"Swedens best kept rock n roll secret is back to claim their throne!"
With over a half a million sold albums The Refreshments has proven to be one of Sweden's most solid rock ´n´ roll acts.
It rocks and it rolls in a way like if Chuck Berry was born in Wales and formed a band with Dave Edmunds.
You can call it pub rock, rhythm and blues, country, and all the above but I prefer to call it rock n roll as it was meant to be delivered.
First heard by global audiences on Sahel Sounds' Music from Saharan WhatsApp series, Malian guitar hero Bounaly (the stage name of Ali "Bounaly" Traore) makes his full-length debut with "Dimanche à Bamako" ("Sunday in Bamako"). Recorded live on location, the music on "Dimanche à Bamako" is a mix of regional favorites, traditional standards, and originals. Long songs with looping rhythms, pounding kick, and electric shredding guitar, punctuated by shout outs to the guests of honor. A raw and frenetic take on Northern Mali desert sound, playing for the diaspora at a Bamako wedding.
Kacy & Clayton first met Jeff Tweedy in the backroom of the Fillmore Auditorium in San Francisco in September 2016. The band had been invited to open for Wilco on night 4 of their annual 5-night run. While waiting for their soundcheck, Jeff appeared through a curtain backstage and introduced himself. In the conversations that followed, Kacy Anderson, Clayton Linthicum and Jeff Tweedy discussed their mutual appreciation of Davy Graham and Jeff’s understanding of Saskatchewan’s geography. Those conversations would eventually blossom into an invite to stop by Wilco’s studio, the Loft, a visit they made only weeks later. In January 2017, Kacy & Clayton returned to the Loft with a rhythm section and a batch of new songs. Over the course of 8 days, the band recorded 9 songs with Jeff Tweedy producing and Loft house engineer Tom Schick at the helm. These 9 songs are what would become the band’s fourth album, The Siren’s Song. While writing and recording The Siren's Song, Kacy & Clayton found inspiration in the music of Sammi Smith, The Everly Brothers, Link Wray's chicken shack LPs, country records with harpsichords, The Sir Douglas Quintet, Gene Clark, Jeannie C. Riley, as well as British traditional singers like Peter Bellamy and the Watersons. The Siren's Song is a product of these influences and an extraordinary progression in the band's own sound.
Public Possession turns 10. What holds it all together?
Comedy & Rhythm. Find us in between the sun and the moon. Onward, forward, don’t step backward.
The source is everywhere.
• Where (Who) Am I? An angel with an UFO.
• Toot, Toot, Beep, Beep....
• Maintain a child’s mind
• Listen, talk, see
• Archeaology (dig it)
• WOW (curiosity)
• Easy & Diffifficult
• Mix It Up
• Soft Education
• Love Unlimited
We are not doing this alone.
The biggest thank you goes to the P.P. Team & all label artists.
To many more years!!
The avant-garde Kraut ensemble Supersempfft laid the foundation for their techno-tropical pop music in 1979 with their debut album "Roboterwerke." In 1981, they followed up with the album "Metaluna," which is now being honored through a re-release on Bureau B. The group, consisting of Dieter Kolb, Franz Knüttel, and Franz Aumüller, fused global influences, experimental sonic landscapes, and surreal lyrics into a unique sonic cosmos. "Metaluna" stands out with its meandering sequences, unconventional rhythms, and psychedelic songwriting that remains groundbreaking even decades later.
Hailing from Las Vegas, Johnny Ruiz and the Escapers offer up two sides of the haunting group sounds, sure to scratch the itch of doo-wop and soul enthusiasts alike. Adorning the a-side is 'Sorry', a stark, creeping, dirge like ballad with a sparse rhythm track that swings eerily underneath Johnny's sublime lead and the Escapers plaintive harmonies, creating a hypnotic vibe that will have you dropping the needle over and over again. Continuing with the dark vibes but picking up the pace a couple of BPMs, 'The Prettiest Girl' brings a measure of hopefulness to the tune, evoking the earnest, lovelorn memories of youth. A must for fans of Nolan Strong and the Diablos Fortune Records output.
Istanbul born performing artist, producer, composer and instrument builder Berke Can Ozcan, in collaboration with critically acclaimed Norwegian trumpet mastermind Arve Henriksen and Brooklyn-based baritone saxophonist Jonah Parzen-Johnson, takes you on a captivating journey through the depths of nature on the Lycian Way, immersing the listener in a mesmerizing soundscape that echoes the wonder and mystery of the trail leading to the ancient Lycia As Ozcan ventures deeper into uncharted territory, he stumbles upon a sight that would spark an artistic flame - the Twin Rocks. This collaboration weaves together a tapestry of sonic explorations that capture the essence of Ozcan's journey. The ambient-jazz album's delicate balance between organic sounds and electronic manipulation creates a dreamlike atmosphere that transports the listener to the rugged terrain of the Lycian Way. Mastered by three time Grammy winner Dave Darlington, each track on this ethereal album mirrors a different aspect of the journey to the Twin Rocks, meticulously composed by Ozcan, Parzen-Johnson and Henriksen with each section of the trail in mind. The album is infused with melodic bird songs and sound walk memories that add depth and texture to the ethereal soundscape. Ozcan's array of self- crafted instruments made out of bamboos, soda bottle caps, straws, house keys, terracotta flower pots alongside with his long time companions like his steel drums, chimes, gongs, and vibraphone, serve as the medium through which he expressed the reflections of his encounters in his own world of rhythm and melody
Chainsaw Massacre Garage Dirty Rock'n'Roll Ultra Trash Punk from Bern Switzerland, incl. Blow Um Mau Mau and disturbing Scorpions cover version of: Speedy's coming Beat-Man: "1986 Bern, Schweiz, die Monsters wurden gegründet 2011 ihr Neues und insgesammt 8thes Album wird geboren POP UP YOURS , alles hat angefangen als Mix zwischen ihren Rockabilly und Garage Punk legenden und in der zwischenzeit sie die Monsters zu Richtigen Monster herangewachsen, die ihr ganzes leben Tun und Schaffen in eine ihr eigene musik 'SIMPLE RAW TRASH ROCK' rein bringen, eine ins Minimalste gezerrte von trash triefende Ein Riff Gitarre gekopelt mit einem Stupiden ein Ton direkten in den magen hauenden Bass zusammen mit 2 Schlagzeuger die differenter nicht sein können einer virtuos der andere stupid Bum-Täg das ist das rezept der Musik der Monsters, angefangen mit der inspiration und das lebensgefühl der mitte 50er rock'n'roll bewegung und jetzt angekommen im jahre 1974 die geburt der Blues Explosion, inspiriert von bands wie AC/CD, TEN YEARS AFTER, CREAM, THE RAMONES etc mit ihrem eigenen Dreh drin Chainsaw Masseacre Garage Punk Trash, the Monsters woollen ihrer musik Pop up Yours nennen wir nennens einfachheitshalber TRAAAAASHHH !!! die Scheibe fängt an mit einem der einfachsten und direktesten Love songs ever I WANT YOU ein Riff und eine Linie wo direct sagt auf was es ankommt, noch mehr Einfachheit findet man in 'more you talk less I here you' was auch heute eigentlich zu fast einer politischen aussage gewertet werden kann , aufegommen wurde fast das ganze album in Italien's Outside Inside Studios und abgemischt von Nene/Guz und Pumi die Trashigsten der songs wurden im Hauseigenen Jesus Loves you studio aufgenommen, die Songs sind alles eigen kompositionen ausser das von den Kraut Rock Legenden Scorpions gecoverte Speedy's coming aus ihrem Fly to the Rainbow album aus dem jahre 1974 . so ..wilkommen zu den Monsters und ihrem SIMPEL RAW ONE RIFF TRASH ROCK!"
Tin Fingers takes on a darker, melancholic direction on their second full album. Felix Machtelinckx' weeping vocals, preaching, searching, and trying to understand God, form the leitmotif. With rich melodies, haunting piano sounds, improvisations, first takes and no overdubs, Tin Fingers is searching for pureness and keeping things human and simple. The band is playing together intuitively, without a computer, without ego, just for the sake of music
The creation of the album was very fluent and spontaneous. Singer Felix wrote the backbones of the songs and the lyrics on acoustic guitar and piano. He wanted to have songs ready in order to be able to record and write arrangements fast. With an eye for details but without overthinking, keeping the ideas fresh. 'I wanted to stay in love with the music.' he explains. 'It needed to go fast, very fast, in just two weeks the entire album was recorded and ready to be mixed.'
In the studio, the band especially focused on picking the right mood rather than playing the right notes.
They were fed up with working on a computer for many hours, overthinking production choices, and adding instruments on top of each other as if they were Lego blocks. This time they decided to work in a more traditional way, going for first takes, jams, and essentially working with analog gear. No computers, no screens, no distractions. Only four humans in a studio trying to make a sound together by keeping things spontaneous and raw. They said goodbye to perfection and worked towards an unfinished product, a snapshot.
Tin Fingers also didn't want to sound like any other artist on this record. They decided not to listen to music during the sessions, and to never express ideas by referencing other bands. Just before the studio session, however, bass player Simen Wouters broke the rules and shared Bonnie 'Prince' Billy's, I See Darkness. Its dark and searching sound ended up inspiring the band unmistakably.
Once the recording was finished, the band decided to keep the volatile rhythm going and asked reputable NYC-based mixer and producer D. James Goodwin to finish the job. Goodwin, known for his analog folk productions with a real American punchy sound but a tender touch, proved the right man for the job. He opened up the songs and kept things poetic, minimal but impressive.
180-gram 45 RPM double LP
Mastered by Ryan K. Smith at Sterling Sound from the original analogue master tape
Pressed at Quality Record Pressings and RTI
Gatefold old-style "tip-on" jacket by Stoughton Printing
In The Right Place is the sixth, and biggest-selling album of the late iconic music legend, six-time Grammy-winner, and Rock And Roll Hall of Fame inductee, Dr. John. Dr. John, the stage name of Malcolm John Rebennack, Jr., was one of the most original, distinctive and influential voices to ever come out of New Orleans. His career spanned six decades as a songwriter, composer, producer and performer. His unique blend of music carried his hometown of New Orleans at its heart.
His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex, Frankie Ford and Allen Toussaint. Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing keyboards on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones' Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John The Nite Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots.
1973's In The Right Place contained the chart hits "Right Place Wrong Time" and "Such A Night." In addition to his six Grammy wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other Grammy nominations over the years. In 2007 he was nominated for "Sippiana Hericane," his Hurricane Katrina benefit disc.
AllMusic says that with In The Right Place, Dr. John struck mainstream paydirt, especially with his hit single "Right Place Wrong Time" bounding up the charts and initiating listeners into New Orleans-style rock (the song hit No. 9 in 1973 on the Billboard Hot 100 songs chart).
Also including Allen Toussaint's "Life," and a funky little number entitled "Traveling Mood," which shows off the good doctor's fine piano styling, and with able help from the Meters as backup group, In the Right Place is still a fine collection to own.
With mastering by Sterling Sound's Ryan K. Smith direct from the original tape, and two sides of premium 180-gram vinyl (pressed by the best — Quality Record Pressings and RTI), our 45 RPM edition of In The Right Place emphasizes Dr. John's gravelly bayou drawl and sonically creates the hoodoo-infused stage persona he brought to his performances.
After Hurricane Katrina Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007 he was inducted into the Louisiana Music Hall of Fame and Blues Hall of Fame. In 2008 he released City That Care Forgot, winning him a Grammy for Best Contemporary Blues Album.
His numerous other awards included the Louie Award from the Louis Armstrong House Museum and the Jazz Foundation of America's Hank Jones Award, presented in October 2016 at "A Great Night in Harlem" which pleged $1 million to help musicians recovering from the 2016 Louisiana flood.
We are so pleased to bring you this deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic Series) reissue of the timeless Dr. John classic In The Right Place. Cue it up and prepare to be transported.
REPRESSED 2x12" now with bonus download code! Heavy, heavy tunes! Studio One instrumentals are the foundation of Reggae. These rhythm tracks became the basis for all Dancehall as countless artists and producers re-versioned these classic Studio One instrumentals.
REVIEWS: "Sheer volume of output from Studio One is astonishing, combined with the fact that the quality of the recordings never seem to diminish. These instrumentals touch on ska, rocksteady, dub, and begin to hint at the reggae sound of the late '70s. Each instrumental is perfect and has the feel that it could hardly be improved upon. Soul Jazz has once again put together a wonderfully rounded collection of music from Studio One" - All Music.
"I think if a nuclear family could have a soundtrack, ours would be the Soul Jazz comp Studio One: Scorcher. I wouldn't say it's the best record ever made, but if I heard it every single day for the rest of my life, I'd be 100% cool with it." DJ. & "Compilation of essential & rare Studio One instrumentals" - Hard Wax.
"Studio One Scorcher is the latest of these, collecting instrumental tracks spanning the years from the late 60's rocksteady vogue through the onset of dancehall and digital rhythms in the early 80's featuring The Skatalites, trombonist Don Drummond, Pablove Black and others." - Billboard.
New one-off press limited edition transparent green double vinyl edition of Soul
Jazz Records long unavailable Studio One Roots 2, featuring classic tracks recorded
at Studio One.
Studio Roots Vol. 2 delves deep into the vaults of the legendary Jamaican Reggae
label and features rare and classic roots as well as an unprecedented seven
unreleased tracks that up till now had never seen the light of day.
Roots and rastafarian music was being recorded at Studio One by Clement "Sir
Coxsone" Dodd from the early 1960s onwards to the 1990s and this album reflects
the depth and diversity of roots music at the label.
From the slow-ska of Dudley Sibbley, to the deep instrumental jazz cuts of Cedric Im
Brooks over classic roots rhythms such as "Satta Massagana" to Winston Mathews
stunning eerie version of Bob Marley and the Wailers "Sun Is Shining". The Zion All
Stars features the Burro rastafarian drumming of Count Ossie and the Mystic
Revelation of Rastafari.
This album features many of the classic Studio One artists – Willie Williams, Tommy
McCook, Cedric Brooks, The Gladiators, Vin Gordon – as well as many less wellknown artists – all who produced classic roots music under the guidance of producer
Clement "Sir Coxsone" Dodd and recorded at the legendary Studio One Records.
New one-off press limited edition silver coloured double vinyl edition of Soul Jazz Records long unavailable 'Jamaica Soul Shake' collection of tracks from The Sound Dimension, probably the funkiest reggae groups to ever to exist on the planet! Features classic tracks recorded at Studio One.
This is the first ever collection of the music of The Sound Dimension - a mixture of classic tracks alongside super-rare singles only ever released in Jamaica. Alongside The Skatalites, The Sound Dimension were perhaps the most important group in the history of reggae music. That they remain relatively unknown is explained by the fact that they mostly functioned as the in-house studio group at Studio One Records performing anonymously behind the stars of the day - the reggae equivalent of Motown’s Funk Brothers.
Ausbalancierte und dynamische Neupressung des 2018er Debütalbums der Melbourner Jazz-Band Midlife, das bei den Worldwide FM Awards als bestes Album des Jahres nominiert war und Trendsetter wie DJ Harvey, Gilles Peterson, Artwork und Bradley Zero begeistert hat. Mit seiner sensationellen, Genre sprengenden Kombination aus progressiven 70er Sounds mit elektronischem Krautrock, unterlegt mit einer Mischung aus rhythmischem Funk, House und Dream-Pop, ist die LP jetzt schon ein Klassiker der Psychedelic-Jazz-Fusion, der eine süchtig machende Atmosphäre schafft, die live mit wilden Improvisationen unterstützt wird.
Artefacts is the second part of the diptych of 2 albums by Hihats In Trees, pseudonym for Belgian drummer, producer Lander Gyselinck
HHIT’s unprecedented experiments with rhythm and acoustic textures on its debut album ‘Disleksikon’, released in 2019, was well received. On Artefacts HHIT takes it a step further. A truly sensational sonic realm is explored.
Hihats In Trees’ obsession with singular physical objects, materials of wood, stone, metal evokes a dark dystopian sentiment and a recurring melancholy. A poetic expression of the solid object. In Artefacts, through this language with materials, the physical objects come to life sonically. The 10 compositions revolve around this peculiar vocabulary of texture and rhythm, balancing between the dance floor and a solitary ritual, reminiscing on HHIT’s major influences of gqom, detroit techno, hiphop and experimental ambient.
Fashion designer Dries Van Noten was fascinated by HHIT’s musical experiments, This resulted in a collaboration with photographer Viviane Sassen for his Spring Summer collection in 2021 with music by HHIT, partly from Disleksikon, partly tracks later to be released on Artefacts. Artefacts is released on the Brussels based label Maloca Records, run by dj, producer Le Motel.
An EP based on nostalgic feelings of bygone days. Deep electronic grooves and melodies are mixed with intense emotional musicality that transports you to the past… Resulting in a 'hands up in the air' feeling, where the rush of music bathes you in warmth and remembrance, showcasing Wink’s diverse range of production and artistry on each cut.
"12 months of Longing" begins with a pounding 909 kick that soon gets flooded with funky percussion building up to the 1st break of lush keys and swirling beats. The production continues leading into bouncing bass and a serious groove, that evolves into a rhythmic pause where soaring strings, and melodies build and build leading to an intense crescendo that will blow the roof off.
"Sexy Bot” is a title which suits this sexy tune. It’s journey begins with latin rhythms and is quickly joined with repetitive stabs and ascending pads, that spirals around you, directing the path of music that unfolds into a Detroit inspired musical progression. Symphonic string plucks leads you into a break of serious sexy melodies that explodes into a rolling bassline that will elevate any listener into another sexy feel good echelon.
“Used to Be” quickly guides you to a signature wink acid bassline, that writhes its way to an infectious groove that is soon complimented by a hauntingly smooth analog synth, advancing into a sensual musical progression. Wink then adds his voice to the song, with simple and effective contemplative words “The way I used to be”, endorsing the overall nostalgic feeling of this unique and diverse EP.
Chicago born & Detroit bred ALTON MILLER is a vessel of musical vibrations. Since his first release as a remixer on KEVIN SAUNDERSON'S 1987 "KEYNOTES," ALTON'S creative journey has remained consistent. The four tracks on this EP all feature low slung basslines, dirty synths & deep rhythms.
Different elements, opposite and contrasting, can be indissoluble and necessary for each other.
The beauty of nature is balance in diversity.
“Sol Inspired” blends minimal sounds, dub influences, dark and hypnotic melodies.
Refined rhythms intertwine with enveloping bass lines, modular sequences lean on spatial atmospheres and textures, for a journey of total sound immersion.
"Fast Rate" blends echoes of nostalgia with futuristic innovation, crafting a sonic landscape. In the relentless rush of life's high-speed journey, it invites introspection, courageously urging listeners to delve into the intricate web of contemporary life.
This EP is inspired by deep reflections on the meaning of life in a fast-paced world filled with thoughts and emotions. It symbolizes a futuristic journey, mirroring the human struggle to gain an external perspective in our busy lives. Random Alias prompts users to contemplate their existence, offering a musical experience that transcends mere dance rhythms.
The 5 tracker showcases a wide array of sounds, from aggressive tones to captivating and atmospheric elements unveiling a new face of the label that keeps exploring the interconnection between human and technology.
The A side roars with high bpm and furious rhythms."Keep me high" express the need of escaping ordinary life, seeking something that keeps us "high" and allows to escape and reset.
Following up "Fast Rate" spans a variety of influences, blending the allure of old-school Detroit electro with futuristic sounds achieved through bold experimentation and advanced wave modeling. This fusion results in a diverse and innovative sonic aesthetic, ranging from nostalgic '80s/'90s vibes to experimental dimensions where tones morph and evolve.
"Solo in Space" and "Restless" on the filp side deliver direct, pulsating sounds and rhythms, embracing an impactful electro-techno vision. These tracks merge both worlds, combining the energy and drive of electro with the power and tension typical of techno, resulting in a sonic journey that blurs genre boundaries.
Completing the collection is a digital bonus track, "Galactic Power," which serves as a soulful embodiment of the EP's essence. With its otherworldly alien-style pitched vocals,The track intricately crafts a cosmic palette of bright pulses and ethereal FM synthesis.
This release represents a bold and progressive vision of electro, confirming and solidifying the eclectic direction and the concept of inter genre flexibility. Music can be an ever-evolving form of art, blending elements that transport listeners to distant cosmic realms.
Time shapes people, people shape technology, technology shapes music, music shapes time.
