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The 16-track album opens with “War & Wonders'' as Smoke begins his journey foreshadowing an upcoming battle featuring impassioned flows and rhymes describing the violent challenges of urban living. The track opens with a storyline of Smoke getting knocked down from his ongoing battles and a woman calling his name to wake up. The narrative then progresses with latest singles “Shame On You” and “Common Sense” featuring SiR commenting on humanity’s unique simplicity and embracing our differences. At the core of the album, “Stay True” featuring John Legend accentuates the meaning of living your best life by staying true to your authentic self regardless of what life throws your way and the hardships you may face. Then “Good Thing” featuring Ty Dolla $ign offers an upbeat, positive track bringing light to companionship and finding joy in life through many avenues. Smoke wraps the project with rhythmic, jazz infused “Free Write” reflecting on the crusade of each track leading to the end of his battles, and bringing awareness to the grieving of his city from politics to systemic racism and his influence on making the situation better for future generations. War & Wonders spotlights poignant themes, necessary social commentary, and the hurdles we overcome in order to appreciate what we have in this life. For Smoke, he showcases Inglewood’s war on losing love, being in love, and battling himself as he is always being led in different directions. It is a continuous journey of learning, growing, self-discovery, and reinventing a better version of himself.

Noah grew up in Hokkaido. Japan's northernmost island, it's an idyllic, snowy place—and a wild, harsh one, too. But it wouldn't be long until, after a stint of living in Aichi Prefecture, found herself living in the tangle of urban centres that is Tokyo. Her production has always been experimental, everchanging, drawing influences from a wide range of styles resulting in a sound that is uniquely her own. Whether it's an R&B feel or the lo-fi magic of vaporwave, her tracks resound with energy and beauty. And, always, her voice weaves like a phantom, emotive, through these exciting soundscapes. Noire is Noah's latest full-length release since 2019's Thirty. Since her debut on FLAU, she has garnered praise from dozens of blogs and media outlets including Dazed & Confused, The Guardian and NYLON, to name just a few, and has worked with producers such as SELA. and kidkanevil.

Directly helping Noah to hone the sound which eventually became 2019's Étoile, her most recent album Noire is a collection of past tracks created between 2015-2020. Through jazz-inflected piano loops and a lo-fi vaporwave sound, alongside carefully considered beats, Noah's latest album showcases the joy of finding freedom in staying up late into the night, and the introspection that comes with it.

This never-before-heard work from Noah is the sound of an artist finding themselves, a maturation. The minimalist tracks—a cocktail of late-night jazz meets Portishead—feature gorgeous space for Noah's crooning vocals to breathe among sprinklings of sampled piano, flute and saxophone. From the emotive line, "The things I've left behind…" on 'Shadow', to the sleepy, far-off sounds of opener 'Twirling', the album showcases a lightness and a sensitivity to self: the joy of night twinned with the inevitable introspection that comes with staying up while the world sleeps.

Boogie Angst is proud to announce Boogie Beats Volume 3; the third installment in their critically acclaimed,club-orientatedcompilation series. Known for showcasing fresh new talent as well as industry titans, Boogie Beats has become a well-lovedshowcasefor both dance floors and home playlists alike.

Kraak & Smaak - Fittipaldi

Opening track Fittipaldi is the previously released Euro heater by label heads Kraak & Smaak. Magnificent Clavinet parts sway hand-in-hand against the diced wall of electronic goodness. Classic sounds brought into the present-day. Named after the famous Brazilian 70s F1 driver, Fittipaldi is a nostalgic, nu-disco groover ready to bridge the classic-to-modern gap in any club this summer.

Steven Kimber - I Wanna Be The One (Drop Out Orchestra Remix)

Next up is a Steven Kimber song, by way of a gorgeous Drop Out Orchestra remix. Drop Out Orchestra are the reigning edit kings of the soulful disco scene. Taking on the Birmingham-based vocalist and producer Steven Kimber's I Wanna Be The One,they managed to turn it into a brilliant yacht-house infused bouncer. Beach-proof from the get go, we wouldn't be surprised to hear this one tear up some island clubs this summer.

King Mutapa - Gimme That Funk

Third in line for Boogie Beats Volume 3 is South-African producer King Mutapa with the ever so shiny Gimme That Funk. Heavily influenced by 70s Disco, Funk and Boom Bap, King Mutapa expertly sprinkles funk chops over the shiniest groove we've heard in ages. Moving through several parts of the song, it's clear to hear that Mutapa's the King of bounce and will steadily continue this trajectory into his fresh career.

Pontchartrain - Cheap Plants

Detroit-based producer Pontchartrain (of Kolours LTD., Delusions of Grandeur, Whiskey Disco, Toy-Tonics and Razor-n-Tape fame a.o.) rain steps up to the plate with Cheap Plants; a bouncy and classy house number which could only have come out of the Motor City. Exuberating percussion parts sway ear-to-ear, whilst the mesmerizing piano stabs stay ever present, providing a steady backbone for the menagerie of lively synth swirls.

FUTVRST - The Feeling

New, mysterious Californian indie-vibed and post-disco duo FUTVRST light up the night with The Feeling. Swirling disco chops under laid with an infectious bassline, all dancing around an irresistible arpeggio sequence. FUTVRST takes us back to the blog house days with this one, and we can't wait to hear what's next for them.

The five songs are rounded off with the longer, original mix of Fittipaldi, plus an extended version of the I Wanna Be The One remix—all set to suit your DJ needs.

Listening through the featured tracks it's clear to hear that the compilations are always a brilliant indicator of the label's variety and broad scope in the electronic music scene, whilst always being undeniably funky and danceable. With exciting times ahead for the Netherlands-based label, the Boogie Beats series always feel like a little homecoming.

'Various Artists – Boogie Beats Vol. 3' is out via Boogie Angst on all digital platforms on April 8, with a limited edition vinyl 12" coming soon after.

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

Black Truffle is thrilled to announce Drumming Up Trouble, the first release of previously unissued music by Alvin Curran on the label. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, Drumming Up Trouble focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return ‘in some collective way to a non-existent start time in the history of human music’. Whatever kind of music our proto-human ancestors played, he writes, ‘drums were front and centre in the mix. Drums rule!’

In a paradox typical of Curran’s approach, Drumming Up Trouble interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Fallo: ‘End Zone’ for orchestral bass drum and high oscillator, and ‘Rollings’, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’.

The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre ‘Field it More’. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

Big City - "Liquid Times". A Recurring Daydream on zero gasoline Pixelating to exaltation on a big city night cantaloupe runs hard in the dungeoun then car home at 6am. "Firestarter walk with me" you like saxophones I like the kinks a guitar virtuoso and a big bass bliss. 5 songs 45 RPM. BIg City is the love child of guitar mastermind Katayoon Yousefbigloo (Puzzlehead, Hotline TNT) and underground dance instigator Davey Biddle (Copyright Linda Fox).

FIRST PRESSING ON WHITE VINYL*Regenerator is the fifth full-length from the Rochester, New York-based trio King Buffalo.

Written and recorded by the band with mixing and engineering by guitarist/vocalist Sean McVay and mastering by Bernie Matthews, the seven-song outing is the third in King Buffalo’s stated ‘pandemic trilogy,’ following 2021’s The Burden of Restlessness and
Acheron.

Both of those albums – like 2018’s Longing to Be the Mountain, 2016’s
debut, Orion, and the various EPs and other offerings they’ve made over the last eight years – made bold declarations about who King Buffalo are as a band, and Regenerator is no different. As McVay, bassist/synthesist Dan Reynolds and drummer Scott Donaldson continue to explore the outer reaches of modern psychedelic
music, melding progressive rhythms, drifting atmospheres and
accompanying surges of electricity, this new collection only further establishes them as one of the brightest lights shining in underground rock today.
As the third of three, Regenerator inherently ties together the previous two LPs, and as the band unfold the leadoff title-track across nine and halfminutes, it becomes clear just how truly they have marked out their own sonic presence.

The later melodic highlight “Mammoth” – with McVay’s most confident vocal performance yet – shimmers with hope that somehow doesn’t come across as desperate; on “Hours”, the group engages classic space rock, and the closing “Firmament” acts as a summary
for all three albums, marking the final installment of this trilogy as the
essential cornerstone of King Buffalo's work to date.

Regenerator is available on 180.gr white vinyl (including download) and CD.

One of the last great albums of the first wave of Peruvian rock, originally released in 1974, linking psych-tinged rock with Afro-Latin American beats and folk pop. This first record by (former Traffic Sound and Los Nuevos Shain's member) Zulu was also his last and one of the most enigmatic albums released in Peru in the '70s, as the artist vanished into the religious path, making sure his music got as unnoticed as possible... Reissued for the first time with the collaboration of Zulu, including extensive liner notes and one extra track. DESCRIPTION: The first record by Zulu was also his last. Shortly after releasing it in 1974, the artist withdrew from the music scene and never returned. 46 years later, his music still sounds out of time. His musical eclecticism heralded a different era and linked rock with Afro-Latin American beats and pop. His debut and only LP is one of the last great albums of the first wave of Peruvian rock. No other original records of this type were released in Peru until the early 80s. In the 70s, in Peru, most rock groups sang in English. For his LP, Zulu chose to sing in his own language and focus on his own emotions and experiences. In the early days of his career he became member of Los Shain's, for less than a year. Then he was invited to join Traffic Sound playing bass guitar and keyboards and record the band's third album "Lux". An offer to start a solo career would follow and 'Como una escalera ', 'Alegría' and 'Cariño grande' 45s were released. The expectations that his first solo singles generated were met by the release of the LP Zulu in 1974, boasting an eclectic and innovative sound. Andean folk, Afro-Latin beats, psych-tinged prog rock scents, moog glides, choir arrangements spread across the entire album creating a truly unique piece of music. A few demos were also recorded for the next album but this never saw the light. In December 1974, a few months after the LP was released, the artist decided to disappear. At this point of his life, he started to become aware of the need to define spirituality. After exploring and comparing countless religious, philosophical, psychological texts and trying transcendental meditation and yoga, he concluded that the Bible was the most profound and clearest text. While this was going on, his public figure grew thanks to the success of his album. At the end of 1974, Zulu surprised the manager of IEMPSA, Augusto Sarria, by communicating his decision to leave show business. The artist vanished into the religious path, making sure his music got as unnoticed as possible... This is the first ever reissue of Zulú's 1974 album. It has been supervised by the artist himself and includes extensive notes and the extra track 'Haces mal, pobre chico', B side to his first single that never made it into the album.

THE ICONIC 1993 MASTERPIECE OF UK GOTHIC DOOM PRESENTED ON
SINGLE BLACK VINYL. My Dying Bride has been the leading light of doom
metal since the debut album "As The Flower Withers" was released on
Peaceville Records back in 1992
Influenced by acts such as Celtic Frost & Candlemass, the band's heavy
atmospherics have carved a huge worldwide following over the years & they
remain at the pinnacle of the genre & one of the most instantly distinguishable
metal bands.
Originally released on Peaceville in October 1993 & recorded at Academy Studios
in Yorkshire, 'Turn Loose The Swans' saw the arrival of long- time session
musician & classically trained violin & piano player Martin Powell. The album also
saw the band stretching & pushing the grandiose textures & epic doom dynamics
to create an opus of previously unrivalled atmosphere & stark emotion.
Fans & critics have since hailed 'Turn Loose The Swans' as the blueprint for the
new Gothic Metal genre, with many often still citing the release as among the
defining albums of the band's distinguished career.
This edition of 'Turn Loose The Swans' is presented on single black vinyl, now
with cover artwork from the original CD edition.

Since his introduction in the 60’s, Roger Damawuzan has lit stages on fire, whether it be with The Rickers Orchestra or with The Melo-Togo Orchestra (taking home 2nd place for the first National Festival of Tologese Music). His first 7" vinyl Wait For Me is a holy grail for diggers all around the world. It was such a hit that Togolese music is and will forever be stamped by Roger Damawuzan. He was principal in introducing Gazo, Akpesse and Kamou rhythms to modern day soul music. Relentless and unstoppable, Roger Damawuzan is now making a comeback with a heavy funk 7 inch!

This release contains an unreleased single from the album Seda , which will be available on October 14th 2022. Such a force of nature, this album could have been only captured, if not mastered, by one studio. Such mission was accomplished by the legendary studio OTODI (Office Togolese of Disks) by utilizing solely analog equipment to translate and to breath all of Damawuzan’s soul into this album. Roger Damawuzan could have been supported by only one group. Led by Peter Solo, the members of the Vaudou Game and Lomé’s most talented musicians are at Damawuzan’s disposal for this new soul DJ friendly vinyl.

Standout favorites of RidingEasy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done.White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a 5-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides 6 of the 10 tracks on Thunderbolts of Fuzz.The original White Lightning trio only released one 45-rpm single “Of Paupers and Poets” during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, 3 of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history.
Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly 70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.
Drummer/lead vocalist Mick Stanhope later relinquished his drum throne to take center stage as lead singer of the expanded lineup. Throughout its initial 1968-1974 run, the band had 10 different lineups, with Caplan, Woodrich and Stanhope the most consistent members — though the band points out that no one member has played in all 11 incarnations of the group. For more facts and information visit thelitter-lightning.
Album opener “Prelude to Opus IV” is a wailing rocker with blazing double-kick drum, sizzling melodic riffs and Jim Dandy howls jam packed into an epic 4 minutes that serves enough testament to the band’s greatness, nothing more need be heard or said. However, the would-be hits keep coming as the Led Zeppelin meets Black Oak Arkansas thwack of “Hideaway” and “Born Too Rich” come screaming out of the speakers. “When A Man Could Be Free” shows the band could also reign in the fury, at least a little bit, for a warm Southern rock style ballad. “Borrowed and Blue” echoes the stately poetry of Electric Ladyland-era Hendrix with a dash of The Who’s rollicking psychedelia. “1930” is, quite simply, insane. Searing twin guitars with incredible fuzz-drenched tone, a warm and buzzing bass line bounce atop drummer Bernie Pershey’s unrelenting bass drum triplets while Stanhope ravages his lungs with soulful abandon. The album closes with the aptly titled “Before My Time” a barnstorming boogie rock instrumental the proves the band vanished long before receiving their due.

With their sophomore full-length "Gotta Light?", dark rock innovators CRONE are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from ALICE IN CHAINS, via KILLING JOKE, NEW MODEL ARMY, and JOY DIVISION to PINK FLOYD among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as GHOST in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for CRONE provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife ('Waiting for Ghosts'), shattered dreams ('Abyss Road'), and a guiding last will ('Gemini'). CRONE was conceived out of a musical collaboration between Phil "sG" Jonas and EMBEDDED drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With CRONE having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?". With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of SECRETS OF THE MOON a dark reborn phoenix is rising with CRONE and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"

With their sophomore full-length "Gotta Light?", dark rock innovators CRONE are cruising in a high octane fuelled hotrod. Channelling their personal musical inspirations that range from ALICE IN CHAINS, via KILLING JOKE, NEW MODEL ARMY, and JOY DIVISION to PINK FLOYD among many others, the Germans leave their very own and personal mark on the genre that has been brought back to the forefront of interest by acts such as GHOST in recent years. While composer, guitarist, and singer Phil Jonas had felt tired, burned out, and empty, working on new songs for CRONE provided the spark that kindled the firestorm of fresh ideas and led to the creation of "Gotta Light?". The album title was inspired by the haunting eighth episode of David Lynch's masterpiece TV series "Twin Peaks". A corresponding element of the mysterious and surreal permeates all of the new songs that revolve around topics such as the hope of receiving signals from the afterlife ('Waiting for Ghosts'), shattered dreams ('Abyss Road'), and a guiding last will ('Gemini'). CRONE was conceived out of a musical collaboration between Phil "sG" Jonas and EMBEDDED drummer and guitarist Markus Renzenbrink. Both musicians wanted to explore musical horizons beyond the metal limits of their regular bands at the time. As a result the "Gehenna" EP was released in 2014 and sparked a first wave of interest. Critics labelled the first effort post-rock, post-punk, and even as shoegaze. The well-received debut full-length 'Godspeed' hit the streets in 2018 and its more focussed and consistent songs got often filed under "post-rock". With CRONE having been elevated to the main band of each protagonist, the band's renewed focus and urgency is clearly audible on "Gotta Light?". With Christian Schmidt a permanent keyboard player has been added to the line-up that now also features lead guitarist Kevin Olasz for added sparkle and sonic depth. From the ashes of SECRETS OF THE MOON a dark reborn phoenix is rising with CRONE and this bird of prey is ready to rock humanity's unstoppable descent into madness: "Gotta Light?"

DELUXE EDITION

Das Herzstück der ersten Lou Reed Archive Series Veröffentlichung von Light In The Attic ist die Deluxe 45-RPM Doppel-LP Edition von "Words & Music, May 1965". Diese auf 7.500 Exemplare weltweit limitierte Sammlung wurde von dem mehrfach mit dem GRAMMY ausgezeichneten Künstler Masaki Koike entworfen und verfügt über einen stilisierten, gestanzten Klappumschlag, der von Stoughton Printing Co. hergestellt wurde, mit fortlaufender Foliennummerierung. Darin enthalten sind zwei 45-RPM 12"-LPs, gepresst auf 180-Gramm-Vinyl in HQ-Audiophil-Qualität bei Record Technology Inc. (RTI), mit der einzigen Vinyl-Veröffentlichung von "I'm Waiting for the Man - May 1965 Alternate Version". Eine Bonus 7" Single, die in einer eigenen, gestanzten Bilderhülle untergebracht ist und bei Third Man Record Pressing hergestellt wurde, enthält die einzige Vinyl-Veröffentlichung von sechs bisher unveröffentlichten Bonustracks, die einen nie zuvor gesehenen Einblick in Reeds prägende Jahre bieten, darunter frühe Demos, eine Coverversion von Bob Dylans "Don't Think Twice, It's All Right" und ein Doo-Wop-Ständchen, das 1958 aufgenommen wurde, als der legendäre Singer-Songwriter gerade 16 Jahre alt war. Ein begleitendes, gestanztes, 28-seitiges Buch mit Texten, Archivfotos und Linernotes enthält eine Archivreproduktion eines selten Briefes, den Reed um 1964 an seinen College-Professor und Dichter Delmore Schwartz schrieb. Das Set enthält eine CD mit dem kompletten Audiomaterial des Pakets in einer gestanzten Hülle. "Ein Tonband mit ihren frühesten Demos, aufgenommen am 11. Mai 1965 und bis heute unter Verschluss gehalten, zeigt Spuren von Dingen, die selten mit The Velvet Underground in Verbindung gebracht werden: Blues und Folk, erdig und traditionell, unsicher und zögerlich - und doch von diesem rostigen, ätzenden Lou Reed-Geist durchdrungen. Es ist eine Offenbarung." - Will Hodgkinson, MOJO. Light in the Attic Records ist stolz darauf, in Zusammenarbeit mit Laurie Anderson den ersten Titel ihrer fortlaufenden Lou Reed Archive Series vorzustellen: "Words & Music, Mai 1965". Das Album, das anlässlich des 80. Geburtstages des verstorbenen Künstlers erscheint, bietet einen außergewöhnlichen, ungeschminkten und ergreifenden Einblick in einen der wahrlich größten amerikanischen Poeten und Songwriter. Diese bisher unveröffentlichte Sammlung von Songs, die der junge Lou Reed mit Hilfe seines späteren Bandkollegen John Cale aufnahm und sich selbst als "Urheberrecht des armen Mannes" mit der Post zuschickte, wurde fast 50 Jahre lang ungeöffnet in einem Originalumschlag aufbewahrt. Der Inhalt verkörpert einige der wichtigsten und bahnbrechendsten Beiträge zur amerikanischen Popmusik im 20. Jahrhundert. Die fest in der Folk-Tradition verwurzelten Songs belegen Lous nachhaltigen Einfluss auf die Entwicklung der modernen amerikanischen Musik deutlich - vom Punk bis zum Art-Rock und allem, was dazwischen liegt. Diese Aufnahmen sind eine wahre Zeitkapsel und halten nicht nur die ersten Funken dessen fest, was die Keimzelle der unglaublich einflussreichen Velvet Underground werden sollte; sie machen Reed auch zu einem echten Beobachter mit einem angeborenen Talent, die Welt um ihn herum zu synthetisieren und in reine Klangpoesie zu verwandeln. Mit Beiträgen von Reeds zukünftigem Bandkollegen John Cale präsentiert "Words & Music, May 1965" die frühesten bekannten Aufnahmen so historischer Songs wie "Heroin", "I'm Waiting for the Man" und "Pale Blue Eyes", die Reed später mit Velvet Underground aufnehmen und unauslöschlich prägen sollte, in ihrer Gesamtheit. Außerdem sind mehrere bisher unveröffentlichte Kompositionen enthalten, die zusätzliche Einblicke in Reeds kreativen Prozess und seine frühen Einflüsse geben. Das Album wurde von Laurie Anderson, Don Fleming, Jason Stern, Hal Willner und Matt Sullivan produziert und enthält neu gemasterte Tonaufnahmen vom Originalband durch den GRAMMY-nominierten Toningenieur John Baldwin. Abgerundet wird das Paket durch neue Linernotes des renommierten Journalisten und Autors Greil Marcus sowie ausführliche Archivnotizen von Don Fleming und Jason Stern, die das Lou Reed Archiv betreuen, während die Veröffentlichung von dem mehrfach GRAMMY-prämierten Künstler Masaki Koike gestaltet wurde.

"Ein Tonband mit ihren frühesten Demos, aufgenommen am 11. Mai 1965 und bis heute unter Verschluss gehalten, zeigt Spuren von Dingen, die selten mit The Velvet Underground in Verbindung gebracht werden: Blues und Folk, erdig und traditionell, unsicher und zögerlich - und doch von diesem rostigen, ätzenden Lou Reed-Geist durchdrungen. Es ist eine Offenbarung." - Will Hodgkinson, MOJO. Light in the Attic Records ist stolz darauf, in Zusammenarbeit mit Laurie Anderson den ersten Titel ihrer fortlaufenden Lou Reed Archive Series vorzustellen: "Words & Music, Mai 1965". Das Album, das anlässlich des 80. Geburtstages des verstorbenen Künstlers erscheint, bietet einen außergewöhnlichen, ungeschminkten und ergreifenden Einblick in einen der wahrlich größten amerikanischen Poeten und Songwriter. Diese bisher unveröffentlichte Sammlung von Songs, die der junge Lou Reed mit Hilfe seines späteren Bandkollegen John Cale aufnahm und sich selbst als "Urheberrecht des armen Mannes" mit der Post zuschickte, wurde fast 50 Jahre lang ungeöffnet in einem Originalumschlag aufbewahrt. Der Inhalt verkörpert einige der wichtigsten und bahnbrechendsten Beiträge zur amerikanischen Popmusik im 20. Jahrhundert. Die fest in der Folk-Tradition verwurzelten Songs belegen Lous nachhaltigen Einfluss auf die Entwicklung der modernen amerikanischen Musik deutlich - vom Punk bis zum Art-Rock und allem, was dazwischen liegt. Diese Aufnahmen sind eine wahre Zeitkapsel und halten nicht nur die ersten Funken dessen fest, was die Keimzelle der unglaublich einflussreichen Velvet Underground werden sollte; sie machen Reed auch zu einem echten Beobachter mit einem angeborenen Talent, die Welt um ihn herum zu synthetisieren und in reine Klangpoesie zu verwandeln. Mit Beiträgen von Reeds zukünftigem Bandkollegen John Cale präsentiert "Words & Music, May 1965" die frühesten bekannten Aufnahmen so historischer Songs wie "Heroin", "I'm Waiting for the Man" und "Pale Blue Eyes", die Reed später mit Velvet Underground aufnehmen und unauslöschlich prägen sollte, in ihrer Gesamtheit. Außerdem sind mehrere bisher unveröffentlichte Kompositionen enthalten, die zusätzliche Einblicke in Reeds kreativen Prozess und seine frühen Einflüsse geben. Das Album wurde von Laurie Anderson, Don Fleming, Jason Stern, Hal Willner und Matt Sullivan produziert und enthält neu gemasterte Tonaufnahmen vom Originalband durch den GRAMMY-nominierten Toningenieur John Baldwin. Abgerundet wird das Paket durch neue Linernotes des renommierten Journalisten und Autors Greil Marcus sowie ausführliche Archivnotizen von Don Fleming und Jason Stern, die das Lou Reed Archiv betreuen, während die Veröffentlichung von dem mehrfach GRAMMY-prämierten Künstler Masaki Koike gestaltet wurde.

"Ein Tonband mit ihren frühesten Demos, aufgenommen am 11. Mai 1965 und bis heute unter Verschluss gehalten, zeigt Spuren von Dingen, die selten mit The Velvet Underground in Verbindung gebracht werden: Blues und Folk, erdig und traditionell, unsicher und zögerlich - und doch von diesem rostigen, ätzenden Lou Reed-Geist durchdrungen. Es ist eine Offenbarung." - Will Hodgkinson, MOJO. Light in the Attic Records ist stolz darauf, in Zusammenarbeit mit Laurie Anderson den ersten Titel ihrer fortlaufenden Lou Reed Archive Series vorzustellen: "Words & Music, Mai 1965". Das Album, das anlässlich des 80. Geburtstages des verstorbenen Künstlers erscheint, bietet einen außergewöhnlichen, ungeschminkten und ergreifenden Einblick in einen der wahrlich größten amerikanischen Poeten und Songwriter. Diese bisher unveröffentlichte Sammlung von Songs, die der junge Lou Reed mit Hilfe seines späteren Bandkollegen John Cale aufnahm und sich selbst als "Urheberrecht des armen Mannes" mit der Post zuschickte, wurde fast 50 Jahre lang ungeöffnet in einem Originalumschlag aufbewahrt. Der Inhalt verkörpert einige der wichtigsten und bahnbrechendsten Beiträge zur amerikanischen Popmusik im 20. Jahrhundert. Die fest in der Folk-Tradition verwurzelten Songs belegen Lous nachhaltigen Einfluss auf die Entwicklung der modernen amerikanischen Musik deutlich - vom Punk bis zum Art-Rock und allem, was dazwischen liegt. Diese Aufnahmen sind eine wahre Zeitkapsel und halten nicht nur die ersten Funken dessen fest, was die Keimzelle der unglaublich einflussreichen Velvet Underground werden sollte; sie machen Reed auch zu einem echten Beobachter mit einem angeborenen Talent, die Welt um ihn herum zu synthetisieren und in reine Klangpoesie zu verwandeln. Mit Beiträgen von Reeds zukünftigem Bandkollegen John Cale präsentiert "Words & Music, May 1965" die frühesten bekannten Aufnahmen so historischer Songs wie "Heroin", "I'm Waiting for the Man" und "Pale Blue Eyes", die Reed später mit Velvet Underground aufnehmen und unauslöschlich prägen sollte, in ihrer Gesamtheit. Außerdem sind mehrere bisher unveröffentlichte Kompositionen enthalten, die zusätzliche Einblicke in Reeds kreativen Prozess und seine frühen Einflüsse geben. Das Album wurde von Laurie Anderson, Don Fleming, Jason Stern, Hal Willner und Matt Sullivan produziert und enthält neu gemasterte Tonaufnahmen vom Originalband durch den GRAMMY-nominierten Toningenieur John Baldwin. Abgerundet wird das Paket durch neue Linernotes des renommierten Journalisten und Autors Greil Marcus sowie ausführliche Archivnotizen von Don Fleming und Jason Stern, die das Lou Reed Archiv betreuen, während die Veröffentlichung von dem mehrfach GRAMMY-prämierten Künstler Masaki Koike gestaltet wurde.

"Ein Tonband mit ihren frühesten Demos, aufgenommen am 11. Mai 1965 und bis heute unter Verschluss gehalten, zeigt Spuren von Dingen, die selten mit The Velvet Underground in Verbindung gebracht werden: Blues und Folk, erdig und traditionell, unsicher und zögerlich - und doch von diesem rostigen, ätzenden Lou Reed-Geist durchdrungen. Es ist eine Offenbarung." - Will Hodgkinson, MOJO. Light in the Attic Records ist stolz darauf, in Zusammenarbeit mit Laurie Anderson den ersten Titel ihrer fortlaufenden Lou Reed Archive Series vorzustellen: "Words & Music, Mai 1965". Das Album, das anlässlich des 80. Geburtstages des verstorbenen Künstlers erscheint, bietet einen außergewöhnlichen, ungeschminkten und ergreifenden Einblick in einen der wahrlich größten amerikanischen Poeten und Songwriter. Diese bisher unveröffentlichte Sammlung von Songs, die der junge Lou Reed mit Hilfe seines späteren Bandkollegen John Cale aufnahm und sich selbst als "Urheberrecht des armen Mannes" mit der Post zuschickte, wurde fast 50 Jahre lang ungeöffnet in einem Originalumschlag aufbewahrt. Der Inhalt verkörpert einige der wichtigsten und bahnbrechendsten Beiträge zur amerikanischen Popmusik im 20. Jahrhundert. Die fest in der Folk-Tradition verwurzelten Songs belegen Lous nachhaltigen Einfluss auf die Entwicklung der modernen amerikanischen Musik deutlich - vom Punk bis zum Art-Rock und allem, was dazwischen liegt. Diese Aufnahmen sind eine wahre Zeitkapsel und halten nicht nur die ersten Funken dessen fest, was die Keimzelle der unglaublich einflussreichen Velvet Underground werden sollte; sie machen Reed auch zu einem echten Beobachter mit einem angeborenen Talent, die Welt um ihn herum zu synthetisieren und in reine Klangpoesie zu verwandeln. Mit Beiträgen von Reeds zukünftigem Bandkollegen John Cale präsentiert "Words & Music, May 1965" die frühesten bekannten Aufnahmen so historischer Songs wie "Heroin", "I'm Waiting for the Man" und "Pale Blue Eyes", die Reed später mit Velvet Underground aufnehmen und unauslöschlich prägen sollte, in ihrer Gesamtheit. Außerdem sind mehrere bisher unveröffentlichte Kompositionen enthalten, die zusätzliche Einblicke in Reeds kreativen Prozess und seine frühen Einflüsse geben. Das Album wurde von Laurie Anderson, Don Fleming, Jason Stern, Hal Willner und Matt Sullivan produziert und enthält neu gemasterte Tonaufnahmen vom Originalband durch den GRAMMY-nominierten Toningenieur John Baldwin. Abgerundet wird das Paket durch neue Linernotes des renommierten Journalisten und Autors Greil Marcus sowie ausführliche Archivnotizen von Don Fleming und Jason Stern, die das Lou Reed Archiv betreuen, während die Veröffentlichung von dem mehrfach GRAMMY-prämierten Künstler Masaki Koike gestaltet wurde.

'College Music Presents: 'Back on Track' is a twenty nine track compilation featuring original music from artists and producers the world over. 'Back on Track' aims to act as a beacon of hope after a tricky few years across the world. We invited some of the very best producers we know to create something that reflected a 'light at the end of the tunnel', and the end result is a wide array of uplifting vibes, from instrumental beats and jazzy joints to euphoric vocal breakbeats and lo-fi house, featuring the likes of Tennyson, Cookin Soul, Athletic Progression, L'indécis, Conor Albert and a lot more.

The artwork itself, done by the incredible Doug John Miller (instagram/dougjohnmiller) reflects the journey from the darker, lockdown days to present day and beyond, where things are looking far brighter. We aimed to represent this positive shift in the music selected within the project, hoping to offer a glimmer of light to people in their dark days.

The project title 'Back on Track' reflects how things have come off the rails in the past few years, but that better times are on the way, and as a collective, we are gradually getting 'Back on Track'.

Bobby Oroza puts his desire for the profound on wax with his sophomore album Get On The Otherside. Musically, he has updated the formula we were introduced to on the first record. But lyrically, songs are bravely rooted in the more complicated, ubiquitous inner tangles of life like self-examination and coming to terms with the vastness of the human experience. With Coronavirus bringing the world to a halt, Bobby-a father and husband-had to do something. No tours to play or studio time to fill, Bobby found himself back in the construction yard, doing blue-collar work to provide for his family. "I was super grateful for the work-a lot of my colleagues didn't have an option like that," Bobby admits. More than a few personal hardships forced him to acknowledge and work through some brutal truths. And what came of it? Well, for one, this new record Get On The Otherside which pretty well describes what Bobby's been through: He had to demolish his ego, his old ways of thinking, and his tried approaches to anchor into a refreshed perspective with new understandings. As Bobby tells it, "I had to do some real self-searching, come to terms with what was wrong, and how much of it I was responsible for." So how does this translate to the new album? Moments of clarity as to where the real value in life lies on "I Got Love," encouraging numbers like the title track "The Otherside", and declarations of self actualization on "My Place, My Time." Even the more straightforward love songs are outside the box lyrically like "Sweet Agony" and "Loving Body." If you have never had the pleasure of catching one of Bobby's live shows you may have no idea that he is a maverick on the guitar. He lets us in on a little of that on "Passing Things" with a solo that possesses the same restrained and space that his lyrics do. As we'd expect, the songwriting still has that raw, direct edge to it. But an evolution has taken place. There are new points of view on familiar territory which in Bobby's words "For me to love, I needed to take a bigger view of love. One with less ego and more empathy" really hold true. The result is a record with Bobby's new found humility on full display and a message of encouragement to anyone who is struggling and can't see a way out. It still may be hard to nail down and define Bobby and his sound. He's no one thing more than the other. But what he's showing us now, on Get On The Otherside, is that we can also label him a soulful, philosophical optimist. Someone who can say a lot with a little, and who wants us all to know that it's us that has to do the hard lifting to truly live a life in love-both with the world and with yourself.

"His music filled me with the urge to connect with the world," Kaitlyn Aurelia Smith says of Emile Mosseri. She first heard his work while watching the 2019 film The Last Black Man In San Francisco; just minutes in, she paused it to look up who did the score and wrote to him immediately. "I love Emile's ability to create melodies that feel magically scenic and familiar like they are reminding you of the innocence of loving life." Those talents saw recognition in 2020 with an Oscar nomination for Mosseri's original score to the film Minari. He was already a fan of Smith's and became increasingly intrigued by her impressionistic process as they started to talk. "The music feels so spiritual and alive and made from the earth," Mosseri says. "I think of her as the great conductor, summoning musical poetry from her orchestra of machines." I Could Be Your Dog / I Could Be Your Moon, their two-part collaborative album, introduces an uncanny fusion of their sonics. Constructed using synthesizer, piano, electronics, and voice, this soft-focus dream world is lush, evocative, and fleeting. It finds two composers tuning their respective styles inward as an ode to mutual inspiration, a celebration of the human spirit and its will to surrender to the currents of life. As a full album set, I Could Be Your Dog / I Could Be Your Moon moves fluidly from track to track, panning through textural vignettes. Two roughly 17-minute halves, the set evokes the bittersweet sense of something too bright or rare to last, a short-lived glimpse into a golden hour. There is a dreamy, elemental intention to this music, which Smith and Mosseri say came naturally, as they both embraced intuitive interplay throughout their creative back-and-forth. The stylistic threads of each composer are recognizable yet become more ambiguous as the album progresses, sewn into a singular vision.

coloured vinyl.

* A classic and highly influential dub set from 1989, regarded by some as the one of the album’s that kick-started the UK dub scene revival along with the likes of Jah Shaka and Mad Professor.
* Produced by Sound Iration (Nick Manasseh & Scruff) and originally released on Youth’s Mr Modo label.
* 8 Pieces of bass-heavy dub cuts with melodica, flute and vocals floating in and out of the mix.
* This is the dub companion album to Tena St­elin - `Wicked Invention’ (PRTLLP013).

We welcome Stasis to De:tuned! UK techno pioneer Steve Pickton has dug deep into his DAT tapes collection to unearth 2 previously unreleased recordings from the golden era '92-'93. Both rarities offer a trademark lush and retro-futurist Detroit inspired sound that is totally unique. Fellow Likemind legend Nuron provides a stunning remix. The track was built up from scratch as no stems were available, giving you another sneak peek of the genius musical mind that is Nuron.

The vinyl version comes with impeccable sleeve and label artwork by Abdul Haqq (Third Earth).
Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl.
A separate digital release will also be available at the usual digital shops.

Stay tuned!

The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives. Mamarron, Vol. 1 consists of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual. The tracks were laid down on their debut record that saw the light in 2020 in the middle of the pandemic and are now re-released in 2022 by ZZK Records imprint AYA records and being pressed on vinyl. The vinyl album also will include the bonus track "El Peruanito" remixed by Colombian producer Santiago Navas. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights.

Stemming from a great legacy of poetry, Quintal de Clorofila was a duo from the south of Brazil composed by two musician brothers, Dimitri and Negendre Arbo, who turned their dad's poetry into music. In the album O Mistério dos Quintais, the two brothers presented a Brazilian Hippie Folk full of psychedelic touches a times with flanger effects, reverb and synthesizers, a times totally raw with medieval melodies, flutes and strings. The record goes with the original artwork, insert with lyrics plus unreleased photos including the one of the debut album O Mistério dos Quintais featuring the bird (a canary) that sang on stage with its own microphone. O Mistério dos Quintais was released originally in 1983 via a some sort of crowdfunding, before the term itself and even the existence of internet. Supporters who invested in the project had their names in the acknowledgements on the first edition insert. Given the fact that it was released independently, the purity and innocence of the Arbo brothers came to light and set them free to grace the listeners with sounds of nature, mysticism, influences from the Peru Andes and even some madness such as taking the family's bird (that was used to singing along with the brothers at their rehearsals at home) to then record in the studio. When the record was ready, the band realized that the record RPM was wrong. The songs were a bit faster, slightly 1/2 a pitch higher. However, it was too late, nothing else could've been done. Because they were a small band, the manufacturing plant refused to repress the records and they had to endure this. Almost 40 years later, Fatiado Discos present the first version of O Mistério dos Quintais in its original rotation speed, the right one.

With their ability to move seamlessly from the triangle to the donkey jaw, cymbals to Chinese gong, vibraphone to wind machine, percussionists are undoubtedly the most atypical members of the classical orchestra. Paul Changarnier, Nicolas Cousin and Alexandre Esperet are a case in point. Having set their sights on the marimba - Latin American xylophone, cousin of the African balafon - they decided to use it as the main vehicle for their artistic dreams. With the label No Format, they embarked on a project which would see them taking on pop hits of the kind that are produced in mega studios on the other side of the Atlantic and dazzle with a thousand lights and special effects. But they wanted to do it without leaving France or their beloved instruments. They wanted to make pop without machines, guitars, bass or synths. They ended up finding a hitherto unknown instrumental formula that belongs to them and them only, one conceived as the perfect fit for the voices from the well-known French artists that were called upon to interpret the songs. Camille, with her extraordinary energy, makes Rihanna"s "Don"t Stop the Music" waltz in a new organic mode; Blick Bassy redecorates Ariana Grande"s "One Last Time" in the colours of Bassa; Malik Djoudi envelopes Frank Ocean"s "Super Rich Kids" with a subtle ethereal texture; Camélia Jordana made her mark on this bonanza of reinvention by slowing down the tempo of "Dance Monkey"; The voice of Sandra Nkaké, imbued Lana del Rey"s "Video Games" with a solemn and sublime mystery. Like an old love that"s rediscovered with new eyes, an air that comes back from far away but could have been born today, somehow familiar but never seen before. Déjà vu but never heard until now. Déjà Vu: the name of this magnificent, unprecedented experience, this unidentifiable flying platter.

This mega-rare 1969 album pays tribute to the Bronx and Brooklyn neighborhoods where young Latinos had invented the boogaloo a few years earlier. This record highlights the quality of Peruvian boogaloo and the talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos. First time reissue. In the mid-sixties, when young Latino musicians in New York fused Afro-Cuban rhythms with rock, soul and jazz, they had no idea that their boogaloo bang bang would reverberate just as strong and loud in a distant South American country. From 1955, La Sonora Macedo, took Cuban music to every corner of Peru, backed the leading musicians of the Peruvian tropical universe, such as Ñiko Estrada, Joe di Roma, the double bass player Pepe Hernández, and the trumpet players Tito Chicoma and Charlie Palomares. All diehard fans of Cuban music, always alert to any new artist arriving from the island. In the early sixties, light rock, doo-wop, ballads, Italian songs and bossa nova paraded across Lima's stages, making performances by Cuban bands, previously so frequent, a thing of the past. Moreover, the unanimous success of the Beatles from 1964 onwards, gave the impression that music from the English-speaking world would dominate the rest of the decade. But this was not the case. In large part because of Manuel Guerrero's good relations with U.S Latino labels, such as Alegre Records, which released the initial recordings by Johnny Pacheco and Charlie Palmieri, allowing listeners in Lima to follow the development of the salsa movement almost from the beginning. MAG was undoubtedly the best representative of these new sounds. In 1969, the LP "Acabo con Lima, huyo pa' Nueva York" was released on this label, a project which brought together three figures from Lima's show business world: Manuel Antonio Guerrero, owner and founder of MAG, who wasn't shy of joining in on the chorus and percussion during recordings, Pablo Villanueva "Melcochita", a multifaceted artist from a talented musical family from the popular district of La Victoria, was responsible for the vocals and percussion on the album. And the third Lima show business figure in this project was the musician, singer and comedian Alberto Montroy Laostervened, who gained fame in the sixties while still in his twenties for his imitation of Cantinflas, the Mexican actor. Alberto bore a devilish resemblance to Cantinflas, not only in his gestures but also physically. Under the name of Pepe Moreno "Karamanduka" he also went on to record songs abroad such as "El boogaloo de Cantinflitas". "Acabo con Lima, huyo pa' Nueva York" was immediately re-released in other countries, highlighting the quality of Peruvian boogaloo and talent of musicians such as pianist Otto de Rojas and percussionist Coco Lagos, who feature prominently on the album. Songs such as 'Vuela mi descarga', 'Peruvian boogaloo' and 'Peruvian guajira', pay tribute to the Bronx and Brooklyn, neighborhoods where young Latinos had invented the boogaloo a few years earlier.

ARTS is proud to presents the second full length from one of the mainstays of the label. KRTM is again free to express his art in the purest form, after "It Will Make The World A Better Place" the Artist found again inspiration to keep working on a second one with a unique flow... for us, "NARCFEST" is pure inspiration and we hope this has an impact on you as it did on us.

A reissue on black vinyl of the cult 1982 soundtrack to Tron by legendary electronic pioneer and composer Wendy Carlos (The Shining, Clockwork Orange). The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analogue Moog synthesizer and GDS digital synthesizer, along with non-electronic pieces performed by the London Philharmonic Orchestra. Two additional musical tracks (“1990’s Theme” and “Only Solutions“) were provided by the American band Journey. This is the first reissue of the black 18 track 1 LP vinyl. 2022 will mark the 40th anniversary of the Tron Franchise. The original film tells the story of computer engineer Kevin Flynn who finds out that an executive at his company, has been stealing his work. Flynn tries to hack into the system but instead is transported into the digital world of The Grid , where he has to battle Sark, and the imposing Master Control Program. Helped by Tron (a security program) and Yori , Flynn becomes a freedom fighter for the oppressed programs of the grid. The soundtrack perfectly captures the geometrically intense landscapes of cyberspace and the virtual gladiatorial computer game.

Back in 2011 Markus Guentner and Heiko Badje formed Stareaway to follow their vision of creating both enchanting and haunting music from melodies and drones. Combining Guentners complex Wall of Electronic Sound and Badjes ethereal androgyn voice and multifaceted guitar play, they indeed produced some epic works between Ambient, Pop and Shoegaze, strangely shimmering and profoundly mysterious.
Now Stareaways fantastic (and back then maybe a little overlooked) album No Life In This Ghost Town sees its rerelease and is, for celebrational purposes, accompanied by this EP of four stunning remixes by stunning artists Rafael Anton Irisarri (who also did the mastering), Simon Scott (Slowdive), Thomas Fehlmann and David Westlake (ex Sneaker Pimps). Rafael Anton Irisarris magical take on O Suomi sparkles bright, still with melancholia always present. David Westlake emphasizes the Pop-aspect of Appointments, adding lush synth melodies and light-filled grooves while Thomas Fehlmann lets All Over You spiral into Popambients most majestic heights. Finally Simon Scott builds a Kathedrale aus Klang on Dreams May Never. Amazing remixes of amazing originals.

SONIKKU announces the release of their new album ‘Joyful Death’, via Bella Union. “I love songs that make you want to cry and dance at the same time,” says Tony Donson, the London-based musician who records as SONIKKU. That sense of unfettered release and liberation drives their new album, ‘Joyful Death’. A fluent, fertile and full-colour hybrid of vibrant Italo-house, liquid synth-pop, righteous disco and French philosophical asides, it’s an album that signals the emergence proper of SONIKKU - a fully formed dancefloor artist. It’s also a farewell of sorts, perhaps, but with an emphatic rebirth at its heart. “This album feels like a transformation in the sense that I’m creating the music I’ve always wanted to make. A fully realised, coherent pop record that showcases my craft as a song-writer and producer.” Total control of their craft is swiftly asserted on ‘Let The Light In’, where the
influences of lost-in-music disco and the Pet Shop Boys merge under vocals from immersive, exploratory British singer-songwriter Douglas Dare. The pace accelerates as ‘WKND’ gets into a groove pitched somewhere between Madonna, Daft Punk and Indeep, with LA future-pop singer LIZ primed for dancefloor abandon on vocals. Meanwhile, SONIKKU’s independent intent is firmly asserted on the freestyle-inspired ‘Don’t Wanna Dance with You’, where singer Aisha Zoe coolly brushes off unwanted advances in favour of dancefloor pleasures.
LIZ assumes vocal duties again for ‘Sweat’, a song fully equipped to make dancefloor devotees do as its title suggests. Dreamily melodic evidence of SONIKKU’s dynamism (and love of melancholy Swedish electro-pop queen Robyn) beckons on ‘X Hopeless Romantic’, where Little Boots contributes a sweetly loved-up vocal over a sublimely
infectious chorus. Pummelling synths signal a dramatic shift of pace on the almost electro-darkwave dash of ‘Remember To Forget Me’, where actor/singer Chester Lockhart presides over a summit meeting between Depeche Mode and New Order. Performance artist Tyler Matthew Oyer takes the vocals for the Italo-disco-inspired title-track, a vividly imagined album manifesto - of sorts - inspired to varying degrees by an 1892 poem, French thinker Gilles Deleuze’s concept of the “body without organs” and a 1997 anime called The End Of Evangelion. Finally, that grand piano takes over as Dare returns, presiding over an achingly stripped-back version of ‘Remember To Forget Me’. With help from friends and artists they admires on vocals, ‘Joyful Death’ is a hugely confident and self-contained leap forward for SONIKKU after his time as a feted DJ. Having moved from Derby to London at the age of 18, Donson worked as an intern (at MTV, Dazed & Confused, SHOWstudio and elsewhere) then turned to DJing (from
London to Tokyo, Paris and Berlin) after they were signed to London label Lobster Theremin. Though they continues to DJ regularly at Tottenham’s LGBTQ rave-up Adonis, they have extra ambitions in mind: “I love DJing but I’m more looking forward to developing a live show.” LP pressed on mint green vinyl with digital download.

Rhythm Section INTL are back with another release from SAUL, ‘Mutualism’ drops on August 19th 2022. Jack Stephenson-Oliver (keys player of fellow Rhythm Section signee, Vels Trio) and producer Barney Whittaker, aka Footshooter.

Their newest project is a feel good, summer-ready soundtrack, bursting with uplifting synths and groove- heavy broken beats. When the two of them get together, their jam sessions result in a fusion of alternative future jazz. Collaboration is a key element to the creative output of SAUL, shining a light over individual talents such as Allysha Joy, Natty Wylah, Lex Amor and James Mollison.

Formed in 1996, Goatsnake was an ultra-heavy, blues-doom powerhouse consisting of guitarist Greg Anderson (Engine Kid), vocalist Pete Stahl (Scream, Wool) and the mega rhythm section of Greg Rogers (drums), Guy Pinhas (bass) from underground heavy legends The Obsessed. The band’s tenure has ebbed and flowed for over two decades, leaving behind a legacy of legendary live shows and classic albums and EP’s.

VERY LIMITED QUANTITY OF BLACK VINYL FOR UK.

Goatsnake’s classic debut album— appropriately entitled 1 (one)— was originally released by Man's Ruin Records in 1999 on CD and LP formats. The album featured 8 songs that gracefully combined monolithic, Sabbath-y riffs with soulful vocals to create a monumental introduction to the band, and a style that would be influential for years to come.

Mice Parade returns from a decade of silence to release lapapọ, an album that spans the many styles of their storied career,and features guest singer appearances by Angel Deradoorian (Dirty Projectors) and Arone Dyer (Buke & Gase). The rock is louder; the West-African-inspired highlife breaks are chubbier; the dueling drumkits are more complex, the instrumental passages more serene. What started as a home recording project in the late 90s soon morphed into a formidable and completely unique live band of incredible musicians from around the globe, all live-mixed and effected by legendary UK engineer Brandon Knights (aka Dub Warrior), the longtime sound engineer for Lee Scratch Perry, Soul II Soul, Gladiators and others. After 9 albums and nearly 15 years years of worldwide touring, including festivals across the UK, Iceland, mainland Europe, Turkey and Japan, and supporting Stereolab across the US, Mice Parade fans can finally hear some new music, and the live band hopes to safely reunite later this year. Throughout it all, Adam has mostly recorded with same ethos: allowing only one take for each track, forcing him to either leave in mistakes or address them with mutes or distractions, and embracing the Bob Ross concept of 'happy accidents.' This was a strict rule for the first several albums, and while he eventually became less strict about it, it's still a goal that is achieved more often than not. Perfection is not the goal - indeed, there should be no such thing in music. Most songs are not even written before pressing the record button, but instead are built piece by piece in improvised fashion. lapapọ is a Yoruba word meaning something akin to "totally" or "altogether."

Lightning Bolt redefines what it means to be DIY. An utterly singular band in every way, unbridled creativity and energy propel them well past most categorical boundaries, least of which is the boundary between band and audience. Theirs is an immersive experience - a sound so huge it can swallow us all. Oblivion Hunter is a monster. Not a compilation, not concept album and more than the sum of its parts, the record is a peek into the band"s inner world on their home turf (the Hilarious Attic in Providence), collecting deep explorations into distortion, bass manipulation and its intersection with rhythm. A Limited release in 2012 sold out almost immediately. This first re-issue is a deluxe one coming with 4 different covers each matched with it"s own color vinyl. Re mastered by Josh Bonati, you can now immerse yourself in this pivotal Lightning Bolt album"s sonic oblivion and YOU are now the Oblivion Hunter. A cathartic listening experience, Oblivon Hunter finds blast-beats colliding with distorted vocals and all shapes and sizes of guitar noises, even some metallic riffage on the album closer and aptly named "World Wobbly Wide." Throughout, the sound is amped-up and free with an ear on the railroad tracks to the big sounds of industry and clamor. Bass sounds jump out of the speaker cones that conjure up ears in alien propulsion systems, nights in faraway wind tunnels. Experience this pivotal album in Lightning Bolt"s catalog like never before.

Lightning Bolt redefines what it means to be DIY. An utterly singular band in every way, unbridled creativity and energy propel them well past most categorical boundaries, least of which is the boundary between band and audience. Theirs is an immersive experience - a sound so huge it can swallow us all. Oblivion Hunter is a monster. Not a compilation, not concept album and more than the sum of its parts, the record is a peek into the band"s inner world on their home turf (the Hilarious Attic in Providence), collecting deep explorations into distortion, bass manipulation and its intersection with rhythm. A Limited release in 2012 sold out almost immediately. This first re-issue is a deluxe one coming with 4 different covers each matched with it"s own color vinyl. Re mastered by Josh Bonati, you can now immerse yourself in this pivotal Lightning Bolt album"s sonic oblivion and YOU are now the Oblivion Hunter. A cathartic listening experience, Oblivon Hunter finds blast-beats colliding with distorted vocals and all shapes and sizes of guitar noises, even some metallic riffage on the album closer and aptly named "World Wobbly Wide." Throughout, the sound is amped-up and free with an ear on the railroad tracks to the big sounds of industry and clamor. Bass sounds jump out of the speaker cones that conjure up ears in alien propulsion systems, nights in faraway wind tunnels. Experience this pivotal album in Lightning Bolt"s catalog like never before.

Next up on the Kyiv-based label Kashtan comes from a very promising Ukrainian artist Monoconda.

Oleksandr Filonenko aka Monoconda is a Kyiv based multi-instrumentalist, music composer, sound producer and a live performer. While making music for commercials, theater and public places, Monoconda started to release his own electronic music in 2018 with an album called "Alphabet". His second release, "Low Light" was recorded during the pandemic isolation, and was named as one of the best records of the year by top Ukrainian musical journalists. There was much music recorded after that, alone and in collaboration with different musicians, but the pandemic and the war have made the release process somehow impossible or at least quite a hard quest. But the music is always being done, cause that's what he is here for.

The main concept of the Kyiv label Kashtan is to identify and carefully choose the pearls of Ukrainian electronic music, which are not defined and limited by genre definitions. This playing with genres has been released through the album "Horizon" by musician Monoconda.

2LP im Gatefold-Sleeve. 100% recyceltes & zufällig gefärbtes Re-Vinyl. "Black Screen Records, Videocult, Akapura Games und Komponist James Primate freuen sich darauf, euch erneut bei der akustischen Reise durch die seltsame "Rain World" zu begleiten. Nachdem der Soundtrack jahrelang ausverkauft war, wird er nun endlich neu aufgelegt. Dieses Mal auf 100% recyceltem & random-coloured "Re-Vinyl". Die Musik stammt von Videocult-Level-Designer und Komponist James Primate - mit Unterstützung von Lydia Esrig (die andere Hälfte des Chiptune-Duos BRIGHTMATE) und Rain World-Schöpfer Joar Jakobsson.Die Platte erscheint in einem Gatefold-Sleeve mit atemberaubenden Artwork von Allegra "Del" Northern. Zusätzlich enthalten ist ein 12" Kunstdruck mit weiteren Illustrationen von Del.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivalled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12' release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature - gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones, 'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music - mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan's vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP - exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'død' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session - as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Repressed !

Fuzzed out and psychedelic covers of rare and classic tracks performed by San Francisco's Monophonics.
Monophonics are back with a six-song EP that fuses the complimentary and explosive soul, rock and funk influences, proving themselves to be the rightful inheritors of the Bay Area’s impressive psychedelic soul sound. Mirrors is comprised entirely of cover tunes, except that I doubt you’ve ever heard of half the deeply funky and soulful originals that inspired these soulful, tastefully produced, and timeless Monophonics treatments. “We wanted to do a couple songs that were more familiar to people and then shine some light on groups we’re big into,” lead singer, keyboardist and co-producer Kelly Finnigan explains. It takes a lot of guts to cover your favorite songs, your van jams, that song you play as a shot of inspiration to break-up a marathon studio session. “Not only are these great songs, but these are artists that we listen to and are influenced by.”

“It’s not about making records that sound old, it’s about making records that sound cool,” Kelly says. Not that he and the other five members of Monophonics mind if you confuse their albums for classic-era recordings. Even musician friends regular mistake a sweaty and greasy Monophonics original for an unheard Bar-Kays’ side, or a deep soul cover tune might pass for an original to a novice ear, except that Kelly makes sure to give credit where credit is due, which is what they do explicitly on this EP, Mirrors.

Even the familiar tunes, iconic, better said, receive a fresh treatment as instrumentals, despite their ubiquity as vocal songs. The EP opens with a ‘tip of the cap’ to The Main Ingredient’s version of “Summer Breeze” before the band unfolds a hazy, mellow-funk opus worthy of inclusion on a Bob James CTI album. The next four songs, all featuring vocals, range from the lowrider soul ballad, a cover of the The Invicibles’ “My Heart Cries” with a pleading and plaintive vocal by Nicole Smith, to the psychedelic blues stomp, “Lying,” originally by the archetypical psychedelic soul band nearly signed to Motown, Black Merda. Add in Kelly’s monster vocal take on Frankie Valli and the Four Seasons Northern Soul classic, “Beggin” (to be released as a 7” single with an instrumental version on the b-side), and the deep-funk pop-soul of Nu People’s “I’d be Nowhere Without You” with back-up vocals by Jeanine Jones and Veronica Johnson, and you have a highly-entertaining, toe-tapping, backbone-slipping, masterclass in deep funk and soul.

The final tune is the band’s singular take on the Mamas and the Papas hippie standard, “California Dreaming,” as an explicit and heartfelt tribute to their fans in Greece. The discerning music lovers of Greece fell in love with Monophonics after their 2012 hit “Bang Bang” resulting in multiple tours of the Mediterranean, where these native Californians imbibed on the fine ouzo, good vibes, and Grecian hospitality. Gifted a prized bouzouki (a traditional Greek guitar) by a local fan, Monophonics’ guitarist Ian McDonald and band infused this classic pop song with a soulful cinematic air and Mediterranean flavor, evoking a tune from an imagined Fellini film with a soundtrack by David Axelrod.

Catch the band on the road this Spring to hear some of these songs, favorites and new tunes from their forthcoming LP.