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Avid Habibi Funk listeners may be familiar with Libyan composer / producer Najib Alhoush, who’s track “Ya Aen Daly” - the Bee Gee’s “Stayin Alive” cover - was included in our second compilation. While the original track never excited us, Najib’s version managed to strip it from its pop approach that had taken over disco during the genre`s peak. At that time, disco tracks mostly were aiming to appeal to the widest audience possible. Najib had turned the original track into something different and very unique. Upon further research we found that Najib was actually the singer and founder of The Free Music band alongside Fakhreddin, Salim Jibreel, Abdulrazzak ‘Kit-Kat’, Mukhtar Wanis and Mohameed Al Rakibi.
Initially, we only licensed Najib Alhoush’s “Ya Aen Daly” from Yousef Alhoush, Najib’s son, who was pleased to hear that there was interest in his father’s music form someone abroad. In the process of exchanging and learning about Najib’s music and career, our understanding was that The Free Music only recorded the one album. This couldn’t be further from the truth, in fact, there were ten albums produced by the group, all impressively coherent with a clear influence from disco, soul, funk and reggae.
The Free Music album was probably the longest it ever took us to gather information, photos and musical source material in a good enough quality to be reissued. This is largely due to the complicated political situation in Libya, compounded by the fact that Libya is still largely cut off from international payment systems, so getting an advance payment to the right person can be a process that takes weeks. The same goes for getting master tapes to a studio abroad and afterwards back to Libya.
When we look for music that works under the umbrella of Habibi Funk, we often come across albums where bands experimented with influences from Soul, Jazz, Funk, Disco and more, usually on a single track or two but then they often go down to a different path for the rest of the album. This was not the case for The Free Music. All their albums are fully dedicated to their unique blend of Disco, Reggae and Funk and it feels that when we made the selection for this album, we could have chosen a completely different number of tracks and the album would be been equally strong.
The lead-off single is the stupendously groovy “Ana Qalbi Ehtar” out February 3rd along with LP pre-order to capitalize on Bandcamp Friday. From the outset, the rhythmic strumming of the funkified guitars give way to the galloping drums and bass, opening up to anthemic vocals and rounding out with a blistering guitar solo, a certified disco-funk classic through-andthrough.
Second single, out February 17th is the disco slammer “Hawelt Nensa Ghalaak.” Guitars, harmonized horns, synths and bouncing bass and drums collide w/ spaced out vox to make the track a dancefloor sureshot for any party.
Third single is “Mathasebnish,” out March 3rd, a pure disco-funk slammer if there ever was one – with stabbing horns, funky bass riffs, a riding rhythm guitar and anthemic vocals, rounded out with stunning flute and guitar solos – the track will surely be on repeat along with the arrival of warmer weather.
Album focus track “Men Awel Marra” is another standout disco-infused tune, showcasing the immense creativity out of Najib and The Free Music. This past summer we finally had the opportunity to get together with Yousef face-to-face at a coffee shop in Istanbul’s central Istiklal road together with our friend Anas El Horani. Yousef told us the whole story of how his father got into music, the start of the band and his father’s continued conflicts with the Gaddafi regime that probably kept his career from becoming even bigger. As always, both vinyl and CD come with an extensive booklet featuring background on The Free Music and Najib Alhoush, including words from Najib’s son, Yousef, as well as unseen photos, cassettes and more.

Back in print for the first time since its initial release during lockdown in 2020!
The music of Current Joys has captured the imagination of millions through headphones and laptop speakers across the world. Rattigan's deeply emotive and commanding songwriting feels built for solitary walks or contemplative nights in one's bedroom, and that is why a Current Joys live performance is a whole different experience altogether. On Live At Kilby Court, the band rips through a stacked setlist of fan-favorites transforming these bedroom ballads into adrenaline-pumping anthems, creating an overwhelming feeling of togetherness.

"Dans cent ans" is not a record: it’s a talisman.
Flavien Berger doesn’t make music, he makes time machines.
In 2015, he released his first album, Leviathan, which he’d imagined like a moment suspended into the bowels of present time.
In 2018, Contre-Temps, his critically acclaimed second album, was narrated like a flashback.
Dans Cent Ans (“In 100 Years”) ends this trilogy and launches into the future with the grace of a poisonous serpent.
Flavien had just finished producing Pomme’s last album and was simultaneously scoring Céline Devaux’s feature film Tout le monde aime Jeanne, when he recorded this album, during six months of isolation.
In the garret of a Belgian house in construction, these 12 tracks were born, close to the sky, both direct and mysterious.
Because Flavien Berger knows how to make machines sound sensual (a key example is the pop song “D’ici là”) and dares to interweave electronics, chanson and art music, organic instruments and synthetic choirs, without ever falling into parodic territory.
Because his voice, more precise, unreverbed, and close-mic’d than ever, sings to our ears – using multisyllabic rhymes (“Trop ivres pour te plaire / Tropiques du cancer”) and surrealist imagery (“la neige restera rose” – “the snow will remain pink”) – stories that feel unknown yet obvious.
And like both previous albums ended with a long eponymous track like a breath of air, “Leviathan” and “Contre-temps”, so does “Dans Cent Ans”, a 15-minute long saga where vocals, wind instruments and machines converse, as if Debussy, Etienne Daho and a Sufi Dervish met in a dream.
After listening to this album, the vertigo of love and the collision of times are one and the same.
In one hundred years, music will survive us all, and its dangerous beauty will awaken other lives. In the meantime, Flavien Berger keeps stunning ours.

Hit-writing anti-icons, Das Koolies emerge to explode three decades of digression as Super Furry Animals with their electronic depth-charge debut EP: The Condemned. Huw Bunford, Cian Ciarán, Dafydd Ieuan and Guto Pryce restore original Furry vision with techno-inspired, heavy-tech sound inspired by illegal rave roots.

A past fades out for a future to begin as the long-running, secretive DAS KOOLIES ‘dream project’’, emanating from Cardiff’s post-industrial docklands, delivers its first consignment of complex, wired euphoria: The Condemned. Chains of decayed connection and shackles of genre-expectation are audibly broken as Huw Bunford, Cian Ciarán, Dafydd Ieuan and Guto Pryce re-route their paths as notorious scientists of sound, taking the outside lane to arrive close to where it all began for Super Furry Animals.

Soldering human touch to synths and samplers, Das Koolies come through on their manifesto pledge of incinerating acoustic guitars while unsafely loading as much noise- making machinery onto their studio mains supply as possible. The Condemned, a confrontational, synth-driven outsider anti-anthem comes through as a warm-blood-on-cold- steel rope act of strict automation and humanity, commanding computers and code to find compromise with Ieuan and Bunford’s vocals.

Strawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows.

Strawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope).

More Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate.

Strawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.

Death Is Not The End's 333 sub-label follows the reissue of Devon Russell's Darker Than Blue LP late last year with a first-time reissue of a veritable reggae-dancehall holy grail - Robert Ffrench's 1985 LP 'Wondering'.

Pioneering artist and producer (and cousin of the late, great Pat Kelly) Robert Ffrench was born in central Kingston in 1962, recording his first records in 1979 at the age of 17. Coming out off the back of a slew of roots & early dancehall-style 45s cut with a wide range of producers thoughout the early '80s, the Wondering LP followed closely after two acclaimed LP sets ('Showcase' produced with Lord Koos & 'The Favourite' for Ossie Thomas' Black Solidarity label - plus a split showcase LP with Anthony "Gunshot" Johnson for Jah Thomas' Midnight Rock label).

Ffrench would write and produce the Wondering LP himself in it's entirity, laying down the tracks at Herman Chin-Loy's Aquarius & Michael Carroll's Creative Sounds studios with the help of engineer Christopher Daley. Representing the sound of an artist first confidently sriking out on his own, the album elegantly mixes a classic rub-a-dub & lovers rock-inspired sound with nascent digi-esque flourishes. It boasts an enviable list of contributors too, incl. Sly & Robbie, Dwight Pinkney, Robbie Lyn, Nelson Miller (Burning Spear) and Ronald "Nambo" Robinson among others, with Beres Hammond also providing backing vocals in places.

Following the release of Wondering, Ffrench would continue to write and produce, soon after releasing two further self-produced LPs for Edgar White's Parish label - and founded his own 'France' label in the late 80s, through which his productions would start to hit big, most notably alongside Courtney Melody on 'Modern Girl', and with US rapper Heavy D on the track 'More Love'. Robert's productions released through later label 'Ffrench' would go on to boast the cream of the crop of dancehall artists throughout the 90s and early 2000s, and he is often credited with discovering Buju Banton (producing his first single "Ruler" on the Stamina riddim). Ffrench is still actively producing music of his own to this day, having released singles 'Everyday of My Life' and 'Black Is a Colour' in late 2022 and Feb 2023 respectively, available through all digital platforms now.

333, under exclusive license from Robert Ffrench.

Black Honey's third album. Written and Directed, the bands second record (released in 2021) charted at #1 UK indies and #7 Overall, their self titled first, charted at #33. Since the end of the Written & Directed campaign the band played a sold out UK Tour including a night at Heaven, immediately followed by shows supporting IDLES, tours with Nothing But Thieves and The Vaccines across the UK and Europe. More in the touring section. The first track from this 3.0 phase of the Honeys, sees the rip roaring "Charlie Bronson", a nod to "I Like The Way You Die" and this track is the killer opener to their upcoming third record "A Fistful Of Peaches" which will be released in 2023.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

“Empyrean Isles” war 1964 Herbie Hancocks viertes Soloalbum für Blue Note. Obwohl der Pianist mit “Watermelon Man” von seinem Debütalbum “Takin’ Off” bereits einen echten Hit gelandet hatte, etablierte er sich erst mit “Empyrean Isles” endgültig als eigenständiger Künstler. Wie auf den vorangegangenen Alben
stellte Hancock ausschließlich eigene Kompositionen vor, aus denen vor allem der zeitlose Hit “Cantaloupe Island” hervorstach.

Dem Pianisten zur Seite stehen hier mit Bassist Ron Carter und Schlagzeuger Tony Williams zwei Musiker, mit denen er damals parallel auch im zweiten großen Quintett von Miles Davis
zusammenarbeitete. Zu ihnen gesellte sich außerdem der Trompeter Freddie Hubbard.

Der Saxofonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxofonisten auch nicht leugnen konnten. Das Highlight des Albums ist
die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde.

Clear Vinyl

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions" upon its initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes. The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: "Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university." As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a "bliss out," static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all.

Naked Cameo veröffentlichen zum 5jährigen Jubiläum von 'Of Two Minds' eine limitierte Vinylversion.
Es kommt selten bis nie vor, dass eine Newcomer Band mit ihrer Debüt Single auf Platz 1 der Spotify Viral Charts in Österreich und Platz 6 in Deutschland chartet. So geschehen bei NAKED CAMEO, das sind Lukas Maletzky (Gitarre und Vox), Maria Solberger (Synths) und Patrick Pillichshammer (Schlagzeug) mit ihrer ersten Single 'Luddite' und erreichen damit bereits über acht Millionen Streams. Darauf folgen Nominierungen wie die Music Moves Europe Talent Awards, European Boarder BreakerAwards und die Austrian Music Export Awards XA, sowie erste ausverkaufte Shows und Auftritte am Reeperbahnfestival, Donauinselfest, FM4 Frequency Festival oder Eurosonic und Support-Shows von Acts wie Wolf Alice oder Welshly Arms.

Orange Vinyl

Das Debüt der Kollaboration von Malcolm Middleton (Arab Strap) und Joel Harries ist eine Platte, die beweist, dass man auch aus Spaß an der Freude kreativ sein kann und sollte. Das Debüt wird in limitierter Auflage auf orangenem Vinyl erhältlich sein.

Mit 'Rest Lurks' erscheint das Debüt des neuen Projekts von Malcolm Middleton (Arab Strap) und Joel Harries auf dem beide Musiker frei nach dem Motto "trust the process" sich einer instinktiven Spontaneität hingeben. Rest Lurks ist ein Album, das beweist, dass man auch aus Spaß an der Freude kreativ sein kann. Das Album fügt sich zu einem Sammelsurium zusammen, das die Talente von zwei Musikern unterstreicht, die ihre Songs nicht schreiben, weil sie es müssen, sondern einfach, weil sie es brauchen. Lichen Slow ist eine Band, die uns dazu aufruft, die kleinen Momente zu genießen und, wenn es hilft, sich über die Dinge lustig zu machen, die uns am meisten frustrieren, und die alle Erwartungen, die wir an uns selbst und andere haben, über Bord wirft.

Bottle Rockets leader Brian Henneman
worked as Uncle Tupelo’s guitar tech
for a couple of years before forming an
alt-country band that rivalled his former
bosses. Released in Atlantic in 1997,
24 Hours a Day represented The Bottle
Rockets’ chance at the big time; it’s
their sole major label release, and they
pulled out all the stops for this one,
hiring former Del Lord Eric “Roscoe”
Ambel to produce and revisiting
“Indianapolis,” the song that got Henneman a record deal back in the early
‘90s. Alas, the record failed to break through commercially; but there will
always be a place in our hearts for this kind of hard-driving, honest, tuneful
rock and roll, best exemplified by “Perfect Far Away” and “When I Was
Dumb.” For its LP debut, we’re pressing this underappreciated classic in
coke bottle (natch) clear vinyl housed inside an album jacket with inner
sleeve…limited to 1000 copies!

2023 Repress

His five years at the helm of IDO (Intercontinental Dance Organization) have provided Valentino Mora the outlet to explore his concept of "active meditation", through the lexicon of deep and organically-textured ambient house and techno. Now with the inking of sub-label imprint EDO (Exothermal Dance Organization) Mora's newest output finds direct, molecular inspiration from deep in the aquaverse. Taking its name from the chemical release of heat, EDO's exothermic first EP delivers four tracks of heady, transformative techno atmospheres. Charting Mora's evolution from multi-channel acoustic recordings, samples and digital-analog hybridity, Hydrosphere EP continues his production complexity yet arrives at this point via the singular expression of modular synthesis. "Erosion" opens as a cryptic transmission from submersed entities, with haunting tone tendrils emerging from within the indigo unknown. A subtle echo of reverb softens the edge of its propulsive kick drum, creating an entrancing, enticing and unsettling journey into the deep. The snaking minimalist shimmer of the title track "Hydrosphere" evokes a landscape of frozen tundra, with a backdrop of shifting, urgent techno precision. Bewitching through endless motion and slow deliberation, chimes and pings are stretched out and warped to mind-bending effect. "Doppler Shift" takes a forthright approach, leading with prominent looped bass tones, percussion and rhythmic sweeps. Rounded shapes move rapidly through the inkinesss, forming repetitions that only intensify in pace and energy. To complete the resynthesis, "Solarized" embodies the life-giving warmth of it's name, beaming irregular shafts of illumination into dark, bass-heavy, chugging terrain, forming melodic wisps of tonal condensation.

BLUE NOTE CLASSIC VINYL EDITION: Stereo, komplett analog von Kevin Gray von den Originalbändern gemastert, Optimal-Pressung (180 g), wattierte Innenhülle.

“Empyrean Isles” war 1964 Herbie Hancocks viertes Soloalbum für Blue Note. Obwohl der Pianist mit “Watermelon Man” von seinem Debütalbum “Takin’ Off” bereits einen echten Hit gelandet hatte, etablierte er sich erst mit “Empyrean Isles” endgültig als eigenständiger Künstler. Wie auf den vorangegangenen Alben
stellte Hancock ausschließlich eigene Kompositionen vor, aus denen vor allem der zeitlose Hit “Cantaloupe Island” hervorstach.
Dem Pianisten zur Seite stehen hier mit Bassist Ron Carter und Schlagzeuger Tony Williams zwei Musiker, mit denen er damals parallel auch im zweiten großen Quintett von Miles Davis
zusammenarbeitete. Zu ihnen gesellte sich außerdem der Trompeter Freddie Hubbard.

Der Saxofonist Sam Rivers hatte sich schon sehr früh in seiner Karriere durch bemerkenswerte Originalität ausgezeichnet. Nach einem kurzen Intermezzo im zweiten großen Quintett von Miles Davis, spielte Rivers im Dezember 1964 für Blue Note sein Debütalbum “Fuchsia Swing Song” ein. Das Repertoire bestand aus sechs Kompositionen von Rivers, die zwar fest im Post-Bop und Blues wurzelten, aber die avantgardistischen Tendenzen des Saxofonisten auch nicht leugnen konnten. Das Highlight des Albums ist
die atemberaubende Ballade “Beatrice”, die später sogar von den Tenor-Giganten Joe Henderson und Stan Getz aufgegriffen und interpretiert wurde

'Originally released in 1971, Detroit's 'El Count Executives' epitomise the mythical, spoken sentiment of love through their only single, 'Pot Of Gold' & 'Nothing Comes To a Sleeper (But A Dream)', written & released by Ohio native, Kennedy Hollman, on his record label
'Gemini", aptly named after his astrological sign.

Hollman, who had his debut single 'l've Got Style' in 1967, recorded as 'The Mints', later known as 'The Imperial Wonders', became a leading figure amongst the Cleveland circuit.

His initial release by 'El Count Executives', recorded in Detroit at Gary Rubin's 'Pioneer Recording Studio', was shortly followed by 'The Soul In-Pressions', released on 'Aquarius',
another astrologically tipped label ran alongside Henry Watkins, Jr. & James Lately. Towards the late 70s, Holman was part of Detroit's Soul/Disco act, 'Solid Solution' Now available as a limited 7" single for the first time in over 50 years, kindly licensed from
the Holman estate’

For Erika's second album "Anevite Void", she explores her live process as it permeates everything she does, including documenting the process of life in the elaborate sci fi mythology she created. Erika began performing live in Ectomorph in 1997 when she was gifted a TR-606 by BMG and asked to join the group. This grew to her building her own studio, performing solo as Erika, collaborating with people like Jay Ahern and Noncompliant, and performing as a member of Circle of Live. Her depth of thought and clarity of vision has led to her mentoring people on live performance through the In Bloom platform, where she has made a large impact on many up and coming musicians. "Anevite Void", Erika's new album, finds her organically writing songs for her live shows, allowing them to take shape through performance, and later recording them in the studio, making this the first album she has entirely written and produced on her own. Mixed by long time collaborator BMG, she finds this record as the launching point for a new process for her. Conceptually, this album was inspired by "the irregular life cycles created by three suns circling over a planetary organism that presents two major biomes: rocky crystalline desert, and deep layered forest, each of which exists above and/or below ground, depending on what phase the suns are in." From this realm the album took shape. She also chronicled this concept in drawings but found this painting by Detroit puckish punk legend Nai Sammon perfectly visually explained the concept, and chose it for the cover. She describes "each track is about an organic process that occurs: acts of survival of the biomes, or what happens between them and the multitude of other beings that they host." Erika is currently splitting her time between being based in Berlin and Detroit, is part of the triumvirate that runs Interdimensional Transmissions (BMG, Erika and Amber) that are releasing this record and produce legendary events such as No Way Back, Samhain and Return to the Source. She performs live and DJs and collaborates and oozes sonic truth in its many forms. Visit the "Anevite Void" in early 2023.

‘Songs of Surrender’ 2 x 12’’ White Vinyl - features 16 new acoustic & re-imagined recordings from the U2 catalogue, Produced & Compiled by The Edge. Including ‘One’, ‘I Still Haven’t Found What I’m Looking For’, & ‘Pride (In The Name Of Love)’. U2 have sold over 175 million albums, won 22 Grammy awards and released 14 studio albums.

Taka Noda AKA Mystica Tribe has been releasing deep music on vinyl since 2011 on labels including SD Records, Solar Phenomena, Silent Season, and his own Mystica Tribe Records. Working in the dub/techno continuum, he is one of only a handful of artists who creates brilliant tunes at both ends of the spectrum, from heavy, psychedelic warehouse techno to beautifully orthodox reggae-infused dubwise. For his first ZamZam, he leans hard into the latter.

Noda describes his approach to these tunes as a “virtual live band,” and while “the only real live instrument is the melodica, I wanted to capture the energy of a live band with this song.”

A master of both melody and rhythm, Noda does exactly that with “Ido” (which means a well for water). The mood hits immediately with a loose & confident groove built from impossibly-live sounding drum work, a perfect orthodox bassline, and achingly beautiful interplay between piano, clav, and melodica. Somehow both melancholy and bright, it captures that moment when winter gives way to the first hint of spring, sun finally breaking through clouds after months of rain and darkness.

Rather than a simple dub of the A side, the version is a complete rebuild of the tune. “Ido - Renren Version” (which means flowing like tears, or a river) drops the tempo down to 120 but goes harder rhythmically in spite of its slower tempo. Opening with a stark, dark, and menacingly driving bassline and warped dub siren, the vibe is completely transformed from above-ground to below. Hard percussion, new melodica parts, and 4-4 hats & kick take it into that full post-punk dub territory that the world needs more of. Much more!!

Run by Gabriele and Paolo, Italy based newborn label Sunny Crypt's first output is a reissue of the sought-after "Random Rooms" album by Danish poets and multidisciplinary artists Niels Lyngsø and Morten Søndergaard. Both attending the Literature university in Copenhagen, they were linked at first by a mutual passion and fascination towards music - or rather "sound" - even before unveiling each other that they were writing poems. Niels and Morten started bringing their solo homemade DIY sound experiments together, giving birth to a wide genre-spanning album that ranges from slow tempo mutant disco to folk inspired synth-pop to sound collages and more musical compositions that is fairly complex to put in a precise musical genre box.
First released in 1992 on the same day as their debut poetry collections, Random Rooms should be a house or a flat or an exhibition space that you could walk through and in each room you would come across something new. A fusion of genre and bits and pieces of culture and play.
A kaleidoscope of past, present, and future.

German project founded in 1984 by Peter Mergener and Michael Weisser. This release features two cheery picked exemplary moments in downtempo contemplative cosmic travels. A side sends the listener well out of orbit with a 10 min long gradient of Krauty arpeggiated showers that grows elegantly, a concerto to the astros of the mind. Flip it and it gets better as your space capsule gets sucked into some distant planet's gravitational pull, feelings of other-worldly sounds, slowed down beautifully almost eerie nuances one won't forget so easily. Sunrise on a Balearic island from another solar system. Berlin-School by trade but also heard on mixes by Jose Padilla. Heftily remastered.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

Don Carlos, one of the very first italian deejays to wrap his productions up in that Deep House aura that was gripping on european clubnights and fast became the soundrack of sunday after hours with sunglasses on and beautiful dawns in the background. Both Don Carlos tunes sold by the loads on 12”s and LPs but never ever came out on a 7”. I’m quite sure many of you already know Mediterraneo while the Flute House take of Alone is an off-the-radar version played systematically by Tony Humphries for ages.

A limited edition 7” release by TARIKA BLUE, this outstanding band release two LPs back in 1976 and 77 on the famous Chiriucuro, label. DYNAMITE CUTS give you a super fresh loud 45 cuts.

Track A1 – “Dream flower” –Djs favorite, This wonderful mellow jazz class. Taken from the mega Rare self title LP “Tarika blue”. Sampled by many hip hop artist, most famous J Dilla for the Erykah Badu “Didn’t cha know”. Heavy jazz bass line.

Track B2 – “Jimi” this is an outstanding guitars solo monster. Similar too Maggot brain by Funkadelic, HEAVY Guitars with pure emotion and feeling “JIMI” features James mason & Ryo Kawasaki on the solo guitars

Dynamite Cut’s little sister, SKYLINE recordings, the UK’s home of funky beats has only gone and done it again with the one and only Mike Bandoni.

Most notably known as the main man behind UK Funk heavyweights, Funkshone, this sees Mike Bandoni making a welcome return to his solo work for this new 45 on Skyline Recordings. ‘I Thought Of You’ is a delightful slice of Funky Soul/Jazz that sees Mike playing everything! A superb drum sound with layers of Rhodes, live Bass, Clav, Percussion and Organ, the cut is so soulful it hurts. A prefect balance of rhythm and melody and all that we’ve come to expect of Mr Bandoni. The flip features a sparser but funkier tune ‘Matrices’. Elements reminiscent of Money Mark, the Meters and Bob James combine to form a cracking three and half minutes of bliss. Again, a killer drum sound and instrumentation to match. One thing is clear. The new Mike Bandoni sound is here to stay and we here at Skyline Recordings dig it!

Japan's guitar hero Takeshi Terauchi reworks traditional songs and lets everything go wild with his magnificent and frenzied guitar sound. Enter the electrifying world of Eleki!

Gatefold 180g heavy vinyl LP, reverse board print. Comes with extensive liner notes by Japanese pop culture writer Julien Seveon (Cinexploitation)

All tracks licensed by King Record Co., Ltd., Tokyo, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nker

The aftermath of World War II gave rise to a global phenomenon that saw new generations of young people rise up determined to forge new paths from their elders – culturally, politically, and musically. Japan was no exception and the recent past made the local youth angrier, hungrier and even more determined to fully experience something different from their parents. The country caught on to the early rock & roll craze almost in tandem as it was happening in the States. Teenager Chiemi Eri singing "Rock Around The Clock" and Kazuya Kosaka with "Heartbreak Hotel" were among the first to make what would soon be called Rokabiri accessible to a large audience. Teacher and parent associations showed concern regarding this new music when teenagers started missing school to attend afternoon shows – one of which most notably being the Nichigeki Western Carnival where all the top names of Rokabiri played to sold out audiences. But by the end of the 1950s, the youth of Japan had moved on to something else entirely: Eleki.

The 50s and 60s were a time of rapid change that saw trends come and go. Japan, like all other industrial countries, saw its youth move from one musical sensation to the next. And in the early 60s, there was one band in particular that created a distinct new flavor: The Ventures. Leaving behind vocals and focusing strictly on the impact of the sound of the electric guitar, The Ventures drove kids crazy all over the world. Other bands followed, most notably The Shadows, but in Japan, no other instrumental rock band managed to leave such an impact. The sound of The Ventures helped boost guitar sales in Japan and soon hundreds of cover bands were popping up all over the country. The Eleki Bumu (electric boom) was now in full effect with Takeshi Terauchi emerging as its first and greatest guitar hero.

Terauchi was born January 1939 in the prefecture of Tochigi, north of Tokyo. His mother taught music and played the shamisen – a traditional Japanese stringed instrument – while his father ran, among other things, an electronics shop. Their respective professions were to be decisive in the path that Terauchi would later take. Serendipitously, at the age of five, Takeshi was given his first instrument – a guitar. His destiny sealed, he quickly began experimenting with different tools from his father's shop to give his instrument a stronger sound. The technological approach came from his father, the technique from his mother. Terauchi's signature playing style owes a lot to his mother's instrument of choice, as he attacks the notes on his guitar as one plucks the strings of a shamisen.

This exceptional compilation you are holding in your hands explores some of the best works by Takeshi Terauchi, recorded between 1966 and 1974, where the guitar hero looks inwards to Japan for inspiration. A meeting between traditional folk songs and the unique way Terauchi and his band play: the content is explosive, inspired, and highly addictive! The 60s and 70s were undoubtedly Terauchi's finest hours, and in the late 60s, one Japanese critic said that Terauchi was not only the best guitarist in Japan, but also in the world. You can now find out why.

Mute reissue ‘Our Likeness’ by the renowned avant-garde artist Phew.
Originally released in 1992, ‘Our Likeness’ was Phew’s second solo album, following her self-titled debut.
This long out of print album saw Phew collaborate with the legendary and peerless Alexander Hacke (hackedepicciotto, Einstruzende Neubauten), Jaki Liebezeit (CAN) and Chrislo Haas (Crime & the
City Solution, DAF, Liaisons Dangereuses).
After leaving the pioneering Japanese punk band Aunt Sally, she worked with many other innovative
artists from around the globe, although this particular line up is hard to beat and sounds as
great as you’d imagine it would.
This reissue follows Phew’s latest album, ‘New Decade’, which was released in October, 2021.

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

In 2021 Velocity Press published Who Say Reload: The Stories Behind the Classic Drum & Bass Records of the 90s, an oral history of the records that defined jungle/drum & bass straight from the original sources. The deluxe coffee table book has since sold thousands of copies and prompted many to comment that it should have an accompanying soundtrack.

Now author Paul Terzulli has compiled a Who Say Reload album. However, where the book focused solely on classics and anthems, the compilation takes a different route and offers up a selection of top-quality tunes from some of the scene’s most respected artists and labels.

Like the book, the album covers the genre’s nineties golden era, and the many styles of D&B are represented. Pioneering producers and crowd-pleasing favourites sit alongside a few sought-after obscurities by the unsung heroes of the scene. Most importantly, there are some absolute bangers!

The 16 tracks are spread over two volumes of 2 x 12"s, and there is also a 13-track digital version, taking you on a journey through music forged from raw breakbeats and basslines that soundtracked a culture of all-night raves, specialist record shops and pirate radio stations.

Jungle/drum & bass is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today. There’s still plenty of old music that might be “new” to some, and these tunes still pack as much of a punch as they did back in the day. That unique energy generated by a combination of breakbeats, bass and creativity never gets old.

Produced in conjunction with Above Board distribution. All tracks mastered from original sources and fully licensed. Mastering by Beau Thomas @ Ten Eight Seven Mastering. Liner notes from Who Say Reload author Paul Terzulli. Photography by Eddie Otchere. Artwork and design by Protean Productions.

Madonna is the first and only recording artist to have 50 number 1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna has curated a new collection titled Finally Enough Love which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix is newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

"Ela", Dom La Nena's first album, was released in 2013. Co-produced with the complicity of Piers Faccini, the album received the highest praise from the international press (New York Times, NPR, Les Inrocks, Wall Street Journal, etc). On the occasion of the 10th anniversary of its release, here is a reissue of the record, now available on vinyl.

Dom La Nena is a Brazilian singer, cellist, songwriter and producer based in Paris. Having accompanied artists such as Jane Birkin, Jeanne Moreau, Etienne Daho and collaborated with the likes of Marcelo Camelo, Julieta Venegas and Piers Faccini, Dom's solo work has drawn comparisons as disparate as “a young Brian Wilson” (Wall Street Journal), “a bossa Joanna Newsom” (Time Out New York) and “Cat Power’s lost sister” (Pop Dose).

Dom sings in Portuguese, Spanish, French and English. Her lyrics touch upon feelings of longing, melancholy, and nostalgia of a childhood spent living in Brazil, Argentina and France. Performing in a solo capacity alone on stage with her cello, ukulele, electric guitar, keyboard and percussions, Dom employs sophisticated looping techniques, layering vocals and instrumental tracks, building audio soundscapes that create a full band atmosphere in each venue.

Dom’s debut solo album, “Ela”, was released during 2013 and immediately praised by the international music press including the New York Times, Wall Street Journal, Le Figaro, Les Inrockuptibles, Voir, O Globo and many other media outlets. Dom's second album “Soyo”, an internationally flavored collection of indie-folk songs with wandering melodies and lightly layered vocals, was released in 2015 and co-produced with Brazilian musician Marcelo Camelo (Los Hermanos).

Dom's third full length album, titled "Tempo", was self produced and mixed by Noah Georgeson (Devendra Banhart, The Strokes, Rodrigo Amarante) and is scheduled for a spring 2019 worldwide release.

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

If there is a space in this place for a voice of this age, it’s still sealed in wax. Above the din of the noise a vocal appears, in calm
reflection, it delivers a message of hope in a time of despair. Ivan Ave is back. A lot has transpired since we last heard him on a
full-length project, there's a lot to ponder as we get into his latest LP, All Season Gear.
On his 4th solo album, Ivan offers a glimpse into the various seasons he and his friends went through in the last three years. All
Season Gear was recorded on highs and lows through a pandemic, through healing, falling in love and observing the chaos that
is the hyper-textual information age. Lyrically an all-weather-proof record, breaking even with with a joie de vivre, backed by
production from the likes of Sasac, Mndsgn, Like, DJ Harrison and Ivan Ave himself.
The Norwegian rapper’s sixth solo release percolates between desperation and buoyancy, through a tide of beats, as Ivan taps
into his signature observations. His lyrics are an astute surveillance that exploit the mundane in a pensive exploration, touching
on hedonistic heights, with a constant focus on the beauty of the everyday.
The Mutual Intentions mouthpiece breezes through a record of wistful sonorities brought together by the larger Mutual intentions
collaboration. Keys swell and bass undulates, as the production convene on vintage aesthetics, repurposed for air-pod traveling.
It extends the sonic palette of his last LP, Double Goodbyes, and plunges the sound deeper than ever before.
Ivan Ave reinforces our vision of him as a voice for our time. A philosopher’s touch-stone in a world where the incongruous prevails over the sincere.

After several years of intense performance activity, the Italian sound artist and
vocalist SARA PERSICO releases her debut EP "Boundary", to be followed by a full album.


Born and raised in Naples, Berlin-based sound artist / vocalist SARA PERSICO cut her teeth
experimenting on the fringes of Naples' fiery underground experimental/noise scene, developing a
technique that would integrate her voice with analogue electronics, field recordings, and samples.
PERSICO holds a BA from the Conservatory of Napoli and a Master's Degree from the
Conservatory of Bologna and gained several residencies and scholarships like Temp Studio,
Lisbon (2018), Amplify Berlin (2021), Sonoscopia, Porto (2022), Sardegna Teatro - V2 Unstable,
Argentiera (2022). She presented her work in festival and events like Ballroom Blitz Beirut, CTM
Festival, Ortigia Sound System Festival/Bosco Colto, Codex Club, Documenta Fifteen, Dancity
Festival, Radical DB, Life Libertas Festival, among others.


As improviser and performer, she has collaborated with a wide spectrum of artists, joining EVELYN
SAYLOR's vocal ensemble for CATERINA BARBIERI's acclaimed "light-years" show at Rewire
Festival and London's Southbank Centre, and worked on projects alongside THE EX's ANDY
MOOR, TONY ELIEH (KARKHANA), LUDWIG WANDINGER, DIRAR KALASH, ELVIN BRANDHI,
RECORDAT, and many others.

She's also a fearless DJ who's able to straddle vastly different worlds, offering just as much
attention to abstract electronic sounds as she does bass-heavy club music, noise, and vocal
experiments. She is currently a resident on Bethlehem's Radio Alhara.

All this energy and experience radiates from her solo debut "Boundary": PERSICO's expressive
vocals play a central role, but her command of precisely sculpted electronic textures and dynamic
rhythmic structures is just as crucial to the overall experience.
Deconstructed beats, experimental voice, harmonic music, distorted rhythms craft a dense
introspective work that explores intimately the boundaries of the self. Identity rupture as a survival
technique, a voice-research climax with an unconventional approach - multi-faceted ideas melt in a
heavy-aesthetical 6 track solo EP that brings together different styles like noise and clubby sounds.

Milky Clear Vinyl
Mariybus Debüt-Album 'SLAYBAE' erscheint am 10. März 2023 über das All Fe*male Label 365XX. Mal sweet wie ein Lollipop, mal heiß und evil - wenn Mariybu ihre vielseitige Stimme über die verzerrten Bässe legt, bedeutet das absolutes Feuer. Das Boss Babe aus Hamburg produziert sich nicht nur komplett selbst, sie überzeugt auch mit sassy Lyrics über (queeren) Sex, Dating und den Hot Girl-Shit. Sexy, zuckersüß oder in absoluter Abrisslaune - Mariybu weiß mit ihren unterschiedlichen Attitüden zu spielen und zählt Deutschlandweit zudem zu den experimentierfreudigsten Artists mit HipHop-Wurzeln.

Am 20. Januar 2023 erscheint das mit Spannung erwartete neue Album von Lukas Graham, ‘4 (The Pink Album)’. Ab sofort könnt ihr euer eigenes physisches Exemplar exklusiv als leuchtend pinke Limited Edition CD oder LP vorbestellen – die beide einen exklusiven zusätzlichen Track „Hard Way“ enthalten.

‘4 (The Pink Album)’ besteht aus 12 Songs von der bemerkenswerten musikalischen Reise von Lukas Graham – einem weltweiten Phänomen, das die kleine Kommune Christiania in Kopenhagen mit seiner unverwechselbaren Mischung aus Pop und Soul, einer charismatischen, ausdrucksstarken Stimme und echter Poesie berühmt gemacht hat. Auf ‘4 (The Pink Album)’ reflektiert Lukas nicht nur über sein Leben, sondern entwickelt sich auch zu dem, der er sein soll.

Die Veröffentlichung von ‘Lie’ Ende 2019 war der erste Vorbote des neuen Albums. 2020 folgte der weltweite Megahit ‘Share That Love’ feat. G-Eazy und dieses Jahr der gemeinsam mit Ryan Tedder von
One Republic geschriebene Track ‘Wish You Were Here’ feat. Khalid. Auf dem unveröffentlichten Track ‘Home Movies’ ist der vierfach GRAMMY-nominierte Countrysänger Mickey Guyton als Gast zu hören.

‘Hard Way’ erscheint exklusiv auf dem physischen Pre-order.

Eat Your Heart Out - Caitlin Henry (Gesang), Andrew Anderson (Gitarre), Will Moore (Gitarre), Dom
Cant (Bass) und Jake Cronin (Schlagzeug) - aus Newcastle, Australien, stehen in der Tradition der beeindruckenden australischen Geschichte musikalischer Ausreißer von Nick Cave und Silverchair bis hin zu
The Amity Affliction und Parkway Drive, aber sie tun dies eindeutig auf ihre eigene Art und Weise. Das
Grunge-Pastiche der Gruppe aus Emo-Energie, Punk-Power und Pop-Schmackhaftigkeit sorgte bei ihrem
Erscheinen im Jahr 2012 sofort für Begeisterung auf der ganzen Welt. Sie brachten drei von Fans geliebte
EPs heraus - Distance Between Us 2015, Carried Away 2017 und Mind Games 2017 -, bevor sie 2019
ihr richtiges Debüt in voller Länge, Florescence, veröffentlichten. Zu den vielen herausragenden Songs
gehört ”Carousel”, der 2,6 Millionen Spotify-Streams erreicht hat, Tendenz steigend. Das Hysteria Mag
schwärmte: ”Florescence ist ein Meisterwerk einer Band, die erwachsen wird und sich schnell zu einem der
besten Rockexporte Australiens entwickelt.” Dazwischen waren sie mit Bands wie Trophy Eyes, Hands Like
Houses, Knuckle Puck, Real Friends und anderen auf Tour. Ende 2020 richteten sie ihre Aufmerksamkeit
auf das, was Can’t Stay Forever werden sollte. Jedes Mitglied verbrachte fast das gesamte nächste Jahr
damit, Songs zu schreiben, wobei sie auf prägende Einflüsse wie Jimmy Eat World und Taking Back Sunday
zurückgriffen.