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Born Osborne Ruddock in Kingston in 1941, he grew up around High Holborn Street in Kingston, before moving to the new Waterhouse district in 1955. His electronic genius grew from working and fixing radios and TV sets. A natural progression led to working with amplifiers, and starting his own sound system, 'Tubby's Home Town Hi-Fi'. A very competitive games i the late 60's. You were as good as the EXCLUSIVE records you played.
Tubby discovered during his time cutting discs for Duke Reid's Treasure Isle set up, that by dropping vocals/instruments in and out of the backing tracks, you could invent new versions of existing old tunes. These early versions tried and tested on his sound system went down so well that he invested in a four track mixing console with delay echo effects, sliders and phasing units and so began King Tubby's 'Studio Of Dub' at 18 Drummlie Avenue, Kinston 11 , Jamaica...His Home.....
This is where all the producers would bring their tracks for Tubby to put his magic over. Most tracks that came out in Jamaica from here on in would carry a 'Version' on it's B- Side more than likely a Tubby Dub.
One of the producers who used him the most was Bunny Striker Lee, who's labels Jackpot, Justice and Attack all carried Tubby's mixes/versions on their flip sides.
Our collection here, all taken from original master tapes you might have heard the tracks before but not these versions....Lost in the vaults till now. So sit back and enjoy the dub master at work.

RESPECT.... JAH FLOYD

Track 1 CHERRY'S DUB
We start off with a very early version of Eric Donaldson's 'Cherry O Baby'.
This version was recorded at Dynamic Sounds, in 1971 and has remained lost on master tape until now.

Track 2 FRENEMY DUB
This classic rhythm known as 'Mad Mad World' and 'Crying in the Ghetto' both voiced by Winston Jarret
got worked on by Tubby as an exclusive mix for his sound system. Released here for the first time featuring
the late, great Jacob Miller on dubbed vocal.

Track 3 FALLING FOR DUB
A version here of Cornell Campbell's 'My Whole World is Falling Down' Tubby in fine form.

Track 4 DUB ON THE STREET AGAIN
Yes my friend The Street Again finds Cornell Campbell's vocal dubbed King Tubby Style Nice Rockers drums from Sly Dunbar.


Track 5 DECEIVING THE DUB
Sly and Robbie dubbing up Delroy Wilson's ' So Long Jenny' with King Tubby at the boards

Clear Vinyl. Mit ihrem Debüt The Empty Space Between A Seamount And Shock Headed Julia hinterließen The Black Cat's Eye 2023 ein bemerkenswertes Echo in der Szene - ein energetisches und atmosphärisches Werk, das Psychedelic- und Postrock-Elemente auf einzigartige Weise vereinte und schnell vergriffen war. Nun, zweieinhalb Jahre später, präsentiert das Frankfurter Quintett sein neues Album Decrypting Dreams Of Weird Animals And Strange Objects. Auch diesmal lotet die Band die Grenzbereiche zwischen Psychedelic-, Kraut- und Post-Rock aus. Die Musik oszilliert zwischen hypnotischem Drive, verträumten Gitarrenflächen und dynamischen Spannungsbögen. Das Album umfasst sechs Songs, deren Spannweite von fünf- bis zehnminütigen Klangreisen reicht. Neu ist, dass diesmal zwei Bandmitglieder Kompositionen beisteuerten: Neben Gitarrist und Bandgründer Christian Blaser stammt die Hälfte des Materials von Bassist Jens Cappel. Sein kraftvoller, direkter Stil ergänzt Blasers atmosphärischen Ansatz ideal. Blaser: ,Auf dem Debütalbum stammten alle Stücke von mir. Als Gründer der Band lag mein Fokus zunächst darauf, eine musikalische Vision und Richtung vorzugeben. Jens war zu diesem Zeitpunkt noch nicht so in die kreativen Prozesse eingebunden, obwohl er ein außerordentlich talentierter und umtriebiger Musiker ist. Er veröffentlicht regelmäßig großartige neue Musik auf den Bandcamp-Seiten seiner eigenen Projekte, zum Beispiel The Black Black Paint. Als es dann an das Schreiben neuer Songs für das zweite Album ging, brachte Jens einige wirklich tolle Demos mit ein." Stilistisch verbindet das Album, wie schon der Vorgänger, klassische 70er-Einflüsse mit zeitgenössischer Rockmusik - man hört Anklänge an Can, Motorpsycho, Neu!, Indie- und Stonerrock, aber auch an David Gilmours Gitarrenästhetik. Die Musik ist instrumental, einzig im finalen Stück ,The Magic Balloon" übernimmt Jens Cappel den Gesang. Ähnlich rätselhaft wie bei der ersten Platte klingt der Albumtitel: Decrypting Dreams Of Weird Animals And Strange Objects. Blaser erklärt: ,Der Titel ist inspiriert von einem faszinierenden Aspekt der US-amerikanischen TV-Serie Westworld. Dort werden humanoiden Robotern Gefühle und Träume einprogrammiert. Doch weil diese Androiden dadurch immer menschlicher werden, geraten sie außer Kontrolle - die Programmierer suchen daraufhin den Fehler in den von ihnen geschriebenen Quellcodes, analysieren die künstlichen Gefühle, Gedanken und Träume mithilfe ihrer Computerprogramme. Übertragen auf unsere Realität ist der Titel durchaus ironisch gemeint. Unsere moderne Technik vermittelt den Eindruck, wir könnten jeden Bereich unseres Lebens vollständig steuern. Selbstoptimierung und die Kapitalisierung des eigenen Ichs werden zum obersten Prinzip. Eine trügerische Illusion, denn wir sind nur winzige Teile eines größeren, für uns unergründlichen Ganzen. Vor diesem Hintergrund stellt sich die Frage: Was kann Kunst zu unserer Wahrnehmung der Welt beitragen? Welche Bedeutung hat es, sich mit musikalischen Mitteln auszudrücken? Durch Technik, Mathematik, Physik und reine Vernunft kommen wir dem Wunder des Lebens und dem Sinn unserer Existenz nicht wirklich näher. Was uns bleibt, ist das Ritual, die Beschwörung, die Ekstase. Musik, Tanz, Malerei, Geschichten - sie offenbaren für kurze Momente den wahren Kern des Lebens, richten unser Verhältnis dazu neu aus und verbinden uns mit dem Universum." Aufgenommen hat die Band wieder im Tonstudio Bieber in Offenbach am Main. Oli Rüger, Studiobetreiber und selbst Musiker, hat langjährige Erfahrung mit dem Aufnehmen von Gitarrenbands. Innerhalb von drei Tagen spielte die Band die Basic Tracks live ein, anschließend ergänzten sie diese durch Overdubs. Rüger war auch als Co-Produzent beteiligt. Cappel: ,Oli hat das richtige Händchen für die perfekte Balance zwischen rohen, heftigen und filigranen Sounds, ohne gleichzeitig den Blick für das große Ganze zu verlieren." Das Werk wurde final von Krautrock-Legende Eroc gemastert - eine passende Wahl für eine Band, die sich nicht nur als Erben der 70er sieht, sondern diese Tradition aktiv in die Gegenwart weiterdenkt. Das monochrome Cover-Artwork unterstreicht eindrucksvoll die dunkle Atmosphäre der Musik. Es verdeutlicht den konzeptionellen Ansatz der Band, Musik nicht nur als Klang, sondern als Raum, Konzept und visionäre Erzählform zu begreifen. Das Titelbild - eine scheinbar endlose Spirale, Symbol für DNA-Strukturen und Ewigkeit - wurde vom italienischen Grafiker Daniele Stochino entworfen. Die Innenseite des Gatefolds verbindet dieses Motiv mit einer Illustration des in Berlin lebenden Grafikers und Musikers Max Emil Hurlebaus. Durch farbige Akzente eröffnet sie kontrastreich neue Perspektiven.

First time on vinyl reissue of this indiepop classic, 15 years after its original release.

Living & Growing was the debut album from The Felt Tips, a Glasgow-based indiepop band that gloriously combined gritty lyrics with sublime jangly guitars. Set For October 17th Vinyl-Only Reissue On Unspun Heroes.

• A band synonymous with the 2010’s indiepop renaissance
• Ten melodious, infectious and utterly unforgettable songs
• Reissued for the first time on EcoVin™ Bio Vinyl

October might not appear to be the ideal time to release a bright and sunny set of songs, but autumnal days bring a mix of dark and light that perfectly matches the overall vibe of the debut album by the jangly indiepop band, The Felt Tips.
 
The Felt Tips debut album was originally released by Peruvian label Plastilina Records in 2010 to much acclaim in the international indiepop scene. The ten songs are crammed full of catchy melodies and chiming guitar riffs, with memorable lyrics covering everything from religious hypocrisy (Boyfriend Devoted) to what teenagers get up to in the park after dark (Lifeskills).
 
It’s clear that these four lads grew up listening to The Smiths – not only name-checking the 80’s indie darling’s frontman and his ever-expanding girth but also deftly leaning into similar unconventional lyrical themes. And while there’s an obvious Belle and Sebastian comparison being Scottish, musically the enigmatic and skillful guitar playing from Miguel Navarro owes more to Bernard Butler and Johnny Marr – and his talents learning flamenco guitar in his native Spain. The weaving of the guitar’s melodic musical backdrop, alongside the pulse of Kevin Carroll’s inventive drumming and Neil Masson’s intricate bass playing, is what truly elevates The Felt Tips.

 And it’s this juxtaposition of bright melodic tunes from the band and the exploration of the darker side of human nature conjured by Andrew Paterson’s lyrics makes The Felt Tips such a noteworthy addition to the indiepop scene.

Originally recorded at CaVa Sound in Glasgow, the album has been remastered and cut for vinyl by Guy Davie at Electric Mastering, and pressed on INEOS EcoVin™ Bio Vinyl at Press On Vinyl in Middlesbrough. New liner notes have been written by Roque Ruiz, the owner of legendary US-based indiepop label, Cloudberry Records. An extremely limited selection of the reissued albums will ship alongside a make-your-own cardboard rose sculpture created by London-based indie illustrator and maker, Hey Kids Rock ‘n Roll.

Fiddlehead's debut LP Springtime and Blind is an exploration of grief both introspective and through the insight of others. Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration. Springtime and Blind stemmed from Pat's loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. While the process of writing and recording helped Flynn cope with his personal loss there's no doubt it carries a universal message that can help ease others' loneliness. A contrast to itself, Springtime and Blind is a multidimensional and relatable journey through its cathartic message and spirited instrumentals.

"While playing for Phil Lesh, I became friends with his son, Grahame, and we started booking shows called Dead Blues, a Phil and Friends offshoot that used the traditional blues and folk songs from the Dead catalog as a vehicle to bring new musicians from the blues and rock scene into Phil’s orbit. For example, we brought Phil together for the first time with the Blind Boys of Alabama, Charlie Musselwhite, G Love, JD Simo and many others new to Phil’s community.
Dead Blues was a great concept for live shows but I never considered making an album until I met singer Datrian Johnson, one of the most moving singers I’ve ever worked with. John Medeski brought Datrian into the community and we instantly became friends and collaborators and began recording the songs on Dead Blues Volume 1, reinterpreting the American classics.
The tracks feature North Mississippi Alumni Cody Dickinson and Rayfield “Ray Ray” Hollowman, as well as old friends from Memphis, Paul Taylor/New Memphis Colorways also on drums, bass and guitars and Steve Selvidge on Space Funk guitar. I found that writing the music on bass (then adding keys and guitar) led the music down a funky, jazzy avenue and Datrian worked his magic, reinterpreting the classic blues lyrics and melodies with his soulful vocals."

After their first joint recording experience in 2022, in which they dedicated a monograph to the Beatles, revisiting their great classics,
Sarah Jane Morris, a British jazz, rock, and R&B singer and songwriter, and the Solis String Quartet, a Neapolitan string quartet with
extensive concert and recording experience, are embarking on a new album. This time, it's not a monograph, but a tribute to a series
of artists who have left an indelible mark on the universal music world with their art and unique lifestyle. The project is titled "The 27
Club," a reference to those artists who, despite not choosing to belong to any elite circle, were united by the fate of having left this
world too soon, at just 27 years old. Among them are great names such as Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain, Amy
Winehouse, and Otis Redding. Despite their differences, these artists share a charisma and a passion for music that has made them
immortal. Their musical legacy continues to celebrate their memory and inspire new generations. The album is a tribute to these timeless
artists, whose songs remain timeless and continue to move. Forever Young.
"After our first recording collaboration with Sarah Jane Morris in 2022, in which we dedicated a monograph to the Beatles, revisiting
their great classics, we decided to take on a new challenge, no longer a monograph but a work dedicated to a series of artists who have
unmistakably marked the universal musical world with their art and their very particular lifestyle! We called it "Forever Young" and it
tells the story of the "Club of 27" in music; an imaginary, dark and very elitist circle in which artists of the caliber of Jimi Hendrix, Janis
Joplin, Jim Morrison, Kurt Cobain, Amy Winehouse, Otis Redding found themselves enrolled, certainly unwillingly and without their
knowledge, after death snatched them from success on the threshold of twenty-seven, only to restore them, almost as compensation,
to immortal glory, just a stone's throw from legend. Musically speaking, thanks to the overflowing evocative power of Sarah Jane Morris's
voice, it was both fascinating and stimulating for us to try to restore It integrates the idea and mood that permeated and still live on in
these compositions, the rhythm, the melody, and the lyricism, in an original reinterpretation that accompanies the listener in the rediscovery of these masterpieces! Solis String Quartet
"Greatly talented creative people often die young, like Keats, Mozart, Schubert, Raphael, and the Brontë sisters. We tend to think of
them in two ways: we wonder what they might have accomplished had they lived longer. However, more positively, we can appreciate
their youthful talents as impervious to the passage of time, their brilliance preserved in their eternal youth. They will remain forever
young." Sarah Jane Morris

Mariel Buckleys ,Strange Trip Ahead" ist der mit Spannung erwartete Nachfolger ihres für den Polaris Music Prize nominierten Albums ,Everywhere I Used to Be". Auf diesem Album widmet sich Buckley noch stärker dem Alternative-Americana und Indie-Rock, mit klirrenden Akustikklängen, rauer Pedal Steel und ihrem charakteristischen melancholischen Ton. Die Lead-Single ,Vending Machines", produziert von Jarrad K (Ruston Kelly, Wild Rivers), leitet dieses neue Kapitel mit filmischen Details und schwungvollen Rhythmen ein und fängt die Orientierungslosigkeit des Lebens im Wandel mit beeindruckender Ehrlichkeit ein. Buckleys Ruf als scharfsinnige, verletzliche Geschichtenerzählerin wächst weiter, sie hat sich ein treues Publikum in der Americana-, Folk- und Alt-Country-Szene erarbeitet. Zu ihren Tourneen gehören Support-Slots für Orville Peck, The Bros. Landreth und k.d. lang sowie Auftritte bei SXSW, AmericanaFest und dem Philadelphia Folk Festival, die ihre Position in der modernen Roots-Landschaft festigen. Strange Trip Ahead ist Buckley in ihrer kühnsten Form - roh, echt und ohne Angst, Genregrenzen zu verwischen. Vom Pedal-Steel-Hook von ,Vending Machines" bis zum kraftvollen Album-Closer ,Anvil" bringen ihre geerdete Stimme und ihr exzentrischer Charme frische Energie in die zeitgenössische Americana. Es ist ein überzeugender Schritt nach vorne von einer Songwriterin, die sich still und leise zu einer der angesehensten Stimmen der kanadischen Roots-Musik entwickelt hat.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

STANDFIRST Titanic, the project spearheaded by Mabe Fratti and Hector Tosta (aka I. la Católica), return with a sumptuous and life-affirming new album.



In her sensational 1929 biography Tiger Woman, dancer and socialite Betty May claimed her ‘coster’s eye’ meant she liked to wear as many colours as possible. “Colours to me are like children to a loving mother. Each is my favourite, yet I can never bring myself to deny the others by preferring one.” May’s bold and inclusive strategy is one that manages to transfer itself, almost a century later, to Hagen, the new record by Titanic.


Many will know Titanic as the Mexico City-based brainchild of cellist and singer Mabe Fratti and multiinstrumentalist Hector Tosta who is now operating under the pseudonym, I. la Católica, (taken, rather unusually, from the name of the street the pair live on). With Hagen, and their previous release, Vidrio, (2023), the pair are creating a distinctive signature sound in modern alternative pop music. Nobody else sounds quite like them. Both records have an open hearted nature and simple, winning melodies that play off against a taste for drama, spectacular orchestration and a feeling of otherworldly mystery. Hagen is the more ambitious, sometimes more mystical effort. From the opening handclaps of ‘Lágrima del Sol’, (a wonderfully uptempo playground chant translating as a tear from the sun but, surely, not referencing the brand of pineapple wine?), the record dances its way through various mid-to-late-eighties inspirations, lush and widescreen passages of melancholy and vertiginous contrasts.


Mystery is often found in the simple but slightly odd song titles. English translations of various track titles give, ‘you swallowed the gum’, ‘leak’, ‘a tear from the sun’, ‘raising the trophy’ ‘digging dimensions’, ‘the owner’, ‘the decapitated hen’ and ‘the trap is exposed’. All denote striking images, metaphysical hints and emotional cues or simple, even childlike actions. Though Fratti and Tosta don’t reveal its provenance, the album’s title could even be a crafty play on words: the listener would be forgiven in thinking the moments of brash contrast and eyebrow raising theatricalism in the music constitute a musical nod to German punk chanteuse, Nina Hagen.


On Hagen, singer and cellist Mabe Fratti once again displays her brilliant knack of speaking to us directly. There is never the suspicion of her playing to the gallery, and the directness of many of the lyrics don’t allow it. Parallel to this, Fratti has an almost magical ability to give Hector Tosta’s melodies, and her and Tosta’s lyrics ones imbued with an insight and meaning that feels otherworldly. Tosta admitted it was “pretty wild to hear Mabe take the interpretations to a different place” and the listener can pick up on the delight Fratti takes in (literally) adding a voice to the many narratives.


Two examples can be shown here: ‘Gotera’ (Leak) uses harsh slashes of cello and tough, gunfire-like guitars and drums and multiple vocal lines that could be acting as a Greek chorus. They play off brilliantly against Fratti’s soft, slightly baleful vocal take that delivers lyrics such as: ‘nobody knows where the leak is / but I know where it is / they fight in front of the door and / nobody can go in’. With ‘La Gallina Degollada’ the somewhat blithe melody melody line, sung with what could be sarcastic brio by Fratti, plays against an itchting rhythm and rasping guitar part. The punch comes when you see that the song is about a chicken that has been decapitated and read lyrics such as: ‘I already saw it, it moved, the decapitated chicken’ / ‘could it be that I'm broken’ and ‘Two people hurt each other by thinking that they no longer agree’/ ‘Hours pass and the chicken represents what scares me’.


There may be death and fights to deal with, but there is also a quality of chirpy self-reliance about Hagen that is a key part of its nature. Like Betty May and her colourful outfits, Hagen’s sound often revels in its own sense of richness. Throughout, the record delivers vaulting string sections or glutinous guitar squeals that could, like the powerful, driving ‘Escarbo Dimensiones’ (Digging Dimensions) have come directly from a glossy 1980s TV series. Fratti sees this “glam sound” developed by Tosta on the aforementioned track and ‘Te Tragaste el Chicle’ (You Swallowed The Gum), as moments that were truly “revealing” for the album as a whole during its making.


What else? The thud and thump of ‘La Trampa Sale’ (The Trap is Exposed), and its sudden change of tempo and mood betrays a monstrously ambitious piece of music, the players almost greedily creating the sounds. Other moments are heart wrenching: ‘Libra’ ends on a poppy chord switch that cleverly ramps up the emotion inherent in the music’s notation. You could almost imagine a teenager in a bedroom forty years ago, rewinding the track over and over on a small, cheap cassette player, unable to get enough of that sugarsweet switch. Elsewhere, Oneohtrix Point Never adds stardust and an unearthly sense of space on the changeable, slightly moody meditation, ‘Pájaro de Fuego’ (Firebird). The record ends with ‘Alzando el Trofeo’ (Lifting the Trophy), a track that could soundtrack a state wedding, what with its beautiful cascading piano parts, a sugary vocal and short triumphal guitar riffs that add a rich patina to the overall sound. Fratti: “When I doubled those vocals on ‘Alzando el Trofeo’ I felt there was an epiphany happening, right at that moment.”


Making a good record is a team game. Tosta and Fratti recall seeing Randall from Circular Ruin Studios in NYC “tweak the drums in ‘Libra’ to make that amazing effect of the gated reverb”, or the shaping of ‘Gotera’, “when (recording engineer) Nate Salon added some synths to the track.” Drummer Eli Keszler, “an amazing and versatile player” had the songs down pat in a couple of days” and, according to Tosta, Oneohtrix Point Never “just came to one of the sessions and we hung out, and after all the recordings he and Nate were together in some studio and out of nowhere they sent us some beautiful tracks for ‘Pájaro de Fuego’! Fratti concurs. “He decided that he wanted to record because he was listening to the record (Nate works closely with him) and he really liked it! It was a total honour, indeed!”


Bedazzled by the playing, the skyscraping ambition in the arrangements and the giddy moments of contrast thrown up by Hagen, we could allow ourselves a brief moment of flippancy and state that Titanic’s new record is Yacht Rock meets Aeschylus, full-on. It’s also worth speculating that, in this hyper-sensitive, intemperate age, Titanic’s music has the power, however fleetingly, to heal hurts. Hagen is a brilliant showcase for a fresh and enriching form of pop music: displaying a magpie eye for what glints and plundering what has gone before.


Like Vidrio, Hagen was partially and additionally recorded at Fratti and Tosta’s house, aka Tinho Studios in Mexico City, as well as Golden Girl Studios & Circular Ruin Studios in New York City. Mixing was done by Santiago Parra in Pedro y el Lobo Studios, Mexico City and mastered by Rafael Anton Irisarri at Black Knoll Studios, New York City. The recording engineer was Nate Salon.


Hagen featured Mabe Fratti on cello, vocals & backing vocals, I. la Católica on guitar, keyboards, prepared piano, bass & backing vocals, drums by Eli Keszler and synths in ‘Pájaro de Fuego’ from Daniel Lopatin and Nate Salon.


All compositions on Hagen are written by I. la Católica, except ‘Escarbo Dimensiones’ & ‘Pájaro de Fuego’, which were composed by I. la Católica and Mabe Fratti. The record was produced by I. la Católica and co-produced by Nate Salon & Mabe Fratti. And all lyrics are by I. la Católica except ‘Escarbo Dimensiones’, ‘Gotera’, ‘Gallina degollada’ & ‘Pájaro de Fuego’, which were written by I. la Católica & Mabe Fratti.

Manchester based trio, Sonnenspot have unashamedly taken their favourite records from the Kosmische Musik landscape and fused these to inform their own spontaneous sonic constructions. Motorik drums, pulsating flutes, wah guitar and almost excessive use of space echo make this a dense and dreamy listen, with a hint of the rainy pensiveness of their home town.

Notable inspiration from Neu!, Manuel Gottsching, Sonic Youth and Yo La Tengo is all clearly audible in the various recordings on this album and minimal effort was made to shy away from this. The longest track 'Motorway' is an epic homage to the space rock art form and 'Madrugada' takes both John Martyn's 'Small Hours' and Gottsching's 'Inventions' as a starting point. Others include the tobacco lovers art-rock-ear-worm ('Liquorice Paper'), a dub laden celestial synth jam ('Slow Blinker') and the album opens with the first thing the band ever recorded, as a meaningless improvisation to tune their synths up to ('Figurescene'). Turned out it had a killer bass line and drum part.

Initial sessions were mostly just an excuse for the three long standing friends to get together musically for the first time, and after knowing each other for many full moons, it was long overdue.

They all bring some peripheral musical heritage to the table. Ian Smith was the guitarist in Alfie and the The Beep Seals and played on Badly Drawn Boy's 'The Hour of Bewilderbeast'. Pete Philipson played in Jane Weaver's band for ten years and has made his own ambient guitar albums. Dan Hope plays in the jazz folk band Mother Sky and promotes events around the city under the Rainy Heart banner.
They were joined by another long term musical friend Sam Kynaston who added heavenly flute to much of the album.

Repress!

Biosphere is the main recording name of Geir Jenssen (born 30 May 1962), a Norwegian musician who has released a notable catalogue of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.



Cirque - originally released in 2000 - was Biosphere's first album for the UK label Touch. This new re-issue comes with a 6-track bonus album and new artwork.



Mojo (UK): Fourth full album from ambient pioneer. Coming to prominence with 1992's Microgravity - which along with the first couple of Aphex/Polygon Window CDs, defined the genre ambient - Geir Jenssen as Biosphere has made three of the '90s' best albums, culminating with last year's near beatless Substrata. The idea - as it always was thanks to Eno's On Land - is music as environment (reflecting, creating): working from his base in Tromso, Arctic Norway, Jenssen offers a polar, Apollonian exploration of the human psyche. Cirque is a perfectly constructed 47-minute sequence: cold clarity up against real depth of field, synth cycles dissolving into sudden moments of sonic revelation that sound like a waking dream - try the first 20 seconds of Black Lamb and Grey Falcon. (And if you think that's pretentious - your loss). Inspired by the story of a young American, Chris McCandless, who walked alone into the Alaskan wilderness and perished, Cirque balances the tightrope between warmth and unease, resolving into a moon melody that leaves you a peace. What a good record! Jon Savage.

Having worked together on his 2024 album Colours & Light, Project Gemini aka Paul Osborne joins forces once again with Wendy Martinez, French singer and composer, and also part of renowned psych-girl group Gloria on a new collaborative EP. Landing on Mr Bongo, ‘Time Stands Still / Le temps s'arrête’ is a sonic exploration that shows a shared love of the progressive music emanating out of France in the ‘60s and ‘70s and the celebrated film soundtrack composers of the time. A more melodic and romantic excursion than Paul’s previous recordings, this EP marries his richly textured, cinematic psych rock with Martinez’s captivating vocal presence.

A body of work born during the period Paul was finishing up his last LP Colours & Light, he penned an album’s worth of instrumental library-style music and had the idea of having Wendy add vocals and lyrics to a selection of them. The instrumental record got scrapped, but thankfully ‘Time Stands Still’ grew out of it.

Paul was a fan of Wendy’s work as both a solo artist and in the band Gloria, and her inclusion on the Project Gemini tracks ‘Entre chien et loup’ & ‘Extra Nuit’ showed a clear synergy to their musical approaches and sounds. For ‘Time Stands Still’ he sent over instrumental tracks one by one, with Wendy taking time to find melodies and French poetry she was happy with and returning her ideas from her home just outside of Lyon.

Drawing inspiration from French soundtrack composers such as François de Roubaix, Frances Lai and Michel Colombier, as well as French female artists including Léonie and Laurence Vanay, these productions are a contemporary love letter to this sound, not a homage. Mixing psych, folk, chanson, and French new wave, it’s music that pulls you in deeper, with groove, grit and passion at its core.

'Je n'ai plus peur' kicks things off with a sultry energy. It’s a psych-funk production drenched in attitude, swagger, and edge, which nods to the left-field side of Serge Gainsbourg’s music. Elsewhere, 'Âme contre âme' feels like the opener from a forgotten new-wave film, managing to be at both beautiful yet sinister and longing. 'The Crawler' could be incidental music from the same film, with Wendy using her voice as an instrument layering the backing track as Paul's bass takes centre stage. The ghostly spoken word of 'Ce qui est intact' echoes a funky version of what the Théâtre du Chêne Noir d'Avignon may have recorded.

A transportive journey ‘Time Stands Still’ is nostalgic yet new in the same smoke-filled breath. Fuzzed-up guitars and driving basslines meld with folk-leaning organs and mellotron vibrations to give that eerie, otherworldly edge. All of which are seasoned by the sensuous, layered vocal tones of Wendy Martinez, alongside crisp drums from Tony Coote and considered percussive touches by Paul Elliot.

For Mal-One’s second dub album he pulled the dub versions of these tracks, as they seemed to work together as an album. New York City Punk (New York Dub), 45 Random Punk Memories (45 Random Dub), Machine Bubble Disco (Machine Bubble Dub), I Used To Play Bass In A Punk Rock Band (I used to play Dub), Never Seen A Bad Picture of Debbie Harry ( Never seen a Bad Dub), Punk Rock Fanzines (Punk Rock Fanzine Dub). JJ’s Alright (JJ is Dub) The Buzz-cocks Are Coming (The Buzz-cocks are Dub), Damned
Disciple (Damned Dub), The Satellite Kid (Satellite Dub), Punk Rock is Back! (Punk Rock is Dub) and The Revolution Is Coming ( Revolution Dub).

The cover of the album is a collage of various mementos culled together over a target painted canvas. The style and objects seemed to suit the cut up style of the tracks. To add another dub layer to the project he also took the lyrics to these tracks and cut and reworked them into a Punk Art Poem for the back side of the record sleeve. A dub reworking of words, music and image.

Hope you enjoy the indulgence.

Mit "Cotton Crown" erweitert die Band ihre Klangpalette um eine kaleidoskopische Bandbreite an Einflüssen: Von gefühlvollem Pub-Rock über HÜSKER DÜ-Aggression bis hin zu melancholischem Sophisto-Pop ist alles dabei. Wie Pitchfork feststellte, sehen THE TUBS den Jangle als eine "riesige Welt der Stimmungen und Musen" und "Cotton Crown" zeigt, wie sie diese Welt weiter erforschen und dabei einen unverwechselbaren Tub-ular-Sound kreieren. Das liegt nicht zuletzt an der Gesangsleistung von Owen 'O' Williams, der oft mit einem jungen RICHARD THOMPSON verglichen wird, und an seinen offenen, düster-komischen Texten. In "Cotton Crown" widmet er sich weiter seinen Lieblingsthemen: Liebespsychose, unsympathisches, psychisch krankes Verhalten und die Demütigungen des Musikerdaseins in London. Dieses Mal ist jedoch ein Gefühl des Risikos in seinen Selbsteinschätzungen und Bekenntnissen spürbar. Im Mittelpunkt steht das Leben in der Zeit nach dem Selbstmord seiner Mutter (der Folksängerin Charlotte Greig), und Williams singt über die unbeholfenen, aufdringlichen und gut gemeinten sozialen Interaktionen, die darauf folgten. Das Albumcover zeigt ein Bild von Williams als Säugling, der von Greig auf einem Friedhof gestillt wird - ein Werbefoto, das um die Veröffentlichung des Debütalbums von Charlotte Greig herum aufgenommen wurde. Der wesentliche Trick von "Cotton Crown" besteht darin, die lyrische Düsternis von Williams durch fröhliche, hakengeladene Pop-Perfektion zu kompensieren. Das liegt vor allem an der Gitarrenarbeit von George Nicholls, der auf dem Album mühelos zwischen dem virtuosen Jangle von JOHNNY MARR, dem treibenden Folk-Rock von PENTANGLE und den Refrain-lastigen Hi-Fi-Grooves zeitgenössischer Bands wie TOPS oder THE 1975 hin- und herwechselt. Dazu kommt die halsbrecherische Rhythmusgruppe von Taylor Stewart (Schlagzeug) und Max Warren (Bass) - die jeden Song mit einer Power-Pop-Wut angreifen, die an GUIDED BY VOICES in ihren besten Zeiten erinnert - und schon hat man ein Rezept für großartigen Indie-Rock. Das Debütalbum der Band, "Dead Meat", wurde durch Mundpropaganda zu einer Sensation, die der Band Auszeichnungen von Pitchfork, The Guardian, MOJO, Uncut, SPIN und anderen einbrachte. Sie gewannen sogar einige prominente Fans: der unnachahmliche Mark Proksch (The Office, Better Call Saul, What We Do in the Shadows) spielte die Hauptrolle im Video zu ihrer Single "Round The Bend" und die Punk-Legende IGGY POP lobte sie in seiner BBC 6Music Radiosendung. Owen Williams, Max Warren und George Nicholls waren zuvor Mitglied von JOANNA GRUESOME - eine Band, die den Welsh Music Prize gewann, ausgiebig durch Großbritannien und die USA tourte und von Pitchfork, Rolling Stone, The New York Times, The Guardian und anderen gelobt wurde. Sängerin Lan McCardle, mit der Williams sowohl bei JOANNA GRUESOME als auch bei EX VOID zusammen musizierte, steuert bei einigen Stücken auf "Cotton Crown" Backing Vocals bei.

American standard-bearers for glam rock and important precursors to punk rock, New York Dolls reunited (at the personal request of longtime fan Morrissey) nearly three decades after their early-1970s heyday. Original Dolls David Johansen and Syl Sylvain still have all the sass and swagger of their prime on CAUSE I SEZ SO. Todd Rundgren had helmed the band's debut and returns in the same capacity for this 2009 Atco album, helping the quintet push its sonic envelope a bit beyond the Stonesy racket of yore. A reggae-tinged reworking of their '70s classic Trash may be the most striking example of this, but the beautiful pop melody of Lonely So Long and the propulsive R&B of Nobody Got No Bizness show the Dolls can wear any style and make it look great. We'll give CAUSE I SEZ SO another spin in memory of the band's drummer Jerry Nolan, who passed away on this day in 1992.

★Japanese obi-strip
★First time reissued on vinyl

Turning Into Small, the second album by shoegaze band All Natural Lemon & Lime Flavors from New Jersey, originally released in 1998 on local label Gern Blandsten,
is now being reissued on both CD and vinyl.

Formed in the mid-90s, All Natural Lemon & Lime Flavors were deeply influenced by UK shoegaze and alternative rock—most notably My Bloody Valentine—while
pursuing a uniquely experimental sound within the US emo and indie scenes. Their innovative spirit reached full bloom on Turning Into Small, which remains their
final album to date.

One of the standout tracks is the nearly eight-minute-long “Your Imagination,” a spacious sonic landscape that draws listeners into deep immersion.
It has become a signature song for the band, heralding a new wave of shoegaze that emerged in the late '90s and beyond. Even more noteworthy, however, are
tracks like “Puzzled Into Pieces” and “In Between And After,” which showcase the band's layered, synth-driven electronic textures, dynamic collage-like structures,
and occasionally buoyant melodies. These elements come together to create a strange and otherworldly sense of weightlessness—something rarely found even
within the shoegaze genre.

While resonating with the likes of My Bloody Valentine, Stereolab, and The Flaming Lips, the band's mutant-like blend of styles also draws parallels with acts like
Swirlies, Serena-Maneesh, and contemporary shoegaze innovators such as They Are Gutting a Body of Water.

This is a groundbreaking album in US shoegaze—one that still feels fresh and vital thanks to its timeless experimental spirit and originality. Now is the perfect time
to (re)discover it.

Jessica93, prodigal bastard of our glorious french squat scene, relocated on Born Bad : this is no picnic. Geoffroy Laporte, alone against all odds, alternates bass and guitar to build harsh loops with a drum machine spitting pre-Gulf War patterns. That’s where it gets tricky : every musical posse claims him. Grunge, sure, but Jessica doesn’t indulge in necrophilia. His circuit is punk, he doesn’t dress the part though. Cold wave, the atmosphere fits somehow, but the gear does not. The self-confident rock horde saw him playing with hair in his eyes… but he never joined the Party. Metal had something to say but sadly, nobody listened. Maybe it's time to give it a rest and let Jessica93 cook his great misery broth on her own, called « 666 tours de périph’ » (666 laps on the beltway). Witnessing Jessica93 live makes you dread that he'll get up the next morning, drive 200 miles and one nap later kick it again, when it takes us a good week to recover from the bad half of that same evening. Like so many other unknown soldiers during our very own world war of music, he patrols small venues relentlessly.



At the heart of this cultural pentacle painted by french weirdos Bryan's Magic Tears, and Carine Krinator, Jessica93 has built a sound validated by years of chosen vagrancy, birthing bands with joyously stupid monikers, in the humid jungle of small labels. Jessica93's debut album had a track celebrating Omar Little, HBO’s gay bandit from Baltimore. This story begins on the beltway, where Florence Rey, accidental copkiller turned to political icon of the 90’s. Geoffroy offers his brilliant analysis : " C’est la police qui nous tire d’ssus / C’est mon trou d’balle qui leur chie d’ssus « (Police shoots us down / my dripping asshole gets the job done).



A previous album was haunted by bedbugs, this one is essentially about love, a delicious scourge just as hard to eradicate. Two black diamonds peek out of the LP : ’’La colline du crack’’, heartbreak song about the ultimate temptation of violent delights, located on crackhead central in Paris. The brilliant chorus, ‘Take my hand and come with me to Crack Hill’ will put an end to the rumours, almost everything was really false. And Bébé Requin, alternative obituary that’ll make you shiver, where our nice couple states ‘’on kiffe la drogue dure et les ptits chiens’ (‘we love hard drugs and little dogs’). And that is the reason we face the wall of sound jostled by unnecessary shoulder thrusts: those nice fat chunks of charcoal poetry, hidden under light sarcasm.



The rest of the record demonstrates the know-how acquired in loop-by-loop construction of ruins that are pleasant to squat in together. There’s your classic doom delicatessen, with bits of heavy metal inside, crafted with the manic care typical of hard wankers. Arthur Satàn, who produced and mixed the album at home in Bordeaux, helped him get his head out of the reverb safe house. And Jessica93 took the opportunity to switch to the dark side of the language : french at last. Worth the wait ! Sing along : « nique sa mère / nique sa grosse mère » (translate that yourself).

Big Generator is Yes' twelfth studio album, producing fan favorite singles Love Will Find a Way and Rhythm of Love charting top twenty in both the US and the UK. The album saw the return of Trevor Rabin's guitar-driven sound alongside the band's progressive rock roots. Enjoy this era of Yes on Purple Coloured Vinyl.

Zelienople frontman Matt Christensen returns to Miasmah with Constant Green - a record of reverberant country inspired songs that puts the weight somewhere between Johnny Cash and Slowdive. Matt pours out his soul through flashes of life - small and large. His voice roaming over the guitars in a way which feels like a floating poetic deluge.

Appearing fresh from last years Zelienople album Hold You Up, Matt has made a very personal record that arrives as perfectly as it could be. It is full of beautiful sparse moments that capture the feeling of time standing still while simultaneously flashing in front of your eyes. As a child of the 70ies, growing up with country influenced AM rock on the radio, riding around in cars without seatbelts, Matt creates this nostalgic feeling of free riding through the city streets at dusk : a dream world where one can see green as a symbol for humanity and optimism. Not to say the album doesn't have it's share of darkness. Christensen always lingers deep in melancholy, driving his fears and anxieties out through music.

Visions of being able to move anywhere, picking his mother up from jail, family matters, change, the small things in life - all outtakes from what he sings about. Although it's hard to pick up on unless you really listen, as his ramblings can at one moment be fully clear while in the next drowned or muffled - becoming a mere meditative element to the music. Steady collaborators Brian Harding and Eric Eleazer from Zelienople accompanies on pedal steel and keys to further fill the sound into a warm dream, following in the footsteps of Matt ́s previous Miasmah album Honeymoons (2016). That said, while Honeymoons used drum machines and vast open spaces, Constant Green is another step closer towards the classic singer-songwriter folklore. Timeless gold from an artist that never stops creating.

Explosive madness from one of the UK underground rave music scenes unsung heroes, Warlock - under his Hooverian Blur moniker, debuting on the label with a heavyweight set of bangers!

He’s the type of guy who rocks up to the shop with two bags of tunes and gets stuck right in - never takes long to get the system pumping & people moving! We were very excited when he dropped a folder of demos over last year, and had to bite his arm off so we could get them out there as soon as possible!

Huge love to all support for the shop, label, and the recent move & opening of our late night bar in New Cross - it’s turning out to be a really special place, and perfect new HQ for us and our community.

Large ups Benton, Dawl, Dwarde, Emerald, Nia Archives, Pete Canon, Sully on the early support of this one. Not forgetting Antek, Borai, Drumskull, LMajor, Mani Festo, Uncle G, WNCL & all that like it breakbeat heavy!”

Planet Wax Team
(Dexta, Lewis, D-Lo, Lis, Jenn, Roman, Errol, Castro, Lauren, Josh, Max & Chano)

On their new album The Besnard Lakes are the Ghost Nation, Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.

Following the lush listening LP outing by KAMM, the EG team is back in fine floorrocking form, this time with both label operatives on the dials as Rodney joins Dave Aju for his debut co-production. And what a debut it is: Highly-potent, raw, swinging house music of the highest order, complete with knocking 909 kicks, thick slapping snares, and a hypnotic melodic call-and-response tonal section that keeps things properly lifted and moving throughout. The vox evoke label boss Aju’s earlier catalog work, and he’s in particularly pointed mode here, spitting fire spoken word lines calling out various questionable corners of the dance music scene and humanity on the whole. A bold light-shining display during notably dark times, defending the once-sacred underground dance space against runaway trends of ego-driven capitalism, online image over actual skill sets, and the beyond low-ball barrier of entry into the arena. But by the time the soulful chorus lines hit and rise us up and onward toward the blissful musical finish, it is clear that this is in fact a unifying floor anthem and that indeed despite our differences amidst disheartening global chaos, at least “We Still Dancin". As always with the seasoned DJ-focussed three-piece Elbow Grease EP offerings, here we have the full A-side OG Vocal Mix cut at a crispy and tight 45rpm, a deliciously stripped and leveled-up EG Dub Mix on the B1, and finally the uplifting B2 Vibe Mix which doubles-down as half ambient instrumental builder and essential acapellacapella

NYOS are a Finland-based instrumental band comprised of guitarist Tom Brooke and drummer Tuomas Kainulainen. Known for their immersive and often physically demanding live shows, NYOS create massive sonic worlds using Brooke's labyrinthine loops and atmospheric layering alongside Kainulainen's kinetic drumming, in music that is rhythmic, raw, and eclectic. Since their formation in 2014, NYOS have carved out a distinctive place within Europe's experimental and post-rock scenes, characterized by their relentless energy, polyrhythmic complexity, and hypnotic layering. While still rooted in their signature loop-based approach, new album `Growl' is "more ambitious with song soundscapes and compositions", says guitarist Tom Brooke, naturally embracing a denser, more textured sound with greater attention to atmosphere and tension. "`Growl' feels like the best we've managed to harness the dynamics, and maybe the one thing we did focus a bit on is finding new ways to create those dynamics and making sure they aren't too predictable - it's our longest record to date, and when producing it, we were very conscious to make sure it is an album that holds the listener" (Brooke) As eclectic and exciting as ever, NYOS are a band in continuous motion, unafraid to challenge themselves and their listeners with ever-expanding sonic vocabularies. `Growl' is an album that is both coherent and seamless in its movement, walking a tightrope between meticulous structure and explosive energy. FOR FANS OF Battles, And So I Watch You From Afar, Don Caballero, The Mars Volta, Lightning Bolt, Tortoise, Hella, Tiny Fingers, Death Grips, Zach Hill, Russian Circles, Explosions in the Sky, Tera Melos

NYOS are a Finland-based instrumental band comprised of guitarist Tom Brooke and drummer Tuomas Kainulainen. Known for their immersive and often physically demanding live shows, NYOS create massive sonic worlds using Brooke's labyrinthine loops and atmospheric layering alongside Kainulainen's kinetic drumming, in music that is rhythmic, raw, and eclectic. Since their formation in 2014, NYOS have carved out a distinctive place within Europe's experimental and post-rock scenes, characterized by their relentless energy, polyrhythmic complexity, and hypnotic layering. While still rooted in their signature loop-based approach, new album `Growl' is "more ambitious with song soundscapes and compositions", says guitarist Tom Brooke, naturally embracing a denser, more textured sound with greater attention to atmosphere and tension. "`Growl' feels like the best we've managed to harness the dynamics, and maybe the one thing we did focus a bit on is finding new ways to create those dynamics and making sure they aren't too predictable - it's our longest record to date, and when producing it, we were very conscious to make sure it is an album that holds the listener" (Brooke) As eclectic and exciting as ever, NYOS are a band in continuous motion, unafraid to challenge themselves and their listeners with ever-expanding sonic vocabularies. `Growl' is an album that is both coherent and seamless in its movement, walking a tightrope between meticulous structure and explosive energy. FOR FANS OF Battles, And So I Watch You From Afar, Don Caballero, The Mars Volta, Lightning Bolt, Tortoise, Hella, Tiny Fingers, Death Grips, Zach Hill, Russian Circles, Explosions in the Sky, Tera Melos

An extremely rare Northern Soul 45 RPM single originally released in 1965 on the Holly label, Billy Arnell And The Sparkles "Tough Girl" was the product of two childhood friends that lived less than a block apart in suburban Fairlawn, New Jersey in the early 1960s - Billy Smith and Lou Hemsey.

Billy played guitar and sang; Lou played guitar and wrote songs, so they decided to form a band. They added friends Eddie Hoffman on organ and Jack Gullone on drums and began playing lots of gigs locally as Little Willie & The Sparkles. They were young, ambitious, and imagined themselves as the next Beatles. By a stroke of fate, they met Joe Martin of Apex-Martin Distributors in Newark, NJ, who caught the band's live show and was duly impressed. That meeting led to the recording session for the "Tough Girl" single. When they recorded the first version of the song, the producer wasn't happy, nor was Joe Martin - so he fired that producer and brought in the young, up and coming producer, George Kerr. Kerr didn't care much for the band, so they redid the entire thing without Hoffman and Guilone - with just Billy singing and Lou playing guitar.

The pair of old friends were buoyed by session aces Eric Gale on guitar, Bernard Purdie on drums, Bobbie Banks on organ, as well as a bass player whose name has been lost to time. In addition to those changes, they used the studio horn section that Hemsey arranged for, plus two trumpets, two saxes and two vibes players. The resulting single was an infectious amalgamation of rock and soul. Billy changed his surname to Arnell for the 45 release (because he thought it sounded more "show-biz") and the rest is pop history. Arnell later started a record company (Fire Sign Records) and purchased a recording studio (112 Greene Street Recording) in the trendy SoHo section of Manhattan with Steve Loeb.

As for the rest of The Sparkles, Hoffman became a teacher somewhere on Long Island, Guilone graduated from the Culinary Institute of America in Massachusetts and ended up living in Northern New Jersey. Hemsey became a well-known recording engineer, composer (Lou was the one who wrote "Tough Girl"), guitarist, arranger, orchestrator, editor, film director and producer for records and commercials.

On their new album The Besnard Lakes are the Ghost Nation, Montreal’s The Besnard Lakes return with their post-rock psych; but this time around, with a lightness and optimism at play.

Unique among their furrowed brow peers, The Besnard Lakes are unafraid to marry textured, questing headphone sonics to the honeyed pleasure of radio hits past: the rapture of My Bloody Valentine entwined with the romance of Fleetwood Mac. Imagine dreamy Beach House riding Led Zeppelin dynamics, with unabashedly androgynous vocal harmonies; a melodic yet mountainous sound world.

In a crowded leaderboard of their own making, The Besnard Lakes are the Ghost Nation might just be their best album yet; a strive for hope when it is needed most.

Americana meets Ennio Morricone: Das fünfte Album von Other Lives

Fünf Jahre nach ihrem Vorgängeralbum "For Their Love" veröffentlicht die Indie-Folk-Rock-Band Other Lives ihr fünftes und passend betiteltes Album "Volume V". Der Titel markiert das neueste Kapitel in der fortlaufenden Geschichte von Other Lives, einem Album von großartiger musikalischer und emotionaler Tiefe. Schon die ersten Töne des Eröffnungsstücks "Mystic" machen deutlich, dass die filmische Bandbreite ihrer Arrangements und Melodien um mehrere dynamische Stufen zugenommen hat, mit einer vollen orchestrierten Reichweite und einer gewaltigen Dramatik in den acht Songs und zwei Instrumentalstücken des Albums. Die Essenz vom Other Lives Sound bleibt aber gleich: Wurzeln im Americana mit klassischen Einflüssen von (Flim-)Komponisten wie Henry Mancini oder Ennio Morricone. Aufgenommen wurde das Album in einer ehemaligen Kirche in ihrer Heimatstadt Stillwater, Oklahoma, die den Sound mit ihrer Größe maßgeblich mitgeprägt hat.
Angesichts der fünfjährigen Pause zwischen den letzten drei Other Lives-Alben plant die Band, "Volume V" schneller mit einem sechsten und siebten Kapitel folgen zu lassen - ein Versprechen auf noch mehr Magie und Großartigkeit. "Ich sehe Volume V als den Beginn des zweiten Akts von Other Lives", so Sänger Jesse Tabish. "Wir werden alle älter und bedauern ein wenig, nicht mehr Musik veröffentlicht zu haben - das könnte also unsere Neil-Young-Phase sein! Wir veröffentlichen mehr Musik in kürzerer Zeit."

Released in 2011, Black and White America is Lenny Kravitz’s ninth album, mixing funk, rock, and soul with sharp social commentary. Singles like Stand and Push highlight its positive, unifying message. The album hit the Top 20 on the Billboard 200 and is currently certified Gold in Argentina, France, and Poland.

The Fun House sessions give an unfiltered look at The Stooges' creative process. Side One features Down on the Street (Take 1), Loose (Take 2), T.V. Eye (Takes 7 & 8), and Dirt (Take 10). Side Two includes 1970 (Take 3), Fun House (Take 3), and Freak (L.A. Blues) (Take 1). These raw, unreleased takes highlight the band’s raw energy and proto-punk sound, offering insight into a record that would go on to shape punk, noise rock, and underground music for decades

Recorded during Zevon's second comeback in the years 1991-1995, Mr. Bad Example is a critically-acclaimed studio album by the newly-inducted Rock N' Roll Hall of Fame inductee, released in 1995. The album blends Zevon's signature dark humor and sharp lyrics with a more polished production, featuring tracks like “Reconsider Me” and the title song "Mr. Bad Example." The album earned positive reviews and marked a return to commercial success. This is the first North American stand-alone release on vinyl and is mastered directly from stereo analog tapes by Bernie Grundman.

A critique and embrace of self-destruction, esoteric vanity and inevitable ruin. The molten-red LP on Riot Season Records plunges deep into an abuse of distortion, existential doom and primal Stooges-like chaos. LA’s Acid Punk Power Trio returns to its mark 1 line up, now wielding a second addition in twin-drum assault
OVER-GAIN OPTIMAL DEATH are :Jasso : Guitar/ Vocals, Luna : Bass, Backhaus + TJ : Twin Drums
Jasso (guitar/vocals) is seemingly out for blood on this 4 track studio album, leading a violent dive into the abyss, Japanese Underground fury meets Hendrix’s wreckage, fuzz-drenched wah freak-outs compete against raw punk vocals caught in an endless slap back delay…
OVER-GAIN OPTIMAL DEATH are an Acid Punk power trio formed in 2008 hailing from Los Angeles, and now currently hiding out somewhere in the South of France.
Fronted by guitarist/ vocalist Jasso (Psychedelic Speed Freaks, Antarcticans), they push a special niche product of blown-out extreme psychedelic noise rock. Their sound is enveloped in a total nihilist
"No Hope" atmosphere of heavy lyrics and distortion, mating intoxicating pulsing repetition, hyperactive improvisations and out of body guitar solos.
Resurrecting US 60s punk and acid-riffage from the likes of Blue Cheer, the Stooges, MC5 and live Hendrix Experience, OVER-GAIN OPTIMAL DEATH also draws greatly on the in-the-red sound aesthetic and high energy of the Speed Freak Underground and Hardcore scene of 80s/90s Japan.

Jackie Mittoo’s ‘Reggae Magic’ is a new collection from the great Jackie Mittoo. The album features a mixture of classic tunes and rarities from the period 1967-74, when Mittoo was at the height of his musical powers. Mittoo’s solo career began after the end of The Skatalites in 1965. He began pushing new musical boundaries, creating a uniquely identifiable organ-led funky reggae sound that owed as much to Booker T and The MGs, Jimmy Smith, Stax and Motown as to the post-ska and emergent rocksteady island rhythms of Kingston, Jamaica. His solo work at the legendary Studio One spanned seven albums and hundreds of singles.

Aside from producer and founder Clement ‘Sir Coxsone’ Dodd, it’s hard to think of anyone more central to the sound and success of Studio One than Mittoo; keyboard player extraordinaire, songwriter, arranger, musician, truly the Keyboard King at Studio One. Jackie Mittoo had been the youngest founding member of The Skatalites (at age 16), probably the most important group in Jamaican music. After they split, he became leader of the three pivotal groups at Studio One – The Soul Brothers, The Soul Vendors and Sound Dimension. He also became musical director for Studio One, helping create countless hits for singers Ken Boothe, Bob Andy, The Wailers, John Holt, Delroy Wilson and more – unforgettable tunes like Alton Ellis’ ‘I’m Still in Love with You’, Marcia Griffiths’ ‘Feel Like Jumping’, The Heptones’ ‘Baby Why’ and others. Between 1965 and 1968, many of the tunes created at Studio One can be attributed to Mittoo – timeless instrumental tracks, recorded either under his own name or those of The Soul Brothers, Soul Vendors and Sound Dimension, that have become the basis for literally 1000s and 1000s of Jamaican songs over many decades, giving the music an unsurpassed longevity.

The endurance of his music was as a direct result of significant developments in Jamaican music in the 1970s, namely the creation of three important new styles: Dub, Deejay and Dancehall. In the early 1970s Mittoo’s instrumental tracks were used as the musical source for a series of classic Studio One dub albums. At the same time Deejays at Studio One, including Dillinger, Prince Jazzbo and Dennis Alcapone, began toasting over these same popular rhythms to create their own new songs. In the mid-70s, a new generation of Studio One singers and deejays, including Sugar Minott, Freddie McGregor, Johnny Osbourne, Michigan & Smiley and others, began once again creating new melodies over these original instrumentals, signalling the birth of a new Jamaican style that became known as ‘dancehall’.

As dancehall swept across the island, rival producers copied these now classic rhythms. These original Jackie Mittoo-driven tunes spread like a virus throughout Jamaican music; be they the instrumental cuts to tunes such as Alton Ellis’ ‘Mad Mad’ , ‘I’m Just A Guy’, Larry Marshall’s ‘Mean Girl’, Slim Smith’s ‘Rougher Yet’, and instrumentals such as Mittoo’s classic ‘Hot Milk’ or ‘One Step Beyond’, The Sound Dimension’s ‘Real Rock’, ‘Heavy Rock’, ‘Full Up’, ‘Drum Song’, ‘Rockfort Rock’ … and the list goes on. These tracks became a constant soundtrack to the island, emitting from the ever-present sound of speaker boxes strung up around dancehalls. This recycling travelled even farther afield; The Sound Dimension’s instrumental ‘Real Rock’, updated by Willie Williams on his classic ‘Armageddon Time’ was in turn covered by The Clash. Lily Allen sampled Mittoo’s debut solo single ‘Free Soul’ for number one hit ‘Smile’; Dawn Penn’s ‘You Don’t Love Me (No, No, No)’, accompanied by The Soul Vendors, was revived by Penn and producers Steely & Cleevie in 1994, since covered by Rihanna, Ghostface Killah, Stephen Marley, Damian Marley and Beyonce. And so it goes; an endless time-leaping, continent-hopping diasporic musical map of the world with all roads essentially leading back to one man – Jackie Mittoo.

The American gothic rock/post-punk band She Wants Revenge was founded in 2004 by Adam Bravin and Justin Warfield. Their self-titled debut studio album, released in 2006, featured the singles "These Things" and "Tear You Apart." Upon its release, the album reached #38 on the Billboard 200, #3 on Billboard's Top Dance/Electronic Albums chart, and #9 on the Top Rock Albums chart in the U.S._x000d__x000a_She Wants Revenge is available as a 2LP, and is packed in a gatefold sleeve.

"Stories Of Life" - triosence malen Musik aus Geschichten, die das Leben schreibt Das Album "Stories of Life" des Genregrenzen neu definierenden Pianotrios triosence ist ein musikalisches Porträt von Momentaufnahmen aus dem Leben. In jedem Titel erkundet triosence-Bandleader und Komponist Bernhard Schüler die Tragik und Schönheit von Geschichten aus dem Alltag und malt diese Erlebnisse in betörend melodiöse, mitreißende Instrumentalkompositionen. Große Freude und tiefer Schmerz, scheinbar Banales und wahrhaft Lebensveränderndes liegen oft überraschend nah beieinander. Der Verlust einer Schwangerschaft in "Little Lost Wonder", die Liebe zu seiner kleinen Tochter in "Tamina's Lullaby", der Tod seines Onkels in "Dear Rainer" oder die Freude über wild wuchernde Garten-Gewächse seiner Lebensgefährtin in "Tomato Party" - "Stories of Life" ist die in Musik nachvollzogene Erkenntnis von Bernhard Schüler, dass im Leben all das verwoben ist. "Ich setze mich ans Klavier und spiele mir alles von der Seele. Schöne und traurige Erlebnisse, Beobachtungen, Empfindungen - Musik zu schreiben ist meine Art, über das Leben nachzudenken", erklärt er.Was "Stories Of Life" musikalisch auszeichnet, sind progressive Strukturen, die immer wieder in Stil, Tempo und Stimmung variieren; die mal laut oder leise sind, verträumt oder kraftvoll. Sie sollen den Hörer auf eine regelrechte Reise schicken, indem sie eine Reihe von starken Klangbildern erzeugen. "Wenn ich komponiere, habe ich das immer im Hinterkopf", so Bernhard Schüler. "Nämlich Geschichten mit meiner Musik zu erzählen. Das ist, was die Leute am meisten berührt." Auf "Stories Of Life" entwickeln er und seine Bandkollegen Tobias Schulte (Schlagzeug) und Omar Rodriguez Calvo (Bass) mit großer Leichtigkeit ihren melodiösen, stimmungsvollen Sound-Mix aus Weltbeat, Folk, Jazz, Rock und Pop konsequent weiter. "Wir gestalten ein totales Crossover", erklärt Bernhard Schüler, "das ist Musik, die zwar in klassischer Jazz-Formation daherkommt - mit Klavier, Bass und Schlagzeug - aber Jazz im herkömmlichen Sinn kann man das nicht mehr nennen. Mir geht es um starke Melodien und klare Songstrukturen. Eine Fokussierung auf das Wesentliche ist mir wichtig oder anders gesagt: musikalisch auf den Punkt zu kommen."Dem Maler Rainer Hoffmann ist nicht nur das Stück "Dear Rainer" gewidmet - mit "Stories Of Life" wird ihm auf besondere Weise ein Denkmal gesetzt. Sein Gemälde "Badere vid Ingetoprsjön" (Badende am Ingetorpssee) ziert denn auch das Cover-Artwork und im Booklet finden sich zehn weitere Bilder des Künstlers - jedes thematisch einem der Songs zugeordnet. "Leider hat die Kunst meines Onkels nie die Aufmerksamkeit und Anerkennung bekommen, die sie wirklich verdient hat", so Schüler. "Aber er hat ein sehr aufregendes Leben geführt und war ein wahrer Abenteurer, der bereits in frühen Jahren in die schwedische Wildnis gezogen ist und die ganze Welt bereist hat, um dort zu malen. Alles andere war ihm egal. Diese Leidenschaft für die Kunst - ohne Wenn und Aber - hat mich schon als kleiner Junge fasziniert, und wenn er damals Geschichten aus seinem Leben erzählt hat, saß ich mit großen Augen vor ihm." Eine dieser Geschichten greift Schüler in "Marrakesh Swing" auf - ein Flirt mit der Kultur einer Stadt, die er nie besucht hat, aber in seiner Komposition zu blühendem Leben erweckt. Der Hörer erlebt sie vor seinem geistigen Auge - in all ihren Facetten, Farben und ihrer Lebendigkeit.Mit "Tamina's Lullaby" ist nach langer Zeit wieder ein Stück für Soloklavier auf einem triosence-Album enthalten. Zudem schließt eine Referenz auf die Vergangenheit den Kreis der Geschichten auf "Stories of Life": Eine neue Instrumentalversion von "Like The Wind", das ursprünglich mit der US-Sängerin Sara Gazarek für das Album "Where Time Stands Still" aufgenommen wurde, bildet den Schlusspunkt des Albums.

"Pop" is a tag that's been assigned to Minus The Bear throughout their career. It's been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It's also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it's a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Now celebrating its 10-year anniversary and first time in print since 2011, Beer Commercials is the evolutionary step between Minus The Bear's first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track "Fine + 2 Points" remains one of the band's strongest opening tracks in their discography,charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue's "Can't Get You Outta My Head". If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with "Let's Play Clowns" and "Dog Park" - nods to Highly Refined Pirates' formula of frenetic clean guitar work, bombastic choruses, and Jake Snider's lyrics of detached romantic nostalgia. These tracks may represent Minus The Bear's original trademark version of pop, but on songs like "I'm Totally Not Down With Rob's Alien" the band eschews it's restless energy for atmosphere and dynamics, creating a sound that's inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out "Pony Up!" the listener has watched the three-year sonic transition between Minus The Bear's first two full-lengths transpire within under half-an-hour, with the their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn't fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus The Bear became one of the most important and influential indie rock bands of the new century.

The Keith Tippett Group's Dedicated to You, But You Weren't Listening is a landmark in cutting edge fusion/avant-jazz. A vital and profoundly adventurous Jazz-Rock record that still swings very hard, it was first released on Vertigo in 1971.

Original copies are now very tricky to score and, as most of you really should know, it’s aged ridiculously well.

A legendary work, this Be With re-issue has been newly remastered from the original Vertigo master tapes, demonstrating just why this deserves to be back in press. The stunning gatefold jacket fully restores Roger and Martyn Dean's original, arresting album artwork to complete this must-have reissue.

Alive and bursting with a joyful energy that has to be heard to be believed, Dedicated to You, But You Weren't Listening flirts with perfection. It's truly magical and forever essential.

A brilliant jazz pianist, composer, arranger and bandleader "who could make the outlands of modern music feel like the most hospitable of places" (The Guardian), Keith Tippett's second album is oft-regarded as his Canterbury album.

Indeed, not only does he draw heavily on Soft Machine members past, present and future but the album title itself archly references a Soft Machine composition. Ray Babbington handles bass alongside Neville Whitehead and the drums are shared between Brian Spring (Nucleus), Robert Wyatt(!) and Phil Howard (who would go on to replace Wyatt in Soft Machine). Gary Boyle (Isotope) is on guitar whilst the great percussionist Tony Uter is enlisted for his conga and cow bell expertise. Elton Dean on Alto Saxello, cornetist Marc Charig and Nick Evans on trombone round out this quite stunning ensemble.

Dedicated to You, But You Weren't Listening presents a collective of superhuman musicians really, *really* enjoying themselves in the studio. The sheer exuberance of the performance is totally infectious. It's wild, energetic, atmospheric and, bluntly, bordering on chaotic at points. In a word, it's beautiful.

Robert Wyatt's drumming opens the record with a bang on the majestic Be With favourite "This Is What Happens". Some have described his work here as "easily the most inspired of his career on record." It's an ultra-funky conga-driven groove that truly sparks via the duelling interplay between the three horn players. In the background, Keith's insistent piano, in conversation with those unignorable drums, is the anchor that keeps this piece rollicking away. Breathtaking.

The epic, energetic "Thoughts to Geoff" is a 10-minute jammer that tends towards the dissonant and improvisational but becomes more fluid, laconic and melodic as it unravels. The interplay between soloists and ensembles is particularly dazzling here - blazing solos by Evans, Charig and Tippett himself in a flourish of angular arpeggios interspersed with chordal elocution. Phew.

Up next, the no less-urgent Mingus-referencing "Green and Orange Night Park" is a soaring example of ambitious jazz mixed with rock aggression, with Dean strutting his stuff by launching into a scorching solo. An absolutely jaw-dropping piece. Arguably the highlight of this album of huge highlights!

Though much of the album tends to fall on the raucous side ("Gridal Suite" approaches free-jazz at its most chaotic and, dare we say it, "difficult"), there are a few more sedate, at times spacey numbers, such as the deeply impressionistic "Five After Dawn". The rhythmically complex "Black Horse" is the most accessible track here, a sort of swinging Big Band number with tight grooves, soaring horn & reed melodies, a sizzling Boyle guitar solo and tasty electric piano riffs from Tippett. An hypnotic climax to a staggering record.

This Be With edition of Dedicated to You, But You Weren't Listening has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at Abbey Road Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored in all its brainchild glory so you know you're dealing with the definitive reissue, here. Now, are you listening?

Amsterdam indie stalwarts Pip Blom and Willem Smit, respectively the songwriter & vocal force behind Pip Blom and the driving creative mind behind Personal Trainer, have come together after a decade of intermittent collaborations to launch a new project: Long Fling. The duo's self-titled debut album arrives 3rd of October, 2025, unveiling a collection of charming, offbeat guitar and drum machine, kraut-rock tinged anthems, touching on everyday oddities like socks, shoes, and the allure of staying home.

Unlike typical duets, Long Fling doesn’t focus on harmonies or traditional back-and-forth vocals. Instead, Pip and Willem trade lines over minimal, melodic arrangements that reflect their shared sensibilities. The songs are direct but often playful, shaped by a mix of guitars, drum machines, and off-the-cuff lyrics.

Over the course of ten years, Willem and Pip’s songwriting process evolved from tentative beginnings filled with creative tension to a natural, collaborative flow. Willem reflects: “Over the years, I feel we’ve grown more comfortable making music together... Assembling a record we have been accidentally making without the goal of making a record was fun, but also weird. It felt a bit like archaeology sometimes. We tried to change things... but found out quite quickly that it made most sense to stay true to the initial ideas we had.”

we each asked our dads whether the album sounded more like a Willem album or a Pip album, they both said the other’s name. I really feel like we made this album together - it’s a true blend of the both of us.

Black Ice Vinyl. On her debut album One Sided, 20 year-old Georga-native Sydney Rose wrestles with growth: growing up, growing apart, growing within. While the singer/songwriter’s 2022 EPs You Never Met Me and This Kind of Thing Doesn’t Last showcased intimate lyricism with the help of understated synths, muted drum machines, and stacked harmonies, One Sided returns to her stripped-back roots, offering tenderhearted meditations on childhood, love, and the evolution of friendship, with a guitar in hand. After Feb 2025 single, We Hug Now, had huge viral success, Syndey Rose has sold out shows all over the US, UK, and Europe.

All Things Must Pass wurde im November 1970 von Apple Records veröffentlicht. An dem von Harrison
und Phil Spector koproduzierten Album wirkten viele Musiker mit, darunter Eric Clapton, Ringo Starr,
Billy Preston, Pete Drake, Gary Wright, Klaus Voormann, Mitglieder von Badfinger, Musiker der Delaney
and Bonnie Band und John Barham. Die Dreifach-LP stürmte die Charts auf der ganzen Welt und wurde
allgemein als Rock-Meisterwerk gefeiert. George war der erste Beatle, der sowohl in Großbritannien als
auch in den USA eine Solo-Nummer-eins-Single hatte, und zwar mit der ersten Single des Albums, „My
Sweet Lord“, auf der er sein charakteristisches Slide-Gitarrenspiel vorstellte. George schrieb den Opener
des Albums, „I’d Have You Anytime“, zusammen mit seinem Freund Bob Dylan, der auch einen weiteren
Song auf diesem bahnbrechenden Album schrieb: „If Not For You“. Die Vinylplatte enthält einen neuen
Remix des Originalalbums und ein Originalposter, auf dessen Rückseite Notizen von Dhani Harrison und
Paul Hicks zum Remixen des Albums zu finden sind.
Musikrichtung: Pop international

Fabio Nobile is a drummer and multi-instrumentalist who has been active on the music scene for over 25 years. Today, his musical
exploration draws from the deep roots of Afro traditions and the expressive freedom of jazz—two musical cultures that are an integral
part of his identity.
Sankofa Soul is a musical project born from the encounter between jazz, African traditions, and the search for a profound connection
between past and present. The term “Sankofa” comes from the Akan language (spoken in Ghana) and means “to go back and fetch what
is good” —an invitation to look to the past to better understand the future.
In an era where music is evolving at a rapid pace, Sankofa Soul looks to a rich and multifaceted cultural heritage, while also embracing a
modern voice—a universal call to reconnect with our European origins through the lens of African legacy.
Each track on Sankofa Soul reflects Fabio Nobile’s experiences, studies, and roots, forming a dialogue between past and present, the
sacred and the profane, individuality and community.
Sankofa Soul is a heartfelt tribute to West Africa, with a special focus on Nigeria.
Zuma Rock leads us into the rich and ever-changing soundscape of West Africa—a space where tradition meets innovation, and rhythm
tells stories older than words. Here, the legacy of Fela Kuti’s Afrobeat pulses through every beat, anchoring the music in political fire and
deep ancestral roots. At the same time, the unmistakable horn section weaves a vibrant fusion of Afro-Funk and Jazz. In Zuma Rock, we
enter a dialogue between past and present—a musical return to the source.
And then appears Kalakuta Republic, a heartfelt homage to the self-declared commune that was home to the legendary Fela Kuti—a
reminder not to forget the rebellious spirit of the Kalakuta Republic. This track gives voice to the very essence of Afro-jazz, wrapped in a
hypnotic 12/8 rhythm that echoes ancient African traditions. Its immersive pulse blends seamlessly with jazz’s boundless expressive
freedom, creating a vibrant, compelling dialogue suspended between ancestral roots and modernity.
Landed in Lagos and I Read the Stars naturally embrace the distinctive sound of Manu Dibango, while Say Your Prayer Now reminds us
how the evolution of Jamaican reggae—and its cultural and musical foundations—remains deeply linked to Mother Africa.
This is Sankofa: the soul’s journey back to the past to move forward.

Guitar Solos is the debut solo album of British guitarist, composer, and improviser Fred Frith. It was recorded while Frith was still a member of the English experimental rock group Henry Cow and was released originally in October 1974. Voted one of the best albums of 1974 by NME critics it also attracted the attention of Brian Eno, resulting in Frith playing guitar on two of Eno‘s albums. Frith‘s never tiring spirit in creating and performing music has made him one of the most notable and creative guitar players and musicians in the scene of improvised and composed music. For the anniversary of this release we have encouraged Frith to arrange a set up similar to what he used 50 years ago to record an album of new compositions which will accompany the original record.

By the end of the 1970s Linval Thompson had cut out a successful dual career for himself as both singer and producer. Naturally he moved in the dub field as well, getting further use out of rhythms he used in his other works. Dub had begun strictly as an album format with limited pressing runs for scene insiders, but it had swiftly gained the interest of the rank and file reggae buffs.

'Negrea Love Dub', originally released in 1978, is a cornerstone in the reggae dub scene.

Linval Thompson produced riddims which were laid at Channel One studio by The Revolutionaries – at the time a celebrated studio band led by drum and bass partners Sly Dunbar & Robbie Shakespear – and mixed at King Tubby's renown studio at 18 Dromilly Avenue in Kingston by Prince Jammy.

The sound of the ten dubs featured here is hypnotic and its effects are euphoric to say the least.

First time reissue of this French cold-wave / minimal-synth treasure.



November 1981 – In the heart of autumn, we set off in two cars along the Nationale 1 (!) to reach Choisy-le-Roi, where a 16-track studio was waiting for us—a place where, over the course of a weekend, we would finally be able to carve our own grooves into vinyl. We were quite nervous, as Guerre Froide had already been around for a year and a half. Our elders in Kas Product had already released two EPs—one with four tracks, the other with three—in 1980, even though they’d started only a few months before us. Admittedly, there wasn’t really a sense of urgency—some of us came from the punk movement, where the prevailing mood was still very much No Future, even if we’d long since stopped believing in it... And yet others had truly lost everything, like those from the generation before us. The reasons, ironically, were often the same: heroin and/or love—hard drugs, in both cases.

Speaking of which, I had a terrible stomach ache—due to nerves or some form of tension—which forced us to make a pit stop in the Oise region so I could rush to the toilet of a local café. That same stomach discomfort would hit me again once we arrived at the studio—whose name, incidentally, I’ve since forgotten...

We had gotten there thanks to the generous initiative of a friend, Sylvain S., known as “Perlin” (what a phonetic coincidence!?), who had specifically created the Stechak Products label to produce our record. Stechak because it was consistent with his earlier association called Tchernoziom, and Products as a plural tribute to the trailblazers from Nancy.

Guerre Froide originally consisted of four members: Fabrice Fruchart on guitar-synth (Korg MS-20), Patrick Mallet on bass, and Gilbert Deffais, known as “Bébert”, on Korg drum machine. At the time, I was already singing in a rock/post-punk band called Stress, and that’s how Guerre Froide picked up the bad habit of rehearsing in the same basement in Amiens as Stress. Within a month or two, we had half a dozen songs. We then had the opportunity to record a 4-track demo with a friend from Radio France Picardie, and to perform in October at a festival held at the Amiens municipal circus. Then came the now-legendary concert on November 11 at B.J.’s Club. After that, we self-produced and released 50 completely DIY copies of a cassette titled Cicatrice. A few concerts later—after Jean-Michel Bailleux had joined us on bass and Patrick had switched to guitar, which felt more natural to him—and with more concrete plans starting to take shape, we had to find a new rehearsal space and start renting a room.

Then came the moment when Fabrice told us he was leaving to go study in Lille... After the June 19, 1981 concert, which was naturally dubbed “Farewell to 2F,” Marie-José, Bébert’s wife, offered to take over on synth.

That’s when Perlin, who was a close friend of the Deffais couple and a great fan of our music, offered to fully finance the production of a 4-track 12-inch EP—covering the studio time, mastering, pressing, and artwork. What up-and-coming band would have turned that down? An improvised contract was signed with each member of Guerre Froide. The first step was choosing which four songs we would record. Berlin 81 was an obvious pick, having already become the group’s flagship track. We wanted to avoid reusing songs from Cicatrice, so the focus shifted to new material—some written before, some after Fabrice’s departure. Ersatz, for example, was his composition, but Mauve and Peine Perdue, which were also selected, were both written by Patrick.

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Produziert von dem mit einem Grammy ausgezeichneten Produzenten Leon Michels (Norah Jones, Clairo) und mit musikalischen Beiträgen von Homer Steinweiss, Nick Movshon, Marco Benevento und Brainstory. Lady Wray meldet sich mit "Cover Girl", ihrem dritten Album bei Big Crown Records, mit Spannung erwartet zurück. Der Album-Opener "My Best Step" sagt alles: "My next step is my best step", und in der Tat hebt sie ihre künstlerische Leistung auf ein neues Niveau und macht die beste Musik ihres Lebens. Das feierliche "Cover Girl" nimmt den Hörer mit auf eine ausgelassene Spritztour, die von Soul und Disco der 60er und 70er Jahre, Hip-Hop und R&B der 90er Jahre und dem vielleicht wichtigsten Element, dem Gospel, geprägt ist. Nach dem 2022 veröffentlichten "Piece of Me" trat Nicole Monique Wray a.k.a. Lady Wray in der Late Show With Stephen Colbert und bei NPR's Tiny Desk auf und tourte durch die ganze Welt. "Cover Girl" ist mühelos und unbestreitbar der bisherige Höhepunkt ihrer langjährigen Zusammenarbeit mit dem Produzenten Leon Michels (Norah Jones / Clairo / El Michels Affair), die sich über ein Jahrzehnt erstreckt. "Ich habe mich mit diesem Album mehr der Liebe und der Selbstfürsorge zugewandt. Piece of Me war die Erkenntnis, dass ich Mutter werde, und all diese Gefühle lagen mir auf dem Herzen", sagt Lady Wray. "Jetzt kann ich mich zurücklehnen und eine echte Chefin sein. Ich habe meine Karriere, meine Mutterschaft und meine Ehe in den Griff bekommen. Ich bin zu einer selbstbewussteren und schöneren Werbeträgerin für Cover Girl geworden." Die Singer-Songwriterin mit der allmächtigen Stimme, den aufrüttelnden Texten und ihrer anziehenden Persönlichkeit erzählt von ihrer Wertschätzung für ihre Familie, ihrem Glauben und ihrer erneuerten Liebe zu sich selbst - all das ist der Antrieb für ihr neues Album. Die Leadsingle "You're Gonna Win" ist ein tanzbarer Feel-Good-Banger. Nicole lässt sich gehen, während sie ihre Macht benennt und einfordert: "I do not care who came before me, after me there will be none". Der Chor der Fabulous Rainbow Singers schließt sich dem Refrain an und bringt die ganze Angelegenheit in die Kirche und stellt sie neben die besten Gospel-Disco-Platten, die je gepresst wurden. "Be a Witness" ist ein funkiges Mid-Tempo-Kraftpaket, das Prince stolz machen würde. Nicole findet den perfekten Groove über druckvollen Drumcomputern und ansteckenden Synthesizern, singt über eine Liebe, die dazu bestimmt ist, zu geschehen, und verbreitet die guten Vibes an jeden in Hörweite. Der Titeltrack von Cover Girl ist einer der verletzlichsten Momente des Albums. Lady Wray liefert eine atemberaubende Darbietung in dem schlichten Stück, in dem sie ihre Reise zur Selbstfindung beschreibt: ""I lost myself trying to please someone else / I want to be me again." Der Titel leitet sich von einem Spitznamen aus ihrer Kindheit ab, den sie sich wegen ihres stets gepflegten Stils zulegte. Lady Wray erklärt. "Als ich erwachsen wurde und ins Musikgeschäft einstieg, verlor ich diesen glücklichen Teil von mir. Ich sehe dieses Glück in meiner Tochter, die einfach wunderschön, talentiert und klug ist. Mit ,Cover Girl' kehre ich zu diesem kleinen Mädchen zurück. Es geht darum, sich selbst wieder zu lieben". In ähnlicher Weise fordert sie in "Where Could I Be" das Glück und den Sinn für Identität zurück, den sie durch die Kämpfe des Lebens verloren hatte. In "Best For Us" und "Hard Times" schwärmt Nicole von ihrer Liebe und ihrem Respekt für ihre Ehe, wobei sie sowohl die Unvollkommenheit anerkennt als auch auf die Stärke und Widerstandsfähigkeit der wahren Liebe verweist. In "Higher" singt sie für ihre Tochter und lehrt sie, wie man liebt und geliebt wird, und ermutigt sie, beharrlich und ausdauernd zu sein. Lady Wray wurde geboren, um zu singen und ihre Seele und ihr Leben durch ihre Musik mit uns zu teilen. Mit ihren glaubwürdigen Botschaften und ihrer unvergleichlichen Stimme hat sie sich weltweit eine treue Fangemeinde geschaffen. Egal, ob sie von ihren Kämpfen oder ihren Stärken singt, es ist tröstlich zu hören, dass sie uns wissen lässt, dass wir nicht allein damit sind. Nicole Wray ist inspirierend und aufbauend. Sie hat viel durchgemacht und ist durch all das zu einem besseren Menschen und einer besseren Künstlerin geworden. "Du musst deine eigene Welt beherrschen. Lass niemanden in deinen Weg kommen. Du rockst mit deinen Träumen, bis die Räder abfallen", sagt Lady Wray. "Das ist es, was ich mit meiner Karriere seit 1998 mache. Ich weiß, wer ich bin und was ich auf den Tisch bringe. Es war eine Wahnsinnsreise, und ich bin so glücklich, die beste Musik meines Lebens zu machen."

Produziert von dem mit einem Grammy ausgezeichneten Produzenten Leon Michels (Norah Jones, Clairo) und mit musikalischen Beiträgen von Homer Steinweiss, Nick Movshon, Marco Benevento und Brainstory. Lady Wray meldet sich mit "Cover Girl", ihrem dritten Album bei Big Crown Records, mit Spannung erwartet zurück. Der Album-Opener "My Best Step" sagt alles: "My next step is my best step", und in der Tat hebt sie ihre künstlerische Leistung auf ein neues Niveau und macht die beste Musik ihres Lebens. Das feierliche "Cover Girl" nimmt den Hörer mit auf eine ausgelassene Spritztour, die von Soul und Disco der 60er und 70er Jahre, Hip-Hop und R&B der 90er Jahre und dem vielleicht wichtigsten Element, dem Gospel, geprägt ist. Nach dem 2022 veröffentlichten "Piece of Me" trat Nicole Monique Wray a.k.a. Lady Wray in der Late Show With Stephen Colbert und bei NPR's Tiny Desk auf und tourte durch die ganze Welt. "Cover Girl" ist mühelos und unbestreitbar der bisherige Höhepunkt ihrer langjährigen Zusammenarbeit mit dem Produzenten Leon Michels (Norah Jones / Clairo / El Michels Affair), die sich über ein Jahrzehnt erstreckt. "Ich habe mich mit diesem Album mehr der Liebe und der Selbstfürsorge zugewandt. Piece of Me war die Erkenntnis, dass ich Mutter werde, und all diese Gefühle lagen mir auf dem Herzen", sagt Lady Wray. "Jetzt kann ich mich zurücklehnen und eine echte Chefin sein. Ich habe meine Karriere, meine Mutterschaft und meine Ehe in den Griff bekommen. Ich bin zu einer selbstbewussteren und schöneren Werbeträgerin für Cover Girl geworden." Die Singer-Songwriterin mit der allmächtigen Stimme, den aufrüttelnden Texten und ihrer anziehenden Persönlichkeit erzählt von ihrer Wertschätzung für ihre Familie, ihrem Glauben und ihrer erneuerten Liebe zu sich selbst - all das ist der Antrieb für ihr neues Album. Die Leadsingle "You're Gonna Win" ist ein tanzbarer Feel-Good-Banger. Nicole lässt sich gehen, während sie ihre Macht benennt und einfordert: "I do not care who came before me, after me there will be none". Der Chor der Fabulous Rainbow Singers schließt sich dem Refrain an und bringt die ganze Angelegenheit in die Kirche und stellt sie neben die besten Gospel-Disco-Platten, die je gepresst wurden. "Be a Witness" ist ein funkiges Mid-Tempo-Kraftpaket, das Prince stolz machen würde. Nicole findet den perfekten Groove über druckvollen Drumcomputern und ansteckenden Synthesizern, singt über eine Liebe, die dazu bestimmt ist, zu geschehen, und verbreitet die guten Vibes an jeden in Hörweite. Der Titeltrack von Cover Girl ist einer der verletzlichsten Momente des Albums. Lady Wray liefert eine atemberaubende Darbietung in dem schlichten Stück, in dem sie ihre Reise zur Selbstfindung beschreibt: ""I lost myself trying to please someone else / I want to be me again." Der Titel leitet sich von einem Spitznamen aus ihrer Kindheit ab, den sie sich wegen ihres stets gepflegten Stils zulegte. Lady Wray erklärt. "Als ich erwachsen wurde und ins Musikgeschäft einstieg, verlor ich diesen glücklichen Teil von mir. Ich sehe dieses Glück in meiner Tochter, die einfach wunderschön, talentiert und klug ist. Mit ,Cover Girl' kehre ich zu diesem kleinen Mädchen zurück. Es geht darum, sich selbst wieder zu lieben". In ähnlicher Weise fordert sie in "Where Could I Be" das Glück und den Sinn für Identität zurück, den sie durch die Kämpfe des Lebens verloren hatte. In "Best For Us" und "Hard Times" schwärmt Nicole von ihrer Liebe und ihrem Respekt für ihre Ehe, wobei sie sowohl die Unvollkommenheit anerkennt als auch auf die Stärke und Widerstandsfähigkeit der wahren Liebe verweist. In "Higher" singt sie für ihre Tochter und lehrt sie, wie man liebt und geliebt wird, und ermutigt sie, beharrlich und ausdauernd zu sein. Lady Wray wurde geboren, um zu singen und ihre Seele und ihr Leben durch ihre Musik mit uns zu teilen. Mit ihren glaubwürdigen Botschaften und ihrer unvergleichlichen Stimme hat sie sich weltweit eine treue Fangemeinde geschaffen. Egal, ob sie von ihren Kämpfen oder ihren Stärken singt, es ist tröstlich zu hören, dass sie uns wissen lässt, dass wir nicht allein damit sind. Nicole Wray ist inspirierend und aufbauend. Sie hat viel durchgemacht und ist durch all das zu einem besseren Menschen und einer besseren Künstlerin geworden. "Du musst deine eigene Welt beherrschen. Lass niemanden in deinen Weg kommen. Du rockst mit deinen Träumen, bis die Räder abfallen", sagt Lady Wray. "Das ist es, was ich mit meiner Karriere seit 1998 mache. Ich weiß, wer ich bin und was ich auf den Tisch bringe. Es war eine Wahnsinnsreise, und ich bin so glücklich, die beste Musik meines Lebens zu machen."

Produziert von dem mit einem Grammy ausgezeichneten Produzenten Leon Michels (Norah Jones, Clairo) und mit musikalischen Beiträgen von Homer Steinweiss, Nick Movshon, Marco Benevento und Brainstory. Lady Wray meldet sich mit "Cover Girl", ihrem dritten Album bei Big Crown Records, mit Spannung erwartet zurück. Der Album-Opener "My Best Step" sagt alles: "My next step is my best step", und in der Tat hebt sie ihre künstlerische Leistung auf ein neues Niveau und macht die beste Musik ihres Lebens. Das feierliche "Cover Girl" nimmt den Hörer mit auf eine ausgelassene Spritztour, die von Soul und Disco der 60er und 70er Jahre, Hip-Hop und R&B der 90er Jahre und dem vielleicht wichtigsten Element, dem Gospel, geprägt ist. Nach dem 2022 veröffentlichten "Piece of Me" trat Nicole Monique Wray a.k.a. Lady Wray in der Late Show With Stephen Colbert und bei NPR's Tiny Desk auf und tourte durch die ganze Welt. "Cover Girl" ist mühelos und unbestreitbar der bisherige Höhepunkt ihrer langjährigen Zusammenarbeit mit dem Produzenten Leon Michels (Norah Jones / Clairo / El Michels Affair), die sich über ein Jahrzehnt erstreckt. "Ich habe mich mit diesem Album mehr der Liebe und der Selbstfürsorge zugewandt. Piece of Me war die Erkenntnis, dass ich Mutter werde, und all diese Gefühle lagen mir auf dem Herzen", sagt Lady Wray. "Jetzt kann ich mich zurücklehnen und eine echte Chefin sein. Ich habe meine Karriere, meine Mutterschaft und meine Ehe in den Griff bekommen. Ich bin zu einer selbstbewussteren und schöneren Werbeträgerin für Cover Girl geworden." Die Singer-Songwriterin mit der allmächtigen Stimme, den aufrüttelnden Texten und ihrer anziehenden Persönlichkeit erzählt von ihrer Wertschätzung für ihre Familie, ihrem Glauben und ihrer erneuerten Liebe zu sich selbst - all das ist der Antrieb für ihr neues Album. Die Leadsingle "You're Gonna Win" ist ein tanzbarer Feel-Good-Banger. Nicole lässt sich gehen, während sie ihre Macht benennt und einfordert: "I do not care who came before me, after me there will be none". Der Chor der Fabulous Rainbow Singers schließt sich dem Refrain an und bringt die ganze Angelegenheit in die Kirche und stellt sie neben die besten Gospel-Disco-Platten, die je gepresst wurden. "Be a Witness" ist ein funkiges Mid-Tempo-Kraftpaket, das Prince stolz machen würde. Nicole findet den perfekten Groove über druckvollen Drumcomputern und ansteckenden Synthesizern, singt über eine Liebe, die dazu bestimmt ist, zu geschehen, und verbreitet die guten Vibes an jeden in Hörweite. Der Titeltrack von Cover Girl ist einer der verletzlichsten Momente des Albums. Lady Wray liefert eine atemberaubende Darbietung in dem schlichten Stück, in dem sie ihre Reise zur Selbstfindung beschreibt: ""I lost myself trying to please someone else / I want to be me again." Der Titel leitet sich von einem Spitznamen aus ihrer Kindheit ab, den sie sich wegen ihres stets gepflegten Stils zulegte. Lady Wray erklärt. "Als ich erwachsen wurde und ins Musikgeschäft einstieg, verlor ich diesen glücklichen Teil von mir. Ich sehe dieses Glück in meiner Tochter, die einfach wunderschön, talentiert und klug ist. Mit ,Cover Girl' kehre ich zu diesem kleinen Mädchen zurück. Es geht darum, sich selbst wieder zu lieben". In ähnlicher Weise fordert sie in "Where Could I Be" das Glück und den Sinn für Identität zurück, den sie durch die Kämpfe des Lebens verloren hatte. In "Best For Us" und "Hard Times" schwärmt Nicole von ihrer Liebe und ihrem Respekt für ihre Ehe, wobei sie sowohl die Unvollkommenheit anerkennt als auch auf die Stärke und Widerstandsfähigkeit der wahren Liebe verweist. In "Higher" singt sie für ihre Tochter und lehrt sie, wie man liebt und geliebt wird, und ermutigt sie, beharrlich und ausdauernd zu sein. Lady Wray wurde geboren, um zu singen und ihre Seele und ihr Leben durch ihre Musik mit uns zu teilen. Mit ihren glaubwürdigen Botschaften und ihrer unvergleichlichen Stimme hat sie sich weltweit eine treue Fangemeinde geschaffen. Egal, ob sie von ihren Kämpfen oder ihren Stärken singt, es ist tröstlich zu hören, dass sie uns wissen lässt, dass wir nicht allein damit sind. Nicole Wray ist inspirierend und aufbauend. Sie hat viel durchgemacht und ist durch all das zu einem besseren Menschen und einer besseren Künstlerin geworden. "Du musst deine eigene Welt beherrschen. Lass niemanden in deinen Weg kommen. Du rockst mit deinen Träumen, bis die Räder abfallen", sagt Lady Wray. "Das ist es, was ich mit meiner Karriere seit 1998 mache. Ich weiß, wer ich bin und was ich auf den Tisch bringe. Es war eine Wahnsinnsreise, und ich bin so glücklich, die beste Musik meines Lebens zu machen."

Ballads of the Broken war das Major-Label-Debütalbum des amerikanischen Rappers Jelly Roll, das am 17.
September 2021 über Bailee & Buddy und BBR Music Group veröffentlicht wurde. Es enthält die Singles
„Dead Man Walking“, die Platz eins der US Mainstream Rock Charts erreichte, und „Son of a Sinner“, das
die Top 40 der US Billboard Hot 100 und Platz eins der Country Airplay Charts erreichte. Der Erfolg von
„Son of a Sinner“, einem der wenigen Nashville-Country-beeinflussten Songs auf dem Album, inspirierte
Jelly Roll, für sein folgendes Album Whitsitt Chapel (2023) ganz auf Country-Sound zu setzen.

Q.A.S.B.'s Debut Album Finally Released on LP!

Before the release of “The Mexican” (produced by RYUHEI THE MAN), Q.A.S.B.'s self-titled debut album "Q.A.S.B" was originally released in 2009 on CD only, during the late Deep Funk movement. Now, in 2025, as the band celebrates its 20th anniversary, the album is finally available on vinyl for the first time!

Recorded in a single take with no edits using analog tape to recreate the sound of the 1970s, the raw and vivid energy of the album remains intact even after 16 years.
This album captures the essence of Q.A.S.B., featuring passionate performances by the original members, including the first vocalist amy-A (at the time). Most of the tracks were composed by Rob.T, who is now known as the sound producer for Hannah Warm. The 7-inch single “The Key” received high praise both domestically and internationally. Its explosive power on the dance floor was undeniable. I was really looking forward to the full album release from Q.A.S.B., and honestly, it blew me away. This is not imitation or homage—this is authentic, homegrown Japanese soul and funk music.

— Yusuke Ogawa (universounds / Deep Jazz Reality)

Japan’s proud funk band Q.A.S.B. finally releases their long-awaited debut album! About six months after their sensational debut single “The Key” took the world by storm, this much-anticipated album is here! With uptempo danceable tracks, heavy mid-tempo grooves, and soulful tunes that evoke the golden era, the album showcases both musical depth and confidence. Vocalist amy-A’s passionate singing and the band’s rock-solid performance come together in a stunning fusion of future funk. This is the crystallization of music sung and played from the heart!
— Ryuhei The Man (universounds)

It’s finally coming out! I’ve been waiting!

Sometimes gentle, sometimes powerful—amy’s voice breathes life into each track. Singing really is a wonderful thing.
By the way, does Q.A.S.B. stand for something? Whisper it in my ear next time.

— Naoichi “Bobsan” Kobayashi (MOUNTAIN MOCHA KILIMANJARO)

Igorrr ist das visionäre Projekt des französischen Multi-Instrumentalisten und Produzenten Gautier Serre, der seit zwanzig Jahren unter diesem Namen operiert. Seit der Unterzeichnung bei Metal Blade Records im Jahr 2017 hat sich Igorrr von einem Ein-Mann-Projekt zu einer vollständigen Bandidentität entwickelt, wobei Gautier als Mastermind und kreative Leitfigur fungiert.Das Projekt ist bekannt für seine kompromisslose Verschmelzung von Classical, Death Metal, Electronic und Breakcore - eine Musik, die sowohl von Bach und Chopin als auch von Cannibal Corpse, Aphex Twin und Meshuggah inspiriert ist. Mit jedem Album überrascht Igorrr selbst die treuesten Fans mit radikaler Vitalität und experimentellen Wendungen.Current Lineup:• Gautier Serre: Machines• Jb Le Bail: Vocals• Marthe Alexandre: Vocals• Remi Serafino: Drums• Martyn Clément: GuitarsAktiv seit: 2005Herkunft: FrankreichCHART-ERFOLGE & STREAMING-ZAHLEN• #12 Official German Album Charts (Spirituality & Distortion)• #57 Swiss Official Album Charts (Spirituality & Distortion)• US Billboard Charts: Multiple Top 10 Positionen• Über 74 Millionen Streams auf Spotify gesamt• 255.000 Follower auf Spotify• 28 Millionen Streams für "Spirituality & Distortion" alleinLIVE-PERFORMANCE & TOURNEEN• Massive Headlining-Tour in Europa (1.500-2.000 Kapazität)• Ausverkaufte US-Shows: Regent Theater LA (1.100), Irving Plaza NYC (1.110), The Crocodile Seattle (750)• Major Festival-Auftritte: Hellfest, Wacken, Download, Sweden Rock, Graspop, Nova Rock, Bloodstock• Weitere US-Shows für 2026 geplantSPECIAL FEATURES• Gastauftritte: Scott Ian (Anthrax), Trey Spruance (Mr. Bungle), Mike Leon (Soulfly)• Echter Chor in Kirche aufgenommen für authentische AtmosphärePLAYLISTING-ERFOLGSpotify: All New Metal, Alternative Metal, Kickass Metal, New Music Friday (USA/UK)Apple Music: Avant-Garde Metal Essentials, Extreme Metal, Metal Rewind, Breaking MetalDeezer: Industrial, Metal Radar, French Metal

Igorrr ist das visionäre Projekt des französischen Multi-Instrumentalisten und Produzenten Gautier Serre, der seit zwanzig Jahren unter diesem Namen operiert. Seit der Unterzeichnung bei Metal Blade Records im Jahr 2017 hat sich Igorrr von einem Ein-Mann-Projekt zu einer vollständigen Bandidentität entwickelt, wobei Gautier als Mastermind und kreative Leitfigur fungiert.Das Projekt ist bekannt für seine kompromisslose Verschmelzung von Classical, Death Metal, Electronic und Breakcore - eine Musik, die sowohl von Bach und Chopin als auch von Cannibal Corpse, Aphex Twin und Meshuggah inspiriert ist. Mit jedem Album überrascht Igorrr selbst die treuesten Fans mit radikaler Vitalität und experimentellen Wendungen.Current Lineup:• Gautier Serre: Machines• Jb Le Bail: Vocals• Marthe Alexandre: Vocals• Remi Serafino: Drums• Martyn Clément: GuitarsAktiv seit: 2005Herkunft: FrankreichCHART-ERFOLGE & STREAMING-ZAHLEN• #12 Official German Album Charts (Spirituality & Distortion)• #57 Swiss Official Album Charts (Spirituality & Distortion)• US Billboard Charts: Multiple Top 10 Positionen• Über 74 Millionen Streams auf Spotify gesamt• 255.000 Follower auf Spotify• 28 Millionen Streams für "Spirituality & Distortion" alleinLIVE-PERFORMANCE & TOURNEEN• Massive Headlining-Tour in Europa (1.500-2.000 Kapazität)• Ausverkaufte US-Shows: Regent Theater LA (1.100), Irving Plaza NYC (1.110), The Crocodile Seattle (750)• Major Festival-Auftritte: Hellfest, Wacken, Download, Sweden Rock, Graspop, Nova Rock, Bloodstock• Weitere US-Shows für 2026 geplantSPECIAL FEATURES• Gastauftritte: Scott Ian (Anthrax), Trey Spruance (Mr. Bungle), Mike Leon (Soulfly)• Echter Chor in Kirche aufgenommen für authentische AtmosphärePLAYLISTING-ERFOLGSpotify: All New Metal, Alternative Metal, Kickass Metal, New Music Friday (USA/UK)Apple Music: Avant-Garde Metal Essentials, Extreme Metal, Metal Rewind, Breaking MetalDeezer: Industrial, Metal Radar, French Metal

Blue House Rockin’ is the result of a unique collaboration between Soul Sugar and Dub Shepherds — two projects united by a shared love for roots reggae, vintage studio gear, and warm analog sound.

The album was recorded live over two intense days at Blue House Studio by Christophe “French kiss” Adam, using ribbon and tube microphones from the ’50s and ’60s from the ’50s and ’60s, a Hammond organ, upright piano, Fender bass and Gibson guitars, classic amps and preamps, along with drums, syndrums and percussion. The sessions were transferred to a 24-track tape machine, and final mixes were crafted the old-school way by the Dub Shepherds at their own Bat Records Studio, using analog consoles and hardware vintage effects.
The tracklist brings together deep cuts, timeless classics, and original compositions. Curtis Mayfield’s Give Me Your Love and Aaron Frazer’s My God Has a Telephone (Colemine Records) — two soul gems, one vintage, one modern — are reimagined in reggae style, both featuring the great Jolly Joseph on lead vocals, working wonders with his falsetto. He also shines on Hold My Hand, a sweet and mellow original composition with lovers rock flair, written on the spot during the session.
Other standout moments include the soulful fire of UK singer Shniece McMenamin, who lights up Family Affair (Mary J. Blige / Dr. Dre) — flipped into a fiery hip-hop-meets-reggae version packed with energy and attitude.

Instrumentals like Disco Jack, Choice of Music, and Drum Song — all originally composed by Jamaican organ legend Jackie Mittoo — bring Guillaume “Booker G” Metenier’s Hammond work to the front. The playful exchange between organ, guitar, and a rock-solid rhythm section is elevated by swirling spring reverb, dub echoes, and filter sweeps.
The album’s explosive title track — Blue House Rock — was composed and recorded on the spot at the end of the session. A raw, greasy groove that sounds like The Meters jamming at Studio One or a lost instrumental from a Beastie Boys B-side.
Blue House Rockin’ is a vibrant blend of soulful roots reggae and funk, wrapped in the deep, dusty tones of analog tape. A joyful and authentic studio experience, captured live — and played loud.

Freak Show is the second album by the popular Australian band Silverchair, which charted in different lists all over the world (US, UK, Australia, Canada and many more). After their debut Frogstomp they were fusing more elements together in their music. Freak Show contains a lot of strong hooks and the song writing skills increased. This post-grunge album is more versatile in comparison to their earlier work and it marks the beginning of the definitive band sound.

Silverchair were an Australian rock band formed in 1992, who have sold over 9 million albums worldwide. Their sounds evolved during the years from the grunge and alternative rock to pop and art rock. In 2011 they announced their “indefinite hibernation” and it is still unknown if they ever going to return on stage.

Freak Show is available as a limited edition of 5000 individually numbered copies on flaming (red & yellow swirled) vinyl.

Light Up Goldist das zweite Studioalbum der US-amerikanischen Indie-Rock-Band Parquet Courts und wurde ursprünglich 2012 in Eigenregie veröffentlicht, bevor es Anfang 2013 über das Label What"s Your Rupture? neu aufgelegt wurde. Mit seinem rohen, energiegeladenen Sound und einer Mischung aus Punk, Garage Rock und intelligenten Texten wurde das Album schnell zu einem Geheimtipp und markierte den Durchbruch der Band in der alternativen Musikszene. Das Album wurde von Kritikern für seine Energie, seinen Witz und seine Direktheit gelobt. Es wirkt wie ein urbaner Schnappschuss des Lebens junger Erwachsener in New York City - nervös, rastlos und reflektiert.Light Up Gold etablierte Parquet Courts als eine der spannendsten neuen Bands der 2010er Jahre und wurde später zu einem der wichtigsten Indie-Rock-Alben des Jahrzehnts gezählt.

Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek and bass player Darryl Jenifer. In addition to new mixes, that version used an altered track order. This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

Running with Scissors is a cathartic heart ache and, ultimately, a therapeutic exploration of what it means to be alive—to love, to grieve, to regret, and to grow. It pulses with rawness and authenticity, sincerity and honesty, offering both solace and strength to anyone navigating their own emotional journey.

Running with Scissors is the third full-length album from Canadian trio Afternoon Bike Ride. Residing in Montreal, the group is made up of Lia (vocals, guitar, programming), David (vocals, guitar, drums, programming), and Éloi (vocals, keys, drums, programming). Since their formation in 2019, the band has released numerous projects where indie rock blends with acoustic pop, ambient field recordings, and lofi folk.

With each track on the new album, the three artists explore the rollercoaster ride of life’s most profound lessons—falling in and out of love, embracing grief, and navigating the complex spectrum of human emotion. The album feels like a series of journal entries, capturing moments of vulnerability, self-discovery, and personal growth. A lot has changed since their formation in 2019 but their hearts are still in the right place. Lead singer and songwriter Lia reflects on the bittersweet realization that life is an ongoing journey and we’ll never have all the answers, but we can still find meaning through love, meaningful connection, and the lessons that shape us. If life is one big lesson, then according to Lia, "I guess these songs are some classes I've taken."

The twelve song soundscape blends raw, emotional acoustic elements with subtle electronic layers and indie rock grunge, creating a textured blend that feels as vast and intimate as the album’s themes. It’s an immersive record that shifts perspectives, from the micro to the macro, zooming out to explore the universe and zooming in on the personal experiences that define our lives. Throughout the album, ABR explores the beauty of feeling deeply while embracing both the intensity of emotion and the struggles of finding purpose. "I'm finding my way through this world now," says Lia, "with the comfort of knowing I'll never know it all.”

If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona's John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However - and this is quite rare - he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on
Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).
At the same time he drew the attention of like-minded artists like James Holden and Luke Abott from Border Community, Blondes or Delorean, which lead to a bunch of fertile collaborations: Luke Abbott and Blondes remixed Talabot’s “Sunshine“ single , John Talabot remixed a track by Delorean and vice versa Delorean’s Ekhi contributed vocals to the track “Journeys “ on John’s album). Another example is the Young Turks Label (home of Jamie XX, Holy Fuck, El Guincho or SBTRKT ) on which he released the “Families“ EP in 2010. It was praised beyond limits. Pitchfork for
instance hailed: “… where pop and house influences sweetly buffer up against one another to provide an unyielding sense of elation“ and even brought Talabot a comparison with artists like Four Tet or Caribou.
While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European House and has made him also a highly in demand Remixer (for the likes of The XX, Francesco Tristano’s “Aufgang” project, Shit Robot on DFA, Thaiti 80, Joakim or Teengirl Fantasy to name just a few ).
A progression that now crystallizes in “ƒin”, his first full-length album for Permanent Vacation. A record, in which the Barcelona mastermind sets aside the danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective, in which the construction of complex song structures, intricate rhythms and superpositions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks (we should call them songs really!) dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. “Fin” is far from being a track collection. From the majestic opener “Depak Ine“ to it’s solemn ending with
“So Will Be Now“ , one of the two tracks that features Talabot’s soul and label mate Pional, each song traces an overall dialogue with the rest, culminating a highly emotional journey through Talabot’s always compelling and unique musical vision.

The Pusher Distribution / info@thepusher.fr
Hyperjazz Records presents the self-titled debut album from Tera Tera, an unexpected collaboration between two
visionaries of the Italian music scene. Drummer Jacopo Battaglia, founder of the cult Italian trio Zu and collaborator with
Mike Patton and The Bloody Beetroots, joins forces with guitarist Adriano Viterbini, founder of the rising sensation I Hate
My Village and collaborator with Rokia Traorè and Bombino. Born from two intense jam sessions of pure improvisation, this
album emerged through multiple phases of fragmentation, psychedelic experimentation, and sonic reconstruction. Hours
of raw material were distilled into structures, then subjected to further manipulation and synthesis, documenting the inherent
chemistry between two sound wanderers. Tera Tera's primary interest lies in exploring sound, creating new pathways
toward transcendence. Their music defies genre boundaries, pushing beyond conventional limitations into uncharted
psychedelic territories.
Jacopo Battaglia
Jacopo Battaglia has established himself as one of the most innovative and respected drummers in the Italian experimental
music scene. As a founding member of the cult band Zu, he pushes the boundaries of music since 1997. Blending elements
of noise rock, free jazz, and avant-garde into a distinctive style, he’s a pivotal figure in the “evolutionofavant - gardemusic”
internationally.
Adriano Viterbini
Over the years, Adriano Viterbini has built an international credibility like few other Italian musicians. He’s one of the most
inspired guitarists of contemporary Italian music, best known as founding member of I Hate My Village and Bud Spencer
Blues Explosion bands. An entire career voted to the research of the purest language of blues, Viterbini's impact extends
far beyond Italy, influencing a new generation of musicians with his dynamic approach to composition and performance.

François and Sylvain Rabbath have turned six years of touring into a joint album that patiently and intensely distills a variety of musical flavors gathered from around the world.

Since the early 1960s, François Rabbath's double bass has resonated through enough landmark recordings to fill several shelves in a record collection. As an arranger, composer, and musician, his imprint on music goes far beyond his collaborations with Barbara, Paco Ibáñez, Charles Aznavour, or Édith Piaf. Aspiring double bassists owe him a groundbreaking method for learning the instrument. Born into a lush musical universe that quickly became his own, his son Sylvain first accompanied him on his travels before settling at the piano and sharing stages around the world at his side.

Those years of accumulating visas in their passports were put to good use by father and son. The continents, countries, and cities they passed through became a rich source of inspiration for composing Amall, the album by the Rabbath Electric Orchestra.

Long hours spent in the air or on the road, watching passing landscapes that never stayed the same, were transformed into compositions imbued with the atmospheres of the places they crossed or visited. Inspiration sometimes struck with force, like a green oasis appearing in a desert of stone—unexpectedly, as glowing red rocks suddenly dominated an otherwise open landscape with an endless horizon, while the mind wandered into a state between meditation and introspection.
Born from these travels, the pieces took on their final colors once brought into the studio, refined, and finally arranged to welcome the guitars of Keziah Jones and Matthieu Chedid, the piano of Laurent de Wilde, the bass of Victor Wooten, the saxophone of Raphaël Imbert, and the percussion of Minino Garay. Enhanced by the scale of the jazz-soul orchestrations, by the richness of arrangements bursting from strings, brass, rhythms, or keyboards, the epic breath of vast plains became ingrained. The urban tension of funk, echoing their movements, found its place—alongside more electric expressions or the ambience of a darkened room.
Melancholic and melodious, expressive and edgy, the bowed double bass—played in the high register where few dare to go—emerged as the musical guide. One that draws a path between Seville and Minneapolis, connects François Rabbath's native Syria to France, and bridges South America to Europe. It sets the tone to follow—the emotion that will carry the piece, and if not filled with light, will carry it there nonetheless.
Musical visions packed in luggage, transported in cargo holds, or imprinted in their minds just long enough to cover the distances to the next stop—father and son deepened their bond, beyond family and art. And their hands have never held each other more tightly.

François et Sylvain Rabbath ont fait fructifier six ans de tournées pour un album commun distillant patiemment et intensément la variété de parfums musicaux récoltés autour du monde.
Depuis le début des 60’s, la contrebasse de François Rabbath résonne dans assez de références pour combler plusieurs étagères d’une collection de disques. Arrangeur, compositeur, musicien, l'empreinte laissée dans la musique va bien au-delà de ses collaborations avec Barbara, Paco Ibanez, Charles Aznavour, ou Edith Piaf. C’est à lui que les
apprentis contrebassistes doivent une méthode novatrice pour apprendre l’instrument.

Né dans un univers musical luxuriant qui est vite devenu aussi le sien, c’est d’abord dans ses voyages que son fils Sylvain l’a accompagné, avant de s’installer au piano, et parcourir les scènes du monde à ses côtés. Ces années où les visas se sont entassés sur leurs passeports, père et fils les ont mises à profit. Continents, pays, et villes qui se sont succédés sont devenues un gisement pour composer Amall, l’album du Rabbath Electric Orchestra.

Les longs moments passés dans les airs ou sur la route à contempler un paysage qui défile sans pour autant rester le même, se sont convertis en compositions habitées par les ambiances de ces endroits traversés ou visités. Là où l’inspiration s’est imposée parfois brutalement, sous
la forme d’un oasis de verdure surgissant au milieu d’un désert de pierres. Au hasard d’imposantes roches rougeoyantes s’invitant dans un paysage jusqu’alors dégagé sur un horizon sans fin, quand l’esprit se laisse aller à un mélange de méditation et d'introspection.

Nés de ces pérégrinations, les titres ont pris leurs couleurs définitives une fois ramenés en studio, peaufinés puis, enfin, pensés pour y inviter les guitares de Keziah Jones et de Matthieu Chedid, le piano de Laurent de Wilde, la basse de Victor Wooten, le saxophone de Raphaël Imbert, les percussions de Minino Garay. Sublimé par la dimension des orchestrations jazz-soul, par la richesse des arrangements jaillissant des cordes, des cuivres, des rythmiques ou des claviers, le souffle épique des plaines immenses s’est imprimé.
La nervosité citadine du funk rythmant les déplacements a trouvé sa place, non loin d’une expression plus électrique ou d’une atmosphère de salle obscure.

Mélancolique et mélodieuse, expressive et nerveuse, la contrebasse jouée à l’archet, dans les notes hautes du manche où peu s’aventurent, s’est érigée en guide musical. Celui qui trace le chemin entre Séville et Minneapolis, relie la Syrie natale de François Rabbath à la France,
réduit la distance entre l’Amérique du Sud et l’Europe. Donne la note à suivre, l’émotion qui traversera le morceau qui, s’il n’est pas habité par la lumière, le portera néanmoins jusque là.

Visions musicales mises dans le coffre, transportées en soute ou imprimées dans l’esprit le temps de couvrir les distances qui les mèneront aux prochaines, c’est côte à côte que père et fils ont prolongé leur lien par delà des seules limites familiales et artistiques. Et leurs mains ne se sont jamais serrées aussi fort.
credits

Seit ihrer Gründung im Jahr 2013 in Metro Detroit, Michigan, hat die Metalcore/Post-Hardcore-Band I
Prevail eine Menge kritischer und kommerzieller Erfolge erzielt. Ihr erstes Album, „Lifelines“ von 2016,
erreichte sowohl in den USA als auch in Kanada Goldstatus, während „TRAUMA“ von 2019 diese Leistung
in Kanada wiederholte. Letzteres wurde bei den Grammys in dem Jahr für das beste Rockalbum nominiert,
die Single „Bow Down“ war zudem Anwärter für die beste Metal-Performance. Mit „TRUE POWER“ aus
dem Jahr 2022 ging die Band weiterhin ihren eigenen musikalischen Weg und weigerte sich, den Erwartungen des Genres zu entsprechen.
Jetzt, mit ihrem vierten Album „Violent Nature“, geht die Band eine Stufe weiter. Das Album wurde
in zwei Etappen in den Blackbird Studios in Nashville aufgenommen und unter der Leitung von Bassist
und Keyboarder Jon Eberhard selbst produziert. Außerdem handelt es sich um das erste Material, in dem
Vocalist Eric Vanlerberghe als einziger Sänger der Band sowohl cleanen als auch nicht cleanen Gesang
übernimmt. Es geht hart zur Sache. Die erste Single des Albums, der Titeltrack, ist möglicherweise der
brutalste, extremste und wildeste Song, den die Band je veröffentlicht hat. Doch nicht alles ist so brutal
und intensiv. Obwohl die Single „Rain“ alles andere als sanft ist, fühlt sich der kraftvolle, hymnische Refrain
des Songs im Vergleich dazu wie ein Schlaflied an, obwohl der Text Andeutungen derselben Wut und Pein
enthält. Nichtsdestotrotz veranschaulich