following on from the highly successful first two editions
of Dance Masters featuring the classics mixes from
maestros Shep Pettibone and Arthur Baker the spotlight
turns to another remix legend, John Luongo.
• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons
onto a promo and then passing them back the tape. This
resulted in him being flown to New York, and put in a
studio (of his choice) to mix and produce Melba Moore`s
“You Stepped Into My Life”. From this point everything he
touched was a hit. He went onto remix Disco classics by
Jackie Moore – “This Time Baby”, Dan Hartman “Vertigo
/ Relight My Fire” and Patti Labelle “Music Is My Way Of
Life”.

• John, however was not afraid of remixing artists that
didn’t fit into the disco genre and this attitude is borne out
by the tracklisting of this compilation on which Gladys
Knight and The Pips rub shoulders with ZZ Top and Billy
Idol, and Baltimora appears alongside Bill Nelson and ILevel.
• “…if you played this whole thing, just put it on and
didn’t tell anyone it was me, they’d say ‘boy, what a great
group of songs this is!’” - John Luongo
• The collection is housed in a beautiful lift-off-lid box, with
a 16 page booklet featuring foreword by Arthur Baker, an
in-depth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian) and complete with rare photos
from John’s personal collection plus a limited signed insert.

• All tracks remastered by Nick Robbins at Sound
Mastering.
• A 43-track 4CD edition is also available, along with a 2LP
vinyl edition featuring 16 highlights.

International ensemble Classico Latino are proud to present their new album 'Salsa Classics' featuring salsa legend Julio Ernesto Estrada aka 'Fruko and virtuoso violinist Omar Puente. Drawing on the familiar Bolero and Tango, as well as lesser-known rhythms such as the Pasillo and Joropo, Classico Latino's new album displays the amazingly varied stories and emotions of Latin America.

'Salsa Classics' features collaborations with Colombian multi-instrumentalist and salsa legend Julio Ernesto Estrada aka 'Fruko,' a behemoth of the international salsa scene and an awe inspiring musician, who adds much creativity and authenticity to the project. The recording also features Cuban born violinist Omar Puente, a highly skilled virtuoso with a plethora of achievements, including being first violin with the Cuban National Symphony Orchestra, touring with Buena Vista's Ruben Gonzales and performing with high profile figures across a truly diverse range of genres, including John Williams, Jools Holland, and Wynton Marsalis, to name just a few.

For years Feeling Figures have tinkered away at the edge of the Montreal scene, never fitting neatly into the ebb and flow of the city's cultural trends or its more traditionalist camps. A geographer, a music therapist, a writer, and an underground arts biz maverick, the four Figures have long been friends and collaborators in various musical formations and continue to propel multiple projects. At the core of Feeling Figures is the Zakary Slax and Kay Moon songwriting partnership, which itself stretches back a decade, the pair first crossing paths in a vibrant period of musical upheaval in Sackville, NB - a college town on Canada's East Coast. In the big city, a series of self-releases, shifting monikers, and revolving live lineups eventually coalesced with Thomas Molander & Joe Chamandy as the ultimate rhythmic vehicle and spiritual consorts for Slax & Moon's unconstrained syntheses of multiple eras of indie rock, punk, psychedelia, folk, and outsider pop. Their debut 7" of 2021 was an early entry in Montreal upstart label Celluloid Lunch's catalog. We're nearly 3 years past the debut 7" from Montreal quartet Feeling Figures and in some ways it feels like 300, Such are the seismic changes that have occurred during that spell. But enough about Feeling Figures' musical depth and laser-like lyrical focus, I understand some things have happened in the real world, too. 'Migration Music' is not this generation's first ramshackle-as-fuckk art punk album and I'm not sure it's even the 30 thousandth. But I do know Feeling Figures have arrived fully formed, with a real voice of their own (several in fact, that must be a really good microphone). This album is simply too much fun to have been the product of years of serious study, though I'm told students occasionally have fun, too. I wouldn't know, i'm a university drop out. I did once see an episode of the television adaptation of "The Paper Chase" where one of the new Harvard Law hopefuls had a Kiss poster over his bed and that seemed highly implausible. The utter lack of affectation on 'Migration Music' may or may not be considered a selling point (affectation seems pretty huge — almost always) but Feeling Figures' rock'n'roll atom smashery is nothing short of astonishing. Maybe there will be a better record in 2023 perhaps two or three, even. But for now, this is the band to beat. 10 tracks 33RPM

Only 200 copies of black 180g vinyl was made.

"Macrodose" is an album recorded in the classic form of Producer & MC, (Antiquant and Prykson Fisk). JuNouMi Records (est. 2002) gives this hip-hop project the highest mark of quality. Real underground rap album including many guests such as Axel Holy and King Kashmere from UK.

Prykson writes about the album as follows: Macrodose is a lyrical "trip report" with a perfect musical accompaniment, a diary of a total life transformation inspired by the power of medicine contained in entheogens.

To emphasize the urban character of the project, we asked the well-known street artist TYBER to create the graphic design of the album, which is ultimately based on a dedicated mural painted in September in Gdańsk.

Mr. Aleksander aka Prykson Fisk aka Fred Flin100NER is 170 kg of live hip-hop. Beat-boxer, MC and DJ, associated with Hip-Hop culture since 2003. Prykson is an experienced psychonaut and owner of the KOMORA REC home studio. Creator and author of over 20 albums and mixtapes. His official debut K02M02 (2020) landed in the respectable 7th place of OLiS... Representative of the MOST BLUNTED team, KOLOKOS - one of the creators and founder of such projects as: Renegaci Funku, Hedora, Prykson Ifs and Dusty Vibez. He played beats in every genre, from dubstep, grime, drum and bass, through rap, to jazz and funk played live with a band. He has conducted countless workshops in the field of hip hop (beat-box, rap) throughout Poland... A fan of good food, underground music, multidimensional visual art and conspiracy theories. An experienced gourmand of life and a well-known local healer.

Antiquant - 24-year-old producer from Zielona Góra. He has collaborated with artists such as Ryfa Ri, Mada, Asthma, Mareceli Bober. With his beats, he tries to drown the listener in an ocean of cosmic sounds. The axis of its production is the artistic achievements of producers such as flying lotus, monte booker and j dilla. In his songs, he does not limit himself to one style, his beats are often a patchwork of various genres of music. In his productions you can hear boom bap drums, trap eight hundred eighth notes and jazz trumpets coexisting in the strangest musical ecosystems. Antiquant appreciates experiments, loves to push his boundaries, look for undiscovered sounds and use effects in ways they shouldn't be used.

For fans of post-Chicago post-"Second Summer of Love" acid; Chris & Cosey, Terekke, Cabaret Voltaire, Anthony Naples, JTC, D.K., Luke Vibert, Khotin. The latest by Texan-turned-Angeleno progressive vaporwave producer Carlos Ramirez aka AURAGRAPH finds him shifting focus to the dance floor across eight chrome clockworks of cosmic acid house and liquid rave glide: New Standard. Inspired by lessons learned during a 5K mile American road trip tour in the summer 2022, he set to work in his Simi Valley Tuff Shed of synths and hardware, pursuing an explicitly DJfriendly muse: "I realized I wanted to make a record where every track could go off in a live setting." These cuts do just that, revved and rhythmic, peppered with slap bass, Madchester whistles, filtered acid, gated snares, baggy cowbell, and sample pack classics - record scratches, orchestral stabs, the "Yeah! Woo!" from Lynn Collins "Think (About It)." Ramirez describes the process as immediate and instinctual: "I'd turn on the MPC, pick a tempo, and just improv - it was incredibly fun." From sleek freeway techno ("110 Cruising") to arcade lurker acid ("Coast 2 Coast") to big room bangers ("666 Ambience"), the tracks time-travel across the canon of club music, sifting tricks and styles to fashion fresh anthems of hypnagogic jack. It's an album channeled as much as crafted, tapping into the decks of mythic warehouse infinities past and present, where the system rips all night and acid never dies.

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

Agitation Free zählte in den frühen 70er Jahren zu den führenden Vertretern der deutschen experimentellen Rockmusik. Die Berliner Band entwickelte ab Ende 1967 lange, für diese Zeit ungewöhnlich freie instrumentale Improvisationen. Kult-Status erlangte sie bereits 1972 mit einer eigenständigen Mischung aus improvisiertem Rock gepaart mit Elektro-, Ethno-, Jazz- und Trance-Elementen. Umfangreiche Live-Aktivitäten verschafften der Band in ganz Europa einen stetig ansteigenden Bekanntheitsgrad. So trat die Gruppe im Sommer 1972 im kulturellen Programm der Olympischen Spiele in München auf, tourte Anfang 1973 zwei Monate durch Frankreich, trat im Mai beim "German Rock Super Concert" in Frankfurt auf, produzierte das zweite Album "2nd" und ging anschließend auf Tournee durch Frankreich und deutsche Großstädte. 1974 machten sich bei der Band Ermüdungserscheinungen breit, die Ende des Jahres nach einem Abschiedskonzert zur vorläufigen Auflösung führten. Obwohl eine Reihe von Alben (mit Aufnahmen von 1972 bis 1974) nach der Auflösung der Gruppe erschienen und das Studio-Album "River of Return" 1999 herauskam, dauerte es fast 35 Jahre, bis sich die ursprüngliche Band wieder für Konzerte zusammenfand. Im Februar 2007 gab Agitation Free in der Originalbesetzung von 1974 eine Serie von Konzerten in Tokio"s "Shibuya O"West". Im Rückblick zeigte sich, dass der Experimentier-Zirkel Agitation Free eine der wichtigen Bands der "Berliner Schule" und darüber hinaus Karriere-Sprungbrett für einige Deutsche Musiker war. So verhalf Christopher Franke der Band Tangerine Dream zu weltweiter Anerkennung. Michael Hoenig arbeitete mit Klaus Schulze und Tangerine Dream, ehe er nach einem Soloalbum in Hollywood als Filmkomponist bekannt wurde (unter anderem die Filmmusik für den Blockbuster "9 1/2 Wochen" mit Kim Basinger und Mickey Rourke). Axel Genrich wechselte zu Guru Guru, Burghard Rausch wurde Gründungs-Mitglied bei Bel Ami. Gustl Lütjens, tourte mit Shirley Bassey und Nena und fand später mit seiner New-Age-Band Living Mirrors vor allem in den USA ein großes Publikum. Lutz "Lüül" Ulbrich schloss sich Ashra an, arbeitete mit Ex-Velvet Underground-Sängerin Nico, produzierte neben Theatermusik Soloplatten und feiert seit Ende der 90er Jahre mit den 17 Hippies Erfolge. In der Besetzung Michael Hoenig (keyb, syn, el. perc), Burghard Rausch (dr, el. per), Lutz Graf-Ulbrich ((git, acc. git, bj), Gustl Lütjens (git acc. git, vocals) und Daniel Cordes (b, syn) wurde das vorliegende Studioalbum "Momentum" eingespielt.

"Visions of Summerland (Live at Arminius Church Rotterdam)" ist weit mehr als nur ein weiteres Live-Album. DOOL nahmen diese Stücke in der dunkelsten aller Nächte während der Wintersonnenwende am 23. Dezember 2022 auf. Es war nicht nur physisch die finsterste Zeit des Jahres, sondern auch spirituell eine dunkle Stunde für die niederländischen Dark Rock Shootingstars. Aufgrund der weltweiten Pandemie konnten sie kaum mit ihrem aktuellen, zweiten Album "Summerland" auf Tour gehen. Außerdem war es das letzte gemeinsame Konzert mit ihrem Freund und Schlagzeuger Micha Haring, der zuvor unter vier Augen und aus persönlichen Gründen seinen Abschied von DOOL angekündigt hatte. Die Zeichen in der Arminiuskerk ("Arminiuskirche") in Rotterdam deuteten auf einen höchst melancholischen Auftritt hin. Umgeben von sakraler Architektur und religiösen Bildnissen, vor Familie, Freunden sowie ihren treuesten Fans opferten DOOL all ihr Herzblut, ihren Schweiß und ihre Tränen für die Songs. Pure Bühnenmagie lag in der Luft. Verzweiflung und Schmerz verwandelten sich in musikalische Schönheit und Hoffnung. Frontperson Raven sprach hinterher sogar vom wohl besten DOOL-Auftritt aller Zeiten! Seitdem sie im Jahr 2015 in der alten niederländischen Hafenstadt Rotterdam aus der Asche von THE DEVIL'S BLOOD und ELLE BANDITA auferstanden sind, haben DOOL der europäischen Dark Rock Szene ihren einzigartigen Stempel aufgedrückt. Das Debütalbum "Here Now, There Then" erschien im Jahr 2017 und gewann sofort Auszeichnungen wie "Album des Monats" in den renommierten deutschen Magazinen Rock Hard und Metal Hammer, wo DOOL auch den Titel "Bestes Debütalbum 2017" holten - neben viel Lob aus aller Welt, unter anderem von VICE (US), Aardschok (NL) und De Volkskrant (NL). Mit ihrem zweiten Album "Summerland", das im April 2020 das Licht der Welt erblickte, bestätigten die Shootingstars um Raven van Dorst (Gesang, Gitarre) ihren Blitzstart und ernteten weiteren Jubel in den Medien. "Summerland" erhielt vielfache "Album des Monats"-Auszeichnungen unter anderem in den deutschen Magazinen Rock Hard (10/10) und Sonic Seducer sowie einen zweiten Platz im Soundcheck von Metal Hammer (DE), Metal.de und eine weitere Erstplatzierung im polnischen Metal Hammer. Bevor DOOL im Frühjahr 2024 ihr drittes Album enthüllen, schenken die niederländischen Dark Rocker ihrer treuen Fangemeinde dieses beeindruckende Live-Dokument: "Visions of Summerland (Live at Arminius Church Rotterdam)" wirft ein strahlendes musikalisches Licht in eine Welt voller Dunkelheit.

"Visions of Summerland (Live at Arminius Church Rotterdam)" ist weit mehr als nur ein weiteres Live-Album. DOOL nahmen diese Stücke in der dunkelsten aller Nächte während der Wintersonnenwende am 23. Dezember 2022 auf. Es war nicht nur physisch die finsterste Zeit des Jahres, sondern auch spirituell eine dunkle Stunde für die niederländischen Dark Rock Shootingstars. Aufgrund der weltweiten Pandemie konnten sie kaum mit ihrem aktuellen, zweiten Album "Summerland" auf Tour gehen. Außerdem war es das letzte gemeinsame Konzert mit ihrem Freund und Schlagzeuger Micha Haring, der zuvor unter vier Augen und aus persönlichen Gründen seinen Abschied von DOOL angekündigt hatte. Die Zeichen in der Arminiuskerk ("Arminiuskirche") in Rotterdam deuteten auf einen höchst melancholischen Auftritt hin. Umgeben von sakraler Architektur und religiösen Bildnissen, vor Familie, Freunden sowie ihren treuesten Fans opferten DOOL all ihr Herzblut, ihren Schweiß und ihre Tränen für die Songs. Pure Bühnenmagie lag in der Luft. Verzweiflung und Schmerz verwandelten sich in musikalische Schönheit und Hoffnung. Frontperson Raven sprach hinterher sogar vom wohl besten DOOL-Auftritt aller Zeiten! Seitdem sie im Jahr 2015 in der alten niederländischen Hafenstadt Rotterdam aus der Asche von THE DEVIL'S BLOOD und ELLE BANDITA auferstanden sind, haben DOOL der europäischen Dark Rock Szene ihren einzigartigen Stempel aufgedrückt. Das Debütalbum "Here Now, There Then" erschien im Jahr 2017 und gewann sofort Auszeichnungen wie "Album des Monats" in den renommierten deutschen Magazinen Rock Hard und Metal Hammer, wo DOOL auch den Titel "Bestes Debütalbum 2017" holten - neben viel Lob aus aller Welt, unter anderem von VICE (US), Aardschok (NL) und De Volkskrant (NL). Mit ihrem zweiten Album "Summerland", das im April 2020 das Licht der Welt erblickte, bestätigten die Shootingstars um Raven van Dorst (Gesang, Gitarre) ihren Blitzstart und ernteten weiteren Jubel in den Medien. "Summerland" erhielt vielfache "Album des Monats"-Auszeichnungen unter anderem in den deutschen Magazinen Rock Hard (10/10) und Sonic Seducer sowie einen zweiten Platz im Soundcheck von Metal Hammer (DE), Metal.de und eine weitere Erstplatzierung im polnischen Metal Hammer. Bevor DOOL im Frühjahr 2024 ihr drittes Album enthüllen, schenken die niederländischen Dark Rocker ihrer treuen Fangemeinde dieses beeindruckende Live-Dokument: "Visions of Summerland (Live at Arminius Church Rotterdam)" wirft ein strahlendes musikalisches Licht in eine Welt voller Dunkelheit.

2023 Repress

Only released in October 2006, Anders Trentemøller's stunning debut-album - The Last Resort' already evolved into one of the most successful independent albums of the year. Raving reviews all over the place, various elections as - album of the year' and solid playlists at the radios express the huge interest in the fantastic album. While 2006 has been topped of with a tour through Australia, the first Trentemøller highlight in 2007 will be the release of - Moan', the second single from the album. For the a-side Trentemøller himself created a brilliant remix of the - Moan'-Vocal Version, which has been released on the Bonus-CD of the limited edition album only. Trentemøller managed to keep the mystic melancholic vibe of the track featuring the vocals of danish talent Ane Trolle, but adds punshy drums, screaming synths and some more guitars to guarantee serious dancefloor-action. Radioslave aka Matt Edwards aka Rekid aka Quite Village, on of the most in demand remix artists at the moment (Moby, Booka Shade, Justice, Peace Division, Pet Shop Boys, Joakim etc) contributed a great remix on the flipside. Slowly building over reduced drumpatterns their mix culminates into a manic wall of sound. While Poker Flat 81 features the vocal versions of both Trentemøller's and Radioslve's remixes, the instrumental and dub versions will be released simultaneously

Mit seinem neuen Doppel-Album "Baroque Colours" präsentiert Martin Stadtfeld eine einzigartige Palette farbenreicher Werke des Barocks. Und das in einer ganz besonderen Form: Für den ersten Teil wählte er 19 wunderbare kleine Originalstücke aus, u.a. von Bach, Rameau oder Händel, aber auch von weniger bekannten Komponisten wie Johann Kuhnau oder Joseph-Nicolas-Pancrace Royer. Für den zweiten Teil hat Stadtfeld einige seiner Lieblingstücke des Barocks ausgewählt und für Klavier neu bearbeitet. So gibt es aus Vivaldis berühmten "Vier Jahreszeiten" die mitreißenden Melodien aus dem "Sommer" und dem "Winter" neu zu erleben - als kurze, wunderbar klingende Piano-Stücke. Oder den berühmten "Kanon" von Johann Pachelbel in einer neuen Fassung für Klavier zu vier Händen, die Martin Stadtfeld mit der Pianistin Lilian Akopova eingespielt hat. Diese ist auch seine Partnerin bei den vierhändigen Fassungen des ersten Präludiums von Bach sowie der "Passacaglia" aus Lullys Oper "Armida". Ein Erlebnis sind auch die Klavierfassungen von Purcells Musik aus der Oper "Fairy Queen". Nahezu meditativ klingen Stadtfelds Improvisationen über Themen von Bach (u.a. das berühmte "Air" und "Menuett"), über Werke von Arcangelo Corelli sowie über das Kirchenlied "Ach bleib mit Deiner Gnade". Aufgenommen wurden die insgesamt 45 Stücke mit einem modernen Steinway mit einem sehr nahen und warmen Klangbild, so dass sich die Farbenpracht und Intensität unmittelbar auf den Hörer überträgt. Es ist, als ob man vor einem farbenreichen barocken Gemälde stehen würde und dabei immer neue Farben entdeckt.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.

On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, SFJAZZ Collective) on double bass - the trio exchange motifs over the length of 7 tracks.

Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.

Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:

‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’

Seit über dreieinhalb Jahrzehnten hat ihre unterm Strich verrückte Methode des Thrash einige der charakteristischsten Momente in der Welt des Metal hervorgebracht. Jetzt, in der zweiten Hälfte ihrer Karriere, zeigt sich die ganze Erfahrung mit SCORCHED, da es irgendwie reifer, raffinierter klingt und mit Andeutungen von mehr als nur Thrash Metal verschönert wird. „Es ist keine Aggression um der Aggression willen“, erklärt Sänger Bobby „Blitz“ Ellsworth, „es gibt viele verschiedene Elemente auf der Platte. Für mich ist es mehr Heavy Metal und weniger eine reine Thrash-Platte. Da ist verdammt viel Melodie drauf.“

OVERKILL erweitern ihren Aktionsradius, aber lasst euch nicht täuschen, die Band wird die dreckigen, massiven Gossen-Thrasher bleiben, die wir alle kennen und lieben. "Wir sind, was wir sind, und wir wissen, was wir sind, schon seit einer verdammt langen Zeit. An diesem Punkt unserer Karriere in der Lage zu sein, identifizierbar zu bleiben und trotzdem etwas zu machen, das anders ist, ist verdammt aufregend für die Band", schließt Blitz.

On his album NEGRO DELUXE Siifu trades in soulful rap for punk, fueled by the Black experience in America followed by spiritual jazz and poetry. A beautiful chaotic collage of sounds that reflect the black man’s thoughts on the day-to-day. It doesn’t take long to reach the heart of NEGRO, Pink Siifu’s new album. It’s an aggressive collection of hardcore punk and free jazz, with bold lyrics that encourage shooting back at trigger-happy law enforcement. This album profoundly communicated the anger of an African-American community beset by police violence a month before the murder of George Floyd lit the streets on fire. In April 2021, he revisited the project with NEGRO DELUXE, which doubled the length of the original.

Pink Siifu tells Bomb Magazine “after we were done mastering and mixing, Zeroh was like, “Yo, NEGRO is like fire, and NEGRO DELUXE is like smoke….So I would characterize NEGRO DELUXE as, like, after you’re angry, after you’ve punched a wall, after you beat somebody up, whatever, how do I channel that into something else? How do I just let it go? I feel like NEGRO DELUXE is that, for real, in a nutshell. It’s like the chaos calmed down after all the fire’s gone and the smoke is in the air.”

It isn’t anything like ensley, Siifu’s breakthrough 2018 LP. Where that record used mid-tempo soul and hip-hop to score his upbringing, NEGRO is a riotous mix calling for Black revolution. It’s also the most fearless project in his growing discography. NEGRO harkens back to 1992, to Ice-T’s thrash metal band Body Count, song “Cop Killer”.

This album is meant to remind us of Rodney King, Racist Cops, The Black Panther Party, and Christopher Dorner, the ex-L.A. police officer who, in 2013, went on a violent shooting spree against his former colleagues and their family members due to seeing his own policeman violate the people there supposed to be protecting. “It’s about America, It’s about the trauma that comes from the flag. It’s about understanding that it’s okay to be angry.”

In the album, originally titled ‘To Be Angry’, Siifu started crafting NEGRO after listening to old Afrocentric jazz and watching clips of novelist and poet Amiri Baraka and civil rights activist Stokely Carmichael, reading Sun Ra’s sci-fi poetry book, The Planet Is Doomed, and started studying Bad Brains, June Tyson, Death, Ras G, and many others.

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

28. September 2023 – Als Tina Turner im Mai dieses Jahres verstarb, hinterließ sie das Erbe eines gewaltigen Lebenswerkes. Eine neue Anthologie blickt zurück auf ihre legendäre Solokarriere, die vor fast 50 Jahren ihren Anfang nahm. „Queen of Rock ‘n‘ Roll“ ist eine Zusammenstellung von 55 Tracks, die uns anhand ihrer Singles durch ihre einzigartige Solokarriere führt, angefangen bei ihrer Coverversion von „Whole Lotta Love“ (1975) bis hin zum Kygo-Remix von „What's Love Got to Do With It“ aus dem Jahr 2020. Es ist das erste Mal, dass ihre gesamte Single-Sammlung in einem Set veröffentlicht wird.

„Queen of Rock ‘n‘ Roll“ ist ab dem 24. November erhältlich und kann ab jetzt vorbestellt werden. Die Anthologie erscheint als 3-CD und 5LP-Set sowie als abgespeckte Vinyl-Version mit 12 Tracks. Alle physischen Varianten enthalten ein Vorwort von Bryan Adams, langjähriger Freund und Kreativpartner Turners.

Tinas erste Veröffentlichung als Solokünstlerin erfolgte zu einer Zeit, als sie mit dem Duo Ike & Tina Turner Revue tourte und Alben herausbrachte. „Tina Turns The Country On!“ – so der Titel des 1974 veröffentlichten Solo-Debüts – brachte keine Singles hervor, weshalb diese Anthologie erst 1975 einsetzt. Da nämlich wurde ihre Coverversion von Led Zeppelins „Whole Lotta Love“ vom zweiten Album „Acid Queen“ offiziell als Single veröffentlicht. Im weiteren Verlauf hält die Sammlung Duette mit anderen legendären Künstlern wie David Bowie, Bryan Adams, Eric Clapton und Rod Stewart sowie einige der unvergesslichsten und berühmtesten Pop- und Rock-Singles aller Zeiten bereit, darunter „What's Love Got To Do With It“, „Private Dancer“, „We Don't Need Another Hero“, „The Best“, „Steamy Windows“, „I Don't Wanna Lose You“ und „Disco Inferno“, um nur einige zu nennen.

Um das Vermächtnis der Queen of Rock ‘n’ Roll zu feiern, enthält die Sammlung auch eine neue Version von „Something Beautiful Remains“, nunmehr schlicht betitelt „Something Beautiful“. Der ursprünglich 1996 veröffentlichte Track wurde von Turners legendärem Produzenten und langjährigen Mitstreiter Terry Britten überarbeitet und ist ein gefühlvoller und angemessener letzter Tribut an das kraftvolle Vermächtnis, das sie hinterlässt. Britten, der das Rework nicht lange nach ihrem Tod anfertigte, kommentiert: „Liebe Tina, die Zusammenarbeit mit dir war eine Erfahrung, die sich niemals wiederholen wird. Und doch bleibt in meinem Herzen ‚Something Beautiful‘ zurück.“

Tina wird auf der ganzen Welt verehrt. Mit ihrer persönlichen Geschichte, ihrem Gesang und ihrer Art des Tanzens war und ist sie eine Inspiration für Millionen von Menschen rund um den Globus. Und nicht zuletzt hat sie ein musikalisches Vermächtnis hinterlassen, das einige der bekanntesten Songs aller Zeiten umfasst.

Tina Turner ist zweifellos eine der bedeutendsten Künstlerinnen der modernen Musikgeschichte. Um es mit den Worten Beyoncés bei der Verleihung Kennedy Center Honours 2005 an Tina Turner zu sagen: „Ich werde nie den Moment vergessen, als ich den ersten Auftritt von dir Tina Turner sah. Ich hatte noch nie in meinem Leben eine Frau gesehen, die so kraftvoll, so furchtlos und so fantastisch war." (Hier kann man Beyoncés Laudatio samt darauffolgender Live-Performance ansehen.) 2008 traten die beiden dann gemeinsam bei den Grammy Awards auf und performten „Proud Mary“, ein Song von Ike & Tina Turner aus dem Jahr 1971. Diese Performance – anzusehen hier – gilt heute als einer der ikonischsten Momente in der Geschichte des weltweit wichtigsten Musikpreises.

Tina Turner hat über 200 Millionen Tonträger verkauft und hatte in Deutschland acht Top-10-Singles und ebenso viele Top-10-Alben (bzw. fünf, wenn man die Compilations/Livealben nicht dazuzählt), darunter die #1-Single „We Don’t Need Another Hero“ und die #1-Alben „Break Every Rule“ und „Foreign Affair“. Im UK war sie die erste weibliche Künstlerin, die in sechs aufeinanderfolgenden Jahrzehnten einen Top-40-Hit im Vereinigten Königreich hatte. Dort sind ihre Alben heute mit 20-fachem Platin dekoriert, in den USA mit 9-fachem Platin und in Deutschland mit 11-fachem Platin. Auch im Rest der Welt erzielte Turner gewaltige Verkaufszahlen. Bei den Grammy Awards wurde sie achtmal ausgezeichnet und insgesamt 25-mal nominiert. 1991 wurde Turner in die Rock & Roll Hall of Fame aufgenommen, außerdem hat sie Sterne auf dem Hollywood Walk of Fame und dem St. Louis Walk of Fame. Das Konzert im Maracanã in Rio de Janeiro im Rahmen ihrer „Break Every Rule“-Tournee 1988 stellte mit 184.000 Zuschauer:innen im Maracanã in Rio de Janeiro einen neuen Weltrekord für das größte zahlende Publikum bei einem Solokonzert auf. Das Rolling Stone Magazine führt Tina Turner auf #17 der 100 größten Sänger:innen aller Zeiten und auf #63 der 100 größten Künstler:innen aller Zeiten.

Trotz all dieser Erfolge und ihres gewaltigen Ruhms verschwand die Person Tina Turner nie hinter der Persona Tina Turner. Sie blieb ihre gesamte Karriere über nahbar und authentisch – ein weiterer Grund, wieso sie bis heute weltweit so geliebt wird. Bryan Adams dürfte in seinem wunderschönen und persönlichen Vorwort vielen Menschen aus dem Herzen sprechen, wenn er über die Wirkung schreibt, die Tina auf ihn hatte:

„Tina hat den Lauf meines Lebens verändert, denn ihr schreibe ich zu, dass ich es aus der Bedeutungslosigkeit auf die Bühnen des Vereinigten Königreiches und Europas gebracht habe. Ich bin so dankbar, dass sie etwas von ihrer kostbaren Zeit mit mir teilte. Sie war eine Naturgewalt, niemand hatte ihre Energie oder ihre Stimme“, so Adams, der dann mit Bezug auf seinen 1985er-Song mit Tina Turner anfügt: „It’s only love, and that's all.“

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Experimental rock quintet from Los Angeles for fans of Unwound, Duster, Slint, and Lowercase. Mixed and engineered by Tim Green at Louder Studios (Unwound, Melvins, Jawbreaker). Live appearances with Flenser labelmates, Have a Nice Life, Chat Pile, Midwife, and tour dates planned throughout 2023. Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain's evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band's artistic and conceptual essences. The most extraordinary of art isn't created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album's fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line. Clocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent's dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody.

Atack’s founder member and lead guitarist Keith Atack has a long pedigree in the rock music scene. He grew up during the sixties and was influenced from an early age by bands like The Beatles, Rolling Stones, Yardbirds and then on to Jimmy Page and Ritchie Blackmore. He has also toured with many pop acts like Bonnie Tyler, Rick Astley and many others. He has a rock / funk / soul style as well as a jazz and blues influence. He is joined by band members that also have strong roots in the rock scene such as Bob Richards on drums who has rubbed shoulders with members of bands like Iron Maiden, Survivor, Asia and Shy. Bassist Chris Childs is well respected and is the bass player with UK stalwarts “Thunder/ Lonerider/Tyketto”, he is an ideal addition to the line-up along with seasoned vocalist Lee Small (Shy/Phenomena/Lionheart and many more). Finishing off the quintet is Nick Foley whose keyboard prowess is ever present throughout the album. The sound of the Hammond for which he is known gives the whole album a feel of Deep Purple and Rainbow with a true classic British Rock sound. “Nine Lives” is an exciting addition to the escape music roster and available in limited edition vinyl and CD formats, something very much to look forward to.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Smile your way through two songs by The Teacher Haters — in fact, we challenge you to get through these tracks without smiling. Even the name of the band invokes a chuckle as it suggests what these guys are about — and that’s the P-A-R-T-Y. Straight out of the 60s comes a group that could have been played with Sam The Sham & The Pharaohs back in the day. These whimsical works are deceptively deep as they take us to a time when garage punk fused with R&B.

Big Pig Alley is uncomplicated, and that’s what makes it great — it sounds like a bunch of college guys having a good time, writing lyrics on the spot: “If you’re lookin’ for romance, take a train, take a plane...or a raft to France.” The guys have something other than romance on their minds as they chug along on acoustic guitar and trash can drums (and possibly other things). What really makes the track, though, is the witchy background voice — the performance is loose enough, while the witch is doing his own thing entirely.

The witch returns on side B in the up-tempo, dance-ready Cut Loose. No obscure artistry here — these guys tell you exactly what the song is for in the title. In fact, just in case you missed it, they state their thesis in the opening lines: “I wanna shake all night, I wanna do it right, I wanna dance, dance, dance with you…” All of their collegiate effort is put toward getting you to move your hips in this groovy, rockabilly-flavored mix.

Snap up the mid-century college party in a box that is PP006 — and hope your tables don’t get too scuffed up from people dancing on them. The fun that The Teacher Haters had in making these tracks is all here and available to you — whether you want to go on a nostalgic trip through a 60s coed party, or host your own shindig where dancing is mandatory. Get your hands on this disc before the regents show up.

Mount Maxwell returns with another full-length journey into memory, melody, and geography - this time roaming beyond the BC environs of his previous records into a stranger, less knowable country. While still woozily nostalgic in the vein of Only Children and The People’s Forest, this outing feels more exploratory and wide ranging in scope, with a denser mixture of influences at play. The somnambulistic drift of Sea of Milk sets the stage with a series of wavering synth pulses that push us languidly toward land, eventually setting us down on the sands of Maze Crete, where a shadowy latticework of hand drums, flutes and synths await. From there we ascend to the aptly named Sky Eye, a rolling mixture of acoustic beats and analog string machines that gives us our first bird’s eye view of the album’s landscape. A Long Road pushes the acoustic instrumentation further, with shimmering tambourine marking time for a collection of hand drums and shakers, while Ages summons up an occult-like dream of glacial arpeggios and whispering synths. Slow Moves and Tree Motion float effortlessly along on beds of lazy congas and woodblocks before finally giving way to the title track - a heady juggernaut of distorted synths and trundling rhythms that propels us through the album’s second half like a locomotive through darkening hills. Drawing the record to a close, the gently repeating keyboard phrase of Mist blooms unexpectedly into a rainbow of human voices before evaporating into the oceanic swells of Hi Traveller. And there Littlefolk leaves us as it found us; adrift in a rolling sea.

“Incident At a Free Festival” is a tribute to the mid-afternoon slots at Deeply Vale, Bickershaw, Krumlin, Weeley, and Plumpton – early 70s festivals that don’t get the column inches afforded the Isle of Wight or Glastonbury Fayre, but which would have been rites of passage for thousands of kids. Bands lower down the bill would have been charged with waking up the gentle hippies and appealing to both the greasy bikers and the girls in knee-high boots who wanted to wiggle their hips. And the best way to do that was with volume, riffs and percussion.

Compiled by the venerated Bob Stanley and Pete Wiggs of Saint Etienne, this is the heavier side of the early 70s they summarised on the acclaimed “English Weather” collection. There’s an air of menace and illicit thrills among tracks by Andwella, Stack Waddy and Leaf Hound (whose “Growers of Mushroom” album is worth well over £1,000). Bigger names include the rabble-rousing Edgar Broughton Band and kings of the festival freakout, Hawkwind. They are represented by their rare version of ‘Ejection’

For every mystical Tyrannosaurus Rex performance there was something like Atomic Rooster’s Tomorrow Night or Curved Air’s Back Street Luv to capture the spirit of the day and stir the loins of festival goers; the tracks on “Incident At a Free Festival” were inspired by both Chicago’s percussive wig-outs and the Pink Fairies’ anarchic spirit. The sounds were heavy and frequently funky, with a definite scent of danger. Their message was clear and simple: clap your hands, stamp your feet, hold on to your mind.

So, put on your wellies in your living room, drop the needle and enjoy...

'Suspects EP' by SYLK marks the vinyl debut on his Munich-based imprint 'SLK'. Offering four groovy and punchy Techno Tools, each one pulsating with the raw energy and gritty vibe of 90s gang culture.

"Galt MacDermot (1928-2018) was an award-winning Canadian-American composer, pianist, writer of classical music and theatrical pieces. MacDermot also composed music for several film soundtracks (like the 1970 blaxploitation film `Cotton Comes To Harlem') and released several exceptional jazz and funk albums on his own label Kilmarnock Records. He is best known for his work on the Grammy winning 1967 musical Hair (which also produced several number-one singles like "Aquarius/Let The Sunshine In") and Two Gentlemen of Verona (1971) for which he won a Tony Award. In 2009 Galt MacDermot was inducted into the Songwriter's Hall of Fame and in 2010 he received the Lifetime Achievement Award. In 1979, MacDermot formed the New Pulse Jazz Band, which performed and recorded his original music. Galt MacDermot's music is extremely popular with collectors of jazz and funk. Working with jazz and soul musicians such as Bernard Purdie and Idris Muhammad, MacDermot created pieces that used African rhythms (he made the study of African music his speciality). In recent decades, his work has become popular with hip-hop musicians including Busta Rhymes, Ol' Dirty Bastard, Gang Starr, Action Bronson, Public Enemy, MF Doom, Madlib, J Dilla, Obie Trice, Naughty By Nature, Run DMC and Digable Planets_the list is endless. The album "Ghetto Suite" was written in 1970 and released in 1972 and is considered one of the most ground-breaking records ever issued on Galt MacDermot's Killmarnock label and consists out of a selection of songs and poems by Harlem/Bronx school children, set to Galt's music, and sung by vocalist Angela Ortega. Given That Galt's handling the music, you can bet that there's plenty of nicely executed funky touches - supported by rolling bass-work, snapping drums, and organ virtuosity. But the real charm of these groovy tunes comes from the lyrics, which have a simple and to the point way of dealing with issues of racism, poverty and other issues of the time. The story telling is surprisingly gripping even after all these years. The whole album creates an extremely personal direct sensitivity to the environment of Ghetto kids_telling us with defiantly honest intensity what it was like to be young and black, the drugs and the deaths, the topic of incarceration_or simply the fact of being battered by the frustration of Ghetto existence. Ghetto Suite is way more than an entertainment record, it has been used by teachers and counsellors to inspire and motivate the muted voices of the black inner cities_ documenting both their anguish and their triumphs. Tidal Waves Music now proudly presents the FIRST EVER vinyl reissue of this exceptional conceptual album (originally released in 1972 and a highly sought-after pricey collectable ever since) This unique record now comes as a deluxe 180g vinyl edition (strictly limited to 1000 copies) with obi strip and features the original artwork and extensive sleeve notes.

Tenor saxophonist Ben Webster (born Kansas City, 1909) needs little introduction, Webster is regarded as one of the three foremost swing era tenor saxophonists - the two others being Coleman Hawkins and Lester Young. His ballad playing and sound inspired such later fellow saxophonists as Archie Shepp, Sonny Rollins and John Coltrane. Webster became famous for his unique sound, quick tempos, his solos that contained great virile rhythmic momentum, a rasping timbre and an almost brutal aggressiveness filled with growl, while his ballad playing was breathy, tender and sensual. The list of his collaborations is long, Ben Webster worked, recorded and played with legends from the likes of Art Tatum, Count Basie, Cab Calloway, Roy Eldridge and Dexter Gordon_but a dream came true when he was offered a permanent job in Duke Ellington's orchestra where his personal style matured. Webster stayed with Ellington until 1943, after which he formed his own groups and played with other small ensembles. From 1952 on he spent his time between Los Angeles and New York playing, freelancing and recording with a variety of soloists, among them high-profile singers like Billie Holiday, Ella Fitzgerald, Carmen McRae and Frank Sinatra. Despite excellent reviews of his albums, it was difficult for Webster to find steady work in the US during the early 1960's, and when in 1964 he got offered to play for a month in London he accepted and sailed to England. Webster never returned to the United States. In Europe he found plenty of work, playing residences in Scandinavia, settled in Amsterdam (1966-69) and then in Copenhagen (where he even has a street named after him). He toured frequently, playing in clubs and at big festivals with local bands or with visiting American musicians. Ben Webster suffered a stroke in Amsterdam in September 1973 following a performance in Leiden and died on September 20. Even when his health started to decline during his last years, his playing never did. To the last day Webster played with passion and intensity, delivering weight on every note. Webster is the subject of two renowned documentaries and two extensive biographies have been published about his legacy. Responsible for a plethora of excellent recordings he remains THE best-selling tenor saxophonist in jazz. Ben Webster was one of those unique jazz musicians whose presence came through on every recording (He recorded for prestigious labels including Verve, Impulse!, Prestige, Reprise, Blue Note_and countless others. On the album we are proudly presenting you today (Wayfaring Stranger recorded in 1970 by the NPS Radio network in The Netherlands) you will find mind-blowing high-quality Dutch sessions that were left dormant on a shelf and weren't commercially released for over 30 years! On 'Wayfaring Stranger' the listener is treated to no less than nine sublime tracks that document Webster's trademark relaxed-swinging but imaginative playing style that never gets boring. The album features an all-star line-up from the likes of Rob Langereis (Toots Thielemans), John Engels (Chet Baker, Dizzy Gillespie) and Cees Slinger (Dexter Gordon, Slide Hampton). Expect a 61-year-old Ben Webster in excellent form giving a warm, dusky, gritty yet funky performance where he delivers everything from up-tempo material, 12-bar blues jams to soulful expressive ballads. Webster's quartet is in constant musical dialog with each other, creating a unique back and forth between musicians at the top of their game. Tidal Waves Music now proudly presents the FIRST EVER vinyl release of this fantastic album (originally released as a limited Compact Disc edition back in 2000). This unique record comes as a deluxe 180g DOUBLE vinyl edition (strictly limited to 1000 copies) with obi strip.

Released here on vinyl for the first time ever, this collection of rare recordings by Australian rock legends FRATERNITY was unearthed and curated by author and co-manager Victor Marshall from the archives of original band manager Hamish Henry whilst performing research for his book on the band, entitled 'Fraternity: Pub Rock Pioneers' (Brolga Publishing 2021). - Original cover artwork by renown Australian artist Vytas Serelis who also designed the cover artwork for Flaming Galah. - Deluxe package includes gatefold jacket packed with original press clippings and previously unpublished period band photos plus extensive liner notes by original band co-manager Victor Marshall. - Album features legendary AC/DC front man BON SCOTT on lead vocals! His work with FRATERNITY put Scott on the radar of George Young, AC/DC co-producer and older brother of Angus and Malcolm, eventually leading to Scott replacing then-front man Dave Evans in 1974.

'Elephantasia' is a glorious folk opus from 1972, long lost and attaining a legendary reputation for its candour and creativity, from the late Bangor-born singer/songwriter Dave Evans. Finally, the LP sees the light of day again via Earth Recordings, it is a true gem from the vaults of British folk history. For fans of Nick Drake, Bill Fay and Davy Graham - with a touch of Michael Chapman, Bert Jansch and Fahey for good measure. Dave Evans' story is like a Pinter play; he sailed the seas in the merchant navy, was taught guitar in a brief interlude by the "mythical" Morocco John, wound up sharing a room with Steve Tilston in 1963 when they attended Loughborough Art College and ran the local folk club, while learning to make stringed instruments, the art of wine making and ceramics. Over the next year, Dave got a domestic 2-track reel-to-reel tape recorder and experimented with its two speeds to produce the tracks 'Elephantasia' and 'Lady Portia'. He pulled in members of local prog band Squidd, including latter day Hawkwind member Steve Swindells on keyboards, John Merritt on bass and Rodney Matthews on drums, who also designed the 'Elephantasia' album cover, and went on to become a renowned fantasy artist. 'Elephantasia' the album was originally released in 1972, fully exposing Dave's finger picking style, lilting vocal and his dalliance with the tape manipulation. It sold around 2000 copies and over the years became a talked about rarity, deemed too progressive for folk, too folk for the new prog heads. In best plot-thickening style, Dave tried two more releases and then disappeared. The scant sleeve notes recounted the songs' creation, featuring tales of experimentation in sound inspired by elephants, old memories recounted with all of the unpleasant bits edited out, storylines for escapists, the residents of St Agnes Park, broken beauty queens and a fat feline. It's an eclectic but beautifully fluent narrative from a finger picking maestro with a warm and engaging vocal style that wowed Peel and Whispering Bob back in the day. Dave Evans sadly died in April 2021. Earth Recordings is proud to reissue 'Elephantasia' for the first time in over 50 years, in collaboration with his estate and original Village Thing producer Ian A. Anderson. "Cult status guaranteed." Uncut. Classic Black Vinyl, DL card. CD Digisleeve.

Goo Goo Dolls (also known as First Release) is their 1st studio album released in 1987. Before the Power Pop hits...
This is a PURE RAW PUNK album recorded in their hometown of Buffalo, NY. It contains some covers mixed in with
originals. Vinyl has been out of print and unavailable.

Fango’s debut EP for Running Back draws a map of the Italian’s wonderful world of sounds. To help music journalists in their ongoing search for new genres, it’s a planet that consist of techno punk, ebm house and outsider disco.
Fed by the unbroken fascination with all things dinosaurs (no pun intended) that Fango shared with his son, reading books, watching documentaries and visiting museums, he found a new place and created a sound for it. If you have ever looked for a danceable soundtrack that resembles strange dinosaurs, dark clouds, active volcanoes and powerful winds, you have finally found it. Aptly named after four different dinosaurs, this Ep consists of the irresistible uplifting vibe that is Sarcosuco and its sweet and melancholic counterpart Diplodoco, while the slow-motion rave Dimetrodonte and Gastonia mirror Fango’s darker and tool-like character. All in all, it’s like watching a dinosaur mosh pit from space. Special artwork by Luca Zamoc.

Heavenly Cream 'An Acoustic Tribute To Cream' features Ginger Baker, Cream lyricist the late Pete Brown, Free front man Paul Rodgers, Bernie Marsden, Joe Bonamassa, Bobby Rush, Malcolm Bruce (son of Jack Bruce), Debra Bonham, Maggie Bell and others.

For a band that only existed for two and a half years, the influence and fame of Cream seems to have only grown and grown over the decades.

One of the highlights of this project was the participation of Cream's original drummer Ginger Baker. It turned out, sadly, that these were the last recording sessions he ever did.

Another big plus was getting the great Bobby Rush. The 85 year old blues/ funk master verve and energy is spectacular.

Joe Bonamassa didn't quite realize that we were all- acoustic, but plugged in for his slide work on "Sunshine" to great effect.

The powerful vocals of Deborah Bonham gracefully shook the walls of Abbey Road studios when she came in to lay down a couple of tracks. Her husband Peter Bullick also added to the mix, displaying his guitar finesse with great ease.

Maggie Bell's performances were a welcome reminder that she is still one of the greatest British blues/ soul artists of our time. And multi- instrumentalist and singer Malcolm Bruce, who played on every track, did some magical work that his late father Jack would surely have been very proud of.

If that wasn't enough, the phenomenal voice of Paul Rodgers puts the sweetest icing on this fine collection of tracks with his unmistakable presence.

In 2006 Cream won the Lifetime Achievement Award at the Grammys. Features Joe Bonamassa 3 times Grammy Nominee, Bobby Rush 2 time Grammy Winner, Son Of Jack Bruce, Malcolm Bruce, plays on every track.

Produced by Rob Cass, also producer of Silver Rails, Jack Bruce's final album.

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

An album crammed full of rare & unreleased tracks from the vaults of swell map founder Jowe Head. o Swell Maps formed out of various bedrooms in the mid -70s and became the pioneers of DIY punk. o Swell Maps founding members were Nikki Sudden, Epic Soundtracks, Jowe Head & Phones Sportsman o Includes demo versions of 2 of the bands Singles "Dresden Style" & "Read about Seymour". o Exclusive Liner notes by Jowe Head o Exclusive artwork originally designed by Epic Soundtracks & Jowe Head in 1977 o 2 Lps with printed inner bags in extra wide spine LP sleeve with cover sticker

Die ultimative Zusammenstellung von Fu Manchu's 30th Anniversary Vinyl Serie, Fu30. Volume I-III, enthält nicht nur alle 9 Songs der (fast) ausverkauften limitierten 10 "s, die in den letzten 2 Jahren veröffentlicht wurden, sondern enthält auch einen Bonustrack des neuen Scott Hill Mixes der Band von Rush's "Working Man". Ursprünglich wurde der Song im Januar 2020 als Tribut an den verstorbenen Neil Peart aufgenommen und als digitale Single zu Gunsten der Hirntumorforschung am Cedars-Sinai Medical Center veröffentlicht. Diese auf 2000 Stück limitierte Veröffentlichung ist in einer Doppelplatinhülle mit Prägung und Spotlackierung verpackt und enthält einen zweiseitigen Einleger mit Artwork aus der ursprünglichen 10"-Serie und neuen Fotos. Wie das letzte Album der Band, Clone Of The Universe, wurden auch diese Songs im The Racket Room in Santa Ana, Kalifornien, von Jim Monroe (Adolescents, Ignite) aufgenommen und von Fu Manchu mitproduziert. Zusätzlich zu den 6 neuen Originalen enthält das Set die einzigartige Interpretation der Band von "Takin' It To The Streets" von den Doobie Brothers, "My Wave" von den Surf Punks und "A Million Miles Away" von den Plimsouls mit dem Gesang von Neil Fallon von Clutch. Die auf 2000 Exemplare limitierte Vinyl-LP ist silberfarbend. Beide Formate (LP/CD) mit geprägtem Cover-Artwork. Erscheint am Black Friday 2023.

10th anniversary deluxe edition of Mac Miller's second studio album Watching Movies with the Sound Off on heavyweight galaxy vinyl. Includes a bonus 10" zoetrope picture disc with bonus track "The Star Room (OG Version)" and a never before released vinyl exclusive track "The Quest."

With the release of his sophomore album, Pittsburgh native Mac Miller goes up against some of hip-hop's heavyweights to shatter the public perception and prove that he is a talented lyricist.

Miller made a name for himself several years ago with the release of his popular mixtapes , gaining a following from the party-heavy beats and whimsical rhymes. Miller's first album Blue Slide Park debuted on the charts at the number one spot of Billboard's 100 making it the first indie album to snag the number one spot since Tha Dogg Pound's Dogg Food in 1995. Despite the commercial success of BSP, Miller's debut album received mixed reviews and he was lambasted and accused of being one-dimensional. Determined to prove himself as a serious lyricist, Miller's Watching Movies With The Sound Off goes toe to toe with Cole and West. Picking up where his 2012 mixtape Macadelic left off, Miller continues his psychedelic journey through hip-hop with a more serious undertone to his lyrics.

Miller once again pulls double duty and puts on the producer's hat of his alter ego Larry Fisherman. The 21-year-old handles most of the production on the album but he enlists the help of several others including Pharrelll Williams, Diplo, The Alchemist, Clams Casino, Flying Lotus and more. It's clear Miller has grown just as much as a producer as he has as a rapper. Sonically, WMWTSO is a complex and challenging conglomerate of trippy, acid-laced sounds that mesh well with Miller's laidback flow.

WMWTSO may seem like a far leap from his debut album, but with the several projects released in between the two albums, Miller has been on this path for a while. Accomplishing the goal of proving he's more than a flash in a pan and can make more than party hits, Miller's sophomore album WMWTSO holds its own against his colleagues that share the same release date. A must have on vinyl for any fan!

Fully remastered edition of the classic rarities collection from The Obsessed, plus new tracks and new liner notes! A historic document of the stoner/doom godfather's original and best-known band. This new version is Black.Blues Swirl Vinyl! 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the worldwide stoner/doom scene. Led by Scott "Wino" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, with Wino himself playing and performing with members of Sleep, Neurosis, Foo Fighters, Judas Priest, Black Sabbath and more. Since their earliest days, The Obsessed accumulated dozens of demos, b-sides, covers and alternate recordings, many of which were issued in various limited releases and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of 4 new tracks, and is packaged with all new artwork, photos, and extensive new liner notes with Wino himself telling stories behind each long-lost gem. Fully remastered, new tracks, new artwork, new photos, new liner notes! Press Quotes: 'The career of Wino is a rich and fabled one, and his tentacles of influence weave throughout the arenas of rock, punk and metal.' _Alternative Press 'Wino, what a fucking guitar player, and one of my favorite singers, nothing to prove, just soul-felt vocals.' _Phil Anselmo (Down, Pantera) 'Wino's music has always been so serious, that's the only thing he knows, and he's gonna do it whether or not he makes a million dollars or ten bucks... he means it.' _Pepper Keenan (Corrosion of Conformity) 2020 is the 40th anniversary of the formation of The Obsessed, one of the preeminent bands in the stoner/doom scene worldwide for nearly 40 years. Led by Scott ""Wino"" Weinrich, a heavy music lifer admired and acclaimed by the likes of Dave Grohl, Pepper Keenan, Henry Rollins and Phil Anselmo, The Obsessed has been releasing milestone albums for decades on labels like Hellhound, Columbia and Relapse, as well as Wino himself playing and performing in bands with members of Sleep, Neurosis, Judas Priest, Black Sabbath and more. Since The Obsessed's earliest days, the band accumulated dozens of b-sides, covers, alternate takes and demos, many of which were issued on a variety of compilations and an early-2000s collection called Incarnate. Long out of print, Blues Funeral Recordings' new ultimate edition of The Obsessed 'Incarnate' is completely remastered, features the addition of new tracks, and is packaged with all new artwork, photos, and all-new extensive liner notes written by Wino himself to tell the stories behind each long-lost gem.

Leroy Se Meurt is a French musical duo known for their eclectic and experimental sound.

Formed in 2018 in Paris, their music can be described as a fusion of various genres, abrasive and hypnotic, an energetic old school EBM fused with fierce electro and bound by punk ethos.
Retaining the minimalist and raw qualities of punk rock, and replacing the complement traditional punk rock instruments like guitars and drums with drum machine and synthesizers, LSM sound is characterized by a blend of influences, including electronic, experimental, and noise elements, which contribute to their unique and distinctive style. If you enjoy post-punk music or are interested in exploring this genre, you may find aspects of it in Leroy Se Meurt's work, but their music also transcends traditional genre boundaries.

Favorite Recordings comes back with the 2nd edition of its compilation series: Fusion Global Sounds. 8 rare and hidden tracks produced between 1976 and 1984 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice cooked another fine selection of forgotten Fusion Jazz productions, this time driven by a common Brazilian influence.

On this 2nd edition, recordings come from Brazil, Philippines, Netherlands, Poland, and US, all again from underrated artists mostly unknown from the masses. You'll find here the best elements of the Fusion genre: fine vocal arrangements, catchy Fender Rhodes and synthesizers, irresistible basslines, and classy horns section, altogether bringing a unique groove infused with Brazilian flavors.

The compilation starts with Lerma dela Cruz, a quite occult songstress from Philippines. “Free” was part of a very rare compilation titled “Tropical Jazz Fusion”, released in 1983 on A&W Horizon label (also home of Boy Katindig). With its blowing Samba / Jazz-Funk vibes, it was an obvious match to open this collection. The following song could only enhance this ambience, since that of Brazilian saxophonist, Nivaldo Ornelas, present on this opus with 2 titles taken from his album A Tarde (1983). On “Cactus”, Nivaldo is supported on keyboards by his friend Marcos Resende, both also known for their album on the MPBC series released by Phonogram-Polygram between 1978 and 1981, which has clearly been an inspiration for Charles Maurice in building this second edition.

We could continue telling stories and details about the others great tracks included in Fusion Global Sounds Vol.2, but we believe that the best way is to listen to it and pursue your trip through Fusion Jazz combined with Brazilian styles, including surprising stopover in Poland, or Netherlands.

Powerfully epic breaky sound hailing from the UK during the early 90s. Beautiful tempo juxtaposition of fast passed driving beats pushed by low ph bass lines under slower piano riffs and patient vocal elements making it a hard one to forget.

Low end elements clearly carved from primordial UK Bass aesthetics taking the amen break to new plateaus already very much overlapping with Drum & Bass territory.

Ultra dreamy vocals on some kind of The Mamas and The Papas reincarnation, UK dreaming all the way. Heavy ending track vibes. In addition, Juan Ramos' masterful half tempo remix offers the listener a completely different experience with full respect for the original, what else to expect from someone with this caliber of dance floor education <3 meticulously remastered.

repress !

Since bursting onto the scene with their multi award-winning compilation ‘The Stanton Sessions’ back in 2001, the Stanton Warriors irresistible and inimitable sound has consistently remained the soundtrack to some of the world’s biggest and best parties; from East London warehouses, Miami boat parties and illegal Detroit raves, to smashing up the stages of Coachella, Glastonbury, Burning Man and Ultra, selling out global tours, topping DJ lists and arguably having the largest number of band logo tattooed fans in the world!!

In the studio, Bristol’s Mark Yardley and Dominic Butler have honed a trademark, uncategorizable sound that is at once all their own, but also utterly indefinable, leading to high-profile releases on XL Recordings, Fabric, Cheap Thrills, Central Station and Universal, alongside official remixes for everyone from Daft Punk and Fatboy Slim, to MIA, Gorillaz and Danny Byrd. This phenomenal output and remarkable longevity have ensured the Stanton Warriors legendary status amongst not only their fans, but also their peers.

Stanton Warriors 2015 album ‘Rebel Bass’ featured a host of new & exciting bass artists such as Cause & Affect (aka Chris Lorenzo & Kane), which went to #1 in the Apple Music general album chart and Top 10 in the iTunes dance album charts in eight countries.
They also continued their sold-out tours across the USA, Europe, Australia and the Far East, collaborations on Claude Von Stroke’s Dirtybird label and a slew of exciting releases on their own tastemaker label Punks.

‘Rise’ is Stanton Warriors strongest album to date, with all twelve tracks ready to set dancefloors alight. Stanton Warriors have called on some of the scene’s most exciting and diverse artists to collaborate with – across hip-hop, grime, house, dancehall, drum’n’bass. Featured artists include Foreign Beggars, Stush, Taiki Nulight, Sian Evans, Ami Carmine, Keith Thompson, Lily McKenzie, Danny Dearden and Scarlett Quinn. Each track on ‘Rise’ showcases Stanton Warriors’s trademark rolling breakbeatbass sound.

Also included in the package on disc 2 is their ‘Rise DJ Mix’ that contains a selection of new remixes of tracks from their previous albums, releases from their own label Punks artists inc Plump DJs, Chris Røyal, Cosella & Vanilla Ace & tracks from Rise, remixed by the Punks family, plus an unreleased Stanton Warriors remix of Danny Byrd – Salute.

The vinyl format is a double LP cut onto heavyweight vinyl.

They remain fresh, original and relevant, obstinately dancing to the beat of their own drum, helping to pave the way for new talent, proudly ploughing their own genre for twenty years and as the new album title points to, still continuing to rise.

Written, Produced, and Mixed by Jai Paul.
RECORDED AT HOME IN RAYNERS LANE, LONDON, ENGLAND.

Published by BMG Music Publishing Ltd. Except:

Str8 Outta Mumbai contains a sample of Bala Main Bairagan - Vani Jairam. Banner: Suchitra International Productions “Meera”. Music: Ravi Shankar. Lyrics: Meerabi. Licensing courtesy of UNIVERSAL MUSIC INDIA PVT. LTD.

Crush Written by Berny Cosgrove, Kevin Clark, Clifford Mueller and Andy Goldmark. P ublished by Warner/Chappell North America Ltd., Universal Music Publishing Ltd. and Shapiro Bertstein & Co. Ltd.

Baby Beat contains a sample of “All My Life” performed by K-Ci & JoJo. Courtesy of Geffen Records, A Division of UMG Recordings Inc., under license from Universal Music Enterprises.


Chix contains a sample from “Adagio For Strings, Op11.” as recorded by Leonard Bernstein and The New York Philharmonic, used courtesy of Sony Masterworks, a division of Sony Music Entertainment.

Lacquers cut by Scott Stratton at Bernie Grundman Mastering, Hollywood CA.

Behind the alias GO.SOUL.MAP. hides Salvo 'Dub', one of the most authentic and purest talents with a marked sensitivity,
not only artistic, of the current music scene in Catania, of which, under other guises and names, he has been an indispensable pillar for over a decade.

The debut album of this project is anticipated by two preview tracks that will be released not only digitally, but also in physical format on 7" / 45 rpm.

The launch single is 'Pushing', an explosive track in a Nu-disco key, modern but firmly rooted in the past, with a production that enhances the sound of the keyboards; full of 70s/80s Funk and Soul, it also has a Disco-Pop vein that makes it perfect for radio. The track is excellently performed by Derane Obika of Living Sounds. A Londoner of Nigerian origin, as well as an exceptional singer, Derane is also the author of the song's melodic lines and lyrics, which can be interpreted as a dialogue between an imaginary interlocutor and his spiritual guide journeying through the maze of life.

The 'Pushing' 45 will feature as a B-side an exclusive instrumental version (the one sung by Reiwa Pia will be included on the full-length) of 'Back In The Underwater', a track that combines a Hip-Pop groove with cinematic atmospheres.

GO.SOUL.MAP.'s debut album is titled 'Peaceful Sound for Broken Minds' and is scheduled for release February 28th 2024, a little gem in which pop and soul intersect and the clichés between mainstream and underground leap. A SpaceNu-Disco, Soul and R&B journey in which Derane Obika's fundamental contribution to the lyrics and melodies of no less than nine tracks out of twelve stands out! - This is a greatly anticipated album made for the ears of music lovers performed and produced by musicians with same love for the art of music.
Dont miss it!!!!!!

Whatever condition your condition is in, Soul4Real have huddled together a team of the finest soul physicians to make you feel good.

We scoured all the shelves in the soul pharmacy and discovered some potions that were only just through the trial stage. Just one listen to the brilliant Aretha, Gladys, Walter Jackson and the Purify’s tracks convinced us not to wait for FDA approval, so we took the plunge and shared them with the world on vinyl for the very first time.
Recorded in 1968, Arthur Alexander‘s magnificent “I Need You Baby” reached legendary status during the tape-swapping epidemic of the late 70s/early 80s. The first traces of Alexanderitus were linked back to a tape dispensed by a north London mod by the name of Randy Cozens, which went viral. Even today, the mere mention of the title to any of those C60-swap-survivors can cause severe heart palpitations.
Down in Memphis, they tend to practice the holistic approach to heartaches. Southern folk understand it’s about the voice and its natural healing powers, especially when it’s being administered by the likes of the Soul Children and Shirley Brown, who instinctively inject the perfect amount of ache, warmth and emotion to hit just the right spot. May we prescribe at least two listens a day, taken with or without food.
Helping with recovery we have included tracks by our care team Maxine, Gil Scott-Heron and the Isleys, whose gentle grooves will help nurse you back onto the dance floor in record time.
And finally, my personal favourite, Dr Johnnie Taylor. Frankly, it beats me how someone who delivers the lines "she don’t break no records when it comes to good looks” and “she burns up the food when she cooks" to his girlfriend manages to avoid a trip to A&E. We decided such foolish bravery should be rewarded by having his picture on the album cover.

12 tracks, all great examples of real soul music, a mix of well known classics, overlooked gems, and 4 original unreleased songs.

In this climate of social change, one of the greatest Canadian purveyors of offence, the Dayglo Abortions, release their new album, "Hate Speech" Even after more than 40 years, Murray "The Cretin" Acton and company don't seem to have lost a step; they're still angry AND funny, a rare and wonderful combination. While Dayglo Abortions are definitely punk in attitude and delivery, Hate Speech has enough killer riffs to appease the most militant metalhead. Here you will find some of DGA's best work, well after most of their peers have called it a day. This is what punk is supposed to sound like! It's been said that the best punk bands comfort the afflicted, and afflict the comfortable. Dayglo Abortions Hate Speech certainly fits that bill.

Error Subcutaneo was born under the sweltering sun of Santo Domingo, Dominican Republic, but their project portrays the colder, more urban side of life in the Caribbean, where cacophonous violence and Cold War monoliths collide with dreams of a better tomorrow The duo take elements of hip- hop, modular electronics, island syncretism, and bebop to twist and distort contemporary narratives on music composition, representing the greater movement of Latin American resistance directly from its epicentre Temporada Ciclonica is a recollection of alibis from a quenched island imaginarium. Palm trees dance in sync with the gales, an omen of the upcoming hurricane season. Pictographic technologies seek refuge in time's embrace, as eerie scents of petrichor and blood fill the corridors beneath the temple steps.

The cyclone's ravaging beauty and destruction bring rain, fertility and life to the land, an allusion to the cyclical nature of creation. Masters of musical past ride the storm's eye, a semiotic double- entendre on the spinning nature of the vinyl medium. A pupil glimmers from the dark, a kid rubs its belly in the womb. Press: Truth and Lies - review "a challenging but exhilarating journey through the minds of two young artists who's deep knowledge of local and international music places no harness on their creativity. Raw and instant, these boys look at the world as it is and let its contradictions flow into their creations. 9/10" Received airplay on BBC Radio 6 Music (Gilles Peterson), BBC Radio 3 (The Late Junction - Wolf Eyes' Mixtape) + The Lot Radio NYC - Marco Wibel - Darker Than Wax

Devilish is an album surrounded by a darkest atmosphere, its lyrics show urges experienced in our century, such as the constant degradation of the Amazon rainforest and the population increasingly affected by psychological illnesses such as anxiety and depression At the same time, it opens windows of escape for an imaginary world inspired by games, series and fiction books. In their second album with the new lineup, Mayara Puertas (Voice), Rene Simionato (Guitar), Castor (Bass) and Amilcar Christofaro (Drums) transcend the sound of extreme metal with maturity, incorporating progressive metal, influences from Brazilian music and symphonic elements.

The album also honors Brazilian heroes with a participation of Andreas Kisser (Sepultura) in the track "Buried Alive", and a tribute to Rickson Gracie the resilient fighter of Jiu Jitsu considered one of the greatest legends in this sport, the theme of the track "Warrior". The band also mobilized several musicians related to indigenous causes in their country to collaborate on the song "Uatuma", making an appeal for the preservation of the Amazon in a song that flows in an powerful way with the speeches of the indigenous leader Raoni Metuktire and tribal rhythms. For the cover art, the band had Marcelo Vasco, a Brazilian illustrator who has already created artworks for Slayer, Dimmu Borgir, Soulfly among others.

Fire and water collide again: On her latest album "Wandering Through Time", Swiss sorceress ASHTAR opens up a menacing yet ethereal world of opposing forces, fans of emotional yet dirty Blackened Doom Metal should willingly enter. ASHTAR - a duo at first - emerged on the scene in 2015 with their critically acclaimed debut album, "Ilmasaari", voted by Tom G Warrior (Celtic Frost, Triptykon) as one of his favorite albums of the year in Deaf Forever magazine The follow-up, "Kaikuja", released in 2020, took the project's unique blend of black and doom metal to the next level. Since then, ASHTAR has shared the stage with renowned bands such as Inter Arma, Primordial, Bell Witch, Bolzer, and Schammasch.

Now, with "Wandering Through Time", frontwoman Witch N. takes the helm as a one-woman band, pushing the limits of her creative expression to new heights. On her latest offering, she aims to express the darkness, power, and magic of most notably female forces in nature in a saturnine and poetic way. The deeply personal songs take listeners on a journey through the darkest corners of the human soul while embracing the beauty of the natural world. They never fail to showcase Witch N.'s accomplished songwriting and her talents in delivering tortured, gritty screams as well as super- heavy, leaden guitar riffs. Consequently, she names metal masters such as Winter, Darkthrone, and Black Sabbath as her major influences.

From the gloomy and depressive "Into the Gloom" to the tragic tale of the Waterman in "The Submerged Empire", each track is a cathartic work of art. The lyrics transcend metal-cliches of fantasy and lore by telling stories about personal growth, finding soulmates within a cold world, and keeping one's own inner black flame alive. Recording and mixing of the album were handled by V. Noir at Inferno Studio in Switzerland. He also provided additional guitars and jaw harp. The album was mastered by Greg Chandler (Esoteric) at Priory Recording Studios in Birmingham, UK. The front cover photo was captured by Raphael Wolf, while Anti Graphic laid his skilled hands on the new logo design. For Fans of: Oranssi Pazuzu, Wolvserpent, Mizmor, Mantar, Blut aus Nord, Dark Buddha Rising, Eagle Twin, Glorior Belli

It was not only in Brittany that progressive rock bands went under the radar in the 1970s This was the case with the New Zealand quintet Dragon, born in 1972 in Auckland. Author of two albums released by Vertigo, certainly appreciated by amateurs, the group unfortunately did not meet with the expected success in its country of origin, which led it to emigrate to Australia from 1975. From there, they would spin the perfect love with the kangaroo public and the rest of the world in the 80s. Since then, between splits and reformations, they are still touring! But let's come back to this second album "Scented Gardens For The Blind" published for the first time in 1975 and today emerged from the shadows by the Replica and Musea labels. Note that from the first title, they try to get out of the shackles of progressive pop with Ivan Thomson's keyboards which push the combo to venture towards very English lands that the Zombies then Argent knew how to borrow. It is both marked by the 70s and a real desire to seduce the charts. What they did next in Australia. For the time being, on most of the album, the work remains a paragon of progressive rock marked by long guitar solos and beautiful flights of keyboards. Masterfully reissued.

The first album on ohne kommerziellen Wert comes from label co-founder Stute. After several appearances with hard-hitting club material on the OHNE EP series, Stute’s debute LP “Petra” demonstrates a beyond-genre approach that shows a different and more introverted side of the Hamburg-based producer. Far from being a collection of stand-alone gems that have accumulated over the years, the 12 stages of “Petra” sound like they were formed in a single cast. It is a personal and intimate journey through a unique man-machine mindset that has been manifested in music and sound.

Stute isn’t new to the game, but he has been producing under the radar for far too long. He started DJing and producing more than 20 years ago and found himself progressively drawn to different genres like Hip Hop, Breakbeat, Drum & Bass and Techno. And all of those experiences culminate in “Petra”, where Stute maneuvers his production skills through a wide range of styles and tempi somewhere between leftfield and rave. Urgent techno coldness, promising downtempo dystopia, restless acid dreams, floating breakbeat pleasure or hopeful leftfield romance – every track represents a different phase of a long-time companionship with music and making music, resulting in “Petra” being filled with conflict and drama as well as bliss and belonging.

Like all of Stute’s releases, his first LP is shaped by a very high level of production paired with a rare sensitivity for harmonies and arrangements. Every sound is made from scratch with analogue equipment – heavy dragging beats surrounded by glistening synths and bleeps built on a pure love for music and hardware. “Petra” sounds unlikely complete: nothing is missing, nothing is overdone. Nevertheless… or maybe because of that, the 12 arrangements offer you enough space to conjure up images of distant worlds or let you turn inwards to dive deep into your inner self.

‘A Concrete Pasture’ by Coen Oscar Polack is the follow-up to ‘Haarlemmerhout’ (2020), an album named after a park close to his home in Haarlem in the Netherlands. ‘A Concrete Pasture’ brings Polack’s interest in exploring the larger world around him back into his music. Polack is a magician in combining field recordings from all over the world, be it a temple in Bangkok, the Dutch Wadden Islands or a the percussive Gamelan instruments, and electronic processing of these recordings. With all these ingredients he creates a vivid, nostalgic, futuristic but familiar world of sounds and emotions.

At first, the colors of the recordings seem scattered, the sounds unrelated, but there is a deeper train of thought running through the music. It is the persistent impression of a travelogue; of places, family and friends, helping Polack in co-creating his music. In ‘Cuore Nero’, nostalgic powerchords are composed into tapestries of ambient-noise, ‘Unseen Shores’ uses a recomposed recording of Polack’s children on the Dutch island of Schiermonnikoog and develops into visceral, almost spiritual music, and a field recording of Wat Po in Bangkok in ‘Phra Buddhasaiyas’ becomes a luminous homage that the incorporated guitar sound burns into your skull.

While listening, it becomes evident that Polack is being reflective in auditive images and memory, giving a meaning to a music that is liberated of its formalities and charged with a poignant imagery by transformation, one that is bright and lucid and respects the process from recording until ornamentation.

The longest piece of the album ‘Kraaiennest’, starts with the recording of a Hong Kong traffic light, later to be cut up and transformed into a technoid Musique Concrète piece, with a slow progression into a warm crescendo-decrescendo themed electroacoustic piece, which takes on a life on its own. The finale is Polack on this tenor saxophone putting a stamp on the completion of his work, a performance reminiscing of the raw expressiveness of Albert Ayler.

‘A Concrete Pasture’ points to a landscape, or to a person’s current situation in life. Coen Oscar Polack did himself justice by writing an elegant, vibrant album, a tribute to his reflection of reality, his aesthetics, and with raw authenticity and skill, leaving a great space for the audience’s imagination.

Enter COMPASSA! Finally Tom Trago & Charles Levine formally known as The Compass Joint arrived at a new identity that pays homage to their shared musical influences and dedication to compassion, mindfulness, life and music.

At this moment they proudly present The Compass Choice EP, a sonic foundation representing another taste of their range and capabilities with this collaborative project. This latest release dives deeper into a love of FM synthesis and a dance floor interpretation of these mixed up electro-Caribbean-techno-futuristic flavors!

These songs, rhythms and melodies are born out of a pureness of heart and designed to bring positivity, joy and a little Compassa magic to you!