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For Fans Of... El Michels Affair, Adnan Younge, Roy Ayers, Karnem Riggins, The Roots, Khruangbin. Producer "Grimez"” has been making music for 20 years deep, Grimez has ghost produced tracks for 50 cent, Hi-Tek, Kool Keith, Stick man (DEAD PREZ), Killah Priest, Sadat X, MOOD & Talib Kweli, and Mighty Diamonds to name a few. Gritty & raw analogue instrumentals. Very limited black vinyl LP. Genre: Hip Hop. Doctor Bionic is back on the airwaves. The newest album from Cincnnati based executive producer Jason Grimez is an instrumental collection of classic soul, jazz, and hip-hop sounds. The first instalment of a three-part series, Terrestrial Radio offers 37 minutes of carefully curated jams. Tune in to catch the vibe on 1/26/2024. Jason Grimez is an engineer, executive producer, and the owner of Chiefdom Records. Growing up in the 90s, he fell in love with hip hop at an early age. He started scratching on a pair of 1200s and sampling records with an MPC 3000 in high school Years of sampling, mixing, producing, and sharing his own music led him to where he is today. His independent label Chiefdom Records has released close to 30 albums in the last seven years. His studio persona Doctor Bionic was one of the first to see a release on the new implant. The project features a rotating cast of incredibly talented session musicians. Jason is responsible for writing, recording, producing, mixing, and releasing the records. Grimez sets the scene on track one of Terrestrial Radio, aptly titled “Time Continuum.” The listener is greeted with the scrubbing sound of a radio dial We pause for a few seconds when the signal is strong enough to catch an ad-read from an old cereal commercial, or to gather an update from a sports announcer. Grimez takes the listener to a new era each time he spins the dial. Our search comes to an end on the channel where we’ll cruise through the next six songs, hand-picked by the Doctor himself. Terrestrial Radio features some of Cincnnati's best session musicians. “Keep Your Kids in School” highlights a killer rhythm section. Brian Batchelar-Glader recorded the organ over an effortlessly funky foundation formulated by Manan Havéans (drums) and Aaron Jacobs (bass). With an equally punchy bass line, funky guitar jabs , and thoughtful trumpet arrangements (Michael Mawnidoglou), “Wire Fraud” s the perfect soundtrack for your next bank heist. The remainder of the record offers everything from shuffling gospel grooves to head-nodding drum breaks. As Doctor Bionic, Jason Grimez has carved out a niche for a community of musicians to thrive in and build upon. Grab a copy of Terrestrial Radio on 1/26/2024 and stay tuned for the second instalment in the series.

First vinyl issue for this 2023 release with bonus track not available on CD.
Nine majestic electro-acoustic threshold devotionals.
**ELECTRONIC SOUND - review (issue 98) “While there are shades and texture in the journey from glowing opener “Cyan” to the glowering conclusion of “Magenta”, they’re so subtle that they make ‘Colours of Air’ the musical equivalent of Rothko’s paintings - monotone at first glance, but with intriguing depths if you’re prepared to search for them.”

MOJO - ★★★★ review in the Underground column (March issue) “Loscil and English’s manipulations drift closer to the ambient techno of Gas.”

UNCUT - 8/10 review (March issue) “Subtle complex, and not always pacifying…’Magenta’s extraplanetary grace is tempered by unresolved tension for distinctly uneasy listening.”
The union of composers Lawrence English and loscil aka Scott Morgan is seamless, sublime, and long overdue.
Born of a conversation centered on the notion of “rich sources” as a forge for electronic music, Colours Of Air is a collection of recordings of a century old pipe organ housed at the historic Old Museum in Brisbane, Australia, which were then processed, transformed, and elevated into eight majestic electro-acoustic threshold devotionals. The timbre of the instrument and spatial fluctuations of room tone infuse the music with a subdued, sacred feel, like vaulted light in a nave of stained glass. They describe the album as “an iterative project, a reduction and eventual expansion,” sifting the swells and drones of the organ for every shivering shade of radiance.
The tracks are named for the hue each piece suggests – from the gauzy levitational miasma of “Yellow” to the pulsing melancholic mirage of “Violet” to the seething twilit sandstorm of “Magenta.” Morgan and English are both adept at conjuring moods of muted grandeur, like landscapes veiled in dusk, still looming and luminous.

limited repress available! *gatefold sleeve + insert, regular 120g black vinyl!0 Through the recent years of lockdowns and silence and having too much time to think, Tex Perkins always found solace in the company of song. Having his friend Matt Walker as a co-writer-conspirator, Perkins revelled in the experience which prompted the forming and recording of the first Fat Rubber Band album at Walker & #39's Stovepipe Studios with bassist Steve Hadley, drummer Roger Bergodaz and percussionist Evan Richards. After such an affirmative and creative experience Perkins was itching to commence work on what has become the band's second album, Other World. "The first Fat Rubber Band album was kind of deliberately a little ragged. A bit fuzzy around the edges" said Perkins. "There is a certain maturity that we now possess where ideas can be realised and take form very quickly. We've become a real band. I think what you heard on the first album is the band being formed." While he's played with many musicians, finding true collaborators is something that Perkins treasures. During the lockdowns, he pondered whether he would ever have that day-to-day musician experience again. With The Fat Rubber Band it's not just another grouping of musicians playing music together, but a gathering that is very much about the head, heart and soul and something he is clearly grateful for. "Roger Bergodaz was incredible. His drum kit was in the control room and he engineered the record and played drums pretty much at the same time! He constantly created the surroundings where an enthusiastic and positive atmosphere always prevailed. We never came away empty handed. I loved making this record so much," Perkins says, "because fucking magic happened. Yes, that's right, magic or how about alchemy? (A medieval science with a mysterious process that seeks to turn base metals into Gold.) Well, I dunno about gold, but I witnessed ideas, thoughts, whims and imaginings transmute almost effortlessly into living breathing songs with a soul and a heartbeat and even their own private history every time we went into the studio for this recording. Actually, no, magic is better." Perkins explains "This magic came about with the help of over 4O years of experience from each of the Fat Rubber band members. They're all truly great players and they're all really generous collaborators, so I guess what I'm saying is, it doesn't matter what happens from here. I'm very aware these days, with 100s of new releases each week, it's harder than ever to get people to give a shit about a new album from anybody, let alone from a bunch of hairy blokes in their 50s from Australia fronted by a dude that's been around since the early eighties named Tex. Actually, I can't believe you're still reading this! But you know it doesn't really matter, I've seen the magic."

140 Gramm Vinyl inklusive Downloadcard (inklusive vierExtratracks) Auch "Separations", das Album aus dem Jahre 1992, wird als Teil der Fire Embers Reissue Serie mit unveröffentlichtem Bonus-Material neu aufgelegt. Pulp hatten sich bereits einmal musikalisch verwandelt und sich durch die düstere elektronische Phase auf ,Freaks" weit von ihrem Debüt "It" entfernt und dabei deutlich an Schwung aufgenommen. Der inzwischen zu Kritikerlieblingen avancierten Band ging bereits der Ruf voraus eine Live-Band geworden zu sein, mit der nur wenige mithalten konnten, doch erst ,Separations" war der große Schritt hin zu dem Sound, mit dem Pulp nur wenige Jahre später die Massen mitreißen sollten. Auf ,Separations" gibt es zum ersten Mal diesen unausweichlichen Disco-Puls. ,Separations" ist das Übergangs-Album, in dem Pulp die romantisch-verklärte Außenseiter-Vergangenheit zurückließen und brachte passenderweise mit ,Countdown" und "My Legendary Girlfriend " auch zwei sehr erfolgreiche Singles hervor. Der Download bringt noch vier Bonustracks hinzu: ,Death Goes To The Disco" und "Is This House " sowie die längere Maxi-Version der Single ,Countdown" und das bisher unveröffentlichte "Death Comes To Town". Remastered und neues Packaging. Liner Notes von Everett True.

"Back in the 1990s original Verve pressings of this record were hot items pushed into prominence in great part by write-ups in The Absolute Sound, particularly by my friend Frank Doris. I found a few, and even a few in pretty good condition, but none of them begin to compare to this double 45 RPM set that offers more of everything, particularly transparency and instrumental separation. ...Ella's on a microphone with a slightly rising high end but if it sounds icy, don't blame the recording or the mastering. It's your system. If it's well-balanced and your cartridge is a good tracker, the vocal transparency and clarity are spooky and the sibilant articulation is precise. These double LPs cut at Sterling Sound use the original tapes, not copies of the original tapes and the clarity and transparency coupled with QRP's drop-dead silent pressings are remarkable. The original pre-MGM buyout LP has a pleasingly nostalgic quality and the added warmth produces a bit more room sound, but in my opinion it can't compare to this reissue unless you like hearing things through rose-tinted loudspeakers. Elegantly produced, arranged and recorded and easy to recommend ..." Music = 9/11; Sound = 9/11 - Michael Fremer, February 15, 2013.

Fourteen numbers from the heyday of swing, composed sometime between 1930 and 1945 - played and sung time and time again in ballrooms, or on the radio to advertise biscuits or war bonds, were recorded by Ella in completely new and personal interpretations in 1961. No one should be put off by the rather unfortunate cover. Clap Hands... is absolutely top notch as regards musicality, perfect recording quality, superb accompaniment by a small ensemble, with room for improvisations; it offers a wonderful opportunity to discover something new in these evergreens, despite the occasionally banal lyrics. The songs of this recording conjure up bygone days, with listeners in the 21st century being offered a highly personal homage to one of the most successful periods in the 100-year history of jazz.

Recorded by award-winning mastering engineer Kevin Gray's record label, Anthony Wilson's Hackensack West is Cohearent Records' follow-up to Kirsten Edkins' Shapes & Sound album. Produced by Joe Harley and recorded all-analogue/all-tube at Gray's studio, Cohearent Recording, the AAA vinyl release is pressed on 180-gram vinyl at RTI and housed in a deluxe tip-on gatefold jacket.

From the liner notes:

The week before these sessions in the summer of 2023, I sat down each morning with the goal of composing one new song by day's end. I knew I'd soon be in the room with my dear friends Gerald Clayton, John Clayton, and Jeff Hamilton, three musicians whom I trust the most, and with whom I've played the most over the last couple of decades. I tried to imagine themes that would feel natural to us, the kinds of songs we could simply dive into without much thinking. When we headed to Kevin Gray's studio to record, I brought seven new songs along with me. Five are included on this album.

"Daido" is dedicated to Japanese photographer Daido Moriyama, who became known in the late 1960s for his grainy, sometimes blurry, high-contrast black and white images made throughout Japan. I love his pictures taken on the streets of various Tokyo neighbourhoods such as Shinjuku. His portrait of a menacing stray dong, from his series "A Hunter," is the kind of picture that, seen just once, is unforgettable. These days Daido is still out on the street making pictures, at the ripe young age of 85.

"Verdesse" has a sinuous, chorinho-like melody and rhythmic feel. The tune seems to weave and bob playfully in a space of brightness the way a grapevine seems to curl towards the sunlight. So I named it after a wine grape native to the pre-Alpine region of Isère, near Grenoble in eastern France, that makes a particularly delicious and drinkable white wine.

I wrote "Sunday," well...on Sunday. It unfolds slowly, like a good Sunday does when there's nothing to do, you can sleep in, you've got your person beside you, and you just relax into the day.

"The Lands" is dedicated to a family very dear to my heart: that of tenor saxophonist Harold Land. My mother met Harold when they were both teenagers growing up in San Diego, California. The two of them became lifelong friends, and a little later, Harold enjoyed a fruitful musical association and close friendship with my father, Gerald Wilson. Harold, his lovely wife Lydia, and their son Harold Jr. were extended family for us; they looked after me with love and care. Some of my first gigs ever as a young guitarist were with Harold's incredible band that included Oscar Brashear, Billy Higgins, Richard Reid, and Harold Land Jr.

I've loved Todd Rundgren's "Marlene" since I first heard it on his epic double-album Something/Anything. With its tender, well-contoured melody buoyed by a few special harmonic surprises, it almost seems like something from the pen of Burt Bacharach. It tells such a complete musical story. Rundgren's recorded version has a beautiful endlessly repeating tag. So we played the melody simply, and used the tag as a small staging area for a bit of improvising.

Hackensack West is our alias for engineer Kevin Gray's studio Cohearent Recording, a place inspired by Rudy Van Gelder's first studio in Hackensack, New Jersey. Located inside Van Gelder's parents' home, the musicians played in the living room! It was there, in 1954, that Thelonious Monk recorded his classic tune "Hackensack," a "contrafact" melody over the chord changes to the Gershwins' "Oh, Lady Be Good!" In contrafact-like fashion, my own bebop-spirited melody "Hackensack West" seems to nod toward the changes of a few recognizable standards, without corresponding to any particular one.

Out of print as a stand-alone release for decades since its original 1974 issue. Produced by George Harrison, Shankar Family & Friends is an almost-forgotten masterwork – an emotional and sonic pact between two like-minded souls to both advance their spiritually minded bond and unite musical styles, cultures, and sounds in wondrous fashion Contributions from Ringo Starr, David Bromberg, Billy Preston, Nicky Hopkins, Jim Keltner, Klaus Voorman, and a host of virtuosic Indian musicians add to a diverse album that melds Eastern and Western traditions; encompasses jazz, funk, bhajan, Indian, and pop; and represents the spirit and breadth of Harrison's Dark Horse Records imprint.

Memorable contributions from an A-list of American and English musicians — Ringo Starr (drums), David Bromberg (electric guitar), Billy Preston (organ), Nicky Hopkins (piano), Jim Keltner (drums), Klaus Voorman (bass), Robert Margouleff (Moog), Malcolm Cecil (Moog), Tom Scott (saxophone) included — add to the richness of a set that melds Eastern and Western traditions. These “names” mesh with a host of Indian virtuosos — Alla Rakha, Ashish Khan, Kamala Chakravarty, Hariprasad Chaurasia included — who turn Shankar Family & Friends into a journey laced with percussive, string, and vocal components that aren’t soon forgotten.

Throughout, Shankar Family & Friends remains true to its title — a mesmerizing record named to reflect the group participation approach of its creators. The idea started when Shankar told Harrison about a ballet he wrote. The Beatle, who first met Shankar in June 1966 — roughly a year after Harrison became interested in Indian music after overhearing it in a restaurant while filming Help! — immediately was convinced they needed to record it. Harrison’s staunch admiration of Shankar and serious approach to Eastern styles are reflected throughout the album.

Indeed, for Harrison, Shankar Family & Friends marks the culmination of a years-long effort to master the sitar, study Hinduism, and incorporate elements such as drones, unusual chords, and expressive picking into his own songs. The seeds of this unique collaboration can be heard in Beatles works such as “Norwegian Wood,” “Love to You,” and “Within You Without You.” Both musicians were also fresh from performing at the 1971 Concert for Bangladesh shows. Yet Shankar Family & Friends remains entirely unique in each visionary artist’s history — and ultimately, led to a collaborative tour Harrison and Shankar staged across North America.

Encompassing jazz, funk, bhajan, Indian, and pop, Shankar Family & Friends is thematically split into halves. Side One reveals Shankar’s uncanny ear for melody — even when applied to Western forms. The lead-off “I Am Missing You,” the first single ever released by Dark Horse Records and reportedly the first pop composition Shankar completed, underscores his skills as a composer and global ambassador. Beautifully sung across three octaves by his sister-in-law, Lakshmi Shankar, the devotional song features multiple drummers and production that mirrors Phil Spector’s Wall of Sound approach. Harrison plays autoharp and guitar; Starr sits in on drums; Scott handles flute and soprano saxophone. It’s the inviting start of a musical adventure teeming with color, majesty, and mysticism.

A second version of the track — designated with a “(Reprise)” tag — appears minutes later. Unfolding in different ways, it follows a folk ballad structure stitched together with Indian instrumentation. Here, according to Shankar, the musicians “attempted to convey the sounds and atmosphere of Vrindavan, the ancient holy place where Krishna grew up.” Both renditions speak to the cross-continental fusion that came so naturally to Harrison and Shankar, whose oversight on the side’s other vocal tracks ensures listeners familiar with Western methods gain easy access to the hypnotic allure of his native country’s music.

Nowhere is this more evident than on Dream, Nightmare & Dawn (Music for a Ballet), the side-long piece that served as the genesis for Shankar Family & Friends. Launched with an airy overture and unfolding across three movements, the mostly wordless suite features everything from call-and-response interplay and classical lyricism to uptempo dance figures, stacked rhythms, and intoxicating grooves. Blurring the lines between contemporary and traditional, and Western and Eastern, the inspirational work is the exclamation point on a record that defined “world music” well before the term became co-opted as a catch-all genre.

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

Returning to the action and spectacle that have captured moviegoers around the world, Transformers: Rise of the Beasts take audiences on a ‘90s globetrotting adventure with the Autobots and introduce a whole new faction of Transformers – the Maximals – to join them as allies in the existing battle for earth. It's the seventh instalment in the Transformers live-action film series. Directed by Steven Caple Jr. and starring Anthony Ramos and Dominique Fishback, the film was released in June 2023. The soundtrack was in hands of Jongnic Bontemps, who gave the film a new sound. The score also features a reimagining of familiar musical compositions from the earlier movies by Steve Jablonsky. Bontemps felt his goal was influencing the score from the first five films directed by Michael Bay, but as the movie takes place after the events of Bumblebee (2018), which deviated from the timeline of the original films, he also needed to provide new fresh music. During the soundtrack's production, different musical styles were experimented with. However, Bontemps said they quickly realized that ""an organic, orchestral, emotional score, that sound we are all familiar with, and has such a deep history, goes a long way for we as the audience to connect with these robots."" Transformers: Rise of the Beasts (Expanded Edition) is available as a limited edition of 500 individually numbered copies on Autobots Red (LP1) vs Decepticons Purple (LP2) coloured vinyl. The vinyl edition features 5 bonus tracks and it includes a 4-page booklet with liner notes by the director, composer, and music executive of Paramount."

Transformers: Rise of the Beasts by Jongnic Bontemps, released 29 March 2024, includes the following tracks: "Autobots Enter", "More Than Meets the Eye", "Museum Heist", "Fallen Hero" and more.

This version of Transformers: Rise of the Beasts comes as a 2xLP. This release comes with (a) Booklet.

The vinyl is pressed as a red disc. Another vinyl is pressed as a purple disc.

Black Truffle is thrilled to announce a major archival release from legendary American composer and live electronics innovator Richard Teitelbaum, centred around his soundtrack for Suzan Pitt’s cult 1978 animation Asparagus. Best known to some listeners for introducing Europe to the Moog synthesizer as a founding member of Musica Elettronica Viva in Rome, Teitelbaum’s extensive and radically experimental body of work includes collaborative recordings with master improvisers like Anthony Braxton, Andrew Cyrille and George Lewis, intercultural experiments combining electronics with non-Western instruments such as the shakuhachi, works for computer controlled piano, and large-scale multi-media operas. Recorded at York University, Toronto in 1975–1976, ‘Asparagus (European Version)’ sprawls across both sides of the first LP. Discovered by composer Matt Sargent in Teitelbaum’s tape archive, this is a previously unheard major work for Moog modular and Polymoog synthesizers, unique in Teitelbaum’s oeuvre for its lushness and gently melodic quality. The music unfolds slowly, submerging lyrical melodies and burbling arpeggios into uneasy, glacially shifting harmonic swells, the luscious texture thickened with subtle changes of modulation and phase, calling up the shifting layers of Costin Miereanu’s classic Derives or the kosmische Musik tradition more than any academic synthesizer exercise. Teitelbaum incorporated much of this material into his soundtrack for Suzan Pitt’s Asparagus, which receives its first official release here. Asparagus, famously paired with David Lynch’s Eraserhead for a two-year run of midnight screenings at New York’s Waverly Theatre, uses hand-drawn and stop animation to unfurl an oneiric succession of images, beginning with a sequence in which the female protagonist defecates two stalks of asparagus, which multiply and float out of the toilet bowl to form the letters of the title. Teitelbaum’s soundtrack interweaves delicate drifting tones from the ‘European Version’ with contributions from Steve Lacy and Steve Potts on saxophones, George Lewis on trombone and Takehisa Kosugi on violin. Edited closely to the film, even without images the soundtrack proposes a surreal journey through floating synth tones, squealing horns, propulsive arpeggios, distant chatter, and an old-timey waltz. The final side of the set presents a new realisation of Teitelbaum’s text score ‘Threshold Music’, performed at a memorial concert at Roulette, New York in 2022 by Leila Bourreuil (cello), Alvin Curran (sampler and objects), Daniel Fishkin (daxophone), Miguel Frasconi (glass objects) and Matt Sargent (lap steel). The piece asks musicians to match their instrumental volume to that of the sounds of the environment in which they play, sometimes with the addition of recorded environmental sounds, reinforcing frequencies they encounter in listening deeply to their surroundings. Here the players use a field recording taken at Teitelbaum’s home in Bearsville, New York, their long tones and shimmering, glassy textures delicately emerging from the white noise of the location recording. Released with the full approval of both Richard Teitelbaum and Suzan Pitt’s estates, Asparagus is illustrated with striking images from Pitt’s film and accompanied by detailed liner notes by Francis Plagne. These previously unheard pieces shed new light on the work of a key composer in the American experimental tradition, offering up some of Teitelbaum’s most beautiful and engaging music.

Our fifth chapter is the one where we seek, savor, and settle. The muse found us in the depths of raising children, nurturing relationships, surviving a world-changing virus, bidding farewell, shifting our mindsets, and discovering a sense of peace heretofore unseen. Our third decade of life has proven to be one of routine, rest, and realization, and these songs are about the lessons we’ve learned. We’ve learned to be space-holders and defenders of the people we hold close. We’ve learned from deep, steady love in various forms. We’ve learned to let go of people and perceptions and priorities that just didn’t make the cut as we weighed what is right and important and worth keeping. We’ve learned how all the things we’ve always treasured continue to withstand the pressure of time. If you notice an upward trend to the mood and emotions, you’re on target-we have found calm waters, for now. - The Secret Sisters (2023)

Mind, Man, Medicine by Secret Sisters, released 29 March 2024, includes the following tracks: "If the World Was a House", "Planted", "I Needed You", "Same Water" and more.

This version of Mind, Man, Medicine comes as a 1xCD in a(n) Digipak packaging.

Once billed as "Europe's First Lady of Jazz," Rita Reys was a legend overseas during the second half of the 20th century, and certainly one of the top European jazz singers. Two Jazz People finds Reys sharing the spotlight with Swedish jazz pianist Bengt Hallberg's trio. Hallberg (1932-2013) played with bassist Thore Jederby, saxophonists Arne Domnérus and Lars Gullin, and during the 1950s, performed with leading visiting American players, including the Stan Getz, Lee Konitz, Clifford Brown, and Quincy Jones.

"Two Jazzy People" by Rita Reys includes the following tracks: "Don't Get Around Much Anymore", "I'm Glad There Is You", "You Stepped Out Of A Dream", "Love For Sale" and more.

..and this is how an endless summer night's dream sound! Puestel meets his alter ego Friebe again! Can you imagine that this whole song came to Rico Friebe in a dream?!

In that dream, he was sitting in a strange living room, playing a live set with very odd, weird and partially never-seen-before equipment while everyone was annoyingly talking to him (while performing) – one person right next to him even told him that he frequently manages to eat glass by accident. WTF?!

According to all this obscurity, he tried to escape into his performance, just looking straight into a weird countertop electronic device that created sound and suddenly he played this completely unknown song with these special vocals kicking in and he immediately fell in love with and got lost in it, forgetting all about the strange situation he was in – the distracting voices around him fell into a mute state.

Shortly afterwards, he woke up and kept trying to remember all the details, the lyrics, the melody, the production, just anything, wandering around like a maniac. Finally, all of it went pretty well and you're now listening to a dream composition. Magic everywhere!

Finland’s Hexvessel return with their sixth album, Polar Veil, a cold, metallic hymn to the Sub Arctic North. Haunted by primal forest spirits, Mat “Kvohst” McNerney summons the ghosts of his past in a jaw-dropping, unheard-of rebirth of style and sound. At once unmistakably Hexvessel, Polar Veil is also steeped in the nocturnal atmosphere of McNerney’s past, churned in the cauldron of Black Metal, Ritual Folk Psychedelia and Doom Rock, and echoing with shivering Gothic undertones. From their inception in 2009, Hexvessel, created by Mat McNerney as what he described to Decibel Magazine as “a free spiritual journey and a musical odyssey with no boundaries”, have captivated audiences and listeners with their evolution. Holed up in a home-made studio in his log cabin during the winter of 2022, McNerney drew on all the fundamental elements of his music career as a shamanic shapeshifter, with only the isolation of nature’s solitude as inspiration. Painting an aura with Polar Veil which resonates with solitary reflection and themes of personal spiritual transcendence, Hexvessel’s new album is a bold statement from an artist who continues to reinvent and explore nature mysticism through music.

Originally rumoured to be a double album the plan was shot down - Dave Thompson in conversation with Melanie managed to work out what it would look like and here we present all newly mastered the deluxe version. Woodstock and Glastonbury Fayre icon Melanie had been working with Easy Action on the deluxe vinyl and CD rerelease of one of the most legendary albums in her long catalogue prior to her very sad passing. In 1972, Melanie and her producer and husband Peter Schekeryk began work on what she intended to be her most ambitious album yet. Stoneground Words was to be a double album - the first such statement from any female rock artist. It would also be the first worldwide release on Neighborhood Records, the label she and Schekeryk established in 1971 - another first, as she entered territory into which only The Beatles, The Stones and The Moody Blues had previously stepped. Even more crucially, however, it was her personal response to the enormous success, earlier in the year, of the hit "Brand New Key" - "the bicycle song," as so many people recall it. Stoneground Words returned to the drawing board. Ten songs were selected; the remainder were placed to one side; and the album was released to generally positive reviews which included Melody Maker's assertion that it was "the most sophisticated she's made. The naiveté of the past has been replaced by deeper, more comprehensive methods of expression." She is the first to admit that the new edition of Stoneground Words is not a true facsimile of the original. The paperwork for all three projects, after all, disappeared long ago, as did the tapes ("who knows where?"). Stoneground Words will be released in March 2024 by Easy Action/Neighbourhood Records o Issued for the very first time as a double LP o Completely remastered. o Limited pressing on Pink Vinyl, CD Presented in large deluxe gatefold sleeve with full colour booklet o Brand new artwork o Originally recorded in New York in 1972 and released on Melanie's own Neighbourhood Records label.

Heavy, düster, tiefgründig, eindringlich und vielleicht sogar ein bisschen mitreißender als jemals zuvor: Auf "Rattle The Cage" zeigen sich THE RODS in ihrer besten Form!

Textlich haben sie sich von David "Rock" Feinsteins Cousin Ronnie James Dio inspirieren lassen, denn Songs wie "Now And Forever", "Cry Out Loud", "Play It Loud" und der Titelsong vermitteln dem Hörer ein ähnliches Gefühl von Hoffnung und Unverwüstlichkeit im Angesicht einer sich ständig verändernden Welt.

Musikalisch ist die Band tighter denn je!

Zu den Gründungsmitgliedern David "Rock" Feinstein (Gesang, Gitarre) und Carl Canedy (Schlagzeug) hat sich der neue Bassist Freddy Villano (Quiet Riot, Widowmaker) gesellt, und das Ergebnis dieser Zusammenarbeit ist einfach grandios.

Die Songs sind rhythmisch tighter, aber dennoch musikalisch offener gestaltet, die Grooves härter und die Melodien noch dynamischer.
Abgemischt und gemastert von Chris Collier, profitiert "Rattle The Cage" von seinem meisterhaften, modernen Touch, der dem Album einen Sound verleiht, der sowohl langjährige Fans als auch die neue Generation von Hörern ansprechen wird!

"The Last Rebel is the seventh studio album by American rock band Lynyrd Skynyrd and was originally released in 199This album showcases how this line-up could passionately tear their way through southern rock just as easily as the original line-up. It's a superb collection of songs with the title track being as good as anything the band has ever done! Cool riffing, honky-tonk piano playing, slide guitar and a combination of up-tempo songs and ballads. The old Skynyrd recipe works like a charm on this record. It is the last album to feature drummer Kurt Custer and guitarist Randall Hall. The Last Rebel is available on black vinyl. "

The Last Rebel by Lynyrd Skynyrd, released 29 March 2024, includes the following tracks: "Can't Take That Away ", "The Last Rebel ", "Kiss Your Freedom Goodbye ", "Love Don't Always Come Easy " and more.

This version of The Last Rebel comes as a 1xLP.

Tyler Pope's latest EP is an absolute belter, and the primary concern these four tracks are asking of you is right up front: Pay Attention to the Bass. And, honestly, with a sense low-end like what's on display here, how could you not? This new release from Pope-a dance veteran who's also known as a full-time member of LCD Soundsystem as well as a collaborator with artists like Hercules & Love Affair and Pantha Du Prince-arrives on his always eclectic Interference Pattern label, an imprint that has previously spanned left-field electronic sounds, noise rock, and avant-R&B. As such, Pay Attention to the Bass is anything but straightforward, with ricocheting rhythms and alluring textures that are as easy to get lost in as they are to move your body to.

Listeners familiar with last year's Make Each Other Happy EP, which embraced dark disco grooves and crisp percussion, will be delighted at the new curveballs on display here: "Why Must I" euphorically merges the propulsive charge of UK funky with delicious piano-house stabs, while "OKay" anchors itself around a rubbery bass line like a lost cut from the Remain In Light sessions. The flip side gets dark and dank with it, as "Close the Door" echoes with spooky clatter and dubby wobbles before sprightly vibes break through-and the closing cut "Where r they Hiding" goes full-on tunnel techno with it, conjuring a mood that recalls the haunted house music of Sandwell District as well as the cold-sweat futuristic visions of jungle. With Pay Attention to the Bass, Pope expands his sound wider than ever, and it just so happens that it's an absolute blast to listen to as well.

The Diggin' in the Crates Crew, commonly abbreviated as D.I.T.C., is a hip hop collective from New York City. It was founded by Diamond D and Showbiz and its name is from the art of digging for records to sample for production. The members have achieved substantial and consistent recognition in the music industry and Hip Hop circles.

They have collaborated with underground and commercial artists from around the world. All of the members are from the Bronx, with the exception of the late Big L from Harlem, and O.C. from Brooklyn. D.I.T.C., “The Official” Version is an alternative version of D.I.T.C.'s self-titled album D.I.T.C. which was not officially available on vinyl upon its initial release via Tommy Boy when it became apparent that group maintained vinyl rights of the album.

The Official Version has a different track listing with many of the songs being totally different versions than the ones appearing on the first album and also 2 tracks that weren't on D.I.T.C. at all - "All Love" and "We Known For That" (which is actually a remix of the 12" single "Internationally Known"). The album is executively produced by Show and re-released on D.I.T.C. Records with distribution by Fat Beats Distribution -20 years after its initial limited pressing.

Many of the songs appear in remixed forms that had yet to be released, some remixes and some original versions. Highlights include "Where Ya At"; the Big Pun/Milano collaboration but here, instead set over a slamming DJ Premier remix. Likewise, the "Way Of Life" features a totally different Buckwild beat, that is actually the original version of the track, that stands in stark contrast to the B-Boy anthem heard on the Tommy Boy album.

a A1. Thick Rockwilder Mix
b A2. Way Of Life Buckwild's OG Mix (Ft. additional Lord Finesse verse]
[c] A3. Get Yours [Show Remix]
[d] A4. Where Ya At [DJ Premier Remix] (w. Big Pun & Milano)
[e] A5. We Known For That (Internationally Known) [Show Remix]


[h] B1. Ebonics [DJ Premier Remix]

As she's gotten older, Ella Smoker has found that her subconscious has been trying to tell her "some pretty wacky stuff". Thoughts will come to the 21-year-old singer-songwriter in dreams, or as she writes lyrics in studio sessions, words floating onto the page before she's really had a moment to realise what they are. "As soon as we start making the music, my brain sort of turns off," she explains. "I'll be sitting there, writing all this stuff that feels like a load of nonsense, and a month later, I'll look back and be like `oh'. It all comes from a place I didn't even realise was there." In learning how to open up to herself, gglum ended up finding a kindred spirit in producer Karma Kid (Maisie Peters, Shygirl, Connie Constance), pushing past her natural bedroom-pop introversion to find joy in the process of collaboration. Whether it's the ragged radio-rock of `SPLAT!' ("basically about realising that somebody you held up very highly is actually just a massive shambles of a person") or the riotous, industrial energy of `Easy Fun', Smoker is able to reshape her vocal around the mood, creating a record which expertly balances light and shade. "I've never really done anything in like that vocal style before," she says of `Easy Fun's near-spoken delivery. "I love that song because it's not something I would have come up with on my own, but Karma Kid was great at pushing me out of my comfort zone. I just thought like, look: I can be a little silly with this." The release of `The Garden Dream' will offer gglum plenty more opportunity to get both silly and serious, to be bold in her exploration of new ideas and sounds But it will also offer the opportunity to further accept herself as the dreamlike artist she always wanted to be; confidently embellishing acoustic worlds that her listeners can burrow safely within. "I feel like I naturally gravitate towards wanting to make musical spaces that you can feel like you're living in, rather than trying to make songs", she says. "That's something I really wanted to solidify with this album: I basically want to make music that feels like when you're looking out the window and it's the end of the film and you're imagining what comes next. That's the sound of what I want to be doing."