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Locked Down And Stripped Back Volume Two features home recordings of Wedding Present classics along with a previously unreleased song: 'That Would Only Happen In A Movie'. The first volume in the series came about when David Gedge's annual festival At The Edge Of The Sea went 'virtual' in 2020 and the band recorded semi-acoustic versions of songs to be streamed. An album of the tracks was compiled and released due to popular demand. The same thing happened the following year and so Volume Two features tracks initially recorded for 2021's online festival. There's a bevy of guest stars on this second album! Jon Stewart of Platinum-album-selling Sleeper fame reprises his new role as Wedding Present guitarist but is joined here by some Wedding Present members of old. Peter Solowka, from the band's first line-up appears on 'Nobody's Twisting Your Arm' playing his second instrument, the accordion, while Hit Parade guitarist Paul Dorrington contributes to a re-working of the Top 30 single 'Blue Eyes'. Long-time Wedding Present bass player Terry de Castro returns to infuse the album with her own unique style, while current Wedding Present bass player Melanie Howard takes over the lead vocal duties on a beautiful version of 1986's 'At The Edge Of The Sea'. Last, but certainly not least, Amelia Fletcher - backing vocalist on George Best and Bizarro - also returns to the party! As on the first volume, each musician recorded and filmed their parts at home and, as before, it is fascinating to see how stripped-back arrangements bring out different aspects of these brilliant songs.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Die neunfache Grammy-Preisträgerin Sheryl Crow veröffentlicht ihr elftes Studioalbum “Evolution“. Erst dieses Jahr wurde Sheryl Crow in die Rock and Roll Hall Of Fame aufgenommen. Das Album kommt als willkommene Überraschung, nachdem Sheryl Crow öffentlich erklärt hatte, dass sie nach “Threads“ (2018) kein weiteres Album in voller Länge veröffentlichen würde. Die Lead-Single des neuen Albums ”Alarm Clock”, ist Sheryl Crows wahrscheinlich radiotauglichster Popsong seit ”Soak Up The Sun”. Auf dem Album “Evolution“ ist Sheryl Crow in ihrer authentischsten Art und Weise zu hören. Selbst sagt die Künstlerin über das Album: „ This music and these lyrics came from sitting in the quiet and writing from a deep soul place. I said I’d never make another record, thought there was no point to it. But this music comes from my soul. And I hope whoever hears this record can feel that.” Das Album „Evolution“ umfasst insgesamt neun Songs, die sowohl auf Vinly als auch auf einer CD erhältlich sind.

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

ASC returns with a deeply emotive album on Past Inside the Present, showcasing a new chapter in his musical journey. Known for his versatility across electronic and drum & bass genres, James Clements channels introspection and healing in Loss. Quiet bird calls and field recordings intertwine with ASC's expertly crafted synths, creating a therapeutic sonic landscape. Each track evokes a range of emotions, from melancholy to hope, acceptance to sorrow. Loss invites listeners to embark on a poignant journey, where ASC's mastery shines through in every moment. It's a captivating and beautiful testament to the power of music as a form of self-expression and healing.

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

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

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

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

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

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

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

An expanded 3-LP edition of Sonny Rollins’ essential and legendary live trio album A Night At The Village Vanguard: The Complete Masters is added to Blue Note’s acclaimed audiophile vinyl series in Q1, mastered for the very first time from the original tapes. (The first release and subsequent reissues were made from a tape transfer.) This deluxe tri-fold edition includes a plethora of great editorial, including a new interview with Rollins in conversation with Blue Note President Don Was.

“As we began to prepare for this album, I made my customary call to Capitol tape vault archivist Jack Arenas to inquire about the analog master tapes. Naturally, I assumed there would be a set of Rudy Van Gelder assembled 15ips analog masters of all the material. Indeed, there was, but then Jack said something that caught my ear. ‘Now there are these other tapes, but they haven’t been assembled, and they are all recorded at 7.5ips.’ I sat straight up and probably looked a bit like the mind-blown emoji. With this issue of Sonny Rollins ‘A Night At The Village Vanguard: The Complete Masters’ we are finally able to hear the actual masters that were recorded that afternoon and evening.” — Joe Harley

Die weibliche Stimme ist seit jeher eine Projektionsfläche sexistischer Erwartungen, deren bewusste und unbewusste Reproduktion die britische Pop-Forscherin Helen Reddington treffend als "gender ventriloquism" (die Bauchrednerei der Gender-Stereotypen) bezeichnet. Auch im 21. Jahrhundert, ein halbes Jahrhundert nach Nico, ist der Bruch dieser Erwartungen - ungeachtet aller Empowerment-Posen - immer noch eine auffällige Geste. Wie etwa im Fall der 21-jährigen, in Berlin studierenden Wienerin Edna Million. Deren tiefer, jeden Anflug von Emphase verweigernder, dunkler Gesang bettet sich auf der spröden Unterlage ihrer mit lockerer Hand angeschlagenen Halbakustischen, die klingt wie zwei, weil der übers Mikro aufgeschnappte Saitenklang sich mit dem warmen Sound von Pickup und Verstärker ergänzt. So entsteht eine eindringliche Intimität, die den narrativen Details der von Million stoisch vorgetragenen Geschichten reichlich Raum zum Nachschwingen lässt. Das Debutalbum von Edna Million erscheint am 29.3 und kann ab sofort vorbestellt werden.

Erstmals auf Vinyl erhältlich - das zweite Album der Band. Dunkelgrünes, 180g schweres Vinyl, Gatefold. "A coming storm" - unter diesem Motto stürmen die fünf jungen Musiker erfolgreich die deutsche Metalszene und schaffen es damit innerhalb von nur zwei Jahren, passend zum weltweiten Release ihres zweiten Albums "Kings will fall" bis nach Wacken. Ziel ist es, mit ihrer Leidenschaft für die eigene Musik die Fans in ihren Bann zu ziehen, wobei Winterstorm eine Band ist, die mit ihrem Sound einen frischen Wind in die Metalszene bringt, der bei weitem nicht nur bei eingefleischten Metalfans auf Begeisterung stößt. Dabei war schnell ganz klar, dass sich hier nach jahrelanger Erfahrung bei anderen Projekten endlich genau die richtigen Leute zusammengefunden hatten, um gemeinsam das Metal-Walhalla zu stürmen. Im Vordergrund steht bei Winterstorm ganz klar die Melodie, die sich u.a. in ohrwurmlastigen Refrains und vielen mehrstimmigen Gesängen widerspiegelt. Dabei verschmelzen markante Elemente verschiedener Metalstile miteinander und erhalten so eine ganz neue Bedeutung. Grob kann man sagen, dass sich hier Power, Viking, Folk und Mittelalter mit Epic-Metal vereinigen, welche alle zusammen in einem ganz neuen Glanz erstrahlen. Alles in allem eine explosive Mischung, bei der Fans von Jung bis Alt auf ihre Kosten kommen. So denn, hebt die Hörner und zieht euch warm an - der Wintersturm zieht auf!

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

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

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

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

- The second album of hypnotic primordial music from Berlin-based harper/multi-instrumentalist/vocalist Andy Aquarius that explores the mystical fringes of ambient, folk, and classical music. Hush Hush is honoured to welcome back Berlin-based harper, multi-instrumentalist, and vocalist Andy Aquarius to the label to help present 'Golla Gorroppu,' his second album of hypnotic primordial music that explores the mystical fringes of ambient, folk, and classical music. A follow-up to his acclaimed 2021 debut album 'Chapel,' 'Golla Gorrupu' leans into the emotional natural sentiments of European Romanticism and American Transcendentalism and reveals itself as an animist take on an internal expedition of a mythological mountain range. The album’s title, 'Golla Gorroppu,' is a phrase coined by Andy that stems from his meditations on the Sardinian Gorropu mountain range, a territory he explored in between the autumn of 2020 and spring of 2021. His personal translation of the title is "The Throat of the Mountain.” With this transformative experience as his foundation, Andy found meaning in his latest work. He shares: “At the heart of the mountain range lies a massive gorge (Gola/Goia) which is said to house various creatures of the night, amongst them trolls, the 'mother of Goroppu' and the devil himself. The first half of the record is tuning into the moving forces of the mountain - first the Rains, Groundwaters and Rivers, then the animal kingdom, represented by the goat and inspired by a remarkable meeting with a Sardinian mouflon (a wild sheep) during a solitary hike.
The second half of the record channels the kingdom of rocks - moving from the mountains' murky intestines towards their loftiest peaks, covering all the mossy mysticism and crystalline vistas that lie in between.” Sounding as indomitable and spirited as the landscape it portrays, 'Golla Goroppu' is a wayward epic that cries for you to become the mountain goat you always dreamt to be. Through his lyrical harp expressions and gentle vocal accents, Andy Aquarius’ latest statement traverses a magical terrain full of intrigue, nuance, and beauty.

So I have a problem: I hate everyone and all music. Well, OK, not everyone. But c’mon - you know what people are like. Honestly, they’re the worst. And fair enough I might not really hate all music, but let’s be honest: have you ever actually heard any music? I mean, jeeez. If I’m gonna listen to a record, I’ll need something that matches this misanthropy; something that really gets the neurotransmitters firing on all cylinders and ready to obliterate the feelgood factor. Something like Cleveland band Cruelster, basically. Cruelster are made up of members of Knowso, Perverts Again, and a plethora of other Ohio noiseniks. If it seems like you’ve seen that name before, it’s highly probable - they released a demo back in 2012 and have been sporadically dropping bundles of rough-edged sonic snot ever since, thanks to labels like Lumpy (whose own Dumpers are at the very least sonically adjacent) and Turbine Piss. This singles collection compiles all the non-album tracks they’ve released since that early demo to make a thrillingly ‘orrible racket. Twelve years’ worth of punk rottenness and general stupidity contained in 29 tracks and 40 noisy minutes. It is, of course, fucking brilliant. From the gleefully melodic dumbness (and Booji Boy-flavoured additions) of ‘My Embarrassment’ to the malevolent rumble of ‘Double Trouble’, not to mention a fabulously energised cover of Icona Pop’s dance-pop smash ‘I Love It’, every track here is a winner. It’s the perfect tonic for your rage and the perfect foil to a cruel world where everyone else’s disdain seems more pronounced than your own. You owe it to yourself to complete your record shelves with this instantly classic comp - it’s punk rock par excellence. And as for that ‘hating all music thing’... ah, who cares, this is all gold. Listen immediately, you’ll be causing chaos to its raucous brilliance before you know it. Genre: Alternative / Punk

Turnend Tapes first vinyl offering beyond the realms of the club emerges Peculiar Glow Vol.1. An EP of radiant atmospherics from multiple artists prescribing sonic esoterism.

Shell Company introduce the record with ‘Pearl’, an exhibition of their indelible sound, nurtured by the Manchester underground; inducing intoxication through twang of guitar and stunning spoken word whilst grimy, glitched-out soundscapes modulate and vaporise.

Sailingwing follows with ‘Splendid Isolation’. A kaleidoscopic dream sequence sounding like a distant relative to Talk Talk’s Spirit of Eden. One that is voltaic and woozy drifting with spectral timbre.

Bringing side A to a close with their track ‘I Might’ is Infant, another artist flourishing in Manchester’s fertile scene. A soft and hopeful slice of blissed out synth pop showcasing Infant’s mesmerising instrumentation, voice and lyricism.

Das Wettbüro’s ‘Abendtarif’ opens side B with an auditory bath of cool electronics intersecting the styles of different eras and geographies. Ultra kinetic and slick, the group make a visionary contribution to the rich lineage of Krautrock before it.

Zoe Couppe & sigh nova offer up a sublime composition of glistening electronics and granular field recordings that mirror the spoken musings of aquatic motion amongst other abstractions. With mythic air, ‘Memoria Fluida’ guides this collection of music to its conclusion.

Peculiar Glow’s first volume is a touchstone for endeavours to follow under this project and we are delighted to share the result of what has been a lengthy but exceptionally rewarding process.

Saint Louis based Piscean Group return with a 45 showcasing their future funk jazz sound

Led and produced as always by Osunlade (Yoruba Records), this ever evolving group provide two new tracks; the first “Finger It Out” a driving groove punctuated by explosive horns and an irresistible drop, backed with “Kushti”, a beautiful downtempo meditative jam with loping beat and spaced out guitar licks that transports you to a new time and space.

Repress.

MFM044 sees the reissue of the cult Spanish studio project Música Esporádica with their incredible one off, self-titled album.

Another Suso Saiz side project, this one grew out of his work with his band Orquesta De Las Nubes, who were themselves the subject of a Music From Memory compilation last year.

The idea of getting Orquesta De Las Nubes to collaborate with Glen Velez and Layne Redmond arose after the two American musicians visited Spain during a series of seminars on frame drum techniques in 1985. Having met Glen Velez some years before in Madrid whilst Glen was performing with the Steve Reich Ensemble, Suso Saiz and Glen Velez quickly formed a strong friendship over their mutual love of non-Western music and the potentials of repetition within music. The two would play, talk and drinks for many hours in Suso’s studio space whenever Glen was in Madrid.

During one such session in 1985, Glen and Suso would be joined by Orquesta De Las Nubes and Spanish friend and musician Miguel Herrero. With exciting new ideas flowing quickly and easily, Suso decided to immediately call Track Studios in Madrid to see if they might have a space to record some of the material. With just a few days available the group would record for about 12, with what Suso would describe as ‘incredible fluency’, by which time they would have recorded the album they would later title Música Esporádica.

After its release 34 years ago Música Esporádica sounds as stunning as ever and Music From Memory are delighted to be able to share the fluency, spontaneity and close friendship which fuelled the recording of this amazing album.

SAICOBAB channels the vital energy of living music traditions through ecstatic performance. NRTYA, Sanskrit for "dance", explores the shared roots of Japanese and Indian spiritual practices in a tangible, intoxicating form. YoshimiO"s experiments in this field are well documented and legendary from her work in OOIOO to her work in the Boredoms. Multi-instrumentalist Yoshida Daikiti reveals the human hand that shapes living traditions, as much through his fluid playing as his own collection of handmade instruments, while percussionist and multi-instrumentalist Motoyuki "Hama" Hamamoto embodies the metaphysical power of rhythm. YoshimiO"s wild vocal acrobatics and inimitable range shift from hypnotic chants to ethereal atmospherics and darting melodies, ducking and weaving around Daikiti"s serpentine sitar figures and basslines. Hama"s solid rhythmic architectures and deft polyrhythms are here enhanced by additional drums from Taketawa Yo2ro, slipping from subtle pulses to thundering grooves that drive the music. SAICOBAB"s music exudes a true reverence for living musical traditions while remaining unbound by orthodoxy. The electrifying energy of the quartet"s performance is palpable in every track, eliminating established hierarchies with performer and listener alike entwined in the same cosmic dance.

Seit Jahren vergriffen und jetzt als 10 years Anniversary-Collector's Edition streng limitiert wieder erhältlich: Die Rude Boy RocknRoll-Show von den City Saints mit einem Dutzend hochexplosiven Streetpunk/RocknOi!-Shoutern plus exklusiven Bonus Song "Riot"! Das Debüt "Kicking ass for the working class" der Göteburger um Ex-Mitglieder von Perkele schlug zurecht ein wie eine Bombe und katapultierte die Band sofort in die Herzen der Szene! Songs wie "Gonna Balls", This is my life" oder "Public Animal No.1" sind fast forward-melodic Hymnen mit jeder Menge Dampf und einer Spielfreude, die jeden Lautsprecher zum Beben bringen.

Seit Jahren vergriffen und jetzt als 10 years Anniversary-Collector's Edition streng limitiert wieder erhältlich: Die Rude Boy RocknRoll-Show von den City Saints mit einem Dutzend hochexplosiven Streetpunk/RocknOi!-Shoutern plus exklusiven Bonus Song "Riot"! Das Debüt "Kicking ass for the working class" der Göteburger um Ex-Mitglieder von Perkele schlug zurecht ein wie eine Bombe und katapultierte die Band sofort in die Herzen der Szene! Songs wie "Gonna Balls", This is my life" oder "Public Animal No.1" sind fast forward-melodic Hymnen mit jeder Menge Dampf und einer Spielfreude, die jeden Lautsprecher zum Beben bringen.

In Berlin geboren, aber in der Kleinstadt Bad Salzuflen aufgewachsen, pendelt Mina zwischen den Welten und entdeckt in der CD-Sammlung ihrer Tante Schätze wie Joan As Police Woman und Nina Simone. Soul und Blues, die Hip-Hop-Kultur und die Revolte der großen Singer-Songwriterinnen stehen Pate, als sie an ihrer Debüt-EP ,Jaywalker" (2022) arbeitet, mit der sie als beste Newcomerin für den PopNRW Preis nominiert wird. Von ihrem Vater ,aus Versehen" zur Feministin erzogen - wie sie es einmal in einem ,Zeit"-Interview formulierte - bediente sie sich für ihren Künstlerinnennamen beim berühmten Cher-Zitat ,Mom, I am a rich man". Ihr Solidaritäts-Song ,Baba Said" geht während der Revolution im Iran schlagartig viral und verschafft der Sängerin über Nacht auf dem ganzen Globus Aufmerksamkeit. Das Musikalische mit dem Gesellschaftlichen zu verbinden war ihr schon immer ein Anliegen. Mit renommierten Festivalslots bei dem New Fall, Herzberg und Reeperbahn Festival und Supportshows für Maxim, Anna Calvi und Alice Merton zeigt Mina, dass sie ,mit 25 Jahren schon eine ganz schöne Powerfrau ist." (WDR 5, 2022) Mit ihrem Debütalbum ,Grown Up" stellt sich Mina Richman nun dem Erwachsenwerden. Mit schonungsloser Ehrlichkeit kehrt sie in ihre Kindheit zurück und verarbeitet streitende Eltern, kulturelle Entwurzelung und den gesellschaftlichen, wie auch ihren persönlichen Umgang mit ihrem Körper. Ehrlich. Queer. Selbstbestimmt. Auch musikalisch ist Mina gereift und stellt einen Sound mit Einflüssen aus Soul, Folk, Indie und HipHop vor, zeigt dass Amy Winehouse, Ronda oder die Alabama Shakes nicht spurlos an ihr vorbei gegangen sind, beleuchtet die schönen Seiten des Erwachsenwerdens: Mut und liebe Menschen, die einen begleiten. Das Album ,Grown Up" wird am 15. März 2024 über Windig erscheinen und anschließend auf einer großen Release Tournee vorgestellt.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

Göteburg's finest Streetpunk&Rock'n Roll/ Express ist zurück und das gleich doppelt! Der internationale Erfolg ihres komplett in ihrer Heimatsprache eingesungenen, letzten Longplayers "Pa Svenska" (lange ausverkauft) hat die Band selbst überrascht?.scheinbar ist es doch kein Handicap, wenn man außerhalb von Skandinavien eher nicht der schwedischen Sprache mächtig ist, wenn die Musik alleine eine derart überzeugende Aussagekraft hat! Und so gibt es mit "Punk & Roll" gleich eine Doppel-LP mit insgesamt 24 brandneuen City-Saints Hymnen, wobei LP1 in Englisch und LP2 wiederum in schwedisch eingesungen wurde! Der Titel Punk & Roll wurde auch passend gewählt, denn während LP1 vermehrt eine scharfe Streetpunk-Kante aufweist, zielt LP2 eine Nuance mehr auf schweinegeilen RocknRoll mit Punk, Hardrock & Glam Versatzstücken angereichert! Grandiose Vielfalt, verdammt druckvolle Scheibe.

In 2013, between Hypnoflip Invasion and Stup Virus, Julien Barthélémy aka Stupeflip composed the soundtrack for Parenthèse, the first feature film directed by Bernard Tanguy. Julien and Bernard had recently met at a photo exhibition by Nathalie Sauvegrain, whose film Océane Bernard produced. Bernard, who has just been nominated for a César and shortlisted for an Oscar for a short film, is developing his first feature-length film as a director: Parenthèse, a buddy film about the feeling of growing old, an in camera film on a sailing boat in the Mediterranean, set against the magnificent backdrop of the Port-Cros and Porquerolles National Park (Var). A Stupeflip fan, Bernard considered Julien to compose the music, in his Pop Hip version rather than King Ju, convinced that his 80's style would fit perfectly with the nostalgic vision of the heroes of the story and that Stupeflip was also capable of bridging the gap between generations. Julien composed 11 tracks for the occasion, 8 of which found their way into the final version of the film. The title track, "Parenthèse", features arrangements by Anne Gravoin's string orchestra, giving it a depth and density never before seen in Stupeflip's discography. For the 10th anniversary of the filming, the soundtrack, which was only available on the DVD released in 2017, is being offered for the first time in a remastered version (Marie Pieprzownik, Translab), including 3 previously unreleased tracks not included in the original cut.

Available for the first time on vinyl in a remastered version + 3 previously unreleased tracks

“Mother”, Logic1000’s debut album. “I felt so much love and inspiration entering into motherhood that I just needed to create something really powerful,” explains Samantha Poulter, the Berlin-based DJ and producer , who grewed up in the Sydney suburbs of Yarrawarrah and Botany Bay and better known to fans as Logic1000. “And with a lot less free time, you really make sure you make the most of any moment you get.” That vitality and renewed sense of purpose is captured on Mother.Preceded by the single ‘Grown On Me’, the 12-track set is a laser-focused “love letter to house music”, written in collaboration with her husband and long-time creative partner Thom McAlister (Cop Envy, Big Ever). Finding Poulter further fine-tuning her inventive, multi-genre approach, it’s a crucial contribution not just to the world of dance but to the canon of art inspired by parenthood. As Poulter herself puts it, a little awed, “I never thought I would be capable of something so powerful.”

Kat is unashamedly bold & confident in her abilities as a vocalist and songwriter, effortlessly merging Soul, and classic R&B which transpired throughout the mature and well rounded 10 tracks from her debut opus released in 2021.

Her long awaited second album Honestly is the perfect evolution, moving through into Blues and Gospel. “After Frank White Sheffield Blues legend and mentor died, Nick and I went back to our roots and decided to scratch that Blues/Gospel itch that Frank had given us a taste for.

Die Symphonic-Metal-Wikinger LEAVES' EYES haben schon immer in einer eigenen Liga gespielt. Wer eines ihrer aufwendigen Musikvideos oder eine ihrer spektakulären Liveshows mit atemberaubender Bühnenkulisse gesehen hat, kann das bestätigen. Mit ihrem neuen Album "Myths of Fate" kommen sie nun mit einem neuen musikalischen Epos zurück. Es erwartet euch fesselnder Symphonic-Metal mit hymnischen Melodien, kraftvollem Gesang und epischen Geschichten.
Am 22. März 2024 wird "Myths of Fate" in mehreren limitierten Vinyl-Varianten, als limitiertes 2CD Earbook, limitiertes 2CD-Digipak und digital veröffentlicht.

Die Symphonic-Metal-Wikinger LEAVES' EYES haben schon immer in einer eigenen Liga gespielt. Wer eines ihrer aufwendigen Musikvideos oder eine ihrer spektakulären Liveshows mit atemberaubender Bühnenkulisse gesehen hat, kann das bestätigen. Mit ihrem neuen Album "Myths of Fate" kommen sie nun mit einem neuen musikalischen Epos zurück. Es erwartet euch fesselnder Symphonic-Metal mit hymnischen Melodien, kraftvollem Gesang und epischen Geschichten.
Am 22. März 2024 wird "Myths of Fate" in mehreren limitierten Vinyl-Varianten, als limitiertes 2CD Earbook, limitiertes 2CD-Digipak und digital veröffentlicht.

Die Symphonic-Metal-Wikinger LEAVES' EYES haben schon immer in einer eigenen Liga gespielt. Wer eines ihrer aufwendigen Musikvideos oder eine ihrer spektakulären Liveshows mit atemberaubender Bühnenkulisse gesehen hat, kann das bestätigen. Mit ihrem neuen Album "Myths of Fate" kommen sie nun mit einem neuen musikalischen Epos zurück. Es erwartet euch fesselnder Symphonic-Metal mit hymnischen Melodien, kraftvollem Gesang und epischen Geschichten.
Am 22. März 2024 wird "Myths of Fate" in mehreren limitierten Vinyl-Varianten, als limitiertes 2CD Earbook, limitiertes 2CD-Digipak und digital veröffentlicht.

Auf 'Good Morning Seven', dem zweiten Longplayer auf Polyvinyl, teilt das australische Duo Good Morning einige seiner bisher schönsten, komplexesten und ehrgeizigsten Songs und liefert ein Doppelalbum ab, das den Hörer in eine Welt unerschütterlicher Klangtiefe und klanglicher Meisterwerke einlädt. Aufgenommen in ihrem Melbourner Heimstudio, wurden die 17(!) Songs später in Joshua Tree, Kalifornien, von der Band und Tyler Karmen (My Morning Jacket, Sharon Van Etten, Devendra Banhart) gemischt. Good Morning traten 2018 in Erscheinung und spielten seitdem auf Festivals wie Roskilde, Nine Lives und Tropicalia.

Reverberations of Non-Stop Traffic on Redding Road is a duet in ambience by Pan American (Mark K. Nelson) and Kramer. This experimental record is 11 brief sojourns into the dream state, produced by Kramer (of Shimmy-Disc) and co-written with Mark K. Nelson (of Labradford, Anjou).This record is a brotherly and collaborative follow-up to Kramer's 2022 ambient excursions, "Music For Films Edited By Moths".On the making of this collaborative project, Mark K. Nelson said "It was an honor to work with Kramer. That we came out of it with a great friendship and a record that's unique to each of our histories and music that we're proud to share is a privilege and a joy."As Kramer has described, the result of this record is a work that begs listeners, both animal and human, to allow these beautiful landscapes to sing and speak and weep for themselves.Simply put by Kramer, "Please. Forget about words. Just LISTEN."

'Mystery' is 16 tracks of rare early recordings from the legendary folk singer Jackson C Frank, known for his brief but influential career in the 1960s. On this release we delve deeper into singer-songwriter skills. His debut album, "Jackson C. Frank," is considered a folk classic. It featured songs like "Blues Run the Game" and "Milk and Honey," which have been covered by numerous artists over the years including Simon and Garfunkel, Wizz Jones and Bert Jansch.












[k] Night of the Blues [Version 2]
[l] (Tumble) In the Wind [Version 2]

Recorded in 1957, Paris.
Original LP issue: Guilde du Jazz J-1239.
When Miles Davis heard Barney Wilen for the first time during a jam session at the Club Saint-Germain in Paris, he exclaimed: “This is the best tenor saxophone I’ve heard in Europe, he plays tenor in an authentic way, much better than many current stars in the States.”

Barney Wilen’s mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother’s friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often.

He moved to Paris in the mid-’50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim’s Les Liaisons Dangereuses (1960). He’s probably the first non-US musician to play at the Newport Jazz Festival – it was in 1959.

In 1957 he made his very first album as leader, The Barney Wilen Quintet for the US label Guilde du Jazz / Jazztone at the age of 20. Unfortunately, this record was not widely distributed in France because Barney was under contract with the French label Vogue. This album reflects joy and sadness on an emotional level by the subtletly of Wilen’s musical imagination and physical releasing the essential siprit of jazz swing. On this so rare record, Barney plays with : on alto Hubert Fol, who recorded couple of times with Django Reinhardt. On Piano Nico Buninck, born in Amsterdam, is considered one of the best Young pianist in his country. Lloyd Thompson is a Young talented bassist who played with Lester Young, Dizzy Gillespie and Kenny Clarke. On drums Al Levitt, 25, has already toured in the USA with Charles Mingus, Lennie Tristano, Stan Getz and Lee Konitz.

Reverberations of Non-Stop Traffic on Redding Road is a duet in ambience by Pan American (Mark K. Nelson) and Kramer. This experimental record is 11 brief sojourns into the dream state, produced by Kramer (of Shimmy-Disc) and co-written with Mark K. Nelson (of Labradford, Anjou).This record is a brotherly and collaborative follow-up to Kramer's 2022 ambient excursions, "Music For Films Edited By Moths".On the making of this collaborative project, Mark K. Nelson said "It was an honor to work with Kramer. That we came out of it with a great friendship and a record that's unique to each of our histories and music that we're proud to share is a privilege and a joy."As Kramer has described, the result of this record is a work that begs listeners, both animal and human, to allow these beautiful landscapes to sing and speak and weep for themselves.Simply put by Kramer, "Please. Forget about words. Just LISTEN."

Carpool have long since achieved and outgrown their initial goal of playing that city’s 200 capacity Bug Jar venue, their hometown is still embedded in their DNA. This record is a wonderful homage to where they’re from – and also serves as a warning to the rest of the world what Rochester has already known for years. Recorded with Jay Zubricky (Every Time I Die, Pentimento and Marigold, among others)My Life In Subtitles is an album with a cohesive thematic and musical narrative. “The way I like to listen to music is to put on an album and listen to it start to finish. I like albums that take me on a journey and that show me what those songwriters were feeling while making you feel the same way,” said Colasanto.

Joanna Brouk's most ambitious recording, Sounds of the Sea is a concept album full of mystery and eroticism. A conch shell bookends this journey into the deep, going down and down and down further, never reaching bottom. Drawing inspiration from various legends of mermaids and sailors, Brouk weaves circling flutes, vocals, drones and whale songs to describe a sense of unfathomable longing more clearly than words could ever express. Sounds of the Sea is a hypnotic and profound achievement by one of new age's greatest composers.

Dinosaur Jr. Webstore Exclusive auf Opaque Light Purple Blast Vinyl. Nur 300 Stück verfügbar. "Sweep It Into Space" ist Dinosaur Jr.s erstes neues Album seit dem 2016 erschienenen "Give A Glimpse Of What Yer Not" und setzt den vielleicht besten "Second Act" aller Zeiten einer Band fort. Ursprünglich für Mitte 2020 geplant, wurde der zeitliche Ablauf dieser Platte durch das Auftreten von Corona vereitelt. Aber es bräuchte mehr als nur eine Pandemie, um die exquisite Power dieses Trios zu dämpfen, wenn es einmal in Fahrt ist. Und "Sweep It Into Space" ist ein Meisterwerk von auf den Punkt gebrachter Energie. In den Jahrzehnten seit der Veröffentlichung von Dinosaur Jr.s Triptychon an Gründungs-Alben ist klar geworden, dass ihr Sound, der einst als eine Form von fast gezähmten Lärm gefeiert wurde, eher eine Art voll funktionierende Popmusik ist/war/immer war. Im Zentrum von allem, was sie taten, standen schon immer Melodien. Was Dinosaur Jr. produzieren, ist nichts anderes als eine schöne neue Version des Rock-Kontinuums - Riff, Power, Beat und Sehnsucht, geschaffen mit einem Blick in die unendliche Zukunft. Aufgenommen wie immer in Amherst's Bisquiteen Studio, begannen die Sessions für "Sweep It Into Space" im Spätherbst 2019, nach einer Westküsten-/Südost-Tour. Der einzige zusätzliche Musiker, der dieses Mal zum Einsatz kam, war Kurt Vile, der das Album mitproduzierte und die 12-saitige Leadgitarre auf dem beschwingten "I Ran Away" spielte. J Mascis' Stimme ist sofort eingängig über den aufsteigenden, elektrisierenden Gitarrenlinien. Wie es für Dinosaur Jr. typisch ist, schrieb und singt Lou Barlow zwei der Dutzend Stücke des Albums (und liefert mit "Garden" seinen vielleicht besten Dinosaur-Beitrag), und Murphs Schlagzeug-Spiel treibt die Platte an wie ein Go-Cart aus der Hölle. Lous Songs sind hier so elegant wie immer. Js Tracks fließen und blühen in den verschiedenen Richtungen, die er oft verfolgt. Aber es gibt nur sehr wenige Momente, in denen man nicht wüsste, dass man Dinosaur Jr. hört, selbst wenn man die Nadel mit verbundenen Augen an irgendeiner Stelle der Platte ansetzen würde. Sie haben einen unverwechselbaren Sound. Mit "Sweep It Into Space" erweitern sie ihr persönliches Universum weiter, ohne jemals ihren zentralen Kern zu verlieren.

$1 Bin Breaks: Sakura (Edit) by Odetta / On The Hill (Edit) by Oliver Sain / Enchanted Lady (Edit) by Milt Jackson With The Ray Brown Big Band b/w Survival (Edit) by Annette Peacock / Sunrise (Edit) by The Originals / A Few More Kisses To Go (Edit) by Issac Hayes / Go On & Cry (Edit) by Les McCann | Galaxy Sound Company — GSC45-041 | Very special hot-off-the-test-presses donut via the always on-point @galaxy_sound_company crew. This will be number 41 in their cop-on-site 45 series, set to be released in 2024. This time out we are treated to 7 “$1 Bin Breaks” &, as with many in the GSC45 series, these are the sources of some of your fav hip-hop jams.

Side A:
1) “Sakura” by Odetta; Sampled in “Tried By 12” by The East Flatbush Posse

2) “On The Hill” by Oliver Sain; Sampled in “Tell Me” by Pete Rock & C.L. Smooth, “Day One” by D.I.T.C., “Young G’s” by Puff Daddy, The Notorious B.I.G., Jay-Z & Kelly Price

3) “Enchanted Lady” by Milt Jackson With The Ray Brown Big Band;
Sampled in “Dinnit” by De La Soul, “Escape” & “Carmel City” by Pete Rock & C.L. Smooth, & “Ijuswannachill“ by Large Professor

Side B:
1) “Survival” by Annette Peacock; Sampled in “Braggin' Writes” by J-Live, “Rules We Live By” by Lord Finesse, “Scientists of Sound” by Brand Nubian, “Kunta Fly Shit “by Ghostface Killah, “Video Game” by J Dilla

2) “Sunrise” by The Originals; Sampled in “Accepte Mon Concept” by 2 Bal 2 Neg' & “Guess Who’s Back” by Scarface, Jay-Z & Beanie Sigel

3) “A Few More Kisses To Go” by Issac Hayes; Sampled in “Tonight's Da Night” by Redman, “Ain't No Fun (If the Homies Can't Have None)” by Snoop Dogg, “Rough Life” by Shabba Ranks, “Is There a Heaven 4 a Gangsta?” by Master P, “B-Cuz I Got a Girl” by Nate Dogg, “The Life” by Alicia Keys

4) “Go On & Cry” by Les McCann; Sampled in “Tha Next Episode” by Snoop Dogg & Dr. Dre, “Runnin' Wit No Breaks" by Warren G, “No Pain” by Lords of the Underground

Mr. Thelonious Edits
File under: HIp Hop breaks , Jazz Funk, Funk, Samples breaks

Africamore: The Afro-Funk Side of Italy (1973-1978)

Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore takes us on a captivating journey into the intersection of Afro-funk and the Italian soundscape during the six years between 1973 and 1978 - a time when disco was looming on the horizon and the nightclub market was rapidly expanding.

Before reaching Italian shores, the infectious sound originating from African and Afro-Caribbean roots traversed both the Mediterranean and the Atlantic, landing on New York dancefloors, where DJ Dave Mancuso discovered "Soul Makossa" by Manu Dibango. In 1973, from Mancuso's Loft parties, the song's hypnotic groove spread to the rest of the globe, including in Italy, where it sparked a wave of imitations and variations.


Tribal influences thus found their way into Italian soul-funk and early-disco productions released between 1973 and 1978 – from psychedelic-tinged tunes like Jean Paul & Angelique's "Africa Sound" to the Afrobeat-inspired club banger "Kumbayero" by composer/producer Albert Verrecchia (aka Weyman Corporation); and from groundbreaking Afro-cosmic songs like Chrisma's "Amore", co-written by Vangelis and featuring the rhythms of Ghanaian-British Afro-rock band Osibisa, to mind-blowing floor-fillers like Beryl Cunningham's "Why O", a re-write of Nat King Cole's "Calypso Blues" arranged by Paolo Ormi, with percussion breaks that sound pretty much like what would later become known as techno.


Combining feel-good vibes with driving rhythms, world-style percussion, and even synths, all these productions pushed the boundaries of dance music at a time when disco had not yet taken over. In doing so, they sowed many of the seeds of the later Italian cosmic scene and its unique mixture of African elements, disco-funk and electronic music.

This was a brief but nuanced period in Italian music history, one that deserves to be rediscovered, with love.

Africamore is due out on March 22nd and will be available as a gatefold 2LP and digipak CD. Both formats come with stunning artwork by Kathrin Remest and liner notes by Pierpaolo De Sanctis and Elena Miraglia.

Garage/punk rock informed by the likes of Iggy, Thunders and late ‘70s punk by former member of A Place To Bury Strangers and The D4. In 2022, Henry Rollins heard an early version of Dion Lunadon’s sophomore album Beyond Everything. He said it sounded like something that should be on In The Red Records. In The Red Records agreed. Now ITR are proud to announce the follow up, Systems Edge. Ten brand new original garage / punk rockers informed by the likes of Iggy, Thunders and late ’70s punk without sounding retro or by-the-numbers. This is seriously great stuff! Born in Auckland, New Zealand and now residing in New York City, Lunadon has played in various bands, most notably The D4 (who released two albums on the legendary Flying Nun label) and A Place To Bury Strangers.