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Set sail with the third installment of Numero's ode to regional radio surveys. Broadcasting 44 minutes of uninterrupted yacht, easy-glide, AOR, and blue-eyed disco that'll rock your boat. These 13 selections are anchored in the deep blue waters of the American private press_a life preserver for any BBQ, birthday party, or bris. Let W3NG be the sonic wind at your back.

Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks. “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker. “I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie In collaboration with Rob Zombie, Waxwork Records is thrilled to release Rob Zombie Presents HOUSE ON HAUNTED HILL Original Motion Picture Soundtrack by Von Dexter. Starring Vincent Price, HOUSE ON HAUNTED HILL is a 1959 American Horror film produced and directed by William Castle. Vincent Price plays an eccentric millionaire, Frederick Loren, who, along with his wife Annabelle, has invited five people to a house for a ""haunted house"" party. Whoever stays in the house for one night will earn $10,000. As the night progresses, the guests are trapped within the house with an assortment of terrors. The film uses many props used in carnival haunted houses to generate fear and terror. The film is also known for its promotional gimmick, Emergo, which included a ""flying skeleton"" that would appear over the audience as they enjoyed the film in a movie theater. Waxwork worked with the rights holders of the original film elements which have been restored, allowing for the best source material of this never-before-released soundtrack album. In addition to the original music by composer Von Dexter, this release features segments of the film's dialogue and sound effects appealingly included and sourced from the restored original soundtrack. Included in this very special release is the first part of an exclusive two-part interview conducted by Rob Zombie with Vincent Price's daughter, Victoria Price. Part two will be included with Waxwork's upcoming release of Rob Zombie Presents The Last Man On Earth! Von Dexter (1912-1996) was an American composer born in Aurora, Illinois. He later moved to Chicago where his professional music career began playing in bars and nightclubs. After gaining a music degree at USC, he moved to California where he became the West Coast MD for NBC. In addition to House On Haunted Hill, Dexter composed the scores for other William Castle films including 13 Ghosts and The Tingler."

Yip/Jump Music is the fifth self-released album by singer-songwriter Daniel Johnston, recorded over the summer 1983. From the original 1983 cassette tape made in his brother's garage. The most popular Daniel Johnston album of them all! (Kurt Cobain listed it as #35 is his top 50 favorite albums.)

An anthology of the intensely arresting work of Robert Fesler (1936-2023), revealing many of his compositions (1975-1987) created with his self-built synthesizers, with as pinnacle the μP RPF78. All music composed and recorded by Robert Fesler at his home on rue Cour Boisacq in Bierges, Belgium. Except one, all tracks are previously unreleased.

With profound simplicity and devotion, Fesler paints a hermetic inner world with strong emotions of confronting solitude, sensual alienation and traumatic angst. His music was as much a therapeutic treatment as an artistic expression. Fesler quotes, »Building my synthesizers and working with them enabled me to sublimate my anxieties.« Most tracks were played and recorded real time, often with two synthesizers (the Synthese 756 and the μP RPF78), capturing the heat of the moment in one take, without multitracking. The austere and reductionist approach reinforces the overall spirit of his work, resulting in an engaging, mysterious solitary journey. It’s quite incredible how one person can put so much technical cerebral content in the development of a machine and use it in such an emotional way.

The music of Robert Fesler might be considered as very Belgian. To situate it within a close entourage, one can say it has: The endurance of Baudouin Oosterlynck The purity of Dominique Lawalree The mysticism of Arsène Souffriau

Sugar Honey Iced Tea! is the highly anticipated debut album from musclecars, set for a May 2024 release on BBE Music. Having already established their presence in the club scene, from the joyous atmosphere of their Coloring Lessons parties to their residency at Nowadays in NYC, and with genre-bending performances worldwide, musclecars are eager to unveil this new world they've intentionally crafted. This forthcoming album comprises 13 tracks that sonically come together to offer a profound lens into the Afro-American experience. Themes range from joy, to loss, intimacy, helplessness, perseverance, and all the facets that lie in between. From the very first tune, musclecars set the tone with an exploration of afro-dystopia, carrying listeners through the entire album whilst creating imaginary futures born out of self-preservation and self-discovery. Through their practice of sonic storytelling, native New Yorkers Brandon Weems and Craig Handfield use this album to speak to the nuances of their daily lives and their environment. Join them on this musical journey as they delve into a collection that captures the essence of the black experience with authenticity, emotion, and rhythm. This album stands as one of their favorite bodies of work in recent memory, and they're so excited to share it with you.

In diesem Jahr jährt sich die Veröffentlichung von Cymandes 'Promised Heights' zum 50. Mal. Das Album bildete den Abschluss einer historischen Serie von drei bahnbrechenden Afro-Soul-Alben der frühen 1970er Jahre, zu denen auch ihr selbstbetiteltes Debütalbum von 1972 und 'Second Time Round' von 1973 gehörten. 'Promised Heights' festigte Cymandes Platz in der Musikgeschichte und enthält einige ihrer beliebtesten und häufig gesampelten Titel wie 'Brothers On The Slide'. Als Kinder der Windrush-Generation gehörten Cymande zur ersten Welle von Innovatoren und Gründern der jungen schwarzen britischen Musikszene. Die Band nahm Einflüsse ihrer guayanischen und jamaikanischen Wurzeln auf und verschmolz Reggae-Basslinien, afrogefärbte Nyabinghi-Percussion, psychedelische Rockeinflüsse und Funk-Instrumente im amerikanischen Stil zu einem einzigartigen Sound, den sie "Nyah Rock" nannten. Promised Heights wurde nach einer US-Tournee mit Al Green aufgenommen, die Cymande bei einem begeisterten amerikanischen Publikum bekannt machte.
Cymande waren auch die erste britische Band, die im legendären Apollo Theater in Harlem auftrat.

José James - the forward-looking, genre-defying Jazz singer for the hip-hop generation - has done it again. “1978” (his 12th studio album since 2008’s “The Dreamer'') announces an instant classic, combining James’ deep love of jazz and hip-hop with songwriting and production nods to R&B heroes Quincy Jones, Michael Jackson and Leon Ware. Produced by James and featuring an all-star ensemble including Grammy nominees Pedrito Martinez (Camilla Cabello, Eric Clapton), Marcus Machado (Daniel Ceasar, Pharoahe Monch), Jharis Yokley (Sleigh Bells, My Brightest Diamond) Chad Selph (Bilal, FREELANCE) and David Ginyard (Solange, Blood Orange), “1978” pulsates with the socially conscious feel-good vibes of Marvin Gaye, Prince and Stevie Wonder. James also skillfully explores the boundaries of Black music, featuring Brazilian rising star and recent Latin Grammy nominee Xênia França as well as Congolese-Belgian rapper/filmmaker Baloji.

The official soundtrack release to the new film of Amy Winehouse, BACK TO BLACK, releasing Spring 2024. Amy Winehouse is widely considered as one of the greatest artists in recent history, selling more than 30 million records worldwide. Her acclaimed self-produced 2006 album Back to Black, propelled her to global stardom, going on to win a (then) record breaking 5 Grammy Awards, including Record Of The Year and Song of The Year for hit single Rehab. Releasing on 140g 1LP Black vinyl, the tracklist comprises a carefully curated highlights collection of Amy's original recordings and tracks from her idols, such as The Shangri-Las, Billie Holiday and Dinah Washington, that are featured in the film, plus a new original track sung by Nick Cave. The vinyl product is housed in a single sleeve with printed inners featuring a personal note from director Sam Taylor-Johnson.

Sounds Good ist ein Album, das, vereinfacht ausgedrückt, seinem Namen alle Ehre macht. Die aktuelle Single Hanging On folgt auf den Bombast-Track Nobody But You und Gift of Life mit Kevins Delfonics-artigem Gesang, der die Bandbreite der menschlichen Erfahrung thematisiert. Kevin und Tony Martin sind Brüder, Eric ist ihr Bruderund langjähriger Freund durch die Musik. Während die anfängliche Verbindung der Band auf der berauschenden Mischung aus Jazz-Performance-fokussierter Musikschule und der Plackerei lokaler Auftritte gründet, wurde ihre Bindung durch unzählige Stunden auf Tour und die Produktion von zwei Studioalben gestärkt – 2019 das Debütalbum Buck und 2021 die EP Ripe. "Being on the road, doing our own tours, and backing incredible people like Lady Wray, has sharpened our skills and really revved us up for this record", sagt Kevin."It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." Das ist eine Möglichkeit, Veränderungen zu beschreiben: sich selbst einzuholen. Jedes Mitglied von Brainstory hat Veränderungen durchgemacht, sowohl persönlich als auch musikalisch, und all das zieht sich durch diese Platte. Der Weg zur Weiterentwicklung ihrer Musik ist klarer denn je zuvor. Wenn es eine Sache gibt, die auf diesem Album überdeutlich wird, dann ist es, dass Brainstory sich entwickelt haben. Ein Teil ihrer Entwicklung ist zweifellos darauf zurückzuführen, dass sie ihr eigenes Studio in Long Beach haben und dort ständig arbeiten. Ein weiterer wichtiger Faktor ist, dass sich ihre Gemeinschaft erweitert hat. "I've been playing music with my brother all my life and now with Eric for a long time", erzählt uns Tony. "Leon, though, is like another brother I've just met." Aus der Freundschaft ist die Band entstanden, und jetzt trägt die erweiterte Gemeinschaft dazu bei, sie weiter voranzutreiben. Die Sterne stehen günstig, dass sie mit diesem neuen Album einen großen und wohlverdienten Schritt machen, und das hört man ihrer Musik an – music that just Sounds Good.

For its second release, following SALO"s feverish self-titled debut album, Berlin-based platform Kuboraum substantiates its musical perspective, bringing together an eccentric set of tracks from friends and family. Each artist was invited personally by the platform to write a piece of music inspired by Kuboraum"s philosophical and aesthetic principles. This Kuboraum Editions compilation that features tracks from Space Afrika, LABOUR, Moin, V/Z, o-Ziq, Lucy Railton, Alessandro Adriani and many more.

SEXTOSENTIDO is proud to present its first vinyl release in the hands of Intuition, the joint entity conformed by Aeryeen and IMMATERIÆ somewhere on the Catalan coastline. After some individual releases and many hours of meditation, their debut has crystallized into a prism that distorts the space-time continuum, lensing the higher self back to the source.

Let yourselves be taken on this heartfelt journey divided into four eerie crusades across the Sol system.

The latest release on Jai Alai follows the format of forgotten vinyl tracks never before released on 7” format, or previously CD only album tracks, and will raise some eyebrows in artist selection and pairing.

Donaldson Toussaint L’Ouverture Byrd II was one of the most significant jazz artists of all time having joined Art Blakey’s Jazz Messengers in the mid-50s and establishing himself as one of the best hard bop trumpeter/flugelhorn players. His progression was continuous through the 50s/60s working with John Coltrane, Gigi Gryce, Pepper Adams, Thelonius Monk, Sonny Rollins as sideman, and became one of Blue Note Records leading artists.

By the end of the 60s Byrd decided to move away from that idiom, experimenting with jazz fusion, African music and Rhythm & Blues. He worked hard to make jazz and its history part of the curriculum in US music colleges and he taught at many including Rutgers, Hampton, Howard, and Columbia, the latter from who he received his PhD in music.
Byrd took a great interest in how Miles Davis’ experimentation was resonating with a younger audience, and despite being castigated by his musical peers, his development of jazz fusion changed the jazz scene forever. His work with the Blackbyrds was a cornerstone for the progression of jazz funk in the UK.

The effect of his hook-up with brothers Larry & Fonce Mizell was immediate and his Blue Notes albums “Black Byrd” (1973), “Street Lady”, “Stepping Into Tomorrow” (1974), “Places & Spaces” (1975) and “Caricatures” (1976) became legendary on the newly evolving jazz funk scene with certain tracks such as “Change (Makes You Wanna Hustle)” normalising dance jazz on the disco floors, not to mention being a rich source for many hip-hop samples.
A slightly leaner period followed when he moved to Elektra Records and of the three albums with his new incarnation 125th Street NYC, a group of musicians he taught at North Carolina Central University, two were produced by Isaac Hayes including “Words”, “Sounds, Colors & Shapes” (1982) from which “Everyday”, a fabulous forgotten piece of mellow jazz funk derives.

By the end of the 80s he had returned to his harder straight-ahead jazz roots, but his place in history and the evolving of jazz as a dance culture in our clubs should never be forgotten.

wieder auf Lager Vor drei Jahren veröffentlichte Sebastian Lee Philipp gemeinsam mit dem Produzenten Ralf Beck (Nalin & Kane, Unit 4) das Debütalbum des Bandprojekts Die Wilde Jagd. Bald darauf zog sich Beck aus dem "operativen Geschäft" zurück. Aber dennoch hat er einen gewichtigen Anteil am neuen, zweiten Album: Er hat dieses nicht nur co-produziert und abgemischt, ohne seine analogen Synthesizer, Drumcomputer und Studiotechnik würde Die Wilde Jagd nicht derart kraftvoll und gleichzeitig fein ziseliert klingen. Nächtelang schloss sich Philipp in Becks Tonstudio Uhrwald Orange ein, um seine ganz eigene, zu Klang gewordene Bilderwelt aufzunehmen. Sie gleicht einem nächtlichen Flug ins Unbewusste durch das Geäst des symbolischen "Uhrwalds", hinein in eine "Fremde Welt" und ihren gespenstigen Protagonisten - den "Sauregaulen", "Flederboys" und "2000 Elefanten". Das minimalistische, spannungsgeladene und düster-hypnotische Werk ist natürlich auch eine Ode an das Tonstudio selbst - an die analogen Gerätschaften und den allgegenwärtigen EMT-Plattenhall. Nur hier konnte Philipp sein Klangideal mit den von Beck erstellten Signalketten aus Kompressoren, Vorverstärkern und Kanalzügen nach seinen Vorstellungen verwirklichen.

Attention, Electro-heads! SNC Recs is back with its first vinyl release for 2024, presenting a treat for all breakbeat enthusiasts with Friedrich Ernst's Breakthrough EP. The old-school influenced 12’’ is garnished by two high-grade remixes contributed by none other than the new-wave electro pioneers, DJ MELL G and Viikatory.

Hailing from Dresden, Friedrich Ernst discovered his passion for electronic music at an early age. After relocating to Leipzig in 2020, he co-founded the label "Self Learning System" with DJ Unisex, focusing on releasing electro music and organizing events. Since then, Friedrich has honed his own style and established himself internationally as a label owner and producer, increasingly focusing on live performances.

His second solo EP, marked by his detail-oriented and uncompromising electro sound, fits perfectly into the SNC Recs catalog and brings a dignified start to the tenth series. Completing the release are remixes by DJ MELL G and Viikatory, each bringing their own personal touch to a different track.

The Selenites Band returns with a Live album ahead of their 3 Studio album, due for release in late 2024. 8 tracks of psychedelic jazz influenced by Ethio-groove, Swinging Addis and pentatonic grooves, recorded in analog on tape recorders during two concerts between 2021 and 2023.

These recordings are an opportunity to discover 5 previously unreleased tracks, as well as live versions from the previous album "Behind The Mask". The Selenites Band are first and foremost a live band, and we've seen them at the New Morning, in Paris, in Belgium, as well as opening for the prestigious group GONG, on their only date in France, and at many other festivals. The Selenites Band's lively style takes us into a world of traditional music, Shamarnic grooves, spicy jazz and bewitching rhythms. A melodic universe, a music of heady modal trance, a cinematic space of energetic jazz punk! . All compositions are by Antoine "Obi Riddim" Laloux, with the exception of two tracks by Seyoum Gèbrèyès and Tlahoun Gèssèssè.

All sleeves are hand-silk-screened and numbered / limited edition

Travis Stewarts Reise zur Entstehung von „3FOR82“ begann passenderweise am 4. März. An seinem 41. Geburtstag, am 4. März letzten Jahres, wagte er sich in den Joshua Tree National Park in Kalifornien, um Klarheit und Inspiration für sein nunmehr elftes Studioalbum als Machinedrum zu finden. Zwölf hochintensive, nachdenkliche Tracks, die die Nadel zwischen seinem vergangenen, gegenwärtigen und zukünftigen Ich spannen.

Angesichts der Tatsache, dass Ninja Tune eines der Lieblingslabels des jungen Travis Stewart war, spricht dies für ein Mantra, das die Platte leitet: Nostalgie durch eine zeitgenössische Linse zu betrachten. In den stillen Weiten des Joshua Tree durchforstete Machinedrum alte Festplatten mit seinen Beats aus den späten 90er Jahren: Viele von ihnen wurden mit ‚Impulse Tracker‘ erstellt, einem groben Freeware-Programm, das fast ein Vierteljahrhundert lang unangetastet blieb. Nachdem er einen DOS-Emulator gefunden hatte, auf dem ‚Impulse Tracker‘ lief, nahm er sich selbst auf, wie er diese Beats spielte, um „3FOR82“ zu bauen: Sample für Sample erstellte er originale Sound-Datenbanken, die in eine eigene Bibliothek eingespeist werden konnten und „3FOR82“ einen unverwechselbaren Klang verliehen. Ausgewählte Zitate werden als Monologe oder Samples in die Musik eingeflochten - der Opener von „3FOR82“, „Oracle“, beginnt mit Reflexionen von Aja Monet über das Tanzen allein. Auf der Leadsingle, „ZOOM“ erzählt Tinashé von jugendlicher Lust auf der Tanzfläche; an einer Stelle in „KILL_U“ erinnert Tanerélle mit ihren beruhigenden Tönen daran, dass man manchmal „verloren ist und dann wieder gefunden wird, und dass man so viel erreichen kann.“; in „U_WANT“ sagt sich KUCKA selbst, dass „es bessere Tage geben wird“, während ROZET in „RISE“ riffet, dass sie „vom Boden in den Himmel wachsen wird.“. Die Wirkung, die das Thema auf „3FOR82“ hat, ist zart und eindringlich und verbindet diese Stränge von R&B, Pop, Jazz und Drum & Bass miteinander.

Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence.

There is a core element to Chelsea Wolfe’s music—a kind of urgent spin on America’s desolation blues—that’s existed throughout the entirety of her career. At the center, there has always been Wolfe’s woeful longing and beguiling gravity, though the framework for compositions has continuously evolved based on whatever resources were available. Her austere beginnings were gradually bolstered by electronics and filled out with full-band arrangements. The music became increasingly dense and more centered around live performances. Her latest album, Birth of Violence, is a return to the reclusive nature of her earlier recordings

“I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people—an incredible time of learning and growing as a musician and performer,” Wolfe says of the era leading up to Birth of Violence. “But after awhile, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.“ Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings—little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs on a makeshift studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola).

The album opens with “The Mother Road,” a harrowing ode to Route 66 that immediately addresses Wolfe’s metaphoric white line fever. It explains the nature of the record—the impact of countless miles and perpetual exhaustion—and the desire to find the road back home, back to one’s roots. Songs like “Deranged for Rock & Roll” and “Highway” offers parallel examinations on the trials and tribulations of her journeys while the ghostly “When Anger Turns to Honey” serves as a rebuttal to self-appointed judges.

While the record touches upon tradition, it also exists in the present, addressing modern tragedies such as school shootings in the minor-key lullaby “Little Grave” and the poisoning of the planet on the dark wind-swept ballad “Erde.” But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. Much like Alan Ginsberg’s hallucinatory long-form poem Howl, the tracks “Dirt Universe” and “Birth of Violence” weave together specific references from her past into an esoteric overview of the state of mankind. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension.

“These songs came to me in a whirlwind and I knew I needed to record them soon, and also really needed a break from the road,” Wolfe says. “I’ve spent the past few years looking for the feeling of home; looking for places that felt like home. The result of that humble approach yields Wolfe’s most devastating work to date.

European Headline tour confirming now for 2020. UK/EU Publicity handled by Lauren Barley at Rarely Unable. Immense support from Press, including coverage with NPR, Pitchfork, FADER, Vice, Revolver, Decibel, Under The Radar.

Austere Recordings are back with their 10th release, having always favoured quality over quantity. LAAK feature once again on a 200 limited hand stamped ep, serving up their usual high calibre tracks.

Intrigue's self-released synth-funk rarity released officially for the first time by Backatcha. Recorded in 1986 by the same line-up that created the classics 'I Like It', 'Call Of The Heart', 'No Turning Back' and more, 'One Touch' expresses the woes of a homewrecker over a "midnight" groove weighted with synth bass and rhythm delay. This limited 12" is a forerunner to the forthcoming Intrigue compilation featuring previously unreleased material alongside the group's sought-after catalogue of recordings.

"Fast hätten wir gedacht: es könnte gut ausgehen". Zwei nervenaufreibende Jahre lang haben L'APPEL DU VIDE aus Chemnitz an ihrer Debüt-EP gearbeitet, jetzt ist die "Abwärtsspirale" in Gang gesetzt. Ihre selbstgewählte Genre-Zuschreibung Dark Punk kratzt dabei nur an der Oberfläche. Das Spektrum reicht vom aggressiv-düsterem Surf-Punk ("Das bin ich nicht") über spröden, repetitiven Sound mit Noise-Ausbrüchen ("Aufmerksamkeit") bis zu hymnisch-melodischen Post-Punk ("Delirium"). Bei "Das Programm", - einer bittersüßen Romanze in Zeiten totaler Überwachung - , wird es plötzlich ungewöhnlich ruhig-melancholisch dank 60ies-Orgel und Background-Gesang von Mara. L'APPEL DU VIDE beschäftigen sich textlich in knappen Worten mit Verleugnung, Scheitern und Entfremdung. "Delirium" klingt dabei wie der Soundtrack zur Pandemie, wurde aber schon 2019 geschrieben. Die Songs wurden von Flatty aufgenommen und klanglich von Max Herrmann/Gloven Studio Leipzig (Mix) und Mikey Young (Mastering) veredelt.