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Repress!

Part two of the Various Artists Shadow Rhythms series on Western Lore.

'Monarch' von Raum Kingdom in limitierter Auflage als White & Black Splatter Vinyl.

Mit ihrem von der Kritik gefeierten Debütalbum konnten Raum Kingdom schon 2018 auf sich aufmerksam machen. Nach dem plötzlichen Tod des Bassisten Ronan Connor im März 2021 widmet die Band ihr neues Album 'Monarch' eben diesen. Ein Album, das emotional, roh, melodisch, atmosphärisch, hart und hypnotisierend ist und eine musikalische Reise für die Sinne darstellt.

Holy Hive haben in der kurzen Zeitspanne von 3 Jahren zwei Alben und eine EP veröffentlicht und dann beschlossen, sich aufzulösen. Während die Fans diese Nachricht zweifellos nicht mögen werden, bleibt uns allen die zeitlose Musik, die sie während ihrer gemeinsamen Zeit gemacht haben, erhalten, und produktiv waren sie sicherlich. Springs zartes Falsett über dem schweren Schlagzeugspiel von Homer Steinweiss erwies sich als eine himmlische Kombination und sie schufen einen Sound, der die Ohren und Herzen aller Hörer verzauberte und den Begriff "Folk Soul" prägte. "Big Crown Vaults Vol. 3 : Holy Hive" gräbt in der Schatztruhe unveröffentlichter Aufnahmen und holt einige heraus, die nie den Weg auf Vinyl gefunden haben. Diese Aufnahmen entstanden größtenteils während ihrer zwei Album-Sessions, einige wurden sogar aufgenommen, bevor sie bei Big Crown unterschrieben.

'Official Version' ist das dritte Album der belgischen EBM-Giganten Front 242 und erschien ursprünglich im März 1987. Front 242 prägten das Industrial Genre maßgeblich und ermöglichten damit Bands wie Nine Inch Nails. Das Album wird nun wiederaufgelegt und erscheint endlich wieder auf Vinyl!

Die Neuauflage von des "Rock Action" Albums von Mogwai, streng limitiert auf Transparent Red Vinyl.

High Roller Records, transparent blood red vinyl, ltd 400, 4 page insert, download code, poster

Conrad Schnitzler (1937-2011), composer and concept artist, is one of the most important representatives of Germany"s electronic music avant-garde. A student of Beuys, he founded Berlin"s legendary Zodiak Free Arts Lab, a subculture club, in 1967/68, was a member of Tangerine Dream (together with Klaus Schulze and Edgar Froese) and Kluster (with Dieter Moebius and Hans-Joachim Roedelius) and also released countless solo albums. The red album ("Rot") from 1973 was Schnitzler"s first solo LP.

These sonic stories emerged from a gathering of artists concerned with alternative uses of everyday objects, subversive anti-aesthetics, sensual-absent poetry, moving optical discs, and echoes of activities occurring in the Earth's orbit. It was a performative celebration of entangled audio-visual events that enabled us to learn once again how to tune in to a place: with our eyes, with our ears, with our minds. While listening to the record, I remember what it sounded like in the space. I remember monologues of chairs that were given voice, phones eavesdropping and speaking back to us, cassettes falling on the floor (intentionally): some visions unfolding in front of our very eyes and others in our minds. Try to imagine all that these short pieces might still contain. As Peter Fengler exclaims in his chorus: it will all work out. Just choose a bicycle, low on emissions and also better for the tummy and the legs! (Lucija Gregov)

Ein ungewöhnliches Album und einzigartiger Einblick in die Arbeitsweise des 'Free -Jazz'-Pioniers in den frühen 70er Jahren. Aufgenommen in seinem großen Loft in der Innenstadt von New York, tobt eine Musikform bei dem Colemann sowohl Trompete als auch Saxophon spielt. Sein Quartett mit dem zweiten Saxophonisten Dewey Redman sowie den langjährigen Kollegen Ed Blackwell und Charlie Haden erweist sich als perfekte Ergänzung zu diesem legendären Set. Die erste Vinyl-Neuauflage seit fast 20 Jahren nutzt eine neue 24/96-Übertragung des ursprünglichen Produktionsmasters.

Colour in colour vinyl, transparent and red with blue splatter. Limited to 200 copies. "I had just got off the road and went right into the studio out in the desert at Rancho de La Luna. I was living in the house just behind at the time making sessions super convenient. I was set to record with my band the Bros in a couple weeks but I decided to go into the Rancho early and get some sounds. Tony and I ended up recording a bunch of songs that I was writing on the fly. A week later the Bros showed up and we recorded another batch of songs with the band playing live in the front room. After we wrapped I combined both my solo session and the Bros session and released in as one record called Saved By Magic on my label Duna records. That was 2005. Now I'm rereleasing this record on HPS and I've decided to separate the two sessions into their original bodies of work. My solo session and the Bros session. I mostly did this because I feel the Bros deserve to have something of their own as they were a magical band. I also just thought it would be cool. I call both records Saved By Magic Again." New album cover by Maarten Donders. Remastered by John McBain !!

We walked the earliest edge of Sunday, winter dark; streets lined up with standstill cars,

silver, grey, and black, and white; while the ever-distant sun, then further still, was slowly
breaking into shining. The town was quiet, gleaming; the rows of tenements - awash with sky.

And we rarely chanced upon a person, save the stocking-wrapped, shadows without bodies,
and that nude and mouthless one. We turned into a narrow lane past the power station,

the mute red lights of chimneys looking down at us. We reached the concrete halfpipe
of the dried-out canalside. And listened out for it. To disappear.

For that.

A Crimson Shore is Saåad’s first studio album since Présence/Absente in 2018. In the interim, Toulouse-based composer and producer Romain Barbot has enriched his experience as an artist through multiple collaborations, the composition of soundtracks and commissioned pieces, as well his involvement with the bands FOUDRE! and Sables Noirs.

This new chapter in the artist’s discography reflects this artistic maturity, evoking the project’s finest ambient recordings while revealing a new, unfiltered and decisive personality. Saåad’s use of a more direct musical language (exclusively electronic on this album) is intended to lay bare the inner life of its creator: the tracks are structured in a cycle of loops, vibrations and drones which respond to and confront each other like the torments of existence, torn between the twilight of sombre music reduced to its purest function of catharsis and the dawn of a new, luminous narrative journey.

A Crimson Shore is a raw, all-encompassing album, shot through with the fear of death, of growing old, of accepting it, of grief — past, present, imagined and future — and the search for a transcendental refuge.

The Good People, consisting of producer Saint and lyricist Emskee, hail from Brooklyn, New York. The dynamic duo brings a fresh take on the nostalgic elements of East Coast hip-hop. The Good People are coming off of two acclaimed albums, each showcasing their soulful instrumentals and flawless lyricism. In 2019, the duo dropped Good For Nuthin’ featuring Large Professor, Lilí Fame, Sadat X, Napoleon Da Legend, Cella Dwellas, G-Roc and Red Alert. They followed up with The Greater Good in 2021 featuring Lords of the Underground, Shabaam Sahdeeq, Craig G, Rasheed Chappell, DJ C-Reality, DJ Ace, Tone Spliff, Mikey D, Skanks the Rap Martyr, John Jigg$, DJ Eclipse, Rockwelz, Mouf and Nam Nitty. Now, The Good People bring you the new limited edition run of A Good Year. In 2022 they dropped a new single digitally every month which would become the tracklist for the new album. The new 12-track album features Dinco D, Charlie Brown, Makeba Mooncycle, John Jigg$ and Bobby J From Rockaway and is the perfect addition to their growing catalog

Brand new album from GRAMMY-nominated, critically acclaimed singer/songwriter Brent Cobb. The American south isn't just Brent Cobb's home. It's his muse, too. A Georgia native, he fills his Grammy-nominated songwriting with the sounds and stories of an area that's been home to southern rockers, soul singers, country legends, and bluesmen. Cobb has a name for that rich tapestry of music — "southern eclectic" — and he offers up his own version of it with his newest album, Southern Star. "Down here, there's a lot going on and there's nothing going on at the same time," he says. "You've got all these different cultures in the south, and everything is mixed in together. Otis Redding and Little Richard were from the same town in Georgia. So were the Allman Brothers. James Brown and Ray Charles grew up right down the road. All these sounds reflect the South itself, and that music has influenced the whole world. It's definitely influenced mine." Filled with country-soul songwriting, laid back grooves, and classic storytelling, Southern Star distills the best parts of southern culture into 10 of the strongest songs in Cobb's catalog.

Third Matinee (or 3rd Matinee) was an American rock band formed by vocalist and bassist Richard Page with keyboardist Patrick Leonard. The group formed after the breakup of Page’s band, Mr. Mister, and the demise of Leonard’s band, Toy Matinee. Leonard and Page were writing partners whose efforts included the Madonna hit “I’ll Remember.”

The rest of the band were: Brian MacLeod (drums), Tim Pierce (guitar), and Guy Pratt (bass), Marc Bonilla (guitar) and was completed by keyboard player and Toto member Steve Porcaro.

Third Matinee released only one album, Meanwhile, which was released in 1994. It features artwork by Mark Ryden, who is also known as “the godfather of pop surrealism” and mastered the Lowbrow style. He previously designed artwork for Aerosmith’s Love In An Elevator, Michael Jackson’s Dangerous, and One Hot Minute by Red Hot Chili Peppers.

Void Terra Firma was Defiance’s second studio album and first album with new singer Steev Esquivel. Defiance belonged to the San Francisco Bay Area thrash scene that gave us bands such as Testament, Exodus, Forbidden, and Death Angel.

This is Bay Area thrash at its finest, listen to standouts tracks like the title track, “Skitz-Illusions,” and “Last Resort (Welcome to Poverty)” for some mighty fine examples of that sound. The record also contains a cover of Iron Maiden’s “Killers”.

The seemingly telepathic connection between the rhythm and lead guitarists sounds phenomenal and newcomer Esquivel also steps up to the plate on this one.

Void Terra Firma is available as a limited edition of 1000 individually numbered copies on red & black marbled vinyl and includes an insert with lyrics.

He has curated an intimate, thoughtful collection of songs that deal with cherished loved ones, love denied, the power of faith, and a simpler, less encumbered way of life.The album features a healthy mix of country classics and contemporary bluegrass songs: Sparks revives warhorses from the repertoires of Lefty Frizzell, George Jones, and Hank Williams, complementing them with material from present-day writers including Wyatt McCubbin and Daniel Crabtree.

An evocative, heart-felt singer with few peers, younger bluegrass musicians are inspired by and study the subtle nuances of Sparks' vocal style. But Sparks, however, is a double threat, being equally revered for his innovative guitar playing.

Countless guitarists have tried to emulate his singular flatpicking style, but few - if any - have truly mastered it.

For some years, fans of the Bluegrass icon have requested that he do a project of this nature. At long last, that wait is over. Listeners get pure Larry Sparks.

Recorded at his newly built home studio, it's just him, his signature 1954 D-28 and his son Larry "D" Sparks providing subtle backing rhythm on bass. The warmth and intimacy of this album affords his admirers the opportunity to pull up a chair, relax, and listen to a true bluegrass master do what he does best - playing and singing from his heart to theirs.

The kind of band whose members are fully immersed in their local scene-through a handful of notable side projects and the show- promoting Philly staple 4333 Collective- the quintet's sound takes wide- spectrum influence from its environment. The result is an amalgam of complex song structures and flourishes of technical acumen, wholly unconcerned with genre, yet evoking the specific styles of touchstones such as Paramore and Circa Survive.

On their debut longplayer Where the Heart Is, Sweet Pill's unbound, raucous energy presents through ten autobiographical tracks that hinge on singer Zayna Youssef's elastic, enrapturing voice- at times belting and controlled, at others textural and guttural. Supporting Youssef are guitarists Jayce Williams and Sean McCall, bassist Ryan Cullen, and drummer Chris Kearney. Their blistering lead single "Blood" sees Youssef exploring a deteriorated friendship over Williams and McCall's trudging riffs and tactful counterpoint, with Cullen and Kearney rumbling nimbly in the song's foundations.

Second single "High Hopes" counters with introspective, melodic punk that reshapes anxiety rather than succumb to it. But third single "Diamond Eyes" momentarily slows the pace, with McCall joining Youssef on vocals for a breakup lament laden with acoustic sentimentalism and an emotive flurry from guest flutist Jill Ryan. Such range is the central facet of Where the Heart Is, where Sweet Pill's penchant for combining punkish tropes enlivened with the vibrance of math- rock and the aggression of post- hardcore sweetened with pop sensibility compound into something stylistically new yet still familiar.

A cautiously redemptive portrait, any happy ending reflects the possibilities of fulfillment and stability, not the things themselves. In May 2021, months before the film's release, Courtney Barnett and collaborator Stella Mozgawa rendezvoused with Cohen in Melbourne to shape a score that fit that premise-- nothing too obvious or instructive, to tell the audience how they should feel. Barnett found she liked listening to what the duo had made, existing within its reflective gaze. She began sorting through those little instrumentals like amoebic puzzle pieces, figuring out how they fit into a full picture.

The result is a seamless series of 17 instrumental improvisations called End of the Day: Music from the Film 'Anonymous Club', soundtrack reimagined as impressionistic sound- art collage. Like Barnett's rock songs, they wordlessly ask hard questions of our
softest parts, wondering what it is we really find there.

Billy Talent returns with Live at Festhalle Frankfurt, their first live album since 2007’s 666. The new album, produced by Juno Award nominee for Producer of the Year Ian D’sa and mixed by Juno Award winner Eric Ratz, sees the band perform 21 career spanning hits and was recorded this past November at the iconic German venue in front of a sold-out crowd. The 21-track set is slated for release digitally and on double disc CD on June 16, 2023 – with a vinyl pre order available now. The vinyl release is expected to ship to fans in late September. Following the release of Live at Festhalle Frankfurt, Billy Talent will drop several live videos from the show, culminating in a full-length concert film, directed by Dennis Dirksen that will premiere later this fall.

Lost in time yet always in season, here’s a blast of that old perennial, the punk rock, representative of the swiftly changing times around Bailey’s Crossroads, just outside Washington DC, in the early 80s. Skam recorded this stuff in 1982-1983, then broke up, leaving these songs to be released… maybe never? Or more preferably, now, to race into the bloodstream of jaded, faded today with all the vigour and rigour of Skam’s eternal youth.

Though they didn’t release any records during their three years of existence, it’d be wrong to call Skam ‘never-was’ - in addition to these recordings, there’s a trail of flyers for shows with Scream, No Trend, United Mutations and Media Disease, as well as the memories of the student alumni from Bishop O’Connell High, class of ‘83 or so.

The conglomeration of scenes around the greater DC area at that time produced a variety of bands, but the prevailing recollection of the era is of the incendiary hardcore punk and subsequent straight edge values of the Dischord bands. The band that became Skam was a world apart; they were posited for the first time by 8th graders Vince Forcier and Jack Anderson at a Jackson Browne concert, and their initial rehearsals in their parents’ basement were highlighted by covers of Beatles, Stones, Who and Led Zeppelin songs. Bad covers.

It wasn’t until they’d been playing a bit that they discovered The Ramones, and it was then that the die was cast and pedal pressed to the metal for another frantic couple of years.

The Skam recordings from 1982 have an undeniably Clash-like countenance that sets them definitively apart from the ‘First Four’ of Dischord - in some ways, prefiguring the pop-punk sound of Green Day at the dawn of the 1990s instead - but subsequent recordings found them quickly evolving - or devolving - into a personal mastery of savage riffs and tempos, as well as post-punk conceptions.

But even as they were verging into this new territory, their three years together had frayed their alliance and they soon broke up. Jack joined No Trend, Vince played in Racer X and then Second Wind. And life went on. However, the rediscovered Skam tapes make for an incredible addendum to the more well-known music of that incredible time and place

Now in its eleventh year and following hype for recent releases from Osaka's Kiji Suedo (Hosek EP & Riot album) and Edinburgh's George T (Roll On, King's Cross single), Edinburgh's Hobbes Music label burrows deeper into experimental ambient terrain with brand new signing Galun. With a discography over 15 years deep, Galun brings no shortage of his own props.

Galun is the solo project of Moscow musician, artist, and producer Sergei Galunenko (currently based in Tallinn), who has performed at numerous prestigious Russian events and collaborated on projects internationally in a career spanning more than 15 years, with a discography to match, turning his attention to myriad styles: IDM, funk, techno, juke, post rock, beatboxing, free improvisation, drone.

“In my project, Galun, I do not use musical instruments,” he explains. “All the sounds are produced with only the use of my voice through beatbox and special vocal skills. Some effects are used to produce electronic sounds.”

Hot on the heels of the new Golos album (out now via Berlin's One Instrument) plus a remix for US collaborator Alek Finn via Nevada's Mystery Circles label, Galunenko’s eighth studio album, Glagol (or Glagolь / Глаголь in Russian) is an ambient collection, recorded between 2013 and 2022. The title is an old Russian word which translates as ‘Speak’.

"This album consists of tracks written in different periods, so it turned out to be diverse," he says. "There are classic ambient tracks, as well as experimental ones in search of new possibilities for voice processing."

Why "glagol"? “Since the music on this album is 90 percent processed voice, it's a form of conversation for me," he reveals, “where I talk about my thoughts and mood, so speak music, while using my voice, is an amazing way of expressing.”

Five singles will be released on streaming platforms only, at intervals, over summer, with the full album released on digital 25.8.23 and a limited edition cassette plus lathe cuts out from 8.9.23.

"How gorgeous is that?! I have heard the rest of the LP and it is all equally gorgeous" DEB GRANT played ‘Mirror’ (New Music Fix show, BBC 6 Music, 17.8.23)

"'Glagol' translates as 'speak', an apt title when you consider 90 percent of the noises contained on it originated as recordings of his own voice, and that lends the ambient experiments here a very human, tactile feel. Closing tune 'Mirror' is a serene masterpiece, '1981' is an evocative phase-fest, the stuttery 'Stone' is endearing and enrapturing and Galunenko generally displays a knack for communicating clear emotions through abstract sounds. Recommended." ELECTRONIC SOUND
‘Really beautiful’ AVALON EMERSON (US)
‘Really loving the Galun tracks!’ INTERGALACTIC GARY (NL)

‘Super!’ JD TWITCH (Optimo, UK)
'Wow, this sounds amazing. Loving the atmosphere here, ambient with some groove somehow, really feeling this one.' DAN CURTIN (US/DE)

"Sounds great. Looking forward to getting into this properly" LORD OF THE ISLES

‘Wicked. It’s great stuff’ DRIBBLER (Pikes, Ibiza // Paradise Lost, Red Light Radio, Pure; SP)
‘Very nice, will play on Cashmere Radio here in Berlin. Keep up the good musical works x ALEX VOICES (DE)
‘Sounds really nice. The sort of thing I’d absolutely listen to on streaming etc’ AUSTIN ATO (UK)
‘Excellent stuff as always’ PAT BENSBERG (The Eccentric Selection, Phonic FM, UK)
‘Digging this one! Right up my street and just the ticket for my Radio Buena Vida show’ TOM CHURCHILL (UK)

Now Available In A Limited Edition Red Vinyl Pressing. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.

“Stax Christmas” brings together 12 holiday classics from the legendary Stax Records, with favorites by Isaac Hayes (The Mistletoe and Me), The Staple Singers (Who Took the Merry Out of Christmas), Rufus Thomas (I’ll Be Your Santa Baby), Albert King (Santa Claus Wants Some Lovin’) and more. Also included is an alternative mix of “Merry Christmas Baby” by Otis Redding and a newly unearthed version of the classic “Blue Christmas” sung by Stax recording artist Carla Thomas.

Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.

Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."

Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."

All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.

Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.

«Opening Soon» is a culinary buddy movie with a background of gourmet grooves where body tricks at the turntables have been replaced by acrobatic pizza tricks. This album from Jean Tonique and Mi Man is a real tomato concentrate and ingredients cleverly dosed which abound in suave and feel good tracks. 11 tracks that we can imagine as the perfect soundtrack to accompany the dolce vita 2.0 of this great musical duo (between Mario Bros and Cheech & Chong).

A tasty and pop cuisine that gives pride of place to a nostalgia that gathers behind the tiled counter («No One Really Knows», «Memories») or on the dancefloor («Running After Time», «The Music»). We let ourselves slide and be lulled by the smoothness of the arrangements as silky as an «Extra Virgin Olive Oil».

Do The Right Thing, as they say, and it seems like those two found a way to celebrate a lifestyle full of friendly looks.

Tonique, who had already accustomed us to the spiciness of his sharp guitars continues to demonstrate a knowledge all in funk and finesse. He is accompanied by Man, who brings his sweetness and harmony. They combine their strength on this project initiated with the title «Day & Night» and its languorous disco tinged with rhodes and percussions with Salsoul accents.

If the tablecloths are white and red, we don't doubt that the inside of the delivery van is lined with silk and velvet of the most beautiful effect to "cruise" the night as in Brooklyn and East Harlem to the rhythm of «Never Get Old». Lightness and nonchalance for a songwriting full of coolness and analogical charisma boosted by a Moog which invokes the best of the 70/80's.

Iconic and timeless, with or without a disco ball, wouldn't the key word be Pizza-Yolo?

When one of South Africa's most sought after trumpet players steps forward after a career alongside the very best in the International jazz scene, you know it's going to be a special record.

Dennis Mpale was one of South Africa's heavyweights. You'll find his name springing up on every important South African jazz record and billing since the 1960's. Chris McGregor's iconic Jazz/The African Sound LP, Abdullah Ibrahim's Dollar Brand, Barney Rachabane in the highly influential ensemble Roots, and early work in house bands appearing alongside Nick Moyake in The Soul jazz Men to name just a few. His trumpet playing had character, an extension of the body and amplifier of that great South African sound.

Leaving South Africa during Apartheid as a strong supporter and member of the ANC, Dennis made London his home, joining the newly established SA Jazz scene and standing in solidarity against the oppressions back in Africa.

Moving between London and South Africa during the 70's and 80's It wasn't till the early 1990's when Dennis finally settled again to make his biggest transition to solo artist, redefining his Jazz past and putting a heavy kwaito infused house slammer on the agenda. 1994s 'Paying My Bills' (a title maybe more appropriate now than it ever has been) is a mighty jazz kwaito house effort: From the heavy synth beat and gorgeous floating solo opener of 'Paying My Bills', to the highly infectious vocal phrasing on thumping house anthem 'Take My Time'. Paying My Bills takes the sensibilities of a jazz maestro and pairs it with one of South Africa's biggest producers Peter 'Hitman' Moticoe, creating the perfect recipe for a certified summer slammer.

Having previously only ever been released on CD, this is the first ever vinyl pressing of the album (hazy early test pressings lurk on a small number of lucky shelves). Vinyl mastering is handled by The Carvery's very own Frank Merritt here in London, with the resulting tracks generously split over 2 discs to fully appreciate the swampy heavy dub bass drolls for full dancefloor effect. It's loud and punchy and makes space for those glorious trumpet improvisations while keeping the synth refrains and heavy bass thumping.

Early plays include resident NTS DJ's and a feature on Palms Trax Radio 1 residency with surely more support to follow.

The story of the invention of the term, 'deepfunk' is probably only known among fans and practitioners of this niche-genre. In short, it all started in the 1990s when DJs like Keb Darge, Mark 'Snowboy' Cotgrove and others began spinning obscure and feral Funk 45 RPM singles from local American bands, ostensibly generating another sub-category branch off of the mighty Northern Soul tree. The dance-club phenomenon inevitably spilled over to contemporary groups on the funk scene which immediately tried to record their music the way their idols did. The 'rare groove' and 'acid jazz' movements had run their course and there was a concerted effort to reinstate primitive idiomatic styles and techniques into the music, most notably by 90s funk collective The Poets of Rhythm. As more years passed by the number of bands steadily increased (although in tiny numbers, compared to the mainstream market). Almost every country had a representative with the majority of them coming from the United Kingdom. The deepfunk sound was still a niche, however a very few bands made it onto the mainstream charts, most notably Sharon Jones & the Dap Kings.

At the height of the retro-soul movement a questionable development took place. As more bands arrived on the scene, the production became more and more polished and pop-ish. Some of that squeaky-clean tidiness began to creep into the recordings, encouraged in part by the signature sounds of the digital recording technology available at that time. Some bands even tried to jump onto the possibility of promoting their music as 'deepfunk' although they were actually playing slick, funky pop music. This way some people who thought they were listening to raw, energetic funk actually felt quite ambushed when hit with real deepfunk. In fact, a certain percentage of funk music produced within the past 20 years does not deserve to be described as 'deepfunk' at all. Fortunately there were (and are) some pleasant exceptions which did not just imitate but actually rendered amazing funk music just like some of the finest funk combos of the 1960s and 70s.

One of those creative minds is without a doubt Joel Ricci aka Lucky Brown. Originally from Seattle, Washington, USA, he has enriched the deepfunk community since the mid-2000s with his stellar abilities. He is not only an amazing musician playing multiple instruments, but also a brilliant composer, arranger, and producer too. But for us here at Tramp he is much more, a close friend and remarkable human being. Whenever we were struggling, whether with the label or in private life, Joel and his musical work helped us to overcome everything and to keep going our path.

So here we are in 2023. The songs you are listening to right now are the complete Space Dream collection, split into two parts, representing the two living-room recording sessions from which his 2011 Tramp Records debut was compiled. Each fully remastered album contains unreleased material and comes with brand new, beautifully reimagined artwork by Ricci himself, housed in an authentic 1960s tip-on cover. A first class product from a first class musician for the discerning funk enthusiast.

Static Dress haben ihr Signing bei Roadrunner Records bekannt gegeben und Details zu einer Deluxe-Neuauflage ihres Debütalbums Rouge Carpet Disaster verraten.

Mit Rouge Carpet Disaster (Redux) erweitert die Band ihr gefeiertes Debütalbum um ein neues Artwork und vier neue Redux-Versionen der Singles, darunter: "Courtney, just relax" (ft. World Of Pleasure), "Attempt 8" (ft. Sophie Meiers), "Di-sinTer (Glitter Redux)," und "such.a.shame" (Smoking Lounge Redux) Albumcover / Tracklisting
unten. Rouge Carpet Disaster (Redux) wird in mehreren Vinyl-Varianten erhältlich sein, wobei jeder LP eine zusätzliche 7"-Vinyl mit den vier Redux-Tracks beiliegt.

Ursprünglich unabhängig veröffentlicht, erwies sich Rouge Carpet Disaster als ein Wendepunkt für Static Dress . Produziert von Erik Bickerstaffe von Loathe und geschrieben von Static Dress , zeigt das Album einen phantasievollen Sound, der Emo, Screamo, Metal, Pop,
Elektronik und vieles mehr umfasst und eines der ambitioniertesten Statements innerhalb des Rockformats seit Jahrzehnten darstellt.



























[m] 13. Courtney, just relax [ft. World Of Pleasure]
[n] 14. Attempt 8 [ft. Sophie Meiers]

Der gefeierte Saxophonist Joshua Redman jetzt neu bei Blue Note Records!

Sein Debüt beim Label trägt die Frage „where are we“ im Titel und ist ein sanftes, stimmungsvolles Werk, das sich von Kitsch jedoch weit fernhält. Die Songtitel geben preis, dass es hier um Amerika geht, und um das, was das heutige Amerika für Redman und die anderen an diesem Album Beteiligten bedeutet.

Ein großer Teil des Albums besteht aus bekannten Jazz- und Pop Standards, die in der Neuinterpretation Joshua Redmans immer wieder ein Gefühl des Neuentdeckens bieten.

„where are we“ ist Joshua Redmans erstes Projekt mit durchgehender Beteiligung einer Sängerin, der großartigen Neuentdeckung Gabrielle Cavassa, die mit ihrer geschmeidigen, lässig-intimen Stimme Akzente setzt, genauso wie Redmans Band aus Pianist Aaron Parks, Bassist Joe Sanders und Schlagzeuger Brian Blade, sowie die Special Guests Nicholas Payton an der Trompete, Kurt Rosenwinkel und Peter Bernstein an der Gitarre sowie Joel Ross am Vibraphon.

[a] A1 . After Minneapolis (Face Toward Mo[u]rning) (Face Toward Mo

CNPY007 marks a strong return to Canopy for Sam Redmore, on the second edition in the Alafia series where he impresses with two powerful and inspired re-imaginings of these tropical synth future-classics.

Tough afro-centric broken beats meet dirty fuzz basslines. Chic-esque guitars and icy synths swirl among horn crescendos and steel drums. Sam assembled a troupe of tight players who deliver slick performances which sincerely compliment the original arrangements, while he turns the electronic tropical funk factor to full - Inspired music reinvented for inspired dancefloors!

Trippie Redd läutet eine neue musikalische Ära mit seinem mit Spannung erwarteten Album ”A Love Letter To You 5” ein. Die Serie, mit der alles im Jahr 2017 begann, ”A Love Letter To You” hebt bekanntermaßen Themen der Liebe durch sanfte Hip-Hop-Flows hervor, die von ikonischen Samples und Beats untermalt werden.

Nach vier Veröffentlichungen in den letzten sechs Jahren ist das kommende Album ein Garant dafür, dass Trippie auf den Tracks zur Höchstform auflaufen wird. Die erste Single ”Took My Breath Away” featuring Singer/Songwriterin Skye Morales und zuletzt die Single ”Last Days” sind ein Vorgeschmack auf das, was noch auf uns zukommt.

The xx existieren in einem selbstkreierten Kosmos. Ihr Debütalbum "xx" bewegte sich mit wundersamer Vollkommenheit zwischen Vieldeutigkeit und Reduktion. Im Zeitalter der totalen digitalen Öffentlichkeit war "xx" Popmusik mit maximalen Privacy Settings und definierte einen neuen Stil. Nun sind Romy Madley Croft, Oliver Sim und Jamie Smith zurück mit einem neuen Album: "Coexist".Vieles ist zwischenzeitlich passiert, vor allem ist die Band erwachsen geworden. Nach der Veröffentlichung des Debüts im Sommer 2009 verbrachten die drei den größten Teil der folgenden eineinhalb Jahre weit weg von zuhause, um ihren Sound in Ohren und Herzen rund um den Globus zu tragen. Von Amerika über Australien und Japan wurde die Band von Publikum und Kritik gleichermaßen gefeiert, und der Erfolg zeichnete sich auch in steigenden Albumverkäufen und dem Gewinn von Awards wie dem renommierten Mercury Music Prize ab. Während der anschließenden Bandpause wurde dann der stillste der 3 Bandmitglieder, Jamie, zum Gesicht von The xx. Zwischen seinen vielen DJ-Gigs arbeitete er stetig an seinen Fertigkeiten als Produzent und entwickelte dabei einen ganz eigenen Stil. Remixe wie etwa für Adeles Über-Song "Rolling In The Deep" oder die Bearbeitung von Gil Scott-Herons letztem Album machten aus Jamie einen hoch angesehenen Produzenten auch jenseits des Band-Fames. Für Drake produzierte Jamie den Titeltrack seines Millionensellers "Take Care". Für das neue Album arbeiteten dann erstmals alle drei von Anfang an zusammen in ihrem eigenen Studio. Während weiterhin Spuren von R&B im Sound von The xx zu finden sind, ist ein vermehrter Einfluss von elektronischer Musik spürbar. In Romys Loop-artigem Gitarrenspiel und den entsprechenden Basslines spiegelt sich dieser Aspekt. Alles in allem ist "Coexist" ein selbstbewusstes, erwachsenes Album geworden, auf dem sich wenig und doch zugleich vieles geändert ändert. Älter und weiser klingt es, sicherer und immer noch von außerordentlicher, zarter Tiefe. Es ist das Album geworden, auf dem das Licht nach dem Leid zurückkehrt.

Hart und laut hauen sie einem die Drums um die Ohren. Aus den Songs wurde jede nicht unbedingt notwendige Note gestrichen. Die Pixies spielen ziemlich wütend und raffiniert auf, bleiben dabei aber immer melodisch. Gut getarnt im Lärm tauchen aus dem Nichts plötzlich Hooks auf. Und die beißen sich ganz schön fest. Hits: "Where Is My Mind", "Gigantic", "Vamos".

Ils Veulent Nous Tuer is Bérurier Noir's 3rd maxi 45tours, the title of which is borrowed from the slogan of a banner unfurled by the mutineers from the roof of Fresnes prison. It was an apt title for the group, too, since at the time of its release, the political and police authorities decided to destabilise them by associating them with the Black War activists and arresting many of the Bérus' entourage.

It's a dark album, with hard-hitting lyrics rooted in the social reality of the time (1988) and tackling subjects as diverse as the problems of access to food for the precarious (On A Faim !), prison repression (Sur Les Toits), the excesses of marginal youth (Mineurs En Danger) and the omnipresence of the military and police in our daily lives (Et Hop !). The album compo

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The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found themselves the driving force behind a vast "Mouv'ment d'la Jeunesse", determined to take control of their lives in the face of a society that was ultra-conservative at the time. Times have hardly changed.

From their first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances at demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir waged the most exciting war of independence in the history of French rock, with just a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

François, Loran and their 'Troupeau d'Rock' gave the last finger to this turbulent, irredeemable raia, committing hara-kiri at the height of their glory, during three final concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work continues to resonate, whether at demonstrations or free parties, fuelling the hopes of all those who wish to turn this world upside down and build a truly libertarian society based on solidarity and brotherhood.

For those who missed this unprecedented adventure, the Archives de la Zone Mondiale label is bringing you 8 recordings by Bérurier Noir in the form of limited-edition reissues on highly original colour vinyl ("crown" finish), distributed throughout the year.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Limited edition 7-inch red vinyl of Netflix' hit series Outer Banks Season 3's most iconic tracks including the now classic “Pogues Theme” composed by Fil Eisler. Available for pre-order now!