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It’s an album where I’ve limited myself to using only two instruments – a metallophone and a four-track tape recorder. Explorations of the metallophone and tape sounds, deconstructed and reintegrated into tracks with cassette loops. This release is part of this year’s series, dedicated not to electronic but to electro-acoustic music with a focus on analog recording and production.

Four years after releasing their debut record, Indus are back in 2024 with Negra, their second album. This record explores the essence of the night through dance, seduction and mystery, while paying homage to Colombian amphibious cultures and the land as that place that has seen us moving and that we always return to. With these ten songs Barranquilla producer Oscar Alford, along with Andres Mercado and a select group of collaborators, builds a bridge between the sounds and histories of the Pacific and the Caribbean, bringing together territories like a river running through them and connecting them. Oscar says that on this record "there's this confluence of various cultural universes, on the one hand there's the traditional music of the coast and river areas, there are various maestros who collaborated on the record and they brought that, also there's electronica which is a universal language, and even hip hop and more urban genres like dembow." The record kicks off with "Deja," a ritual of initiation, a galactic, synthetic entrance into a place of plenty, a journey to the ethereal and the night. It's followed, like light and guide, by the song "Alfa Indi," with Gamero singer Nelda Piña, a release of electronic sounds evoking creation in all its senses. The night is an excuse for and a generator of desire, seduction and flirting in "Candela tu Trá," in collaboration with Tomás Llerena, grandson of the legendary Petrona Martínez. The earth is evident in tracks like "Canción del muerto," homage to the marimba maestro Gualajo, with his brother Pacho Torres and Bogotá rapper N. Hardem, a song that could be a farewell ritual and tribute to the land as the place to which we always return, one that holds the history of those who walked that land and left their mark on it. We hear this in "Corre Cimarrón" with Ka Oddun, portraying the journeys of fleeing enslaved ancestors as they tried to survive until they reached the palenque, a place of freedom. Negra explores the mysticism of the night and the cosmos within the Colombian musical tradition. A dialog between root rhythms, voices and synths with bases oscillating between techno-champeta, afro-tech and future-dembow. With this record Indus comes across as one of the most versatile acts on the Latin American scene, especially in the way they reinterpret ancestral music and resignify its sound.

Info: The soulful power of Asabi Goodman's vocals is finally on vinyl! Blunted Stylus ft. Asabi Goodman s' "Rhythm's Got Soul" has "groove and style" reminiscent of the back-to-back, wall-to-wall packed dancefloors of the fever-pitched disco era, steady spinning in at 115 BPM. The highly anticipated collaboration between the renowned singer/ songwriter Asabi Goodman, and producer/arranger Geoff Boardman A.K.A. Blunted Stylus brings authority and intrigue to the dance floor, with soul.... "Free your mind and the mirror ball will follow".



Side A "Rhythm's Got Soul bursts through the stratosphere 'all frequencies blazing!"

Treating the listener to pitched horns, filtered drums, those sultry Asabi vocals, reinforced by the everlasting bass from Andrew 'Bigfoot' Leslie.

Momentum steps up with the rhythm guitar of Dave VHS, accompanied with vamp keys and hectic percussion.

The SOULICITORS are the band on this release 'sitting in the groove', syncopated and loose after the MPC4000 sample treatment, a sort of new paradigm of band-samples soul-fusion exploration!



Side B "Rhythm's Hot" (Afro Instrumental) is a monster cut on the flip, a relentlessly persuasive percussion groove, well timed transitions spread smooth like butter, akin to Midnight Marauders chords, styled across 'A Taste Of Honey' bassline for example, on an Afrocentric trip building up to the disco-fever instrumental strut.



Asabi Goodman is an American born (Oklahoma), entertainer now calling Australia home, consistently performing in stage and screen productions, and touring with bands and Broadway musicals (Hairspray! The Musical, CHICAGO). Asabi's vocal ability effortlessly elevates from 'sweet and soulful' to 'commanding and powerful', all the while showing unmistakably that her passion for the audience, and respect for the song is at the heart of every performance.

Geoff Blunted is an Australian producer, avid record collector, and co-founder of the ground breaking sample-funk group the 'RESIN DOGS' (1996-2005) extensively touring and producing. From the early days in the 80's of cutting his teeth in mixtapes, and volunteering at community radio at 4ZZZ in 1988 (arguably the golden era of hip hop) hosting Australia's first dedicated Hip Hop show "Just2Def" that aired for 1 year. Four Jazz-funk sample albums under his belt, 'Rhythm's Got Soul' arrives cued-up ready! The track highlights Geoff's ability to blend his time proven sample ethic into a resonating dynamic disco experience.

Session Victim need little by way of introduction having been releasing on Delusions consistently for the last 10 years and becoming the undisputed poster boys for the label in the process. Despite their regular appearance however, it’s always a real treat to announce a new record from the German duo and we have to say, the Screen Off EP may well find them in their finest form to date! Coming hot off their latest downtempo LP entitled Low Key, Low Pressure for Night Time Stories, you can tell Hauke and Matthias were ready to take things back to the dance-floor and have delivered an EP which looks set to become a future classic and no doubt big in the box of discerning DJ’s the world over.

Screen Off is really it’s own thing, living somewhere on the long and winding road between the Bar Kays and the Bad Brains, suffice to say that what it lacks in easily definable attributes it makes up for in sheer energy and raw attitude. Hauke and Matthias re-invite Jamaican poet and vocalist Ras Stimulant, who contemplates our screen addictions and urges us to disconnect and be present in the moment. Matthias’ rolling bassline provides the backbone, whilst hints of crunchy Moog and chopped guitar samples all bring a sense of urgency to the track.

Light The Way acts as an antidote, bringing a sense of calm melancholia in contrast to the title track’s low-end, funked-up fervour. A soft focus and almost distant drum groove draws us in whilst arpeggiating synths add a sense of optimism, reinforcing the tracks title.

Closing out the release we have Session Victim’s studio partner, good friend and all-round top producer Iron Curtis in for a remix of Light The Way. Johannes takes an interesting approach for his Illuminati interpretation, enhancing the breakbeat feel and mixing up chopped samples with classic 808 drums. A muscular bassline adds extra weight to his remix but without losing the subtle musicality and positive vibe of the original.

Being the vinyl purists they are, Session Victim and Iron Curtis top up the physical 12“ EP with the exclusive Screen Off Acapella and an additional Iron Curtis Remix Reprise.

Rock n Roll Star! zeichnet Bowies Weg zu Ziggy Stardust nach. Angefangen bei frühen Demos für zu Hause, über Radiosessions und Live-Auftritte bis hin zu Session-Aufnahmen, Outtakes und alternativen Versionen von den Aufnahmen zum Album The Rise and Fall of Ziggy Stardust ROCK 'N' ROLL STAR! enthält 29 unveröffentlichte Tracks, darunter frühe Songwriting-Demos, Aufnahmen von Davids Band The Arnold Corns, Proben in Bowies damaligem Zuhause Haddon Hall, BBC-Sessions, Singles, Live-Auftritte sowie Outtakes und alternative Versionen von den Original-Aufnahmesessions des Albums, die vom ursprünglichen Album-Produzenten Ken Scott neu gemischt wurden. Zu den unveröffentlichten Highlights gehören eine alternative Version von "Lady Stardust", eine ungehörte Version des Deep-Cut-Klassikers "Shadow Man" und eine Up-Tempo-Aufnahme von The Who's "I Can't Explain", die er später verlangsamt und für das PIN-UPS-Album gecovert hat. Die reine Audio-Blu-Ray enthält das definitive Remaster des Original-Ziggy Stardust-Albums aus dem Jahr 2012 in 96kHz/24bit PCM Stereo, das Album und zusätzliche Mixe aus dem Jahr 2003 in DTS-HD Master Audio 5.1 sowie die Singles, Outtakes und alternative Versionen in 96kHz/24bit PCM Stereo. Die Blu-Ray enthält außerdem eine Version des ZIGGY STARDUST-Albums namens WAITING IN THE SKY (BEFORE THE STARMAN CAME TO EARTH), die von Trident Studio-Bändern vom 15. Dezember 1971 stammt und eine alternative Reihenfolge sowie vier Songs enthält, die es nicht auf das endgültige Album geschafft haben. Diese wird auch als limitierte Vinyl-LP am 20. April 2024 zum Record Store Day erhältlich sein. Außerdem gibt es eine 1-LP-Version von ROCK 'N' ROLL STAR! mit den alternativen Aufnahmen und Abmischungen.

Live-Mitschnitt des Attwenger Konzerts vom 6.12.23 im Chelsea in Wien, verteilt auf vier Seiten aus gelbem Vinyl mit Schwerpunkt auf den letzten beiden atmender-alben "Spot" und "Drum", angereichert mit Slangpunksongs aus den Neunzigern und Nullern. Attwenger ist live sowieso eine andere Geschichte als ein Studioalbum, ein Live-Album ist eine Momentaufnahme, licht, lärm und Leute bestimmen den Augenblick, der Augenblick ist schnell vorbei, aber den Mitschnitt unseres aktuellen Programms, der auf dieser Doppel-LP wiedergegeben wird, kannst du dir in hundert Jahren auch noch anhören und es wird trotzdem ein live-konzert sein. Attwenger live heißt Binder und Falkner auf der Bühne, singen und quetschen, verstärkt und verzerrt, Drums, Maultrommeln und Elektro-Beats, Stücke von 1990 treffen auf Songs, die grade erst im Entstehen sind, Lieder aus unterschiedlichen Entstehungsphasen werden zu ausgedehnten, groovigen Mixes kombiniert, geht alles. Die Reihenfolge der Stücke kann sich ändern, genauso wie die Reihen auf der Ziehharmonika und die Reime der Texte. alles Moment, alles bewegt sich, dreht sich, verästelt sich, die körperliche Intensität ist teilweise arg, die Gedanken sind oft woanders, das Publikum ist da, der Austausch zwischen Spielen und Tanzen führt zu einer Musik, die so dynamisch, stürmisch und euphorisch werden kann, dass du vom Akteur zum Passagier wirst in einem kollektiven Taumel, der alle beteiligten reinzieht, herumwirbelt, fortweht. Als Bonus-Track eine Aufnahme vom Juni 94, als wir mit unserem Gegenbesuch zur Zimbabwe-Tour im Oktober 93, Oliver Mtukudzi and The Black Spirits, einen gemeinsamen Auftritt in der Linzer stadtwerkstatt hatten. Zu hören ein Ausschnitt aus "I wanna know whats going on", in dem es schon damals geheißen hat: es is immer hoiba 8i.

Neunzehn pointierte Betrachtungen zu allen möglichen und unmöglichen Aspekten des Lebens, und das in unter 44 Minuten: Tempo, verzerrte Powerchords und eingängige Melodien sind die Hauptzutaten für den GRUSS AUS DER KÜCHE, das neue Album von Ernte 77. Die Songs sind wieder kürzer geworden, die Ideendichte dafür höher. Ohne Verschnaufpause geht es von einem lyrischen Mikrokosmos zum nächsten, während sich notorisch durch die (nicht nur) Punk-Historie zitiert wird. Das Album ist eine bandtypische Gratwanderung zwischen harmonischen Refrains und anstrengendem Gekreische. Ernte 77 ziehen in DIY-Manier unbeirrt weiter ihr Ding durch und bleiben deshalb eine der eigensten Punkbands, im besten Sinne des Wortes.

Seit ihrer Gründung haben REZN die reinen, monochromen Tiefen des Underground-Metal erforscht und sie mit den kaleidoskopischen Freuden von Psychedelia, Prog-Rock und Shoegaze verschmolzen. Mit ihrem neuesten Album Burden loten sie die tiefsten, düstersten Gräben ihres Sounds aus, ohne dabei den Bezug zum Kosmos zu verlieren. An der Schnittstelle zwischen den düsteren Dimensionen moderner Psych-Acts wie Black Angels, der höhlenartigen Düsternis und den mit Hall durchtränkten Gitarren von Bands wie Spectral Voice und den taumelnden Low-End-Meditationen von Künstlern wie OM haben REZN ein Album von ungeheurer, den Verstärker anbetender Wucht und mitreißender Instrumentierung geschaffen. Burden wurde zeitgleich mit ihrem vorherigen Album Solace im Juli 2021 aufgenommen, aber anstatt ein Doppelalbum zu veröffentlichen, teilten REZN das Material in zwei separate Platten auf, jede mit ihrem eigenen emotionalen Timbre. Musikalisch bevorzugt Burden Riffs gegenüber Atmosphäre, Perkussion gegenüber Äther, Dissonanz gegenüber Schönheit, aber es gibt dennoch eine unbestreitbare Kohäsion zwischen ihm und seinem Vorgänger. Die Verbindung von brachialer Gewalt und erhabenen Texturen war schon immer eine Schlüsseltaktik in REZNs Ansatz - eine Dualität, die vielleicht ihre Tournee-Vergangenheit mit den Synästhesie-induzierenden Metallurgie-Kollegen Elder und Russian Circles erklärt - aber das Spektrum der quecksilbrigen Temperamente der Band fühlte sich noch nie so klar definiert und vollständig erforscht an wie auf Burden. Selbst die zurückhaltendsten Momente von Burden fühlen sich wie die Ruhe vor dem Sturm an, ein sich sammelnder Schwung vor dem strafenden Schlussstück und der Leadsingle ,Chasm", einem megalithischen, krautigen Brecher, der durch ein brennendes Gitarrensolo von Russian Circles' Mike Sullivan noch verstärkt wird. LP mit Lyric-Sheet & DLC, Digipack-CD mit Lyric-Sheet!

Seit ihrer Gründung haben REZN die reinen, monochromen Tiefen des Underground-Metal erforscht und sie mit den kaleidoskopischen Freuden von Psychedelia, Prog-Rock und Shoegaze verschmolzen. Mit ihrem neuesten Album Burden loten sie die tiefsten, düstersten Gräben ihres Sounds aus, ohne dabei den Bezug zum Kosmos zu verlieren. An der Schnittstelle zwischen den düsteren Dimensionen moderner Psych-Acts wie Black Angels, der höhlenartigen Düsternis und den mit Hall durchtränkten Gitarren von Bands wie Spectral Voice und den taumelnden Low-End-Meditationen von Künstlern wie OM haben REZN ein Album von ungeheurer, den Verstärker anbetender Wucht und mitreißender Instrumentierung geschaffen. Burden wurde zeitgleich mit ihrem vorherigen Album Solace im Juli 2021 aufgenommen, aber anstatt ein Doppelalbum zu veröffentlichen, teilten REZN das Material in zwei separate Platten auf, jede mit ihrem eigenen emotionalen Timbre. Musikalisch bevorzugt Burden Riffs gegenüber Atmosphäre, Perkussion gegenüber Äther, Dissonanz gegenüber Schönheit, aber es gibt dennoch eine unbestreitbare Kohäsion zwischen ihm und seinem Vorgänger. Die Verbindung von brachialer Gewalt und erhabenen Texturen war schon immer eine Schlüsseltaktik in REZNs Ansatz - eine Dualität, die vielleicht ihre Tournee-Vergangenheit mit den Synästhesie-induzierenden Metallurgie-Kollegen Elder und Russian Circles erklärt - aber das Spektrum der quecksilbrigen Temperamente der Band fühlte sich noch nie so klar definiert und vollständig erforscht an wie auf Burden. Selbst die zurückhaltendsten Momente von Burden fühlen sich wie die Ruhe vor dem Sturm an, ein sich sammelnder Schwung vor dem strafenden Schlussstück und der Leadsingle ,Chasm", einem megalithischen, krautigen Brecher, der durch ein brennendes Gitarrensolo von Russian Circles' Mike Sullivan noch verstärkt wird. Indie-Handel exklusives farbiges Vinyl in Black, Mint and Bone A side/ B side, LPs mit Lyric-Sheet & DLC, Digipack CD mit Lyric-Sheet.

Color Vinyl Repress

The world moves faster than ever these days, and even in the digital age, things can always be counted on to go in cycles. Despite all of the advances in computer recording technology, home studios, and electronic instruments, there is a flourishing interest in analog recording techniques and in recreating the mood and sound of vintage soul records. With one foot in the past but their eyes firmly set on the future, El Michels Affair are among the leaders of a resurgent funk & soul movement from New York City that’s sweeping both the music community and the charts.

Led by saxophonist/organist Leon Michels and producer/engineer Jeff Silverman, El Michels Affair began as a loose collaboration of session musicians (including members of top-selling acts Sharon Jones & the Dap Kings, the Budos Band, and Antibalas) that looked to blend some of the vibrant quality of soundtrack records with the recording aesthetic of early reggae, and the rawness of 60's rock--they called it 'Cinematic Soul.' This delicate balance was evident on their 2005 debut album Sounding Out the City, which earned critical acclaim and acted as the inaugural full-length release for Michels and Silverman’s burgeoning label Truth & Soul (also the moniker for the duo as a production team).

The buzz generated from the album and a series of moderately successful 7” vinyl singles from Truth & Soul led to an invitation by Toyota’s Scion division for El Michels Affair to accompany the rapper Raekwon of Wu-Tang Clan for a promotional concert. As avid Wu-Tang fans, not only were the band leaders thrilled with the opportunity, but Michels found that the ‘Cinematic Soul’ sound was consistent with the moods of RZA’s gritty soundscapes on the classic Wu-Tang releases. The concert was such as success, El Michels Affair went oan to play several more concerts nationwide backing Raekwon and other members of the Clan, and the shows led to the recording of two smash 7” singles featuring instrumental reinterpretations of the Wu-Tang classiac songs “C.R.E.A.M.” and “Bring Da Ruckus.” The singles combined to sell an extraordinary amount of over 7,000 units worldwide, and their success led to a contract in 2007 with indie hip hop powerhouse Fat Beats Records to record an entire album of Wu-Tang Clan interpolations entitled Enter the 37th Chamber.

Since the contract was inked, a worldwide explosion of retro soul led by Amy Winehouse, Mark Ronson, and Sharon Jones and the Dap-Kings has transformed the pop music landscape, and the Truth & Soul production duo have been in strong demand, recording with everyone from breakthrough Grammy-nominated artist Adele to punk rock innovator Iggy Pop. They’ve been commissioned for official remixes of Amy Winehouse and Dinah Washington (for the popular Verve Remixed series), and produced for Australian multi-platinum acts Jet and Gabriella Cilmi.

Despite the eclectic group of clients for the Truth & Soul production company, El Michels Affair continued to build an audience within the hip hop community. A track from Sounding out the City was sampled for Ghostface Killah’s 2007 track “Shakey Dog Lolita,” and a horn part written and performed by Michels (for Menahan Street Band) was famously lifted for Jay-Z’s smash single “Roc Boys.” Truth & Soul also worked in the studio on original productions with multi-platinum producer Just Blaze (T.I.’s “Live Your Life,” Jay-Z, Usher).

With their increasing presence behind the scenes in the industry, El Michels Affair looks to have their status as recording artists rise significantly in 2009. With the release of their finally-completed album Enter the 37th Chamber, they can finally step out of the shadows of the retro-soul trend and establish their status as one of the most exciting and versatile bands in modern recorded music.

DJ Subaru has already made their name exciting dancers with offbeat anthems and obscurities as part of their luminous Pleasuremaxxx parties, alongside similarly inclined soirees in Leeds, London, Berlin and beyond. Making their accomplished production debut on CWPT with 'Lots of Love', DJ Subaru instinctively mines the expressive, outsider strains of disco, Italo and pop pleasures in their record bag, revealing an EP that throbs with the pleasures, pain and potential of a life in strobes and smoke.

Vocalist and muse Tiss Vampiric emerges from London’s shadowy underground to lend their voice to the brooding, disco-Gothic track, ‘My Love’. Stalking a moody paradise amongst DJ Subaru’s EBM-oriented synthesizers, their baroque lyrics conjure an atmosphere that bridges the energies of subversive pioneers such as Soft Cell and Ministry, a sensual maze where denial only leads to more devotion, as well as more dancing.

Keeping the lights dim but brightening the corners, the prolific cosmic disco pioneer Prins Thomas reinvigorates his legendary ‘Discomiks’ approach for a euphoric remix of ‘My Love’. Incorporating DJ Subaru and Tiss Vampiric into a dancefloor canon that also includes Lana Del Rey, Pet Shop Boys and the Chemical Brothers, this classic arrangement has been road-tested to build euphoria, joyfully reflecting menace from mirrorballs.

The latter portion within 'Lots of Love' leaves us entirely in DJ Subaru’s musical visions. The only voice on ‘I <3 You’ is soft and robotic, intoning the track’s simple title over a lush, caramelized groove that’s pure circuits and sentiment. In contrast, the moody pads of ‘Just Visiting’ build to a crescendo of breaks and basslines that capture more urgent early hours energy, while ‘She’ provides a beautifully naive melody and a slightly balearic touch for a wide-eyed kiss goodbye.

Mitos & Ritos, the debut EP by the Ecuadorian group Cruzloma, consolidates in its six songs a spirit of promoting traditional rhythms in contemporary styles, a process of reinvention and self-discovery in homage to the indigenous peoples of the Ecuadorian jungle and the riches of ceremonial music all in a mix featuring electronica, global bass and dembow. The hostile times humanity is going through have awoken a need to get back to our roots, reclaim ancestral knowledge, and question where the excessive exploitation of natural resources has led us. We have heeded that urgent call to care for everything that seems unlimited but which is increasingly scarce. And so we have looked to the past to understand our relationship with what surrounds us and establish a dialogue between the past, the present and the uncertain idea of the future. Applied to music, this has aroused the interest of artists and producers who use the rich folklore and traditions of Latin America to replicate that dialogue between what was and what will be. With this in mind, Mitos & Ritos ("Myths and Rites"), the debut EP by the Ecuadorian group Cruzloma, consolidates in its six songs a spirit of promoting traditional rhythms in contemporary styles, a process of reinvention and self-discovery in homage to the indigenous peoples of the Ecuadorian jungle and the riches of ceremonial music, based around the bambuco style from Esmeraldas on the northern coast, and the bomba del chota and the san juanito from Imbabura province. On this EP there are also sacred prayers of the Shuar nation, called Ujaj and Anets, including ceremonies like the taking of ayahuasca and of the tzan tza, all in a mix featuring electronica, global bass and dembow. It is a journey into mysticism, the jungle and the dancefloor, reflecting a search for musical identity that is at once contemporary and futurist.

Michael Reinboths allererste Veröffentlichung unter seinem Namen. Nach den frühen Beanfield-Produktionen, ca. 20 Remixen (einige davon schlicht als Compost Remixes bezeichnet), mehr als 30 Compilations, einigen 12"s unter verschiedenen Alter Egos und über 30 Jahren Compost Label Betriebsamkeit, fiel die Entscheidung dann doch leicht: Jetzt oder nie!

"Let The Spirit" ist eine kinetische Coverversion eines House-Klassikers, der vor langer Zeit auf Ron Trents legendärem Prescription-Imprint veröffentlicht wurde. Es gibt keine Samples, alles ist selbst programmiert und zusammen mit Jan Krause (Beanfield) produziert. Die Flipside, etwas trippiger "RS6 Avant" in zwei Versionen. Die Cosmic Version lädt dazu ein, über die Landstraße zu schweben (oder in den späten Nachtstunden mit geschlossenen Augen über den Dancefloor). Und da Michael auch gerne schnell fährt, hat er sich entschlossen, die Club Version hinzuzufügen - eine viel energischere Version, die auf der Tanzfläche (und natürlich auf der Autobahn) zu Spitzenzeiten gut funktioniert. Weitere Michael Reinboth-Releases sind für 2024 in der Mache!

Good Looks write kindhearted and cathartic rock songs about the persistence required to make it through hard times. In April 2022, the Austin, Texas quartet released their critically acclaimed debut `Bummer Year'. Immediately after their triumphant hometown record release show, lead guitarist Jake Ames was hit by a car crossing the street, fracturing his skull and tailbone. Thankfully, Ames made a full recovery. The traumatic accident strengthened the bond that built their electric new album `Lived Here For A While'. Out May 3 via Keeled Scales, it's fearlessly direct music that captures the fullthroated intensity of their galvanizing live show. Reinvigorated, Good Looks tracked `Lived Here for a While' at Texas' Dandy Sounds with producer/engineer Dan Duszynski (of Loma and Cross Record) the following summer. Though Ames had to relearn some of his parts, his palpably energetic performances elevated the entire record. On the LP, the band trades the Americana sound that colored in the lines of `Bummer Year' for clanging post-punk guitars and expansive indie rock. Lyrically, the songs on this album are healing meditations on family dysfunction, new relationships, and how a home can become unrecognizable. Lyricist Tyler Jordan's songs explore how relationships can crumble irrevocably but also how those partnerships can be centering, hopeful, and exciting. In another horrific accident in July 2023, their tour van was rearended by a speeding car, causing their van, instruments, merch, and records, to go up in flames. Thankfully, none of the band members suffered serious injuries. This resilience is essential to Good Looks and why the songs on `Lived Here For A While' resonate so profoundly.

"Leave Of Absence" beginnt mit einer schaurigen Geigenschwellung, bevor es in den Gitarrenwahnsinn ausbricht, der von Sean Martin (Twitching
Tongues, ex-Hatebreed) und Mike McKenzie (The Red Chord) im Duett gespielt wird. Umbra Vitae bleiben mit "Belief Is Obsolete" und "Clear Cutter"
im roten Bereich und stellen die elektrisierende Rhythmusgruppe von Jon Rice (Uncle Acid, Tsjuder) und Greg Weeks (The Red Chord) vor. Das
Hook-geladene "Anti-Spirit Machine" steht dann im Mittelpunkt, ein Kriegsschrei für die Unterdrückten. Von hier aus fahren Umbra Vitae fort, alles zu
zertrümmern, was sich ihnen in den Weg stellt. Das disharmonische "Reality In Retrograde" rast mit knirschender Unschärfe in das schwerfällige "Past
Tense" und das düster-verführerische "Velvet Black". Zwei Songs, die metallische Heaviness in Reinkultur sind. "Twenty-Twenty Vision", "Algorithm Of
Fear" und "Empty Vessel" steigern die Intensität, angetrieben von den ergreifenden lyrischen Themen und den unmenschlichen Gesangseinlagen von
Jacob Bannon (Converge). Die Dreifaltigkeit aus dem langsamen "Cause & Effect", dem ultra-gewalttätigen "Deep End" und dem wirbelnden "Nature
vs. Nurture" prügeln weiter auf die Hörer ein und leiten das miteinander verbundene "Fatal Flaw" und "Light Of Death" als bösartiges Finale dieses
modernen Metal-Meisterwerks ein.

Love Wonderland - The Best Twilights of Love Wonderland (CAM027)

Formed in 2018 by Takujuro Iwade, film director and drummer Kaya Koike and Mayumi Sakurai with the theme of " Lovers Rock from the other side," Love Wonderland performs reggae with a unique interpretation influenced by psychedelia and synth-pop.

The Best Twilights LP compiles tracks from three demos released between 2019 and 2024 and reflects their full spectrum from electronic dub to pop tinted reinterpretation of their peers.
Considered as the best kept secret of the Japanese dub scene, they continue to grow at each live performance with faith and passion.
Love Wonderland's main aspiration is to keep their motto alive.

Mastered by Krikor Kouchain and limited to 400 copies.

As part of the series - Blockhead presents his new album, Luminous Rubble, where the artist dives deep into KPM’s iconic music and sound design library. Blockhead has released 15 albums over the past 15 years and is regarded as one of the modern masters of instrumental hip-hop. It’s a producer’s dream: Being given access to a vast library of material to construct something completely new and exciting out of all of it and when Blockhead’s at the controls, the results are a listener’s paradise, too. The New York City-based hip-hop production legend’s Luminous Rubble is the latest missive in a particularly busy period for the underground hip-hop veteran, who’s spent the last decades lending his considerable talents to work from artists like Armand Hammer, billy woods, Murs, and Open Mike Eagle; in 2021, he released the critically acclaimed collab LP Garbology with rap legend and longtime collaborator Aesop Rock, just last year he unleashed his twelfth solo album, The Aux. “For me, as a producer who uses samples, there’s nothing better than free rein. That was so exciting for me. Their vault is the one I’m most familiar with,” he says with a laugh. “Back when I used to go record shopping a lot, I would pretty much buy any KPM record on sight. They were always a huge find at record stores. So to be able to tap into these records with no limitations was really nice. Having no boundaries can be overwhelming when it comes to the creative process. Working with these samples forced me to find middle ground in cases where I’d typically just walk away and look elsewhere.” After hearing Luminous Rubble, you’ll be happy he stuck around.

"Leave Of Absence" beginnt mit einer schaurigen Geigenschwellung, bevor es in den Gitarrenwahnsinn ausbricht, der von Sean Martin (Twitching
Tongues, ex-Hatebreed) und Mike McKenzie (The Red Chord) im Duett gespielt wird. Umbra Vitae bleiben mit "Belief Is Obsolete" und "Clear Cutter"
im roten Bereich und stellen die elektrisierende Rhythmusgruppe von Jon Rice (Uncle Acid, Tsjuder) und Greg Weeks (The Red Chord) vor. Das
Hook-geladene "Anti-Spirit Machine" steht dann im Mittelpunkt, ein Kriegsschrei für die Unterdrückten. Von hier aus fahren Umbra Vitae fort, alles zu
zertrümmern, was sich ihnen in den Weg stellt. Das disharmonische "Reality In Retrograde" rast mit knirschender Unschärfe in das schwerfällige "Past
Tense" und das düster-verführerische "Velvet Black". Zwei Songs, die metallische Heaviness in Reinkultur sind. "Twenty-Twenty Vision", "Algorithm Of
Fear" und "Empty Vessel" steigern die Intensität, angetrieben von den ergreifenden lyrischen Themen und den unmenschlichen Gesangseinlagen von
Jacob Bannon (Converge). Die Dreifaltigkeit aus dem langsamen "Cause & Effect", dem ultra-gewalttätigen "Deep End" und dem wirbelnden "Nature
vs. Nurture" prügeln weiter auf die Hörer ein und leiten das miteinander verbundene "Fatal Flaw" und "Light Of Death" als bösartiges Finale dieses
modernen Metal-Meisterwerks ein.

Das dritte Album von Marina Allen mit starkem und lebendigem Songwriting, wunderschön instrumentiert, hochmelodisch und mit einer unvergleichlichen lyrischen Perspektive vorgetragen. Mit zwei gefeierten Alben hat die in Los Angeles lebende Singer-Songwriterin eine frühe Ernte eingefahren, aber ihr drittes Studioalbum birgt den bislang größten Ertrag. Verglichen mit den anschwellenden Kompositionen von Allens zweitem Album Centrifics oder der unschuldigen Ruhe von Candlepower, ist die Welt von Eight Pointed Star tiefgreifender und offener. Schimmernende Gitarren verziehren die Canyons und Staub wird von der rot vernarbten Erde aufgewirbelt. Allens Gesang ist rein und kristallin, während die Instrumentierung reichhaltig ist und vor Helligkeit nur so strotzt. Man kann hören, wie die Musik Zufriedenheit ausstrahlt und der Produktion von Chris Cohen Raum für eine volle Band bietet. Allens künstlerische Zuneigung gilt vor allem Sängern, die ihrer Meinung nach wirklich singen können, von The Roches bis Karen Dalton, Joanna Newsom und Meredith Monk. Aber diese Einflüsse verschwinden wie Gespenster auf dem Dachboden, wenn sie selbst zu singen beginnt. Allen hat eine Stimme, die es mit dem Kanon aufnehmen kann - unnachahmlich - und sie hat noch nie so entschlossen geklungen wie hier. Ein strahlender, klarsichtiger moderner Klassiker des alternativen Folk und Americana. Für Fans von Aldous Harding, Fiona Apple und Waxahatchee. Klassich schwarzes Vinyl mit DLC oder Digisleeve CD.

Dr. Dog ist definitiv keine HipHop Band, Dr. Dog kommen aus Philadelphia und sie spielen eine sehr abwechslungsreiche Mischung aus 60er Jahre-Pop und Psychedelic Rock. Bevor Ihre Fanbase im Jahre 2004 richtig groß geworden ist, nachdem sie zusammen mit My Morning Jacket auf U.S.Tour gegangen sind, haben sie auf ihren eigenen Label 2 schöne Alben veröffentlicht - Psychedelic Swamp (2001) und Toothbrush (2002). Es folgte ein Deal mit Rough Trade Recs., 2 weitere, sehr gelungene Alben (Easy Beat und We All Belong, das es gar in die US Charts auf Platz 30 geschafft hat!) und Tourneen mit Clap Your Hands Say Yeah, Strokes, Raconteurs und auch mit The Black Keys. Nun bringen Dr. Dog auf Park The Van ihr neues Album mit dem Titel FATE heraus. Und dem Quintett ist es tatsächlich gelungen, auf diesem neuen Album eine Quintessenz der amerikanischen Popmusik heraus zu filtern: Songs wie Hang On oder Uncovering The Old tauchen tief in die amerikanische Seele und Mysterien des Lebens und der Liebe und bieten darüber musikalisch vielschichtige, bittersüße Reflexionen an. Dabei bewegt sich Dr. Dog auf den verschlungenen Wegen irgendwo zwischen The Band, Beach Boys und aktuellen Bands wie Spoon oder Guided By Voices.

The Talented Italian Producer, Known for His Enigmatic Project Hill and Recognized for His Previous Ep Collaboration With the Detroit Legend Javonntte on Skylax Records, Is Making a Much-Anticipated Return Under His Real Name, Alessio Collina. an Ardent Aficionado of Authentic House Music, Collina, Hailing From Italy, Gifts Us a Remarkable Lesson in His Latest Offering, the "Pieces of Life Ep." Collina's Dedication to the Origins of House Music Is Evident Throughout This Ep, and It's a Refreshing Reminder of the Genre's Timeless Roots. Italy, a Country With a Deep Appreciation for House Music, Once Again Serves as the Source of Inspiration for This Artist. the "Pieces of Life Ep" Pays a Heartfelt Tribute to the High-Energy and Groove-Laden House Tunes of the 90s, Echoing the Sounds of Iconic Figures Like Dj Duke, Marshall Jefferson, and Labels Like Strictly Rhythm. With Each Track, Collina Effortlessly Transports Us Back to That Golden Era, Capturing the Very Essence and Spirit of That Unforgettable Time. the Ep Kicks Off With the Electrifying "All of That," an Absolute Masterstroke That Sets the Tone for What Follows. Its Pulsating Beats and Infectious Melodies Are Reminiscent of the Fervent Dance Floors of Yesteryears, Evoking a Sense of Nostalgia While Remaining Incredibly Fresh and Contemporary. the Ep's Three Other Titles, "Humble Groove," "Lost World," and "Mid Season," Continue to Captivate and Immerse Listeners in Collina's World of Evocative, Groove-Filled House Music. Each Track Showcases His Meticulous Attention to Detail and His Ability to Create an Authentic Atmosphere That's True to the Genre's Roots. Collina's "Pieces of Life Ep" Is More Than Just a Musical Collection; It's a Genuine Homage to the Spirited House Music of the 90s. His Dedication to Preserving the Essence of the Genre While Infusing It With His Unique Creativity Shines Through in Every Beat and melody.

This Ep Not Only Reinforces Italy's Profound Connection to the House Music Legacy but Also Solidifies Alessio Collina's Place Among Contemporary Artists Who Honor the Past While Paving the Way for the Future. as Skylax Records Prepares to Release This Exceptional 12-Inch, It's Clear That "Pieces of Life" Is a Treasure Trove for Any House Music Enthusiast, Inviting Them to Rediscover the Magic of the 90s With a Fresh Perspective....

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones.

At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory.

The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 7 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 7 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

" The solo venture is expansive and easy on the ears. It's so serene yet expressive of big terrain and huge vistas of emotional landscapes of sound. He works off his own scale. Everything flows outwards. Effortlessly." - Irish Times Experimentation in early electronic music in the Sahara from the singular Mamman Sani. Dreamy organs and droning melodies reinterpret ancient folk tradition into a sublime fantastical soundscape. Never before released recordings from the very beginning - unreleased tracks from his first album, recordings of a short-lived trio, and a cover of an American folk ballad.

Introducing "Uprising Volume 2" by Zaratustra, the Highly Anticipated Second Installment of the Acclaimed Series on Skylax Records. Following the Groundbreaking Success of "Uprising Volume 1" in the Indie Dance Scene, Zaratustra Returns With a Collection of Tracks That Push the Boundaries of Genres, Inspired by Indie Dance, Italo Disco, Ebm, New Beat, Acid, and Ethnic Music. Prepare to Be Captivated by the Infectious Energy of "Uprising Volume 2." the Ep Opens With the Mesmerizing "Dark Clouds" (Club Mix), Reminiscent of the Futuristic Vibes of I-F's "Space Invaders Are Smoking Grass" and the Early 2000s Brilliance of Tiga. the Instrumental Version of "Amours Electroniques" Takes You on a Nostalgic Journey, Evoking the Spirit of Miss Kittin & the Hacker's Iconic Sound. Emilio Van Rijsel Delivers an Astounding Acid Trance Techno Remix of "Dark Clouds," Surpassing Expectations and Becoming an Undeniable Highlight of the Ep. for an Extra Treat, Those Who Purchase the Vinyl on Our Bandcamp Will Receive the Full Instrumental Version of "Dark Clouds," the Vocal Version of "Amours Electroniques" (Feat. Angst for Greta), and the Vocal Version of Naranja's Remix. Speaking of Naranja, the Ep Features a Dynamic and Uptempo Remix of "Amours Electroniques" (Instrumental) by the Talented Producer. Naranja's Remix Infuses the Track With a Pulsating Rhythm and Compelling Grooves, Elevating the Energy to New Heights While Maintaining the Essence of the Original. It's a Captivating Reinterpretation That Will Ignite Dancefloors and Leave Listeners Craving More. "Uprising Volume 2" Is a Powerful Testament to Zaratustra's Ability to Revive the Spirit of the Early 2000s New Wave and Electroclash Era. Each Track Encapsulates the Essence of That Time, Infusing It With a Modern Touch That Will Leave Listeners Craving More. Join the Uprising and Immerse Yourself in the Electrifying Soundscapes of Zaratustra. This Vinyl Release Is a Must-Have for Any Music Enthusiast Seeking a Sonic Adventure That Defies Genres and Rekindles the Spirit of a Bygone Era. Grab Your Copy of "Uprising Volume 2" and Witness the Evolution of Zaratustra's Artistic Prowess, as He Continues to Shape the Future of Electronic Music....

'Freaking Out', das Debütalbum der gefeierten Grunge-Rock-Newcomer LOWLIVES aus Los Angeles, wird am 31. Mai via Spinefarm erscheinen und Fans der frühen Foo Fighters, Bush und Stone Temple Pilots gleichermaßen abholen.

Sänger Lee Downer, Schlagzeuger Luke Johnson, Gitarrist Jaxon Moore und Bassist Steve Lucarelli gründeten die junge Band aus der gemeinsamen Liebe zum Alternative und Grunge der 90er Jahre und dem Wunsch, Musik aus reiner Freude daran zu machen. Das LOWLIVES-Debütalbum 'Freaking Out' ist von genau diesem Geist durchdrungen.

Das Album wurde in den Londoner Chapel Studios mit Produzent Adrian Bushby aufgenommen, der bereits mit Bands wie Foo Fighters oder Muse gearbeitet. Sänger Lee Downer hegt eine Leidenschaft für Nirvana und Alice In Chains, die in Tracks wie 'Vertigo' und 'Swan Dive' durchschimmert. Drummer Luke Johnson beweist seine Besessenheit von den Smashing Pumpkins in 'You Don't Care'. Fans der frühen Foo Fighters, Bush und Stone Temple Pilots werden sich auf 'Freaking Out' wohl fühlen. Bewunderer von Billie Joe Armstrong ('Freaking Out'), Matt Skiba ('Damien') und Rivers Cuomo ('Loser') ebenso. 'Freaking Out' zelebriert schamlos seine Einflüsse und die einfache Schönheit des Zusammenspiels von Gitarre, Bass, Schlagzeug und Gesang.
Tiefgang findet man auf 'Freaking Out' trotzdem, verwurzelt in Texten, die von Ängsten, Sorgen, Verletzlichkeiten und den existenziellen Fragen handeln, die uns in den frühen Morgenstunden an die Decke starren lassen. 'Freaking Out' ist vor allem eine Destillation dessen, was LOWLIVES wirklich ausmacht. Es ist Rockmusik, die einen dazu bringt, sich wieder in die Rockmusik zu verlieben.

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

Another Michael's next chapter begins with Pick Me Up, Turn Me Upside Down, their new album due out this spring on Run For Cover Records. Following last year's sibling album Wishes to Fulfill, Pick Me Up is a more expansive output, patiently unfolding to reveal an exploratory side that brings new hues into the band's vibrant sound. Helmed by lead singer/songwriter Michael Doherty and producer/bassist Nick Sebastiano-along with signature contributions of multi-instrumentalist/vocalist Alenni Davis, drummer Noah Dardaris, and longtime engineer/co-producer/confidante Scoops Dardaris-Pick Me Up, Turn Me Upside Down came to life over three years of intermittent writing and recording sessions that proved unexpectedly fruitful. The band decamped at Headroom Studios in Philadelphia, PA, as well as the same Ferndale, NY house where they made their debut LP, 2021's New Music and Big Pop. The songs on Pick Me Up, Turn Me Upside Down often take the knack for melody that defined Wishes To Fulfill and apply it to left turns like the hypnotic quasi-krautrock of "I've Come Around To That," the sparse balladry of the title track, or the pulsating synth explorations of "The Diner's Spoon." The album's world is weirder and more improvisational, like in the twisting ends of "Hub of Dreams" or the spontaneous performances of "Like I Won A Car"-but Doherty's warm singing and conversational lyricism always keep things grounded. On Pick Me Up, Turn Me Upside Down, the band didn't set out to capture the all encompassing, existential value of music, but they did contribute to it-offering more songs to the world, and with them, chances to create one of those moments.

This work, imbued with Rastafari philosophy and messages of resistance and unity, reinforces Marley’s status as the voice of the people. Blending captivating melodies with powerful lyrics, “Small Axe” addresses social injustices, calling for a fight against oppression. Marley, with his mastery of reggae, delivers a message of hope and revolution, thus marking a landmark moment in his musical career

The Slovak band Shallov releases their new track "Refrain" on the experimental label Weltschmerzen just one year after the release of "Coexist". Two tracks that both span more than 10 minutes in length, work together as one coherent audiovisual art piece and are out as an EP on 10" vinyl. Music videos do not only visually supplement both tracks but they are equally autonomous art pieces.

The visual feature of the music pieces is highlighted by the vinyl's cover painted by Slovak artist Michal Fízik. The previous back cover carries a photograph which served as an inspiration for the painting while the current back has been created via AI reinterpretation.

The musical component of Refrain is based on a repetition building into a hypnotic trance, gradually disintegrating so it eventually ends in a monumental climax. It contrasts the band's previous work as well as the track Coexist which uses rather neverending rhythmic variations, and a changeable vibe and atmosphere.

The concept of the visuals in Coexist is a result of a collective fusion between the theatre director Adam Dragun, Viktor Ori and dozens of other participating non-actors. The video depicts individualistic egoist actions shaping a contradicting and incomprehensible totality of the world which ultimately seems to be alienated to everybody.

Refrain is an introspective journey leading to the dissolution of the individualistic experience of human existence. The video's concept, direction and production was conducted by the visual artist and performer Jak Užovič who also tends to inter-media art and object installations.

As Shallov and Jak Užovič explain the track's conceptual background: "The idea of owning one's own body and mind is an unnatural way of looking at ourselves imposed by the dominant paradigm. It's a blind ideology - the view of a body as a machine or a commodity is incomplete and represents a materialistic utopia which is being systematically internalized. We're not a community that acts right or wrong, our intentions are determined by an ideology which pretends not to exist - our relations are relations of masters and slaves, of domination and exploitation. We are a society bound by these features and even though we refuse to admit it, the world presented to us is only a legend we're striving to keep alive at all costs, while believing that there is no alternative. Our quality doesn't stem magically from the inside, on the contrary, it's determined by the conditions within which we interpret it through collectively shared fictions. We don't get to know our consciousness through ourselves, but we recognize it through others as they create and form us."

Yes' 90125 was a departure from their progressive style but it introduced the band to a new generation of fans, reaching No. 5 on the Billboard 200 and No. 16 on the U.K. albums chart. The 1983 album remains their best-selling album with more than 3 million copies sold in the U.S. "Cinema" earned the group a Grammy Award for Best Rock Instrumental Performance, while "Owner Of A Lonely Heart" was the band's first and only single to reach No. 1 on the Billboard Hot 100 chart.

Named for its Atco catalog number, 90125, the album — the band's 11th studio effort — it was born out of the band's self-reinvention. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots.

"Owner Of A Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points,

90125 is a significant and well-regarded album in the Yes discography.

Analogue Productions is proud to offer the definitive reissue deluxe 180-gram 45 RPM 2LP of 90125. For Yes fans, this is a can't-miss addition to your album collection.

The self-titled debut album by Last Plane Out (S-Rock/Border) will be released worldwide on vinyl - The band: Last Plane Out is a duo consisting of Nils Erikson (music) and Anders Lundquist (lyrics) They describe their style as progressive pop: songs for those looking for some musical and lyrical chewing resistance, yet appealing to the casual listener.

Nils Erikson, based in Malmoo, Sweden, is a Swedish singer, composer and multi- instrumentalist. He has released a number of solo albums, one of which was nominated for two Swedish Grammys (Newcomer of the Year and Male Artist of the Year). He has also released several instrumental works that have been streamed millions of times.
In addition to that, Nils is the co-keyboardist and co-lead singer of the progressive rock band Karmakanic, led by longtime Steve Hackett bassist Jonas Reingold. Anders Lundquist, based in Stockholm, Sweden, is a lyricist, composer and bassist/guitarist, as well as a renowned music journalist. As the bassist and one of the two main songwriters of Swedish hard rock progsters band Future Elephants?, he released three acclaimed albums between 2016 and 2023.

Czechoslovakian big band legend Gustav Brom has graced dancefloors with his music for a long time, you've probably heard his work and not realised it. PANORAMA returns with "Calling Up The Rain", from his 1976 album "Gustav Brom plays for you Pop Jazz and Swing" Gustav infused big band jazz and a latin groove into this dancefloor weapon, Organ solos, Trumpet solos and a screeching guitar solo. What's not to love?

Presented as a reissue by the newly launched London-based record label, PANORAMA Records, "Calling Up The Rain" reaffirms the label's discerning direction and "Don't Judge A Record By It's Cover" attitude. Championed by Gilles Peterson, Patrick Forge and a few other legends in the game, PANORAMA Records aims to reintroduce this big band hit to new audiences, establishing itself as a tastemaker in the business of reissuing global grooves. It comes with a sticker on the front with quotes from tastemakers Patrick Forge, Rainer Trueby and Zag Erlat (My Analog Journal).

With this release, record collectors can anticipate a discovery of Gustav's anthem, for the first time on a 45 and a first time official reissue, a full blown party starter, as Panorama Records presents "Calling Up The Rain" as a timeless reissue. The label shook mountains with it's first release of Gitte and Inger, with huge DJ support from Gilles Peterson, Ross Allen and other great tastemakers. PAN002 is here, Buy or cry!