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Until the End of Time is the seventh studio album, and third posthumous album by 2Pac. It follows his previous posthumous albums R U Still Down? (Remember Me) and Still I Rise. The album consists of material recorded while the rapper was on Death Row Records from 1995–1996. The album debuted at number one on the US Billboard 200 chart.

A majority of the music compositions were remixed from their original state. Highly anticipated, Until the End of Time was ultimately one of the best selling hip hop albums of 2001. There were only three times references to Death Row Records were not censored (“Until the End of Time” (both versions), “U Don’t Have 2 Worry”, and “All Out”). The core vocal tracks and some instrumentation was recorded during and after the All Eyez On Me and Makaveli: The Don Killuminati: The 7 Day Theory sessions.

This will be a 180 gram 4LP 20th anniversary reissue of the long out-of-print, 4x platinum, posthumous album.

Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club Will need to engage in a series of lewd acts of sex and violence across the country.Immortality comes at a price and you’re about to pay for it… The beating heart of The Death Wheelers is a rumbling engine. Since their self-titled debut in 2015 and in 2020’s cinematic-storytelling breakout, Divine Filth, the Canadian outfit have tapped into wind-through-hair freedom and careened down open roads of groove, not a cop in sight. Their third record, Chaos and the Art of Motorcycle Madness, more than lives up to its name on all fronts. With songs like “Morbid Bails” and “Lucifer’s Bend,” the in-the-know references abound, and The Death Wheelers draw from classic underground metal, scummer heavy rock and cast themselves into a cauldron of cultish biker devil worship, reveling in any and all post-apocalyptic dystopias with genuine glee at having just seen the world eat itself. You might hear some surf guitar. Crazy things can happen. A sample in “Triple D (Dead, Drunk and Depraved)” underscores the message: “We want to be free to ride our machines without being hassled by the man. And we want to get loaded.” That line, from Roger Corman’s 1966 film The Wild Angels, serves as a mission statement, and as “Lucifer’s Bend” starts by laughing about how you can’t get away from Satan, they might as well carve it into their forearms to be ready when the blast of distortion hits, as much Entombed as Motörhead, galloping and sinister, coated in road dust and blood. The band tells the story like this: “Cursed to ride forever on this mortal plane after partaking in a satanic drug ritual, the Death Wheelers pledge allegiance to the god of hell and fire. However, in order to prove themselves to their newly anointed leader and for the spell to take effect, the club will need to engage in a series of lewd acts of sex and violence across the country. Immortality comes at a price and you’re about to pay for it…” While forging songs adherent more to ideology than style, The Death Wheelers cast their biker cult in their own image, and on Chaos and the Art of Motorcycle Madness, they challenge death head-on as only those with no fear of it could hope to do.

Label head DJ SUPERHERB debuts under this alias on Full Dose, in collaboration with fellow Glaswegian compatriot, TEN YEARS LOST. " Concrete City Merchandise " is a timely selection of iced out beats - a perfect companion to an unusually sweltering summer.

A surprising collision of minds has produced an album of near-horizontal belters. "Ocarina of Time", with its dusty vocal loops and shimmering high end induces a lazy euphoria like no other. The title's reference to Zelda aligns the pair with a long list of talented and game-obsessed beatmakers, matching the vibe of the track perfectly.

In an album clearly representing an evolution of the Full Dose sound, "Yeah"s dembow programming and stabby riff will be familiar to those who've been around since the beginning. Combine this with the clear G-funk influences found throughout, and you're on to a winner. "Pagan Golf" continues this amalgamation of styles, resulting in a sound that's perfectly Full Dose.

In a similar vein, "On the Rise" is as true to the West Coast sound as you're likely to find this side of the Atlantic. This hit sounds like the housier end of Stones Throw filtered through the mesh of the Glaswegian underground. Moogy synths carry loopy vocals, with the occasional fizzy and elongated riser to ensure you're not too deep in a trance.

Retaining these themes but slowing the pace right down is "Key Notez". Pulsating samples of running water sit low in the mix, providing a bed for the emotive pads and gently arpeggiated synth lines. The track somehow manages to combine elements of R&B with the more emotional end of electronic music, in a way that's rarely found."

On its’ release in November 2022, Daniel Stenger’s debut mini-album as Flashbaxx, Take Care My Friend, won plenty of plaudits for its’ enticing blend of jazz-funk instrumentation, audible warmth, effortless musicality, and memorable, sun-soaked songs. Now the set returns in remixed and reworked form, with a sextet of artists taking it in turns to put a new spin on the German producer’s carefully crafted and immaculately executed tracks.

The six-cut vinyl version boasts two revisions that have already made waves on digital download: a genuinely life-affirming hip-hop-soul take on ‘Strangers’ courtesy of East Midlands’ maestro Atjazz, where Katherine Kempf’s smouldering lead vocals rise above head-nodding beats, woozy electric piano chords, yearning horn arrangements and smooth bass guitar, and a sublime Moods mix of ‘Love Boat’ that re-frames the track as a languid, groove-fired shuffle through Balearic jazz-funk territory.

The other four reworks, which are exclusive to this EP, are similarly inspired. Chris Pookah collaboration ‘City Lights’ is given the remix treatment not once, but twice. First NuNorthern Soul regulars Mike Salta and Mortale re-imagine the track as a gently breezy, dusk-ready blend of bouncy, samba-influenced grooves and colourful Balearic nu-disco, before BJ Smith – the first artist to release music on Phil Cooper’s imprint way back in 2012 – takes the track into semi-acoustic, blue-eyed-soul-meets-Balearic jazz-funk territory. Gentle, tactile, and vibrant, it’s a stunning, soul-stirring revision.

To round off the EP, two producers renowned for creating atmospheric, sunrise-ready soundscapes deliver their versions of Stenger’s kaleidoscopic, musically rich aural visions. Marshall Watson handles ‘Alright’, smothering a languid, slow-motion drum machine beat in jazzy double bass, delay-laden electric piano motifs, lazy jazz guitars, rising synth strings and the dreamiest of pads.

Then, to round things off in considerable style, Tambores En Benirras reworks title track ‘Take Care My Friend’, teasing out the track’s inherent musical colour and warmth whilst adding his own distinctive spin. Pleasingly hard to pigeonhole, his remix makes extensive use of deep, dubby bass, Latin-style percussion, leisurely beats, blossoming synth sounds and all manner of effects-laden instrumental flourishes – including guitar solos that recall some of Dave Gilmour’s most laidback, eyes-closed moments. It provides a genuinely brilliant conclusion to an effortlessly impressive set of remixes.

Summer is now upon us, and with it one of our dearest dancefloor artillerymen returns to Timedance.

Ploy's « For when we haven’t slept » stands as a mission statement for the party athlete, it is a celebration of weekends ran like both a sprint and a marathon and its three tracks narrates the spirally craze that keeps you out and makes the dancers forget the sole existence of their beds.

Starting with the first hits of strobe lights on a Saturday night, as the energy rises and the dancefloor manically comes together (Crazy BB), it then moves on to a welcome and slightly hectic high octane after-party (Rose) before rolling all the way through to the sheer moments of lustful euphoria that defines the best Sunday sessions (Finally).

Bass pressure and intoxicating techno collide seamlessly without falling into the traps of forced seriousness, while hints of hook-laden house music keep the groove at peak levels, so the bodies can keep moving, beyond sleep and exhaustion and into the final stages of pure frenzy, for when we haven’t slept.

FÜR FANS VON: Gamma Ray, Helloween, Edguy, Blind Guardian, Stratovarius, Rhapsody, Primal Fear Auf ins höllische Metal-Vergnügen: Nach ihren bisher vier erfolgreichen Alben ‚The Unity‘ (2017), ‚Rise‘ (2018), ,Pride‘ (2020) und ‚The Devil You Know – Live‘ (2021), europaweiten Tourneen als Headliner bzw. im Gefolge von Bands wie Sinner, Edguy, Axel Rudi Pell oder Rhapsody Of Fire,
umjubelten Shows beim ‚Masters Of Rock‘, ‚Knockout-Festival‘ oder auf dem, Bang Your Head‘ zeigen sich The Unity auf ihrer fünften
Veröffentlichung ‚The Hellish Joyride‘ spielfreudig und variantenreich wie nie zuvor. „

Wir waren immer schon stilistisch breit aufgestellt, aber mit‚The Hellish Joyride‘ dehnen wir die Grenzen des melodischen Power Metals nochmals ein Stück weiter aus“, erklärt Michael Ehré und verweist auf die zwölf abwechslungsreichen Songs des Albums, die von temporeich bis balladesk reichen. Zudem hat Neuzugang Tobias „Eggi“ Exxel (Bass, Edguy) frische Energie in die Band gebracht und verstärkt die Gamma Ray-Mitglieder Henjo Richter (Gitarre) und Michael Ehré (Schlagzeug), Sänger Gianba Manenti, Gitarrist Stef und Keyboarder Sascha Onnen unüberhörbar. Veröffentlicht wird die neue Scheibe am 25. August 2023 über Steamhammer/SPV, bereits eine Woche später startet die Europatournee mit Primal Fear. Als erste Vorabsingle inklusive „sportlichem“ Videoclip gibt es am 14. Juli 2023 den Song ‚Always Two Ways To Play‘, fünf Wochen später folgt die zweite Auskopplung ‘Saints And Sinners‘. Die Spritztour kann
beginnen!

Head hydro-tripper Black Eyes has risen from the depths of the deep to release his debut solo record Hydro-Trip vol 1. Fresh off the sea creature's back from co-producing the 'Planet People - Terra Firma EP' with synth botherer Reedale Rise which came out earlier this year. His solo endeavour takes us on a jazzier vibe yet still keeping true to the deep ways of the water. Lead track 'Understood Sea Being' plunges us on a rugged ride with deep Detroit chords and Black Eyes's own punk-like vocals throughout. 'Let's Get Deeper' slows the pace up with chopped up samples and introduces us to the classic hydro-trip sound we've grown to love down here in the underwater cities; it's deep and trippy. 'Scuba Lyfe' picks up the pace a bit but evolves into a low down dubby groove mixed with some hi-tek jazz. Asking Rolando (who we all know was part of the infamous Underground Resistance and Los Hermanos, as well being a Berghain resident DJ more recently) to come on board the subterranean vessel was an obvious choice for remix. He switches the gears and adds some fluid Detroit techno to finish off the EP. Berlin based Deskai masters the EP who also mastered the Planet People EP so you know what to sonically expect.

LP-Reissue des ersten Albums, ursprünglich 2010 veröffentlicht!
Die Gruppe spielt eine Mischung aus Doom Metal und Psychedelic Rock der 1970er-Jahre, wobei die Gitarrenriffs an Black Sabbath erinnern. Des Weiteren wurde die Band von Neil Young, The Beatles, Electric Wizard oder The Kinks beeinflusst.
Limitiertes, dunkelgrünes Vinyl!

LP-Reissue des letzten Studioalbums, ursprünglich 2018 veröffentlicht!
Die Gruppe spielt eine Mischung aus Doom Metal und Psychedelic Rock der 1970er-Jahre, wobei die Gitarrenriffs an Black Sabbath erinnern. Des Weiteren wurde die Band von Neil Young, The Beatles, Electric Wizard oder The Kinks beeinflusst.
Limitiertes, dunkelgrünes Vinyl!

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

"Keeping Secrets Will Destroy You", das neue Album von Bonnie Prince Billy, erscheint am 11. August 2023 bei Domino und ist ein Album, das so gemacht wurde, wie es gehört werden sollte, in einem Raum. Der Klang von Menschen, die zusammen sind, die miteinander spielen, kommunizieren. Streicher, Holz, Tasten und Stimmen singen.

Das Album wurde in Louisville von Nick Roeder aufgenommen, mit Sara Louise Callaway an der Violine, Kendall Carter an den Tasten, Elisabeth Fuchsia an Bratsche und Violine, Dave Howard an der Mandoline, Drew Miller am Saxophon und Dane Waters' Stimme. Die 12 Songs umfassen ein breites Spektrum von Musik. Von der Klassik bis zum japanischen Acid-Folk und darüber hinaus. Und was vielleicht noch wichtiger ist: sie vermitteln ein Gefühl von Gemeinschaft, Zusammenhalt und dem Triumph des Vermächtnisses, das das Mark und das Herzblut dieser Musik ist.

This compilation takes us on a journey to the Colombian coast where the passion for African music burns bright.It's impossible to understand this love affair without first looking to San Basilio de Palenque - the first free town in colonial Latin America, established in 1691 as a place of refuge and autonomy for black slaves. It's a place where pride in African heritage and culture could be kept alive, just 50 km away from Cartagena de Indias.

The Afro Caribbeans' connection to their roots gave rise to the "picós" - artisanal, high-powered sound systems akin to those found in Jamaica. These music aficionados have a keen ear for African melodies, leading to a vibrant collector's scene that brought Afro sounds to the streets of Barranquilla, Cartagena, and Santa Marta. This compilation showcases the best of Kenyan Benga music - a unique style with a distinct guitar-picking method that draws from traditional instruments like the nyatiti and orutu. Learn everything about the history and stories behind these African tracks, from the carefully guarded "exclusives" to the piconema - the practice of renaming songs in Spanish based on their lyrics or the reaction of the dancefloor.

The project has been led by Spanish vinyl collector Joan Pujol aka Golfo De Guinea surrounded by a team of passionate music lovers including Don Alirio, a musicologist from Barranquilla who offered a coastal perspective, and George Ouma, a Kenyan DJ, collector, and Benga advocate who helped with track selection and securing rights. The result is a compilation that captures the joy and energy of sub-Saharan polyrhythm, bringing together a vibrant mix of genres that are sure to move your feet. So sit back, turn up the volume, and let yourself be transported to the vibrant streets of the Colombian coast and the shores of Lake Victoria.

Die von Tim Burton produzierte Serie zeigt Wednesday Addams, die Tochter der Addams Family, wie sie als Teenager auf ein Internat für außergewöhnliche Menschen kommt (Zauberer, Werwölfe und mehr). Neben den beeindruckten Streamingzahlen auf Netflix, ging die Serie auch auf TikTok und Instagram monatelang viral. Komponiert vom Oscar-nominierten und Emmy-Gewinner Danny Elfman (Men In Black, Good Will Hunting, Desperate Housewives) und Emmy-nommiertem Chris Bacon (Bates Motel, Sherlock Gnomes) erscheint der Score zur Serie auf farbigem Doppelvinyl (purple smoky marbled) und in bedruckten Sleeve mit Gatefold.

1914 – das Debütalbum Eschatology of War in neuen physischen
Formaten!

“Wir singen nicht einfach die Songs, wir erzählen Geschichten!“(1914)

Seit ihrer Gründung im Jahr 2014 thematisieren die ukrainischen Blackened-Death/Doom-Metal-Visionäre 1914 in ihren Songs die Grausamkeiten des Ersten Weltkriegs. Begonnen hat dieser unerbittliche Streifzug durch die Geschichte mit ihrem Debüt Eschatology of War (2015) und gipfelte zuletzt im erneut von Kritikern hoch gelobten Where Fear and Weapons Meet (2021). Nachdem Eschatology of War 2021 über Napalm Records zunächst digital wiederveröffentlicht wurde, folgen am 4. August 2023 nun endlich auch mehrere neue, physische Formate.

Ohne jegliche Kompromisse kombinieren 1914 Death und Black Metal der alten Schule zu einer unheilvollen Allianz. Mit ihren Werken schaffen 1914 eine eigene, höchst authentische bemerkenswerte Klangwelt und Hommage an alle, die im Ersten Weltkrieg gefallen sind. Zusammen mit intensiven Texten und einem einzigartigen visuellen Erlebnis transportieren sie die Hörer zurück in eine grausame Zeit der Menschheit und strecken ihr gleichermaßen den Spiegel der Gegenwart entgegen. 1914 rufen dazu auf, sich mit der eigenen, schrecklichen Vergangenheit auseinander zu setzen, die nie vergessen werden darf, vor allem aber auch, das Hier und Jetzt nicht aus dem Fokus zu verlieren, während das musikalische Schaffen der Künstler zudem eine Hommage an alle darstellt, die im Ersten Weltkrieg gefallen sind.

Alabama native Drayton Farley has as honest a voice as you're likely to hear in this burgeoning scene of country, folk, roots, and Americana music we're all wrapped up in. With songs and lyrics pulled from real life experience, there's a grounded feeling to his stories, a confessional quality that rings true to those who know. His voice fills the room like cigarette smoke, curling into every corner of you, with a fine grit rasp that smooths out every rough edge. It lingers hours, days, after you've left the bar - turns of phrase that tumble around your mind, bittersweet and familiar. He sings as deeply about the love he holds as the love he's lost and there's something so broken-in and comfortable about that Southern inflection that every song feels like coming home. Sharing stages with musicians on the rise such as Zach Bryan, Arlo McKinley and Mike and the Moonpies, Drayton has quickly gained a loyal fan base. Twenty on High, Drayton's first release with Thirty Tigers, was produced by Sadler Vaden (Morgan Wade) and recorded with Chad Gamble, Jimbo Hart, Sadler Vaden, Peter Levin, Kristin Weber and Katie Crutchfield at Nashville's Sound Emporium Studios. “Lyrics that are immediately reminiscent of the humor and subtlety of John Prine, the directness and honesty of Bob Dylan, and the everyman gravity of Pete Seeger, Farley firmly establishes himself as one of the great American voices in folk and Americana music.” - Americana Highways

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.