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Die gefeierte Can Live Serie wird mit einem Konzert in Paris mit Damo Suzuki fortgesetzt! Die zweite Phase der gefeierten Can Live-Serie, Can Live in Paris 1973, wird am 23. Februar 2024 auf Vinyl, CD und digital über Mute und Future Days (das neue EU-Label von Spoon Records) veröffentlicht.

Live in Paris 1973 zeigt Can in magischer Form bei einem Auftritt, der am 12. Mai 1973 im Pariser L'Olympia aufgezeichnet wurde und bei dem erstmals Damo Suzuki am Gesang zu hören ist. Von 1970-73 wurde die Stammbesetzung von Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay durch den japanischen Improvisator und Sänger Suzuki ergänzt. Sie lernten sich durch eine zufällige Begegnung kennen, als Suzuki als Straßenmusiker in München unterwegs war; einige Monate nach dem hier veröffentlichtem Auftritt verließ Damo die Band. Dieses neue Album in der Reihe ermöglicht es uns, die Band in einer besonders wichtigen Phase ihrer Karriere zu erleben, da zwei ihrer am meisten gefeierten Alben - Tago Mago und Ege Bamyasi, wobei letzteres in den Pariser Auftritt einfließt - erst kürzlich veröffentlicht wurden. Die Aufnahmen wurden von Gründungsmitglied Irmin Schmidt und Produzent/Sound Engineer René Tinner, die alle Alben dieser Reihe zusammengestellt und bearbeitet haben, aus Aufnahmen in den Archiven von Spoon Records und von hilfsbereiten Fans eingesandten Aufnahmen zusammengesetzt und für das 21. Jahrhundert aufgearbeitet. CAN, die in den späten 60er Jahren gegründet wurden und sich ein gutes Jahrzehnt später auflösten, haben sich mit ihrer beispiellosen und kühnen Verbindung von hypnotischen Grooves und avantgardistischen Instrumentalstrukturen zu einer der wichtigsten und innovativsten Bands aller Zeiten entwickelt, und diese Alben zeigen die Gruppe aus einer ganz anderen Perspektive. Man hört vielleicht vertraute Themen, Riffs und Motive, die auftauchen und sich durch diese Jams wälzen, aber es sind oft nur flüchtig wiedererkannte Gesichter in einer wirbelnden Menge. An anderen Stellen hört man Musik, die es nie in den offiziellen Albumkanon geschafft hat. Bei diesen Aufnahmen gehen Can in noch extremere Bereiche als bei ihren Studioarbeiten: von sanftem, atmosphärischem Drift-Rock bis hin zu Momenten, denen die Band den Spitznamen "Godzillas" gab. Und selbst wenn sie sich von Minute zu Minute dem Rhythmus anpassen und hinterher jagen, kann man die außergewöhnliche musikalische Telepathie hören, die ihre Mitglieder miteinander teilen.

Die neue Veröffentlichung folgt auf Can Live in Brighton 1975 "Pure dynamite... keep them coming" - MOJO; Can Live in Stuttgart 1975, UNCUT's Reissue of the Year, #2 in MOJO's Reissues of the Year, #7 in THE WIRE’s Archive Reissues of the Year, und Can Live in Cuxhaven 1976, das ebenfalls in den “Reissues of the Year” stark vertreten war.

Can Live in Paris 1973 wird am 23. Februar 2024 auf Doppel-Vinyl, 2 x CD und digital über Mute / Spoon Records veröffentlicht.

Freedom is deeply rooted in the working-class rock of the 70's and 80's, giving us a sound like no other. With meaningful lyrics, power chords and mighty choruses, they're inevitably creating a soundtrack to the journey of life itself. Nicke Andersson once described Freedom as a "bargain basement Springsteen" - a band making music meant to follow you through thick and thin, far into those never-ending summer nights.
Since Freedom first started in 2019, they've established themselves as an amazing live act, filling clubs throughout Sweden with both energy and audience. In 2022 they were honorably chosen to play at the official release party of The Helicopters at the notorious Hamburger Börs in Stockholm.

The band recently added two new members to the crew: Ola Göransson (Heavy Feather, Stacie Collins) and Matte Gustafsson (In Solitude, Siena Root, Heavy Feather). Their combined experience of heavy roots-rock and sense of stage presence, makes Freedom one of Swedens strongest live bands - guaranteed.
Their self-titled debut album from 2021 became a great topic of conversation, leaving a permanent mark in the rock-world of Sweden. Finally, it's time for the awaited second album to be released - once again produced by Martin "Konie" Ehrencrona (Viagra Boys, Håkan Hellström and Les Big Byrd).

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Winston Hytwr is a co-release presented by K and Perennial. Born in Columbus, Ohio in March 1993, Winston Hightower is a prolific home recording artist with an expansive discography that crawls across space and genre. A staple in the Midwestern punk/DIY scene, his first work under the eponymous moniker was a self-released tape in January 2015. Since then, he has put out over 100 songs on tape, online and on video. The music defies easy categorization, and instead breezes through a landscape of synths that effortlessly blend pop, rock, rap and jazz. In doing so, Hightower continues to build a cohesive, ever-morphing experiment in pushing the boundaries of underground guitar music, all with his signature wit and charm. This body of work is almost entirely written and recorded alone in his room, causing many to refer to him as `the Black R Stevie Moore,' a fitting epithet as his influences likewise include modern "lo-fi" progenitors such as Guided by Voices and Vivian Girls. Hightower has released much of his own work and more on his tape label, the FAH-Q Catalog, which boasts over 12 releases He has also collaborated with numerous other Ohio legends such as members of Times New Viking, Slant 6, and Ron House. Both mysterious and effervescent, Winston shape shifts into roles that have also included pro skater (UNITY, Adidas) and touring hardcore guitarist/bassist (most recently with the groups Minority Threat and Twompsax). With such an extensive pedigree, and having toured ceaselessly since he was a teenager, it's shocking that Winston Hightower is largely unknown outside of the Midwest. K records is thus thrilled to be putting out his first ever record, "Winston Hytwr" KLP292/PRNL50 which will cull songs from his previous and impossible to find releases. Remixed by Capt. Tripps Ballsington and Remastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the International Pop Underground. 1000 vinyl copies.

Bad Nerves, das uneheliche Kind eines One-Night-Stands zwischen den Ramones und den Strokes, spielen rasend schnelle, verzerrte Popsongs und
ernteten mit ihren bisherigen Veröffentlichungen "Dreaming", "Baby Drummer" und "Can't Be Mine" viel Lob. Kurz vor der Veröffentlichung ihres
zweiten Albums, dem brillant betitelten Still Nervous, sind die Jungs noch immer von ihrem Überraschungserfolg überwältigt.
Mit ihrem selbstproduzierten und selbstfinanzierten Debüt spielten sie sich 2020 in die Herzen und Köpfe der Crème de la Crème der alternativen
Musikszene; von Vordenkern wie Dan P Carter und Alyx Holcombe und von Gleichgesinnten wie Billie Joe Armstrong von Green Day und Stone
Gossard von Pearl Jam wurden Bad Nerves sofort als Retter einer Art von Punk angekündigt, die nie auszusterben verspricht. Sie sind mit Royal Blood
und The Darkness getourt und wurden mit Supergrass, den Ramones und Jay Reatard verglichen. Die Zukunft ist laut für Bad Nerves.

The phenomenal three-piece band includes members of Oranssi Pazuzu, K-X-P, Grave Pleasures and Aavikko


Svart Records is proud to release the debut album, I, from Haunted Plasma, a powerhouse of futuristic synth in symbiosis with the super violent atmospherics of kosmische Black Metal. Haunted Plasma is “man meets machine” in a cybernetic wasteland, set to a conceptual backdrop of William Gibson and Phillip K. Dick style mind-melt. The highly evolved creatives at the heart of Haunted Plasma’s sound, cite Terry Riley, Massive Attack, a contemporary take on Krautrock hypnosis, psychedelic Black Metal and 90s Techno, resulting in an orgy of mutant sound.



The phantoms at the beating nucleus of this unearthly machine are Juho Vanhanen (Oranssi Pazuzu, Grave Pleasures), Timo Kaukolampi (K-X-P, Op:l Bastards) and Tomi Leppänen (Circle, Aavikko, K-X-P), transmitting a music form evolved from a life of redefining sonic boundaries in their respective projects. Also featuring guest vocals from Mat McNerney (Hexvessel, Carpenter Brut, Grave Pleasures/Beastmilk), Pauliina Lindell (Vuono, Dust Mountain) and Ringa Manner (Ruusut, The Hearing). Haunted Plasma promises an extraterrestrial experience from some of the foremost contemporary musicians at the heart of the Finnish heavy and avant-garde musical underworld.



Haunted Plasma reveals:

“We are liberated futurists, embracing free-form and natural composition, mirroring the merciless forces of cosmic creation. We have a motto to stay true to our feelings, to spawn a sound that’s never been heard before. Servants of music. Energizing, radical and pure”


The first single from Haunted Plasma’s cascading debut, Reverse Engineer, is a creepy, slowly erupting, synthetic nightmare, of a downloaded being waking up in the wrong future. Ghostly vocals demand the listener to “give us what we want” in an Orwellian glimpse into the current dystopia we live in, where information is controlled, and thoughts are bought and sold. As McNerney intones the words “technology of power” he describes the threat of a malevolent and omnipresent artificial intelligence, as much as describing the oppressive and electromagnetic sonar pulse of Haunted Plasma’s sound itself. Psychedelic guitar hypnosis from Vanhanen snakes around Kaukolampi’s molten and morphing synths, while Leppänen’s uncanny man/machine rhythms pull our strings and animate their other-worldly mechanisms. Have a look at the official visualiser of "Reverse Engineer" on the Svart YouTube channel here


Culminating in the full-blown fast Krautrock of the final self-titled track, oozing with blistering noise elements and enigmatic vocals from Ringa Manner, the album's journey reaches its zenith, taking you to unknown territories on a Kubrikian space trip. I is a rare record of talented musicians coming together to create a completely new sound, which is entirely their own, boldly glowing, where no light has shone before. From the dreamy psychedelia of Echoes to the discombobulated Spectral Embrace, Haunted Plasma is a willful force of deliberate sound contortion.


Whether you want to give in to Haunted Plasma’s sound or not, you are being watched, you are being recorded and your every move is monitored. Haunted Plasma will enter your system on the 31st of May 2024. Turn on your phantom circuits and be prepared for an interdimensional excursion into Haunted Plasma’s alien dreams.

The debut album from Haunted Plasma will be packaged in a beautiful tip-on sleeve, swirling fog artwork, complete with 12” booklet and pressed on 3 exclusive vinyl colours: 300 copies on Standard Black Wax, 500 copies in Amber + Black Smoke and 200 copies of Svart exclusive Turquoise/Black Marble. The album will also be available on CD and digital platforms.

SIMON AND GARFUNKEL’S SWAN SONG: BRIDGE OVER TROUBLED WATER FEATURES METICULOUS PRODUCTION, GORGEOUS SONGWRITING, AND HEALING SPIRIT
Sourced from the Original Master Tapes and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180s SuperVinyl 33RPM LP Plays with Staggering Detail, Clarity, and Definition
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Unifying, soothing, comforting: Simon and Garfunkel's Bridge over Troubled Water quickly became the album of an era upon release in 1970, the benchmark set serving as a beacon of hope and hymn of reassurance during a time marked by polarizing changes, social unrest, uncertain politics, and the dawn of a new era. These uplifting reasons — to say nothing about the gorgeous songwriting, meticulous production, and watershed performances — attest to why it is more relevant than ever in our current climate. Music, Bridge over Troubled Water simultaneously suggests and proves, heals all wounds and lifts all boats.

The seminal effort Rolling Stone named the 51st Greatest Album of All Time reaches illustrious sonic and emotional heights on Mobile Fidelity’s 180g SuperVinyl 33RPM LP. Pressed on MoFi SuperVinyl and strictly limited to 4,000 numbered copies, this ultra-hi-fi collector's edition brings you closer to music that picks up where the duo's Bookends leaves off. You'll enjoy deep-black backgrounds and pointillist details. Seemingly every note, breath, and movement is reproduced with exquisite accuracy, clarity, and balance. Each rotation benefits from SuperVinyl’s ultra-low noise floor and superb groove definition.

The best-selling record in the U.S. for several years running and winner of six Grammy Awards — including nods for Record of the Year, Album of the Year, Song of the Year, and Best Engineered Recording — Bridge over Troubled Water endures as a staple of accessible sophistication, angelic elegance, effortless singing, unhinged ambition, and therapeutic spirit. While it would turn out to be the final studio set for a duo surrounded by creative and personal disagreement, Simon and Garfunkel's collaborative ethos and soaring harmonies — combined with reflective narratives centred on the American experience, friendship, romance, and farewells — combine to turn the 11-track work into a paean to resolution, reconciliation, calm, and balance.

Home to the legendary title track graced by Garfunkel's pacifying solo lead vocals as well as the equally famous folk ballad "The Boxer," Peruvian-based "El Condor Pasa," upbeat "Cecilia," and rock ’n’ rolling "Baby Driver,” Bridge over Troubled Water remains as renowned for its musical diversity as its lyrical poignancy. Moving beyond the templates they'd perfected on four prior albums, Simon and Garfunkel embrace a then-unimaginable swath of styles. Rock, pop, gospel, country, R&B, South American, and jazz strains course throughout the songs, each sparked with bold experiments yet grounded in a well-orchestrated melange of melody, rhythm, and classicism that makes everything personal, familiar, and warm.

Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made. Featuring instrumentation helmed by members of Los Angeles' fabled Wrecking Crew as well as multiple choral and string sections, songs took hundreds of hours to complete and involved pioneering recording techniques. Evoking both Phil Spector's live"Wall of Sound" approach as well as inventive effects, Bridge over Troubled Water is a triumph of texture, atmosphere, and architecture. Our audiophile edition brings the record's unique traits to the fore.

Whether the reverberation generated by Garfunkel's cassette recorder on "Cecilia," echoing drums captured in a corridor heard throughout "The Boxer," automobile noises peppering "Baby Driver," layer upon layer of voices dotting "The Only Boy Living in New York," or echo-chamber percussion on the title track, details comes through with stunning accuracy, clarity, and dimensionality. In every regard, Bridge over Troubled Water exudes genius.

Unadorned with any post-production tricks or overdubs, Garcia/Grisman breathes with naturalism and presence. You will effortlessly detect the full body of the instruments, witness the woody grain textures, and get lost in the surprisingly velvety qualities of Garcia's lullaby-like singing. Our pressing also marks the first time this delightfully joyous affair has been issued in analogue form. You will never hear a better-sounding Americana-styled recording.

Pals since the mid-1960s, Garcia and Grisman bonded over their love for traditional folk and bluegrass. The two teamed up amidst what became a gold rush of top-notch productivity and creativity for Garcia. Partnering with bassist Jim Kerwin and percussionist/fiddler Joe Craven, the pair approaches every passage with innate ease, as if either musician could finish the others sentence. The affable chemistry and soothing interplay wash over a selection of songs as notable for their diversity as the way Garcia and "Dawg" turn them into the equivalent of old friends you haven't seen in years.

Exquisite melodies and jewel-shaped notes decorate the simple, convivial structures of tunes that hop, jump, skip, skitter, and bop. The atmosphere is reminiscent of the legendary gypsy-jazz exchanges between Django Reinhardt and Stephane Grappelli, and equally sharp. Swirling with Middle Eastern modality, the closing 16-minute-plus rendition of Grisman's rippling "Arabia" – complete with a section based on a Cuban fold theme - is alone enough worth the price of admission to this sensational session. But there's so much more.

The quartet delves into Celtic themes ("Two Soldiers"), jazz-grass ("Grateful Dawg"), old-world ballads ("Russian Lullaby"), and Appalachian flavours ("Walkin' Boss") with nonpareil skill and soulfulness. Garcia and Grisman's tandem picking throughout epitomize sublime. And for many listeners, the duo's revised version of the Grateful Dead staple "Friend of the Devil" ranks as the finest-ever recorded, the pace patient, the narrative vocals heartfelt, and the synchronous solos tailor-made for the enveloping progression. Better yet, it's all captured in astonishing fidelity.

Thou has always been a force of raw energy and unapologetic dissent, defying easy categorization and challenging listeners to confront the complexities of existence. Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou transcends genre boundaries, drawing inspiration from a diverse array of influences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively) to the raw intensity of obscure `90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. Their latest record Umbilical, Thou's first full-length release of original music since their 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filled with mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic and political impulses have always been punk and like anyone embroiled in the subculture Thou have been exploring what it means to exist within and without a rigid morality. That exploration takes thematic center on Umbilical and their self-assessment is as harsh as that of the world around them.

Thou has always been a force of raw energy and unapologetic dissent, defying easy categorization and challenging listeners to confront the complexities of existence. Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou transcends genre boundaries, drawing inspiration from a diverse array of influences spanning from `90s proto-grunge icons like Nirvana, Alice in Chains, and Soundgarden (all of whom they've covered extensively) to the raw intensity of obscure `90s DIY hardcore punk found on labels like Ebullition, Vermiform, and Crimethinc. Their latest record Umbilical, Thou's first full-length release of original music since their 2018 Sacred Bones debut Magus, is their firmest nod to the latter - a record filled with mosh-ready riffs, heavy breakdowns and scathing vocals. The band's aesthetic and political impulses have always been punk and like anyone embroiled in the subculture Thou have been exploring what it means to exist within and without a rigid morality. That exploration takes thematic center on Umbilical and their self-assessment is as harsh as that of the world around them.

Bad Nerves, das uneheliche Kind eines One-Night-Stands zwischen den Ramones und den Strokes, spielen rasend schnelle, verzerrte Popsongs und
ernteten mit ihren bisherigen Veröffentlichungen "Dreaming", "Baby Drummer" und "Can't Be Mine" viel Lob. Kurz vor der Veröffentlichung ihres
zweiten Albums, dem brillant betitelten Still Nervous, sind die Jungs noch immer von ihrem Überraschungserfolg überwältigt.
Mit ihrem selbstproduzierten und selbstfinanzierten Debüt spielten sie sich 2020 in die Herzen und Köpfe der Crème de la Crème der alternativen
Musikszene; von Vordenkern wie Dan P Carter und Alyx Holcombe und von Gleichgesinnten wie Billie Joe Armstrong von Green Day und Stone
Gossard von Pearl Jam wurden Bad Nerves sofort als Retter einer Art von Punk angekündigt, die nie auszusterben verspricht. Sie sind mit Royal Blood
und The Darkness getourt und wurden mit Supergrass, den Ramones und Jay Reatard verglichen. Die Zukunft ist laut für Bad Nerves.

This will be available on ltd edition pink vinyl, with only 250 copies pressed.

We are delighted to welcome the incredible Masal to the Up In Her Room family! Masal is a collaboration between Al Johnson and Ozlem Simsek. Ozlem is a Turkish multi instrumentalist whose middle eastern background is entwined with her western studies in classical music. Al performs psychedelic electronic music as Alien.

As Masal they weave harp, Theremin and electronics into a beautiful aural journeys. Having worked with legends such as Andy Bell & Mark Gardener of RIDE, and Sonic Cathedral, plus enjoyed radio play from the wonderful Simone Butler of Primal Scream on Soho Radio, and Mark Riley and Stuart Maconie on BBC 6 Music, we are very excited for you to see what the pair have been cooking up.

‘The Galloping Cat finds this unlikely pair of “neurodiverse nature lovers” collaborating on six meandering tracks of psychedelic grooves, electronic weirdness and motorik basslines mostly wordlessly exploring themes of self-discovery – and it’s stunning.

Sonic Cathedral – March 2023

The Galloping Cat is a work of compassion and tenderness. It’s also surprisingly funk (see ‘Dying Days’ and ‘Dokuz’) with Al revealing hitherto undiscovered Clyde Stubblefield-style chops behind the (digital) drumkit.’

Even Butterfly’s Make A Sound – March 2023

The Telescopes Radio Sessions collects together the essence of three live session recordings in 3 different countries over a three year period between 2016-2019. This is the third in a series of radio session releases from Tapete Records that have so far included The Monochrome Set and Comet Gain. More session releases are being lined up for the rest of the year and beyond - enjoy the sonics and stay tuned. Over the years I have read a lot on people’s impressions of The Telescopes. Some folk think it’s a collective, others imagine it used to be a band and feel nostalgia towards what they consider to be the original line-up (even though many had come before, during and since) and some people refer to it as currently a solo career. In a way this is all true and none of it is. When faced with these kind of questions, along with questions about the style of music that The Telescopes make I often say The Telescopes house has many rooms, which explains things perfectly for me but for people on the outside looking in it only serves to increase their confusion. For me, confusion isn’t such a bad thing. Everything is born into confusion, the sense we try and make of that chaos is interesting and excites me. The universe often disorientates, it sends me a jumble of thoughts and impressions coupled with a feeling of something I need to express… if I could only decipher the encryption. This is how The Telescopes music comes to be and it is also how The Telescopes came to me. I regard The Telescopes as an entity of it’s own that introduced itself in my darkest hour and I was chosen as its vessel. From the second it arrived I was obsessed to the point where there was nothing else. A bit like having an imaginary friend. As the obsession grew it began to infect others, everybody loved my imaginary friend and wanted a piece of it. As its success grew however, so did the corruption, until one day the entity fell silent. The silence lasted for years, I tried everything to reconnect but it was having none of it. I had been a bad caretaker, I had let the house become infested and I had lost my way. This epiphany served to remind me of simpler times when anything felt possible with this entity by my side. It had trusted me with something so simplistically profound and I had let it down. The realisation of this was a eureka moment. I am not The Telescopes, I never was and never will be, I am the caretaker, the lighthouse keeper and if a job is worth doing it is worth doing well. With this dawning, I felt a crack open up in the cosmic egg and a familiar confusion in my head. The entity had returned. It was time to start untangling its tangled threads once more, to make sense of what it was saying, this time without corruption. It’s all about listening. I listen to what my cosmic friend sends me and channel this expression into what you hear through your speakers. It may take one person to achieve this, it may take more. There is no set line up or instrumentation that can hold The Telescopes. Whatever it takes to hit the zone, whatever is available, absolute focus is imperative. Sometimes it takes sabotage to keep that line of vision intact, there is no room for preconceptions or complacency in making the music. The Telescopes music is the now

incarnate and a state of total being is necessary to achieve. From the outside looking in... again, it’s all about listening. What comes through your speakers is the only thing that matters. The music either reaches you or it doesn’t. Everything else may seem interesting or confusing but ultimately it is corruption. So if you’ve bought the record, read the sleeve notes and bought a ticket to see a live show, don’t be surprised if the line-up is or isn’t the same as the recording. The only thing that is for sure is that The Telescopes as an entity is speaking to you in its own voice in every scenario.
Of course the difference between albums and live shows is that you can play the record over and over again to the point where you know every line and every note that was played. Whereas with live events you are left with an impression that can only be replayed in your mind. It can be frustrating at times. When you are touring with a great line-up and feel like something exciting is happening, you want everyone to hear it, not just the people at the shows but the people that couldn’t make it on the night as well. There is no guarantee that there will be the same line-up at a live show as there is on the album. This is why live sessions are important, they document a side of things that is often fleeting. Here we have three sessions, all different people transmitting The Telescopes sound on each. Some are regulars, some dip in and out and some were just passing through. In each case The Telescopes chose them as their vessel and as the lighthouse keeper I did everything I could to help them on that journey while trying to be a good caretaker to the house of many rooms. The Telescopes have been invited in for many sessions over the years, the first two were for John Peel on BBC Radio 1. We also recorded a session for Marc Riley and Mark Radcliffe before their
celebrity when they had a show on BBC Radio Manchester. We could have compiled this album from those sessions, it was certainly considered but Tapete and myself believe this selection gives an exciting glimpse into that fleeting side of The Telescopes in a constant state of flux that is left mostly to myth and imagination. For those who listen to the records but have never had the chance to take in the live experience, welcome to the other side. For those that follow us live, here’s a little reminder and a keepsake. Infinite suns. Stephen Lawrie February 2024.

Platz 5 Powermetal SOUNDCHECK 05/24
Aus den Tiefen des Black-Metal-Undergrounds kommt eine seiner wichtigsten Figuren mit einer neuen Band und einer noch härteren Gangart. Als Frontmann der legendären schwedischen Maniacs Nifelheim hat Hellbutcher den schlechten Ruf des echten Black Metal mit eiserner Faust verteidigt. Jetzt, mit der gleichnamigen neuen Band, geht die wilde Mission weiter: Nichts weniger als die totale Metal-Manie wird hier geboten. Nach dem Ende von Nifelheim, die Ende 2022 ihre letzte Show spielten, verschwendete Hellbutcher selbst keine Zeit, um weiterzumachen. "Mir wurde klar, dass ich meine eigene Band gründen musste, um den wahren Geist des Metal aufrechtzuerhalten. Ich war unglaublich inspiriert!" Zusammen mit alten Weggefährten des Bösen, den Gitarristen Necrophiliac (ebenfalls von Mordant) und Iron Beast, dem Bassisten Eld und dem Schlagzeuger Devastator (Ex-Nifelheim), machte sich HELLBUTCHER schnell daran, diese Vision in die Tat umzusetzen.

Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.

Die US-Progressive-Metal-Pioniere und Innovatoren PSYCHOTIC WALTZ machen endlich ihren gesamten fesselnden und zeitlosen Backkatalog weltweit über InsideOutMusic wieder verfügbar. In zwei Wiederveröffentlichungs-Schritten (Mai & Juli 2024) werden die klassischen ersten vier Alben der Band - "A Social Grace" (1990), "Into The Everflow" (1992), "Mosquito" (1994) und "Bleeding" (1996) - neu gemastert von Patrick W. Engel / Temple Of Disharmony als 2CD Digipaks mit viel seltenem oder bisher unveröffentlichtem Bonusmaterial sowie erweiterten Layouts erhältlich sein, und die Hauptalben werden zusätzlich als Ltd. Gatefold-LP-Editionen auf 180g-Vinyl neu aufgelegt. Eine zusätzliche Demo-Raritäten-Zusammenstellung (mit einem Teil des Bonusmaterials) mit dem Titel "To Chase The Stars (Demos 1987 - 1989)" wird ebenfalls als Ltd. Gatefold 2LP Edition erhältlich sein, was diese Re-Issue-Kampagne zu einem aufregenden und unverzichtbaren Projekt sowohl für langjährige Kenner der Band als auch für neuere Mitglieder der ständig wachsenden progressiven Musikgemeinde macht.

Es ist das Jahr 2007. Die Welt gehört dir und der Rest deines Lebens beginnt. DIY ist das Motto der Stunde. Nach dem überbordenden Vorgänger „Geräusch“ wirken die ärzte harmonischer und kompakter denn je zuvor. Genau dieser Moment, er ist perfekt. Mit „Jazz ist anders“ präsentiert sich die Beste Band der Welt in exzellenter Spiellaune und vervollkommnet das System BelaFarinRod. Es gibt die irre vielen zwingenden Melodien, die elektrischen Gitarren, den Quatsch, das Nachdenken, das Rausbrüllen, die ganz großen und die ganz kleinen Gefühle.

„Lied vom Scheitern“ ist die schmissige Hymne zur Selbstermächtigung, „Niedliches Liebeslied“ hebt das Genre Rodballade auf ein neues Level, „Licht am Ende des Sarges“ probt den Perspektivwechsel zum lustigen Vampir. „Tu das nicht“ ist ultimatives Statement zur Lage der Musikindustrie im beginnenden Breitband-Zeitalter. Und „Junge“ protokolliert nicht nur pedantisch allseits bekannte elterliche Sorgen, sondern schafft auch ohne Versmaß und echte Reime die Aufnahme in den Klassiker-Kanon der deutschen Popmusik. die ärzte: Jetzt gegen Angst, Hass, Titten und den Wetterbericht. Immer noch ohne Festanstellung und Barry Manilow. Dafür mit Schalala und Schalalu und ein bisschen breit. Und ständig dieser Lärm.

"Palm Reader", das zweite Album der Texaner HIGH DESERT QUEEN, strotzt geradezu vor roher Kraft und dem Donnern von gefühlt 666 heißblütigen Dieselpferden. Der Langspieler steckt voll von coolen Vibes, packenden Leads und jeder Menge Desert-Feeling. Dabei liegt der Fokus der Wüstenrocker auf großartigen Songs, statt sich hinter Genre-Zäunen zu verstecken. Diese ungezähmte Attitüde fand den Zündfunken für ihre sprudelnde Energiequelle auf der letzten Tour. Als die Band nach sechs Wochen auf Europas Straßen und Bühnen mit den legendären FATSO JETSON nach Texas zurückkehrte, hatte sie sich von deren allabendlichen Improvisationen und Jamsessions inspirieren lassen und zahlreiche Ideen notiert. Trotz Jetlag konnten es HIGH DESERT QUEEN kaum erwarten, mit neuen Aufnahmen zu beginnen. Dabei konzentrierte sich die Truppe weniger darauf, wer bestimmte Parts wie einspielte, sondern sie erlaubte sich Unvollkommenheit und ließ den Click weg. Frei von künstlichen Schranken begann ihre Musik so frei zu fließen wie nie zuvor. Schon bei der ersten Studiosession nach der Tournee entstanden gleich drei neue Songs. Die Band aus Austin, Texas hat den musikalischen Jackpot geknackt, und "Palm Reader" ist der schlagende Beweis dafür. HIGH DESERT QUEEN waren schon immer etwas anders und viel mehr als nur eine weitere Desert Rock Band. Von Sänger Ryan Garney und Gitarrist Rusty Miller im Jahr 2019 in Houston, Texas gegründet, rekrutierte das Duo bald darauf Schlagzeuger Phil Hook (MONTE LUNA) und zog 2020 nach Austin um. HIGH DESERT QUEEN wurde von Anfang an das Zeug dazu nachgesagt, die dümpelnde Wüstenrockszene wieder in Schwung zu bringen. Ihre vielseitigen musikalischen Einflüsse, die von Grunge bis Funk, sowie von Old School Metal bis Doom und vielen weiteren Musikstilen reichen, boten eine ideale Grundlage für neue Ideen und die nötige Verjüngung des Genres. Ihre donnernden Verzerrer-Hymnen kommen mit einer gesunden Portion Groove und eingängigen Melodien daher, die massiven Anschub durch eine seltene emotionale musikalische Intelligenz erhalten. Der frisch geprägte Sound ist dennoch eng mit dem reichen Erbe des Wüstenrocks verbunden - was in ihrer Stilbezeichnung "Texas Desert Rock" ein Echo findet. Mit "Palm Reader" vollziehen HIGH DESERT QUEEN den nächsten Quantensprung ihrer rasanten Entwicklung. Die Texaner haben die perfekte Balance zwischen den kräftigen Wurzeln ihres Genres und dem pointiert-eigenen Ausdruck gefunden. Angetrieben von Geist und Kraft der live gespielten Musik, rockt dieses Album hart und ehrlich!

Schließlich kamen sie aus ihren Kellern und begannen, gemeinsam im selben Raum an den Songs zu arbeiten, leise zu proben (für die Verhältnisse des normalerweise superlauten Buffalo Tom) und mit Akustikgitarre zu spielen. Nachdem sie die meisten Songs mit einer Menge Overdubs und elektrischer Gitarren versehen hatten, entwickelten sich die Songs zu diesem schönen und aufregenden neuen Buffalo Tom Album: „Jump Rope“.

Es fühlt sich an wie eine Infusion: die Kochsalzlösung strömt durch die Kanüle in dich hinein, ist aber etwas kühler als deine Körpertemperatur, deshalb breitet sich diese angenehme Kälte in dir aus. Klar, diese Infusion ist die 7"-EP von MANTAROCHEN, dieser lichtscheuen Kreatur aus den Untiefen der Leipziger Unter(wasser)welt. Die verhuschte Gitarre, grobkörnig verpixelt wie eine VHS-Kassette aus den 80ern, flangert sich durch ein Labyrinth aus melodisch-organischen Bassläufen. Die Rhythmusmaschine treibt die sechs Songs gnadenlos und nonchalant an den Abgrund. Seltsamerweise hauchen die Synths keine zusätzliche Kälte ein, viel mehr hüllen sie den Coldwave in eine wärmende Decke. Keine Kuscheldecke, eher eine dieser gold-silbernen Folien-Rettungsdecken. Über all dem schwebt eine distanziert, unterkühlte Stimme. "Alles wird gut, es ist bald vorbei" scheint sie dir zuzuraunen. Doch es werden tiefe Wunden besungen und die Sehnsucht, den Ballast und die ganzen Banalitäten hinter sich zu lassen. Das jedoch völlig unverkrampft. Die Tragik lauert zwischen den Zeilen, während sich dein Verstand schon im Bann der Hooklines verabschiedet hat. MANTAROCHEN, das sind Diana, Sebi und Tom. Alles ist selbst aufgenommen und gemixt. Das Mastering übernahm Jean-Baptiste Meyrieux (u.a. in Broncho Libre & Laxisme aktiv). Die 7"-EP erscheint am 31.05 auf It's Eleven Records.

”Dafür bestimmt, als Jazz-Klassiker in die Geschichte einzugehen” – so das Urteil des Guardian bei der Veröffentlichung des Albums im Jahr 1997. Weiter meinte die Zeitung: ”Wheelers Kompositionen und vier der weltbesten Improvisatoren schaffen ein nachdenkliches Set, das es sich lohnt wieder und wieder zu hören. Dies ist wunderschöne, leuchtende Musik.” Angel Song gehört zu den Höhepunkten im Katalog des Labels und vereint vier Improvisationsgrößen – jeder mit einer einzigartigen künstlerischen Identität – in einer intimen, Schlagzeug-losen Quartett-Session. Kenny Wheeler ist der Komponist der neun eindringlich lyrischen Kammer-Jazzstücke und verleiht ihnen an Flügelhorn und Trompete im expressiv-melodischen Austausch mit Altsaxophonist Lee Konitz eine besonders eindringliche Atmosphäre. Das Bassfundament von Dave Holland ist so überzeugend wie eh und je und lässt Bill Frisell alle Freiheiten für harmonieumfassende Improvisation. Wie der Guardian jubelte 1997 auch die Times und sprach von einem: ”rührend schönen Album: Hollands wendige Zuverlässigkeit ist der Anker für die elegante Klangfülle von Konitz, die flimmernde Raffnesse von Frisell und die klangliche Zärtlichkeit von Wheeler selbst.” Das Album erscheint zum allerersten Mal auf Vinyl als Teil der Luminessence-Reihe und wird in einem Tip-on-Gatefold mit Session-Fotos präsentiert

Musikdeutschland erwartet ein spektakuläres Album der anderen Art. Denn Roy Bianco & Die Abbrunzati Boys bringen im Frühjahr 2024 ihr lang ersehntes drittes Studioalbum. Ihren neuen Langspieler: »Kult«. Als zeitloses Meisterwerk im schillernden Gewand des Italo-Schlagers reiht sich das Album in die begonnene Serie der vorherigen zwei Alben »Greatest Hits« und »Mille Grazie« ein und vollendet so das gesamtkünstlerische Triptychon des Projekts: Eskapismus à la bonne heur. »Kult« steht für sich und Roy Bianco & Die Abbrunzati Boys stehen für Kult – es ist ein musikalisches Denkmal, das man sich so fast nur selbst setzen kann. Und sie tun es.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

The Scientists' 1981 wild debut bewildered Perth, Australia's punters with its charging anthems centered on themes of young love and alienation. Obvious in its rebellion yet more pop than punk, the self-titled "Pink Album" deftly embodied the tough-yet-danceable outsider aura of The Ramones, and its unheard of, feverish clip shook the shores of the geographically confined Swan Coastal Plain of down under. Recorded just as the lineup of guitarist-vocalist Kim Salmon (The Cheap Nasties), drummer James Baker (The Victims) and bassist Ian Sharples were breaking up, the album stands as a testament to the contagious chops of Perth's swelling pool of musical talent, and to the promise of Salmon's unwavering vision that would become one of the most celebrated acts of the Aussie underground.

Reissued for the first time outside of Brazil, this is Tom Zé's first LP on Continental Label and the press release warned: “1972 marks the beginning of a new phase in Tom Ze´’s career. He decided to move into simpler forms of writing and released an album that is a result of that”. Tom Zé is considered the most "paulista" of all Tropicalistas. He came from Bahia, but his wry urban poetry, infused with the uncomfortable sounds of the largest metropolis of South America, is pure São Paulo.

Yes' 90125 was a departure from their progressive style but it introduced the band to a new generation of fans, reaching No. 5 on the Billboard 200 and No. 16 on the U.K. albums chart. The 1983 album remains their best-selling album with more than 3 million copies sold in the U.S. "Cinema" earned the group a Grammy Award for Best Rock Instrumental Performance, while "Owner Of A Lonely Heart" was the band's first and only single to reach No. 1 on the Billboard Hot 100 chart.

Named for its Atco catalog number, 90125, the album — the band's 11th studio effort — it was born out of the band's self-reinvention. Begun as Cinema, a new band by Chris Squire and Alan White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson. His late entry insured that Rabin and Horn had a heavy influence on the sound. The album also marked the return of prodigal keyboardist Tony Kaye, whose crisp synth work on "Changes" marked the band's definitive break with its art rock roots.

"Owner Of A Lonely Heart" was a huge crossover hit, and its orchestral break has been relentlessly sampled by rappers ever since. The vocal harmonies of "Leave It" and the beautifully sprawling "Hearts" are additional high points,

90125 is a significant and well-regarded album in the Yes discography.

Analogue Productions is proud to offer the definitive reissue deluxe 180-gram 45 RPM 2LP of 90125. For Yes fans, this is a can't-miss addition to your album collection.

A band who have justifiably been championed across the world, Tokyo’s Melt-Banana have been responsible for some of the most complex punk rock ever made … that far outshines ninety-nine percent of most other bands out there. The band once described their live show as “Shooting machine gun and laser beam, chaos in order.” And I think that pretty much sums them up. — Olli Siebelt, BBC No wave without the self-conscious pretension, avant garde composition compressed into one-minute-or-less bursts, urgency, intricate destruction, pure glorious abandon. Melt-Banana play the same way that Repulsion, Naked City, The Ruins, or The Boredoms all make you want to scream and dance and kill your neighbors. This is not music that we are conditioned to accept. This is you delirious with joy scraping your five senses off the floor. —Matthew Moyer, Ink19 Melt-Banana are in a league of their own. There are other extreme hardcore bands out there who are experimental and unique but Melt-Banana are more than that. They area giants amongst infants. Masters amongst pupils. Kings amongst serfs. Nobody can do what they do and nobody can adequately use words to describe them. —Jeb, Crass Menagerie

First time ever cassette edition for Nikki & the Corvettes’ self-titled debut album originally released on Bomp Records in 1980.

Kata No Wadachi is the latest album by Banetoriko, the solo noise project of Tamaki Ueda. Her first release both on An’archives and on vinyl, it follows several albums for the Neurec imprint – 2017’s Beside the Sluice and 2022’s Yorioto Hogiokuri – and several other cassettes and CD-Rs. With Kata No Wadachi, the Banetoriko world, inspired by the Yokai (“strange apparitions” – supernatural figures, ghosts, spirits) of Japanese folklore, is at its most resonant yet.

Recorded across 2022 and 2023, the three tracks on Kata No Wadachi have Ueda performing in a particularly elevated manner. Her sound is highly tactile and grittily sensuous, the better to capture the ritualistic repetitions, and hypnotic methodologies, core to Banetoriko. The scrape and scratch of Ueda’s self-made metal instrument, the Banetek, gives these improvisations a unique throb, even as their mood, of introverted focus and elaboration of minutiae, gestures towards broader histories of noise and abstract art. Kata No Wadachi evokes, to some degree, the urban ritual noise of the likes of The New Blockaders, Organum, or Ferial Confine; elsewhere, the abraded, rough-housing textures bring to mind the eighties tape works of Hands To and John Hudak.

Ueda embraces the dream evocation that’s possible when loops of blurred texture collide with the gnaw and groan of energised metal, while mantric, dissociated vocals, and the oppressive weight of deep breath, gather around these compositions like a ghost’s shroud. While she’s been making noise for some time, since the nineties, Banetoriko was formalised as a project in 2011, while Ueda lived in Los Angeles. Relocating to Osaka in 2021, she’s carved out an utterly unique space for herself in Japanese noise, and her music contains an absolutely elemental vibration. Framed beautifully with poetic liner notes by Aurélien Rossanino, Kata No Wadachi is an oppressive, yet quixotically blissful trip.

Andrea has his roots in the independent musical scene in the first decade of the 2000s. In addition to his compositional and live experience as the first Nadàr Solo drummer, he is one half of the Turin duo Anthony Laszlo with Anthony Sasso, ex guitarist and singer of Milena Lovesick. Andrea Laszlo De Simone made his debut in 2012 when he released his first homemade album, Ecce Homo. Recorded at home by makeshift means and accompanied by the following videos: Solo un uomo, 11:43, I nostri piccoli occhi, Perdutamente.

At the beginning of 2014, he met some experienced musicians from Turin’s underground scene that later, after a few months in a rehearsal room, became his band: Damir Nefat (guitar/backing vocals), Dani C (bass guitar/backing vocals), Filippo Cornaglia (drums/backing vocals), Zevi Bordovach (keyboards/backing vocals) and Anthony Sasso (keyboards/backing vocals/percussions).

Anticipated by the individual tracks Uomo Donna, Vieni a salvarmi and La guerra dei baci on June 9, 2017 - for 42Records - Uomo Donna came out. It’s Andrea Laszlo De Simone’s first real album, a well received work by both audience and critics. It also was pointed as one of the best albums of 2017 by several national music magazines.

Uomo Donna is a complex, articulate and vital album that lives in its own time - where past, present and future coexist. It’s a time in which a sonic world takes shape blending classic and modern, Italian songs with psychedelia, Battisti and Radiohead, Modugno and Verdena, the Beatles and Tame Impala, the magical flight of Claudio Rocchi and the earthly flight of IOSONOUNCANE.

The album was self-produced and then post-produced by Andrea in collaboration with Giuseppe Lo Bue, a sound engineer from Bologna. The recordings were made between October 2014 and the end of 2016 with experimental techniques straddling digital and analogic.

After playing in some important Italian festivals as Siren Festival and TOdays -- that earned him a special mention in the live scores by Rolling Stones -- on October 28, 2017 the first Uomo Donna album tour started in the clubs of the major Italian cities.

On November 30th 2017, Andrea Laszlo De Simone presented his video, Sogno l'amore, during the Torino Film Festival as a short film, shot in Sicily and directed by Francesca Noto and Andrea Laszlo De Simone.

On March 15th 2018 the music video of Gli uomini hanno fame was released, the most political song of the album, an overlook through ferocious human emotions, an eleven and fifty minutes trip within human nature portrayed even in its most ferocious instincts. The music video was directed by Andrea Laszlo De Simone and the mysterious duo Sans. The official cycle of Uomo Donna ends on 31 December 2018 with the music video of Sparite Tutti created by the creative collective Irene&Irene.

2019 was a year of new goals for Andrea, in fact, the album Uomo Donna leaves national borders and got a special mention on social media by the famous American band The Lumineers which included Andrea Laszlo De Simone and Uomo Donna among the most interesting discoveries of the international musical underground and inserts Solo un Uomo in the Spotify playlist “Inspirations”. A few days later, Solo un Uomo was broadcasted by KEXP Radio. On November 4th Andrea and his band were chosen to open for The Lumineers’ only Italian show at Alcatraz, in Milan.

On November 8th Andrea released a brand new work, digitally and on vinyl for 42Records, Immensità, a ‘suite’ of four singles: Immensità, Conchiglie, Mistero and La Nostra Fine. Turned into a medium-length film using Immensità as the soundtrack.

Immensità was presented with four special sold out concerts in Rome, Turin, Padua and Milan. For these shows Andrea Laszlo De Simone was accompanied on stage by a mixed orchestra composed of synths, electronics, choirs, strings and woodwinds. Classic and modern instruments that are intertwined in a nine elements formation: an immersive concert, a contemporary version of chamber music.

In March 2020 Immensità was released also in France, UK, Canada, Belgium and the United States with Ekleroshock/ Hamburger Records (Roster: Benjamin Clementine, Polo & Pan, Limousine and many others). The response of the transalpine press and media, sector and not, was unexpected: major French newspapers and magazines - from Le Monde to Liberation, Vanity Fair and Les Inrockuptibles - dedicated entire pages and rave reviews to Immensità and Andrea Laszlo De Simone. The track Immensità entered, after a few days, at the fourteenth rank of Spotify’s Top viral 50 playlist and broadcasted on France Inter and Radio Nova.

“Immensità” is a complex cross media work of music and images. A project divided into four chapters (the songs) for nine tracks (each chapter has a prologue or a conclusion). A true suite, using the classic term that best describes an instrumental composition in several stages, that can be enjoyed in its entirety only by listening to vinyl or digitally in the innovative single track format, without pauses: a single symphony of 25 minutes and 6 seconds.

In September 2020, Dal giorno in cui sei nato tu was released on all italian platforms, a song dedicated to Andrea’s children, a real love letter in the form of a small speech, where he tries to give them the three keys to approaching life: fantasy, music and irony. Martino, 8 years old, replies to his father’s love letter by making the video accompanying the song, created in Super 8. It's the story of the world through the eyes of the child. It is also an homage to the new little girl in family, Lucia.

The self-titled debut album by Last Plane Out (S-Rock/Border) will be released worldwide on vinyl - The band: Last Plane Out is a duo consisting of Nils Erikson (music) and Anders Lundquist (lyrics) They describe their style as progressive pop: songs for those looking for some musical and lyrical chewing resistance, yet appealing to the casual listener.

Nils Erikson, based in Malmoo, Sweden, is a Swedish singer, composer and multi- instrumentalist. He has released a number of solo albums, one of which was nominated for two Swedish Grammys (Newcomer of the Year and Male Artist of the Year). He has also released several instrumental works that have been streamed millions of times.
In addition to that, Nils is the co-keyboardist and co-lead singer of the progressive rock band Karmakanic, led by longtime Steve Hackett bassist Jonas Reingold. Anders Lundquist, based in Stockholm, Sweden, is a lyricist, composer and bassist/guitarist, as well as a renowned music journalist. As the bassist and one of the two main songwriters of Swedish hard rock progsters band Future Elephants?, he released three acclaimed albums between 2016 and 2023.

Almost a year on since his Blueprint Records debut, the London-based Brazilian, Vinicius Honorio delivers the follow-up to "Sem Rumo".

With a storied history in DJing and producing, starting in Rio de Janeiro as a D&B selector before settling into London's techno sphere, the Brazilian producer pens dark and dubby textures. Delivering releases on his own label, Liberta Records as well as the likes of Modularz, Mord, Token and of course, Blueprint he has displayed his penchant for trippy and foreboding techno whilst encapsulating the energy and passion that have come to be synonymous with his style. A style that also permeates his DJ sets which he's taken around the globe.

"Ominous Music" features four hard-hitting Techno tracks characteristic of his style.

DJ Support: Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

Leading the charge with the next Toolroom Trax vinyl series is Mark Knight’s remix on a euphoric dance anthem from Dave Spoon (aka Shadowchild) & Nick Reach Up who update Elaine Mai & MuRli's track 'Ready'. An underground House work-out that's been tried & tested on the dancefloor throughout 2023 and inspired by the euphoric House sound of the 90's, Mark’s mix makes use of the original's hypnotic vocal, combined with driving bass and big euphoric synths. House heavy-weight CASSIMM lands back on our Trax vinyl series with another essential club cut 'Wanna Feel Something'. The Italian, London based hit machine rose to new heights in 2023 with a Beatport House #1 'LOVE DESIRE' on Claptone's Golden Recordings, and chart-topping releases on Toolroom, Spinnin', Myth Of NYX and more. Full of fun, funk and house goodness, CASSIMM yet again delivers another irresistible party starter! Label favourite, Crusy steps up on remix duties for this next offering and a milestone 300th release for the label with an updated mix of Superchumbo & Victoria Wilson James’ ‘The Revolution’. An influential anthem from 2001 'The Revolution' spent over two decades in clubland since icon Danny Tenaglia originally broke the record at the infamous WMC Miami, later going on to recieve support from global superstars such as Pete Tong, X-Press 2, Roger Sanchez and more. Crusy’s signature drums, percussion and grooves drive through

that Latin influenced energy throughout. Last but definitely not least, James Hurr and Electro pioneer Arthur Baker team up with their unique blend of underground house and 80's hip-hop in new club controller, 'Powder In The Nose'. This collaboration marks a triumphant return for James Hurr on Trax who has previously released successful club cuts on the label, and an exciting debut for Arthur Baker, an artist who needs no introduction. The Boston-born producer is widely recognized as one of the pioneers of the Electro genre, with a career spanning over four decades. Baker's unique sound, which fuses elements of hip-hop, funk, and electronic music, has made him a household name and a highly sought-after collaborator. Together, Hurr and Baker are a powerhouse duo, with their combined expertise and passion for dance music 'Powder In The Nose' is nothing short of spectacular.

ountless radio plays on Radio 1 from Danny Howard, Sarah Storie, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

Atemberaubender Exotica-Mod-Jazz aus den 1960ern, neu aufgelegt in limitierter, handnummerierter Auflage auf schwarzem Biovinyl im authentischen Tip-On-Cover samt Download-Code. John Lemon war ein vielseitiger, in Louisiana geborener Rohrblatt- und Flötenspieler, der seinen tiefen, klangvollen Tenor für alles zur Verfügung stellte, von Exotica über R&B bis zu Bebop-Jazz und allem dazwischen. Sein einziges Album "Hey Baby" ist ein sensationeller Schatz, den man selten findet - es sei denn, er erscheint auf Mo-Jazz!

Bosconi Records Presents Datafreq’s Electrifying EP: “Circuit Garden” Toronto’s electronic music scene luminary, Dave Rout, known as Datafreq, is set to unveil his EP titled “Circuit Garden” on Bosconi Records. With a musical journey as Datafreq spanning 2 decades, and a continuous presence since the mid-80s, he has become a cornerstone in the electronic music scene in Toronto. “Circuit Garden” is a six-track collection that pays homage to Datafreq’s distinctive blend of video game music and electro sounds. A true sonic pioneer, he brings forth his unique musicality that has resonated since he started the project in 2004.

This EP features select tracks from his debut album, “Fun for the Whole Family,” originally released in 2006 on the esteemed Berlin label Das Drehmoment. Notably, these tracks, (never before available on vinyl with the exception of “Just Like 1981”), have been reimagined with slight remixing, editing, and remastering to seamlessly align with the vinyl format. Two brand-new tracks make their debut on this release, adding an extra layer of exclusivity and elevating the EP to a truly special status.

The unmistakable “Datafreq” sound is prevalent throughout the EP, characterized by eclectic electro techno and vocodered tunes. Infused with a melodic approach, the tracks remain dancefloor-friendly, showcasing Datafreq’s exceptional talent for crafting engaging melodies. The EP is adorned with cosmic arpeggios and space synthesizers, reflecting his prowess in creating immersive sonic landscapes. “Circuit Garden” not only celebrates Datafreq’s enduring legacy but also signifies a new chapter in his sonic exploration, inviting listeners to immerse themselves in Bosconi Records’ consistently precise and insightful musical universe.

ohann Wolfgang von Goethe is always a reliable source for a good quote: "We must always change, renew, rejuvenate ourselves; otherwise, we harden." Sure as death, there is an excerpt of his that states the opposite. In the case of Robert Dietz, it holds true. Since his first appearance on Running Back in 2009 (Forward Snipping), he did a marvelous job staying on his toes as a producer and DJ.
Rejuve-Nation showcases his talent in various alleys of electronic (dance) music with Crane Song being the prime cut here. You will get exposed to proggy house with an intelligent brush in two slightly different mixes. Imagine if Euro dance went to get a college degree or a bumper car floor and you are almost there: an almost irresistible sing a long without lyrics.
If you need help afterwards, Deranged Self Therapy is exactly what you need. IDM meets new wave drums, poignant synths mix with an upbeat hook to create a ballet piece for lovesick robots.
Centro Di Gravita reconnects those qualities with the aforementioned Crane Song ones, while giving it an acid spin, before the ambient salts of Any Plan(t)s This Weekend closes the EP off like a confident sketch for the end of a beautiful summer. A bouquet of bangers for different needs.

Short: One Rejuve-Nation EP under a groove with Robert Dietz' return on Running Back. Proggy meets acid house, IDM leanings mix with stylistic devices of new wave and extra special ambient aerobatics round out the EP. Special attention goes to Crane Song and its peak time perfection. A bouquet of bangers for different needs.

DJ and producer David Holmes is welcomed to the Late Night Tales fraternity with an evocative collection of personal songs and music, peppered with exclusive new material and rare gems. By now, I think we all know David Holmes, right There's acid house Holmes, with bone-rattling Chicago jams and Detroit destroyers, break-digger Holmes responsible for the grittily shaking 'Let's Get Killed' and seminal Essential Mix compilation (which brought Sixto Rodriguez to people's attention, and then there's soundtrack Holmes. His most enduring and vital source of musical inspiration - cinema - plugged into David's rst solo record 'This Film's Crap, Let's Slash the Seats' and inspired 2000's 'Bow Down to the Exit Sign', created as the soundtrack to a not-yet-made movie. Ofcial soundtracks have been bountiful, including scores for Soderbergh's Out Of Sight and Ocean's trilogy, '71, Hunger and Good Vibrations. In a series of personal songs sung by himself, David's last solo album 'The Holy Pictures' explored inuences of La Düsseldorf, The Jesus and Mary Chain and early Brian Eno. His Unloved collaboration with Keefus Ciancia and Jade Vincent then took us on a musical journey full of raw 60s pop-noir, psychedelia and French Ye Ye with a contemporary twist. Somehow he's also found time to produce records by Primal Scream and Jon Spencer Blues Explosion. Unsurprisingly, for someone au fait with matters cinematic, this Late Night Tales conjures up its own mindmovies. It's not only packed with the judiciously selected nuggets for which his mixes are noted but also stuffed with original material, including collaborations with BP Fallon and Jon Hopkins and an amazing new reading of 10cc's 'I'm Not In Love' by Holmes-produced Song Sung. In fact, there's a Celtic thread running through the whole journey with Stephen Rea's reading of an extract from Seamus Heaney's AENEID BOOK VI - Elsewhere Anchises. Among the other gems included here are David Crosby's lush 'Orleans', Buddy Holly's celestial 'Love Is Strange' and the Children Of Sunshine's 'It's A Long Way To Heaven'. David Holmes loves music. It's a way of expressing the sometimes inexpressible or the inconsolable, a questing desire to nd out just what is over the next hill. It's no surprise to learn he's a keen walker. Always on the move, headphones on, lost in some reverie or piece of music, the soundtrack to his life, the stuff that feeds his imagination. I walk a lot. It's amazing for listening to music: your phone or your emails aren't going and you're just in the forest listening to music. It's so intimate. Anyway, I was listening to the KLF's Chill Out album, which still sounds amazing, but it triggered an idea with concrete sounds through travelling and movement. And one of the things I was trying to do was to use this idea not just break up the moods but also as a metaphor for moving through life and arriving in different destinations or arriving at different stages in different parts of your life. Memory, Love, Living, Family, Friendship, Healing, Death and The Afterworld are some of the themes I wanted to explore within this record. Although these strong themes and tracks are personal to me, I also wanted it to be a great listen that was unpredictable yet had a seamless ow - a journey that was personal to me yet to the listener a great compilation of music that they may or may not have heard before. I hope I've succeeded in the later.' David Holmes 2016