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Johnny and Edgar Winter - Together: Live (1976) is the first ever album featuring both brothers, Johnny Winter (guitar, vocals) and Edgar Winter (saxophone, vocals). Released just three months after Johnny Winter’s Captured Live!, it is composed entirely of rock and roll and soul standards. This album is a chance to hear The Edgar Winter Group (Edgar on saxophone, Rick Derringer on guitar, Dan Hartman on piano and Chuck Ruff on drums) playing with Johnny Winter’s band (Johnny and Floyd Radford on guitar, Randy Jo Hobbs on bass and Richard Hughes on drums) together on a same stage. The album was live recorded at San Diego Sports Arena and Swing Auditorium.

This MOV release comes as a limited edition of 1000 individually numbered copies on white marbled coloured vinyl.

Since 2013 - Brighton & Barcelona duo PAYFONE have been releasing records on respected NYC and UK labels GOLF CHANNEL , LENG and DEFECTED.

Now releasing on their own OTIS imprint - PAYFONE deliver another deep 12 in preparation for their debut album.
In September 2024 PAYFONE released their WILD BUTTERFLY EP which appeared in many best of 2024 end of year DJ charts whilst gaining the support from the likes of Richard Dorfmeister, Leo Mas and Daddy G.
Phil Passera and Jimmy Day's productions continue to gain fans across the disco world with a template of synth and bass that equates to a heady and intoxicating excursion into early electronic soul disco circa late 70's / early 80's.
Known for their atmospheric, mid-tempo sultry selections, PAYFONE offer up another deep dive of synth-driven drum machine pleasure with remix duties courtesy of San Francisco trio 40 Thieves: Corey Black, Layne Fox and Jay Williams.

Latest offering VOLT to VOLT is a moody meltdown of Moog bass and full frontal vocals featuring the talents of North Carolina's JO GABRIEL HARRIS and New York City's TERI JACKSON.

Always a cut above, this Payfone release will be VINYL ONLY.

Get with it !

Payfone have released over 16 individual 12" releases, including Phonica's 'Record of 2023 - 'I Feel You'

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Diamond Dogs may be a bunch of renaissance rockers deeply rooted in the early 70s British rock and roll, but just like our forerunners, we owe
almost everything to Little Richard, the architect of it all! It's impossible to even imagine rock and roll without him.

Little Richard is the soul, spirit and passion of the Diamond Dogs lifestyle, and I was six years old when I first heard 'Rip It Up' with love at first feel.
The raw energy and the blood screaming lyrics over that manic hammering piano embodied everything I craved in music, straight from the speakers to my young heart. Even if I discovered a lot of other influences later on in life, I always kept Little Richard close to where he once hit me. One of Diamond Dogs' early tunes is called 'Lunatic Eye-Rolling Delivery' which is a line nicked from a concert review of Little Richard, and we believe it sums up the essence of his greatness pretty well. He was much more than a rock pioneer, the way he dressed up and spoke was something the world had never experienced before.

Little Richard got Paul McCartney to write 'I Saw Her Standing There', got James Brown a new haircut, and put a silly little mustache on Prince!
So, the idea of recording a homage to the true king of rock and roll had been with all of us for many years when Chris Spedding one day called me
and asked if we should record something together. Of course, I immediately said yes, and then asked him to join Diamond Dogs in the upcoming
studio session to record some well selected Little Richard gems for an LP. All said and done, and Chris was extra thrilled that his favorite 'Send Me
Some Lovin'' was among the songs we picked.

And on a cold and windy January day we gathered the Dogs and the new old puppy in the sweet premises of Dog Pound Studios, along with our
beloved friend and engineer Jonas Åhlén.

So, when the room is geared up, we do our melodies as we normally do it, no rehearsals, all live, straight to tape. One hour per track is usually a
good thing! An amazing energy and swagger filled the atmosphere as Diamond Dogs and Chris fulfilled my dream.

Now that I'm listening through the vinyl, I must say that I've never been prouder of anything we've achieved with this shady bunch so far. It's like
walk the full circle, like I've been graduating from the 12-bar rock and roll academy.
Sulo, Stockholm/Sweden, 2024

Sound Like: The Faces, Rod Stewart, Frankie Miller, Elton John, Mott
The Hoople, J Geils Band, The Rolling Stones, Steppenwolf, Little
Richard

Mutant, in partnership with Netflix, are proud to present Graham Raynold’s score to Richard Linklater’s film HIT MAN.

A Romantic Comedy Noir, loosely based on the true story of a nebbish philosophy professor named Gary Johnson who moonlighted as an undercover police officer, HIT MAN is Richard Linklater and Glen Powell’s meditation on identity. Linklater, a filmmaker who has shapeshifted many times over his storied three decades of storytelling, has reteamed with his frequent music collaborator Graham Reynolds, to produce a jazzy, romantic, dark, and playful score.

Reynolds has worked in each of these modes before with Linklater, but never all at the same time. It stands defiant in contrast the version of the Gary that we meet at the beginning of the film - allowing the character to meet the score on its level by the time we approach the twisted finale. This score proves that genre, like identity, can be a limitation placed on both films and film music.

This physical release is limited to 500 copies worldwide, and features a forward by Graham Reynolds and packaging designed by Mutant co-founder Mo Shafeek.

Poet, novelist, musician and academic, Anthony Joseph teams up with legendary UK producer Dave Okumu for forthcoming album, ‘Rowing Up River To Get Our Names Back’

Dave Okumu, known perhaps best as frontman for The Invisible, though digging deeper into his production credits, huge names emerge such as; Grace Jones, Amy Winehouse, Jesse Ware, Rosie Lowe and Eska. On this album, the magic and alchemy of Dave’s production style showcase subtle sonics and deep layering resulting in a contemporary sound to carry Anthony’s afrofuturistic metrical meanings.

Anthony and Dave first came across each other when working with Shabaka Hutchings during Covid broadcasts, and then after Anthony performed some poems on Dave’s 2023 album ‘I Came From Love’, the seeds of collaboration were sown.

With a little more psychedelia, a little more experimentation, Dave’s eclectic vision focuses on the actual sounds on these pieces. Anthony stated that “The best producers guide you, not push you” now add to that the fact that both these humans were born on the same day, a concoction of laid back attitudes in people with strong purpose, some real magic can happen, naturally.

Early writing sessions for this record took place in 2022, around Mount Blanc in France. Anthony was away touring with long-time collaborator, Jason Yarde. Ideas were a little thin and they found themselves somewhat repeating previous work resulting in Anthony rethinking things a little, and so entered Dave Okumu.

LP opener ‘Satellite’ is a fine example of how this new partnership pans out. New musicians have been enlisted; Dan See (Drums), Aviram Barath (Synths), Nick Ramm on Fender Rhodes and Byron Wallen (Trumpet). Add to that the mighty vocal power house of Eska and we have a whole new dimension of soul and depth, to carry Anthony’s statements. “You build a wall, we go under, you build it higher, we go higher, like a satellite” .

On the album's second single, ‘Tony’ - there’s a nod to all drummers and creators of African rhythms, from the point of view of Afrobeat legend Tony Allen. Highlighting this is drummer’s drummer Richard Spaven as Dave’s choice of skin beater. He successfully reminds us that Tony was someone who understood the real power of rhythm and how it is used to unite people.

As well as the new musicians on this LP, Dave Okumu played all the guitars and used the studio as his tool. On ‘A Juba for Janet’ - a poem to Joseph’s mother, and a track so bass heavy that it feels as though it could sit in a deep dubstep set in Plastic People days, - Anthony’s voice reaches straight down your ear canals next to dark drums, huge synths and delayed saxophone stabs from Colin Webster. Slightly more introspective verses on ‘An Afrofuturist Poem’ see Dave’s beats show off the real future sound of this record, kalimba, moog bass and guitars all played by the man himself.

Mellower and deeper moments are also present, Anthony’s cryptic yet informative storytelling is at its absolute best on ‘Churches Of Sound (The Benetiz-Rojo)’ - Caribbean and Windrush history reeled off alongside a linear musical timeline of Black music in the diaspora.

A reminder that this body of work is first of 2 volumes, ‘Rowing Up River To Get Our Names Back’ is not a follow up to Anthony’s previous album, but more a development of his 2006 novel, ‘The African Origins of UFOs’ a book where experimental elements of afro-futurism, metafiction, science fiction, surrealism, mythology are rewritten in Anthony’s innovative language. Look out for Volume 2 also coming in 2025.

Anthony Joseph releases, ‘Rowing Up River To Get Our Names Back’ (Vol. 1) via Heavenly Sweetness 7th February 2025 and he will play live at Ronnie Scotts in London on 14th March 2025, with Dave Okumu as a special guest.

CREDITS:

Vocals - Anthony Joseph

Additional vocals, vocal arrangements - Eska Mtungwazi

Producer - Guitars, Bass, Moog, Synthesisers, Programming, Percussion - Dave Okumu

Drums - Dan See

Drums on ‘Tony’ - Richard Spaven

Synthesiser - Aviram Barath

Fender Rhodes, Synthesisers, Nick Ramm

Trumpet - Byron Wallen

Saxophones - Colin Webster

Trombones - James Wade Sired

"Live Mind, is the first live album from rock supergroup, The Third Mind. With over an hour of performances, Live Mind was overseen and curated by Don Boles, Will Golden and Brett Brock from shows in February and March 2024 at the Troubadour in Los Angeles, Ventura Music Hall in Ventura, CA, and The Kessler Theater in Dallas, TX. Produced by Dave Alvin and Victor Krummenacher, the album was mixed and mastered by Craig Parker Adams at Winslow Court, Los Angeles, CA.

What started four years ago as a wishful music fantasy, the supergroup of “Californian Psychedelic Rockers” (Doom Charts) is now a reality. The brainchild of GRAMMY award-winning guitarist Dave Alvin and veteran alternative music bassist Victor Krummenacher (Camper Van Beethoven, Monks of Doom, Eyelids), The Third Mind’s two studio albums–The Third Mind (2020) and The Third Mind 2 (2023)–feature guitarist David Immerglück (Counting Crows, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale) and vocalist Jesse Sykes from her critically acclaimed group, Jesse Sykes and The Sweeter Hereafter. The Third Mind live psychedelic improv performances include the addition of guest guitarist Mark Karan (Bob Weir's Ratdog, Phil Lesh, Delaney Bramlett) subbing for Immerglück."

Heavyweight Black Vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.


Colored Vinyl Details:
Heavyweight "A side - B side solid purple + transparent blue" vinyl / Original glued prints on Thick Cardboard 700 gram / 2 Separated parts hand-glued / Glossy lamination / PVC outer sleeve / Insert with 10 pages Booklet 30 x 30 cm printed on Gmund Colro Felt Red Purplea d 90 Gram Favini papers with detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session, lyrics and exclusive pictures.

Peronnel:
Mustafa Abdul Rahman - Tenor Saxophone, Percussion, Producer
Ahmed Abdullah - Trumpet
Malachi Thompson - Drums
Gregory Bufford - Bass
Richard Radu Williams - Piano
Rafik Abdur Rahim
Tony Smith - Guitar
Larry Banks - Synthesizer
Khalil Abdullah - Congas
Babafumi Akunyon - Percussions
Odell Grier Backing Vocals – Fred Harley, Hilda "Asia" Richbow , Linda Hall

Notes:
In the course of our deep research, we sometimes discover a hidden thread that unites musicians, songwriters, artists, and poets linked by music. Mustafa's 'Polygamy' is no exception. Apart from the music - the main reason we decided to work on this first ever re-press, a jewel at the crossroads between jazz funk, spiritual jazz and proto rap - are the many other things that make Mustafa an intriguing and fascinating character. For starters, he was a childhood friend of the Ayler brothers with whom he played in different formations. He also played with other beloved figures such as Noah Howard and Charles Tyler, on a still unreleased album recorded for Amiri Baraka's Jihad label, and worked with The Legendary Master Brotherhood and Steve Reid. This and much more will be revealed in a detailed interview between Tony Higgins and Mustafa's family (his sisters and children are all musicians), as well as an insight into the recording of the album with Gregory Bufford, the drummer for the session.

Moshe Fisher-Rozenberg returns to Altin Village & Mine with his second album as Memory Pearl. »Cosmic-Astral« reimagines a music programme used by psychotherapists in the 1970s in combination with LSD. While the original album was designed to take the listener on a cosmic journey of personal discovery through classical music, Fisher-Rozenberg draws on the sounds of electronic instruments and a collage-like approach: he converted the scores of the original pieces by Richard Strauss, Alexander Scriabin, and others into MIDI files, manipulated those into entirely new shapes and sounds using a variety of techniques, while also combining them with improvisational input from artists such as Sam Prekop, Joseph Shabason, Moritz Fasbender, Alec O’Hanley, Bram Gielen, and Brandon Valdivia.

Besides his work as a multi-instrumentalist, producer and collaborator of bands such as Alvvays as well as a member of the group Absolutely Free, Fisher-Rozenberg is also a registered psychotherapist and certified music therapist. »Cosmic-Astral« is hence marked by his expertise in both fields while also displaying the conceptual rigour and aesthetic playfulness that had already been in full effect on his Memory Pearl debut, 2021’s »Music for 7 Paintings« for Altin Village & Mine. Aiming to create his own version of the »Cosmic-Astral« programme, but making it more »delicate and tender,« as he puts it, Fisher-Rozenberg combines the ethereal with the terrestrial, abstraction and concretion, synthesization and the organic across these nine tracks.

As a whole, the resulting album is quite literally trippy. »Each piece is meant to bring the listener deeper into their journey,« explains the Toronto-based artist. »You can think of it in terms of space travel, with each tune taking you further out of yourself and deeper into a cosmic realm.« Think about »Cosmic Astral« as a map through which you can find your way towards sonic healing.

Watch out! You are holding the 125th (one-hundred-and-twenty fifth!) album on Tramp Records in your hands! We are honored to celebrate this impressive anniversary with the tenth volume in the Praise Poems series. This time, too, we go on a journey to discover previously unheard regions of jazz, folk and AOR from the 1970s and 80s.

Praise Poems Vol.10 presents sixteen (almost) forgotten rare groove gems, all released between the years 1970 and 1984. One of the many highlights is the opening track: "Fields of Laughter" by Color Me Blu - originally released on an acetate only of which two copies exist worldwide. But there is much, much more to discover. This brandnew volume features a wide range of genres, from AOR (Whiz Kids, Ross Miller, and another previously unreleased track by Harve & Charee) to Latin-Rock a'la Santana (Color Me Blue, Tribal Sinfonia, and Apple) to Soul-Jazz (Ernie Lewis Trio, Joe Bozzi Quintet or Dutch saxophonist Frits Kaatee). Right at the end, one track in particular stands out: the wonderful "It's Good Not To Forget" by George Melvin and his quintet - a fabulously dreamy, thoughtful instrumental piece in the style of Ramsey Lewis with catchy tune potential.

Not many compilation series make it to a tenth edition. And if they do, then you often notice that the quality of the songs goes in the opposite direction to the increasing number of series: namely decreasing. Not so with Praise Poems Vol. 10, which the creators prove in an impressive new way. They have found tracks that were originally either a) pressed by the musicians themselves in very small editions or b) released by small, regional labels. It is understandable that neither the musicians nor these small labels had the necessary knowledge or budget to market their albums or singles professionally. The majority of the bands therefore did not manage to reach a large audience - although they certainly had the potential for the big stage.

"Praise Poems 10 - A journey into soulful jazz and funk from the 1970s" makes these almost 50-year-old treasures accessible to a new audience. We hope that you enjoy discovering your personal favorite song(s) and we are already looking forward to many more releases!

The influence of the UK’s Steel City on electronic music is well documented and undisputed and continues to push the envelope with key figures such as Winston Hazel (Forgemasters, The Step), DJ Parrot/Crooked Man, Richard Benson (RAC, SWAG, Altern 8), Chris Duckenfield (RAC, Popular Peoples Front, SWAG, All Ears Distribution), a thriving underground club scene and the likes of Synaptic Voyager reinforcing the city’s rich musical legacy.

Matt White and Paul Baines have been making off-kilter, emotive, late night electronic jams since meeting in the early 90’s and while life took them on different paths for a while, they have recently blown the thick layer of dust from their synths and drum machines and got busy in the studio to create some amazing new music which draws influence from that classic UK techno sound which played such an important part in the development of dance music culture around the world. With recent releases on Frame Of Mind, Acquit and Telomere Plastic the duo are clearly on a roll, wearing the heritage of their city on their sleeve and delivering what can only be described as heartfelt, authentic machine music made with love and soul.

From the opening beats of lead track Dawn Till Dusk we are drawn in to another place which feels comfortably familiar yet organic, fluid and loose in a way that tugs on the heartstrings. A million miles from cookie-cutter tech house, this is two guys in a bedroom studio, digging deep on hardware machines to create a sound to get completely lost in. Lonely Promontory takes things deeper still with immersive pads, taught electro beats and blissed-out melodic lines which give just hint of optimism and recall those beloved sounds of B12, Redcell and Likemind.

Flipping over we have Stellar Engine which goes a littler heavier on the beats and bass whilst still retaining a floating quality, once again highlighting the hardware jam workflow that Synaptic Voyager utilise in their studio. Once Exposed takes us back to those heady days of the early 90’s when techno, house and ambient electronics combined to create a heady blend of deep atmospherics and driving beats which could work on both dance floors and car stereos alike. Rounding off the EP we have Cognitive Network which goes for a straighter four on the floor techno groove and a killer bassline to lose yourself in. These recordings were delivered to the label in unedited long form (some tracks totalling 15 minutes or more in length!) which Jimpster lovingly edited into the versions which you hear on this release.

“Richard Davies is one of the last great songwriters on planet Earth. Every song on Composition Book is up there with his finest and so it's no small feat that after 35 years of making beautiful records, this one is his best.” – Robert Pollard / Guided By Voices Australian mad scientist Richard Davies has long flown under the popular radar with his groups The Moles and Cardinal, but his 10 albums are loved and championed by indie rock royalty. The Flaming Lips, for example, have recorded a Davies song and backed him up on a Moles tour in 1995. A scholar of the songwriting of The Beatles, The Beach Boys, Dylan et al., Davies spins off subtle, catchy indie rock melodies, sometimes reassembled in bizarre Frankenstein arrangements and deconstructed sonic derangements. On Composition Book, The Moles have evolved with emphasis on acoustic guitar and divine female voices. Davies’ lyrical non sequiturs and caustic wit sting, surprise and delight. “The Australian-bred, New England-based Richard Davies has long been a secret-handshake artist for indie diehards; his songs suggest self-contained pop hits from a crooked dimension.” – The New Yorker “The greatest differentiator between the work of the Moles and that of their contemporaries, though, is Davies himself. As a presence, there is something deeply and beguilingly inscrutable about him, a purposeful blankness that betrays an enormous amount of weight and depth behind it, and oozes both vulnerability and vitriol when it breaks and cracks.” – Pitchfork

Limited edition classic black vinyl mini-album of cathartic slowcore by The Declining Winter, the new vehicle of Richard Adams, formerly of Domino Records post-rockers, Hood. The next release on the acclaimed boutique English independent label, Second Language Music, will be ‘Last April,’ the new mini-album by The Declining Winter, a raw, deeply emotional monument of loss, grief and heartbreak that treads in the footsteps of Red House Painters’ ‘Down Colorful Hill,’ Low’s ‘I Could Live In Hope’ and Songs: Ohia’s ‘Didn’t It Rain.’ This is not a heart-on-your-sleeve record. It does away with the sleeve and goes straight for carving a heart on the arm. Recordings which emerged out of a period of shock, grief and trauma, these six songs were all written on the same night and form a stately tribute to a loved one lost. The Declining Winter strip things back to just Richard Adams’ plaintive voice and acoustic guitar, alongside the beautiful, irrefutably melancholy string arrangements/playing of Sarah Kemp (Brave Timbers). There’s been no attempt to plane off any rough edges – here and there, the creak of a chair, a guitar note missed, a voice almost cracking with emotion – these recordings are like cathartic scrawls in a diary. Only this one has been left out for anyone to read. As with his previous band, Hood, Adams has a way of evoking a particularly pastoral, English melancholy, of lonely morning hikes in inclement weathers, of rain on slate in the West Yorkshire streets where he was raised and still lives.

Whales are the largest animals the Earth has ever borne. They feed on krill. They sing. Listen to them. Listen to the whale is Kriill's second studio album. Four years of their lives. One twentieth of human life. This album is a tribute to the magical carefree spirit we humans are capable of in our daily lives, despite the perspective of imminent collapse. An elegant, creative alternative-rock album, with a singular, audacious sound, harmonized vocals and sassy guitars. A generous musical expression of vertigo in the face of the work of the Universe.

Kriill is a music group on Earth, made up of Klaar Frankenberg, Richard Pons and Eliott Sigg.
Krill are the trillions of tiny crustaceans that inhabit the world's oceans and represent the planet's largest animal biomass.

2025 feiert THE OCEAN das 15-jährige Jubiläum ihrer Alben ,Heliocentric" und ,Anthropocentric". Aus diesem Anlass werden die Instrumentalversionen dieser Alben zum ersten Mal überhaupt auf Vinyl veröffentlicht, mit neuem Artwork von Martin Kvamme. Konzeptionell sind ,Heliocentric" und ,Anthropocentric" eine umfassende Kritik am Erbe des Christentums: Während ,Heliocentric" sich dem Thema historisch-chronologisch nähert, liegt der Schwerpunkt von ,Anthropocentric" auf dem ,Großinquisitor"-Kapitel in Dostojewskis weltberühmtem Roman ,Die Brüder Karamasow", das sich über drei Tracks des Albums erstreckt. Andere Songs wie das heitere ,TheThe Almightiness Contradiction" greifen Ideen von Richard Dawkins auf, der Speerspitze des modernen Ästhetizismus. Seit 2001 hat das Berliner Musikerkollektiv THE OCEAN zehn von der Kritik hochgelobte Studioalben und eine Split-EP mit den japanischen Post-Rock-Legenden Mono veröffentlicht. Mit einer ständig wechselnden Besetzung aus verschiedenen Musikern und bildenden Künstlern auf und abseits der Bühne ist die unermüdlich tourende Gruppe für ihre gewaltigen, bewusstseinserweiternden Liveshows bekannt geworden, die sie in die entlegensten Winkel der Welt getragen haben, von sibirischen besetzten Häusern bis zu kolonialen Theatern in Ecuador. Schwarze oder farbige 2LP erhältlich, 9mm Rücken-Gatefold & Metallic-Farben, bedruckte Innenhüllen. Insert sowie Etching auf der D-Seite

2025 feiert THE OCEAN das 15-jährige Jubiläum ihrer Alben ,Heliocentric" und ,Anthropocentric". Aus diesem Anlass werden die Instrumentalversionen dieser Alben zum ersten Mal überhaupt auf Vinyl veröffentlicht, mit neuem Artwork von Martin Kvamme. Konzeptionell sind ,Heliocentric" und ,Anthropocentric" eine umfassende Kritik am Erbe des Christentums: Während ,Heliocentric" sich dem Thema historisch-chronologisch nähert, liegt der Schwerpunkt von ,Anthropocentric" auf dem ,Großinquisitor"-Kapitel in Dostojewskis weltberühmtem Roman ,Die Brüder Karamasow", das sich über drei Tracks des Albums erstreckt. Andere Songs wie das heitere ,TheThe Almightiness Contradiction" greifen Ideen von Richard Dawkins auf, der Speerspitze des modernen Ästhetizismus. Seit 2001 hat das Berliner Musikerkollektiv THE OCEAN zehn von der Kritik hochgelobte Studioalben und eine Split-EP mit den japanischen Post-Rock-Legenden Mono veröffentlicht. Mit einer ständig wechselnden Besetzung aus verschiedenen Musikern und bildenden Künstlern auf und abseits der Bühne ist die unermüdlich tourende Gruppe für ihre gewaltigen, bewusstseinserweiternden Liveshows bekannt geworden, die sie in die entlegensten Winkel der Welt getragen haben, von sibirischen besetzten Häusern bis zu kolonialen Theatern in Ecuador. Schwarze oder farbige 2LP erhältlich, 9mm Rücken-Gatefold & Metallic-Farben, bedruckte Innenhüllen. Insert sowie Etching auf der D-Seite

2025 feiert THE OCEAN das 15-jährige Jubiläum ihrer Alben ,Heliocentric" und ,Anthropocentric". Aus diesem Anlass werden die Instrumentalversionen dieser Alben zum ersten Mal überhaupt auf Vinyl veröffentlicht, mit neuem Artwork von Martin Kvamme. Konzeptionell sind ,Heliocentric" und ,Anthropocentric" eine umfassende Kritik am Erbe des Christentums: Während ,Heliocentric" sich dem Thema historisch-chronologisch nähert, liegt der Schwerpunkt von ,Anthropocentric" auf dem ,Großinquisitor"-Kapitel in Dostojewskis weltberühmtem Roman ,Die Brüder Karamasow", das sich über drei Tracks des Albums erstreckt. Andere Songs wie das heitere ,TheThe Almightiness Contradiction" greifen Ideen von Richard Dawkins auf, der Speerspitze des modernen Ästhetizismus. Seit 2001 hat das Berliner Musikerkollektiv THE OCEAN zehn von der Kritik hochgelobte Studioalben und eine Split-EP mit den japanischen Post-Rock-Legenden Mono veröffentlicht. Mit einer ständig wechselnden Besetzung aus verschiedenen Musikern und bildenden Künstlern auf und abseits der Bühne ist die unermüdlich tourende Gruppe für ihre gewaltigen, bewusstseinserweiternden Liveshows bekannt geworden, die sie in die entlegensten Winkel der Welt getragen haben, von sibirischen besetzten Häusern bis zu kolonialen Theatern in Ecuador. Schwarze oder farbige 2LP erhältlich, 9mm Rücken-Gatefold & Metallic-Farben, bedruckte Innenhüllen. Insert sowie Etching auf der D-Seite

2025 feiert THE OCEAN das 15-jährige Jubiläum ihrer Alben ,Heliocentric" und ,Anthropocentric". Aus diesem Anlass werden die Instrumentalversionen dieser Alben zum ersten Mal überhaupt auf Vinyl veröffentlicht, mit neuem Artwork von Martin Kvamme. Konzeptionell sind ,Heliocentric" und ,Anthropocentric" eine umfassende Kritik am Erbe des Christentums: Während ,Heliocentric" sich dem Thema historisch-chronologisch nähert, liegt der Schwerpunkt von ,Anthropocentric" auf dem ,Großinquisitor"-Kapitel in Dostojewskis weltberühmtem Roman ,Die Brüder Karamasow", das sich über drei Tracks des Albums erstreckt. Andere Songs wie das heitere ,TheThe Almightiness Contradiction" greifen Ideen von Richard Dawkins auf, der Speerspitze des modernen Ästhetizismus. Seit 2001 hat das Berliner Musikerkollektiv THE OCEAN zehn von der Kritik hochgelobte Studioalben und eine Split-EP mit den japanischen Post-Rock-Legenden Mono veröffentlicht. Mit einer ständig wechselnden Besetzung aus verschiedenen Musikern und bildenden Künstlern auf und abseits der Bühne ist die unermüdlich tourende Gruppe für ihre gewaltigen, bewusstseinserweiternden Liveshows bekannt geworden, die sie in die entlegensten Winkel der Welt getragen haben, von sibirischen besetzten Häusern bis zu kolonialen Theatern in Ecuador. Schwarze oder farbige 2LP erhältlich, 9mm Rücken-Gatefold & Metallic-Farben, bedruckte Innenhüllen. Insert sowie Etching auf der D-Seite

This is Music: The Singles, ist ein Kompilationsalbum der englischen Alternative-Rock-Band The Verve:
Richard Ashcroft (Gesang), Pete Salisbury (Schlagzeug), Simon Jones (Bass) und Nick McCabe (Gitarre).
Ursprünglich wurde das Album im November 2004 veröffentlicht und enthielt zwei Nicht-Singles, die aus
den Aufnahmen zu ihrem dritten Album Urban Hymns stammten: „This Could Be My Moment“ und
„Monte Carlo“.
2024 markiert den 20. Jahrestag der Veröffentlichung eines Albums, das nie auf Vinyl gepresst wurde,
und unter der Leitung der Gruppe ersetzt diese längst überfällige Neuauflage die Bonustracks durch die
kraftvollen Singles aus dem 2008er Reunion-Album Forth - ’Love is Noise’ und ’Rather Be’ - und enthält
auch die zweite Single ’She’s A Superstar’ (1992) in ihrer ursprünglichen, achteinhalbminütigen Form (statt
der fünfminütigen Bearbeitung). Somit repräsentiert das Album nun die komplette Geschichte der Singles
von The Verve.
Benannt nach der sechsten Single der Band, der ersten aus ihrem zweiten Album A Northern Soul, dokumentiert es auf brillante Weise die Kraft der relativ kurzen, aber epochemachenden Reise von The Verve
durch den musikalischen Kosmos.

(2018 Remix)

30. Juni 2022 – Im Januar 1977 veröffentlichten Pink Floyd ihr zehntes Studioalbum „Animals“. Das Werk eroberte Platz 1 der deutschen Charts, gilt als eines ihrer besten – und es wird nun, 45 Jahre später, als Deluxe Gatefold, CD, LP und Blu-ray wiederveröffentlicht. Zum ersten Mal überhaupt wird das Album in 5.1 Surround-Sound zu hören sein. Die einzelnen Versionen werden ab dem 16. September 2022 erhältlich sein, die Deluxe-Version folgt am 7. Oktober.

Pink Floyd – David Gilmour, Nick Mason, Roger Waters und Richard Wright – nahmen „Animals“ 1976 und Anfang 1977 in den bandeigenen Britannia Row Studios in London auf und produzierten auch selbst.

„Animals 2018 Remix“ wird als CD, LP (mit Klapphüllen-Artwork), Blu-Ray und als Deluxe-Gatefold-Format veröffentlicht. Die Deluxe-Gatefold-Version beinhaltet eine LP, CD, Audio-Blu-Ray, Audio-DVD und ein 32-seitiges Booklet. Die Audio-Blu-Ray und -DVD enthalten den Remix von 2018 in Stereo, in 5.1 Surround (beide von James Guthrie) und den ursprünglichen Stereo-Mix von 1977. Das 32-seitige Booklet gewährt mit selten gezeigten Fotos einen Blick hinter die Kulissen des Shootings für die Plattenhülle sowie Live-Bilder und Memorabilia. Das Album-Artwork wurde für diese Veröffentlichung mit einem zeitgemäßen Motiv neu interpretiert.

„Animals“ ist ein Konzeptalbum, das sich kritisch mit den sozialpolitischen Verhältnissen im Großbritannien der mittleren 1970er-Jahre auseinandersetzt und damit eine Abkehr vom Stil der früheren Arbeiten der Band markierte. Aus einer Ansammlung ursprünglich nicht miteinander zusammenhängender Songs entwickelten Pink Floyd ein Konzept, das den offenkundigen sozialen und moralischen Verfall der Gesellschaft beschreibt. Inspiriert von George Orwells „Farm der Tiere“, verbildlichen sie die menschliche Natur mit einer Analogie zum Tierreich und teilen die Menschen in drei Klassen von Tieren ein: Die Schweine stehen an der Spitze der sozialen Kette, die Schafe tun als hirnlose Herde, was man ihnen sagt, und die Hunde sind die Geschäftsbosse, die sich am Profit und ihrer Macht über andere schamlos bereichern. Seit 1977 ist viel Zeit vergangen – und dann wieder gar nicht, denn die Erzählung des Albums hat als Kommentar auf unsere gesellschaftliche und wirtschaftliche Situation nichts von ihrer Aktualität verloren.

Das berühmte Cover von „Animals“ zeigt ein aufblasbares Schwein (heute bekannt als Algie), das in luftigen Höhen zwischen zwei Schornsteinen der Battersea Power Station in London schwebt. Die Idee für das Cover kam von Roger Waters, die Umsetzung übernahm der langjährigen Kreativpartner der Band, Storm Thorgerson von Hipgnosis Studios. Für die jetzige Neuveröffentlichung wurde das Artwork von Storms Hipgnosis-Partner Aubrey „Po“ Powell für die heutige Zeit neu gestaltet. Basierend auf neuen Aufnahmen des Gebäudes während der jüngsten Umgestaltungsarbeiten (das ehemalige Kraftwerk wird für die kulturelle und gewerbliche Nutzung umgebaut, gestaltet von Frank Gehry und Norman Foster), experimentierte Po mit neuen Blickwinkeln und erschuf einige beeindruckende neue Varianten des berühmten Originals. Po dazu: „Das Original-Albumcover von 1977 ist ikonisch und steht so sehr für sich, dass ich eine Menge Respekt davor hatte, ihm ein Update zu verpassen. Doch Hipgnosis nahm die Gelegenheit zum Anlass, das Motiv neu zu fotografieren und damit eine sich verändernde Welt widerzuspiegeln. Durch den Einsatz moderner digitaler Färbetechniken konnte ich Pink Floyds düstere Botschaft des moralischen Verfalls beibehalten, und auch die Orwellsche Tier-Analogie in Form des Schweins Algie lebt in dem neuen Artwork fort.“

Pink Floyds „Animals 2018 Remix” kann ab jetzt hier vorbestellt werden.