The Emergency Declaration has been issued, so... past iron up... between iron chan... it is commonly known as the limited express... the chill system (Red Belt) + (Blue Belt) formation crab-crab. Limited operation @ Sultan Al Sham, Magnetic Dress, and Dedicated Computer Realm.
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After a creative break of more than 10 years the Contemporary Noise Ensemble returns with the brand new album called »An Excellent Spiritual Serviceman«. With the band’s line-up reduced and the sound of the brass section replaced with programmable synthesizers comes an entirely new sound of the band’s music. Leaning towards composition instead of improvisation the music is now less jazzy sounding - with electric bass being used instead of double bass and drums actually being the only strictly acoustical instrument. But then again you can hear a lot of other prerecorded instruments like marimba, vibraphone, Rhodes and upright pianos surrounded by arpeggiated synths and other programmable electronic instruments.
The album takes you to a journey through jazz, space rock, funk and electronic music with a destination in a form of a rock song which is as well the title song of the album. The Contemporary Noise Ensemble still impresses with maturity and class.
expected to be published on 19.05.2023
High Roller Records, 2nd pressing, blue with white & red splatter vinyl, ltd 350, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony
expected to be published on 19.05.2023
Hailed by American Songwriter as "one of America's most intriguing,
creative, and idiosyncratic voices," Eilen Jewell rises from the ashes on her captivating new album, Get Behind The Wheel, picking up the pieces of her shattered world and finding new purpose after watching her marriage, her band, and what felt like her entire career fall apart in a series of heartbreaking implosions Co- produced by multi- instrumental wizard Will Kimbrough (Todd Snider, Hayes Carll), the 11- song collection pushes the acclaimed singer and songwriter's
trademark blend of vintage roots- noir into more psychedelic territory, with spacious, cinematic arrangements complementing her revelatory explorations of grief, loss, resilience, and redemption. The band's performances are electrifying here, resulting in Jewell's boldest album yet, a powerful work of artistic alchemy that transforms heartache into genuine creative rebirth.
expected to be published on 19.05.2023
Elderbrook kündigt die Veröffentlichung seines neuen Albums "Little Love" an Grammy-Gewinner Elderbrook hat Details zu seinem
kommenden Album Little Love bekannt gegeben und zeitgleich die Veröffentlichung seiner neuen Single "Beautiful Morning" am 28. Oktober angekündigt.
Durch die Kombination von flimmernden Synthesizern, ergreifenden Breakdowns und kraftvollen Lyrics, die das Gefühl der Liebe in ihrer reinsten Form einfangen, beschwört "Beautiful Morning" die Art von Ehrfurcht einflößenden Sonnenaufgängen hervor, auf die der Titel
des Tracks anspielt.
Elderbrooks zweites Studioalbum Little Love wird am 24. Februar erscheinen.
Elderbrook, ein Live-Phänomen, autodidaktischer Multiinstrumentalist, Produzent und Singer-Songwriter, ist bekannt für seine Zusammenarbeit mit einigen der größten Namen der Dance-Musik-Szene, darunter Diplo, Camelphat, Black Coffee, Bob Moses, The Martinez Brothers und Carnage.
Die Veröffentlichung von "Beautiful Morning" und die Ankündigung von Little Love markiert den Beginn eines aufregenden neuen Kapitels in der Geschichte eines Elektronik-Künstlers, der weiter wächst.
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New album from Jason Isbell and the 400 Unit, tackling issues such as gun violence, the opioid crisis, and women's rights all through Isbell's signature songwriting lens. Weathervanes is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Life and death songs played for and by grown ass people. Some will make you cry alone in your car and others will make you sing along with thousands of strangers in a big summer pavilion, united in the great miracle of being alive. A Jason Isbell record always lands like a decoder ring in the ears and hearts of his audience, a soundtrack to his world and magically to theirs, too. Weathervanes carries the same revelatory power. This is a storyteller at the peak of his craft, observing his fellow wanderers, looking inside and trying to understand, reducing a universe to four minutes. He shrinks life small enough to name the fear and then strip it away, helping his listeners make sense of how two plus two stops equalling four once you reach a certain age - and carry a certain amount of scars. Jason Isbell has established himself as one of the most respected and celebrated songwriters of his generation. The North Alabama native possesses an incredible penchant for identifying and articulating some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry through song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty. The record features the rolling thunder of Isbell’s fearsome 400 Unit, who’ve earned a place in the rock ‘n’ roll cosmos alongside the greatest backing ensembles, as powerful and essential to the storytelling as The E Street Band or the Wailers.
expected to be published on 17.05.2023
High Roller Records, 3rd pressing, white/ red mixed w/ blue splatter vinyl, ltd 250, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony
expected to be published on 17.05.2023
Neon is eviscerated across the wet light of pavement dreams, splashed back and absorbed by the darker shapes coalescing in the shadows. Through the broken concatenation of the night, neuron inputs are fed relentlessly by hardwire bodies. Mainlined subtle as a fetishist’s whisper, they in turn feed a punishing progression of rhythms dragged like a dream through your body. Against this digital dystopia, Sequence 87’s I Am Sequence propels the ear through a high-intensity array of blackened beats at once familiar and fresh. The grimey pulse of underground techno bridges the DNA of early industrialized electronics, a chimeric construct which heaves with the chrome breath of EBM’s heavy assembly. Shawn Rudiman, the Pittsburgh pioneer behind alias, has been crafting techgnosis solo and as part of the experimental dance duo T.H.D., and these veteran bona fides show in how deftly he parses the language of that era’s heavy synthesis into a work that easily translates into the modern languages of club movement. I Am Sequence retains that chunky ‘80s analog bounce, while injecting a wriggling sheen of HD intensity through its veins. Vocals emerge from the glistening shards, bursting against a wash of sine waves before remerging in a fusion of funked-out bass. Headlights crashing as horns blare, an autobahn nightmare funneling you down some future highway where machines crash ceaselessly across a horizon of endless red night. Lifting the psyche upon high, corroded harmonies herald the last chants to dance before the inevitable systemic collapse. An album for a foreseen Apocalypse, experienced through the language of dance floor speakers. All songs written and recorded by Shawn Rudiman Artwork by Shawn Rudiman Mastering at Dadub Studio Distributed by ReadyMade Distribution Braid Records 2023
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Neon is eviscerated across the wet light of pavement dreams, splashed back and absorbed by the darker shapes coalescing in the shadows. Through the broken concatenation of the night, neuron inputs are fed relentlessly by hardwire bodies. Mainlined subtle as a fetishist’s whisper, they in turn feed a punishing progression of rhythms dragged like a dream through your body. Against this digital dystopia, Sequence 87’s I Am Sequence propels the ear through a high-intensity array of blackened beats at once familiar and fresh. The grimey pulse of underground techno bridges the DNA of early industrialized electronics, a chimeric construct which heaves with the chrome breath of EBM’s heavy assembly. Shawn Rudiman, the Pittsburgh pioneer behind alias, has been crafting techgnosis solo and as part of the experimental dance duo T.H.D., and these veteran bona fides show in how deftly he parses the language of that era’s heavy synthesis into a work that easily translates into the modern languages of club movement. I Am Sequence retains that chunky ‘80s analog bounce, while injecting a wriggling sheen of HD intensity through its veins. Vocals emerge from the glistening shards, bursting against a wash of sine waves before remerging in a fusion of funked-out bass. Headlights crashing as horns blare, an autobahn nightmare funneling you down some future highway where machines crash ceaselessly across a horizon of endless red night. Lifting the psyche upon high, corroded harmonies herald the last chants to dance before the inevitable systemic collapse. An album for a foreseen Apocalypse, experienced through the language of dance floor speakers. All songs written and recorded by Shawn Rudiman Artwork by Shawn Rudiman Mastering at Dadub Studio Distributed by ReadyMade Distribution Braid Records 2023
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Shuggie Otis’three solo releases from the 1970s are now regarded as some of the most essential and sought-after soul/funk albums, but that wasn’t always the case. In the 70s, Shuggie Otis’ most commercially successful moment was probably the top 10 hit The Brothers Johnson had with “Strawberry Letter 23”. It took until the mid-90s for a wider audience to get to know Shuggie.
This compilation brings together ten seminal track from Shuggie Otis’ core catalog: Here Comes Shuggie Otis (1969), Freedom Flight (1971), and Inspiration Information (1974).
Introducing is available as a limited edition of 1500 individually numbered copies on red coloured vinyl.
expected to be published on 16.05.2023
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Emerging from Yorkshire, UK, Druum & Melatron fuse punk intensity with electro and techno beats, igniting a sonic rebellion that transcends genres. This groundbreaking duo captivates audiences with their cathartic live performances, challenging societal frustrations through Melatron's thought-provoking lyrics. With vinyl releases 'Weapons of Mass Subversion' and the upcoming 'Where Did All the Punks Go?' under their belt, Druum & Melatron are set to redefine the electro-punk landscape on a global scale.
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Damian Lazarus celebrates 20 Years of his world-renowned Crosstown Rebels imprint with a special album project of unreleased cuts and fresh remixes, featuring material from Black Coffee, Maceo Plex, Art Department, Dennis Cruz and many more.
Undeniably one of the most influential record labels within underground dance music, releasing material from Laurent Garnier, Krust and Mathew Jonson to Rósìn Murphy, Deniz Kurtel, Francesca Lombardo and Jennifer Cardini while playing a pivotal part in the careers of artists like Maceo Plex, Jamie Jones, Art Department and Seth Troxler, Crosstown Rebels stands today as a hub and platform for flourishing projects across the electronic spectrum, including via sub-label Rebellion and across a long list of showcases across the globe. More than just your everyday label, the Crosstown Rebels legacy has grown alongside its founder in equal measure, with head honcho Damian Lazarus continually showcasing, championing and spotlighting artists from across the globe who share his radiant, experimental vision for house music and beyond. Ringing in a major milestone in style, 2023 will see the biggest twelve months to date as Lazarus and Crosstown mark the 20th Anniversary of the label with a series of projects set to be unveiled in the lead-up to summer, with ‘CR20 The Album’ set for release on 12th May 2023.
“20 years ago, I dreamed a dream of creating a family of like-minded, crazy individuals from all corners of the planet - releasing music to the world and making people dance. That dream was Crosstown Rebels, and this year we are 20. Over these years, I have forged beautiful friendships, discovered very talented artists and tried my best to help, advise and support some of the most colourful characters in dance music. Crosstown Rebels is more than a record label, it is family.
So 2023 will mark the label’s 20th Anniversary. This is an opportunity for the Crosstown Rebels family, a global community of artists, DJs and creatives, and the label’s myriad of followers to celebrate this momentous milestone. There will be parties and events around the world. A killer compilation of exclusives and special remixes, a beautiful coffee table book, a short film, and a special launch event are planned to bring together the sights and sounds of the label’s unique and influential history. There’s lots to share, announce and reminisce. 20 years young.” - Damian Lazarus.
Comprised of six stellar, high-profile remixes of releases from the label’s catalogue, alongside two previously unreleased original gems, the eight-track package is a rich and exemplary showcase of the far-reaching corners of the Crosstown Rebels sound and also its globally connected family of artists and close friends.
Opening the package, Lazarus’ own 2020 collaboration ‘Into The Sun’ with regular Crosstown vocalist Jem Cooke is given a cosmic rework by Johannesburg’s Major League DJz, while Jamie Jones’ slick ‘Paradise 2011’ is stripped back and given a new lease of life by the hypnotic and heady sounds of Art Department. Opening the B-Side, Dennis Cruz brings his percussive Latin-infused signature sound palette to Chilean musician and producer Pier Bucci’s ‘Hay Consuelo’, before Audiojack’s ‘Feel Good’, another standout collaboration alongside Cooke, is taken into synth-led territories as Michael Mayer reaches for an evolving bed of captivating tones.
The second half of the project brings more excellently remixed material, both new and old, with GRAMMY-winning DJ/producer Black Coffee turning his hand to the label’s first release of 2023 in Made By Pete and Zoe Kypri’s emotive ‘Horizon Red’, unveiling reworked melodies and sparkling keys as he delivers an interpretation of a track which has featured as a staple in his sets. Next, the project welcomes Adam Ten & Yamagucci’s playful yet off-kilter and wonky ‘The K Dance’ which unveils itself as a production perfect for those late night hours and early afters, before Ellum boss Maceo Plex’s ‘Together (2011 Mix)’ brings another lost production to the mix with a driving and zipping ride through sugary synths and soaring leads. To close, Tibi Dabo turns his attention to Guti & Dubshape’s absorbing ‘Every Cow Has A Bird’, delivering a nimble minimal-led trip through lush pads and crisp percussion to round things out in style.
Alongside the album, the 20 Year celebrations will also welcome a 192-page hardback book, ’20 Years Of Magic, Madness and Music’, with words from renowned journalist and key underground music player Joe Muggs, and a feature-length documentary directed by acclaimed director David Terranova.
Crosstown has become known globally for throwing some of the world’s best parties, from the wondrous cultural journey of Day Zero Tulum to longstanding Music Week marathon Get Lost Miami. This ethos of creating magical dancefloor moments spills into the label’s 20 year celebration with its worldwide Get Lost tour, launched with Get Lost Miami, and followed by Bali, Tokyo, Ibiza, Dubai, Istanbul, Rome, Paris, London, Berlin and more, plus a special to-be-announced London showcase.
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Live @ Granada Theater" ist das einzige Live-Album der Get Up Kids, das ursprünglich 2005 veröffentlicht wurde. Dieses Album ist ein Juwel in der Diskographie der Band - hier sind viele ihrer größten Hits vereint, eingefangen in einer beeindruckenden Live-Show. Dies ist die allererste Pressung dieses Titels auf Vinyl, als Teil der Zusammenarbeit von Hassle Records mit Vagrant Records zur Feier ihres 25-jährigen Bestehens. Doppel-Vinyl, hellblau mit roten Splattern. Handnummeriertes Gatefold-Sleeve.
expected to be published on 13.05.2023
Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
"Yves Tumor redefines Rock Stardom." - The New York Times
"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation
"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle
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Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
"Yves Tumor redefines Rock Stardom." - The New York Times
"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation
"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle
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Yellow Vinyl
Yves Tumor - Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
"Yves Tumor redefines Rock Stardom." - The New York Times
"Tumor's idiosyncratic and even intimidating aesthetic choices are precisely what gives the work its glowing modernity." - The Nation
"The quintessential performer, Tumor exudes Prince's androgyny flare, D’Angelo’s tender masculinity, Iggy Pop's freakazoid mania, and Grace Jones' magnetic mystique." - The Austin Chronicle
Order now and we will order the item for you at our supplier.
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LTD ORANGE COLORED
Das Debütalbum des Queer-Alt-Rock-Duos Arxx aus Brighton enthält neben den Singles 'Call Me Crazy' ft. Pillow Queens und 'Couldn't Help Myself' (bbc Radio 1 Introducing Track of the Week) auch die neueste Auskopplung 'The Last Time', produziert von Steve Ansell (Blood Red Shoes) produziert und gemastert von Katie Tavini (Arlo Parks). Der Song, ein ansteckendes Paket bittersüßer Emotionen, hüllt den Hörer in eine einfühlsame Decke aus kathartischer und doch ambivalenter Post-Herzschmerz-Wärme ein, indem es mit lyrischen Dissonanzen spielt und Gefühle von Niedergeschlagenheit, Selbstmitleid und Akzeptanz gegenüberstellt.
expected to be published on 12.05.2023
First-ever reissue of the 1988 album. Gatefold LP includes new and restored artwork and a chapbook, featuring forty-eight pages of lyrics, essays, photographs, and Gordon's extraordinary drawings for each song. The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945-2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon's primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West-and within the context of his own life and braided identity. The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. "Songs" is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R's. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it-high, lonesome, flat, and cold-blooded as a bare rusty blade-instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries.
expected to be published on 12.05.2023
