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Nach Tourneen durch die USA, Kanada, Russland und grosse Teile Europas bringt Jack McBannon 2024 sein neues Album "Tennessee" auf den Markt. Aufgenommen in Johnny Cash's legendärem Cash Cabin Studio in Tennessee und produziert von dessen GRAMMY prämierten Sohn John Carter Cash, ist dieses Album ein wahres Juwel, welches den Hörer auf eine unvergessliche Reise mitnimmt. Die Songs atmen die unvergleichliche Weite und Freiheit der amerikanischen Prärie, was durch die handverlesenen Profimusiker der Nashville Szene verstärkt wird. Jack McBannon's einzigartig raue Stimme fesselt von der ersten Sekunde an und beweist, warum Jack von der Presse gefeiert und als Mix aus Bruce Springsteen, Johnny Cash, Tom Petty, wie auch Bob Dylan und Eddie Vedder bezeichnet wird.

Hot Wheels is a project conceived by Los Angeles based painter and musician, Dan Bruinooge who has played in bands such as Sylvie, Golden Daze and Vinyl Williams. His debut release, Sun Blonde, jumps from meditative drone pieces to radio-friendly hits. It plays like a soundtrack for an outsider's experience of LA – the excitement toward its warmth and opportunities, as well as its oppressive excesses, the relentless heat waves, traffic, and its annual fire season, turning the sun bright red. It could perhaps best be paired with driving in a convertible in deadlock traffic with the sun blaring in your face; dwelling and blissing out in its beauty, complexity and melancholia. Perfect for fans of Brian Eno, John Cale, Julee Cruise, Felt, My Bloody Valentine, Charlie Megira, and Amen Dunes.

She Told Me Where to Go by Old Man Luedecke, released 24 May 2024, includes the following tracks: "Going on the Mountain", "The Raven and the Dove", "My Status is the Baddest ", "Misfits in Old Clothes" and more.

This version of She Told Me Where to Go comes as a 1xCD in a(n) Digipak packaging.

The Shawshank Redemption tells the story of Andy Dufresne (Tim Robbins), a banker who is sentenced to life in Shawshank State Penitentiary for the murder of his wife and her lover, despite his claims of innocence. During his time at the prison, he befriends a fellow inmate, Ellis Boyd Red' Redding (Morgan Freeman), and finds himself protected by the guards after the warden begins using him in his money-laundering operation.

The film received multiple award nominations (including seven Oscar nominations) and highly positive reviews from critics for its acting, story, and realism. It is considered to be one of the greatest films of the 90s. In March 2011, the film was voted by BBC Radio 1 listeners as their favorite film of all time. The Shawshank Redemption is the highest-rated movie on IMDB with an average star count of 9.3, closely followed by The Godfather.

The Shawshank Redemption score was composed by multiple (Grammy) award winner Thomas Newman. The score was nominated for an Academy Award for Best Original Score in 1994, which was Newman's first Oscar nomination.

A central scene in the film features the soprano Letter Duet' ( Canzonetta sull'aria') from Mozart's The Marriage of Figaro, which is included on the soundtrack. Original songs by Hank Williams and The Inkspots are included as well.

Rapper Rudeboy and DJ DNA play the work of the legendary crossover band Urban Dance Squad. The group quickly broke through with their unique mix of funk, soul, jazz, punk, rock and hip hop. Their influence extended to bands like Rage Against the Machine, while
they were like-minded peers of The Beastie Boys and Red Hot Chili Peppers.

Worldwide tours, an impressive live reputation, and recognition in the United States, including invitations from David Bowie and U2 as support, have characterized their career.

SIHR: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, SIHR is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands FOUDRE! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the NAHAL Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

An anthology of the intensely arresting work of Robert Fesler (1936-2023), revealing many of his compositions (1975-1987) created with his self-built synthesizers, with as pinnacle the μP RPF78. All music composed and recorded by Robert Fesler at his home on rue Cour Boisacq in Bierges, Belgium. Except one, all tracks are previously unreleased.

With profound simplicity and devotion, Fesler paints a hermetic inner world with strong emotions of confronting solitude, sensual alienation and traumatic angst. His music was as much a therapeutic treatment as an artistic expression. Fesler quotes, »Building my synthesizers and working with them enabled me to sublimate my anxieties.« Most tracks were played and recorded real time, often with two synthesizers (the Synthese 756 and the μP RPF78), capturing the heat of the moment in one take, without multitracking. The austere and reductionist approach reinforces the overall spirit of his work, resulting in an engaging, mysterious solitary journey. It’s quite incredible how one person can put so much technical cerebral content in the development of a machine and use it in such an emotional way.

The music of Robert Fesler might be considered as very Belgian. To situate it within a close entourage, one can say it has: The endurance of Baudouin Oosterlynck The purity of Dominique Lawalree The mysticism of Arsène Souffriau

Das Vancouver-Duo Potatohead People (Nick Wisdom & AstroLogical) knüpft auf seinem vierten Album "Eat Your Heart Out" an die sauberen und musikalischen Produktionssensibilitäten an, für die es im letzten Jahrzehnt gefeiert wurde. Gleichzeitig treten die beiden J Dilla- und Madlib-Fans aus ihren Schatten heraus und als eigenständige Sänger, Songwriter und Musiker ins Rampenlicht ein. Begleitet werden sie u.a. von Redman, Kapok, Abstract Rude, t3 und Kendra Dias, während Kaytranada, Soulection, Nightmares On Wax, Pomo, Exmag, Big Boi, Phife Dawg und FM4 Radio zu ihren Fans zählen.

The Mental Groove Classic series returns with a treasure trove of rare and hard to find tracks plucked from the personal collection of label founder Olivier Ducret, a pivotal figure in Switzerland's acid house and rave-era party scene.

On Volumes Two and Three of the series - the first installment hit stores in 2017 - the Mental Groove and Musique Pour La Danse label founder takes us back to the turn of the '90s, a time he spent promoting parties in fields, squats, forests, warehouses and former factories in and around Geneva and behind the counter of a record shop of the same name. While others in Switzerland's emerging dance music scene gravitated towards US house and garage, Olivier and his crew opted for a bass, breaks and techno-focused sound inspired by regular trips to clubs, raves and record shops in the UK.

Drawing directly from his own record box and a memory bank full of snapshots of euphoric dancefloor moments, Mental Groove Classics volumes Two and Three sees Olivier reaching for cuts of near-mythical rarity, genuinely overlooked gems, and undeniably brilliant tracks that have left a long-lasting impression on the local raving landscape. It's an autobiographical audio document, historical archive and personal musical statement all rolled into one, inspired by a moment in time where musical boundaries were being redrawn in a wave of carefree optimism and freedom inspired new rave scenes across Europe and far beyond.



Matt Anniss

Original artwork by Soho's Brain Club co-owner and artist of early British club culture Mark Wigan.

File under house, breakbeat, techno and warehouse rave music

2024 Repress

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities: Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.

Longtime enthusiasts of ambient music have much to celebrate as Rafael Anton Irisarri's cherished out-of-print cassette, "Midnight Colours," returns in a meticulously remastered edition and makes its inaugural debut on vinyl. The significance of this album's announcement is accentuated by its historical resonance, coinciding with the same day in 1952 when the world bore witness to the first-ever test of the hydrogen bomb.

"Midnight Colours" is far more than a mere album; it's an exploration of the enigmatic relationship between humanity and time. Conceived as a sonic interpretation of the Doomsday Clock, which symbolizes the world's existential vulnerabilities, Irisarri's work beckons listeners to contemplate the gravity of our existence and the delicate balance that envelops it.

"I wanted to capture the essence of humanity's relationship with time, both the anxiety and the serene beauty that coexists within the shadows of the night," explains Irisarri. "The vinyl format adds a tactile dimension to the experience, inviting listeners to physically engage with the music."

Known for his contributions to the ambient and electronic music genres, Irisarri often explores themes of introspection, nostalgia, and the interplay between sound and emotion.

Recorded in 2017, when the Clock was at 2½ minutes-to-midnight (and at the time, the second-closest to midnight since the Clock's inception in 1947), "Midnight Colours" permeates with the melancholy of memories resurfacing as one approaches the end of life: the regrets, the closure, the uncertainties, the anxieties.

Originally released as a limited tape on the beloved Atlanta-based label Geographic North, "Midnight Colours" swiftly garnered praise and acclaim within the ambient music sphere. Now, with this newly remastered edition on his own Black Knoll imprint, fans, both longstanding and newfound, can rediscover the album's captivating beauty in unprecedented clarity and depth.

"I've wanted to release 'Midnight Colours' on vinyl since it first came out, and I'm thrilled to finally be able to. The remastering process, brilliantly done by Stephan Mathieu, has breathed new life into the work, and I'm eager for listeners to experience it in this format."

The reissue of "Midnight Colours" features band-new artwork and design by the renowned Mexican visual artist Daniel Castrejón. A frequent collaborator and friend of Irisarri, Castrejón's imagery impeccably complements the album's mood and themes, extending a compelling invitation for listeners to explore its aural world visually.

This landmark release serves as a testament not only to Irisarri's enduring impact on the ambient music genre but also as a long-awaited gift to those who have patiently anticipated the album's vinyl debut.

Done and dusted! That could have been the motto of the WPBH series back when it started as an offshoot for sample-based house experiments by the core We Play House Recordings crew.
However, according to Discogs WPBH is NOT a real label, so who are we to invent mottos for imaginary labels?

But as we digress the music hits us hard and straight up. Uit De Hoogte brings us rawness...and then some. A touch of Dance Mania, a hint of smoothness, a dose of drum machine magic and a whole lot of attitude. Five tracks to stir up your dancefloor, your body and your soul. On a label that does not exist... How underground can one get?!

Coming up on WPH & related further in the year will be new material by Red D on his Red Basics outlet, more WPH U.S. Series and possibly also some stuff they don’t yet know about themselves.

Öjskog’s debut album Dolda Byar is a study in explorative, farreverberating industrial and techno landscapes as described by Berlin’s Hardwax record store. The remixes EP of Dolda Byar continues down the explorative and experimental path with four exceptional remixes from Notzing, Ena, BODYXVIII and Fresnal Lens. Notzing’s Dream remake of Aatos delivers intricate time signatures and layering that produces an ethereal landscape of the original, while Ena highlights his signature micro-sampling style of organic and found sounds to deliver a twisted remix of Kefhel. BODYVXIII’s remix of Gleymdu is an opaque study in sonic experimentation and Fresnel Lens rounds off the EP with a haunting and unnerving reduction of Hanna. Mastered & Cut by Tim Xavier at Manmade Mastering Berlin

Special Guests on the record include: Mark Cisneros, Joe Lally, Derrick Decker, Bob Berberich, Clint Walsh, Dave Grohl, Onam Emmett, John Goetchius, Jerry Busher, Amy Pickering, Ian MacKaye, Amanda MacKaye, Brian Baker, Randy Austin, Martha Hull, Michael Reidy, Nate Bergman, Bobby Madden.

Scream formed in 1979. Drummer Kent Stacks, bassist Skeeter Enoch Thompson and the brothers Pete and Franz Stahl attended school together in Bailey’s Crossroads, Virginia, when they began to discover the punk and new wave scene in DC and the provocative power of making music.

Like most of the punk bands in DC, they were influenced by the Bad Brains, but their rock and roll sensibilities set them apart. In 1982, they went into Inner Ear Studio with Ian MacKaye and Eddie Janney to record Dischord's first full length album, Still Screaming.

Scream followed this with a second full length album, This Side Up, in 1984. The band toured throughout the US and were one of the first US hardcore bands to tour Europe and the UK. In 1987, they released Banging the Drum, which was recorded at both Southern Studios in London and Inner Ear. In 1988, No More Censorship was released on reggae label RAS records. Scream returned to Dischord to release Fumble in 1993.

They made a few line-up changes along the way, including the addition of their friend Harley Davidson on second guitar, and, when Kent Stacks (RIP) left the band to start a family, they asked a young local drummer, Dave Grohl, to take over. After a number of years with "the Scream team," Dave went on to join Nirvana and form The Foo Fighters.

In 1996, at a Christmas reunion show, Kent Stacks returned as Scream’s drummer; the show was recorded and released as the CD “Live at the Black Cat.” Over the next few years, everyone branched out in different directions – Franz joined the Foos for a short period and Pete played with Goatsnake and earthlings? The band returned as a unit, with Clint Walsh on second guitar, in 2011 to record the Complete Control Sessions, which was released as an EP on Side One Dummy and was, until now, the band’s most recent release.

Scream’s newest album, DC Special, will be released in the fall of 2023 on Dischord Records. For this record, Scream invited their extensive music community to help create a unique project that weaves the history of music in Washington DC into the story of the band. Recorded by Don Zientara just weeks before his studio was evicted from its longtime location, the record is rich with both the sounds of Inner Ear and those of friends and musicians who influenced Scream and who shaped DC music over the past six decades. DC Special embodies the same sense of community and politics that inspired Scream from the start and is a truly special collection of new music that speaks to the present and also tells the story of DC music, Scream, and the influences that shaped them.


Bonus Download Tracks
Faces
Politics is Entertainment
Black and White
Lifeline Redux
Smile and Bleed
I Saw Ya (Wanna Be Like Captain)

First record from Shrui-Khan solo. A full EP bringing 3 pityless bangers, on a red transparent plate.

A new legendary Hardcore producer to my point of view, oldschool pure sound !

Ein Hip-Hop Klassiker wird erwachsen: 21 Jahre nach Erstveröffentlichung erscheint das posthum erschienene Album des viel zu früh verstorbenen Bay Area MC’s Charizma und des Stones Throw Gründers Peanut Butter Wolf auf Apple Juice Vinyl, der Farbe von Charizma‘s Lieblingsgetränk.

'Big Shots' 2LP Repress auf farbigem Apple Juice Vinyl. Eine Hommage an Charizma's Lieblingsgetränk.

Stones Throw Records hat eine Apple Juice-Variante gepresst, um an eine der ersten Veröffentlichungen des Labels zu erinnern: Charizmas Hip-Hop-Klassiker Big Shots aus dem Jahr 2003.
Eine Ewigkeit ist seit der Ermordung von Charles "Charizma" Hicks ins Land gezogen, der im Dezember 1993 im Alter von 20 Jahren starb. Trotz seines kurzen Lebens hinterließ Charizma bei allen, denen er begegnete, einen bleibenden Eindruck. Charizmas Tod traf seinen engen Freund und Hip-Hop-Produktionspartner Chris "Peanut Butter Wolf" Manak tief, der nach der Nachricht für mehrere Monate aufhörte, Musik (und alles andere) zu machen. Doch erst der Mord an Charizma gab PB Wolf den Anstoß, weiterzumachen und seine Musik der Welt zu präsentieren - und zu diesem Zweck sein eigenes Plattenlabel zu gründen. 1996 gründete Wolf Stones Throw Records und brachte als erste Veröffentlichung eine 12"-Single von Charizma/PB Wolf mit dem Titel 'My World Premiere' heraus.
Mit dieser posthumen Veröffentlichung können Hip-Hop-Fans nur spekulieren, welche Höhen Charizma hätte erreichen können, wenn er heute noch da wäre.

12'' / Red transparent Color Vinyl

Pain Beurre and his Intergral Transform brings a tribe long tune, morphing into Trance... or putting you into trance anyway...

CED "deadline" tune is a CC Atom incision in something more rockn'roll with a cool breakbeat drop...

All in one it's a thinlace of acid melodies and progressives structures... lightening sound !

Mastering : Stefan ZMK, Cut Simon the Exchange, Pressing Vinyl de Paris

A Paris resident of Minsk origin, Lina Filipovich’s ‘Music for an imaginary dancefloor’ explores the liminal space between club music and something altogether weirder, elusive, and abstract. Nervous, varied and amplified by various delays, the LP was written from improvisations on analogue synthesizers between June and December in 2022.

Atonal drones and atmospheric textures convey imagery of charcoal skies and silk tapestries; an idealised parallel world untethered from reality and bodies, towards something more ethereal – floating freely in red carpet lined corridors.

“In my previous works, I used pre-existing sounds to create new pieces. I was interested in the appropriation and decontextualization of materials from various traditions and contexts. However, in this album, I don't deconstruct; instead, I attempt to co-write with the machines, relying on their aesthetics and my imagination.”

Lina's LP trickles down the spine, pulse-raising and gooseflesh on tender skin, analogous to the aftermath of a sweaty fever dream. Speaking the language of spirits in the allure of the dark.

Press release by Asmi Shetty