Search:satu

John Fogerty’s self-titled second solo album originally released in 1975, reissued for the first time on 180g vinyl
Includes the singles “Rockin’ All Over The World” and “Almost Saturday Night”
Arranged & Produced by John Fogerty A Lacquers cut at Bernie Grundman Mastering

Die schwedischen Rocker Velvet Insane melden sich mit ihrem neuen Longplayer 'High Heeled Monster' zurück! Die Band spielt eine frische Mischung aus klassischem Rock, Pop, Folk und dem britischen Glam-Rock der frühen 70er Jahre. Auf dem Album sind viele prominente Gäste wie Dregen (Backyard Babies, The Hellacopters), Chips Kiesbye (Sator) & Bonni Pontén (Asta Kask) zu hören. Für Fans von Slade, KISS, David Bowie, New York Dolls oder The Ark.

After Miss Machine, Dillinger Escape Plan fans were divided. Many of the folks who were attached to the screaming mathematical metal of Calculating Infinity bailed on the band, disapproving of the experimental musical direction and the meathead appearance of new singer/screamer Greg Puciato. Open-minded listeners were excited about the progressive journey they were taking and many critics hailed the group as a true innovator of metalcore. Ire Works succeeds in many of the same ways that their previous album did, while branching out creatively. They continue to toy with technical metal, blistering hardcore, jazz breaks, and post-punk, but here they evolve again by adding more twists and turns with additional electronic elements. While the merging of too many styles in hardcore can make for a convoluted result (see Avenged Sevenfold's self-titled release), the added instruments and genre changeups enhance the result rather than acting as ornamental distractions. Edgy Aphex Twin-style drill'n'bass drum breaks and stretched and squeezed electro blips feel strangely at home next to the psychotic time-signature changes and manic riffs, especially on the tracks "Sick on Sunday," "Dead as History," and "When Acting as a Wave." Violins, pianos, and trumpets sit nicely in the mix, and the group's willingness to take chances leads to stunning artistic endeavors rather than stale attempts at crossing genres just for the sake of being clever. Original vocalist Dimitri Minakakis makes an appearance, as does Mastodon guitarist Brent Hinds, but the most notable inclusion is drummer Gil Sharone, who proves himself an expert at picking up the slack after the departure of founding member Chris Pennie to play in Coheed and Cambria. Undoubtedly, this act added anger to fuel the fire of their heavier numbers. "82588," "Fix Your Face," and "Party Smasher" are as wicked and manic as their most difficult earlier stuff; conversely, the melodic hooks and falsetto of "Black Bubblegum" and the watery ambience of "Mouth of Ghosts" balance out the album nicely. It can be inaccessible and terrifying all at once, but in a genre overly saturated with formulaic groups, Ire Works is a true standout. If DEP aren't careful and continue down this innovative path, they could easily be labeled the Radiohead of metalcore

The Undertones formed in Derry, Northern Ireland, in 1975 and released their third album ‘Positive Touch’ in 1981 which peaked at #17 in the UK Charts.

The Undertones' Positive Touch marks the departure from speedy pop-punk of their first two debut albums though the songwriting remains as tight and lively with plenty of hooks that keep you listening.

The punk-derived energy is almost entirely gone, replaced by a more varied and softer instrumental palette that features new textures like piano (courtesy of Paul Carrack, then in Squeeze) recorders and brass instrumentation.

Features the lovely "Julie Ocean" which has an undercurrent of anxiety, as well as much faster tracks like the pounding opener "Fascination" and the near-paranoid "His Goodlooking Girlfriend" are downright nerve-wracking.

This reissue is an exact replica of the embossed original sleeve and has been pressed on white colour vinyl for the first time.

Life On Mars is the 1976 debut album by the American R&B/jazz fusion singer, arranger, musician, composer and conductor Dexter Wansel. The album is considered to be a "space-funk" classic, inspired by David Bowie's "Life On Mars?". Wansel composed his own sci-fi sounds with swirling, ring-like oscillators, cosmic sub tones, and metallic, otherworldly leads using his signature ARP 2600 synthesizer. Wansel's pioneering synth sound was shared on numerous records with artists like MFSB, Billy Paul, Evelyn "Champagne" King, Teddy Pendergrass, and The Jones Girls. The album inspired other artists and Wansel's "Theme From The Planets" drum beat intro is hailed as being one of the first foundation beats of hip-hop. His sampled music has been used by Kanye West, Lil Wayne, Drake, Rick Ross, J. Cole, Wiz Khalifa, and Ice Cube amongst others.

Life On Mars is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl.

Unidisc 40th anniversary continues with a Saturday Night Band classic featuring brand new Dave Lee remixes!

"Come On Dance, Dance" is a disco funk track by the Saturday Night Band, originally released in 1978. The song features an upbeat tempo and groovy bassline, with brass and string sections adding to the lively and energetic vibe. The catchy chorus invites listeners to join in the dancefloor, with the lead singer's soulful vocals urging everyone to let loose and have a good time. The song is a quintessential disco anthem, with its infectious rhythm and joyous spirit capturing the essence of the era's dance music. "Come On Dance, Dance" has become a classic of its genre and continues to be a popular choice for parties and events.

Dave Lee, also known by his stage names Joey Negro and Jakatta, is a British DJ, remixer, and producer known for his contributions to the house, disco, and dance music scenes. Lee has been active in the music industry since the late 1980s and has released numerous singles and albums under his various aliases.

Throughout his career, Lee has been a champion of disco and funk music, often incorporating these genres into his productions and remixes. He is also known for his expertise in crate-digging and his extensive record collection, which he has used to source samples and inspiration for his music.

Remastered with extra tracks - extra disc also includes Sound Sun Pleasure LP. Features the original space nymph cover art, which only appeared in cropped and washedout reproductions on an early 60s version. Cosmic Myth Records is dedicated to issuing remastered and fully authorized out of print titles from Sun Ra's independent Saturn Records catalog. Sun Ra's Jazz in Silhouette was enshrined in the Penguin Jazz Guide's "Core Collection" as an album that "will someday be recognized as one of the most important post-war jazz records." Jazz in Silhouette is the quintessential record of Sun Ra's late 1950s Chicago period. Recorded and issued in 1959, it marks a coda for the bandleader's bebop/hard-bop stage, as his interstellar traveller persona began to transform the band (and the music). It also charts the future, showcasing the brilliant tenor sax stylings of John Gilmore, and introduces the iconic playing of Arkestra mainstays Marshall Allen, Pat Patrick, and Ronnie Boykins. Many of the early works on these recordings would remain staples in Arkestra set lists for the rest of Sun Ra's life. This expanded edition includes the complete, contemporaneous Sound Sun Pleasure, rare stereo mixes, and bonus tracks.

NYHC Skinheads feat. Scott Roberts (Ex-Biohazard) melden sich mit 5 brandneuen Songs zurück. Mehr Rock'n'Roll, mehr Streetpunk, mehr F**k You Attidude! 5 brandneue Songs mit ausgereiftem Songwriting, richtig Gas und Power bis zum Ende! Side A & Side B enthalten jeweils alle 5 Songs.

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

Fuzz Club's excavation of the underground has yielded another stellar discovery in coldwave duo Throw Down Bones. Their debut album is 8 tracks of instrumental electronica born from experimentation which dances between minimal rhythms and industrial soundscapes, shadowed by repeating riffs and persistent beats that got the crowds dancing at Psych Fest and the Fuzz Club Festival, London. To create this album, the band's experimental creative process saw them locked away in their alpine studio for a weeklong jam session, which was harvested for sounds, riffs and effects, from which they built the final tracks.. Their mix of infectious beats and the raw energy of live rock n roll make Throw Down Bones a great act to watch and a dark and modern definition of coldwave. 180g 45rpm double LP on coloured vinyl with alternative artwork and gatefold jacket limited to 300 hand-numbered copies.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

NoCorner and Stone King proudly presents the first official collaboration between Ossia and Andy Mac. Both are fresh off a series of high-profile releases and projects - Ossia with recent releases on Berceuse Heroique and Blackest Ever Black, and Andy with his new Deep Street label and the 2nd Diving Bird 12 that just came through on Idle Hands.

Featuring three tracks written & recorded between 2015 and 2017, the record sees Andy & Ossia's mutual love for Jamaican and African rhythms, dusty records and a tape-saturated approach to guide a fresh, dubwise production process involving a battered old Roland Sampler and Ossia's infamous half-broken analogue Trident Mixing desk.

A Side Soup Riddim serves itself up as a hybrid slab of dancehall, dub and perhaps even the looser stylings of house - a fresh twist with an eternally-universal emphasis on space, and the movement within it. On the flip, Cado leans even further into negative space, allowing a gorgeous piece of samplism to drive the rhythm all the way to its conclusion in the blink of an eye, with the soft insistence of the percussion playing with the listener's sense of time. This feeling intensifies in the final track, Linguine Loop. A shapeshifting low-frequency hum underpins a hypnotic melodic loop that develops, delays and distorts into a dizzying crescendo of feedback and noise. The final minutes serve as a final reflection on what came before as the melody slowly re-filters into the mix as a ghostly, half-there form of itself, drawing the reductive conclusion to this EP, a triple version excursion of far-away sounds.

Edition of 300, six times (at least) hand-stamped, in kraft sleeve.
Mastered and cut by Lewis at Stardelta.

Bevor Saturday Night Fever einschlug, gab es bereits Underground-Disco. DJs in ganz Amerika zogen los und fanden die passende Musik, Tänzer gingen raus und fanden die Clubs. Zu diesem Zeitpunkt, in den frühen Siebzigern, war die Disco noch der Veranstaltungsort und keine Musikrichtung. Der Sampler 'Tribal Rites Of The New Saturday Night' ist der Soundtrack zur Story in der Disco begann und eine Hommage an die Underground-Clubs von Brooklyn und Queens. Saint Etienne's Bob Stanley hat diese Sammlung wieder zusammengestellt und dabei das recherchiert, was in den Jahren 1974 und 1975 tatsächlich in den Clubs von Brooklyn gespielt wurde. 'Supernatural Thing Part 1' von Ben E. King oder 'Wake Up Everybody' von Harold Melvin waren kosmisch großartig und beide sind hier enthalten, neben Underground-Favoriten wie 'Helplessly' von Moment Of Truth oder Ivano Fossatis unglaubliches 'Night Of The Wolf' hat Fans in nördlichen Soul-, Disco- und Prog-Kreisen. 'Tribal Rites Of The New Saturday Night' malt eine Szene in voller Blüte. Dieses Album ist der Sound von Disco, bevor er von der Öffentlichkeit als Disco wahrgenommen wurde.

In loving memory of Darrell - you will be missed. "On Wednesday the 15th of June we lost our best friend, our Bobby. Words can’t describe how shocked and heartbroken we are. The joy, or what he would call ‘hot sauce’, that he brought to our lives has left a massive hole in our hearts. This is a photo taken at our last show on Saturday night. After we finished our set, he said “that was fucken sick, I think that was the best show we have ever played.” Darrell, we will love you forever." Love always, Greg & Steph x Eora/Sydney 3-piece Display Homes are back with new music! The asymmetric guitars, bass grooves and dynamic drums we’ve come to love on their previous two EPs are all there brighter than ever on forthcoming debut album What If You’re Right & They’re Wrong?. It’s raw but sharp, minimalist and danceable. Their pop sensibilities make it accessible while their post-punk leanings make it exciting. We’re calling it now as one of our favourite albums of the year! When I put this on I listen all the way through. The other day two times in a row. Unbelievably catchy. I will love this even years and years from now, for sure. Can’t pick a favorite song. This sounds like it could have been released in any of the last 5-6 decades. Solid, tight songs that warm the soul. I’m picking up on a wide diversity of sounds, from The Pixies to Blondie. Really glad to have stumbled across these guys! Extremely catchy, every song is a bop.

Gerry Cinnamon, an already legendary live performer, made history last summer after selling out Scotland's national football stadium twice over to become the first independent act - and the first Scot - to sell out multiple nights at Hampden Park. A year on, the definitive live album from the multi-platinum singer/songwriter will be released on 14 July 2023. "Well that was a trip and a half. Played all sorts of gigs all over the world but that was something else. Over 100,000 of us. Music is a magical thing that connects people in a special way. History made. Memories made more importantly. Felt the Hampden roar right in my chest and it was mighty." - Gerry Cinnamon. The homecoming shows concluded his 350,000-capacity UK and Ireland tour, originally due to happen in 2020, instead taking place across 2021-22, also included sold out shows at Birmingham and Manchester Arena, London’s iconic Alexandra Palace, the 25,000 capacity Malahide Castle, Dublin, and Musgrave Park Stadium, Cork.

How could a combo named the Insect Trust be anything other than eclectic? Hoboken Saturday Night (1970) is their second studio album. The core of the band consisted of multi-instrumentalists Luke Faust, Trevor Koehler, Robert Palmer, Nancy Jeffries, and Bill Barth. The rhythm section was fleshed out by a sizable and equally diverse range of session musicians such as jazz legend Elvin Jones, Bernard Purdie, Donald MacDonald, William Folwell, Ralph Casale, Hugh McCracken a.o.

Under the moniker of Jaye Jayle, Louisville guitarist/vocalist Evan Patterson has spent over a decade exploring the more abstract realms of the American singer-songwriter process. On his latest album, Don't Let Your Love Life Let You Down, Patterson continues to mine his unique strain of the meditative blues while finally breaking the shackles of defeat and passing into a realm residing between Western stoicism and mystic wonder. Like Leonard Cohen fronting some intermediary step between Spacemen 3 and Spiritualized, Don't Let Your Love Life Get You Down, conjures an aura of psychedelic grace and enveloping warmth through its pairing of pensive baritone poetics, druggy studio manipulations, and gospel-infused blues. Abetted by the production and mixing skills of Ben Chisholm (Chelsea Wolfe). Across the eight songs of Don't Let Your Love Life Get You Down takes the old American singer-songwriter template and imbues it with a kaleidoscope of synesthesia delights culled from a half-century's worth of fringe music. This aural grandeur reinforces the life-affirming radiance of Don't Let Your Love Life Get You Down. Though Jaye Jayle retains the hypnotic repetition and austere instrumentation of their past, the added layers and saturation of sound intensifies the immersive hallucinatory spirit only previously hinted at in their work. As with all Jaye Jayle records, it's still best suited for the hours after midnight, but it now holds the promise of dawn. Jaye Jayle is Evan Patterson, with him as always is Todd Cook, Corey Smith, and Neal Argabright. With special guest Chris Maggio, Victoria Fisher, Patrick Shiroishi, and Bonnie `Prince' Billy. RIYL Leonard Cohen fronting Spiritualized, Spacemen 3, JJ Cale, Lungfish, Angels of Light, Young Widows Ltd single colour vinyl LP!

DJ/Produzent Nickodemus mischt mit Stil und Finesse Einflüsse aus der lateinamerikanischen, afrikanischen, nahöstlichen und karibischen Diaspora New Yorks mit einheimischen Sounds wie House, Disco und Hip-Hop. Auch sein fünftes Album 'Soul & Science' und dessen Gästeliste glänzen mit einer Genre- und Einflussvielfalt: von den New Yorker Queer-Ikonen The Illustrious Blacks über Produzentenkollege Quantic, dem Sudanesen Alsarah, Flamenco-Sänger Antonio Lizana, Haydee Soul aus Kuba, dem kamerunischen Sänger Pat Kalla bis zum legendären Puerto Ricaner Hector 'Tempo' Alomar mit einem seiner letzten Songs.



b Mama Tchipp (Follow Me) feat. Pat Kalla
c Plastic (A Bigger Name) feat. The Illustrious Blacks

After several releases with our colleagues from D.ko and Cracki, underground house legend Braque de Weimar lands on skylax for a 12 inch of high aerobatics, in main reference Cryda, Roulé, Mr Oizo and 90s french house broken up down and across, funkier than bombs. Everyday is like Saturday (night).

The collaborative bi-coastal project between Andi (NYC) and Machino (LA) is dark, spiraling music that conflates the tension of running EBM basslines with the monstrosity of electro-saturated, industrialized beats. In 2021, Andi and Machino began sending music back and forth to each other virtually—thousands of miles apart—as they built upon their passion for creating off-the-cuff, dangerously degenerate dance tracks.

Parafernales, their first release out this summer on Mannequin, is a conceptual EP that deals with power struggles: love and lust, strength and destruction, dominating and domination. Andi's vocals are spoken, whispered, and yelled simultaneously, as if to mirror the mania of having control and losing it at the same time. The EP title, Parafernales, is a nod to Machino's first language of Spanish and stems from the idea of miscellany: it is parafernalia for drugs, or, simply, accessories for unsavory activities. With inspirations from turn-of-the-90s erotic thrillers to the Chilean post-punk band, Los Prisoneros, the duo collide in a manner that is unadulterated and, at times, completely unhinged.

Machino is an electronic performer and music producer from Mexico based in Los Angeles who started out making moody ambient, techno and has now pivoted towards industrial music. He has released several EPs on different labels such as Tresor and X-IMG. Andi is a DJ, producer and music journalist based in NYC. She runs the nine year strong label/party SYNTHICIDE in NYC.

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic "Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music "Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically, we were asking them to reinvent the song. First of all, it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

El Nido: a welcoming embrace in uncertain times. The world changed forever in the second quarter of 2020. The life we were used to ceased to be, as we were overcome by constant fear, distrust in all that surrounded us and a fatalist attitude towards the world we lived in. With the pandemic came lockdown, mandatory isolation for months, empty streets, face masks, hand sanitizer, the fear of going out, an absurd roll call of Covid fatalities, the daily tension of not knowing when it would all end and the urge to "get back to normal," something that certainly never happened. Out of that pandemic saturation and that urge for "normality" came El Nido ("The Nest"), the third album by Italy-based Colombian producer Montoya, who describes this record as "becoming virgins of destiny again, facing up to that fatalist world and creating that longing for tranquility. Savoring that moment prior to the pandemic, that instant when the most important thing wasn't the immediate reality or the global situation." Montoya sees El Nido as that quiet place that you think of when you close your eyes; it is a beach or a mountain, a sunrise or a sunset, a wave in the sea refreshing your body, or an almost-whispering wind that immediately silences everything around you. On his previous records, Iwa in 2015 and Otún in 2019, his work as a producer prevailed, feeding the growing wave of Latin American electronica, fusing IDM and techno with indigenous root music, Andean folklore and rhythms from the tropical Caribbean coast and ancestral Pacific in terms of instrumentation. But on El Nido Montoya splits the balance, offering us five merely instrumental tracks and six collaborations with Latin American artists, including Colombians Nidia Góngora on "Soñé," Montañera on "Sierra" and Pedrina on "Nubecita." It also features Mexican artist Pahua on "Flor del Mar," the Peruvian Lara Nuh on "El Faro" and the Franco-Venezuelan La Chica on "Palosanto." Starting from the name itself ("The Nest"), an evocation of home, El Nido is also a Filipino municipality on the island of Palawan, a place that turned out to be Montoya's last live experience before the pandemic. That place with crystal clear seas and white sand became the scene and starting point for this work, reflecting on the abstraction of a chaotic world and proposing blurred destinations with each song, like places that exist within memories when we close our eyes, letting us inhabit them, for a couple of minutes at least. On the other hand, it's a record that approaches love; as a yearning and a refuge, as a guide and an anchor, but also as a rhetorical figure that makes us vibrate and elevates us, while at the same time keeping us grounded and letting us settle in the place that we can use as our shelter.

Before there was Saturday Night Fever there was underground disco. DJs across America went out and found the music to play; dancers went out and found the clubs. At this point, in the early seventies, the disco was the venue and not a genre of music.

By the time Nik Cohn’s short story Tribal Rites of the New Saturday Night was published by New York magazine in June 1976, disco was the biggest genre of music on the charts and was about to get bigger still, becoming an all-enveloping cultural phenomenon. Cohn sold the film rights to Robert Stigwood, and his classic club yarn became Saturday Night Fever.

“Tribal Rites Of The New Saturday Night” is the soundtrack to Cohn’s story, where disco began; a 1975 score for the underground clubs of Brooklyn and Queens that played R&B, soul and Latin beats to people who lived for the weekend.

Bob Stanley has put this collection together, sourcing what was actually played in Brooklyn discos in 1974 and 1975. Only a few specific records were mentioned in Cohn’s feature, but two of them – Ben E King’s ‘Supernatural Thing Part 1’ and Harold Melvin’s ‘Wake Up Everybody’ - were cosmically great and both are included here, alongside underground favourites like Moment Of Truth’s Four Tops-like ‘Helplessly’ and Gloria Scott’s Barry White-produced modern soul classic ‘Just As Long As We’re Together’. Ivano Fossati’s incredible ‘Night Of The Wolf’ has fans in northern soul, disco and prog circles.

Without Cohn’s original story, it’s quite possible that disco would have remained an underground phenomenon – “Tribal Rites Of The New Saturday Night” paints a scene in full flower. Saturday Night Fever would eventually, if unintentionally, wreck the underground nature of this scene, and clubs like Studio 54 would destroy the democracy of the party, but for two or three years the scene was largely undocumented and magical. This album is the sound of disco before it was captured.

Classic Detroit Techno like they don't make it anymore.

One for all 313 fanatics.

Selected by Jim O’Rourke for his Tone Glow list of 25 albums that “never got their due”, Org was founded in the early 90’s by Espen Jensen and Kjetil D Brandsdal who would later go on to variously record as Elektrodiesel, Noxagt and Ultralyd in the swirl of the highly active Norwegian underground. “Org" was the only album the pair recorded as a duo, pressed in a meagre edition of just over 100 copies which disappeared almost as soon as they were made, lodged in the memory of the select few who have managed to hear it in the years since.

Made up of three long tracks, the near 20-minute ‘001’ opens the album with an extended organ zone-out matched with scraping factory machinery saturated into a dense cloud of harmonic fuzz. There's something transcendental about the sound that intersects with microtonal Alice Coltrane (particularly the unfairly maligned organ-only edition of "Turiya Sings"), as well as Pauline Oliveros and Ramleh. It’s music that pulls you in subconsciously; before you know it, you're fixating on the uncomfortable grind of metal on metal, buried mechanical rhythms and liturgical organ vamps that wind between industrial cacophony and sacred ritual music. For its last few seconds, we go into a full death metal tearout that fades out before it takes full flight, a glorious wtf.

‘002’ connects between minimalist drone styles and shoegaze, distorting fuzzed organ into pliable, dreamlike warbles that end up sounding like Kevin Shields' ‘Loveless’-era glides, or even Sunn O))) at their most devotional. Never losing the numbing overdriven mettle, its a piece that sounds spiritually entwined with Matthew Bower's Skullflower - a minimalist re-reading of high-contrast guitar music that takes all the psychoacoustic power and none of the annoying posturing.

For ‘003’, subaqueous organ is joined by synth and drum machine, sounding like the inspirational spark for Religious Knives' screwed 'n chopped cosmic psychedelia. The choice of sounds links it to Antena's foundational electro samba recordings too, but the overwhelming drone - a constant on all three compositions - connects the music to minimalist spirituals that have simmered beneath the DIY/avant garde for decades.

‘Org’ sits heavy on the nerves with overproof levels of mulched amp worship and ungodly, palms-down organ chords and wheezing, bezonked lines of melodic thought. 25 years out of sight and marinading in the archives, with the benefit of hindsight we can better understand the role these sounds played in the development of music in the contemporary sphere. It’s an important piece of the puzzle, one that makes valuable connections that, over time, have looked progressively more faint.

In the centre of deep space we tune in to the radio broadcasts from an old Class T interstellar spaceship. The emissions endlessly resonate the frequencies of the seventeenth release on the label HC Records by one of the titans of the Valencian scene, The Lost Boys, new pseudonym of the DJ and producer Raszia.

With releases on labels such as Bass Agenda, Subsist or Hxagrm Records, the artist mesmerises our senses with the Exiles of Mars Ep, available in both double vinyl and digital.

Syncopated rhythms are the protagonists across four original tracks together
with remixes by four electro legends: Boris Divider, Estrato Aurora, Dark Vektor, and Filmmaker.

The EP’s first cut is a remix of "Wall Of Bricks" by the legendary Boris Divider, which gives the track an air of crystalline, synthetic and cosmic sound, very much in line with his latest works on the Generative Operations series. Next, we find the original version, where the kick drums are heavier, the synths and basses more colourful and the acid sequences take centre stage in an odyssey of sidereal intensity.

On the record’s flip side, a feeling of overwhelming melancholy takes root in our soul. Valencian Estrato Aurora mentally transports us to the mysterious red sand of Mars in a precise exercise in symphonic minimalism with his remix of "Exiles of Mars", which mutates the original idea with velvety pads, synths and a slow and rapturous hypnotism that sinks us to unfathomable depths.
The Lost Boys' original concept on B2 is a combination of Miami Bass-style breaks and a demonic mantra-like main synth line, backed by what seems like an infinity of pearly effects and secondary melodies, pushing the track towards a crescendo punctuated by a dry and sharp snare.

The second disc’s opener "Bust My Moves" is a masterclass in deconstruction and reconstruction by Dark Vektor with his "Electro Escuadrón Remix”. The genius from Terrassa provides powerful lyrics loaded with a message about the modern rise of the 808 movement. We return to the original Lost Boys version on C2, a futuristic martial discourse takes shape with combating breaks combined with rave chords and brief episodes of respite, almost dreamlike, in the middle and end of the track’s exciting development.

On the D side, rough frequencies verging on distortion materialise through our ship's speakers as we pick up the Colombian Filmmaker’s remix of "Data Recovery For Brains". A psychotronic final appetiser that combines harshness and elegance in the use of the rolling kick drums and saturation of the sound, it is without a doubt the ideal soundtrack to narrate the collision of two galaxies. The closing of the EP features the original track, in which The Lost Boys show us his most mental and lysergic side as the track progresses along a slow and comforting broken rhythm, made dynamic by clever use of diverse acid sequences and clairvoyant stellar melodies.

The complete artistic experience is enhanced in all dimensions with accompanying artwork by
Daniel Requeni and videos elaborated by Frank-F.

Mastering as usual by Steve Voidloss at Black Monolith Studios in London (UK).

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 2nd single released on Selected Works and encompasses breaks, Lo-Fi hip hop and house music influences. Tee Illa blends a wide range of musical genres and combines influences such as Hip Hop, house and Breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 2nd single released on Selected Works and encompasses breaks, Lo-Fi hip hop and house music influences. Tee Illa blends a wide range of musical genres and combines influences such as Hip Hop, house and Breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

Repress!

Der Titel des fünften SATURNUS-Albums, "The Storm Within", spielt sowohl auf die Stürme an, die in der Natur tosen, als auch Aufruhr in der Seele. Es ist recht offenkundig, dass die lange Zeit, welche die Dänen für dieses Album gebraucht haben, und die persönlichen Gründe, die hinter dem Umbruch in der Band standen, dessen künstlerischen Ausdruck stark inspiriert haben. SATURNUS haben sich mit "The Storm Within" selbst übertroffen. Die musikalischen Themen Meer, Regen und stürmische Gewässer ziehen sich wie ein roter Faden durch die Songs, in denen sich Wut, Verlust, Melancholie und Schmerz gleichermaßen widerspiegeln. Die handwerkliche Reife des Albums verleiht seinen erhabenen aber auch ruhigen Momenten sowie den gelegentlichen brutalen Ausbrüchen eine äußerst spannende Dynamik. Obendrein sorgt die erneute Zusammenarbeit mit Produzent Flemming Rasmussen, dem legendären dänischen Produzenten der METALLICA-Klassiker dafür, dass der Sound von "The Storm Within" seiner herausragenden musikalischen Qualität mehr als gerecht wird. Die Anfänge von SATURNUS liegen im Jahr 1991 als Sänger Thomas A.G. Jensen im Umfeld der dänischen Hauptstadt Kopenhagen nach Mitmusikern suchte, um eine Death-Metal-Band zu gründen. Nach mehreren Umbenennungen und Umbesetzungen wurde der Name SATURNUS schließlich im Jahr 1993 in Beton gegossen. Die Band veröffentlichte ihr erstes Album "Paradise Belongs to You" im Januar 1997 und erhielt sofort eine Einladung zum berühmten Roskilde Festival. Der Auftritt wurde vom norwegischen Rundfunk (NRK) aufgezeichnet und in ganz Skandinavien ausgestrahlt, was die Band binnen kürzester Zeit in Nordeuropa zu einer Marke in Sachen Death Doom machte. Nach ihrem zweiten Album "Martyre" (2000) und dem ikonischen dritten Studioalbum "Veronika Decides to Die" sowie ständigem Touren durch Europa und zunehmend auch darüber hinaus, erschien 2012 "Saturn in Ascension", das erneut von Flemming Rasmussen produziert wurde. Zur Feier ihres 20-jährigen Bestehens kehrten SATURNUS auf Europas Straßen zurück und traten unter anderem bei renommierten Festivals wie dem Brutal Assault (CZ), Copenhell (DK) und ArtMania (RO) auf. Von 2014 bis 2017 tourten die Dänen nur mit gelegentlichen Unterbrechungen, was sie bis nach Russland und in den Nahen Osten führte. Nach einigen signifikanten Umbesetzungen stießen die Gitarristen Indee (ehemals CLOUDS und EYE OF SOLITUDE) und Julio von AUTUMNAL im Jahr 2020 zu SATURNUS. Trotz weiterer Hindernisse, die durch die Pandemie entstanden, begann die Band schließlich mit der Arbeit an ihrem nächsten Album und setzte dabei auch die Zusammenarbeit mit Flemming Rasmussen fort. Die lange, schwierige Entstehung von "The Storm Within" verlangte SATURNUS auf dem Weg einige schmerzhafte Opfer ab. Blut, Schmerz und Schweiß haben ihre Spuren auf diesem Album hinterlassen. Doch aus jeder Note spricht eine brutale Ehrlichkeit. SATURNUS offenbaren ihre Seele und genau das macht "The Storm Within" zu einem brillanten Stück Musik.

Der Titel des fünften SATURNUS-Albums, "The Storm Within", spielt sowohl auf die Stürme an, die in der Natur tosen, als auch Aufruhr in der Seele. Es ist recht offenkundig, dass die lange Zeit, welche die Dänen für dieses Album gebraucht haben, und die persönlichen Gründe, die hinter dem Umbruch in der Band standen, dessen künstlerischen Ausdruck stark inspiriert haben. SATURNUS haben sich mit "The Storm Within" selbst übertroffen. Die musikalischen Themen Meer, Regen und stürmische Gewässer ziehen sich wie ein roter Faden durch die Songs, in denen sich Wut, Verlust, Melancholie und Schmerz gleichermaßen widerspiegeln. Die handwerkliche Reife des Albums verleiht seinen erhabenen aber auch ruhigen Momenten sowie den gelegentlichen brutalen Ausbrüchen eine äußerst spannende Dynamik. Obendrein sorgt die erneute Zusammenarbeit mit Produzent Flemming Rasmussen, dem legendären dänischen Produzenten der METALLICA-Klassiker dafür, dass der Sound von "The Storm Within" seiner herausragenden musikalischen Qualität mehr als gerecht wird. Die Anfänge von SATURNUS liegen im Jahr 1991 als Sänger Thomas A.G. Jensen im Umfeld der dänischen Hauptstadt Kopenhagen nach Mitmusikern suchte, um eine Death-Metal-Band zu gründen. Nach mehreren Umbenennungen und Umbesetzungen wurde der Name SATURNUS schließlich im Jahr 1993 in Beton gegossen. Die Band veröffentlichte ihr erstes Album "Paradise Belongs to You" im Januar 1997 und erhielt sofort eine Einladung zum berühmten Roskilde Festival. Der Auftritt wurde vom norwegischen Rundfunk (NRK) aufgezeichnet und in ganz Skandinavien ausgestrahlt, was die Band binnen kürzester Zeit in Nordeuropa zu einer Marke in Sachen Death Doom machte. Nach ihrem zweiten Album "Martyre" (2000) und dem ikonischen dritten Studioalbum "Veronika Decides to Die" sowie ständigem Touren durch Europa und zunehmend auch darüber hinaus, erschien 2012 "Saturn in Ascension", das erneut von Flemming Rasmussen produziert wurde. Zur Feier ihres 20-jährigen Bestehens kehrten SATURNUS auf Europas Straßen zurück und traten unter anderem bei renommierten Festivals wie dem Brutal Assault (CZ), Copenhell (DK) und ArtMania (RO) auf. Von 2014 bis 2017 tourten die Dänen nur mit gelegentlichen Unterbrechungen, was sie bis nach Russland und in den Nahen Osten führte. Nach einigen signifikanten Umbesetzungen stießen die Gitarristen Indee (ehemals CLOUDS und EYE OF SOLITUDE) und Julio von AUTUMNAL im Jahr 2020 zu SATURNUS. Trotz weiterer Hindernisse, die durch die Pandemie entstanden, begann die Band schließlich mit der Arbeit an ihrem nächsten Album und setzte dabei auch die Zusammenarbeit mit Flemming Rasmussen fort. Die lange, schwierige Entstehung von "The Storm Within" verlangte SATURNUS auf dem Weg einige schmerzhafte Opfer ab. Blut, Schmerz und Schweiß haben ihre Spuren auf diesem Album hinterlassen. Doch aus jeder Note spricht eine brutale Ehrlichkeit. SATURNUS offenbaren ihre Seele und genau das macht "The Storm Within" zu einem brillanten Stück Musik.

Der Titel des fünften SATURNUS-Albums, "The Storm Within", spielt sowohl auf die Stürme an, die in der Natur tosen, als auch Aufruhr in der Seele. Es ist recht offenkundig, dass die lange Zeit, welche die Dänen für dieses Album gebraucht haben, und die persönlichen Gründe, die hinter dem Umbruch in der Band standen, dessen künstlerischen Ausdruck stark inspiriert haben. SATURNUS haben sich mit "The Storm Within" selbst übertroffen. Die musikalischen Themen Meer, Regen und stürmische Gewässer ziehen sich wie ein roter Faden durch die Songs, in denen sich Wut, Verlust, Melancholie und Schmerz gleichermaßen widerspiegeln. Die handwerkliche Reife des Albums verleiht seinen erhabenen aber auch ruhigen Momenten sowie den gelegentlichen brutalen Ausbrüchen eine äußerst spannende Dynamik. Obendrein sorgt die erneute Zusammenarbeit mit Produzent Flemming Rasmussen, dem legendären dänischen Produzenten der METALLICA-Klassiker dafür, dass der Sound von "The Storm Within" seiner herausragenden musikalischen Qualität mehr als gerecht wird. Die Anfänge von SATURNUS liegen im Jahr 1991 als Sänger Thomas A.G. Jensen im Umfeld der dänischen Hauptstadt Kopenhagen nach Mitmusikern suchte, um eine Death-Metal-Band zu gründen. Nach mehreren Umbenennungen und Umbesetzungen wurde der Name SATURNUS schließlich im Jahr 1993 in Beton gegossen. Die Band veröffentlichte ihr erstes Album "Paradise Belongs to You" im Januar 1997 und erhielt sofort eine Einladung zum berühmten Roskilde Festival. Der Auftritt wurde vom norwegischen Rundfunk (NRK) aufgezeichnet und in ganz Skandinavien ausgestrahlt, was die Band binnen kürzester Zeit in Nordeuropa zu einer Marke in Sachen Death Doom machte. Nach ihrem zweiten Album "Martyre" (2000) und dem ikonischen dritten Studioalbum "Veronika Decides to Die" sowie ständigem Touren durch Europa und zunehmend auch darüber hinaus, erschien 2012 "Saturn in Ascension", das erneut von Flemming Rasmussen produziert wurde. Zur Feier ihres 20-jährigen Bestehens kehrten SATURNUS auf Europas Straßen zurück und traten unter anderem bei renommierten Festivals wie dem Brutal Assault (CZ), Copenhell (DK) und ArtMania (RO) auf. Von 2014 bis 2017 tourten die Dänen nur mit gelegentlichen Unterbrechungen, was sie bis nach Russland und in den Nahen Osten führte. Nach einigen signifikanten Umbesetzungen stießen die Gitarristen Indee (ehemals CLOUDS und EYE OF SOLITUDE) und Julio von AUTUMNAL im Jahr 2020 zu SATURNUS. Trotz weiterer Hindernisse, die durch die Pandemie entstanden, begann die Band schließlich mit der Arbeit an ihrem nächsten Album und setzte dabei auch die Zusammenarbeit mit Flemming Rasmussen fort. Die lange, schwierige Entstehung von "The Storm Within" verlangte SATURNUS auf dem Weg einige schmerzhafte Opfer ab. Blut, Schmerz und Schweiß haben ihre Spuren auf diesem Album hinterlassen. Doch aus jeder Note spricht eine brutale Ehrlichkeit. SATURNUS offenbaren ihre Seele und genau das macht "The Storm Within" zu einem brillanten Stück Musik.

In a club scene saturated with the Minneapolis sound, Luck Rosenbloom was searching for something different. Using Korgand Moog synths, Steinway Concert Piano and a Boss DR-110 Dr. Rhythm, he created his own funky fusion sound to spread the word of God to the mainstream. Recorded at Minneapolis's Custom Record Studios he cut 200 copies of this elusive 45 of which only a few known copies exist. The record was promoted on his cable access TV show "Lucky Mania TV" where he encouraged kids to say no to drugs and take their vitamins.

Wicca Phase Springs Eternal is the creative persona of Scranton, PA singer, songwriter, producer, and multi-instrumentalist Adam McIlwee. Stark transmissions of obsession, melancholia, and raw emotion compliment acoustic guitar and digital percussion as if Peter Murphy and Metro Boomin had been playing Ouija together. Beneath the deep 808’s, moody synthesizers and cackling guitar, McIlwee’s singular voice effectively resonates with a generation raised amidst the frenzied collage of modern digital expression.

Wicca Phase first materialized in 2010. After receiving the name suggestion in an email from a friend on tumblr, McIlwee began writing and recording under the moniker. “Once I heard the name, it felt perfect,” he explains. Evoking mystical, occult resonances, the name serves as a passageway to explore the parallels between the material world and that of mystery. “My music is very representative of what I’m doing in the moment,” he continues. “The influence of the name seeps in and lets everyone know they’re getting into something deeper.”

“The crown prince of comedy.” That’s how Richard Pryor was introduced at The Redd Foxx
Club—and how he was known throughout the world. Was he also a righteous fool? No
doubt. Was he a king among kings? That, too. And did he sire generations to follow in his
comedic dynasty? You’re goddamned right he did. “'Craps' (After Hours)” finds Pryor at
perhaps his most carnal, deeply ruminating upon (when not absolutely enjoying) all the ways
fleshly pursuits from fighting and fornicating to drinking and drugging distract us, destroy us,
and make us utterly human. Along the way, we get classic Pryor character studies, from the
men enjoying the stage that was a Saturday night police lineup to the unfailingly polite white
clientele of the whorehouses in his childhood environs, fathers ready to defend their
daughters’ long-since departed honor, preachers enlivened by their personal relationships
with God, tricks plying their trade while lying through their teeth, and, of course, Wino &
Junkie, those staples of the streetcorner. Perhaps the most astounding thing is realizing that,
in 2023, not a moment of these records feels out of date or distant; it’s all right there, the
troubles of our times, unfolding then as they unfold now. At least then we had Richard Pryor
to guide us through.

Richard Pryor contained multitudes, each fully inhabited character funnier and more
insightful than the last, so it’s no wonder when he took the stage at The Comedy Store in
Hollywood in 1973, it’d be a full 15 minutes before he spoke to the adoring audience as
himself. No, he needed to start where he started, on the streetcorner, with all the wit,
wisdom, and general jackassery of Wino & Junkie. Throughout a set full of hard jokes and
detailed character sketches (including the men of the Saturday night police lineup in his
hometown of Preoria, Illinois—the first and riskiest stage he knew), the audience has the
chance to get caught up in the silliness so inherent to Pryor while never losing sight of the
issues America had yet to face (and hasn’t still). There are sex jokes that hit so hard the
women in the audience take an audible refractory period, drug advice that has you weighing
the relative trip-laden merits of dope and acid, and a call-and-response on sandwiches that
proves the irresistibility of zealous Black midwestern preachers; there’s a litany of celebrities
whose names and projects have blurred in Pryor’s mind, but whose faces and friendship so
clearly light him up; there’s even fighting advice (don’t fight Italians, their mothers get
involved, and try to avoid a paternal cowboy whuppin’, because no one wants to get hit with
a chair). And then you get hit with the hardest punch: Pryor reaching out from 50 years past
to make the truth plain. You never hear about civilians accidentally killing cops, so why is it
that cops are always “accidentally” killing Black men? As it turns out, 1973 and 2023 aren’t so
far apart that the legendary Richard Pryor can’t bridge the gap.

This album shows Alisters multi range for urban dance music working with John F.M. Mitchell Yoshida,Super Cool Wired, Troi Alexis,Tyesha Blount and Many More!!!

Produced, Lyrics, Mixed and Engineered by Omar S.

Glam Rock is the style of rock music, mainly developed in the UK, and was performed by artists and groups wearing outrageous costumes, makeup, glitter and hairstyles. Glam Rock Collected contains the biggest Glam Rockers from groups such as Sweet, T.Rex, Roxy Music, Mott The Hoople, Kiss, Mud, Slade, Wizzard and artists as diverse as Elton John, Suzi Quatro, Lou Reed, Alvin Stardust, Alice Cooper and many more.

Sound Metaphors and Transmigration explore the early underground Goa party scene with a 2x12” compilation.

A collection of Techno, Italian-House, New Beat and Post Punk all heard on the same dancefloors amongst Goa's tropical beaches during the late 80's and early 90's. What is now understood as Goa Trance was once preceded by an amalgamation of many different genres smuggled to Goa in tape format by true music devotees that filtered through all that was being produced in the West shaping a unique dancefloor sound that could only pertain to the “Special Goa Music” genre. Sound Metaphors teams up with Transmigration and journalist, DJ and first hand witness of the scene at hand - Ray Castle – to present a meticulous body of research into the sound signature of that unique scene. 11 highly sought after tracks presented in a double LP gatefold format with an A1 poster insert and insightful liner notes by Ray Castle. A tracklist so lush, your discogs wantlists will forever be grateful – buy on sight.

“Everything about the Goa counterculture was illicit. The music from vinyl was bought with black market money and bootlegged onto cassettes and backpacked to India. Collectors and DJs would swap, dub and edit it, for free parties. The music was disseminated tape-to-tape by a clandestine traveller clique of ragtag party makers. This highly coveted ‘Special Goa Music’ contained a vibe—a brain-infesting vibe—capable of triggering apotheosis-like states for dosed up dancefloors, only possible for sunrise Goa parties in nature, in India.” - Ray Castle

In a club scene saturated with the Minneapolis sound, Luck Rosenbloom was searching for something different. Using Korgand Moog synths, Steinway Concert Piano and a Boss DR-110 Dr. Rhythm, he created his own funky fusion sound to spread the word of God to the mainstream. Recorded at Minneapolis's Custom Record Studios he cut 200 copies of this elusive 45 of which only a few known copies exist. The record was promoted on his cable access TV show "Lucky Mania TV" where he encouraged kids to say no to drugs and take their vitamins.

Exclusives, extra für das ROADBURN vorbereitetes Project mit einem Who-Is-Who LIneup! Tommie Ericksson (Saturnalia Temple), Raven Van Dorst (Dool), Alan Averill (Primordial, Dread Sovereign), Meilenwald (Ruins Of Beverast), Déhà, Bones (Dread Sovereign).

Despite their rapid success and recognition, De La Soul continued to prove themselves as one of the most original, authentic and creative groups in hip-hop, with the release of their sophomore album, De La Soul is Dead on May 14, 1991.Featuring once again, the production of visionary producer Prince Paul, their second album further fanned the flames; landing on charts around the world, receiving a five-mic rating in The Source and securing Gold status by the RIAA. To this day, the project is considered one of the groups best albums to date, having left fans with several certified classics like, "A Roller Skating Jam Named Saturdays", "Ring, Ring, Ring (Ha Ha Hey)" and "Keepin' the Faith". Another absolutely essential slice of Hip Hop history that’s been unavailable for some time.

Der Gitarrist Jesse J. Heikkinen (The Abbey, Iterum Nata) und der Sänger King Aleijster de Satan (King Satan, Saturnian Mist) haben sich zusammengetan, um ein bewusstseinsveränderndes, progressives Black-Metal-Projekt zu gründen: HENGET. Inspiriert von der Welt des Okkulten und den Wegen des alten Schamanismus, beschreibt 'Beyond North Star' eine gewaltige halluzinatorische Reise in die Tiefen des Geistes und darüber hinaus - mit psychedelischen und synkretistischen Aussichten.

FFO: Imperial Triumphant, Oranssi Pazuzu, Dodheimsgård, Blut Aus Nord, Enslaved

Der Gitarrist Jesse J. Heikkinen (The Abbey, Iterum Nata) und der Sänger King Aleijster de Satan (King Satan, Saturnian Mist) haben sich zusammengetan, um ein bewusstseinsveränderndes, progressives Black-Metal-Projekt zu gründen: HENGET. Inspiriert von der Welt des Okkulten und den Wegen des alten Schamanismus, beschreibt 'Beyond North Star' eine gewaltige halluzinatorische Reise in die Tiefen des Geistes und darüber hinaus - mit psychedelischen und synkretistischen Aussichten.

FFO: Imperial Triumphant, Oranssi Pazuzu, Dodheimsgård, Blut Aus Nord, Enslaved

Despite their rapid success and recognition, De La Soul continued to prove themselves as one of the most original, authentic and creative groups in hip-hop, with the release of their sophomore album, De La Soul is Dead on May 14, 1991.Featuring once again, the production of visionary producer Prince Paul, their second album further fanned the flames; landing on charts around the world, receiving a five-mic rating in The Source and securing Gold status by the RIAA. To this day, the project is considered one of the groups best albums to date, having left fans with several certified classics like, "A Roller Skating Jam Named Saturdays", "Ring, Ring, Ring (Ha Ha Hey)" and "Keepin' the Faith". Another absolutely essential slice of Hip Hop history that’s been unavailable for some time.

Gatefold Green Vinyl Double LP with design by Dian Vandermeulen, the popular Canadian visual artist
(limited edition cassette version will be released by Not Not Fun).

Between December 2018 and 2019, Stefana Fratila embarked on a series of research trips across North America (including to NASA Jet Propulsion Laboratory and NASA Goddard Space Centre), meeting with astronomers and scientists in order to address a complex question: “If each planet in our solar system were a different room, what would each room sound like?”

Her ongoing creative research culminated in Sononaut, eight open-source VST plug-ins created for digital audio workstations (DAWs) that emulate the atmospheric conditions of the planets in our solar system (made in collaboration with artist and coder Jen Kutler, using calculations by NASA astronomer and planetary scientist Dr. Conor Nixon).

Her forthcoming album I want to leave this Earth behind is the sonic extension of her creative research.

In her own words: “The album is conceptual, in that it centres on outer space exploration and my understanding of 'Crip futurity'. My vision is for the album to engage listeners in an exercise of imagining the sounds of interplanetary atmospheres– conditions which are inherently unlivable, unbreathable, converting all human body-minds into disabled-bodied-ness. Since I identify as Crip, or disabled, this idea deeply resonates with me. I am the first artist (a disabled producer/musician, no less) to have worked with NASA researchers on a sonic imagining of the solar system’s atmospheres that incorporates real scientific data. If we are all 'disabled' in (or by) outer space, my music is concerned with propelling all listeners into space, leaving Earth behind them, through my music.”

The solar system’s planetary bodies are inherently prohibitive even in regards to Earth’s most ‘able-bodied’ subjects. Her project seizes upon a form of radical agency and science-fictive ambition, placing all human subjects within new worlds, into the interplanetary bodies of our solar system, through her own sonic imaginings.

The album will be released by Toronto-based label Halocline Trance (Casey MQ, myst milano, ACT!).

During a 2019 residency at CMMAS (Centro Mexicano para la Música y las Artes Sonoras) in Morelia, Mexico, Fratila began writing the album on an octophonic sound system (8 planets = 8 speakers).

Afterwards, from her home studio in Toronto, she recorded additional synthesizer parts, finalized arrangements, and incorporated Sononaut (her 8 solar system VST plug-ins) into the album’s production. The album was recorded, written, and produced by Fratila. She worked with mixing engineer Jeremy Greenspan (Jessy Lanza, Caribou, Junior Boys), as well as mixing engineer Lisa Conway and mastering engineer Sage Kim.

Underlining each track is a five-minute soundscape representing the weather on that planet, based on Fratila’s research at NASA. The weather patterns are interwoven with layers of synths and time-stretched samples.

There are very few disabled femme electronic artists gaining exposure in Canada today.

Now also available as vinyl! - 28 tracks Best Of the Best, of Reggae & Dancehall star with comprehensive release & track by track notes. Incl. combinations with Buju Banton, Shabba Ranks , Luciano, a.o. - double vinyl limited edition!
FOR REGGAE COLLECTORS & VINYL ENTHUSIASTS
Now available, by popular demand - the Cocoa Tea Reggae Anthology - Sweet Sounds Of Cocoa Tea!
The double vinyl limited edition collection features the best of the best from reggae legend Cocoa Tea
This is a must have for reggae specialists!

Offering a three track EP on Token, emblematic UK producer James Ruskin proves his capability and linear focus once again through 'From the Ashes'. Looking past trends to create a lasting record rich in texture and thick with impact, the project affirms what the scene has already known to be true about his work for the past 25 years.

Setting his intentions from the A1, Ruskin wastes no time by creating an intimidating introduction. Saturated percussion and stuttering keys whip through a 4 minute masterclass of sound system focused production. Adventurous in structure, Ruskin remains unquestionably in control of a bursting, almost chaotic track. 'From the Ashes 2' picks up what was left off, containing a hard-set groove with hi hats slithering in progressively from the stereo image to slightly destabilize an impressive club-heavy tool. With intricate work being done in the ambience, the EP's hard hitting second track booms through a cavernous acoustic, giving the record not only body, but dimension. Switching up the rhythm and focusing on more mental synth work for the third act, Ruskin quickly and mercilessly rips through his work with a shrill pad, creating overwhelming tension to be released in the first third of the recording. He brings a dosed dissonance between his elements, reflective of the qualities of vintage techno with today's capabilities and arrangement. Pushing intensity through waves, Ruskin leaves us in anticipation of a fourth track that is never given.

Magic Source invites you to a journey to the obscure side of disco music.

Led by producer & notorious tape operator Björn Wagner (of Mighty Mocambos, Bacao Rhythm & Steel Band and Mocambo Records), the group follows up on their rootsy cosmic debut LP Earthrising and last year's EP Riviera Drive, whose stunning flute jazz cover of “Genius of Love” is also featured on this longplayer.

Further exploring the more unusual facets of disco in its otherworldly and international stylings, Voyage Spectral travels through a wide musical scope, ranging from “lost” tropical grooves, Mediterranean funk, outernational boogie, to cosmic sci-fi soundtracks. All 100% organic - created by real musicians with real vintage instruments, captured on 16-track analog tape.

An all-star cast of musicians invites you to a fantasy trip where angelic voices blend with spaced-out synths, ethnic string instruments interplay with sharp horn lines while the rhythm section is holding down a polyrhythmic puzzle of guitars, clavinets, B-3, drums and percussions.

Erstes Studioalbum der Punk-Ikonen seit 5 Iahren!

Weiterentwicklung ihres genreübergreifenden und einzigartigen Sounds

Nachfolger des #1 Live-Albums „A Night Of A Thousand Vampires“

Vorab 3 Single-Auskopplungen inklusive Musikvideos

In-Store Poster und Banner in Media-Saturn Märkten sowie umfangreiche Print- und Online-Kampagne mit Mediawert >20k€

Große Europatour im März und April mit 4 Terminen in Deutschland

Erstes Studioalbum der Punk-Ikonen seit 5 Iahren!

Weiterentwicklung ihres genreübergreifenden und einzigartigen Sounds

Nachfolger des #1 Live-Albums „A Night Of A Thousand Vampires“

Vorab 3 Single-Auskopplungen inklusive Musikvideos

In-Store Poster und Banner in Media-Saturn Märkten sowie umfangreiche Print- und Online-Kampagne mit Mediawert >20k€

Große Europatour im März und April mit 4 Terminen in Deutschland

Paula said: there are words they tried to print, there are thoughts they tried to speak, there are pictures you cannot show, photos you cannot snap and lyrics that you cannot sing. Think as I think, she said, see as I see, I kiss your thoughts, I kiss your dreams, I leave my steps upon your reality.

Deluxe clear Vinyl + Bonus 7" mit 2 weiteren neuen Tracks: Earased by sunlight & Long walk

On Garden Party, Rose City Band"s country psychedelic rock evokes the wide-open spaces of the American west and free spirits who call it home. Led by acclaimed guitarist and vocalist Ripley Johnson, Rose City Band are some of the best players in contemporary rock: pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg, bassist Dewey Mahood (aka Plankton Wat), drummer Dustin Dybvig, and features Sanae Yamada of Moon Duo on Synthesizer. Garden Party is both a celebration of summer and all it brings: friends gathering at backyard BBQs, cold beers on a hot porch, 12-foot sunflowers, and an exaltation of the value and respite of a moment of calm; the pleasures of time in the garden to appreciate the beauty of a contorted carrot, or a morning on a stoop watching a hummingbird. Freedom, contentment, and joy were the sources for the songs; they certainly bring the listener right there. From the soaring guitar solos to the driving rhythms, the elegant pedal steel lines to the organ grooves, Garden Party has a live band"s energy captured in exquisite detail. Garden Party is an invitation, a welcoming hand extended, and a joyous ride. Like all great music, the album taps into the listeners" emotional center and takes them to their happy place - their sunny spot. Recorded at Center for Sound, Light, and Color Therapy in Portland and mixed by John McEntire, the band"s sounds surround and embrace you. Garden Party"s last two tracks feature special guest Sanae Yamada (Moon Duo) who added some synth magic to the final two tracks. Ripley says it best "I always like when an album starts in one place and ends in another" What a beautiful journey it is!

On Garden Party, Rose City Band"s country psychedelic rock evokes the wide-open spaces of the American west and free spirits who call it home. Led by acclaimed guitarist and vocalist Ripley Johnson, Rose City Band are some of the best players in contemporary rock: pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg, bassist Dewey Mahood (aka Plankton Wat), drummer Dustin Dybvig, and features Sanae Yamada of Moon Duo on Synthesizer. Garden Party is both a celebration of summer and all it brings: friends gathering at backyard BBQs, cold beers on a hot porch, 12-foot sunflowers, and an exaltation of the value and respite of a moment of calm; the pleasures of time in the garden to appreciate the beauty of a contorted carrot, or a morning on a stoop watching a hummingbird. Freedom, contentment, and joy were the sources for the songs; they certainly bring the listener right there. From the soaring guitar solos to the driving rhythms, the elegant pedal steel lines to the organ grooves, Garden Party has a live band"s energy captured in exquisite detail. Garden Party is an invitation, a welcoming hand extended, and a joyous ride. Like all great music, the album taps into the listeners" emotional center and takes them to their happy place - their sunny spot. Recorded at Center for Sound, Light, and Color Therapy in Portland and mixed by John McEntire, the band"s sounds surround and embrace you. Garden Party"s last two tracks feature special guest Sanae Yamada (Moon Duo) who added some synth magic to the final two tracks. Ripley says it best "I always like when an album starts in one place and ends in another" What a beautiful journey it is!

In recent years, SadhuGold has emerged as one of hip-hop's most exciting new sonic architects. Specializing in raw, dusty vibes with an otherworldly feel, the Philadelphia native has crafted tracks for acclaimed artists like Mach-Hommy, Westside Gunn, Your Old Droog, Rome Streetz, Tha God Fahim, and more.

Originally released on cassette tape in extremely limited quantities, the "Golden Joe" trilogy helped establish SadhuGold's signature sound and fuel the growing mystique surrounding his unique artistry. With those cassettes now rare collectibles, the enigmatic producer is unveiling an official pressing of "Golden Joe Vol. 1", launching the first ever vinyl release of his acclaimed instrumental series. Fully remastered, the collection is a journey through the imagination of the alchemically psychedelic mind that is SadhuGold.

The Magic Movement is happy to welcome Swedish artist Anton Kling with a full EP on their label.
After his mesmerizing single "You", which he contributed to a Various Artist release last spring, he's finally back in full force with his Phobos EP.

The EP contains atmospheric originals, full of warm and almost jazzy synth work, syncopated rhythms and haunting vocal snippets. There's a beautifully melancholic red line which flows through the EP. His passion for ambient music and lo-fi textures is clearly audible in every track, where spacious soundscapes meet gritty percussion sounds.

On remix duties we find Alex Banks, who made a name for himself on Alex Cooper's Mesh imprint, and who is a perfect fit for the track "Phobos". Praised by the likes of BBC Radio 6 and Mixmag as well as with work released on Monkeytown and Ninja Tune, Alex turns Phobos into a bass heavy broken beat bonanza, featuring hypnotic arpeggios and saturated lead synths.

Beautiful, soulful jazz record by Jimetta Rose and The Voices of Creation, a Los Angeles-based community choir, a mainstay of the local scene. Highly recommended!!

The Voices of Creation are a community-based choir led by vocalist, songwriter, arranger, producer and mainstay of the Los Angeles scene Jimetta Rose. Made up of a multigenerational group of mainly non-professional singers backed by some of the city’s finest musicians,their music marries hip strains of gospel with layers of jazz, soul and funk. While aspects of their music might recall Kamasi Washington, The Staple Singers or Sly Stone, Jimetta’s unique vision has resulted in new spiritually-charged forms of music whose whole-hearted embrace of love, joy and peace act as sonic healing balms for the soul.

For Jimetta - whose resume includes collaborations with Miguel Atwood Ferguson, Georgia Anne Muldrow, Sa-Ra Creative Partners, Angel Bat Dawid, Shafiq Husayn, MED and Blu - the very act of creation was part of a healing process: “I was very low at the time and I wrote most of the songs going through hardship. But I found comfort in the songs and a way to adjust my mindset to where things got better. So I thought ‘if this music works for me, maybe it will work for other people’ I believe that every person has their own voice and their own note and that we can use our voices to heal ourselves. That’s the intention behind creating the project.”

After putting out a call on social media for people interested in joining her choir she was met with a sea of replies. Members were chosen in less-than conventional fashion: “I recruited people based on their interest in healing themselves and others, not necessarily on their musical experience or being seasoned performers” she says. Among those accepted into the ever-evolving collective, which was begun initially as a community choir, were the likes of Sly Stone’s daughter Novena Carmel, better known as a radio DJ for KCRW’s flagship breakfast show. Jimetta’s upbringing in the Pentecostal church, where she was a youth choir director, fed into her otherwise intuitive teachings of her songs and arrangements to the inexperienced members with help from the group’s seasoned organ player/co-musical director Jack Maeby.

Produced by Mario Caldato Jr. (Beastie Boys, Seu Jorge) and his wife Samantha Caldato the results show the incredible sense of togetherness and communal spirit that the group had built up over time in the rehearsal sessions. The six tracks of their debut album, a mixture of originals and rearranged covers, are performed in a wide-eyed mix of styles that reflect Jimetta’s vision for borderless music: “It’s new black classical music,” she explains. “It’s all the hodgepodge of being an African American but also with creativity and vision for the future. It has a taste of what is to come and what we can do. What we have gone through and who we are now.”

The group’s propensity for warm and buoyant sonics finds representation on album opener Let The Sunshine In, a sparkling rework of the Sons and Daughters of Lite’s deep jazz classic. Their version finds the group’s dynamic group harmonies offset with Allakoi Peete’s nimble afro-percussive touches and plenty of soul- drenched keys courtesy of pianist Quran Shaheed and organ player Jack Maeby. A similarly uplifting take on Rahsaan Roland Kirk’s choral jazz classic Spirits Up Above follows, with Maeby’s groove-laden organ lines inspiring some gorgeous group harmonies as well as prime solo turns from the likes of Kellye Hawkins, Zavier Wise, Tamara Blue, and Khalila Gardner.

Another Sons and Daughters of Lite cover follows as Jimetta leads the choir in the groove-drenched ode to self-affirmation Operation Feed Yourself. Written as a series of mantras for everyday living, the Jimetta-penned composition How Good It Is harnesses the full transformative power of music to generate a stirring and joyful ode to positivity - it’s chanted declarations bringing out some of the group’s most deeply-felt and affecting vocal performances over some superlative piano and organ accompaniment with a surprise feature vocal from Novena Carmel.

Jimetta’s talent for re-imagining songs in her own light is highlighted in Answer The Call, her vivid re-telling of Funkadelic’s Cosmic Slop: “When I listened to the original song, the Mom in the story was really going through it. I thought of how I could turn this into a song that can encompass the glorification of all mothers and I thought of the Egyptian cosmic goddess Nut. To that mother we’re all the seeds planted in the garden. Answering the call in your life is literally that. Finding out exactly what you’re here for through your heart.”

The album finishes with the standout original gospel number Ain’t Life Grand. Over swaying organs and clapped percussion Jimetta’s lyrical mantras serve to emphasise the good feelings that come to those with a grateful heart. Good feeling is an apt descriptor for the mood of the album as a whole. Its shining positivity provides a welcome ray of light in an increasingly dark world. “It’s a shortcut if you will to the better feelings” Jimetta says. “The hope that we need to keep pressing forward. We are saturated and inundated with images of chaos and destruction, death and hatred. There’s so much we can witness. So, I want to make sure that there is a representation sonically of the other parts that are still there to witness so that we can continue to build those things. So that the systems we support actually reflect what we want to experience. So it’s like: “Don’t give up and Let The Sunshine Into You” and then find out what your purpose is and answer the call.”

ALADDIN SANE erscheint als limitierte 50th Anniversary Edition im Half Speed Mastering. Diese neue Pressung wurde auf einer speziell angefertigten Neumann VMS80-Drehmaschine mit rundumerneuerter Elektronik aus den restaurierten 192kHz-Mastern der Original-Masterbänder der Trident Studios von John Webber in den AIR Studios geschnitten, ohne zusätzliche Bearbeitung bei der Übertragung. Nicht nur das Album, auch sein Cover hat einen festen Platz in der Geschichte der Rockmusik inne. Es zeigt Bowie in seinem heute längst ikonischen Make-up mit dem rot-blauen Blitz im Gesicht – ein Bild, das sich weltweit unauslöschlich ins kulturelle Gedächtnis eingeprägt hat (bis hin zum offiziellen Emoji). Das Coverfoto wurde von Brian Duffy geschossen, der auch die Cover von LODGER (1979) und SCARY MONSTERS (AND SUPER CREEPS) (1980) fotografierte.

Limited 1 x 140g 12" picture vinyl album.

ALADDIN SANE erscheint als limitierte 50th Anniversary Edition als Picture Disc LP. Diese neue Pressung wurde auf einer speziell angefertigten Neumann VMS80-Drehmaschine mit rundumerneuerter Elektronik aus den restaurierten 192kHz-Mastern der Original-Masterbänder der Trident Studios geschnitten, ohne zusätzliche Bearbeitung bei der Übertragung. Nicht nur das Album, auch sein Cover hat einen festen Platz in der Geschichte der Rockmusik inne. Es zeigt Bowie in seinem heute längst ikonischen Make-up mit dem rot-blauen Blitz im Gesicht – ein Bild, das sich weltweit unauslöschlich ins kulturelle Gedächtnis eingeprägt hat (bis hin zum offiziellen Emoji). Das Coverfoto wurde von Brian Duffy geschossen, der auch die Cover von LODGER (1979) und SCARY MONSTERS (AND SUPER CREEPS) (1980) fotografierte.

The Endless Coloured Ways is a collection of songs by legendary singer/ songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences. From Fontaines D.C to Guy Garvey, and Aurora to Feist, each artist has offered their own incredible take on a timeless classic. - Second in a collection of five 7" singles - - Limited stock - - Gatefold lancing sleeve -

180g bone coloured vinyl, standard outer sleeve, printed inner sleeve, hand-numbered /500 download card included. Adelaide, Australia-based outfit Los Palms. The nine-track collection serves up an infectious and hedonistic cocktail of jangly surf-rock, 1960s garage and 13th-floor psychedelia. Los Palms described their sound as "Desert Jangle", with influences all the way from 60s Peruvian bands like Los Saicos, Los Destellos & Los Holy's to modern Californian sweethearts Allah-Las & LA dirt shredders Night Beats. Whilst taking a trip through Los Palms' 'Skeleton Ranch', listeners can expect songs drenched in heartbreak, love and mystery: "These are neo-psych ghost stories that create a detailed musical landscape by mixing feedback, fuzz, eerie organs and reverb-soaked guitar and vocals."

SP-1200 beats made using postal service. Fredfades and Sraw collaborate through post, exchanging dusty beats for an experimental Hip Hop record. The process of sending floppy discs back and forth, where each producer added element over element on their own SP-1200, has been on-going for almost 10 years, slowly building a collaborative body of work.
The result is Double Density, an LP that oozes with the character of that infamous instrument which laid much of the foundation for the earliest Hip Hop artists and still manages to evoke those raw and visceral sounds of that era. Reinforcing those sounds are the voices of Planet Asia, Pink Siifu and Blue November, who deliver lyrics from US coasts to Scandanavia’s fjords.
The duos collaborative effort swims in a sea of eclectic influences where Jazz, Soul and Hip-Hop thrive in the construct of this unique instrument. The drum machine pops, crackles and hisses on a bed of big bass lines through 12 tracks that go from short instrumentals to fully arranged songs.
Taking Hip-Hop back to its origins, everything is stripped bare to its essentials and for every vocal track, there’s its antithesis in the form of an instrumental break. It’s a record that plays with the archetypes of Hip Hop and Rap as something that we’ve lost over the years that begs for revocation. Double Density sounds exotic in the world of today’s gleaming beats.

ShitKid is the project of 24-year- old Åsa Söderqvist who made her debut last spring with a self-titled debut EP, which quickly propelled her into being one of the most talked about new acts in Sweden. The three-track ShitKid EP was released via the Stockholm based label PNKSLM Recordings in the spring of 2016 to great acclaim, reaching far beyond its lo-fi confines to find fans at the likes of The FADER, Pigeons & Planes and SPIN internationally, while her debut single "Oh Please Be A Cocky Cool Kid" appeared on national TV in Sweden the morning after it was released. An expanded version of the debut EP was released in the summer of 2016, which saw ShitKid playing several Swedish festivals before making her debut international appearances in the fall, alternating between playing to full houses in London and monthly shows in her new hometown Stockholm. Now ShitKid is ready to announce her long-awaited debut lp - titled "Fish" it's due for release on June 2 via PNKSLM Recordings on vinyl, cd and digitally. Recorded during the same sessions as "EP 2"it's another step on ShitKid's musical journey - offering up a sound that's clearer than the lo-fi murkiness of the debut EP but still very much the opposite to the slick pop dominating the musical landscape today. ShitKid will be doing select festival shows during the spring, leading up to a UK and EU tour around The Great Escape ahead of the album before spending the summer on the road with slots at ex Roskilde Festival announced already, with a lot more UK and EU dates TBA. Fish is written, recorded, performed and produced by Åsa Söderqvist and mixed by Simon Skeleton.

ShitKids lo-fi indie/punk rock debut LP Fish polarised music fans across the world.
Most the reviews came in either 5/5 or 1/5, which is just the way we like it. Athrilling start of a great career that included shows all over the world and makingIggy Pop a fan. This repress contains two bonus tracks and is a part of thePNKSLM 10 year anniversary repress series featuring represses of some of theSwedish label's sold out key releases.

Dear Friends, it's 2023 and the future of Leftfield Bass, Trap, and Hybrid Grime is here... RATIONAL SOUL's debut EP, "SELF TITLED", is going to define a new era on the dance floor, reimagining 140 beats that typically are stereotyped into narrow catagories. "SELF TITLED" will become the worldwide definition of a style never heard before, sought after and inevitably copycatted by those inspired.

With no surprise, 2023 is set off to a paramount start for the German SATURATE! label, with an EP that “is the future of Leftfield Bass, Trap, and Hybrid Grime” and “it’s going to define a new era on the dance floor, reimagining 140 beats that typically are stereotyped into narrow categories.” The mastermind behind such a project, called SELF TITLED, is RATIONAL SOUL a Virginia-based, veteran electronic music producer. The EP is coming out in full on January 13, digitally and on vinyl, and it features six originals and four remixes. What sounds like a disorienting emptiness at the beginning, makes perfect sense when read as part of the overall narrative of the composition. “One moment you’re living happy-go-lucky, almost like it’s the script of a Disney movie, the next moment you’re questioning why you exist- how is it you’ve become a slave to the 9 to 5? Phone by your side as digital anti-anxiety medication, entertaining yourself with something nostalgic to remind yourself of better times…war against yourself, to reset your identity.” The fight against this subconscious condition was RATIONAL SOUL’s starting point while writing SELF TITLED. The artist’s attempt to light a lighter to ignite a spark in our consciousness and thus reveal the void in which we are immersed. “Wake up” he seems to want to tell us. Don’t be a pawn, be a player of your life. Let’s riot against this status quo and, quoting RATIONAL SOUL himself, “Let’s be gangsta and fuck shit up because we are mad at why our world is falling apart: twerk on a cop car with a fine cigar in your mouth type beat.” He then concludes by spilling one, big truth, “what better genre of music could describe these feelings than bass music?” How could we not agree?

It’s been seven strange years since The Veils’ last studio album Total Depravity, and Finn Andrews has a new double LP to show for it. "...And Out Of The Void Came Love" is the result of this tumultuous period of injury, isolation and new life...

Following the release of Total Depravity, Andrews released a solo album and began a worldwide tour. One night, while lashing out at a particularly intense moment on piano, he broke his wrist on stage. “It sounds wild and Jerry Lee Lewis-esque, but it was an absolute fucking nightmare,” Andrews says. He played on and finished the rest of the tour, but it wasn’t until he got it examined much later that he realized what a bad move that was. “The scaphoid bone in my wrist had died, which I didn’t know was possible. My sister said that at least it was a really ‘on brand’ injury for me.”

Finn’s convalescence meant a lengthy hiatus from touring, so he did what he does best and stayed at home and wrote songs. “I was in a cast and couldn’t use my right hand. I sang the melody lines, then recorded the right hand piano part, then the left hand part. It might have been an interesting, avant-garde process if it wasn’t also just profoundly annoying.”

Just when his hand had healed sufficiently for him to play again, The Veils found themselves in need of a new record label but Finn set about starting to make a new record regardless. Producer Tom Healy invited Finn to his small studio underneath the old Crystal Palace ballroom in Mount Eden, and they listened through the legions of songs he had amassed throughout the previous year.

“Tom was incredibly patient, it was a really laborious process - I brought a lot of junk down there and we had to sift through it all to try and find the parts worth saving.”

Following another two years of intermittent recording between lockdowns, Finn’s wife became pregnant, and yet more songs started coming.

By the time the songs had been recorded, it was clear that arranging the album into two halves best suited such varied material - but the meaning of the songs as a whole still eluded Andrews. “Then my daughter was born, and suddenly the whole record made sense to me,” he says. The music was telling a story, and somewhat strangely for The Veils, it seemed to have a happy ending.

The result of all these years of questioning, confinement and precarious uncertainty is the magnificent new double album from The Veils … And Out Of The Void Came Love. It is an album intended to be listened to in two sittings with a short break in the middle, or as Andrews instructs: “Make a coffee or smoke a cigarette – but don’t mow the lawn or go to the movies or something, that takes too long.”

Composer Victoria Kelly’s soaring string arrangements play an integral role in bringing the songs to life, as do musicians Cass Basil (bass), Dan Raishbrook (lap steel, guitar), Liam Gerrard (piano), Joseph McCallum (drums) the NZTrio and special guests the Smoke Fairies on backing vocals.

“Refreshingly passionate… Andrews rages with a Herculean intensity.” The Guardian
“Horse-whipped, lightning-crash clamor… magnetic.” Pitchfork
“One of the finest songwriters of his generation.” Drowned in Sound

Spanning a nearly 10 year period and covering some of her most iconic performances in history, this LP collection is essential for any fan of the Queen of Pop. Starting off with her legendary and controversial 1984 MTV Video Music Awards performance of Like A Virgin', performed a month before the single was even on the market, and closing with her lascivious cover of Fever' from SNL in 1993, Step To The Beat: Rare Radio & TV Broadcasts covers a bunch of ground and includes classic live versions of Into The Groove', Holiday', Express Yourself', and more. Essential Madonna on Egg Raid.

Die 1980 in Oldham gegründete Band, Inspiral Carpets, erlangte Ende der 80er/Anfang der 90er Jahre als Teil der Madchester-Szene neben Bands wie The Stone Roses, The Charlatans und The Happy Mondays große Bekanntheit.

Sie haben fünf Studioalben veröffentlicht:
"Life" (1990), "The Beast Inside" (1991), "Revenge of the Goldfish" (1992), "Devil Hopping" (1994) und "Inspiral Carpets" (2014), mit denen sie vier UK Top 20 Alben und UK Top 20 Singles erreichten. Zu ihren erfolgreichsten Singles gehören "This Is How It Feels", "She Comes In The Fall", "Saturn 5", "I Want You" und "Dragging Me
Down".

Zum ersten Mal seit ihrer 2003er Compilation "Cool As" erscheint jetzt eine neue Singles-Kollektion: "The Complete Singles" enthält alle ihre größten Hits, sowie Kollaborationen mit Mark E. Smith & John Cooper Clarke.
Die 2LP enthält 24 Songs auf schwarzem heavyweight Vinyl im
Widespine Sleeve.