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All three protagonists are deeply rooted in the jazz tradition but wide open to nfluences of different colors. After his years of teaching at Berklee College in Boston and New York Renato Chicco is now one of the most sought-after soloists and most experienced accompanists. He played with jazz legends like Lionel Hampton, Jon Hendricks, Freddie Hubbard, Woody Shaw and Jerry Bergonzi to name just a few. Johannes Enders collaboration with such different musicians as Micha and Markus Acher (The Notwist, Tied & Tickled Trio) Nils Petter Molvaer, Gunther Baby Sommer, Karl Ratzer and Billy Hart as well as his own group EndersRoom make him one the open- minded and versatile experimental musicians of the European scene. The trio is completed by the Spanish master drummer Jorge Rossy, best known for his long- standing membership in the egendary Brad Mehldau Trio.

Wichtig Ö wie bei Labelmate Kristofer Âström Ö ist die Musik dieser Platte. Und die geht durch Mark und Bein. So voller Melancholie, Leiden, Verlangen und ja, Moll, stecken die zehn Songs auf Kjellvanders Debüt ûSongs From A Two-Room Chapelë.(...)Im Zentrum der zehn Songs steht überdeutlich die herrliche Stimme Christian Kjellvanders. In Schweden geboren und in den USA aufgewachsen, ist sein Englisch zwar akzentfrei, verliert sich jedoch äußerst selten in kaugummiesquen Vernuschelungen. Er formt die Worte wohlüberlegt, bevor sie ihn verlassen, gibt ihnen ab und an einen oldschoolig-countryfizierten Twist, der für einige Millisekunden die ausgemergelten Geister uralter Countrytitanen aufscheinen lässt. Und wer das schafft, hat eh gewonnen... Markus Hablizel

Die schönsten, traurigsten und innigsten Songs kommen noch immer aus Skandinavien. Als Christian Kjellvander sich in dem winzigen Dorf Österåker, eine halbe Autostunde nördlich von Stockholm, eine alte Kirche kaufte, war klar, dass er seine Heimat gefunden hatte: für sich, seine Familie und seine Songs. Der schwedische Singer/Songwriter brauchte einen Ausgangs- und einen Endpunkt, dazwischen kann er mit seinen Liedern auf der ganze Welt unterwegs sein, im Vorprogramm von Leonard Cohen oder Kris Kristofferson singen, mit seinen Bandprojekten Loosegoats und Songs Of Soil touren oder Solo-Konzerte spielen, die nur so vor Intensität und Erhabenheit leuchten. So wie sein neues Album "A Village: Natural Light" es schon im Titel trägt. Lieder über nicht weniger als Leben, Lieben und Sterben. Es sind keine Lieder, die einen weit fort tragen, sondern sie stehen mit beiden Beinen fest auf dem Boden. Und doch atmen sie etwas Überirdisches, eine raue Schönheit wie in einem kargen, nördlichen Wald und die Klarheit einer mittendrin entspringenden Quelle. Kjellvander erzählt, er habe, als er diese Lieder schrieb, auf dem Dorffriedhof als Leichengräber gearbeitet. Nicht, weil er so morbide wäre, sondern weil er den wahrhaftigsten Job, den es nur geben kann, machen wollte. Das setzt er als Songwriter konsequent fort Und als Musiker lässt er die Lieder dann so hell erstrahlen, dass man ihn quasi vor sich sieht, wie er sich die Erde von den Händen reibt, die Gitarre nimmt und in seiner Kirche seine Stimme erhebt.

In diesen Tagen, in denen Ausgrenzung und Abschottung zu regieren scheinen, braucht es Künstler wie Christian Kjellvander. Der schwedische Singer/Songwriter ist einer, der das Fremde umarmt und das zutiefst Menschliche auslotet. Bereits der Titel seines neunten Albums, "Wild Hxmans", zeigt: etwas ist anders, irritierend. Denn Kjellvander macht uns ein X für ein U vor. Das ist gut, denn er macht uns nachdenklich und sensibilisiert. Wir nutzen ein X, um unsere Stimme abzugeben. Aber auch, um einen Fehler grob unkenntlich zu machen. "Einfach durchstreichen und weg - wenn Leute versuchen, dieses Prinzip auf andere Menschen anzuwenden, haben wir ein Problem", sagt der Musiker, dessen Wunderstimme mal an Leonard Cohen, mal an Neil Young und mal an David Sylvian erinnert. Und so erzählt uns der 42-JaÌêhrige in sieben rauen wie soghaften Songs zwischen Folk, Blues, Americana und Free Jazz von Abschied und Aufbruch, von Flucht und dem Gefühl, neu in einer Welt zu sein. So erschafft Kjellvander einen Sound, der ruhig atmet und pulsiert, um sich dann aus dieser Intimität in eine unglaubliche Dynamik hineinzufiebern, in etwas Dunkles, Sattes, Schwüles. Mitunter scheint seine Musik zu entschwinden, um kurz darauf flirrend und transparent zu strahlen.

"Atlanta Millionaires Club" von Faye Webster ist für die 21-jährige Songwriterin und Fotografin aus Atlanta bereits die dritte Albumveröffentlichung, aber die erste für Secretly Canadian. "Atlanta Millionaires Club" ist eine Sammlung von Songs, die dem Gefühl der Einsamkeit inmitten einer vorhandenen Gemeinschaft auf den Grund gehen. Die Musik basiert auf Alternative-Folk, bedient sich jedoch einer weiten Vielfalt von musikalischen Einflüssen und Genres, auch beeinflusst durch Websters Zeit in der Hip-Hop-Szene Atlantas in den Rap-Kollektiven von PSA und Awful Records. Die genreübergreifende Sammlung an Songs verbindet Websters federleichten Gesang, intimes Songwriting und ihren Scharfsinn, weil sie auffallend verletzlich und mutig aus ihrer eigenen Introvertiertheit und Herzschmerz schöpft. Den zehn Songs des "Atlanta Millionaires Club" unterliegt eine ganz eigene Traurigkeit, die von flüchtigen Beobachtungen und einem unerwarteten, schlitzohrigen Sinn für Humor unterbrochen wird: "Everything is way personal. I've never been that kind of person who can read a book and then write a song about the book," so Webster. "I have to write about very personal things for me to even want to write". "Atlanta Millionaires Club" wurde von Webster und Drew Vandenberg koproduziert und bei Chase Park Transduction in Athens, Georgia, aufgenommen. Der Titel geht auf Websters Vater zurück, der zusammen mit seinen Freunden während der Schulzeit regelmäßig an Aktionen für wohltätige Zwecke teilnahm und irgendwann dieser Gruppe den ironisch zu verstehenden Beinamen verpasste - als protzigen Kontrast zur harschen Realität.

Leute, bildet Gruppen! Und hört diese Musik dabei. Und davor. Und danach. Unbedingt. (Joachim Hentschel) Ja, Panik bestehen 2021 aus Andreas Spechtl, Stefan Pabst (Bass), Laura Landergott (Keyboards & Gitarre) und Sebastian Janata (Schlagzeug). Als Gast ist hier Rabea Erradi dabei, die offiziell nicht zur Besetzung gehört, als Saxophonistin für die neue Musik jedoch eine absolut tragende Rolle spielt. "Die Gruppe", das nach "Libertatia" von 2014 insgesamt sechste Album, ist zudem das erste überhaupt, das Andreas Spechtl ganz ohne fremde Hilfe produziert hat. Es ist ein Album voller Wunder und Schrecken, Rätsel und Leuchtfeuer, Gewebe und Löcher, fließender Geschichten und Slogans, die man sich auf die Stirn stempeln will. Vor allem: ein Werk, wie man es in der an Höhepunkten nun wirklich nicht geizigen Diskografie von Ja, Panik noch nicht gehört hat, nicht ansatzweise.

Leute, bildet Gruppen! Und hört diese Musik dabei. Und davor. Und danach. Unbedingt. (Joachim Hentschel) Ja, Panik bestehen 2021 aus Andreas Spechtl, Stefan Pabst (Bass), Laura Landergott (Keyboards & Gitarre) und Sebastian Janata (Schlagzeug). Als Gast ist hier Rabea Erradi dabei, die offiziell nicht zur Besetzung gehört, als Saxophonistin für die neue Musik jedoch eine absolut tragende Rolle spielt. "Die Gruppe", das nach "Libertatia" von 2014 insgesamt sechste Album, ist zudem das erste überhaupt, das Andreas Spechtl ganz ohne fremde Hilfe produziert hat. Es ist ein Album voller Wunder und Schrecken, Rätsel und Leuchtfeuer, Gewebe und Löcher, fließender Geschichten und Slogans, die man sich auf die Stirn stempeln will. Vor allem: ein Werk, wie man es in der an Höhepunkten nun wirklich nicht geizigen Diskografie von Ja, Panik noch nicht gehört hat, nicht ansatzweise.

We’re kicking off the new year in style with a fantastic new double header by RAXON. This Egypt-born, barcelonese powerhouse has left his scent marks all over the place in recent years. He has developed an instantly recognizable sound and that’s no small feat in these times shaped by so much formulaic dullness. “Your Fault” sees our Catalan hot shot in an exuberant disco mood. Mind bending chord progressions foiled with Raxon’s trademark vocal stutters guarantee for wonderfully twisted hands in the air moments. With “Beskar” we’re entering Star Wars nerd territory. Jedipedia says, Beskar is a uniquely resistant iron that develops a wide range of properties—and colors—in the hands of skilled metalsmiths. Alright. Musically speaking, we’re dealing with a stealthy, funky as hell trance-not-trance juggernaut. 2024 is off to a good start:)

Wir beginnen das neue Speicher-Jahr stilvoll mit einem fantastischen neuen Doppelwhopper von RAXON. Dieses in Ägypten geborene Kraftpaket aus Barcelona hat in den letzten Jahren überall seine Duftmarken hinterlassen. Er hat einen Sound entwickelt, den man sofort wiedererkennt, und das ist keine kleine Leistung in diesen Zeiten, die von so viel formelhafter Langweiligkeit geprägt sind. “Your Fault” zeigt unseren katalanischen Draufgänger in ausgelassener Disco-Stimmung. Verrückte Akkordprogressionen, gepaart mit Raxons Markenzeichen, der Stotterstimme, sorgen für wunderbar verdrehte Hands in the air Momente. Mit “Beskar” betreten wir Star Wars Nerd-Territorium. Laut Jedipedia ist Beskar ein besonders widerstandsfähiges Eisen, das in den Händen geschickter Schmiede eine breite Palette von Eigenschaften – und Farben – entwickelt. Nun gut. Musikalisch gesehen haben wir es mit einer verstohlenen, verdammt funkigen Trance-Not-Trance-Rakete zu tun. 2024 hat einen guten Start hingelegt : )

glass beach's debut album the first glass beach album is the first album from glass beach. That's a good place to start, but the album's plain & descriptive title does little to explain exactly what goes on in the hour-long adventure contained therein.the first glass beach album was initially self-released by the band in Spring 2019, but it's roots date back to as early as 2015 - songwriter & band leader j mclendon started demoing songs for the album when they first moved to Los Angeles & spent three years polishing those first demos into these songs with bassist Jonas Newhouse & drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up the first glass beach album are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.

Thom Yorke ist Sänger, Songwriter und Sprachrohr der Alternative-Institution von der Insel. Mit "Ok Computer" lieferten Radiohead einst ein massenkompatibles Rockalbum, mit "Kid A" zeigten sie sich von ihrer avantgardistischen Seite, um mit "Hail To The Thief" wieder zugänglicher und dafür politisch ausdrücklicher zu werden. Welche musikalische Richtung sie auch einschlugen, die Fans folgten. Nun warten die Eingeweihten seit einem Jahr auf Neues aus dem Radiohead-Camp, und der Kopf überrascht erneut: mit einem Soloalbum, das Split-Gerüchten neue Nahrung geben könnte. Und mit Musik, die auch auf einem Radiohead-Album entzückt hätte.

Tone Def are the original Bournemouth ravers with some absolute classics released in the early 90’s on Moving Shadow. Rog from the band is also the founder of Void Acoustics, the ultimate in club and festival audio equipment, a hobby that became a huge business empire for him.

This EP was written during 1990 to 1991 and had been lost for 30 years until recently, when Rog was checking some of his old ¼” tapes that he took out of storage. These are 4 original UK acid breakbeat rave tracks, encapsulating the raw DIY ethos of the era, of kids messing about in their bedrooms, writing music with no boundaries or templates. Never heard before, never released before… until now.

Acid Boom is a sister label to the Vinyl Fanatiks family. A vehicle to release that early 90’s acid sound that would later morph into rave. High energy 303’s, 808 and 909 drum machines, synced up to rolling breakbeats. Whether music from back in the day or new music that’s been created to emulate that early warehouse sound, Acid Boom is here to take you on a rush.

United Kingdom-based Dirty Water Records has signed the California-based rock and roll / Power Pop outfit The Tearaways to a 5-year deal. The label has released the Ed Stasium-produced (Ramones, Talking Heads, Smithereens) digital version of their new record called “And For Our Next Trick.” The band features the dual lead singers of bassist John “Fin” Finseth and rhythm guitarist Greg Brallier, lead guitar David Hekhouse and Rock & Roll Hall of Fame drummer Clem Burke (Blondie). Also, from Tom Petty & The Heartbreakers, Benmont Tench played keyboards and Steven McCarthy (Jayhawks, The Long Ryders) added pedal steel guitar. The new record was recorded at legendary Village Recorders in Los Angeles and mastered at Sterling Sound by Greg Calbi. The first single being released to radio was “Charlie, Keith and Ringo,” along with the the award-winning video (Raindance Festival directed by Stephen David Brooks (“Flytrap”). The spring single is called “Saturday Everyday” and is being serviced to radio stations and other outlets right now. Label chief Paul Manchester: “We are thrilled to have assembled an all-star team of distributor Cargo Records UK, Wipe Out Music Publishing, Seán Crossey from the UK promotion firm High Violet PR & Plugging, and US publicity specialist Lou Mansdorf to help launch this project.“

Skyjack is what happens when a heavyweight South African jazz trio meets a pair of Swiss reed and brass hotshots. Over the course of a decade, this all-star quintet has forged a reputation as an innovative and adventurous force in contemporary African and European jazz. Combining deep grooves with thrilling rides and avant-garde experimentation, Skyjack is a powerhouse both on stage and in the studio.

Light Cycle is the band's third recorded outing and documents a seasoned outfit at its most ambitious and accomplished. Featuring compositions from all members of the group, the album is a multidimensional creature with a big heart and a powerful imagination. Part science fiction adventure, part sentimental journey, Light Cycle reconciles expansive cosmic soundscapes with a deep grounding in memory and folklore.

Issued as a double-LP on the As-Shams/The Sun label, Skyjack joins both a catalogue and tradition of groundbreaking South African jazz dating back to the 1970s. The album's cover features the work of esteemed Cape Town artist Igshaan Adams.

Repress!

Warehouse find!

With '100% Dope' we find Central Processing Unit bringing up their hundredth catalogue number, and you'd struggle to find a more fitting artist to ring in a century of releases for the label than Cygnus. The one born Phillip Washington has been with CPU since the very beginning, his 2012 LP 'Newmark Phase' representing the first record ever released on the imprint. That album's combination of textured techno and grizzly Drexciyan electro set the tone for CPU perfectly, and it's no surprise that Cygnus has returned to the Sheffield imprint several times down the years.

While '100% Dope' is an expert demonstration of what Cygnus and CPU do, this EP also shows just how much both artist and label have grown over the past nine years. At its heart '100% Dope' is a set of prime machine-funk from a master of the form, but these are also some of the most daring and innovative tracks that Cygnus has ever produced.

Take opening cut 'Bad RGB Controller'. In the undulating synth lines we have a ghost of grime as well as Drexciyan drive, and as such the track reminds one as much of Mr. Mitch or Last Japan as it does, say, Dopplereffekt. Furthermore, 'Bad RGB Controller' shifts gear around the halfway mark into a highwire electronica mode which has the wit and spark of prime Bogdan Raczynski. Entries like 'Float Back To The Surface' are similarly unpredictable. There's some lovely industrial techno bite to this one - the snare drum will echo in your head long after the party's died down - but Cygnus periodically pulls out the rug from underneath us with passages of impressionistic texture that almost border on sound art.

'Float Back To The Surface' is one of a trio of vocoder-led jams here. On 'Throwing Shade' we hear I-F and Egyptian Lover, with Cygnus' vocals clattering around like pronouncements from some funked-out robot overlord atop hissing-piston drums. Then there's the enticingly-titled 'CPU Records'. 'CPU Records' delivers all the crisp electro snap we've come to expect from a record emblazoned with that signature black-and-white artwork, yet this thing is also widescreen and cinematic in ways that demonstrate the maturation of the Cygnus sound. With a wicked vocoder vocal that celebrates the label's many achievements, 'CPU Records' is a victory lap tune if ever we've heard one.

Central Processing Unit keep it 100 on for this new EP. '100% Dope' by Cygnus is CPU's 100th catalogue number, and the Texan producer delivers on the promise of the record's title with a collection of brilliantly unique electro joints.

Some Justice ‘94 / Burnin’ Passion ‘94 EP 7"

Serious history business: 'Some Justice' was the first time Micky Finn and Aphrodite joined forces and launched a partnership that would change drum & bass history. Prior to them linking, Urban Shakedown comprised of Aphrodite and Claudio Giussani who had a run of fantastically euphoric hardcore crossover records during that golden rave era. 'Some Justice' landed in 91 and the instantly goosebumping vocal cut 'Burnin' Passion' landed in 93. Both of them enjoyed these touch-ups in 94, which still sound fantastic today. Feel the burn.

Elias Landberg, channeling the rich techno legacy of Skudge, presents "The Wind" EP on Syncrophone Records. This 3-track odyssey pays homage to Skudge's atmospheric finesse and hypnotic rhythms, showcasing Landberg's seamless blend of raw analog energy. Limited Edition: Immerse yourself in the Skudge-inspired techno experience with the exclusive golden-colored vinyl, a sonic canvas capturing the essence of the genre's pioneers. Embark on a journey through "Wander's" hypnotic beats, unravel the enigmatic "Hidden Location," and surrender to the ambient allure of the title track, "The Wind." Secure your golden vinyl copy now, and let Elias Landberg guide you through the echoes of Skudge's influential sound, inviting you into the heart of techno exploration.

Auf seinem dritten Album ,Sleepwalking" verwebt der neuseeländische Komponist, Multi-Instrumentalist und Produzent JONATHAN BREE mit seinem unverwechselbaren Baritongesang stark orchestrierte Elemente - üppige Streicher, Hörner, Celeste- und Sopranchöre - mit Kammerpop aus einer vergangenen Zeit (LEE HAZLEWOOD & NANCY SINATRA). Die Songs tauchen auf eine ausgesprochen moderne Art und Weise in die Avantgarde ein und aus ihr heraus, darunter der Hit ,You're So Cool", dessen Masken-Video Ende 2023 über 31 Millionen Views auf YouTube hat und zum Musikvideo des Jahres 2017 im New Yorker Time Out Magazin gekürt wurde. ,You're So Cool" zeigt seine mysteriöse Band im Masken-Outfit, welches JONATHAN in den letzten Jahren mit einem weißen Ganzkörperanzug, einer Gesichtsmaske (mit Wangenknochen!) und einer Schalenperücke verfeinert hat. Ein gezupftes Cello, eine minimale Bass-Line und ein Schlagzeugmuster bilden JONATHANS Markenzeichen, dass sich durch das gesamte Album zieht. Mit ,Sleepwalking" blickt JONATHAN BREE in Richtung 60er Jahre Lounge, Exotica und französischen Pop. Es gibt mehrere Duette auf dem Album, insbesondere mit der neuseeländischen Musikerin PRINCESS CHELSEA (in ,Static" und ,Plucking Petals"), mit der JONATHAN seit vielen Jahren zusammenarbeitet. Die katalanische Musikerin CLARA VINALS ist zu Gast auf der Single ,Say You Love Me Too", die einen ausgeprägten SERGE GAINSBOURG-Stil hat, mit geflüsterten, intimen Vocals, die über einer markanten Basslinie und einem Drum-Pattern sitzen, das den Song antreibt.Als bekennender Workaholic und sozialer Einsiedler verbringt JONATHAN seine Tage (und Nächte) in einem schäbigen Heimbüro und versucht sein Plattenlabel Lil' Chief Records (Home of PRINCESS CHELSEA, RUBY SUNS u.a..) zu leiten, während er gleichzeitig Alben für Künstler wie PRINCESS CHELSEA produziert, in viralen Musikvideos für Duette über das Rauchen (,Cigarette Duet") auftritt und dann noch Zeit findet, sein eigenes Material aufzunehmen und seine Masken-Videos zu drehen. Und manchmal schläft er sogar. Aber nur manchmal.

Production duo Dj Dogg and Furious Frank are back with the third edition of their on-going series… this time in full remix treatment!

While keeping in line with their signature underground raw house style, volume three explores some new sounds for the series, including vocals cuts, euphoric early trance melodies, big bass and more.

The Decline And Fall Of Heavenly’ Gets Re-Issued On Vinyl. Skep Wax Records are re-issuing all four Heavenly albums over a two year period, and this is the third instalment, following on from ‘Heavenly vs Satan’ and ‘Le Jardin De Heavenly’. Each LP includes relevant single releases as additional tracks, a 7” booklet with lyrics, pictures, and new sleeve notes by the members of the band. Altogether, the four albums will amount to a thorough collection of the band’s recorded output. Heavenly will be playing gigs in various countries in 2024. The third Heavenly album will be re-released by Skep Wax Records on Friday 2nd February. The re-release will also include all five tracks from the Atta Girl and P.U.N.K Girl 7” singles. The Atta Girl and P.U.N.K. Girl singles were released in 1993; album The Decline and Fall of Heavenly came soon after in 1994: collectively they show a band that is rapidly expanding its scope. The album veers confidently from high speed indiepunk (Me And My Madness) to cool surf instrumental (Sacramento) and back again to the sweetest indiepop (Itchy Chin). Meanwhile, the singles, which include the band’s most celebrated tune - P.U.N.K Girl – demonstrates how much confidence Heavenly were deriving from their involvement in the nascent Riot Grrrl scene. All the anger is there, the politics are direct and crystal clear – yet the whole thing is still delivered with the sweetest pop melodies. It’s like being punched and kissed at the same time. The three releases also show how Heavenly had come to feel equally at home in the UK and in the US. The album maybe feels more British, as demonstrated by the Old World irony of the ‘Decline and Fall’ title. At Heavenly gigs in the UK, often playing with other bands on the increasingly influential Sarah Records, audiences were getting bigger, while the bands were finding a sweet spot where anti-corporate understatement and a dismissive attitude to an increasingly misogynist UK Press was no barrier to success. P.U.N.K Girl and Atta Girl on the other hand, are more gleeful, more headlong, and somehow feel more American: they are carried along by the excitement and adrenaline of having found another spiritual home - the indiepunk Riot Grrrl scene that was focussed on Olympia, WA, the HQ of Heavenly’s US label K Records. (K released P.U.N.K Girl and Atta Girl together on one 10” EP.) Amelia Fletcher and Cathy Rogers were now confidently sharing vocals, sometimes harmonising, sometimes taking it in turns, sometimes singing over each other. Peter (guitar) Mathew (drums) and Rob (bass) had become adept at changing gear from ornate pop to full-on punk, unafraid of genre rules and increasingly happy to make up their own version of what pop music should sound like. The more delicate, more decorative arrangements of Heavenly’s first two albums had been left behind. The band – or more accurately, the women in the band – were still dogged by accusations of being too fey, too ‘twee’: not ROCK enough. But, as the chorus of Atta Girl makes clear, any attempts to define Heavenly by their ‘cuteness’ now received an unambiguous response: ‘Fuck you, no way!’ The fourth and final Heavenly album ‘Operation Heavenly’ will be released later in 2024. Heavenly were: Amelia Fletcher (guitar, vocals), Cathy Rogers (guitar, vocals), Rob Pursey (bass), Peter Momtchiloff (guitar), Mathew Fletcher (drums).

10 Year Anniversary Vinyl Release (first time vinyl pressing of Blake Mills’ debut album). Includes Hi Res Audio Download Card & Poster Foldout. BLAKE MILLS is a Grammy-nominated songwriter, guitarist, producer, and composer based in Los Angeles. In 2010, Blake’s solo career began with this self titled critically acclaimed album released only on a limited run of CDs and digitally. It became a cult favorite over the years, with 2019 marking the first time it will be pressed on vinyl. In 2015 he produced the highly acclaimed sophomore album SOUND & COLOR for ALABAMA SHAKES. The album reached #1 on Billboard charts and was nominated for six Grammys, winning Best Alternative Album, Best Engineered Album, Best Rock Performance and Best Rock Song. Blake went on to produce the albums NO SHAPE for PERFUME GENIUS, DARKNESS AND LIGHT for JOHN LEGEND, WE’RE ALL GOING TO DIE for DAWES, and SEMPER FEMINA foR LAURA MARLING - earning him his second Producer of the Year Grammy nomination. Blake also composed original music for DAVID O’RUSSELL’S Academy Award nominated film JOY. As a session player and sideman he has worked with BECK, CASS MCCOMBS, JACKSON BROWN, LUCINDA WILLIAMS, BAND OF HORSES, FRANK OCEAN, RANDY NEWMAN and NEIL DIAMOND, among others. RICK RUBIN and T BONE BURNETT frequently call upon his services as a guitarist, and equally enamored is ERIC CLAPTON who told Rolling Stone magazine “Blake Mills is the last guitarist I heard that I thought was phenomenal

Originally released in 1972, You Are the Music... We're Just the Band was recorded with producer Neil Slaven. The line-up of Glenn Hughes (Deep Purple), Mel Galley (Whitesnake), and Dave Holland (Judas Priest) recorded this album before disbanding later that year when Hughes left in 1973 to join Deep Purple. You Are the Music... We're Just the Band also featured a wide range of guest performers, including guitarist B. J. Cole, pianist Rod Argent and saxophonist Jimmy Hastings. You Are the Music... We're Just the Band has not been released on vinyl since 1978 and now has been fully remastered and comes on white, red and black twist 180-gram vinyl and beautifully repackaged (limited to 250 copies pressed – gatefold sleeve).

We are very excited about Lizz Wright’s new album, and her 2024 European tours. The initial teaser single, Sweet Feeling, is doing quite nicely on Spotify, Apple, etc. and the second single, Your Love, featuring Meshell Ndegeocello, to be released in February, will have a dance remix as well. The album will be April 12. Her London date of March 15 at Cadogan Hall is confirmed, and Virgin staff is invited. Joe Baxter is doing PR and radio for the UK.

Doppel-Vinyl inklusive CD-Kopie! 2019 waren DESTINATION LONELY unermüdlich und schamlos kreativ, getrieben von vielen Shows und die durchgedrehte Situationen, welche derzeit auf unserem Planeten passierten. Sie buchten das Studio für zwei Wochen, nahmen 17 Songs auf, alles Killertracks, hauptsächlich Originale gespickt mit einigen Coverversionen u.a. von THE TROGGS (I Want You), THE STOOGES (Ann). Arthur Larregle (JC SATAN) und Stefano Isaia (MOVIE STAR JUNKIES) steuerten auch noch Songs bei. VVR/Beat-Man: "Ich könnte einige Track wegschneiden, um ein normales Album zu veröffentlichen, aber was solls !! Sie sind alle so verdammt gut !!! Deshalb haben wir beschlossen, dieses Doppelalbum heraus zu bringen, und du wirst nicht enttäuscht sein und es lieben, wie wir es auch Lieben. Das ist Raw Super Filthy Garage Noise Trash Rock'n'Roll in seiner besten Tradition, und für alle Gitarren-Wichser gibt es einen 13-minütigen Gitarren-Orgasmus (Nervous Breakdown). Und für alle ELECTRO- und SYNTH-Nerds haben wir hier den Re-Mix von Schizo MF !!! DESTINATION LONELY, drei Agressiv-Negativ Junge Männer aus Toulouse/Bordeaux, entsprungen einer reichen ROCK'N'ROLL GARAGE NOISE TRASH-Kultur in Südfrankreich. Sie spielten und formierten legendäre Bands wie "Blew Up", "THE FATALS", "Space Beatnicks", "Jerry Spider Gang", "Beach Bitches" oder "Kung Fu Escaelators", um nur einige zu nennen, im In- und Ausland tourten sie und veröffentlichen Schallplatten auf unzähligen Labels und sind jetzt auf dem Weg ins Nirgendwo als DESTINATION LONELY. Lo Spider hat sein eigenes Aufnahmestudio "Swampland", in dem er Bands wie THE SPITS, THE MONSTERS, MAGNETIX, BAD MOJOS oder DEAD GHOSTS aufnimmt, um nur einige zu nennen.

The Marshall Mathers LP 2 is the eighth studio album by Grammy Award winning rapper Eminem. It was released on November 5, 2013, by Shady Records, and Interscope Records. The album serves as a sequel to his third album The Marshall Mathers LP (2000). Featuring executive production by Dr. Dre and Rick Rubin this record became an instant classic. The album also features guest appearances from Skylar Grey, Rihanna, Nate Ruess, and rapper Kendrick Lamar, among others.

The Marshall Mathers LP 2 was regarded as one of the most anticipated albums of the year. The album was revealed during the 2013 MTV Video Music Awards in August, alongside a preview of its lead single “Berzerk”. The next two singles were “Survival” and “Rap God”. “The Monster” (featuring Rihanna) was released as the album’s fourth single and reached number one on the Billboard Hot 100. The album’s fifth single “Headlights” (featuring Ruess) was released in 2014.

The Marshall Mathers LP 2 debuted at number one on the US Billboard 200, selling more than 792,000 copies in its first week. In March 2017, it was certified quadruple platinum by the Recording Industry Association of America (RIAA). It was met with positive reviews by critics, with praise directed at Eminem’s technical rapping abilities and production choices. The album was also named on multiple best album year-end lists. It won Eminem a record sixth Grammy Award for Best Rap Album at the 2015 Grammy Awards.

In celebration of this prolific album, we will be releasing a Digital Deluxe edition along with a 2CD and a limited edition 4-LP featuring 16 original tracks plus 5 bonus tracks, and 6 instrumentals.

repressed !

ls Compilation-Reihe im Jahre 2001 gegründet um ein paar lose Fäden unserer Stammkünstler zu verknüpfen, hat sich SPEICHER inzwischen zu einem Garanten für fortgeschrittene Tanzklänge aus aller Welt weiterentwickelt der es KOMPAKT erlaubt, Musiker aus allen Bereichen des elektronischen Spektrums einzuladen und zu fördern. Für SPEICHER 84 kehrt der dänische Altmeister und globale Fan-Favorit KÖLSCH zu seinen Labelwurzeln zurück (oder zumindest jenen seines bekanntesten Projekts) und liefert heldenhaften Techno, dessen elektronische Grandezza nur von der Lieblichkeit seiner Melodien eingeholt wird.

Das nunmehr fünfte Speicher-Release von Rune Reilly KÖLSCH erreicht uns im Gefolge des gesichtsverdrillenden Wahnsinns von "Loreley" (KOMPAKT EXTRA 68), der pianogetriebenen Melancholie von "Opa" (KOMPAKT EXTRA 70) oder den Bestseller-Akkorden seiner Kollaboration mit Gregor Schwellenbach (KOMPAKT EXTRA 79), irgendwie auch eine Hommage an all diese Meilensteine im Rahmen eines zugegebenermaßen massiven Zwo-Trackers. Das erste Originalmaterial seit einiger Zeit, übernehmen diese Stücke den Staffelstab von gefeierten Remixarbeiten für eine ganze Reihe an Künstlern kontemporärer Unterhaltungsmusik, von hochgehandelten Popstars wie Coldplay zu Bewahrern feinster Tanzflurtradition wie House-Mobster Monkey Safari oder dem Bassmusik-Liebhaber Henry Krinkle.

Embark on an extraordinary sonic journey with these four mesmerizing pieces of art, each leading you to distinct destinations waiting to be unveiled. In collaboration with Traumer, Dragutesku delivers an enchanting masterpiece that is bound to captivate electronic music enthusiasts worldwide.

11 song LP, one track in extended mix.

Classic LP recorded circa 1980 in the Radics / Scientist era, this is a reissue of the 1997 pressing with 2 bonus tracks, but with a fresh new layout for 2024. Timeless stuff here that is the top shelf of its era.

Another previously unreleased killer from the early '80s Radics / Scientist days, this one was played on dubplate by Volcano in JA and Jah Life in NY, alongside other cuts of the rhythm (also eventually to be released). This is Peter Ranking the singer, not the more well known deejay.

Kenyan folk artist Rapasa Nyatrapasa Otieno and Man Power met while both artists in residence at the esteemed Glasshouse International Centre for Music and offer us something truly original here at M.A.D Records. Music has the power to bring people together and this is a shining example, Kenyan folk and electronic music from the North East of England - what’s not to like. On the flip label bosses Make A Dance offer up two remixes.

Arc Records präsentiert stolz 'Lost Takes', eine Kollektion von Songs, die Roberta Flack in den Sessions vor der Aufnahme ihres bahnbrechenden Debütalbums 'First Take' (1969) aufnahm. Noch nie zuvor auf Vinyl veröffentlicht, erscheint die Musik als Doppel-LP auf schwarzem 180g Vinyl im wunderschönen mitternachtsblauen Gatefold mit Liner Notes von Harmony Holiday (Tochter der Northern Soul-Legende Jimmy Holiday). Diese LP ist der dritte Teil der Reihe spezieller Reissues aus den geschichtsträchtigen Archiven des Atlantic Jazz-Archivs, kuratiert von DJ und Radiomacher Gilles Peterson persönlich.

The Horn Track was created by Missile Records founder Tim Taylor in 1992. Released on the iconic FFRR imprint it crashed into the rave psyche and has been an ever present since.

Influential to dance generations worldwide and sampled by the likes of The Prodigy and RL Grime, The Horn Track does not sound like any other track. The Original and Micky Finn remixes are remastered and joined by a kick ass drum and bass remix from Blade of ONE7SIX Records.

Considered an underground classic by many, XL Middleton's “Tap Water” was released at the height of the fervor over 'modern funk' music, brought to life by Dam Funk & carried on by a small but dedicated cadre of artists including Middleton. Always in demand, “Tap Water” has become scarce in the aftermarket and demands collector-level prices when it does sell; thus a reissue was inevitable.

Mentions in LA Weekly, The Wire (UK), Washington Post

DJ support from: - J Rocc
- Soul Clap
- Dam Funk
- Walla P (Voyage Funktastique)
- Tim Zawada (Star Creature, Numero Group)
- WeFunk Radio

XL Middleton has continuously toured the US and internationally throughout Europe, as well as Japan, China, & Canada.

Warehouse find!

While the German producer Martin Matiske averages a new release under his given name every few years, there was a long stretch of time in which sightings of his Blackploid alias were much more rare. After dropping an EP for Frustrated Funk in 2006, fans found further material hard to come by over the next decade or so. However, Matiske has reinvigorated Blackploid in recent times, with the project making a few compilation appearances and dropping a couple of EPs across 2020.

That run now culminates inCosmic Traveler, a four-track affair which marks Matiske's debut appearance on Sheffield's Central Processing Unit. Given the long wait, it's great just to see Blackploid back among the fray once again. But for the project's CPU curtain-raiser to be an EP of such high-quality techno jams? Now that really is spoiling us.

Cosmic Traveler's title nods towards the sort of stargazing aesthetics one finds in classic Detroit techno. However, while there are undoubtedly ties to the Motor City in this music, the record ultimately steers less towards spacious atmospherics and more towards the taut, lean machine-funk of seminal practitioners like Dopplereffekt.

Matiske sets his stall out from the off. Opener 'Electric Engine' begins with a run of stiff-necked 808 kicks before hissing hi-hats, a grizzly bassline and all manner of futuristic sounds enter to warp the tune into hyperspace. Following cut 'Night Drive' repeats the trick of 'Electric Engine' but adds a pleasingly dinky synth lead in order to nudge itself slightly towards bleep-techno territory.

The two cuts on Cosmic Traveler's B-side are pure late-night goodness, a pair of mid-set heaters primed for dark basements. 'Pleasure Activism' delivers on the promise of its title and then some, pushing the Kraftwerk template to extremes by bringing a load of gnarly synth lines into play over a wobbling acidic chug. Finally, EP closer 'The Race' is reminiscent of both the twisted machine-funk of Gerald Donald's Japanese Telecom project and the playful modern evolutions of artists like fellow CPU high-flyer Jensen Interceptor.

The resurgence of Martin Matiske's Blackploid project continues withCosmic Traveller, an EP of timeless electro-funk and techno.

FFO: Dopplereffekt, Japanese Telecom, Jensen Interceptor, Cardopusher