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The inimitable Santonio Echols/Next Generation have penned many a great soulful house hit and one of them is 'Bad For Me' which now arrives as a remix package on the NCM Label out of Detroit. First up is Eddie Fowlkes's dub which brings nice warm, smeared chords and allows the vocal to pop out of the mix and bring the sunshine. Ron Carroll's club mix has a little more direct energy in the drums, then the Emanuell Groove mix is a funky one with steamy sax notes up top and nice loose drums. Last of all, the Mannywya Deep dub mix slows things right down to a late-night crawl.

2024 Reissue

redux packaging. aja monet's poems are a work of gravity. They are a fundamental for which all things are attracted, considered upon and enacted towards. Her work moves, constantly, between origin and outcome, allowing them to exist in converse. In her debut album when the poems do what they do, we glimpse her indefatigable commitment to speak. Those thematic origins of this album at times center around Black resistance, love and the inexhaustible quest for joy.In when the poems do what they do aja monet appears as a woman of letters and storm, her poems do not roar in pentameter - but rather in storm surge because, "Who's got time for poems when the world is on fire?!." And this work isn't one to pull apart into one liners, these are poems of things felt. There is a fullness here that can't be encapsulated in even the boundaries that language offers. aja monet is a griot, a storyteller, a chronicler, and your grandmother telling you about her first love all at once. These are baby making poems - literally the spring enacting upon the cherry trees. These are poems of urgency and want and the rallying cry to demolish the insidious systems from which our futures seem to be wrought, in other words, "If we had a sense of humor we'd be more radical. More migrant than citizen we'd breathe the air clean and ration our resources...we would melt ALL the guns." You will find yourself readying arms because of these poems, and simultaneously mourning the unstoppable loss of names already destined to be immortalized. aja monet crafts a work as she always does, that can be entered from many doors. These aren't poems for poets, but poems for everyone.She is joined in effort on this album by musicians Christian Scott (trumpet), Samora Pinderhughes (piano), Elena Pinderhughes (flute), Luques Curtis (bass), Weedie Braimah (djembe) and Marcus Gilmore (drums). Together creating music that is insistent and unrelenting. There are songs reminiscent of jazz club virtuosity and melee, others of a healing balm in gilead, and the chords of Castaway move like that of the call to intercessory prayer.

C
elestial Season originally started as an early death/doom metal band. Having released their first material in 1992, the Dutch band developed a romantic, violin-led sound which partially mirrored (but mostly coincidentally existed with) the classic ‘Hammy‘ Peaceville sound (My Dying Bride, Anathema, Paradise Lost a.o.). Having released two classic gothic/death/doom metal albums (“Forever Scarlet Passion“- 1993 and “Solar Lovers“- 1995), Celestial Season abruptly shifted to a more stoner rock-oriented sound, casting off their original doom metal sound for half a decade before folding in 2001. In the year 2011 Celestial Season surprisingly regrouped with a mix of their ‘doom era’-line-ups. The fans had to wait until 2020 though for new music when the “The Secret Teachings“-album saw the light, which marked their definitive return to their original ‘sad & slow‘ doom sound. In 2022, we were blessed with yet another Celestial Season album. “Mysterium I“ was a further continuation of that classic 1990s gloomy doom sound, and “Mysterium II” was their next treat 2023. This new album “Mysterium III” - the last and final chapter of this trilogy - picks up where “I” and “II” left off stylistically, but now with even more intriguing weeping string sections, forlorn piano lines & slow-moving doom compositions, full of bleak despair and melancholic beauty!

After a few years' hiatus, SHXCXCHCXSH are now opening up their label Rosten again with the EP ''DO''. Four tracks that resume their sound and approach to techno and club music.

Dokken, formed in Los Angeles in 1978, had several hit singles which charted on the Billboard Hot 100,
such as "Alone Again", "In My Dreams", and "Burning Like a Flame", and has sold more than 10 million
albums worldwide. The classic Dokken line-up consisted of founder Don Dokken on vocals, George Lynch
on lead guitar, Mick Brown on drums and Jeff Pilson on bass. One Live Night is the 1996 semi-acoustic
live album of the then reunited Dokken who recorded the album before a live audience at The Strand,
an intimate concert venue in Redondo Beach, California, on December 13, 1994

The qualities of that object may be summarized as follows: 1, Formal legibility of plan; 2, clear exhibition of structure, and 3, valuation of materials for their inherent qualities „as found“ “ Reyner Banham „The new Brutalism“ Architectural Review (1966)

Following on from our audio visual experiences in St. Gertruds church in cologne, this album contains eight excerpts from live sets, specially produced for the unique space of the building designed by Gottfried Böhm, in an attempt to capture its architecture and sound. Since 2015, our goal has been to establish a format at the interface between pop and club culture, as well as "academic" electronic music, in which media art, visuals, sound installations and dance performances play a central role in an immersive and architecturally memorable environment alongside the sophisticated musical program.

Outernational pop group Derya Yildirim & Grup Simsek unveil the second and final part of their double album "Dost 1&2". Once again, their subtle and groovy Anatolian psych folk sound matches the powerful quality of the songs often led by Yildirim"s sublime vocals and baglama (Turkish lute). With "Dost 2", the band have broadened their songwriting horizons and refined their idiosyncratic arrangement skills. Most of "Dost 2""s material was composed by the band, with two notable tracks composed by guitarist flautist Antonin Voyant whose melodic work brings the music to an unnostalgic, yet deep and meaningful place. The lyrics were penned by Derya Yildirim in collaboration with Berlin based writer Duygu Agal, adding another string to Grup Simsek"s bow.

Netherworld Double Gatefold Vinyl in 'Celestial Dust' transparent gold CD / DVD - 5.1 Surround mixed by Jakko M. Jakszyk: 'Storybook' Edition 'Ladies' Double A-Side 7" Single - Ladies Of The Road / Dirty (Black Vinyl) Netherworld A6 illustrated 'Little Stories' book All housed in a Black Textured Box with Gold Hot Foil Embossing Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed_with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense.

Featuring Donny Hathaway's timeless rendition of "A Song for You" which went on to be inducted into the Grammy Hall of Fame in 2004.

Donny’s legacy continues to pioneer figures in soul music and music lovers.

Nachpressung! Black Blue Splatter Vinyl Doppel-LP im Klappcover. "Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's SHIN JOONG HYAN 1958-1974": erzählt die persönliche, spirituelle und tiefgründige Geschichte von SHIN JOONG HYUN und zeigt das gesamte Spektrum der menschlichen Emotionen, die in wunderschönen und rastlosen Sounds münden. Zum ersten Mal ist diese Musik auch außerhalb von Korea erhältlich. "Beautiful Rivers." versammelt einen Überblick über die gesamte Karriere des Gitarristen, Songwriters, Produzenten, Komponisten und Talentscouts. Als er mit seiner Karriere Mitte der Fünffziger Jahre begann, spielte er vor den amerikanischen Truppen in Korea. Obwohl er nur wenig Englisch sprach, kommunizierte er durch seine Gitarren, konnte jedoch viel mehr ausdrücken als nur das, was ein Sessionmusiker konnte. Ein musikalischer Trip zwischen Motown, HENDRIX und THE VELVET UNDERGROUND, so süchtig machend wie eine Flasche des besten koreanischen Soju. Der erste asiatische Musiker und erst der sechste, der so wie zum Beispiel ERIC CLAPTON und EDDIE VAN HALEN, eine Fender Custom Shop Tribute Series Gitarre erhielt.

D&V were a duo formed in Sheffield by Andy Leach on drums and Jef Antcliffe on vocals. The group released their first EP ‘The Nearest Door’ on Crass Records. With Penny Rimbaud as producer, their musical simplicity was combined with uncompromising avant-gardism to achieve new heights. The group would go on to release a second album in 1984 entitled ‘Inspiration Gave Them Motivation To Move On Out Of Their Isolation’ with a more refined sound and additional vocals by Crass' Eve Libertine and Joy de Vivre.

Penny Rimbaud tells us; “D&V are so named because they turned up to play at the now legendary squat gig of 1982 at the Zig Zag Club in North London. At that time, they didn’t have a moniker, so they were chalked up on the day’s order of play as D&V (drums and vocals) because that’s what they were and that’s how they remained. Simple and to the point, they were precursors to rap which later both rhythmically and vocally came to mirror their fierce rhetoric. A northern band with streetwise sentiments, they spoke loud and clear of disenfranchisement (call it slavery) and the vicious class system which created it. From street to stormy skies, D&V were on the up, and hard rains began to fall.”

Repress! No one is raising the standard in the underground as high as Black Milk and Danny Brown. After their collaborative track "Black and Brown" from Black's LP Album of the Year became a fan favorite, the two decided to record an entire EP together, fittingly titled Black and Brown. While the aforementioned track appears on the EP, the remainder of Black And Brown sees Danny Brown exclusively handling mic duties, with Black Milk showcasing his masterful production.
Black Milk’s Album of the Year dropped in September 2010 to strong reviews and an impressive showing on the Billboard charts, and his stock has continued to rise ever since. Performing with a live band for over 80 shows on a worldwide tour in support of the album, he has established himself as one of rap’s best live performers. He also
became the first rap artist to record and release music with rock superstar Jack White, who co-produced and played on the much-publicized “Brain” 7-inch single on White’s label Third Man Records. Never straying from his hip hop roots, Black Milk also serves as a member of the group Random Axe (with Sean Price and Guilty
Simpson), and entirely produced their successful self-titled 2011 full-length release.
Danny Brown first gained wide recognition with the release of his album The Hybrid as a free download in March 2010. Since the release, he’s emerged as one of rap’s most distinct new voices. The shock value of his drug-fueled and sex-laden rhyming has been frequently compared to the early works of Eminem, and his ear for
progressive beats as well as his unique fashion sense has made him a favorite with critics. His latest project XXX was released as a free download in August 2011, and was instantly hailed as one of the top rap albums of the year by artists and fans alike, while receiving heavy coverage from media outlets like Pitchfork, MTV, and The Fader.

A Gilles Peterson-approved deep jazz-rap classic.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork.

Limited and Non-Returnable.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this.

It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Introducing Jahnah Camille (pronounced Hannah), a young artist emerging from the DIY scene of Birmingham, Alabama. Camille's songs capture the rollercoaster of teenage angst, heartbreak and introspection over a well-made bed of driving guitars and catchy, compact melodies. A five-track EP infused with anxiety and grit, i tried to freeze light, but only remember a girl, is a shining introductory project smoothed over by Camille's sugar-sweet voice and cutting lyricism. Much of the EP's songs were written and recorded while Camille was still in high school, taking trips back and forth from Atlanta to record. In the time following, Camille dug into the local DIY scene, steadily gaining an impressive resume of opening slots as she cut her teeth supporting acts like Clairo, Soccer Mommy, Cryogeyser and Wednesday as they came through town. Now 19 years old, Camille delivers an excellent snapshot of those uncertain and wildly hopeful late teen years. i tried to freeze light captures Camille approaching heartbreak and self-perception from a variety of angles-each track playing slightly with genre and cadence and infused with influence from her musical heroes, like Liz Phair and Fiona Apple. The EP pulls at a range of alternative rock and pop threads, there's the 90s alternative rock opener "flesh" and the country-gaze-tinged "roadkill." Camille then softens on the swooning synth-layered ode to love lost, "elliot," before relaxing into a folksy, acoustic "paper doll."I wanna talk and not spill out carnival sounds" Camille confides on closer "carnival sounds"--a track that illuminates the singer's art-pop influences and knack for revealing tender and at times searing admissions through her lyricism. While misunderstandings color the emotional sentiment of the EP, Camille's artistry and expression come through clear as day on i tried to freeze light, presenting her as a promising young voice with real talent and a hunger for musical experimentation.

AC/DC feiern mit Limited GOLD NUGGET Vinyls ihr 50-jähriges Jubiläum! Dieses Album erschien ursprünglich im März 1977 in Australien, die leicht veränderte internationale Fassung der LP kam im Sommer `77 auf den Markt. Auf dem Cover taucht erstmals das ikonische Band-Logo in seiner heutigen Version auf. Angeblich überhitzte Angus` Amp bei der Aufnahme des Titeltracks und fing Feuer!

"The Best Damn Thing" ist das 3. Studioalbum von Avril Lavigne, das ursprünglich am 17. April 2007 weltweit veröffentlicht wurde. Zum ersten Mal auf Vinyl erhältlich mit den 5 Bonustracks der digitalen erweiterten Ausgabe. Inkl. den Hits "Girlfriend", "When You're Gone" und "Keep Holding On".

"The Red Room Crystal-Ruby Splatter Vinyl". Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed-with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense. In as much as Netherworld is a work that exists on a lineage of progressive music and the visionary artists who've expanded their boundaries of exploration to form sound-worlds as big as their imagination, it's also a work of magical realism in the tradition of Pan's Labyrinth, The Company Of Wolves or the work of Gabriel Garcia Marquez and Haruki Murakami-in which the supernatural and otherworldly, lead to a shortcut to the essence of being human. In this World, Louise Patricia Crane is our Storyteller.

Donny Hathaways "Now Playing" 1LP auf Translucent
Red Vinyl enthält seine zeitlose Interpretation von "A
Song for You", die 2004 in die Grammy Hall of Fame
aufgenommen wurde. Das Vermächtnis des Künstlers
inspiriert weiterhin bekannte Soulmusiker und
Musikliebhaber weltweit.

Eurovision Song Contest: The Story Of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star in the film. ""Volcano Man"" was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a ""Song-A-Long"", producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybalk. The album also features the cult hit “Jaja Ding Dong”. The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards. The soundtrack from Eurovision: The Story Of Fire Saga is available on black vinyl and contains a 4-page booklet and printed innersleeve with movie stills.

Das Album "Songs in A&E" erscheint in Neuauflage. Die britischen Space-Rocker Spiritualized, die aus der Band Spaceman 3 hervorgingen, veröffentlichten es ursprünglich 2008, woraufhin es auf Platz 15 der UK-Albumcharts einstieg.

Songs in A&E ist ein wunderschönes, beängstigendes Album, und es war beinahe das letzte, was J Spaceman jemals veröffentlichen würde. Im Jahr 2005, als die Schreib- und Aufnahmearbeiten bereits in vollem Gange waren, wurde Spaceman mit einer doppelten ungenentzündung ins Royal London Infirmary eingeliefert. Das Cover dieser
iederveröffentlichung zeigt ein Foto, das aufgenommen wurde, als er auf dem Sterbebett lag, wie seine engen Freunde und seine Familie zu diesem Zeitpunkt befürchteten. "Wir dachten, er sei tot", erinnerte sich sein Bandkollege John Coxon an diese Zeit.

Das Album ist eine Sammlung anmutiger, Country-beeinflusster Songs, die vertraute Themen wie Liebe, Tod, Hoffnung und Hoffnungslosigkeit aufgreifen. Das Country-Element wurde durch eine kleine schwarze 1928er Gibson Akustikgitarre geprägt, die er in Cincinnati gekauft hatte, als die Band auf Tournee für das Album Amazing Grace war. Spaceman nannte sie "The Devil".

Schwarz, Grau und Silber dreigeteiltes Farb-Vinyl. Trotz der großen Aufmerksamkeit, die ihrem Durchbruchsalbum "Tramp" zuteil wurde, kehrte Sharon Van Etten ins Studio zurück, bereit und gewillt, eine neue Richtung einzuschlagen, tiefer zu gehen und ehrlicher und vulgärer denn je zu schreiben. Das Ergebnis dieser Bemühungen war "Are We There", ein selbstproduziertes Album von außergewöhnlicher Intimität, erhabener Genialität und immenser Kraft. "Are We There" wird dieses Jahr zehn Jahre alt und erweist sich erneut als eine ihrer kraftvollsten und zeitlosesten Sammlungen. Von den ersten Akkorden des ersten Songs "Afraid of Nothing' an ist klar, dass wir Zeugen eines neuen Bewusstseins sind. Van Etten in voller Fahrt schreibt, produziert und performt von einem Ort, der fast mythisch erscheint, wäre er nicht so greifbar und real. Stets direkt und selbst vor den persönlich schmerzhaftesten Erzählungen nicht zurückschreckend, handeln viele der Songs von scheinbar unmöglichen Entscheidungen, Vorfreude und dann Auflösung. Sie singt von der Natur des Begehrens, der Erinnerung, des Verlorenseins, der Leere, von Versprechen und Loyalität, von Angst und Veränderung, von Heilung und dem wahren Selbst, von Gewalt und Zuflucht, vom Warten, von Stille. Die Künstlerin, die mit einer solchen Stimme spricht, fordert uns auf zuzugreifen und tiefer zu gehen. Auf diese Weise bleiben die Fragen des Lebens lebendig, so nah und beständig wie der Atem. Inmitten all dieser wahrhaft brutalen Ehrlichkeit findet Van Etten Momente der Leichtigkeit. "Every Time the Sun Comes Up" hebt das Album am Ende an, vervollständigt die Welt, in die sie uns einlässt, und stellt uns sanft auf das ein, was folgen mag. Seitdem ist es zu einem unauslöschlichen Bestandteil von Van Ettens Live-Shows geworden. Es ist schon genug, seine Musik zu leben, ohne auch noch die Rolle des Produzenten zu übernehmen, aber Van Etten wusste, dass es an der Zeit war, ein Album zu machen, das ganz nach ihren eigenen Bedingungen entstand. Gleichzeitig erkannte Van Etten, dass dies nicht bedeutete, dass sie es alleine machen musste, und sie stellte eine geliebte, jetzt gefeierte Gemeinschaft zusammen, um ihre Vision zum Leben zu erwecken. Für die Aufnahmen fand Van Etten in dem erfahrenen Musikproduzenten Stewart Lerman einen verwandten Geist. Lermans Studioexpertise gab Van Etten die Freiheit, "Are We There" so zu machen, wie sie es sich vorstellte. Van Etten nutzte auch die individuellen Talente ihrer Band, bestehend aus Heather Woods Broderick, Doug Keith und Zeke Hutchins, und holte ihre Freunde Dave Hartley und Adam Granduciel von The War on Drugs, Jonathan Meiberg (Shearwater), Jana Hunter (Lower Dens), Peter Broderick, Mackenzie Scott (Torres), Stuart Bogie, Jacob C. Morris und Mickey Freeze hinzu. Der unvergleichliche Richard Swift arbeitete mit Van Etten am Endmix. Man könnte den Strom abschalten, alle Instrumente entfernen, und Sharons Stimme und Worte würden bleiben. Sie sind heute noch so kraftvoll wie vor zehn Jahren und sie werden sicher noch viele Jahre überdauern.

2024 sees the release of Georgia’s fourth studio album - Cool Head. Written in the year after her husband and collaborator was taken seriously ill, Georgia describes the album as a long drive through night into morning. "Cool head," a phrase her dad would always use to urge calm thinking, presents a candid and affecting collection of songs, spanning wide-open Americana to 60s- influenced folk ballads. Recorded in Sain studios, near Caernarfon, the album features contributions by Iwan Huws (Cowbois Rhos Botwnnog), Stephen Black (Sweet Baboo), Gwion Llewelyn (Aldous Harding) and Rhodri Brooks (Melin Melyn). With Gorky's Zygotic Mynci stalwart Euros Childs adding his unmistakable vocals to a couple of songs, this is a truly Welsh affair. It also features string arrangements by Gruff Ab Arwel, whose ear for melody brings a new dimension to the songs. These are performed by Angharad Davies, Angharad Jenkins and Patrick Rimes. The album is co-produced with long-time collaborator Iwan Morgan

Reissue of late-’80s release by lovably manly Australian punk rock trio! Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. — Eric Friedl, Oblivians / Goner Records 40th Anniversary tour about to hit UK / EU! Go the Hack!! Essential!!

2024 Reissue

Alphacut Records reloads its third wave with an upfront jungle plate. Meticulously selected over the years since the last allover amen statement Fundamentals EP as of cat.nr. ACR 3001, these four new killer tunes take no prisoners as well.

Sumone (with his Planet Mu fame) and Dan Miles (formerly Skubi like on Modern Ruins) as the midwest cowboys meet the North Sea sailors Istari Lasterfahrer (running his Sozialistischer Plattenbau) and Ill_K (on Nord and re:st)to execute this smashing Darka Mentors EP!

"Wicked Man Sound" is one of the most sinister jungle sciences we came across lately. Choppage on point, layerslike spread, stabbing basses, dark percussion, oldskool pads - you name it. "Crash!" feels like a UK hardcore banger, but is refreshingly switching breakbeats instead of gabba kicks. "Echo Chamber" drops an irresistible rave stab into the dubber dungeons and "Kuro" celebrates a very samurai style of a halftime cut to round up this breaksfest menu with ease.

Alphacut operates on a non-profit level, most releases cover their costs, if even. Half of any returns will be donated to Webster's Amen Break Gesture campaign II raising funds for the original creator of The Winston's Amen Brother breakbeat: Richard Spencer. With the deepest respect for this milestone of a sample!

Perseverance, originally released in 2020, is not a new Peter Kernel album. Rather, it's a collection of songs which didn't find their place on official albums throughout the years but, one way or another, shaped the duo and brought them where they are today. These tracks are like them: funny, sad, too much, not enough, flawed and simply human! Twelve demos, alternative takes and rarities that come with twelve additional tracks available on a digital download card.

Time's Up is the second studio album by the band Living Colour, originally released in 1990. It was the follow-up to their successful 1988 album Vivid and spawned the singles ""Love Rears Its Ugly Head"" and ""Solace Of You"". Time's Up features a wide range of genres and also guest appearances by Queen Latifah, Little Richard, Doug E. Fresh, Maceo Parker and James Earl Jones. The album reached Gold status, peaking at #13 on the Billboard 200, and won a Grammy Award for Best Hard Rock Performance. Time's Up is available on black vinyl and includes an insert.

"Ring ring! AGITPROP HOTLINE!!, this is Goblin Daycare speaking from Istanbul, Turkey. How may we radicalize you?

Up-and-coming egg punk rascals Goblin Daycare’s long-awaited second release is here and it’s ready to overload your brain with its lo-fi alien soundwaves. Self-recorded and produced by Mama Goblin, AGITPROP HOTLINE!! is the perfect follow-up to their critically acclaimed debut Q: EP? A: EP!!.

But this time around, everything is turned up to 11 and somehow, even more over the top.

Supercharged guitars, over programmed drum machines, earworm synth melodies, growly basslines, shrieking vocals, stupid-yet-fun samples… Made up of 10 short-but-not-so-sweet bursts of unadulterated lunacy, this album clocks in at a whopping 15 minutes. Like all good things, it ends in the blink of an eye. So don't blink. Instead, dial in and let AGITPROP HOTLINE!! mesmerize you.

Coloured vinyl reissue of 'Downfall', the classic fourth album from legendary US doom metal gods Solitude Aeturnus.

Black Truffle is thrilled to present the first vinyl reissue of David Rosenboom’s unique Future Travel, originally released on the short-lived Detroit label Street Records in 1981 and here presented in an expanded edition with an additional LP of wild, previously unheard live and studio material from the same period.

Future Travel emerged from the confluence of two important streams in Rosenboom’s work at this time. First, his exploration of ‘propositional music’, defined as ‘complete cognitive models of music’ that start from the radical question, ‘What is music?’ In this case, the music belongs to the universe of Rosenboom’s In the Beginning (1978-1981), in which proportional relationships determine the material available to the composer in all musical parameters (harmonic relationships, melodic shapes, rhythmic subdivisions, dynamics, and so on). Second, the work documents a key moment in Rosenboom’s long collaboration with synthesizer pioneer Don Buchla. Having played a role in developing concepts for some of the modules of the Buchla 300 Series Electric Music Box (an innovative analogue modular system controlled by micro-processors), Rosenboom went on to write the software for Buchla’s hybrid analogue-digital keyboard synthesiser, the Touché, the instrument heard most prominently here.

In a way that no purely analogue synthesizer could, the 300 Series and Touché allowed Rosenboom to work with the In the Beginning algorithms in real time, the synthesizers becoming ‘intelligent instruments’ that actively collaborate with the performer. Developing the open structures of the electronic pieces from In the Beginning, Future Travel explored the possibilities of simply ‘playing the system’, recording live at Francis Ford Coppola’s Zoetrope studio in San Francisco. Working from loose sketches, Rosenboom added acoustic instruments to the electronic sounds and, on some pieces, the processed voice of Jacqueline Humbert. Like Rosenboom’s collaboration with Humbert on the abstracted synth-chanson of Daytime Viewing, this music set out deliberately to challenge the ‘stratified and illusorily coagulated identities in the musical culture of the time,’ refusing distinctions between ‘serious’ and popular music. But where Daytime Viewing achieves this in part through genre references, Future Travel is bracingly sui generis, existing in a unique universe where radical formalisation à la Xenakis spontaneously gives rise to expressive jazz harmonies and old-timey folk melodies.

The crystalline quality of many of the Touché sounds gives Future Travel a sparkling, immediately enticing surface, its layers of shifting ostinato patterns pulsating outside conventional meter, rippling like waves on the surface of water. On opener ‘Station Oaxaca’, ping-ponging synth arpeggios and hand percussion accompany a sentimental violin melody, abruptly overtaken by layered keyboard runs, before the entry of tinkling marimba-like sounds reframe the scene as sci-fi Martin Denny exotica. ‘Time Arroyo’ begins as an austere study in staccato synth sounds in multiple overlapping tempi, reminiscent of Ligeti’s famous ‘clock’ rhythmic effects. Before long, it opens up into a melodic passage with the gentle heroism of classic Roedelius, which proves to be only a brief interlude before the layers of rhythmically distinct synthesiser patterns begin to build and accelerate into an increasingly dense cacophony. The wildest twists and turns are saved for the epic closer ‘Nova Wind’, where the arrangement focuses on Rosenboom’s virtuoso piano playing, perfectly embodying the project’s radical disregard of stylistic orthodoxies as he moves from hyperactive pointillistic flurries to a kind of space-age gospel.

At several points throughout the record, the distinctive voice of Jacqueline Humbert is heard reading passages from the text component of In the Beginning, a dialogue between The Double (an embodiment of humanity’s timeless desire to replicate itself in spiritual and technological copies) and two Spirit Characters. Fittingly, as all are conceived as embodiments of a future form of techno-human collective consciousness, distinctions between the three characters are not immediately evident in Humbert’s delivery, just as the music blurs the boundaries between intelligent computing and human spontaneity. Adorned with a striking retro-futurist cover (and here accompanied by extensive new liner notes and archival images), Future Travel is a time capsule of radical imaginings at the birth of our digital age, reminding us of utopian possibilities of which our own present seems so often to fall short.

LP is Now-Again Reserve Edition gatefold jacket. Hand-numbered edition of 1000. 145 gram vinyl - OBI strip and resealable 'Japanese-style' plastic sleeve. Includes Download card for WAV files of the album and bonus tracks from solo releases from Nyoni and his Born Free band. Contains booklet that presents an overview of the Zamrock scene, Nyoni's story, and the confluence of the Zimbabwean and Zambian rock scenes in the 70s. // CD is the first ever anthology of Zamrock musician Mike Nyoni's funky, psych-rock and folkloric 1970s recordings spread over 2 CDs. The latest release in Now-Again's deluxe Reserve Edition series: the first ever anthology of Zamrock musician Mike Nyoni's funky, psych-rock and folkloric 1970s recordings. Zambian guitarist and singer/songwriter Mike Nyoni's music is Zamrock only because he came of age during the country's rock revolution. His preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings - often politically charged, and ranging from despondent to exuberant - are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs - his first, with the Born Free band, and his two solo albums Kawalala and I Can't Understand You - and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi. The package also features an extensive, photo-filled booklet contains an overview of the Zamrock scene and Nyoni's story. LP Tracklisting - A-Side: Born Free - 'My Own Thing

Finally, it‘s happening: the „other“ Gerd appears on Running Back. Not counting in his remix for Losoul‘s Open Door and not to be confused with the label owner Gerd Janson. Based in the Netherlands and strongly associated with the Clone complex, Gerd has been releasing countless tracks and records since the dawn of the nineties. A true child of the „techno“ Zeitgeist back then, he is keeper of a dozen monikers, project names and joint ventures that tend to connect the dots between house and techno, functionality and avantgarde electronics. Gerd‘s frame of mind is second to none, when it comes to sound research, inspiration and imagination.
For Running Back he decided to put his own spin on some of the label’s signature dishes.
The opener Dance of Enjoyment is exactly that. Based on a cleared sample from Shakira by Quinton Madlala and imported by early South African kwaito and house, it is exactly that. Life-affirming dance-floor fun or pogo time for piano people.

Let the Music Take Control dials the peak time slightly back to being a party starter with its retrofuturistic speak and spell command and some evergreen breakbeats. An additional DJ tool allows to spread the gospel elsewhere, too.

Speaking of which, the flipside deals with that in the realm of an Italian influenced theme park. Sitting neatly between the disco and the house appendix of “italo“, Change Of Heart and Digital Illusion are sugar frosted and masterful produced versions of a style that might never go out of fashion. Earnest characters might be happy with the included bonus beats on their own. All’s well that ends well: Gerd and Running Back are here to save a party near you!

Zur Jubiläums-Europatour der Australier der Nachfolger des 2018er-Comebacks "Loudmouth Soup" von 2021, jetzt erstmals in europäischer Pressung! Astreines pissgelbes Vinyl, sorgfältig eingefärbt von Subway Records. In ihrer 40-jährigen Karriere haben die Cosmic Psychos absolute Hymnen aufgenommen: 'Hooray Fuck', 'David Lee Roth', 'Down on the Farm', 'Go the Hack', 'Nice Day to Go to the Pub', 'Fuckwit City' und viele mehr. Und das 2021er Album enthält viele Songs, die bei den kommenden Konzerten gespielt und gesungen werden. Die Psychos wurden in den frühen 80er Jahren in Melbourne gegründet und sind immer noch aktiv. Sie wurden von der Punk-Gemeinde in Australien und im Ausland begeistert aufgenommen und erreichen nun eine neue Generation von Fans. Wie die Ramones, Motorhead und AC/DC haben sie eine Formel, die seit 40 Jahren funktioniert: Songs über Alkohol, Mädchen und Landwirtschaft, gespielt in einem frenetischen Tempo. Mountain of Piss macht da keine Ausnahme, und genau das ist das Tolle daran! Die Höhepunkte von Mountain of Piss sind der Titelsong, in dem es darum geht, für Australien einen Berg von Pisse zu erobern, und Sin Bin, in dem es um schwachsinnige Fußballer geht, sowie die Stücke Dickson und Munted. Aber der Mid-Tempo-Country-Song Too Old to Drink in Pubs" ist das wahre Juwel des Albums. Genial ist auch das vom Mount Rushmore inspirierte Cover, auf dem die Gesichter der Cosmic Psychos mit Hilfe eines Stapels von Holzgegenständen in einen Berghang "gemeißelt" wurden. 500 Stück für Europa!

In the new duo MISTRA, two extremes in the Norwegian music industry collide - Pop queen Benedicte Adrian and metal pioneer Anders Odden. Their first single "Waltz of Death" was performed in the 3rd semifinal of Melodi Grand Prix (the Norwegian Eurovision Song Contest) Benedicte Adrian is back in MGP 40 years after the success of Dollie de Luxe. The duo, which consisted of Benedicte and Ingrid Bjørnov, won the competition with "Lenge Leve Livet". They followed up the success with the album "Rock vs Opera" and have composed music for several musicals together. They released their last album as "Adrian/Bjørnov". As a solo artist, Benedicte has, among other things, sung the role of Queen of the Night in "Tryllefløyten" at Den Norske Opera, released the solo album "Desember" and guested on various stages both as a pop artist and a classical singer. Anders Odden has a long life behind him in black metal. In 1990, his band, Cadaver, debuted with Norway's first death metal LP "Hallucinating Anxiety". Since then, Cadaver has released six albums and gained cult status worldwide. Anders has also toured the world as a musician for other bands such as Celtic Frost. He has also collaborated with famous musicians such as Ronni Le Tekrø, Ledfoot, Hank Von Hell and Tony Harnell. Produced and mixed by Adair Daufembach in Studio Tomb, Norway

Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. Combining the signature soundscapes of Scorn with tartareous textures, the newest album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. 2024 vinyl version on orange coloured vinyl!

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

'Make It Up' ist der Nachfolger zu FEETs Debütalbum 'What's Inside Is More Than Just Ham', das sie 2019 ins Rampenlicht des Indierock katapultierte und zu einem der aufregendsten Gitarrenacts der Szene machte. Aufbauend auf diese Sound-DNA hebt der fein abgestimmte, kohärente und fesselnde neue Output die Band auf die nächste Ebene, wie die erste Single 'The Real Thing' mit spitzen Gitarrenlines, liebenswertem Groove und messerscharfen Lyrics eindrucksvoll beweist. 'Make It Up' wurde von Andy Savors (Black Country New Road, The Magic Gang, The Horrors) produziert, von Caesar Edmunds (Beach House, Wet Leg, Foals) gemischt und von Christian Wright in den Abbey Road Studios gemastert.

Der begleitende Film von Dave Stekert und Xander Strohm fängt die Zeit in New York ein, als Covid 19 alles abschaltete, die Menschen Angst hatten
und nichts sicher war. Die Kreativen mussten trotzdem kreativ sein, und Jesse Malin fand einen Weg, die Menschen über seine wöchentliche
Streaming-Show "The Fine Art of Self Distancing" zu erreichen. Ein großes Publikum fand Gefallen daran, dass Jesse Geschichten erzählte, sang,
tanzte, uns zum Lachen brachte und uns wissen ließ, dass alles gut werden würde. Er lud seine Freunde ein, mit ihm über die Geschehnisse in der
Welt zu sprechen, darunter Lucinda Williams, Debbie Harry, Jimmy G, Alejandro, Bob Gruen, Craig Finn, Tommy Stinson, Fred Armisen, David Fricke,
Pete Yorn, Graham Parker, Butch Walker, Lenny Kaye, Michael Imperially, Jim Jarmusch, DMC, Uncle Floyd und Bob Strauss.
Zu den musikalischen Gästen gehören Tommy Stinson, H.R. (Bad Brains), Eugene Hutz (Gogol Bordello), Cat Popper (Puss N Boots, Jack White, Grace
Potter), David "Immy" Immerglück (Counting Crows). Sie singen die Lieder von Jesse Malin und Lieblingslieder von The Pogues, Bad Brains, The
Ramones.

In each new volume of the series, DTM Funk will collaborate with another befriended DJ/producer, assembling a varied collection of productions representing the sound of the guest selector. For the second edition, we look to Soft Focus, also know as Forbidden Fruit, Title or Toon Janssens. Already for years in the game but still one of Belgium's most skilled producer.

SKRR Vol-002 will focus around the groove that Soft focus brings to the humanity; "downtempo grooves, cinematic sound and abstract waves for the brains, the body and the soul".

Featuring 10 tracks from the likes of Bert Cools, Memotone, Dries Laheye, Arthur Brouns and more.

The compilation perfectly fits the philosophy of the record label. "The meaning of San-Kofa implies that all music comes from somewhere", explains DTM Funk. "If you acknowledge the music's origins and its essence, it becomes so much more valuable, and you become better prepared for the future".

O. - das Londoner Duo aus Baritonsaxophonist Joe Henwood und Schlagzeuger Tash Keary - hat seinen furchtlosen Sound durch eine Residency in Brixtons Kult-Location The Windmill sowie durch Support-Slots in ganz Großbritannien und Europa mit anderen Schwergewichten wie Black Midi und Gilla Band verfeinert und ihre einzigartige Live-Energie nun in ihrem Debütalbum 'WeirdOs' destilliert.

'WeirdOs' wurde von Dan Carey produziert und zeigt Tash und Joe von ihrer rauesten und freiesten Seite. Auf 10 Tracks mit hochoktanigen Instrumentals, die live aufgenommen wurden, bietet das Duo alles von kathartischen Dancefloor-Drops über Jungle-Breakbeats bis hin zu vertrackten Jazz-Linien und schlammigem, bedrohlichem Doom Metal.

- Ltd. Col. LP: (White Vinyl)