quête:seven

Trumpeter Raynald Colom immediately captivates with the hauntingly beautiful dream-like opening notes of his live recording, A Million Dreams. Colom demands the listener"s attention throughout the cohesive eight-track outing, alongside pianist Tony Tixier, Joe Sanders on double bass and Francesco Ciniglio on drums. French- born and Barcelona-based, Colom is a seasoned musician inspired by many genres and artforms, but with firm roots in flamenco.

Mandalai Lamas sound as massive and hard as the great mountains of
their native Norway - With loud guitars and catchy riffs, the band brings
something fresh and edgy in their homage to the music of the sixties and
seventies, making them feel like a long awaited revitalization of old
school rock and roll
A live band in its truest sense, Mandalai Lamas will turn you on with songs that
are soaked in sweat and beer and performed with raw power.

Double LP, Gatefold sleeve, DL card with Bonus tracks. 2CD Gatefold wallet + booklet. Remastered and re-appraised 31-track collection of Pearls Before Swine rarities from the private tape collection of the late, great Tom Rapp. Also available as an expanded 45 track double CD collection. For the first time on vinyl, this beautiful collection brings together alternate versions of Rapp originals ‘The Jeweler’, ‘Translucent Carriages’ and ‘Rocket Man’. It also includes jaw-dropping covers of Rapp’s contemporaries Cohen, Dylan and Joni Mitchell, with bonus download material featuring seven amazing live versions plus a never before released intimate show at The Other End circa 1976. A goldmine of possibilities from a prospector with a silver tongue and stories to tell. ‘The Wizard Of Is’ is a weird and wonderful trip inside its creator’s mind, from sonnets and space hymns to stories of revolution and the war. It’s an American Gothic fantasy that straddles old tyme America and the outer edges of an imagined stratosphere. “Extremely influential.” Rolling Stone. // “A more intoxicating version of folk psychedelia.” Wire magazine. // “Shimmering folk hymns.” Spin magazine. // “Unabashedly poetic.” Crawdaddy. // Track listings: VINYL Side A A1 Where Is Love? A2 Butterflies (Alternate Version) A3 Love, You Are Not Alone A4 Grace Street A5 Translucent Carriages (Alternate Version) A6 Space. Side B B1 Rocket Man (Alternate Version) B2 City Of Gold (Alternate Version) B3 For Free B4 Wizard Of Is (Alternate Version) B5 Riegal (Alternate Version) B6 Sail Away (Alternate Version) B7 Footnote/When The War Began. Side C C1 Everybody's Got Pain (Alternate Version) C2 Crawling Towards Bethlehem C3 I'm Going To The City (Alternate Version) C4 Can't Go Back C5 Prisoner Of War C6 Another Time (Alternate Version) C7 If You Don't Want To (I Don't Mind) (Alternate Version) C8 (Oh Dear) Miss Morse (Alternate Version). Side D D1 The Jeweler (Alternate Version) D2 The Lincoln Dream D3 There's No Other (Like My Baby) D4 Roadside Hotel D5 Song About A Rose (Alternate Version) D6 Mary Mary D7 Crew Man D8 Suzanne D9 Oh Sister D10 Full Fathom Five/I Shall Not Care. Bonus download tracks: 1 Translucent Carriages (Live) 2 Island Lady (Live) 3 Morning Song (Live) 4 Marshall (Live) 5 Ballad to An Amber Lady / I Saw the World (Live) 6 Prayers Of Action / Candle (Live) 7 Rocket Man (Live)……. CD. Disc One: 1 Where Is The Love? 2 Butterflies (Alternate Version) 3 Love, You Are Not Alone 4 Grace Street 5 Translucent Carriages (Alternate Version) 6 Space 7 Rocket Man (Alternate Version) 8 City Of Gold (Alternate Version) 9 For Free 10 Wizard Of Is (Alternate Version) 11 Riegal (Alternate Version) 12 Sail Away (Alternate Version) 13 Footnote / When The War Began 14 Translucent Carriages (Live) 15 Island Lady (Live) 16 Morning Song (Live) 17 Marshall (Live) 18 Ballad to An Amber Lady / I Saw the World (Live) 19 Prayers Of Action / Candle (Live) 20 Rocket Man (Live)… Disc Two: 1 Everybody's Got Pain (Alternate Version) 2 Crawling Towards Bethlehem 3 I'm Going To The City (Alternate Version) 4 Can't Go Back 5 Prisoner Of War 6 Another Time (Alternate Version) 7 If You Don't Want To (I Don't Mind) (Alternate Version) 8 (Oh Dear) Miss Morse (Alternate Version) 9 The Jeweler (Alternate Version) 10 The Lincoln Dream 11 There's No Other (Like My Baby) 12 Roadside Hotel 13 Song About A Rose (Alternate Version) 14 Mary Mary 15 Crew Man 16 Suzanne (Alternate Version) 17 Oh Sister 18 Full Fathom Five / I Shall Not Care 19 Frog In The Window (Live at The Other End, 1972) 20 There Was A Man (Live at The Other End, 1972) 21 The Jeweler (Live at The Other End, 1972) 22 Another Time (Live at The Other End, 1972) 23 Every Change Is A Release (Live at The Other End, 1972) 24 Rocket Man (Live at The Other End, 1972) 25 Love/Sex (Live at The Other End, 1972)

With Maternity Beat, Hedvig Mollestad has surpassed herself, most significantly as a composer and arranger, and delivered her magnum opus so far. And with Trondheim Jazz Orchestra she found the perfect ensemble to perform it. They have a long tradition for collaborations like this, we can mention Chick Corea, Jason Moran and Marius Neset among many others. And as always, Hedvig truly shines as a guitarist. Maternity Beat is Hedvig’s third “solo” album. It was commissioned by Molde International Jazz Festival and premiered in July 2020, later the same year streamed at London Jazz Festival. The recording took place in Athletic Sound in Halden in October 2021. Since she received the festival’s talent price in 2009 and signed to Rune Grammofon the following year, we have had the great pleasure to release seven albums by her trio as well as two solo albums, all receiving wide international acclaim in both jazz and rock camps. To complete the circle, Hedvig has been chosen as next year’s Artist in Residence at the festival, a most prestigious institution in Norwegian jazz, held by John Zorn this year and initiated by Chick Corea in 2000 and Pat Metheny in 2001. Tracklist, all formats 1. On The Horizon, Part 1 2. On The Horizon, Part 2 3. Do Re Mi Ma Ma 4. Donna Ovis Peppa 5. Little Lucid Demons/Alfons 6. All Flights Cancelled 7. Her Own Shape 8. Maternity Beat 9. Maternity Suite

With Maternity Beat, Hedvig Mollestad has surpassed herself, most significantly as a composer and arranger, and delivered her magnum opus so far. And with Trondheim Jazz Orchestra she found the perfect ensemble to perform it. They have a long tradition for collaborations like this, we can mention Chick Corea, Jason Moran and Marius Neset among many others. And as always, Hedvig truly shines as a guitarist. Maternity Beat is Hedvig’s third “solo” album. It was commissioned by Molde International Jazz Festival and premiered in July 2020, later the same year streamed at London Jazz Festival. The recording took place in Athletic Sound in Halden in October 2021. Since she received the festival’s talent price in 2009 and signed to Rune Grammofon the following year, we have had the great pleasure to release seven albums by her trio as well as two solo albums, all receiving wide international acclaim in both jazz and rock camps. To complete the circle, Hedvig has been chosen as next year’s Artist in Residence at the festival, a most prestigious institution in Norwegian jazz, held by John Zorn this year and initiated by Chick Corea in 2000 and Pat Metheny in 2001. Tracklist, all formats 1. On The Horizon, Part 1 2. On The Horizon, Part 2 3. Do Re Mi Ma Ma 4. Donna Ovis Peppa 5. Little Lucid Demons/Alfons 6. All Flights Cancelled 7. Her Own Shape 8. Maternity Beat 9. Maternity Suite

Fleeting configurations of piano, wind, strings, synthetics, and field recordings, inspired by the Greek isles.
Previous albums adored by the likes of The Quietus, Exclaim, Drowned In Sound, etc.
For fans of Angelo Badalamenti & David Lynch soundtracks, Bohren & Der Club Of Gore, and Global Communication.
While on the island of Syros in the Aegean Sea for a film festival performance, Christina Vantzou experienced what she characterized as “a moment of focus”—a specific vision for the sprawl of raw recordings she’d been amassing for her fifth album. Upon relocating to the Cycladic island of Ano Koufonisi, she situated herself outside at a patio table with a laptop and headphones, taking brief breaks to swim, and began the “reductive process” of shaving and shaping the source material into uneasy but lyrical movements, alternately austere and adorned with strange inflections: glottal groaning, cavernous water, glittering eddies of modular synth, languorous silences. Mixing the pieces herself without outsourcing to an engineer compounded the intimacy and autobiographical dimension of the music; she refers to No5 as “almost like a first album.”
Drawing on sessions staged in February 2020, Vantzou’s editing instincts emphasize process and isolation, spotlighting resonance and restraint, liquidity and long tails. Fleeting configurations of piano, wind, strings, synthetics, and field recordings, these are spaces as much as compositions, surreal grottos of shifting light, suffused with a sense of invisible divinity. Although seventeen musicians appear on the record, the proceedings feel minimalist and malleable, sculpted from interstitial moments and oblique synchronicities. The definition of a composer as “one who joins things” is here both plumbed and proven; Vantzou describes No5 as “a letting go,” a place of “soft borders,” unfixed and undefinable.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

Three-time Grammy nominees, the San Antonio, Texas-based quartet NOTHING MORE return with their highly awaited seventh album, 'SPIRITS'. It features thirteen focused, adventurous and intense songs, uniting introspective philosophical lyrics with unapologetically massive anthems, including the in-your-face 'TURN IT UP LIKE (Stand In The Fire)', their most recent Top 10 Billboard Active Rock radio single 'TIRED OF WINNING'. Since emerging in 2003, NOTHING MORE has made rock radio chart history with no. 1 singles for both 'This is the Time (Ballast)' and 'Go To War', while they also have seven Active Rock Radio Top 10 singles in their repertoire. 'SPIRITS' further proves their expertise in the rock genre and beyond. It documents the tumultuous time the world experienced over the past two years capturing the desperation and isolation of lockdown, the spiral of substance abuse, the pain of broken relationships and survival in self-reliance while summarizing the overall story and mission of NOTHING MORE: Reflect, Provoke, Inspire.

** INITIAL 400 LPs CONTAIN A BONUS 7" OF A RARE XMAS SOUL 45! **

** THE 4th VOLUME OF RARE & HIP-SHAKING SEASONAL GROOVES!! **

Dear Santa, we just loved "Santa's Funk & Soul Christmas Party," Volumes 1-3 TRLP-9013, TRLP-9027, TRLP-9050, and we have really tried to be good this year! Please bring us a whole 'nother album's worth of rare and obscure Christmas-themed funk and soul!

When the third volume of "Santa's Funk & Soul Christmas Party" was released in 2015, everybody involved was certain that it would be the final one. For years, the curators had been looking for "Christmas Rare Grooves" until they finally realized there was nothing left to discover that would justify a fourth volume. Sure, it would have been an easy task to dig through the catalogues of major labels to come up with 40 minutes of more-or-less trivial Christmas soul music. But who on earth would want that kind of album? Since the foundation of Tramp Records in 2003, the label has gained a high reputation as one of the very few German reissue labels of obscure funk, soul, and jazz music. 99% of the songs originate from 7" singles, the small and handy standard-format of the 1960s, which, like Santa's sleigh magically circling the planet on Christmas Eve, spins at forty-five revolutions per minute on the turntable.

So, what can you expect from this, the fourth volume of a series which had ostensibly been completed with only three volumes? After some seven years of digging across the world wide web with open ears and eyes, never tiring of the hundreds of (mainly) shitty songs, hoping to find that kind of monster soul or funk track that constituted the hallmark of the previous volumes, the compilers slowly and surprisingly began to see a fourth volume taking shape. Finally, after more than two thousand days, a complete album's worth of quality tunes had been discovered and secured for release.

"Santa's Funk & Soul Christmas Party Vol. 4" contains a highly diverse selection of obscure Christmas songs. For example, take Bey Ireland's garage-mod-rocker "All I Want For Christmas Is A Go-Go Girl," is something to get you go-going around the tree! Do you prefer mirror-balls to tinsel? Check out Bill Deal with Pure Pleasure. Too fast? How about the dazzling-melancholic "I Won't Be Home For Christmas"? Do you prefer rap music while you wrap presents? Then your choice is going to be Hot & Sassy. Old-School-Hip Hop at its best. Every single song has a compelling reason to be included in this extraordinary selection. Not least is the opening track by Sharon Jones & the Dap-Kings. Their contribution represents the soul sound of the 21st century. Charming soul music with sociocritical lyrics, something you rarely find in the current musical landscape.

Even though the selected tracks that the two compilers and their worker elves proudly present on "Santa's Funk & Soul Christmas Party Vol. 4" are unbelievable, they are very real and will be the surprise gift from Santa this season that can be enjoyed year-round! It took seven years to complete, but believe us when we say it was well worth the wait. Merry Christmas, everybody!

Key selling points:

- initial 400 LPs contain a BONUS 7" of a ULTRA-RARE Christmas soul 45

- ALL but one song appear on CD, Vinyl LP and digital for the very first-time

- the vinyl LP comes with a full album download code

- fold-out CD-booklet and gatefold LP come with liner notes and label scans

Not every two-year period measures out the same, noted Brendan Benson, the 51-year old Grammy-nominated singer-songwriter and co-founder of The Raconteurs. Benson had just finished his well-received seventh album, "Dear Life" in 2019 when his world came to a stop. "I was rehearsing for South-By-Southwest and gearing up for a tour and had a band ready and then, of course, the world shut down," he said in a recent interview. The lockdown then began to reroute lives, societies and ambitions worldwide. "Everything changed," Benson said. "I went to work on some songs so I"d have new material when things opened up." Over months with minimal interactions, those songs coalesced and took on lives of their own, he said. Two years of semi-isolation, of fading relationships, of the natural inward turn that comes with less human contact unexpectedly pushed Benson"s song-writing into new places. Instead of being an afterthought, Benson"s solitude evolved into, "Low Key" the eighth album by the idiosyncratic songwriter who has enjoyed both world-wide popularity with the Raconteurs and a devoted cult following for his numerous solo projects. Low Key, the Nashville-based artist said, was his chance to explore how lives and relationships changed during the lengthy isolation from the normal interactions of everyday life.

With I was born by the sea, Richie Culver brings to a close a period of intense introspection and emotional reckoning with a debut album that serves as both an optimistic statement of intent and a final glance back at the painful places it explores. Following recent work with Blackhaine and Pavel Milyakov, I was born by the sea picks up where Culver’s EP for Italian label Superpang, Post Traumatic Fantasy, leaves off, painting an unabashed portrait of contemporary malaise, detailing a life lived behind closed doors, pinned under the crushing weight of austerity, sapped of the strength to do anything other than gaze out to sea and all the grey possibilities it represents. Where Post Traumatic Fantasy saw Culver returning to his hometown of Hull after a period spent entangled in London’s relentless sprawl, his first full length project reaches further back to his formative years working in a caravan factory and going to raves in and among Hull’s outskirts. Unspooling like a fever dream, I was born by the sea is the anxious clutter of a racing mind spoken clearly, a stark reflection on how it feels to have too many ideas and too much time to act on them.

Though unquestionably a snapshot of a time of significant difficulty, Culver reflects on this period with tender empathy and pitch-black humour, stitching together unflinching observations from England’s neglected corners, ‘there’s more mobility scooter repair shops and bookies than there are bookshops,’ and devastating vignettes of everyday struggle, ‘tears on the tin foil’, with surreal depictions of industrial grit, ‘skimming stones in a small pond by the slaughterhouse’. His DIY approach to production stretches the rough sinew that connects these fragments of memory, a process he describes as using a paired back collection of synths and drum machines to the best of his ability, ‘but to the least of their capabilities,’ wringing out visceral sound with self-taught urgency. During the album’s most impressionistic passages it’s as though Culver has transposed past internal turmoil into powerfully resonant noise, the Sisyphean sonics of ‘Create A Lifestyle Around Your Problems’, which evokes in its concrète clatter and MRI machine barrage the sound of making the same mistake again and again, or the stuttered jumble of ‘Its Hard To Get To Know You,’ its garbled vocal modulation and frayed edges of distortion channeling the paranoia of somebody listening to muffled voices through thin plaster, climbing the walls of their bedroom with the curtains closed, a nervous breakdown in stereo.

In counterpoint to this glides the ever-present spirit of the dance floor, which haunts the record from the moment it is invoked in its first few seconds. Opening onto a sea wall of bright synthesis, the stuttering vocals and bass tone chops of ‘Nervous Energy’ dump us directly into post rave ecstasy, the echoing cry of a voice amplified by loudspeaker carrying the loose energy and surge of crowds moving in darkness. The incessant, dead phone line beep of ‘Pigeon Flesh’ builds to a pulse that suddenly swells into an anxious technoid surge, shapeshifting at lysergic speed into head shrinking audio hallucinations, a descent into the void of the present via machine music hypnosis. Even ‘Its Hard To Get To Know You’ summons the ego death drive of hardcore techno within its scorched textures, flickering indiscernibly between attritional noise and frazzled hardware stomp. Paying homage to both the parties of his youth and a countless succession of Sundays spent offering himself up within Berghain’s hallowed architecture, Culver’s experiments in addressing his formative relationship with rave provide an energetic glimpse at where he might take his sound next.

Between spikes of propulsive energy and grim mood pieces Culver returns to suspended passages of aching, glacial drift, the cold swell of the North Sea, accompanied by some of his heaviest testimonials. The gauzy ebb of ‘Daytime TV,’ its tumbling loops reminiscent of boats bobbing off a distant shore, sees the artist at his most checked out, slumped in front of his television, seven days a week. ‘I used to dream of doing something,’ he admits, ‘anything to get out of this town.’ ‘Love Like An Abscess’ pairs swirling currents of ambient shimmer with violent images of baseball bats lying next to beds and blood-stained mattresses, next to which Culver pleads in a desperate mumble, ‘let our love grow, like a broken abscess.’ Yet it’s with the album’s final word and title track that Culver reveals a glimmer of cautious optimism, a parting gesture of exposition and closure. ‘I knew I had to get away,’ he asserts, ‘so I did and I never looked back.’ What follows builds from a low throb, the flutter of a tiny heartbeat, to a resonant glow, embellished with unfurling synthetic burbles, oil rigs sparkling in the distance, golden light spilling across the sea. In reckoning with the place he had to escape, Richie Culver is now free to look towards the promise of something new, something hopeful.

Superb EP !
The A1 tune from C. Ysme is a pure jewel... Mental sneaky and twirling, and it's followed by another pearl !
The flip opens with a crazy collab between C.Ysme and Sevenum Six

... but what to say about the Yakh track : a superb creation of a kind... Experimental and dancefloor... Splendid tune !

The Don Killuminati: The 7 Day Theory (commonly shortened to Makaveli) is the fifth studio album by Tupac Shakur, his first posthumous record and the last released with his creative input. Recorded in seven days in August 1996, it was released on 5th November, 1996, almost two months after his death, under the stage name of Makaveli, through Death Row Records, Makaveli Records and Interscope Records.

The Don Killuminati: The 7 Day Theory debuted at number one. It is his only album released under the new alternative stage name and features guest appearances from his rap group Outlawz and rapper Bad Azz, as well as R&B singers Aaron Hall, Danny Boy, K-Ci and JoJo, Val Young and Tyrone Wrice, along with uncredited vocal contributions from reggae musician Prince Ital Joe.

Originally intended as an underground release and preceded by the release of “Toss It Up” as the lead single, the album peaked at number one. “To Live & Die in L.A.” and “Hail Mary” were released later as singles and both garnered praise as standout tracks from the album. All singles charted within the top twenty of the UK Singles chart.

Das sechste Album von Jamiroquai aus dem Jahr 2005, "Dynamite", ist ein weiterer Schritt in Richtung Disco-Funk der 70er Jahre, der mit einigen modernen Elektroklängen aktualisiert wurde. Mit den Hits "Dynamite", "(Don't) Give Hate A Chance". Schwarzes Doppelvinyl, Gatefold-Cover.6eme album de Jamiroquai sorti en 2005, "Dynamite" creuse encore le sillon du disco-funk 70's en le réactualisant avec quelques sonorités électro efficaces et de bon gout. Avec les tubes "Dynamite", "(Don't) Give Hate A Chance". Double vinyle noir, pochette gatefold.

yellow marbled vinyl / full colour sleeve / incl. dl code

"Whirlpool-Gedanken" is the next 4 track EP by Schwefelgelb. A dedication to precise, sharp and punchy drums and percussion, embedded in a floating structure of synth sequences. A sound that recalls the explosive expression of Industrial Techno as well as the smooth progression of Detroit Techno at the same time. NPLX004 comes on 140 g colored vinyl including a download code and will be released 11th of November. The digital version contains a bonus remix by Ospiel. Presale starts 7th of October.

Schwefelgelb is a Techno duo from Berlin mostly known for their strikingly energetic live performance, which brought them into clubs and festivals all around the globe. Previous releases on n-PLEX, aufnahme+wiedergabe, Fleisch Records and Minimal Wave Records' imprint Cititrax have been supported by acclaimed DJs (Adam X, Amelie Lens, Ellen Allien, Helena Hauff, Jasss, Jensen Interceptor, Phase Fatale, Randomer, Rebekah, Regis, Samuel Kerridge, Silent Servant, SPFDJ, The Hacker, Tommy Four Seven, Veronica Vasicka, VTSS and more).

The album is an eighty-seven-piece work for electric
guitars, orchestra, choir and electronics. Featuring the
Metropolis Ensemble conducted by Andrew Cyr , the
Brooklyn Youth Chorus conducted by Dianne Berkun
Menaker, and chamber choir The Crossing conducted by
Donald Nally, Telekinesis is the first studio recording of
the work. The Guardian calls it ?a superpower-themed
symphony ? a titanic composition.'

A rich musical journey comprising eleven songs, Madrid channels the chaotic charms of the Spanish capital where Nev has recently relocated.

"I love the way life works here. It's organised chaos. Walking
the neighbourhoods of Lavapiez and La Latina you begin to see how everything is perfectly balanced...how to eat, how to party and then how to relax! It's perfection. When it all gets too much I run away to
the English countryside"

Side A cut 'The Ring' calls to mind Cowboy In Sweden era Hazlewood while that Mustang bass, scratchy guitars and cool 60's drum fills invoke Serge and Vannier for ' Silver Screen' and title track 'Madrid'. Scott 4 is obviously a touchstone and Nev has never been one to hide his reverence for one of the greatest albums of all time. Seven minute wonder 'Under The Skin' channels Walker's

Für Fans von: Absu, Melechesh, Moonspell, Rotting Christ, Nile.
Unheiliger Black Metal aus dem Heiligen Land, durchtränkt von nahöstlichen Klängen und Mystik! Eine Beschwörung der Jahrtausende alten
Finsternis!
Die fünfköpfige Black/Death-Metal-Band Arallu stammt aus der israelischen Siedlung Ma'ale Adummim in Israel und ist seit fünfundzwanzig
Jahren im Metal-Underground unterwegs.
Der Name Arallu stammt aus der mesopotamischen Mythologie und bezeichnet das Reich der Unterwelt, das von der Göttin Ereshkigal und dem
Gott Nergal regiert wird und in dem die Toten gerichtet werden. Die Musik von Arallu dreht sich um die traditionellen, altorientalischen Melodien
der Landsleute Melechesh, die Hochgeschwindigkeits-Wildheit von Bands wie Angelcorpse und Absu, und dem atmosphärischen Gefühl legendärer Acts wie den zuvor erwähnten Melechesh und Absu.
Im Jahr 2019 hat die Band das Album "En Olam" veröffentlicht, und dieses Werk hat Arralus bereits bekanntes Talent in der Underground-Extrem-Metal-Gemeinde gefestigt. "Death Covenant" ist das siebte Full-Length-Studioalbum der Band und bietet dem Hörer eine atemberaubende
Mischung aus okkultem Black Metal und alten sumerischen und nahöstlichen Klängen. Die Riffs, die hier zu finden sind, werden die Hörer mit
ihrer Raserei von melodischen Tremolo-Riffs, die mit einigen unheimlichen Folk-Instrumenten verwoben sind, zufriedenstellen. Die Elemente in
der Gitarrenabteilung, die mit einigen Folkinstrumenten wie einer Saz und einer Darbuka vermischt sind, zeigen, wie die Band den Metal erfolgreich auf seinen Kern reduziert und das verleiht dem Gesamtergebnis von Arallus Musik einen zusätzlichen Punch und eine gewisse Schwere im
unteren Bereich. Er liegt im Grunde genommen gleichmäßig unter den Gitarren und unterstützt sie mit einigen dicken Linien, die den Streichern
ein tieferes Gefühl verleihen und den Tracks eine bedrohliche Atmosphäre verleihen. Auch die Schlagzeugsektion fesselt die Aufmerksamkeit des
Publikums mit einer Vielzahl von zerstörerisch stampfenden Kontrabässen bis hin zu orientalischem Tribal-Drumming, das viel dazu beiträgt, dass
die Atmosphäre intakt zu halten. Die Platte ist voll von hohen, durchdringenden Schreien und Kreischen, die eine dunkle und raue Klanglandschaft schaffen. Diese bösartigen Schreie werden manchmal mit unheimlichen Backing Vocals, die die Brutalität extremer Death- und Black-Metal-Musik mit den alten nahöstlichen Skalen des Materials verbinden. "Death Covenant" zeigt auch die bisher stärkste Produktion der Band in den
fünfundzwanzig Jahren ihres Bestehens.
Mit "Death Covenant" haben Arallu ein bedrohliches und atmosphärisches Biest in diesem Metal-Stil geschaffen. Die Israelis haben ein grausames
Album vorgelegt, das kaum mit seinen Vorgängern vergleichbar ist.

Unholy Black Metal from the Holy Land, drenched in Middle-Eastern tones and mystique! An invocation of thousands of years of Darkness! Hailing from the urban Israeli settlement called Ma’ale Adummim in Israel, Arallu is a five-piece Black/Death Metal act that has been around the metal underground for twenty-five years. The band got the name Arallu from the Mesopotamian mythology, as it is the name of the underworld kingdom ruled by the goddess Ereshkigal and the god Nergal, where the dead are judged. Arallu’s music revolves around the traditional ancient Middle Eastern melodies of fellow countrymen Melechesh, the high speed savagery of bands like Angelcorpse and Absu, and the atmospheric feel of legendary acts like before mentioned Melechesh and Absu. In 2019 the band had released the record called “En Olam”, and that opus has solidified Arralu’s already known talent to the underground extreme metal community. “Death Covenant” is the band’s seventh full-length studio offering and the album offers the listeners a very stunning infusion of occult Black Metal music with the ancient Sumerian and Middle Eastern sound. The riffs found in here will satisfy the listeners with its frenzy of melodic tremolo picked riffs that is intertwined with some eerie folk instrumentation. The elements in the guitar department, thrown in with a few folk instruments such as a saz and a darbuka, reveals how the band had successfully stripped metal down to its core and added a personal touch of their own special flair. them and it provides that extra punch and low-end heaviness to the overall outcome of Arallu’s music. It basically lies steadily beneath the guitars as it backs them up with some thick lines that give a more deep feel to the strings and dispenses an ominous atmosphere to the tracks. The drum section also catches the audience’s attention with a variety of destructive pummeling double bass blasting to some Middle Eastern tribal drumming that helps a lot in terms of keeping the atmosphere intact. The record is filled with high-pitched piercing shrieks and screams which create a dark and raw soundscape. These vicious shrieks are sometimes jacked up with some uncanny backing vocals that tie together the brutality of extreme death and Black Metal music to the ancient Middle Eastern scales of the material. “Death Covenant” also parades the band’s strongest production to date in their twenty-five years of existence. Arallu had created a menacing and atmospheric beast in this style of metal with their release of “Death Covenant”. These Israelis had put out a savage album that is hardly comparable to its predecessors.

Always pushing forward, always aiming higher: In the 20 years of their existence, EPICA have never shied away from challenges, twists and turns, weathering every storm and pushing the symphonic metal genre to heights no one even dared to believe in. Since 2002, the band surrounding global metal icon Simone Simons and her long-time musical partner Mark Jansen have released eight highly innovative and cinematic albums, have toured the world over and have left their mark as one of metal’s most prolific, most cherished and most admired success stories forever.

With "The Alchemy Project", EPICA set another highlight in the band's 20th anniversary year! Graced by a vivid and witty artwork by graphic wizard Heilemania, EPICA embark on a journey through seven extraordinary new songs. Co-written and performed with diverse guests ranging from extremists like Fleshgod Apocalypse, Niilo Sevänen (Insomnium) and Björn ‘Speed’ Strid (Soilwork) via melodic masters like Tommy Karevik (Kamelot), keyboard legend Phil Lanzon (Uriah Heep) or Roel van Helden (Powerwolf) to a once- in-a-lifetime song with Simone Simons, Charlotte Wessels and Myrkur, EPICA have really outdone themselves once again. The result is a mind-bending release that even surpasses the usual broad scope of an EPICA record.

Always pushing forward, always aiming higher: In the 20 years of their existence, EPICA have never shied away from challenges, twists and turns, weathering every storm and pushing the symphonic metal genre to heights no one even dared to believe in. Since 2002, the band surrounding global metal icon Simone Simons and her long-time musical partner Mark Jansen have released eight highly innovative and cinematic albums, have toured the world over and have left their mark as one of metal’s most prolific, most cherished and most admired success stories forever.

With "The Alchemy Project", EPICA set another highlight in the band's 20th anniversary year! Graced by a vivid and witty artwork by graphic wizard Heilemania, EPICA embark on a journey through seven extraordinary new songs. Co-written and performed with diverse guests ranging from extremists like Fleshgod Apocalypse, Niilo Sevänen (Insomnium) and Björn ‘Speed’ Strid (Soilwork) via melodic masters like Tommy Karevik (Kamelot), keyboard legend Phil Lanzon (Uriah Heep) or Roel van Helden (Powerwolf) to a once- in-a-lifetime song with Simone Simons, Charlotte Wessels and Myrkur, EPICA have really outdone themselves once again. The result is a mind-bending release that even surpasses the usual broad scope of an EPICA record.

Ron Carter and Richard Galliano decided to risk intercontinental
collaboration for the second time after 1990, when they recorded their
acclaimed album "Panamanhattan" in Paris
Here the French accordion master, whose fingers fly over the keyboard with
acrobatic ease and can make the instrument weep in melancholy or rejoice with
joy. There the American bass wonder, whose deeply tuned strings enhance more
than 2,500 (!) recordings and are among the cornerstones of the complete artistic
works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin,
Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero
status in their own worlds and can actually only lose when they transgress into
each other's terrain. "Believe me, there is nothing more real than to go on stage
with a gambler," Carter raved about the refreshed liaison with his Gallic buddy.
The two rediscovered the once lost central thread in March 2016 at Jazz Week in
Burghausen as a short intermezzo during a joint appearance with the WDR Big
Band. The provisional climax was then the recording made in Theaterstu?bchen
in Kassel on October 29. Galliano recalled: "Before we got going, I said to him:
"Can you believe it? Twenty- seven years have passed, we are still the same and
I'm still playing the same accordion. To which Ron just responded: "And we have
still same fingers!" With these 20 nimble tools, the two protagonists of the
musical joint venture interact without fear of contact. Neither remains in his
accustomed position. Like two intrepid mountaineers, they balance over a
yawning abyss, perform daring maneuvers and clear the way for each other time
and again. The longer the intimate wanderings of subtle nuances and sensitive,
dancing elegance last, the greater the familiarity seems to be. "Richard really
seizes every rhythmic and harmonic chance," the American marveled about his
French partner. And he replies gallantly: "Ron still looks so young, fresh and
elegant like three decades ago. And he is still enthusiastic, straightforward and
comes straight to the point." An often thoughtlessly used image rarely fits better
than on this very special evening: Ron Carter and Richard Galliano create a
universal musical language, whose vocabulary consists of notes. Risk- free
enjoyment

On her debut album Alone at Last, Tasha celebrates the radical political act of being exquisitely gentle with yourself. For years, the Chicago songwriter has dreamed hard of a better world_she's worked with the local racial justice organization Black Youth Project 100 and has been on the front lines at protests around the city. But as she returned to the guitar, an instrument her mother first taught her to play when she was 15 years old, she began exploring the ways music can be a powerful force for healing. Across Alone at Last's seven tracks, Tasha sings mantras of hope and restoration over lush guitar lines inspired by the stylings of Nai Palm and Lianne La Havas_both artists who, like Tasha, opt for a sweetness in their playing over the masculinized bravado that often accompanies the electric guitar. Alone at Last is a powerful talisman in a demanding world, and a reminder that kindness toward the self can help unlock the way to a world a little more livable than this one.

Suns of Arqa is a sonic mission created by luminary Michael Wadada, who began in 1979 after receiving higher guidance in Jamaica while working with roots reggae chanter Prince Far-I. It is a prolific traveling music collective that has seen over 200 collaborators, meant to connect people from all cultures and walks of life through a "deeply spiritual vibration that merges cultures, faiths and musical genres". Wadada combines ancient Hindustani raga systems with Piobaireachd and Nyabinghi roots drumming, creating ritualistic world music infused with dub and reggae. The lyrics combine both mystical and sensory elements, often including prayer and referencing a higher power but finding root in experiences common to all people- memory, sight, and physical sensation. Their first album, Revenge of the Mozabites, was a collaboration between Wadada and On-U Sound creator Adrian Sherwood. Following its 1980 release, Peter Gabriel invited them to perform at the first WOMAD festival. Today, the record is regarded by some as a cult classic.

We would like to present Paloma's seventh release: Tom feat. Rose - Lose Yourself EP
Throughout club music history, the combination of vocals and groove remains a vital element. Countless anthems have prompted singing on the floor, and have raised arms in the air. There might have been times where vocals mattered less, but right now they are probably more needed than ever.
Tom & Rose are well aware of all that, and they were willing to place themselves and their music in a tradition of dancefloor euphoria, universal messages and also a bit of bittersweetness.
Tom is a DJ, producer and mix engineer, and also a booker and resident at Paloma. Rose is an Irish singer and producer. Together they created these tunes, a testament to better times gone and ahead."How Wrong" is the sound of heartbreak, albeit locked in a UKG tinged sureshot that swings back and forth with ease between jubilant piano bliss and monolithic bass weight, and it kicks like a mule. "Lose Yourself" is both an ageless acid slam and a joyful paean dedicated to all nights that should never end. There is a pumping dub too,
equally designed to be the soundtrack to blowing a nocturnal kiss to everyday sorrows.
Also included: complementary remixes by Eluize and Massimiliano Pagliara that come up with a different take, but a similar vision.
Enjoy the music, and stay safe!

Reissue of the oud / viola virtuoso SIMON SHAHEEN's interpretations of pieces by one of the Middle East's most important 20th Century composers, MOHAMED ABDEL WAHAB. Produced by BILL LASWELL, remastered for vinyl at D&M Berlin.

MOHAMED ABDEL WAHAB (1902-1991) was "a giant in the world of Middle Eastern entertainment" (Al Jadid Magazine) - as singer, actor and composer – and is commonly considered "the father of modern Egyptian song". After a visit to Paris, he revolutionized the film industry by introducing the genre "musical film" to the Arabic world, the movie "The White Rose" in which he starred broke all records and to this day is frequently presented in Cairo's cinemas. But in 1950, WAHAB left the film industry to focus on singing and composing – he wrote over 1800 songs (among others for Umm Kalthoum, an iconic artist in the Arabic music in her own right) that were deeply rooted in classical Arabic music but also laid the foundation for a new era of Egyptian music as WAHAB was open to Western elements such as waltz rhythms or even rock'n'roll in Abdel Halim Hafez's song "Ya Albi Ya Khali". He also composed several national anthems (Tunisia, Oman, Libya, United Arabic Emirates) and re-composed the Egyptian national anthem "Belady Belady Belady", based on the original by Sayed Darwish. WAHAB received several decorations of Arabic states, and at his death in 1991, Egypt honored its famous son with a huge military funeral at the Rabia al-Adawiya Mosque in Cairo, the six-horse carriage procession carrying his coffin was actually led by the prime and foreign ministers, followed by the ministers of defense, interior and culture!


SIMON SHAHEEN (born 1955) is the perfect choice for WAHAB's compositions. Born into a family of gifted musicians, he learned playing the oud at the age of 5 and the violin shortly thereafter. He earned degrees in Arabic literature and music performance at the Tel Aviv University, and later pursued further studies at Hebrew University of Jerusalem and after his emigration to the USA (in 1980) at the Manhattan School of Music and Columbia University. SHAHEEN lives in New York where he founded the Near Eastern Music Ensemble and Qantara, a formation that blends traditional Arabic Music with elements of Jazz and classical music, and he also has been organizing the Annual Arab Festival of Arts called Mahrajan al-Fan since 1994. The same year he received a National Heritage Fellowship from the National Endowment for the Arts at the White House. Solo albums like Saltanah (Water Lily Acoustics), Turath (CMP) or Taqasim (Lyrichord) underline his importance as one of the most significant Arab musicians, performers, and composers of his generation. His work incorporates and reflects a legacy of Arabic music, while it forges ahead to new frontiers, embracing many different styles in the process. SHAHEEN has participated in many cross-cultural musical projects with artists as diverse as Henry Threadgill, Vishwa Mohan Bhatt, or the Jewish klezmer ensemble The Klezmatics, contributed to the soundtracks for The Sheltering Sky and Malcolm X and composed the entire score for the United Nations sponsored documentary, For Everyone Everywhere, celebrating the 50th anniversary of the United Nations Human Rights Charter. SHAHEENS biggest success was the Qantara album Blue Flame (2001) which has been nominated for eleven Grammy Awards.

Besides all his activities as performer, he dedicates a good part of his time to working with schools and universities, including Julliard, Columbia, Cornell, Princeton, Brown, Harvard, Yale, University of California in San Diego, University of Michigan in Ann Arbor and many others.
The Music Of Mohamed Abdel Wahab was originally released in 1990 on Axiom, the record label curated by iconic producer and bass player Bill Laswell, and has been carefully remastered for this vinyl reissue at D&M, Berlin.


Press quotes:
"Master oud player and composer Simon Shaheen finds the perfect mix on this collection of Mohammed Abdel Wahab's pieces … seven wonderful interpretations sparkling with oud and strings interplay." Stephen Cook / AllMusic


"Shaheen's violin soars over a slicing string section and a bed of percolating percussion, while accordion, oud, finger cymbals and a chorus of singers weave in and out. Produced with sparkling clarity by Bill Laswell … this record opens a new world of harmonic and melodic possibilities to ears accustomed to Western pop." Greg Kot / Chicago Tribune


Musicians:
Simon Shaheen: Oud, Violin, Viola
Najib Shaheen: Oud
Sheikh Taha: Accordion
Anton Hajjar: Ney
Paula Bing: Flute
Ramzi Bisharat: Tabla
Hanna Mirhige: Mizhar
Michael Baklouk: Daff
Bobby Farah: Sagat
Ibrahim Salman: Quanoun
Artemis Theodos, Gabriel Palka, Nessim Dakwar, Kamil Shajrawi: Violin
Mike Richmond: Double Bass
Michael Finkel, Vladimir Greenberg: Cello
Laura Shaheen, Louise Salman, Maurice Chedid, Nermine Rawi,
Simon Shaheen, Youssef Kassab: Chorus

'Transplant Rejection’ is the second in a trilogy of cassette albums released via Muscut in the latter half of 2022. The work of Estonian artist and IDA Radio co-founder Robert Nikolajev, this collection of seven ‘almost’ dark ambient tracks embody the melancholy of autumn whilst hinting at the forthcoming eternal winter. A man with many hats, Nikolajev operates on the fringes of the leftfield house underground for labels such as Incienso, Collect-Call and Sad Fun as well as being one half of the sporadic DIMA DISK act with Ragnar Rahouja. Eschewing the more rhythmic side of his productions for this Muscut tape, Nikolajev taps into the fictional soundtrack atmospheres the label is known for and brings his own brand of wistful, introspective world-building by way of machine harmony to the now Tallinn based imprint.



There’s a lo-fi, grainy quality running throughout the collection, a kind of sepia-toned nostalgia that envelops the listener and disorientates any perception of time or place. Buried vocal fragments sit in the mix on ‘Stifled’ alongside decaying synthesiser drones whilst ‘DDM’ channels an edgy post-rock dirge with its use of sagged bass guitar. Overall, an inspired look into the more ‘at home’ side of this increasingly prolific Estonian artist.

Deron Miller gives his life to the riff. Unrestrained by industry expectations and genre limitations, the boundlessly prolific guitarist and voice behind multiple beloved projects is best known as the founder, frontman, and songwriter in CKY. His authentic and effortlessly hooky heavy rock obsession returns with 96 BITTER BEINGS. Reinvigorated and ready to rumble all over again, Miller roars back with the same reverence for riffage that made underground hits out of CKY anthems like “Flesh Into Gear,” “Escape from Hellview,” and “Disengage the Simulator” from 1998 till 2011.

The familiar warmth, feel, groove, and unapologetic honesty which drove the song “96 Quite Bitter Beings” to 54 million streams (on Spotify alone) permeates the pair of albums unleashed by 96BB.

A successful crowdfunding campaign saw Miller, guitarist Kenneth Hunter, bassist Shaun Luera and Shaun’s brother, drummer Tim, conjure up 2018’s Camp Pain in limited release. North American and European touring followed, wrapping up shortly before the COVID-19 shutdowns.

“After CKY and a short break, I decided to continue, without changing the sound,” Miller explains. “Because that’s what I do. It’s what I love to do and what people say I do well. All of the guys who got in the band with me are great musicians. And each of them is hungry. They have priorities and ambitions about being in a rock band, no matter the grim state of pop music out there. If we can bring rock and metal back to the mainstream, in some way, that’s the dream.”

In 2022, 96 BITTER BEINGS unleash the long-awaited Synergy Restored, 11 songs of relentless power and vibe. Four-on-the-floor, fuzzy and visceral, proper rock n’ roll made by an actual band, rather than a bunch of overprocessed samples and otherwise stale shenanigans. Songs like “Vaudeville’s Revenge,” “90 Car Pile-Up,” and “Wish Me Dead” offer vivid reminders of the truth-telling prowess of guitars, bass, and drums. Miller is on fire, weaponizing the same knack for memorable musical epiphanies behind projects like Foreign Objects, World Under Blood, and CKY.
Miller co-founded Foreign Objects and later Camp Kill Yourself (a name born of his love of VHS slasher classics) in West Chester, Pennsylvania, in the ‘90s. Written by Miller, 1999’s Volume 1 appealed to metalheads, skaters, stoners, and punks. The album led to a stint on Warped Tour and a deal with Island Def Jam Music Group, which issued Infiltrate•Destroy•Rebuild• in 2002. Axl Rose chose CKY to support the ill-fated Chinese Democracy tour, and they also played with Metallica.
An Answer Can Be Found followed in 2005, producing the Billboard Mainstream Rock Top 40 single “Familiar Realm.” Extensive touring with Avenged Sevenfold and the like-minded Clutch followed. Carver City, in 2009, would prove to be Miller’s last album with the group he created and led. Across the four albums, Miller indulged his love of everything from ‘80s thrash metal to doom, as CKY blended high-octane ruckus with occasional bursts of Moog synths and cinematic storytelling.
Miller never stopped creating, with a handful of full albums written and released, a foray into horror movies, and parenting three children with his wife, scream queen actress Felissa Rose. Like Galactic Prey, the most recent Foreign Objects album, the 96BB records were recorded and produced by Miller and Hunter at Manifest Productions. Camp Pain was explicitly made for diehard fans who supported the creation of both albums through 96BB’s Indiegogo campaign. Synergy Restored was always intended for wider release, which it sees now via Nuclear Blast.
“I want my work taken seriously. I thank God every day that I was never overexposed, or even exposed enough commercially, to where I’m resigned to a specific moment,” Miller says. “I would rather have my self-respect, the respect of the audience, and a dedicated cult following.”

“Every time I go out, I see Nirvana, Metallica, and Misfits t-shirts. These kids may not know the music, but at least they are displaying a visual interest,” he adds. “Corporations spend millions of dollars promoting certain styles of music, but history proves that true rock will always sneak in.”

Slade were unstoppable throughout the seventies becoming one of Europe's biggest bands, releasing 6 smash hit albums, including three UK No-1’s, a run of 17 consecutive Top 20 singles and their hits are synonymous with the glam era. First released in 1973, this splatter vinyl of ‘Sladest’ hears the band smash through a series of hits and covers including Cum On Feel The Noize, Mama Weer All Crazee Now and Coz I Luv You

Change Of The Century is an album by jazz saxophonist Ornette Coleman, who is regarded as the inventor of free jazz. Change Of The Century was released on Atlantic Records in May 1960. It sold very well soon after its release. Recording sessions for the album took place on October 8 and 9, 1959 in New York City. The album consists of seven compositions, all by Coleman himself. We hear Coleman on alto saxophone, Don Cherry on pocket trumpet, Charlie Haden on bass and Billy Higgins on drums. Change Of The Century was recorded in early October 1959 and was released by Atlantic Records. Some songs could be classified as free jazz, but there are also compositions that could easily be considered as hard bop.

Change Of The Century is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl.

Billy Preston was an American musician, who encompassed R&B, rock, soul, funk and gospel. He worked as a top session musician during the Sixties, backing artists such as Little Richard, Sam Cooke, The Rolling Stones and the Beatles amongst others. He is even the only non-Beatle musician to be given a credit on a Beatles recording at the band’s request. His solo career took off during the first half of the Sixties, but it was his early Seventies soul work that put him on the permanent musical map.

You Can’t Keep A Good Man Down was one of Preston’s final studio albums and originally came out in 1986. “What About The Love” was released as a single. The album is available as a limited edition of 750 individually numbered copies on pink & purple marbled vinyl.

Emotional Rescue finally gets around to reissuing some House music with the start of a 3 x 12 series from Miami's Dancefloor Records. Covering House and Freestyle, this is music as worthy as any other explored to date.Founded by British ex-pat Jeffery Collins in 1983, Dancefloor Records was the culmination of a music industry journeyman's long career from swinging sixties London to bohemian seventies NYC before relocating to the sunnier climbs of Miami.Taking in the City's unique mix of American, Latin and Caribbean sounds, Dancefloors early success came via a long association with reggae turned disco star King Sporty. While his legacy will be looked at in future, this series concentrates on Dancefloor's shift to the growing club sounds emanating from Chicago and NYC.First is the little is known Eighth Ray. As often the case, a project by a group of musician friends who went on to release under various pseudonyms. From the opening spoken word intro of Axis Of Love, the spaced-out 4/4 and spiritual, pulsing arps, this could be mistaken for the then in-vogue 'Italian House'. With Rimini in its sights, the vocals are the journey, underpinned by simple, up'n'back bass and Mateo and Matos style keys, pure 6am sunrise. Backed with the deeper 8th Ray, the EP eschews the bumpin' House then coming from NYC and looks to the sound system vibes out across the Atlantic. Deep House before the term had grabbed hold, been twisted and contorted and donned head-to-toe in black. Simply, real House music.

WUCAN are a young heavy retro rock band from Dresden, Germany with
deep roots in the late 60s and early seventies with a dash of blues, folk,
progressive and Kraut rock
This sort of time- warp music is covering the gamut from the Woodstock
generation to the modern rock sound, starting with acoustic guitar, traverse flute
and Hammond organ and ending at the modern rock sound of the heavy kind.
WUCAN made the right choice of partners with producer and owner of the Big
Snuff Studios in Berlin Richard Behrens and with Andreas € Lupo € Lubich of
Calyx Mastering for a successful debut in the retro rock scene. Richard Behrens,
who is bassist of the 70s band HEAT and live toning of the genre heroes
KADAVAR additionally to his producing duties, created an authentic 70s sound by
using analogue machinery. Combined with the modern heavy surround of the
band unfolds a fresh mix of yesterday and today, which bursts with lust for music.

Alex Chilton’s Feudalist Tarts (1985) found the Big Star/The Box Tops front man re-making himself as a southern fried hipster offering up original tunes like “Stuff” and sly soulful covers “B-A-B’Y” and “Thank You John” while adding a horn section to his road tested rhythm section. Side Two features a number of rare Chilton tracks including “Rubber Room” and “Wild Kingdom.” Chilton had hit rock bottom in his home town of Memphis after 15 years of substance abuse and hard partying. He chose New Orleans as the city where he would re-make himself. One of the benefits was exposure to all the music he would hear down there. He immediately immersed himself in the city’s laid back, stretched out grooves. The covers he chose for this record were songs he heard being played by older musicians around New Orleans. Expanded version includes a side of rare tracks. Out of print on vinyl since 1986. Includes seven original Chilton compositions. Original album release coincided with his most prolific touring schedule since his days in The Box Tops.

Today, internationally acclaimed interdisciplinary artist Hyd, nee Hayden Dunham, announces her first solo musical project, along with the announcement of her self-titled EP that arrives November 5th via PC Music. More disclosure than debut, Hyd’s four-track offering lets us feel the heat that’s been building underneath, calling us back down to earth. Written on an island formed from underground volcanic eruptions 15 million years ago, the EP is produced by A. G. Cook, Caroline Polachek & umru. The EP follows Hyd’s robust career as a sculptor and conceptual artist. Deeply enmeshed in the art world and music communities, she has dedicated her practice to reinventing systems - systems of communicating, systems of sexuality, systems of interacting with our environments. Her large-scale sculptural practice, where she creates fluid, transformative art installations, has been exhibited in museums and galleries across America, Asia and Europe. Past works include GEL, a vapor that travelled through the air vents of Andrea Rosen Gallery in NYC, and 7 Sisters, a seven-act performance at MoMA PS1 that incorporated dance, music, poetry, video and scents, with additional exhibitions and performances at Fondation Louis Vuitton, Paris, the Irish Museum of Modern Art, Dublin, etc. Apart from appearances on A. G. Cook's recent Apple LP, "No Shadow" marks the first time we've seen Hayden step out musically since Hey QT, the enigmatic and controversial project she created in collaboration with A. G. Cook and SOPHIE. The EP cover and singles’ artworks were photographed by renowned artist, Torbjørn Rødland, whose images are saturated with symbolism, lyricism and eroticism. The graphic design identity is by Bureau Borsche, celebrated for their work with clients including Balenciaga, Supreme and The Face, among others. Creative direction by Hyd and Jordan Richman.

Since 2014, Wand have made five albums (and an EP) in the studio and a living playing on the road. Business/pleasure: the two sides of their (multiverticed, decagon) coin, flipping in the strobe light of ongoing self actualization. And yet, by doing both at the same time-making a record of them playing live-they"ve now made their best one yet. How do you get Spiders In the Rain? Start by going all the way back to January 2020. Do you remember? Wand do. They"d been touring Laughing Matter for ten months. They"d done the coast, spanned the country, crossed the water twice, came back home and kept on going...driving, flying, occasionally floating (or maybe just thinking they were?), always on to the next town. They did all kinds of shows-clubs, ballrooms, festival gigs with no roof overhead-the songs expanding and contracting according to the dimensions of each day. Seventy-nine shows, and everything that was involved-the miles that ran beneath them, the different places and people everywhere, the music as it reathed, making everyone change every night-alchemized the band, and they drove deeper into their far horizon than they"d ever previously gone. The essential truth of the live vibe-that it"s always better when everybody"s here-was clear, so they booked a few shows more in Cali, from L.A. up to Marin. They brought along light and projections from The Mad Alchemist Liquid Light Show and Mike Kreibel and Zac Hernandez too, to tape everything-to get the big-deck energy out of performances in S.F. and L.A., but also to draw it out of the margins in Sacramento, Novato and Big Sur. It all happened, too. Everyone brought their experience. Packaged sumptuously with artwork from Sam Klickner, Spiders In the Rain is an arc of natural beauty and man-made abstraction inside and out, on an epic scale. Wand are orchestra and machine on Spiders In the Rain, one with the audience, able to get inside any dimension of their sound, whether its songs from their second album or their last one.

Combining disco pulse with Turkish/Kurdish music and the energy of Marseille"s multi-cultural hipness, Biensüre brings a cool edge to the musical landscape of the mediterranean city and the dancefloors of the world. The group"s music, inspired by the personal stories of its singer, Kurdish Hakan Toprak, speaks of impossible loves, friendship and exile and is wraped up in an unmistakable groove. The eponymous album is the group"s first release, written, composed and produced by the four musicians and it is composed of seven groove-infused tracks that will please all global music lovers. Marseille in one of the coolest cities in France: The cafés, the terraces, the clubs, the Mediterranean sea and the mountains not far, make for a perfect setting for the wildly creative rebellious youth to express their art in a world of perpetual change. This is the setting in which Biensüre was born. Biensüre"s influences are varied and transcend generations and borders. Ranging from the Anatolian pop scene of the 70s and 80s with key figures like Erkin Koray and Baris Manço to 70s Jazz, Disco and early electro, their music is at the intersection of several musical continents.

Kontrabass-Doyen Arild Andersen nimmt seit mehr als fünfzig Jahren bei ECM auf und stellt sich gerne
neuen Herausforderungen. Die erste Aufnahme mit diesem jüngst formierten Quartett – zu dem auch
die aufstrebenden Norweger Marius Neset und Helge Lien (jeweils selbst Bandleader) gehören – ist fast
vollständig improvisiert. Die Musiker gehen dieses Wagnis gemeinsam ein und entwickeln Formen im
Moment: ein Lehrstück in spontaner Gruppenkreativität. Affirmation wurde im November 2021 im Osloer
Rainbow Studio aufgenommen.

In the summer of 2000, school friends Mark Lawton, Jon Pearce and Jamie Lenman won a battle-of-the-bands competition and used the prize money to record the five tracks that would become their first professional release, entitled Pilot. Then called Angel, before the EP was released on local label Badmusic they changed their name to Reuben and were over the moon when the record received notices in Kerrang and even a spin from Steve Lamacq on Radio One. “We were just a school band, but we definitely had grand plans,” says Lenman, now a successful solo artist in his own right. “We changed our name because we knew we’d have to do it at some point, and we didn’t want the EP to get forgotten.” Despite selling out several modest runs on CD, Pilot was never issued on vinyl, and so to celebrate the 21st anniversary of its release, the five original tracks have been re-mastered and pressed onto wax. But more than this – after a chance discovery of five extra tracks on a DAT tape in a loft, Pilot has been bumped up to album status with the inclusion of a second side. “I always thought we’d only recorded those five tracks before Mark left – I’d completely forgotten about the recordings from the end of the same year,” says Lenman. “They were just demos of new material, they were never meant to be packaged together with the tracks from Pilot – in fact, you can already hear how the sound was starting to change in just six months. But they do make a nice set, and I guess if that original line up of the band had made a full album before Racecar, this is maybe what it might have sounded like.” The album inlay itself boasts a hoard of unseen photos from both recording sessions, unearthed after two decades, as well as the original EP inlay and the unused cover art credited to Angel instead of Reuben – hence Pilot Angel.

Trauma and tragedy transfer from one generation to the next. As difficult as it may be, we still possess the power to break the cycle and start anew. Fit For A King ponder the pain of these cycles and the possibility to end them on their seventh full-length offering, The Hell We Create Solid State. The Texas quintet—Ryan Kirby [vocals], Bobby Lynge [guitar], Daniel Gailey [guitar], Ryan “Tuck” O’Leary [bass], and Trey Celaya [drums]—explore this ebb and flow with a deft, yet delicate balance of sharp metallic intensity and soaring melodic energy. Drawing on real-life experiences, the band members collectively rallied around Ryan and his family as they endured seemingly unending turbulence… “The album is a reflection of the events that happened throughout the pandemic,” recalls Ryan. “In short, my wife and I adopted children and had to homeschool them. She almost died from a stroke. The Hell We Create is by far the deepest and most personal record we’ve ever written.” “Falling Through the Sky" represents the mental struggles I had dealt with during the pandemic, and how little my upbringing prepared me to deal with it. Between adopting two children, my wife having constant health issues, and me losing almost 70% of my income, I was an absolute wreck. I thought my religious upbringing and faith would be enough to help me when adversity struck, but when the tidal wave came, I struggled immensely. So many think just having faith is enough to pull you through anything life throws at you, but the reality is, it makes a lot of us complacent in our personal growth.

Pure Noise Records and Pabst Blue Ribbon have teamed up to present ‘Dead Formats Volume 1’, a 15-track compilation featuring the Pure Noise Records roster sharing their takes on the celebrated punk/emo/ska songs that helped shape the scene in the 90’s and 2000’s.

Clear Vinyl

Downwards’ deep bonds with NYC catalyse the debut LP by Jim Siegel’s Vivid Oblivion, a reveberating post-industrial salvo produced by adopted Brooklynite Karl O’Connor (Regis), and co-mixed by Anthony Child (Surgeon) and Simon Shreeve, who also mastered it. It’s a super deep, highly atmospheric beast somewhere between Valentina Magaletti’s most expressive percussion work, Bark Psychosis, and classic, moody 4AD, which is coincidentally referenced via the artwork, made by Chris Bigg - legendary graphic designer and longtime assistant to Vaughan Oliver.

Invoking the density, vertiginous scale, and dark grimy nooks of NYC, ‘The Graphic Cabinet’ was realised by Jim Siegel - hardcore legend and occasional/regular drummer with everyone from Raspberry Bulbs to Damo Suzuki and Boredoms, made in close collaboration with Karl O’Connor aka Regis during 2021.

Stemming from intently deep listening sessions immersed in LPs by Viennese aktionist Hermann Nitsch and the myriad eras of Killing Joke, while also absorbing the atmospheres of classic Tarkovsky flicks, the album began life as gonzo field recordings of Siegel smashing the f*ck out of his drum kit, zither, scrap metal and gongs in an array of abandoned warehouse spaces. The recordings formed the basis of Karl’s compound productions, which add depth charge bass and sonorous metallic atmospheres to the mix, along with birdsong and gibbon hoots, plus guitar textures by Nick Forté (Raspberry Bulbs, Rorschach) for a dread-lusting jag deep in the belly of the Big Apple.

With a palpable tang of rust and blood in the air and grime under the fingernails, the seven tracks evoke a resoundingly brutalist portrait of space and place. Siegel’s nervy percussive discipline is framed in alternating barometric and light settings from cut to cut, variously snaking from the poltergeist clang and haunted resonance of ‘Converging and Dissolving’ to slamming motorik thrum in ‘Oblivion’ via imaginative descent into cyberpunk simulacra of the city as jungle-at-night in ‘Remnant Corridor’, replete with animalistic atmospheres that recall Organum.

While the raw attack and devilish swerve of the rhythms are utterly fundamental to the record, Karl’s atmospheric content and the animist mixing magick of Anthony Child and Simon Shreeve most potently give flesh to its bones. Patently evident on the stepping pulse and searching zither that keens into detuned orchestration on ‘Immediate Possession’, the zoned-out klang of ‘Stand Aside’ or in the flooded warehouse chaos of ‘Test For Traps’. The attention to spatial, textural and proprioceptive detail is tightened throughout, peaking with ‘Bargemaster’, a dense slab of tension that sounds like Jon Mueller’s Silo recordings fed through The Caretaker’s fogged machinery.

It’s one of the most impressive records on Downwards for a long while, bound to gnaw and spark the nerves of experimental rock and post-industrial’s greats, anything from The New Blockaders to Faust, Flying Saucer Attack and into iconic Blackest Ever Black releases in the modern era.

A true love letter to house music, Larson presents his account of the ubiquitous dance music genre diving deep into its origins. Connecting the dots with some of the genre’s most beloved innovators such as Larry Heard, Boo Williams, Ron Trent, Chez Damier or Chris Brann, the Belgian producer pays tribute by adding his own emphases. Setting a bright mood, at times aiming for the dance floor, at others comforting the listener into a casual vibe, Larson is not seeking, but spontaneously drawing attention with his graceful sounds, stripped to the bone and built on an intuitive factor.

Larson hails from Liège, the South Belgian city known for its meat balls and the mighty river La Meuse, and works as a sound editor in movie production. Recognised by those-who-know as one of the most quintessential figures of Liège’s burgeoning underground nightlife scene, the time is now for Larson to step forward. His 2x12” debut release dubbed ‘Interlace Joy Motions’ is one for the house heads, shifting between 121 and 130 BPM and showcasing the diverse sounds the producer has in store.

Opening track Our Inner Sun has smiles written all over. A simple yet effective piano loop, warm strings and a delicately running acid baseline are all Larson needs to set the standard for the beauty that is yet to come. Effortlessly entertaining for close to seven minutes, here is the essence of timeless house music at work.

Pushing up the speed up to 129 BPM, A2 brings the brand new label’s title track, Larson’s take on the many meanings the name may represent. Designed for jubilant dance floor action, Hi Scores is punchy and elegant at the same time.

On the flip side, Slack Breeze is an eleven-minutes-long breezy electro trip paying homage to Detroit music pioneer Juan Atkins and offers two mixes, nicely manufactured as one auditive whole on the vinyl record with a useful visual marker in between. Be aware of the slight tempo drop between the bold Club mix and the more laid back Sensual mix.

In a cultured and charming manner, Lethal Dance opens the second 12”. Driven by a fab bassline and soft as silk string arrangements, here is a slow burner for moments lost track of time. High Jazz Travel on C2 continues this trip to lofty spaces, speeding up the pace but holding on to Larson’s well crafted dream universe, with its mellow aura almost turning into a debonair lullaby for grown-ups.

Adding another layer to the cake is Chris ‘Funk’ Ferreira, the C12 resident DJ and ½ Senga Ferreira. Also active as the mixing engineer of this double 12”, on the D1 the Brussels based producer takes up the role as remixer with his stomping and energy building ‘Magic Force’ version of Hi Scores, contributing the single vocal sample to the EP. Things come to an end with Souvenir d’Enfance, a playful and innocent conga driven house track, cherished as a safe and sound childhood memory, forever in our hearts just as this excellent debut by Larson.

Blue Vinyl

Das GRAMMY-nominierte Trio PVA veröffentlicht ihr mit Spannung erwartetes Debütalbum, „BLUSH“ Mitte Oktober auf Ninja Tune. Das Album der Südlondoner Band, das kurz nach ihrer 2020 beim Ninja Tune-Sublabel Big Dada (u.a. Yaya Bey, Young Fathers oder Diplo) veröffentlichten EP, „Toner“, erscheint, verbindet den Pulsschlag elektronischer Musik mit der rohen Energie eines lebensbejahenden Konzerts und offenbart mehr über das Trio, als sie bisher je preisgegeben haben. Die elf mitreißenden Tracks der Gruppe, bestehend aus Ella Harris und Josh Baxter (die sich Leadgesang sowie Synthesizer-, Gitarren- und Produktionsarbeit teilen) sowie Schlagzeuger und Perkussionist Louis Satchell, basieren auf einer Formel aus Acid, Disco, knallenden Synthesizern, der Befreiung des Dancefloors und kathartischem Spoken Word-Post-Punk.

PVA begann, als Harris und Baxter 2018 begannen, gemeinsam etwas zu machen, das sie als „Country-Friend-Techno“ bezeichneten. Ihre erste Show, eine Nacht namens „Narcissistic Exhibitionism“ im The Five Bells Pub in New Cross, fand nur zwei Wochen nach ihrem Kennenlernen statt. Der Abend wurde von Harris kuratiert und bot im Obergeschoss Malerei, Bildhauerei und Fotografie, während im Erdgeschoss Bands auftraten. Sie buchte PVA als Headliner. Einer ihrer ersten Songs, „Divine Intervention“, entstand, als Harris ihrer neuen Bandkollegin ihre Träume diktierte. Auf ihrem Debütalbum nehmen PVA die gleiche Energie aus der Live-Szene mit, während sie gleichzeitig eine ganzheitliche Welt voller Textur und Herz aufbauen. „BLUSH“ ist reich an schwergewichtigen Industrial-Beats, zerklüftetem Punk-Spirit und Momenten stiller Kontemplation durch Harris' poetische Lyrics. Das Album rennt unermüdlich vorwärts und verbindet Einflüsse wie Portishead, PC Music, Laurie Anderson und das kultige Rave-Pop-Duo The Pom-Poms mit Leichtigkeit. „BLUSH“ wurde während der verschiedenen Lockdowns geschrieben, eine Leidenszeit für eine Band, die es eigentlich gewohnt ist, die Grenzen ihres Sounds live auf der Bühne auszuloten. Diese Einschränkungen machten PVA aber nicht zu schaffen. Wenn überhaupt, fühlten sie sich durch die erzwungene Distanz in ihrem Songwriting gestärkt. Harris schrieb Gedichte und lernte, Musik zu produzieren, Baxter arbeitete mit anderen Künstler*innen als Produzent, und Satchell setzte sein Musikstudium an der City University fort und studierte unter anderem alte afrikanische Polyrhythmen.

The classic sci-fi series teleports to Demon Records for two thrilling full-cast radio adventures.
From 1977 to 1981, a heroic band of freedom fighters waged war against the merciless Terran Federation,
spearheaded by Supreme Commander Servalan. In the mid-1990s Terry Nation’s intergalactic epic switched from BBC
TV to radio with two new adventures, The Sevenfold Crown and The Syndeton Experiment. Both now come to vinyl
for the first time, alongside cast interviews and extracts from Zen and the Art of Blake’s 7.
Presented across 3 x 140g vinyl discs in three colours, these full-cast dramas star Paul Darrow as Avon with Jacqueline
Pearce as Servalan, Michael Keating as Vila, Steven Pacey as Tarrant, Paula Wilcox as Soolin, Angela Bruce as Dayna,
and Peter Tuddenham as Orac and Slave. Written by Barry Letts (Doctor Who) they feature incidental music by Jeff
Mearns as well as the familiar strains of Dudley Simpson’s iconic theme music.
The removable slipcase cover reveals a trio of coloured LPs - plus a frameable art print - in a widespine sleeve. The
discs are presented in individual sleeves which, when place side by side, reveal a landscape scene of Scorpio in flight.
Full cast and credits are accompanied by graphics illustrating the tech of Blake’s 7.
Make sure you’re Down and Safe with this exclusive limited edition.

The meaning of Vārua, soul or spirit in Tahitian, is also the root of the word Vārua'ino, designating both evil spirits and celestial phenomena (thunder, rain, meteorites and rainbows), and helps shed a new light on the true essence of this new EP. Its changing nature naturally encourages the connection between the tracks and the variety of genres they conjure. The whole project articulates itself around a DNA formed by traditional percussive instruments, Ori deck, a bravado carried by the young Tahitian underground scene, and ancestral ōrero (Polynesian oratory art).

Often swaying between stellar coherence and astral wandering, the seven tracks of the EP see QuinzeQuinze highlighting personal feelings and paradoxes which make for the backbone of human experience through an archipelago of fables with mystical allegories.

By early 2020, Kayleigh Goldsworthy had finally figured out who she was. The long-time hired-gun musician from Syr- acuse and based in south Philadelphia, who had spent a decade backing up the likes of Dave Hause, Bayside, Frank Iero, and others, was ready to commit fully to a solo career of her own work. The day after New Year’s Day 2020, Gold- sworthy started recording her second solo LP, seven years after her debut Burrower, with Will Yip at Studio 4 outside Philly.

Then everything changed. The job and life Goldsworthy had pursued since her teen years was ripped away: tours, shows, studio time, even band practices and writing sessions, all gone. Along with those went away a hard-won sense of self.All those things that had given Goldsworthy the confidence and push to believe in herself and her work disappeared.

“I had figured out who I was,” says Goldsworthy, “then this whole thing happened, and I had to figure out who I was again.”

Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.

A colossus of the funk & soul world, Adam Gibbons (aka Lack of Afro) has been releasing music for 15 years and continues to go from strength to strength. Previously signed to Freestyle Records in London and running his own label The Bastion Music Group since 2015, he has been responsible for some of the genre’s most important releases, not least his debut album Press On described by iDJ as “one of the most important albums of the modern funk era” and more recently given ‘classic’ status by Future Music Magazine.

An accomplished multi-instrumentalist, producer, DJ and composer, his music has won worldwide critical acclaim and to date has gained 115 million streams on Spotify. It has been featured on films, TV shows and adverts all over the globe, on networks including HBO, ABC, Sony Pictures, BBC, ITV, Sky TV, Fox Pictures & Warner Brothers Television, and used in multi million ad campaigns by the likes of Google, Spotify, Miller Lite and Adidas.

As a DJ and live performer, he has performed in over 20 countries worldwide and undertaken countless live sessions for radio and TV including two for the BBC at the highly revered Maida Vale Studios.

To date, he has released seven albums under the Lack of Afro moniker (most recently I’m Here Now in 2020), three as The Unity Sextet, one under LUSTRE, one under his own name, an EP with Herbal T as The Damn Straights, albums for other artists, music for several TV shows and over 60 remixes. He has also produced 13 award winning, sample packs for Loopmasters.

Marked by resilience, maturity, and the optimistic joy of a creative resurgence, Pat Green’s Miles and Miles of You is the work of an icon reclaiming ground only he himself could have ceded. Ten fresh tracks feel like the spiritual exhale of a celebrated troubadour, taking fans on a journey to the other side of turmoil… and to a place where the old ways feel new again.

Credited as one of Texas country’s modern-era founding fathers, Green has traveled many roads in the 25 years since his debut album, Dancehall Dreamer. A Grammy nominated singer-songwriter with a restless creative spirit, his career has gone beyond the bounds of a “country star” to include the work of a painter, sculptor, philanthropist, family man and more. But one constant has remained – his vision.

Green’s 14th album overall, Miles and Miles of You is also his first in nearly seven years – since his inspiration-first writing style means he won’t force a song into existence. But that philosophy also makes it possible for a whole album to arrive in a dam-burst of expression, and Green now calls Miles and Miles of You an “effortless” project.

“It was just so smooth and natural,” he says. “I write the song when it comes, and it was like ‘Man, we’re on a roll.’”

Recorded outside Austin with producer Dwight Baker (Bob Schneider, Josh Abbott Band), more of that story is revealed with each track, as Green and his band mirrored the loose vibe of the songwriting with country balladry, dancehall energy, soul-baring reflection and at times, a swampy blues strut. “The older you get, you just have more to think about,” he says. “So that’s
what this record is – a guy with more to think about, coming through a hard time and into something as fun and beautiful as creation. I’m just gonna take the ball and run with it.”

Life and Death founder Manfredi Romano aka DJ Tennis debuts on Aus with ‘Repeater’ - here he delves deep into his own cosmos creating two cuts that are uniquely spacey whilst playful and powerful. DJ Seinfeld needs no introduction. His DJ Kicks mix and debut album for Ninja Tune have both been critically acclaimed. His ravey mix of 'Repeater' is a tension builder, his version simmers away for seven minutes patiently dropping metallic stabs and detroit fm synths licks. Manfredi’s career spans over two decades as agent, manager, promoter, label owner, dj and producer. His releases are few and far between so, it’s an honour for him to trust us with his art.

Unavailable on vinyl for over 20 years, ‘Sings Reign
Rebuilder’ was the stunning 2001 debut LP from Set Fire To
Flames - a sprawling, adventurous 13-piece Montreal
collective, including seven members of Godspeed you black
emperor! plus others from bands like A Silver Mt Zion, Fly
Pan Am, etc.
The sole reason FatCat’s 130701 imprint was founded, the
LP remains an incredible and unique document. Recorded
over a five-day period in a rickety old house in a communal
atmosphere of long-duration improvised creative activity,
operating on no sleep / confinement / intoxication, it was
brilliantly edited to mix post-rock guitar-scapes; extended
passages of scratchy, freeform improv and concrete
clatterings; atmospheric location recordings; stirring,
chamber string arrangements; deep/sparse drones; and
Kraut-like, heavily rhythmic workouts.
Described on its release by TimeOut as “one of the most
broodingly beautiful, dramatically emotional, hauntingly
evocative albums likely to ever scrape at your soul… This
record will kill you”; and by Pitchfork as “a gripping testament
to the power of emotional expression in music... a
marvelously inventive and powerful album.”
Perhaps the most dynamic and adventurous record to come
out of the early 2000s Montreal scene around Godspeed you
black emperor!.
Long-awaited first ever reissue of a classic album, which sold
out of its original (only) pressing within weeks of its release
on 15th October 2001 and has been unavailable since.
Remastered at Dubplates & Mastering and issued in a
heavyweight black vinyl double LP edition, including lavish
gatefold packaging, 20th Anniversary-branded OBI strip and
original 24-page 7” x 7” booklet with full colour print and eight
tracing-paper pages plus full digital download coupon.

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

Several months on from founding guitarist Scott Middleton leaving the band, Cancer Bats have announced details of their first album without him: Psychic Jailbreak. Due out on April 15 via their own Bat Skull Records in partnership with New Damage Records, the Toronto hardcore punk kings admit that they knew album number seven "had to be special" given the line-up change, with vocalist Liam Cormier explaining of the mood going into it: “Our band has never been one sole member tasked with all the writing. Over the last 15 years of releasing albums, it’s been a collaboration of the four of us forming all musical ideas. That being said, we knew that the three remaining Bats would have to prove our worth with this next album. "We wanted to show Cancer Bats fans that an exciting new future was in store for us. To say the stakes were high on this album, would be an understatement. We were all feeling a mix of excitement and nerves as we began tracking the 11 songs that would form this record.” He continues: "On the final days, while adding the last bits of 'skateboard noises' and guitar shreds, we were all feeling our confidence levels rise with each playback. This last years’ worth of long hours and many late nights writing, finally coming together as a whole and fully formed effort. We were proud as a band and felt this new offering was worthy to join in the legacy of Cancer Bats albums.

"Since 2004, ALTER BRIDGE has been one of the most consistent bands to successfully represent the rock and metal communities with their driving melodies, blazing guitar riffs and topical lyrics that resonate with fans around the globe. Their seventh album, Pawns & Kings, continues that trend with 10 unforgettable new additions to their catalog. Coming off the launch of what was shaping up to be one of the band’s pinnacle moments with Walk The Sky (#1 US Billboard Top Albums, #1 US Current Rock and Hard Music, #4 UK Official Charts, #1 UK Independent and Rock/Metal, #5 Official German Album Charts), everything came to a halt as the world would forever be changed due to the events of a global pandemic. The time the members of ALTER BRIDGE spent apart sparked a new fire and heaviness when the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums would reconvene for what would eventually become Pawns & Kings. Teaming with longtime producer and collaborator Michael “Elvis” Baskette, the album shines with massive, menacing arena-ready production while emerging as another sonic testament to the seasoned Kennedy/Tremonti songwriting dream-team. The band deliver three epic anthems, including two that clock in at over six minutes – the reflective and absolutely epic title track “Pawns & Kings”, grim-riffed, progressive influenced “Sin After Sin”, and the emotive eight-and-a-half minute journey “Fable Of The Silent Son.” “Silver Tongue” is backed by a punishing intro riff that gives way to one of the band’s most infectious choruses as Myles Kennedy sings, “Truth of a crime. You can’t outrun. Under the spell of my silver tongue,” while tracks like “Holiday” and “Season Of Promise” ebb and flow within the trademark multi-faceted metallic rock attack that has enchanted ALTER BRIDGE fans for a generation. Songs like “This Is War,” “Dead Among The Living” and “Last Man Standing” showcase the heavier side of a band firing on all cylinders, with soaring leads, hair-raising vocals and introspective lyricism abound. Mark Tremonti helms lead vocal duties on the uplifting track “Stay” – an interchanging of skills that first debuted on the band’s fourth album, Fortress, and continues to this day. Nearly 20 years into their celebrated career, one thing is for sure – Pawns & Kings offers a musical snapshot of a band that shows no signs of slowing down and continues to push itself creatively for the whole world to see. before peaking with a frenetic, metallic bridge-breakdown and piercing solo worthy of rock legend.

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

During the 13 years of existence of our label we have managed to turn many a dream project into reality and reissued countless numbers of forgotten and overlooked gems. There has, however, been one dream we've chased for years that is now finally manifesting itself on vinyl - the albums of the most remarkable Finnish post rock band Magyar Posse and especially the second of their three records, Kings of Time. Magyar Posse's debut album We Will Carry You Over The Mountains (2001) was already an impressive, ambitious work in which the band effortlessly mixed Goblin and Ennio Morricone influences into their melodic and atmospheric blend of instrumental post-something. It was, though, the second album Kings of Time, that took the band from the darlings of the local alternative music press to such levels of artistic expression that even the mainstream media had to pay attention. The album, consisting of seven untitled songs, sounds like music to an imaginary sixties new wave film that mixes Soviet space drama with spaghetti western gunfights on a scorching hot desert, all covered with slavic melancholy. The record was released originally covered in a striking red and black 20's Soviet avantgarde style cover design. The Svart Records vinyl reissue comes in a blue cover that better reflects the changed times. The vinyl also includes a booklet full of memorabilia and text that look back to the creation of this spectacular album.

Finnish Disco and Electronic Music from Private Pressings and Unreleased Tapes 1980–1991

Hot on the sold-out heels of the three previous Svart-issued early 80’s synth pop and underground electronic music compilations (Satan in Love, Dance For Your Life, Cold War On The Rocks comes the last part of the quadrilogy: Black Hole, that reaches the final frontier of collectable cult synth disco music: privately released and completely unreleased music from 40 years ago. Black Hole has been again compiled by Mikko Mattlar, whose encyclopedic knowledge in the field of Finnish electronic music produces 20 cuts of electro-cult has helped him dig up 20 cuts of rare groove from obscure regional compilation records, seven inches of which only a test pressing exists, demo tapes and privately financed singles. Stylistically the compilation moves from 1979 disco funk as performed by Peak Funktion on their unreleased record to homebrewed synth visions by late 80’s bedroom wizards. Interesting curiosities among the 20 tracks include the riveting dance number by Jarkko Väljä, who received some fame back in the day as a Michael Jackson impersonator, and released one 7” single, that has become an expensive rarity. Another thing you wouldn’t believe existed at all if it wasn’t included here is “Israel Is Real” by We, a short-lived gospel vocal quartet, accompanied here by a drum machine and a synthesizer, which makes for an unforgettable and surprisingly catchy four minute piece of underground gospel disco from 1983. The compilation Black Hole – Finnish Disco and Electronic Music From Private Pressings and Unreleased Tapes 1979-1991 will be released by Svart Records on double vinyl and CD on October 14th.

TOWNES VAN ZANDT STUDIO SESSIONS FROM 1974 AVAILABLE ON VINYL FOR THE FIRST TIME EVER In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’. To commemorate the 50th anniversary of the beginning of Van Zandt’s turbulent musical career and launch of a major catalogue reissue programme, Charly has restored and re-mastered ‘The Nashville Sessions’ to present a stunning document of the folk-blues master at his absolute peak. “These are songs that tap into the timeless myth of the American troubadour, a place where wandering souls tramp the byways of their homeland...” Restored and mastered to vinyl from the original tapes provided by producer and manager Kevin Eggers. Full colour LP sleeve with original Milton Glaser portrait cover. Fully illustrated inner with detailed sleeve notes by Uncut magazine journalist Rob Hughes. Part of Charly’s 50th anniversary programme celebrating the start of Van Zandt’s career. All original Poppy and Tomato albums which Townes Van Zandt recorded at the peak of his career will be newly re- mastered, restored and lavishly repackaged and available on CD & limited edition 180g heavyweight vinyl. The death of Townes Van Zandt in 1997 at age 52 robbed the world of a troubled genius as well as one of America’s finest songwriters. His reputation and popularity has grown greater by the year inspiring books, a documentary and renewed interest from the media, passionately loyal fans and contemporaries such as Willie Nelson, Merle Haggard and Emmylou Harris who have covered his songs to the upper-reaches of the American charts. “From Neil Young and Willie Nelson, Bono and Bob Dylan (who reportedly once said that Townes was “in some ways the better writer”) to Tindersticks and Mudhoney, songwriters and musicians speak of Townes with reverence.” MOJO MAGAZINE “He was the best songwriter and most riveting solo performer I’ve ever seen.” STEVE EARLE “An effortless masterclass in emotionally effecting Americana”.

When you close your eyes and listen to Kenny Roby's self-titled album
(his seventh solo outing), you can imagine an alternate world where Roby
channels Leonard Cohen
Only in that dimension, Cohen is moonlighting as a southern culinarian where his
deft touch knows just how much vinegar is needed to keep things from getting
too sweet: One who knows how to keep the ingredients simple and exactly how
long and slow it needs simmering.

Based in Winnipeg, Manitoba, an "inland island that floats on infinite
prairie ground," Living Hour has always been a band that's thrived in
seclusion.Helping to foster a thriving local community, and taking
inspiration from the faces and places of their hometown, the band have
always been motivated by the belief that their own music only gets more
interesting when it includes other voices
For their new album, Living Hour called upon friends from near and far.
The result is "Someday Is Today", the band's third full-length effort and the muchanticipated follow- up to their 2019 "Softer Faces" LP, acclaimed by the likes of
NPR, Stereogum, Paste, Vice, Bandcamp, and more. On "Someday Is Today", the
group's sound is collaborated with a variety of drummers including Jason Tait
(The Weakerthans, Broken Social Scene) and is fleshed out further with the help
of three producers: Melina Duterte (Jay Som, Bachelor, Chastity Belt), Jonathan
Schenke (Parquet Courts, Snail Mail, The Drums), and Samur Khouja (Cate le Bon,
Deerhunter, Regina Spektor) all of whom impart their own backgrounds on the
album's finished glow.
"Someday Is Today" is Living Hour at their most pensive and longing. It was
recorded over seven straight days during the dark depths of a Manitoba winter,
with the band cocooned in the sounds they were making as the temperature hit
-30 outside the door. The album thrives by keeping just enough connection
across its varied palettes to feel like one cohesive world. Whether it's the album's
soft and gorgeous harmonies or the captured sound of wind tubes being swung
above their heads, the songs here feel bound by something bigger than
themselves; an energy that flourished in spite of it all, a human connection that
grips just strongly enough even when pushed to its frayed, unreachable extremes.

In the kitchen of the Byron Bay home of Winston McCall stands a
refrigerator, adorned on one side by a quote from Tom Waits: "I want
beautiful melodies telling me terrible things."This, the PARKWAY DRIVE
vocalist says, is a pretty good summation of himself
It holds true, too, as one of the guiding principles behind Darker Still, the seventh
full- length album to be born of this picturesque and serene corner of northeastern NSW, Australia, and the defining musical statement to date from one of
modern metal's most revered bands.Darker Still, McCall says, is the vision he and
his bandmates – guitarists Jeff Ling and Luke Kilpatrick, bassist Jia O'Connor
and drummer Ben Gordon – have held in their mind's eye since a misfit group of
friends first convened in their parents' basements and backyards in 2003. The
journey to reach this moment has seen Parkway evolve from metal underdogs to
festival- headlining behemoth, off the back of close to 20 gruelling years, six
critically and commercially acclaimed studio albums (all of which achieving Gold
status in their home nation), three documentaries, one live album, and many,
many thousands of shows.
While Darker Still remains irrefutably PARKWAY DRIVE, it finds the band sonically
standing shoulder to shoulder with rock and metal's greats – Metallica, Pantera,
Machine Head, Guns N' Roses – as much as it does their metalcore
contemporaries. "I wanted a classic guitar tone for this record," explains Ling, who
credits much of his inspiration to the connection his riffs have with a crowd in a
live setting.
Emerging from the darkness of the past few years, this is the true face of
PARKWAY DRIVE: redefined and resolute, focused in mind and defiant in spirit.

Siena Root – Swedish root rock experience!.Siena Root came to life in
Stockholm and is today considered one of the pioneering Swedish bands
in root rock music
They persistently pulled through with releasing their first album on vinyl back in
2004, long before the retro trend had people carrying down their old turntables
from the attic. The quest to bring out the beauty of analogue music production to
the listeners continued. The live act came to be an uncompromising show, using
all the heavy vintage equipment that most bands lack the strength and passion to
carry along. Even a full-size multi-track tape recorder was brought on tour during
the recording of the live album. The immense dedication to do it all the way is
what made Siena Root stand out from the bunch.With a vast discography and a
reputation of being an extraordinary live act, Siena Root is now releasing their
seventh album. Driven by their passion for experiments with analog music
production they went deep into the Swedish forest, where musical inspiration can
only be distracted by the scent of magnetic tape. The result was as always; heavy
drum grooves, solid bass riffs, screaming guitar/organ dogfights and powerhouse
vocals. All working together in a classic, yet playful and dynamic interaction. But
there's more to it. This album was made as much for listening as for feeling,
thinking and dreaming. A dream of lasting peace…

Within the panorama and filmic landscapes that open up from the music, stories and fragments of stories are told, about people, the spaces they occupy, their closeness and the distance that lies between them. Written and recorded over 3 years in London, Switzerland and in an ancient barn not far from their Midland’s roots, founding members Simon and Justin Jones who form the core of ‘And Also ­The Trees’ with maverick drummer Paul Hill are joined for the first time by Grant Gordon on bass guitar and Colin Ozanne on clarinet. ­Their inclusion brings a twist to this band’s subtle yet intriguing evolution. ‘And Also ­The Trees’ have been performing live and creatively developing since they formed in rural Worcestershire at the beginning of the post punk era in 1980. Other than a period in their early years when they attracted attention from John Peel, the British music press and Th­e Cure with whom they worked and supported on tours, they have operated mainly under the radar of the media and music industry as a whole, drawing inspiration from the dark underbelly of the British countryside and touring each of their 14 albums across Europe and as far afield as the USA and Japan. It follows their 2016 release ‘Born Into ­The Waves’ an album that many considered to be their most accomplished. A rare accolade for a band of such longevity. AATT will be playing shows Summer and Autumn 2022 with a tour in Spring 2023. Tracklisting: 1. In A Bed In Yugoslavia 2. Beyond Action And Reaction 3. The Seven Skies 4. Th­e Girl Who Walks The City 5. Th­e Book Burners 6. Across The Divide 7. Another Town Another Face 8. Last Of The Larkspurs 9. The Bone Carver 10. Sun Of Kashiva

Domino Records announce the Tenth Anniversary
edition of ‘Melody’s Echo Chamber’, the
eponymously titled debut album from French
musician Melody Prochet.
Recorded and co-produced with Tame Impala’s
Kevin Parker in Perth, Australia, and finished in the
South of France, the album became a cornerstone
of the new wave of psychedelia on its release in
2012.
The reissue will be released alongside ‘Unfold’, the
lost follow-up album from which seven rare and
unreleased tracks will be made available for the
first time.
‘Melody’s Echo Chamber’ is a hypnotic and
sometimes hypnagogic adventure of the senses,
full of summery, shimmery songs that still sound as
dreamy and vivid as they did a decade ago. At the
time Pitchfork called it “... enchanting, psychedelictinged pop with just the right amount of thematic
darkness,” while NME said it was “subtly
disorientating” and noted that Prochet had created
something that was “just as dark as it is light.”
2LP bundle includes ‘Melody’s Echo Chamber’ on
transparent orange coloured vinyl with two-page
insert and bonus anniversary 16-page booklet plus
digital download card.
Also includes ‘Unfold’ on black vinyl with printed
inner sleeve and digital download card.
Obi-strip style bellyband placed over both LPs.

The LP version is limited to 1000 copies, pressed on blue vinyl, in a high grade spot-varnished gatefold sleeve.

700 Bliss is the forward-thinking duo of DJ Haram and Moor Mother. Their first full length for Hyperdub is an album of noise rap that ties together the raw edges of club music and hip hop with punk energy, jazz, house-party catharsis, percussion-heavy analogue sound design, and cheeky skits, ranging from experimental rap tracks with rolling hi hats and lyrical bravado, to poetry set to noise and sound collage.

Moor Mother and DJ Haram started collaborating in 2014 and eventually formed 700 Bliss, a blistering live act in Philly's DIY scene, releasing their 2018 debut, Spa 700 on Halcyon Veil / Don Giovanni Records. Since that time, both artists have grown global followings. Moor Mother is a prolific solo artist and collaborator, writer, and member of Black Quantum Futurism while Haram has been curating and creating radio shows, DJing, and producing (including an EP for Hyperdub in 2019).

‘Nothing To Declare’ is a smart, danceable revelation, a chiseled soundscape of dive bombing bass, piercing bleeps, crunchy distortion, and wavering synth lines. Welcoming in a variety of voices from their extended, cross-genre scene, 700 Bliss also bring along a cast of collaborators, including vocalists Orion Sun, Lawfandah, Ase Manual, and Ali Logout (from the band Special Interest), plus Palestinian producer Muqata'a, and writer M Téllez who delivers a surreal sci fi monologue over a pounding kick drum on ‘More Victories’.

‘Nothing To Declare’ is a deeply layered rewriting of hip hop and electronic music that gives more with each listen. You won't hear another rap album like it in 2022.

Drum Chums Vol. 5 marks the arrival of Captain Attractive, an international man of mystery, head-nod hero and edit expert whose many masterpieces inspired us to pick up the scalpel in the first place.
Last seen leaving Berlin on a world tour, this legend parked the Red Motorbike outside Talking Drums HQ and treated us to a lesson in San Fran sleaze, hippie disco and MPC bump.

The A side opens with the sticky funk of 'It's More Fun 2 Make Love', a pitched-down disco cruiser extended for the tantric dance floor and mastered on an old porno VHS. Sultry, slinky and rated X.
We're always hungry after the act and graciously Captain Attractive is on hand with a donut called 'Memories' to close out the A-side, looping some sweet soul into the kind of hypnotic hip hop as house romper which defined beatdown way back when.

The Captain takes the yacht to the Med on the B1 with the super Balearic groove of 'Dreamer', an astounding combination of dexterous bass, choral vocals and rolling piano, all set to the shimmy of hippie percussion. It could be a Laurel Canyon memory, an Xtian obscurity or something much deeper, but it's definitely twelve minutes of sunset bliss - just wait until my guy flips the script after seven minutes!
The dude drops the curtain with another bitesize portion of MPC mastery, cutting up some thick wax guitar and cool keys over a swung groove for 'Ghana Do It'.

Captain Attractive taking you where you want to go.

100% Drum Fun Guaranteed.

B. Bravo (aka Adam Mori) returns to Bastard Jazz with the long-awaited follow-up to his 2017 debut LP, "Paradise," with a fresh full-length offering: "Vizionz." Replete with his signature future funk vibes, infectiously soulful grooves, and talkbox excursions, "Vizionz" sees the multifaceted artist take the classic West Coast into outer space. If B. Bravo's last album sought to get lost in paradise - enjoying the moment here and now - "Vizionz" looks forward, feet placed firmly in an established LA vibe, while the matured eyes of a veteran producer gaze keenly to the future.

"Vizionz" arrives following a slew of diverse singles, which highlight B. Bravo's stunning versatility as a songwriter, producer, and collaborator. Last year's "Lifted (What U Waiting 4)" came first, at the end of May, 2020, pairing g-funk talk-box verses and synth lines with rich vocal harmonies and a dance-floor-ready beat. Frequent collaborator Reva DeVito (Miami Horror, Kaytranada) makes a standout vocal appearance on "Fly Bye," the second single. Here, Adam surrounds Reva's vocals with ambient pads, a Dilla-inspired beat, and an irresistible bassline, while Reva's dreamily sings about getting away from it all. The final single, "Believe," sees Chuck Inglish (of the famed duo The Cool Kids) rhyme in his distinctive baritone over a bass-heavy instrumental meant to rattle some car stereos.

The singles offer a view into the rest of the album: Solo B. Bravo joints include "Moon Bounce," a talk-box boogie jam begging for late-night drives with the top down; the largely-instrumental synth improvisation, "Midnight Rider;" the upbeat "Penelope," which showcases Adam's vocal and harmonic prowess; a bumping g-funk interlude, with "Flip Out;" as well as the laid back album opener, "Da Essence."

Further vocal assists come by way of Sally Green on the flirty "10/10," and Rojai on the slow jam ""No Regrets" . Both singers have worked on B. Bravo projects in the past, with Rojai additionally joining forces with Adam to form the duo Kool Customer, whose self-titled debut album was released on Bastard Jazz in 2018. Two more hip-hop-leaning tracks are aided by Def Sound ("Back Times Two") and Nico Fasho ("Ms. Stardust"); leaning heavy into outerspace G-Funk Hip-Hop vibes.

Taken as a whole, "Vizionz" is a much needed boost of serotonin: Uncompromisingly positive, sometimes nostalgic, sometimes aspirational, but always funky. The range of styles is a testament to Adam's indelible production chops, songwriting skill, and ability to collaborate. While it has been a long 5 years since "Paradise," "Vizionz" proves more than worth the wait.

Born and raised in California, with roots in Japan, B. Bravo's signature style of Cosmic Funk and late night synth grooves have made him a favorite among DJ's, dancers, and music lovers worldwide. A tasteful producer, sought after remixer, party rocking DJ, master of the talkbox, band leader, and alumnus of the Red Bull Music Academy, Mr. Bravo is an accomplished performer both at home and abroad.

Heavily inspired by the synthesizer-enhanced R&B grooves of the late '70s and early '80s, B. Bravo debuted in 2009 with the seven-track "Analog Starship" EP. A deeper impression was made the following year with a shorter extended play, "Computa Love," the title track of which was supported by BBC DJ Benji B months prior to release. Additional strides were made with a batch of singles and EPs that followed throughout the next few years, as Bravo toured and performed at numerous festivals around the world.

His relationship with the Brooklyn tastemaker label, Bastard Jazz Recordings, began in 2016 with the 7" single "I'm For Real / Stay The Night' (which notably featured a Mr. Carmack remix of the latter). Bravo's debut solo LP quickly followed with 2017's critically acclaimed "Paradise" - which shone a light on vocalists and frequent collaborators Reva DeVito, Trailer Limon, Kissey, and Lauren Faith - with a remix album appearing six months later.

Additional solo releases have found a home on Gilles Peterson's Brownswood Recordings and Frite Nite, while production credits have appeared on releases from the legendary Blue Note Records, HW&W, All City, Friends of Friends, and Tokyo Dawn. B. Bravo has worked on projects with the likes of Salva, Mr. Carmack, Teeko, DJ Lean Rock, Reva DeVito, Lauren Faith, and Kate Stewart.

Having toured throughout the US, Latin America, Europe and Asia, he's shared the stage with performers like Erykah Badu, Flying Lotus, DāM-FunK, Hudson Mohawke, at a world-spanning range of festivals such as Detroit Electronic Music Fest, HARD LA, Northern Nights, Laneway Singapore, Sonar in Barcelona, Snowglobe, SXSW, Basscoast, Do-Over, Low End Theory, Boiler Room, and Soulection.

B. Bravo's "Vizionz" LP is out on Brooklyn's Bastard Jazz Recordings Spring, 2022.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

Widely regarded as the poet laureate of the punk era (from his early career fronting the Stranglers to his transition as a solo artist), Hugh Cornwell has built a substantial and singular body of impressive solo albums. His tenth solo opus, Moments of Madness, continues his illustrious output by experimenting with musical genres as his enviable reputation as a wordsmith resounds across this album's songs.

Self-produced, and playing all of the instruments himself, Moments of Madness' ten incredible tracks finds Hugh flexing his musical muscles with a stripped down, offbeat, reverberating sixties vibe ringing from the seductive melodies and lyrically distinctive perceptions that are indelibly stamped with Hugh’s trademark imagination. Vocally and lyrically a career-best, Hugh has never sounded so good on his tenth solo album.

A high watermark and a modern-day masterpiece, Moments of Madness is being tipped as the most significant album of Hugh’s career.

In the autumn of 2003, Flunk - then consisting of producer/vocalist Ulf Nygaard, singer Anja Øyen Vister, guitarist Jo Bakke and drummer Erik Ruud - booked in at the Hotel de Roubaix in Paris. The framework for their second album "Morning Star" was recorded during a busy week in the Paris hotel room, before being worked out and finished in their Oslo studio early 2004.

The album was licensed to Kriztal Recordings in the USA the following year, and their version of the album included five tracks not on the original Beatservice Records versions, and omitting the Kinks cover "All Day and All Of The Night".

On this expanded edition of the album, all of the US bonus tracks are included to the original Beatservice Records tracklisting, making it a 14 track album.

Two cover song are included: The Kinks' "All Day and All Of The Night", performed as a duet by Anja and Ulf. The cover is the most up-tempo track on the album, capturing the energy of the original Kinks' classic in Flunk's slightly odd way. There is also an acoustic live-in-studio version of New Order's "True Faith". But most of all "Morning Star" includes very strong original material. Both the title track "Morning Star", and the singles "On My Balcony" and "Blind My Mind" showcases the songwriting talents of Flunk.

The track "Play" didn't make it on the original release of the album. But the band did a total makeover of it for the US release, and the track ended up as the feature song in an episode of the show "The O.C.", and on the fourth "The O.C." compilation album.

Other tracks included from the US version of "Morning Star" are the beautiful "Probably" (originally recorded for the debut album "For Sleepyheads Only"), the New Order classic, "True Faith" (a different version than the b-side to "On My Balcony"), the poppy "Skysong" and the lush "All My Dreams On Hold".

"Folk electronica" has been used by a.o. american press to describe Flunk, and on the "Morning Star" album, they have evolved this further. The album is pure indie pop, less electronica - all tracks built around Jo's trademark guitar sound and the voice of Anja Øyen Vister.

"Morning Star" is an instantly tuneful pop injection, now further expanded and with a new superb sounding 2022 24-bit re-master.

Limited Arctic Moss coloured vinyl LP version. New solo LP from The Stranglers' Hugh Cornwell, Moments of Madness is an album of acute, pithy, and witty observations and social commentary across ten singular songs!

Widely regarded as the poet laureate of the punk era (from his early career fronting the Stranglers to his transition as a solo artist), Hugh Cornwell has built a substantial and singular body of impressive solo albums. His tenth solo opus, Moments of Madness, continues his illustrious output by experimenting with musical genres as his enviable reputation as a wordsmith resounds across this album's songs.

Self-produced, and playing all of the instruments himself, Moments of Madness' ten incredible tracks finds Hugh flexing his musical muscles with a stripped down, offbeat, reverberating sixties vibe ringing from the seductive melodies and lyrically distinctive perceptions that are indelibly stamped with Hugh’s trademark imagination. Vocally and lyrically a career-best, Hugh has never sounded so good on his tenth solo album.

A high watermark and a modern-day masterpiece, Moments of Madness is being tipped as the most significant album of Hugh’s career.

For nearly twenty years, Dirty Heads have been mixing hip-hop, reggae and rock to create a unique sound that both fully embodies their Huntington Beach, California roots and resonates with audiences around the globe. Having gone viral on TikTok with their hit song, 'Vacation', which has over 6 billion streams and views on the platform, Dirty Heads has amassed over 3.5 million monthly listeners on Spotify. Their highly anticipated new album 'Midnight Control' features 11 new songs that include their take on Joe Walsh’s 1978 hit 'Life’s Been Good', 'Rescue Me' and 'Island Glow'. The band’s 8th studio album, it is sure to reaffirm their outstanding track record with all seven of their albums having appeared in the Top 10 of Billboard’s Top Independent Albums Charts & Billboard’s Top Alternative Albums Charts.

Nach dem Erfolg der ersten TechnoBase.FM-Vinyl schickt ZYX Music die zweite Ausgabe ins Rennen, um die Herzen der Musikliebhaber des HandsUp-Genres zu erobern. Auch dieses Mal begeistert die Doppel-Vinyl mit vielen Hits und Ohrwürmern, so zum Beispiel „God Save The Rave“ von Scooter und Harris & Ford, „Total Eclipse Of The Heart“ von Jan Wayne sowie „Tell Me Why“ von Prezioso feat. Marvin. Zur idealen HandsUp-Party animieren Songs wie „The Biggest Party” von Claude Lambert und Cloud Seven, „Tricky Disco” von Discotronic sowie „Richtung Sonne” von Timster & Ninth und den Seaside Clubbers. Mit insgesamt 14 HandsUp-Songs eine starke Vinyl-Edition des Webradiosenders TechnoBase.FM!

Seventh candy delivery from Bardouin Music with an atmospheric and euphorythmic EP by Lyon-based producer Hyas. This new chapter presents a dreamy and acid story with 5 vault gems - going through electro, speed garage and breakbeat with cloud-grazing synthesizers and echoing effects in the ocean’s depths. Welcome to the unexplored Angel Island Zone.

Jake Mehew's debut album Sage is a modern and contemporary take on spiritual jazz, a truly exceptional record from the eclectic and highly talented Leeds' artist.Whilst staying within the ethos of spontaneous, unedited performance, Mehew constantly pushes and manipulates the genre's boundaries.The recognisable and lush sound of the Fender Rhodes, layered on a bed of punchy, percussive, grooves, provides the bedrock for powerful improvisations, running alongside Meyhew's subtle analogue synth manipulation and production.

Sage was workshopped over one frantic lockdown week in August 2020. It's a truly honest experience of seven days of hard work, a multi tracked record, made without using overdub to capture the true energy of the performance.True to the spirit of albums made in a pre digital era Mehew set out to capture ideas, interaction and performance at their inception rather than post production.

Jake Mehew is an up and coming composer, performer and producer based in Leeds, UK. His work combines principles of free improvisation with the technological considerations of the avant-garde. Using a combination of acoustic instruments, modular synthesisers and samplers Mehew creates rich, meditative soundscapes that envelop the listener in an immersive sound field.

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

"From Down Below – Live 80 Meters Deep by Portuguese dark metal masters MOONSPELL invites you on a memorable adventure worthy of a Guinness Book honorable mention! Recorded live at Grutas de Mira D'Aire - one of Portugal’s seven natural wonders, it showcases the band’s latest, much acclaimed album Hermitage (2021, Napalm Records) at its primal best, live from inside one of the most impressive caves in Europe. The recording boasts a one of kind sound and visual sensation, with its heavy dose of cinematic flavor, unreal atmosphere and the encircling, resounding nature in its raw form. Tracks such as 'Entitlement', 'Hermitage' and 'Apoptheghmata' perfectly settle in with the album‘s unique environment. From Down Below – Live 80 Meters Deep is not only an epic live momentum of Hermitage - one of the deepest, heaviest and most sincerely heart-breaking records the band has ever written - but a truly revolutionary experience, as MOONSPELL brought along a select number of fans and a production team (literally), underground. Brilliantly directed by Guilherme Henrique, From Down Below – Live 80 Meters Deep is something you have never, ever seen or heard before. " 1. SINGLE - EN Recorded live, 80 meters deep within a natural cave at one of Portugal’s seven world wonders, haunting single 'Entitlement' by Portuguese dark metal pioneers MOONSPELL shines in a new shape, made crystal clear, in an unreal atmosphere mixed with the sound of nature in its pure form.

Master’s second album recorded by Scott Burns at Morrissound Studios! Classic 1990’s Death Metal! One of the problems with looking back on a musical genre from a perspective years or decades removed from the core of the movement itself is that subsequent developments tend to obscure both a genres origins and threads within a tradition that died out without offspring. As a result, interesting and deserving albums often get lost in the shuffle as reviewers reflect on those albums most “influential” upon later achievements. Death metal pioneers Master are among those who have been shortchanged as a result of that phenomenon, and their 1990 masterpiece “On the Seventh Day, God Created... Master” remains a fascinating exploration both of the genre’s roots and of spaces it might have occupied had different paths been taken. There are a couple of things that leap out immediately to even the casual listener. The first is the seeming primitivism of the music, with songs consisting of relatively brief, bludgeoning pieces driven by relentless rhythms, cyclic riffs and simple melodic hooks. The second is the realization that someone is playing some seriously insane, brilliantly constructed leads. In this case, that someone is Paul Masvidal, far exceeding anything he ever achieved with Cynic. Beneath the surface simplicity, lies a creative spirit that at once recalls the primal birth of death metal (which Master was both present for and very much a driving force behind) and points the way to what the genre might have become. Very apparent are the genre’s hardcore roots, Master here eschewing the Slayer-derived technical architecture that came to dominate most “modern” death metal in favor of structures that would not have been out of place on Discharge’s landmark “Hear Nothing See Nothing Say Nothing” release (there are even a few appearances of the infamous D-beat). Within the unrelenting storm of brutal repetition, the music’s core meaning is encoded, a sheer primal rage dripping from thunderous cycles of power chords and the open throated roar (again the hardcore influence) of vocalist and chief songwriter Paul Speckman.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

Includes :

• Exclusive, ltd. Deluxe Earbook CD of "Helloween"
• 3-Track Bonus-CD
• Black 2LP Vinyl incl. 2 bonus tracks
• Unique Helloween wall clock
• Album Cover Art Print
• Six pins
• Logo Necklace
• Patch
• Certificate of Authenticity

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).