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Multi-Award winning, hugely influential musician Feist returns with Multitudes, her sixth solo album and first since 2017’s Pleasure.

Multitudes was produced by Feist with longtime collaborators Robbie Lackritz (The Weather Station, Bahamas, Robbie Robertson) and Mocky (Jamie Lidell, Vulfpeck, Kelela). Blake Mills (Bob Dylan, Fiona Apple, Perfume Genius) and Joseph Lorge came in to mix, with Mills as a co-producer in the final stages.

Multitudes took shape soon after the birth of her daughter and sudden death of her father, a back-to-back convergence of life-altering events that left the Canadian singer/songwriter with “Nothing performative in me anymore.” As she cleansed her songwriting of any tendency to obscure unwanted truths, Feist slowly made her way toward a batch of songs rooted in a raw and potent realism which is touched with otherworldly beauty.

Largely written and workshopped during an intensely communal experimental show of the same name through 2021 and 2022, the songs on Multitudes developed in parallel with and were deeply influenced by the mutuality of the unconventional experience. The production, developed by Feist with legendary designer Rob Sinclair (David Byrne’s American Utopia, Peter Gabriel, Tame Impala) was formulated to bring people together as they re-emerged from lockdown while providing an outlet for connection between artist, art, and community.

London’s own Trev appeared on our first release, Body Music Vol 1, as well as other key releases on CoOp Presents and Local Talk. We’ve been fans from the start and, after Trev joined the family, his music went from strength to strength. It was already out-of-this-world production, with serious attention to detail, and this EP is nothing short of excellent! He told us 'there’s no hiding that this EP is, in essence, a long love letter to Brazil', but that it’s also written to 'Iran, London, Lisbon, Japan, probably more - too many to remember!'. Trev described his process as 'listening, learning, combining my favourite elements of all this music that has brought me so much joy over the years'. Right on!

This EP is fresh, different and sonically on point. It’s Bruk, it’s Brazilian, it’s Bass, it’s… all-round-really-good dance music! Trev is a real modern musician, an awesome keys player as well as a producer. He understands the importance of musicality and originality, together with weighty beats and bass, working just as well on the dance floor as they do at a house party… or dinner party, for that matter!

'Nightjar', the title track, draws you in with hypnotic plucks like crickets on a hot summer’s night. Eerie pads float in building tension before the beat drops - Pandeiro and Caxixi serving broken-beat with the kick - pumping the sonic palette and pumping the dancefloor. Deep sinister chords pulse in and out, percussive melodies bring love from the middle east, and we reach a beautiful jazz-harmony break - then it’s straight back to the body movement - this time letting loose with the cowbells and the shakers. Think Brazil, think Persia, think Jazz, think dance-floor, it’s all in there!

'Late Flip' pulls us into a more ethereal intro, with the Koto and skate sounds laying our dream scene. Morphing out of flutes, modular synth plucks pay tribute to the sounds of Lisbon as we drop - a rolling broken beat punch, playful Rhodes and distant vocal chops ring out with the Koto dripping in warm echoes. A truly amazing composition and arrangement that leaves you wanting more!

'Beijo' is one of our faves on this EP. We’re straight in with a kiss - MWAH! - a classic Baile rhythm gets a warm Bruk embrace. It’s passionate and dark and tells a story as old as history. Get lost in the movements between drums and percussion, in the flutes and cicadas, until the organ bass calls it - time to get moving. This really is Trev’s signature dance floor style. A banger with a naughty-yet-subtle bassline, and its own game of perspective - feel this rhythm in more ways than one. Vocal chops and Tamborim place São Paulo’s influence front and centre.

'Grey' takes us on a dusty House/Bruk journey with filtering chords that grow patiently until the beat drops - getting your feet moving and neck bopping! Burning slow, Trev is playful with the harmony, keeping the fun with a roller of a bassline that pulls it all together. It’s a six-and-a-half-minute rich musical journey that feels more like half that time!?

Complete your Dance Regular Vinyl collection with this absolute killer EP from the one called Trev.

Multi Culti co-founder Dreems joins forces with Jacoby for kaleidoscopic sonic wizardry that flows seamlessly from symphonic dream pop to ambient esoterica.

If this album had been produced by ai the prompt would have been: create the perfect mix of daft punk - homework crossed with Brian Wilson - pet sounds containing shades of Moby - play but with the complexity and scope of the avalanches - since i left you, containing a few saucy licks of Nile rogers funk, dainty fragments of French psychedelic library-kitsch, mind-expanding flourishes from the BBC radiophonic workshop, all culminating with a bell-filled percussive piano ballad outro masterpiece produced by Brian Eno and four Tet on 180 mics of LSD after watching sesame street with lee perry.

It’s a record of fantastic imagination, full of surprises. Crack open your head, dive in and enjoy the trip!

Limited edition 7” containing ‘all your time’ and ‘in your mind’.

Zwei weitere Deepfunk/Soul-Tracks aus dem Bandarchiv von Benjamin Robinson von Coco and Ben. 'Thumping For You' ist ein hypnotisch-schwebender, gefühlvoller Funk-Banger mit dieser eingängigen Gitarre, die den Hörer sofort an Coco and Ben erinnert, während ein lockerer Vibe auf die Tanzfläche trifft.

'Brandon's Song' hält die hypnotisch-lockere Stimmung für laue Sommernächte aufrecht.

"Morphing Chinese traditional music with bass, Chicago footwork and AI-manipulated birdsong. It's quite a feat to sound this ancient and futuristic simultaneously." The Guardian

"The album presents a world where flute and guanzi find common ground with choral vocals, ambient and AI- manipulated birdsongs." Vinyl Factory

"There has never been a record that sounds like this. And, very possibly, never will be again" Bandcamp

'At once fine-grained and expansive, Lee's work combines traditional Chinese music and historical references with wild electronic experimentation" Pitchfork, 7.6

'Island Birdy' samples Bollywood vocals, 'Foreign Flowers' has hints of warped drum & bass and 'Feather Signifier' is steeped in jazz fusion....Lee's most organic work has plenty of diverse influences" Resident Advisor, Album Of The Day

Swirling layers of OST-style sound design, dreamy choir vocals and traditional Chinese folk combine across eight dynamic and transportive tracks on Birdy Island, the latest album by Beijing-based producer/artist, Howie Lee.

On Birdy Island Lee's intricate brand of traditional pan-asian exploration meets experimental bass weight sound via stripped-back UK Grime sonics and ceremonial taoist music.

it’s a pleasure to bring together, on this album, musicians with whom we feel a very special connection, namely Felicia Atkinson, Büþra Kayýkçý, Carmen Villain, Kuniyuki Takahashi, Pavel Milyakov,
KMRU, Ana Quiroga, Abul Mogard and Pedro Vian. All of them have been very generous in their willingness to participate in an artistic experiment: to build bridges between architecture and music.
Each of these artists chose a space and translated it into a piece of music, and the result is a sonic kaleidoscope through which specific territories can be gazed upon from unexplored points of view. The
compositions that make up this compilation are synaesthetic windows through which we can observe with our ears. To look through them, all we have to do is listen and we’ll be able to contemplate, in a unique
way, spaces located in such different places as Vilches (Chile), Istanbul (Turkey), Oslo (Norway), Sapporo (Japan), Nairobi (Kenya), London (England), Rome (Italy), Berlin (Germany), or even in imaginary universes.

French electronic pionner, ADN’ Ckrystall, became a legend in the Minimal-Synth scene when his first album
« Jazz’Mad » (from 1982) was rediscovered and re-edited via the two biggest labels in the genre : Minimal Wave (circa 2005) and Dark Entries (circa 2012). Following this new interest, a bunch of unreleased materials reappeared and went out mostly directly through Erick (ADN)’s control, under compilations, coffrets (V.O.D.) or albums that never had the chance to come out before... But one piece was still missing, the album just following « Jazz’Mad » called « Frankraut » and here comes the story... During the covid year of 2021, Erick finally found the tapes forgotten somewhere at his parents house since 1984. After relistening to it he decided to bring them back to life. « Frankraut was a project born from the reflexion about the concept of marrying (and not the opposite) the romantico-poetico side : naive melodies flirting with research and experimentations in the electronic music « à la française » like illustration, « bilbliothèque sonore » (library) or music for film... and the « cold », mechanic, motorik, hypnotic, psychedelic free explosive and creative side of the Krautrock. »

Summer 2022, during the Braille Satelite festival (Lithuania) Sacha (label boss) and Erick met and became friends. Few weeks later Erick was sending the demos of Frankraut on a burned CD (‘à l’ancienne’) by the post to Sacha. This is how ‘the 40 years old never released before project’ is finally coming out has a mini-LP on the 10inch format on Macadam Mambo !

Taylor Swift’s new studio album Midnights is available everywhere on October 21st. It’s a collection of music written in the middle of the night, a journey through terrors and sweet dreams. The floors we pace and the demons we face - the stories of 13 sleepless nights scattered throughout Taylor’s life.

Each Vinyl Album Includes:

- Unique marbled color vinyl disc
- 13 Songs
- Collectible album jacket with unique front and back cover art
- Unique marbled color vinyl disc
- Collectible album sleeve (each side features a different full-size photo of Taylor)
- Full-size gatefold photo
- A collectible 8-page lyric booklet with never-before-seen photos

Berlin-based French-Irish sound artist Zoë Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space. Described as a "vanguard" by DJ Mag and "fearless" by Hyponik, Mc Pherson has performed tirelessly across the world, appearing at Berlin's CTM Festival, Madrid's LEV, Malmö's Intonal and presenting installations at Berlin's Silent Green and Monom. They also curate the ambitious A/V-focused imprint SFX with visual artist Alessandra Leone and maintain creative partnerships with Jessica Ekomane and Ciarra Black (as Carbon 96).

Pulling in influence from British bass music and the outer fringes of experimental sound art, "Pitch Blender" is Mc Pherson's most ambitious album to date, splicing bold vocal performances with psychedelic modular synth flourishes, illusory environmental recordings and relentlessly abstract polyrhythmic beats. It's music that's able to balance a constant exploration for newness with a rhythmic pulse that never ignores the dancefloor, connecting the nodes between artists like aya, Elvin Brandhi, ZULI and Slikback. Cinematic and sub-heavy, "Pitch Blender" is a dizzying work of sonic fiction that's permanently in flux, dissolving breaks, beats and acidic leads into queasy, pressurized tracks that act as an antidote to contemporary malaise.

Leith Ross is a songwriter, singer, and artist born and raised in a small town outside of Ottawa, Ontario, Canada. They've been a sensitive and overly artistic person since birth and when they started writing songs around the age of 12 it quickly became Leith’s favourite way to be sensitive and overly artistic. Still is. Since then, they've recorded and released two projects, and have a new one underway. "To learn" is a 12 track full album available on CD and LP

Stanley Turrentine’s 1964 recording Mr. Natural featured the soulful tenor saxophonist and Blue Note stalwart at the helm of a cutting-edge modern jazz group with Lee Morgan on trumpet, McCoy Tyner on piano, Bob Cranshaw on bass, Elvin Jones on drums, and Ray Barretto on congas for three songs.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

ULTRADISC ONE-STEP BOX SET OF BRUCE SPRINGSTEEN'S 1973 DEBUT PLAYS WITH AUDIOPHILE SOUND: LIMITED TO 7,500 NUMBERED COPIES.

1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe

Teeming with identifiable characters, youthful romanticism, vivid narratives, and sophisticated arrangements, Greetings from Asbury Park, N.J. is a personal postcard from the heart, soul, and mind of a rock ’n’ roll lifer bent on discovering his world and what lays beyond it. The 1973 album establishes many of the signature themes and sounds Bruce Springsteen would embrace throughout his unparalleled career. No wonder a majority of the songs — “Blinded by the Light,” “Lost in the Flood,” “Spirit in the Night” included — remain staples of the New Jersey native’s fabled concerts.

Sourced from the original analog master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen’s daring debut. Afforded the benefits of SuperVinyl’s nearly non-existent noise floor, Greetings from Asbury Park, N.J. plays with a clarity, directness, and emotionalism that practically whisks you into the New York office in which Springsteen — accompanied by then-manager Mike Appel — played a few originals for legendary Columbia Records executive John Hammond and earned a record deal.

That solo-centric aspect of Greetings from Asbury Park, N.J. — credited only to Springsteen and featuring only a handful of accompanying musicians — helps make it unique in his catalogue. So do the acoustic-based frameworks, revealed on this pressing with newly exposed detail, nuance, and immediacy. The music emerges with an openness that gives flight to the Boss’ storytelling. His words flow with unbridled, stream-of-conscious pacing and vibrant imagery; they pay homage to and update a tradition established by Bob Dylan, Woody Guthrie, and Jack Kerouac. Equally important, Springsteen’s still-underrated vocal performances can now be appreciated in full-range fidelity. Earnest, transparent, and sincere, his singing comes across with an urgency that distinguishes him from the era’s singer-songwriter mold and a raw energy that underlines his unflinching belief in rock ’n’ roll.

Recorded in just three weeks, Greetings from Asbury Park, N.J. also stands out by way of its insightful artwork. Designed by Grammy winner John Berg, the inviting cover is appointed with images of the local landmarks, beachfronts, and geography that provide the backdrops for some of the songs. Those graphics are complemented by the beautiful packaging of Mobile Fidelity’s UD1S edition. Tucked in a sleek slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. In every way, this reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with this invigorating album.

An aspirational declaration by a then-23-year-old musician who was already a seasoned veteran of the Jersey Shore bar-band scene, Greetings from Asbury Park, N.J. can in many ways be seen as a semi-fictional autobiography released more than four decades before Springsteen penned his official tome. Elaborate, descriptive, and absorbing, Springsteen’s lyrics spark with the enthusiasm and exuberance of a wide-eyed adventurer ready for possibility, excitement, and fun — but who is also mindful of loss, pain, and disappointment. Words often tumble and collide like dice spilling from a jar; shaken and fully intact, they pour forth with purpose and without self-conscious concern.

One of two songs composed after label president Clive Davis cited the need for a radio-friendly single, the opening “Blinded by the Light” provides an unforgettable introduction. It flares with a blend of confidence, fun, and poetry that helps define Greetings from Asbury Park, N.J. Crackling with wiry guitars, funky chords, Clarence Clemons’ cool-toned saxophone, and action-packed lyrics, the shuffle simultaneously expands and contracts — and establishes Springsteen as a master of rhyme, alliteration, and breathless expression. The thread continues on “Growin’ Up.” Steered by ascending piano lines, soulful grooves, and frisky rhythms, the coming-of-age confessional is at once rebellious and controlled, fearless and vulnerable, honest and boastful. It is a tale to which multiple generations still relate.

Such universality has always been a Springsteen trademark. It surfaces throughout Greetings from Asbury Park, N.J., as does another Boss hallmark: the importance of friendship and tight bonds. These concepts relate to the fact many of the songs — see the feverish “Does This Bus Stop at 82nd Street?,” strutting “It’s So Hard to Be a Saint in the City,” and tender “For You,” the latter complete with brilliant Hammond organ shading — are directly tied to the friends, acquaintances, places, and happenings he knew. “Lost in the Flood,” whose cinematic drama and epic scope hint at the directions Springsteen would pursue on his next LP, extends that familiarity while addressing the kind of socially conscious issues with which he’s forever been associated.

Balancing the label’s vision of him as a folk-based singer-songwriter and his own desire to play rock ‘n’ roll with a full band, Springsteen never again made a record like Greetings from Asbury Park, N.J. One of the most captivating debuts in history, it heralds the start of a legacy whose import Springsteen seemingly foretells on “Blinded by the Light”: “He’s gonna make it tonight.” And how.

Ebalunga!!! is thrilled to announce the first official reissue of the self-released, self-produced, and self-titled 1985 LP Scott Seskind. The album is a lo-fi singer-songwriter jewel. Don’t miss it.
“Authentic and personal, at times it reminds this writer of luminaries such as Jackson C. Frank, PF Sloan, Skip Spence, and Phil Orchs while never feeling derivative.

The songs are melodic and haunting, fueled by existential woes, political angst, and good ol’ fashioned love. Scott’s rich voice has an unpretentious gravitas, his simple-yet-effective guitar playing ranging from delicate fingerpicking to angry bashing.
Created at home on a Tascam 4-Track Portastudio, the recording features few frills and is all the better for it. Unlike most mid-80s records it sounds like it could have come from any time since the late ’60s onwards. As a testament to its greatness, and despite the late recording date, it even gets a nod on Patrick Lundborg’s “Acid Archives” compilation website, Lysergiawhere it’s described thus: “Late phase downer-loner folk and singer-songwriter trip, mostly acoustic, some tracks with a small band.” – Andrew Ure for Ugly
Things.Read a long story about the album in the upcoming Shindig! issue: Story about Scott Seskind in Shiding Mag.
The reissue is available on vinyl with a lyric insert.
Mastering (as always) by Jessica Thompson.

Feedbacks and reviews:
“Almost totally inheralded singer-songwriter Scott Seskind gets the reissue treatment, and I couldn’t be happier. About a year ago I pulled Seskind’s sole vinyl release out of the used bin of a Boulder record store, and with its almost Wallace Berman-esque cover art, could immediately suspect it was something special. The first listen didn’t dispel that notion one bit; here was an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that didn’t really snyc with its 1984 recording date. Definitely on the loner-ish end of the folk spectrum, with some aspects of the album harkening back to Skip Spence’s iconic Oar, while other moments revealed the urgency of the ’80s lo-fi revolution. But most importantly, the songs were just really, really great and managed to remain haunting long past their leaving.

Here, I thought, is an album that needs to be heard by more people, NOW. I asked around amongst some record collecting friends and discovered it was pretty highly rated by a small circle of people in the know, and that it had even managed to garner a mention in the Acid Archives despite its late recording date, and most excitingly that there was talk that the digital reissue label Yoga had managed to track Seskind down and secure the rights to his LP. (…) So here we have it, the best songs from Seskind’s eponymous LP. (…) I really hope this release continues to garner the listeners that it deserves.” – Michael Klausman

“The one that struck us the most this year was the almost totally unheralded work of singer-songwriter Scott Seskind, who recorded an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that doesn’t really sync with its original 1984 release date. Definitely on the loner-ish end of the folk spectrum, with songs that are really, really great and which manage to remain haunting long past their leaving. Truly an album that deserves to be heard by more people immediately. ” – Other Music

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove. - Peter Moore / Licensed by the bandleaders and songwriters of the album, Joe Wellington and Jagger Botchway.

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

WATAIN ist der Wolf, der furchtlos und frei in der dunklen Nacht des Menschen weiterjagt Seit 1998 haben sich WATAIN einen Namen als eine der bekanntesten und berüchtigtsten Black-Metal-Bands der Welt gemacht. Auf ihr Schaffen wird oft mit Furcht, Liebe, Verwirrung oder Ehrfurcht, aber selten mit Gleichgültigkeit reagiert.


Aufgenommen in einer alten Kirche auf dem schwedischen Lande, bringen WATAIN dem Hörer das innerste Herz einer Band näher, die trotz aller Gerüchte und Kontroversen stets nach aufrichtigen, authentischen Ausdrucksformen strebt.


Die 10 Songs stammen aus der Feder des Gründertrios von WATAIN (E. Danielsson, H. Jonsson und P. Forsberg), und markieren das erste Album, das in voller Besetzung mit A. Lillo, H. Eriksson und E. Forcas aufgenommen wurde. Das Material wird zusätzlich durch Gastauftritte von Farida Lemouchi (Ex The Devil's Blood, jetzt bei Molasses) und Gottfrid Åhman (Ex In Solitude, jetzt bei PÅGÅ) bereichert. "The Agony & Ecstasy of Watain" entstand mit Produzent Tjore Stjerna in der Chapel Of Necromorbus, wurde von Thomas Johansson im The Panic Room gemastert, während Bandkopf E. Danielsson für das eindrucksvolle Artwork und Layout zuständig war.

Over the course of a nearly 50 year romantic and creative partnership sound artist Annea Lockwood and the late pioneering electronic composer Ruth Anderson have shared space on a number of significant releases of early electronic and tape music, including Charles Amirkhanian’s trailblazing 1977 anthology of women electronic composers New Music for Electronic and Recorded Media, a 1981 split LP on Opus One, a 1997 CD for Phill Niblock’s XI imprint, and 1998’s Lesbian American Composers compilation on CRI. The couple additionally taught a course on the history of women’s music-making, at Hunter College, called Living Women, Living Music. Throughout their time together, they co-authored a number of Hearing Studies designed for people with no formal musical training, which were collected for a 2021 book publication by Open Space Music. They spent most of their private life between Crompond, NY and the house they built themselves at Flathead Lake, Montana. Although Ruth passed away in 2019, the composers’ dialogue continues today with Tête-à-tête, a collection of unreleased archival and new material spread across an LP and a single-sided 10” record.

It all began with a telephone call. In 1973, Ruth Anderson was seeking a substitute to cover a yearlong sabbatical from her position as the director of the Electronic Music Studio she had founded at Hunter College in New York City. Her friend Pauline Oliveros too was on sabbatical, but recommended Ruth call Annea Lockwood—then living in London—about the post. Already drawn to America by the work of the visionary composers with whom she would soon be labelmates on Lovely Music, Annea jumped at the opportunity and within days of meeting in person the pair were, in her words, “joyously entangled.”

Over the next nine months, while Ruth was living in Hancock, New Hampshire, the couple would speak daily by phone in between visits. Ruth recorded these phone calls and, in 1974, surprised Annea with a cassette containing “Conversations,” a private piece she composed by dexterously collaging fragments of their conversations alongside slowed and throwed snatches of old popular songs: “Yes Sir, That’s My Baby”; “Oh, You Beautiful Doll”; and “Bill Bailey.” The centerpiece of Tête-à-tête, this side of intimate musique concrète extends to its listeners a rare invitation to eavesdrop on the halcyon phenomenon of two people falling in love. Tender and playful throughout, “Conversations” comes to its zenith with a cut-up of relentless laughter of a contagious beauty that is, for once, properly convulsive.

“For Ruth” is Annea’s elegy to her life partner. In 2020, Annea returned to Hancock as well as to Ruth’s resting place at Flathead Lake to make field recordings, which she wove together with further excerpts of the couple’s 1974 conversations for a commission presented as part of the 2021 Counterflows Festival in Glasgow. A consummate field recordist, Annea imbues the simple sounds of church bells, birds, wind, and the bodies of water that permeated her time alongside Ruth with an otherworldly depth and sense of narrative akin to that of her celebrated sound maps of the Hudson, Danube, and Housatonic rivers. An oneiric, subtly tonal evocation of a meeting at the shores of existence.

The collection opens with “Resolutions,” Ruth’s last completed electronic work, from 1984. A meditation for the individual listener composed as the result of her study of Zen, it’s a rigorous, process-driven piece that charts the very slow, smooth descent of a 5th from the octave above middle C down to sub-bass frequencies. Minimalist in execution, yet powerful in effect, it glides by almost imperceptibly, with new tones arriving and hovering or levitating upwards, seemingly out of nowhere. A healing piece, it harnesses the highly focused energy of pure tones as a means to, in Ruth’s words, “further wholeness of self and unity with others.”

Tape transfers by Maggi Payne, master by Giuseppe Ielasi and lacquers cut at Dubplates & Mastering, with domestic photos and liner notes provided by Annea Lockwood.

Heralding 2023 from way out west, Monde UFO land on Quindi with a distinctive album of dream pop vignettes and outer rim punk exotica.
Hailing from the same Californian heat haze as recent Quindi signings Bondo, Monde UFO have manifested in the past four years through a series of DIY releases including their 2021 album 7171 and last year's set of Fugazi covers, 4 Songs. The loose fit project centres around the singing, playing and songwriting of Ray Monde and Kris Chau and features Kern Haug on drums. The resulting sound arrives as a resourceful analog of plush 60s pop captured through the modest means of a truly independent musical endeavour.
The sound rendered on Vandalized Statue touches on dubby atmospherics, the lilting breeze of bossa nova and the introverted muse of US indie rock, but the end result is a natural, cohesive whole centered around the songwriting. Imagine the girl from Ipanema sat toking in a comfortable spot in the corner of the dive bar while someone weaves her a tall tale or two, and you might be somewhere in the right direction. The stories in the lyrics unfurl as meandering narratives taking you through everyday exchanges and far-fetched, cosmic scenarios alike. At every turn the cosy musicality gives everything a relatable, homespun charm, even as the mixing desk becomes a mess and the lo-fi FX crash into each other.
The album will be fronted by three singles which reflect the wide reach of Monde UFO's sound. 'Visions of Fatima' is one of the more melancholic pieces on the album, fronted by laconic organ and centring on cracked vocals with an off key charm that indirectly evokes Jeffrey Lee Pierce. 'Government Employee' is a sun-kissed trip of low-key lounge surrealism, bizarro storytelling and shuffling exotica splendour which broadly defines the woozy mood of Vandalized Statue. 'Garden Of Agony' is a more delicate but no less dreamy piece matching electric tremolo with acoustic fingerpicking balladry which hides its considerable depths behind a seemingly simple arrangement.
At once intimate and projected into the cosmos, Monde UFO add to the particular path Quindi is taking through hidden corners of independent music with a romantic, restless spirit.

Clear Vinyl

For polymath artist Wesley Joseph, writing a song is like shooting a film. He sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc_far beyond just getting a catchy melody down on tape. Music and filmmaking are Joseph's two great loves. Film came first_he started making DIY videos at age 12 to entertain himself and his friends growing up in a small UK community_but when he moved to London to study it, the energy he discovered in the city demanded to be captured in song, resulting in his 2021 debut ULTRAMARINE, a distinctly cinematic collection of avant-R&B and soulful future-pop shot through with moments of surprising aggression and an intriguingly complex postmillennial aura. Since collaborating with the likes of Jorja Smith and Loyle Carner, he returns with GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production_not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty_it's a stunningly beautiful work that makes it clear Joseph's on the path to becoming a worldchanging talent. As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and directing its first video. "COLD SUMMER" finds Joseph singing from a supervillain's perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino gangster comedy shot in Kazakhstan. It's usually hyperbole to call an artist as young and new as Joseph "visionary," but it's undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year_and Wesley Joseph is just getting started.

Auf ihrem Album "Always On My Mind" überführt die norwegische Sängerin und Songwriterin Rebekka Bakken ihre Lieblingslieder in ihren unverwechselbaren Klangkosmos zwischen atmosphärischem Skandinavischem Pop und Jazz. Zusammen mit ihrer Band lässt sie Klassiker wie "Yesterday" von Lennon/ McCartney, "Here Comes The Flood" von Peter Gabriel oder "Why" von Annie Lennox ebenso in einem völlig neuen Sound erklingen, wie "Break My Heart Again" von Finneas O`Connell, der mit seiner Schwester Billie Eilish für eine neue Generation von Songwriter*Innen steht. In intimer Band-Besetzung mit einigen der besten Session-Musikern aus Norwegen erschließt die mehrfach mit Gold auszeichnete Musikerin und Produzentin mystische Tiefen in den von ihr ausgewählten Songs. Die berühmten Klangwolken von Gitarrist Eivind Aarset orchestriert Rebekka Bakken gekonnt mit den atmosphärischen Orgel- und Synthesizer-Flächen von Jørn Øien und Torjus Vierli, die sich verklärt um Piano-Akkorde und die Bass-linien von Tor Egil Kreken und Drumm-Beats von Rune Arnesen legen. Diese vielschichtige Klangkulisse bereitet das Bett für die atemberaubend gefühlvolle Stimme von Rebekka Bakken, die wegen ihrer Intensität von manchen auch mit Janis Joplin verglichen wird."These songs have 'always been on my mind' and inspired my own songwriting. They are the 'soundtrack of my life' and some of them have stuck with me since my childhood. I have developed my own voice listening to some of these songs and it is just the right moment to re-interpret them my way" erklärt Rebekka Bakken. "Always On My Mind" enthält insgesamt 15 farbenreiche Titel u.a. von Elton John, Bob Dylan, Randy Newman oder Nick Cave.

Summer Forever And Ever succeeds Blue Gene Stew, 2019’s debut by the Wolfmanhattan Project, a collective unit co-starring three musicians familiar to In The Red listeners: singer-guitarist Mick Collins, front man of the seminal Detroit-bred garage units the Dirtbombs and the Gories, singer-guitarist Kid Congo Powers who played in such legendary bands as the Gun Club, the Cramps, and Nick Cave and the Bad Seeds, and drummer-vocalist Bob Bert, whose skin work has distinguished albums by Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus, and Jon Spencer and the HITmakers. The group was founded as a studio project by three musicians who are kept busy by their primary bands. Blue Gene Stew was written and recorded quickly. Powers says, “I think that the new record was much more a group effort. I think there’s more of a group kind of sound, as eclectic as it is. I feel like we all played together, as opposed to playing on each other’s songs.” Bert notes that the band’s music is grounded in spontaneity: “Me and Mick went in and had a couple of rehearsals, and I would come up with a beat, he would come up with a riff. I still have a cassette Walkman, believe it or not, and we’d put it down on that. It wasn’t even a full song. We’d just put down a bunch of ideas. When it came to recording we’d lay down the basic tracks and work out different things, and a lot of it was made up on the spot. It really is a great collaboration.” Recorded and engineered by Mark C. of Live Skull at his studio, Summer Forever And Ever finds Powers playing piano and the Kaoss touch-pad effects unit and Collins playing synthesizer, in addition to their usual instruments. The album reflects the same eclectic mix of musical styles heard on the debut. References and sometimes even direct quotes from sources as diverse as the Andrea True Connection, Captain Beefheart, the Count Five, and Eurythmics leap out of the speakers.

The Beths debut EP – new pressing on on Light Blue Vinyl

The Beths' Warm Blood is a strong contender for the catchiest record you've never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands' careers.

Listeners for whom the tag 'New Zealand indie rock' brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood's five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstatic crescendos that channel The Zombies' Odessey and Oracle.

With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like leadoff track and first single 'Whatever,' the ridiculously addictive standout 'Idea/Intent,' and 'Rush Hour 3,' a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song. 

Future Flight were a five member group assembled by legendary Detroit producer in 1981. They consisted of five singers and musicians who individually and collectively worked with Lamont in the late 70s and early 80s, in particular the 1981 “Lamont” album (including “You Outta Be In Pictures”, “I Ain’t Playing” etc). The smooth sophisticated work of Lamont at that time is reflected in the one Future Flight album from which the two songs on this 7” single are taken.
A 7” with these songs was issued at the time, albeit the reverse way around with the much sampled two-stepper “Hip-Notic Lady” becoming the most sought after. Original copies on Capitol exchange hands from between £50 and £100
Both songs are written and produced by Lamont Dozier himself.

Black Vinyl – stock is slightly limited on this one and orders might be subject to cutbacks

After asking Chloé Thévenin to collaborate on the soundtrack of her show "Static Shot" (2020), Maud Le Pladec has called upon the producer and DJ again for "counting stars with you (musiques femmes)". A new ambitious, militant and feminist creation made for the 2021 season of Montpellier Danse. The dancer and choreographer, accompanied by six dancers, uses dance and song to explore the unspoken, the marginalisation and the representation of women musicians from the Middle Ages to the present day by summoning historical and contemporary figures such as Kassia of Constantinople, Barbara Strozzi, Giovanna Marini and Clara Schuman...

“In concrete terms," says Chloé, "I composed the music by taking on board the songs of the dancers, drawing and reworking the voices from the repertoire of all the women composers who have been silenced by history. It’s a collective work, with Maud Le Pladec and Tom Pauwels (of the Ictus Ensemble), and we built on it as we rehearsed and developed the piece. The voices, their choices and reinterpretations were able to evolve into the music that I was composing.” Immersed in the creation and the work-in-progress nature of this show, Chloé has imagined a soundtrack based on song. She uses the performers’ scansions, whispers, performances

Mit ihrem neuen Meisterwerk "Beautiful Distortion" melden sich THE GATHERING am 28.04.2022 eindrucksvoll zurück!

Satte 10 Jahre haben sich THE GATHERING, die mit Alben wie "Mandylion", "How To Measure A Planet?" oder "Souvenirs" zu internationalen Ikonen atmosphärischer Rockmusik wurden, für ihr neustes Werk Zeit gelassen, denn nach über 16 Jahren im Hamsterrad von Tourneen, die sich mit Albumaufnahmen abwechselten, um dann die nächste Tournee zu bestreiten, und dem Weggang ihres langjährigen Bassisten Marjolein Kooijman in 2013, brauchten die Musiker einfach mal eine Pause, um ihre Batterien wieder aufzuladen und sich um ihre Familien zu kümmern.

Ihr 25jähriges Bandbestehen 2014 haben THE GATHERING dennoch mit allen aktuellen und ehemaligen Bandmitgliedern im Doornroosje Club in Nijmegen groß gefeiert, um sich danach wieder in ihre selbst auferlegte musikalische Klausur zu begeben.

2018 dann war die Band wieder startklar. In Hugo Prinsen Geerligs, der bereits von 1989 bis 2003 die vier Saiten bei THE GATHERING bediente, fand man einen neuen Bassisten und die Gruppe begann, neue Songs zu schreiben und Konzerte zu spielen, bis 2020 die Pandemie zuschlug und alles um weitere zwei Jahre verzögerte.

Das 11.Studioalbum von THE GATHERING knüpft stilistisch an den Vorgänger "Disclosure" von 2012 an. Acht Titel, im für die Band typischen, satten Electro-Rock-Sound - auch als Trip Rock bekannt - , getoppt von wunderbaren Gesangsmelodien und der warmen Stimme von Sängerin Silje Wergeland machen "Beautiful Distortion" zum wahrscheinlich dynamischsten und melodischsten THE GATHERING-Album in ihrer über 30jährigen Bandgeschichte.

Produziert und gemixt wurde "Beautiful Distortion" von Attie Bauw (u.a. Judas Priest, Scorpions), der bereits bei den THE GATHERING-Alben "Home" und "How To Measure A Planet?" an den Reglern saß. Für das Mastering zeichnet Maor Appelbaum (u.a. Faith No More) verantwortlich.
Die Musik wurde von der Band im Arnold Muhren Studio in Volendam (NL) eingespielt, alle Gesangsparts wurden im Bergen Lydstudio in Norwegen aufgenommen.
"Beautiful Distortion" wurde in Dolby Atmos gemischt und kann auf allen Plattformen, die Dolby Atmos Mixe anbieten, gestreamt werden.

Sämtliche Bandmitglieder waren von Anfang an am kreativen Prozess und den Aufnahmen beteiligt, sowohl einzeln, online, als auch persönlich und gemeinsam, wann immer es möglich war. Es war zwar eine Herausforderung, während der Pandemie und den damit verbundenen Maßnahmen ein Album über zwei Länder hinweg zu schreiben und aufzunehmen, doch THE GATHERING haben auch dies mit Bravour gemeistert.

Das Boxset im LP-Format enthält:



- 'Beautiful Distortion' auf Vinyl, 8 neue Tracks.
- Die exklusive türkisfarbene Gatefold-Version enthält das komplette Album. Cover mit Kupferfolien-Artwork

- "Interference" EP auf Vinyl. Exklusive türkisfarbene Version der EP mit 2 brandneuen Songs und 1 Live-Track

- Beautiful Distortion' 6-Panel-Digifile-CD mit 16-seitigem Booklet und kupferfarbener Heißfolie auf dem Frontcover

- Die Digifile-CD 'Interference' enthält brandneue Songs und 1 Live-Track

- Exklusive Kunstdrucke 12x12 Zoll (3x). Ein Kunstdruck wird von der Band signiert

Super Deluxe: The Signals Super Deluxe celebrates 40 years with a brand-new Hugh Syme cover & the 2015 remaster on CD for the first time. The album vinyl was cut for the first time at half-speed via DMM & pressed on 180g black vinyl for optimal vinyl quality with new Hugh Syme art in a premium tip-on jacket. A Blu-ray Audio disc features brand-new immersive Dolby Atmos & 5.1 surround mixes by Richard Chycki, the 2015 48kHz 24-bit stereo remaster, new animated visualizers for each song & 2 bonus music videos for “Subdivisions” and “Countdown”. Bonus items include a 40-page hardcover book with new song illustrations and unreleased photos from the Signals Tour, four 7-inches with new art, three lenticulars that transition from the original black & white band headshots into the original album “Digital Man” color headshots, four Signals Tour band lithos, Hugh’s original album cover sketch litho & a double-sided 24-inch by 24-inch poster featuring Hugh’s new art on one side and an outtake photo from the original album cover shoot on the other side. Picture Disc: The first-ever, limited edition Signals picture disc vinyl features brand-new Hugh Syme artwork to celebrate 40 years of the iconic album.


Das Rush-Album ”Signals” feiert 40-jähriges Jubiläum! Zu diesem Anlass lässt eine limitierte Neuveröffentlichung Sammlerherzen schneller schlagen: Am 28. April erscheint eine umfangreiche Super Deluxe Box mit einem brandneuen Hugh Syme-Cover und dem Remaster von 2015 erstmals auf CD. Das Vinyl des Albums wurde zum ersten Mal mit halber Geschwindigkeit über DMM geschnitten und auf 180g schwarzes Vinyl gepresst. Die Blu-ray-Audio-Disc enthält brandneue Dolby Atmos- und 5.1-Surround-Mixe von Richard Chycki, das 48kHz-24-Bit-Stereo-Remaster von 2015, neue animierte Visualizer für jeden Song und zwei Bonus-Musikvideos für ”Subdivisions” und ”Countdown”. Zum Bonusmaterial gehört ein 40-seitiges Hardcover-Buch mit zahlreichen Illustrationen, Original-Bandfotos und mehr. Das volle Paket aus 1LP, 1CD, BluRay, vier 7” Vinyl in der Super Deluxe Box ist limitiert - das absolute Fan-Item!

After 3 individual pieces on the Hamburg label PUDEL PRODUKTE, the longplaying work of the man from the Pension Stammheim is finally released. It quickly becomes clear that this is a real capacity record: 6 (on vinyl) or 8 pieces (on electricity) from the cosmos of a man who means business. You can already tell by the fact that the record is only called ROTTE and not something else. Rotte makes ROTTE and nothing named, nothing labelled, nothing carefree commodes and prisoners certainly not.

It is relatively easy to approach ROTTE. Just listen and do nothing else. No, nothing. Nothing at all. Don't give away flowers, smoke cows, talk yourself or listen to the net. Don't try to get out of the Bermuda Triangle in the process! Concentrate as if you were reading a book by Suhrkamp. Be action-less in the here and jazz. Beat the six kinds of wood out of the coffin and leave only the steel screws!

Take Rotte and ROTTE seriously. Man and work. With him, though, black is absolutely a colour. My ketamine is my petrol. First Takes only. Drilling without Club of Gore. Undisputed truth. No Lounge. The lyrics on Rotte are not a party.

It might seem a bit TOO colourless, a bit TOO intense, a bit TOO hard and dark. Too much psycho-babble. But the songs bring it and you. They are designed in such a way that nothing else works during them. Nobody would think of peeling an egg at Russian roulette. That's how you have to see it.

The songs were musically supervised by Jörn Elling Wuttke and Oliver Bradford (Thee Church Ov Acid House), by DIE NERVEN producer Ralv Milberg, by Douglas Creed (BPitch Control + Freude am Tanzen), Boris Nielsen (Käptn Peng) and Peter Armster.

There is a congenial mutual autocorrection between lyrics and music. Individually, this cannot be heard and it is not offered. By the way, you don't hear anything else at the Federal Criminal Police Office at the moment. So please.

A1 Fliege gegen Scheibe
Written & produced by Oliver Bradford, Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

A2 Butterbrot und Peitsche
Written & produced by Peter Armster, Christian Rottler
Lyrics: Christian Rottler

A3 Gaffa, Farbe und Zustimmung
Written & produced Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

B1 Autosuggestion
Written by Boris Nielsen, Christian Rottler, produced by Boris Nielsen, Marc Eggert
Lyrics: Christian Rottler

B2 Deichtorhallen
Written & produced by Oliver Bradford, Jörn Elling Wuttke und Christian Rottler
Lyrics: Christian Rottler

B3 Dunkelwach
Written by Mario Willms, Christian Rottler, produced by Mario Willms
Lyrics: Christian Rottler

Fans of the innovations and originality that sprang from the L.A. underground of the late 1970s and ’80s often ask, “What’s Paul B. Cutler been up to?” A vital participant in the Los Angeles music scene of that period as bandleader, songwriter, musician and producer, Cutler’s work—in particular his guitar playing— with The Consumers, 45 Grave, Vox Pop and The Dream Syndicate is still admired by fans and an influence on anyone interested in that period and the styles that developed from it. In 2014, “Ryan Adams contacted me and wanted to form a band. He loved 45 Grave, he wanted to do some goth / punk, whatever you want to call it. That’s right up my alley. He’s amazingly talented and inspiring to work with. We did that for a while, and I wrote a bunch of songs.” Enthused about his new material, Cutler continued recording songs with just his signature electric guitar style and vocals. As this was developing, another vet of the early L.A. scene—Brad Laner of Medicine and Savage Republic—got in touch with Cutler. Soon Laner was mixing, co-producing, playing keyboards as well as adding the rhythm section. The overall process took some time, with songwriting beginning in 2014. When reflecting on the music that comprises Les Fleurs, “To me, and it does not sound like it, but because of the philosophy I had while producing it, it’s punk. I come from the original punk, before it was a genre. Before it was a ‘sound.’ When I got to LA in 1977 there were about twenty, maybe thirty bands and they all sounded very different. The Screamers, The Deadbeats, so many different takes on what music could be. There was no chance for commercial success so we all just did what we wanted. I never stopped. So philosophically I consider this punk rock, made in its original spirit although nobody would recognize it as such. I am a punk to this day.” So that, dear reader, is the basic story. Now it’s up to you to see what you recognize in Paul B. Cutler’s Les Fleurs.

Entirely remastered from the original analogue tapes and featuring brand new artwork designed by Luke Insect, this Four Flies reissue finally brings back to life one of the most surprising albums from the strange phenomenon that was the Italian library music of the Seventies.

Gianni Safred's Electronic Designs was released in 1977 on the Milanese label Jump, in their "Music Scene" series, simply as a collection of musical pieces intended for use in television programmes. However, hidden behind a nondescript cover were twelve electronic music tracks revealing a recognizable style of composition; twelve little gems masterly combining experimentation, catchiness and practical functionality thanks to a unified and unique style. Each through a specific mood, these tracks give expression to Safred's distinctive sound, where irresistible mechanical grooves are over-layered with melodic lines perfectly played on a Polymoog or ARP Odyssey.

A native of Trieste, Safred started out with little swing bands soon after WW2, before eventually playing with great soloists like Django Rheinhardt. Ultimately, it is his background as a jazz pianist that makes Electronic Designs so special. As with other Italian jazzmen who got into synthesizers (above all, Piero Umiliani), Safred's blend of complex harmonies and (quasi-) bebop virtuoso flourishes, with its obsessive repetitions and refined tone colours, gives a retro-futuristic quality to this library album, whose electronic music islight-years ahead ofthe 'pop' electronic music of the time and, in many ways, anticipates the best stylistic features of early-Nineties dance music.

Safred best expresses his experimental verve – and does a great job in creating the 'electronic designs' of the title – in "Mystification", "City Problems", "Trapdoor", "Planetarium" and "Poe's Clock", all of which unfold through hypnotic beats and sinusoid or square wave explosions. In other tracks, however, the compositional style is less unconventional, with relaxed yet not banal atmospheres ("Spheres", "Elastic Points", "Sacred Interlude"), as well as flashes of irresistible groove inspired by Herbie Hancock's more pop-oriented work ("Automation Age", "Jazz Motion Study", "Bottom Up"). The album's masterpiece is arguably "Hasty Chant", a detective-funk ride with an unforgettable theme, which manages to pull all of the album's various strands into a cohesive whole – as a side note, the allusive and apt description of the song on the back cover reads: "Things are happening".

Swedish Doom/Death Metal from the Champions League of that genre!
Runemagick mines the darkest seams of crushing Death/Doom Metal for unremitting headbanging groove. Runemagick are among the most
underrated bands in the history of Metal. Their relative obscurity is hard to pin down. Musically, in terms of songcraft, atmosphere, and immersion into the unearthly realms of the occult, they are basically without peers. Yet despite a prolific thirty-year existence, their reputation exists on the fringes: highly regarded by some but not highly enough considering the overall quality of their output.

From start to finish Runemagick plays well done ancient Death/Doom metal, very slow and heavy, but the balance between Death and Doom Metal is very well chosen! This will relive the glory days of the good old 90’s stuff from the United Kingdom! Deep and intense grunts, the freezing thick guitars and the intense bass lines really spread a gloomy frightening atmosphere. Runemagick have written an album against all kinds of trends hailing a style which.

Die Zusammenarbeit zwischen NEIL GAIMAN und dem FOURPLAY STRING QUARTET startete 2010, als das Sydney Opera House's Graphic Festival FOURPLAY beauftragte, einen Soundtrack zu NEILs Novelle "The Truth is a Cave in the Black Mountains" für eine Live-Performance mit ihm zu schreiben. Diese Zusammenarbeit führte zu einer anhaltenden Freundschaft und kreativen Zusammenarbeit, bei der NEIL und FOURPLAY das Konzept einer Reihe von Original-Werken rund um das Konzept des Tierkreises erarbeiteten, wobei die traditionellen Zeichen durch eine neue Sammlung von Wörtern und Objekten ersetzt wurden, die Aspekte des Lebens erkunden. Sie nannten diese Zusammenarbeit Signs. Einige der Arbeiten in "Signs Of Life" wurden für dieses Projekt entwickelt. Neben diesen Original-Werken gibt es neue Gedichte und Geschichten von NEIL, die mit der Musik von FOURPLAY verwoben sind, zwei Covers von Songs aus NEILs früheren Projekten und ein Instrumental-Stück, das von NEILs Arbeit inspiriert ist. Da sich alle Beteiligten in ihrer Kreativität immer geweigert haben, sich in eine Schublade stecken zu lassen, haben sie mit "Signs Of Life" etwas Bemerkenswertes und Einzigartiges geschaffen. Das Album ist eine großartige, bahnbrechende und genreübergreifende Zusammenarbeit zwischen einem großartigen Autor und einem einzigartigen Musik-Ensemble. Es ist teils Songwriting, teils Poesie, teils Storytelling; allumfassend schön. NEIL GAIMAN ist einer der beliebtesten und am meisten gefeierten Schriftsteller unserer Zeit. Sein Werk ist genre-, alters- und formatübergreifend und spannt einen Bogen über Romane, Fernsehen, Film, Kurzgeschichten, Comics, Hörspiele, Theater und mehr. Kürzlich wurden seine Romane "Good Omens" (gemeinsam mit Terry Pratchett geschrieben) und "American Gods" als Fernseh-Serien von Amazon Prime adaptiert. Seine revolutionäre und bahnbrechende Comicserie "The Sandman" wurde auf Netflix und Warner Bros. Television veröffentlicht und war mehrere Wochen lang weltweit die Nummer 1 auf Netflix. Das FOURPLAY STRING QUARTET ist in der Welt der Streichquartette etwas ganz Besonderes. FOURPLAY, die eher eine Band als ein klassisches Ensemble sind, improvisieren, jammen mit Ideen und verwenden außergewöhnliche Instrumental-Techniken und Effekte, um verblüffend originelle Klänge zu erzeugen. Nachdem sie zunächst durch ihre Interpretationen der Musik von Künstlern wie METALLICA, THE STROKES, RADIOHEAD, THE BEASTIE BOYS und CHARLES MINGUS weltweit bekannt geworden waren, konzentrierten sich FOURPLAY auf die Entwicklung ihres eigenen Repertoires und auf die Zusammenarbeit mit hybriden Medien und Projekten.

Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form.

Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own Cascata di Malbacco tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw.

On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time.

Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences.

John Carroll Kirby has recently released records on Leaving Records, Outside Insight and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces and Solange.
He recently signed to Stones Throw Records.

Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Tape

The music of Melati ESP aka Melati Malay is a euphoric vision of megacity rhythm and rainforest escape, club breaks and weightless pop, mapping new dreams from the sound of futures passed: hipernatural.

Drawing on the music era of her teenage years growing up in Jakarta – Javanese radio Dangdut, gamelan cassettes, Moving Shadow-era liquid jungle, Japanese chill-out, etc. – as well as her current work in progressive percussion trio Asa Tone, Malay’s solo debut is boldly borderless, bridging worlds and wavelengths into a richly imagined hybrid synthetic utopia.

hipernatural is momentous linguistically, too, as Malay’s first foray into singing in Indonesian, the language of her youth. She characterizes her lyrical mode as “abstract, and a bit broken,” an intuitive collage of diaristic emotion and oblique poetry (“plant me in fleeting twilight / missing home, where is home? / I am another you”). Her voice serves as its own versatile instrument, alternately intimate and alien, sensual and sacred, shaded with the haze of hidden heavens.

Co-produced with long-time collaborator Kaazi (100% Silk, Asa Tone), the album’s 12 tracks are cohesive but eclectic, threading through temple bass music, cyber siren techno, Stereolab drum n bass, new age downtempo, and dial-up rave reveries, flecked with tactile fragments of offworld dialogue, computer hum, bubbling water, and beyond.

Malay’s technique of sampling and processing her voice into an electronic palette which she then performs on generative instruments gives the songs a bewitching artificial intelligence elegance, exquisite but uncanny. Hers is a hybridity both organic and hypermodern, deeply personal yet globally sourced – YouTube rips, nature tapes, cheap sample packs, club bootlegs. hipernatural champions a dynamic new language at the axis of then and now, of east and west

When David Drucker of Painted Faces begins to write and record, every dumb sign, bad horror movie, seemingly innocuous turn of phrase, petty embarrassment, transcendent joke, and musical
influence are drawn together like iron filings to a magnet.
What results is a document of a particular point in time for the artist. There are infectiously haunting hooks and raw atonal passages, cheap synths (and as time goes on less cheap ones), simple but effective chords, ramshackle percussion (a plastic toy maraca passed among audience members that refuses to die), and a host of other elements that all add up to something very special and deeply personal.

It’s a portrait of the artist as a freak.
On his latest album, Normal Street, the story continues. The title track opens with a nebulous cloud of beeps and squeals which slowly give way to more solid melodic form. Drucker, always searching for ever
freakier and liberated pastures, walks a particularly unique line between unpredictably risky experimentation and skillful songcraft. It’s this interplay hat makes Painted Faces truly original and exciting.
What “works” is totally relative, and through his long honed practice of trying things, he has created his own sonic vocabulary.

Normal Street is a fractured collection of songs, sounds, ideas, sometimes brief and other times delicately sustained; its stream of consciousness mischievousness bringing to mind Zappa and the
Mothers filtered through the angst of bedroom pop and tape label minimalism.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und
Picture Disc.

Fans der amerikanischen Heavy Metal Ikone Iced Earth haben sich lange ein neues Lebenszeichen ihrer Helden erhofft. Das Warten hat ein Ende: Gitarrist und Gründungsmitglied Jon Schaffer hat die Veröffentlichung von zwei neuen EPs angekündigt. Unter den Titeln "Hellrider" und "I Walk Among You" enthalten diese Veröffentlichungen seltene Aufnahmen aus der Übergangsphase zwischen Sänger Tim 'Ripper' Owens' und Vorgänger/Nachfolger Matt Barlow in den Jahren 2007 und 2008, einer besonders spannenden und ereignisreichen Zeit in der Bandgeschichte von Iced Earth. Die 'Hellrider' EP besteht aus den Songs 'Prophecy', 'Birth Of The Wicked' und 'The Coming Curse', ursprünglich vom Album 'Something Wicked This Way Comes' (1998), das von Metal Hammer zu einem der besten Power Metal Platten aller Zeiten gewählt wurde. Im Spätsommer 2007 wurden alle drei Tracks mit Tim 'Ripper' Owens neu aufgenommen. Die zweite EP "I Walk Among You" enthält die Studiotracks "Setian Massacre", "A Charge To Keep" und "The Clouding" vom 2007er Album "Framing Armageddon (Something Wicked Part I)", die 2008 remixt und remastert wurden und den kürzlich zurückgekehrten Matt Barlow enthalten. Hinzu kommen die Live-Tracks 'Dark Saga', 'Pure Evil' und 'Iced Earth', die beim Graspop Metal Meeting 2008 aufgenommen wurden und ebenfalls Matt Barlow als Sänger haben. Die Songs wurden remastered, mit neuem Artwork, neuem Mastering und erscheinen das erste Mal auf Vinyl und Picture Disc.

Die deutschen True Metal Helden sind zurück - back to attack!

Seit mehr als 3 Jahren war es still um die Metal Heroes von MAJESTY. Nachdem die Band nach ihrer Legends Tour Ende 2019 eigentlich nur eine einjährige Pause machen wollte um die Batterien wieder aufzuladen, wurden sie genauso wie der Rest der Welt durch die
Pandemie in eine deutlich längere Auszeit getrieben.

Doch diese Zeit haben die Jungs ausgiebig genutzt und an einem Album gearbeitet, welches auf perfekte Art und Weise alle die Dinge vereint für die die Band steht: Eingängige, große Heavy Metal Hymnen welche einem bereits beim ersten Hören packen und die Faust in
die Luft strecken lassen gepaart mit Texten über den ewig andauernden Kampf für Freiheit und seinen Weg zu leben.

"Back To Attack" ist ein Album welches seinem Titel alle Ehre macht. Eine stahlharte Produktion mit 11 Songs und einem Intro welche förmlich danach schreien auf den großen Heavy Metal Bühnen der Welt performed zu werden. "Back To Attack" ist nun bereits das zehnte Studio Album der Band und wird keinen MAJESTY Fan
enttäuschen da es von knallharten Uptempo Songs über hymnische Midtempo Stampfer bis hin zu einer gefühlvollen Ballade das komplette Spektrum der Band in perfekter Art und Weise abdeckt.

Auch das Artwork des Albums passt einfach ideal zu der Aussage der Musik und der Texte von MAJESTY: "Lass dich niemals unterkriegen und kämpfe für deinen Weg zu leben. Ein Weg welcher Freiheit bedeutet".

Die deutschen True Metal Helden sind zurück - back to attack!

Seit mehr als 3 Jahren war es still um die Metal Heroes von MAJESTY. Nachdem die Band nach ihrer Legends Tour Ende 2019 eigentlich nur eine einjährige Pause machen wollte um die Batterien wieder aufzuladen, wurden sie genauso wie der Rest der Welt durch die
Pandemie in eine deutlich längere Auszeit getrieben.

Doch diese Zeit haben die Jungs ausgiebig genutzt und an einem Album gearbeitet, welches auf perfekte Art und Weise alle die Dinge vereint für die die Band steht: Eingängige, große Heavy Metal Hymnen welche einem bereits beim ersten Hören packen und die Faust in
die Luft strecken lassen gepaart mit Texten über den ewig andauernden Kampf für Freiheit und seinen Weg zu leben.

"Back To Attack" ist ein Album welches seinem Titel alle Ehre macht. Eine stahlharte Produktion mit 11 Songs und einem Intro welche förmlich danach schreien auf den großen Heavy Metal Bühnen der Welt performed zu werden. "Back To Attack" ist nun bereits das zehnte Studio Album der Band und wird keinen MAJESTY Fan
enttäuschen da es von knallharten Uptempo Songs über hymnische Midtempo Stampfer bis hin zu einer gefühlvollen Ballade das komplette Spektrum der Band in perfekter Art und Weise abdeckt.

Auch das Artwork des Albums passt einfach ideal zu der Aussage der Musik und der Texte von MAJESTY: "Lass dich niemals unterkriegen und kämpfe für deinen Weg zu leben. Ein Weg welcher Freiheit bedeutet".

Die deutschen True Metal Helden sind zurück - back to attack!

Seit mehr als 3 Jahren war es still um die Metal Heroes von MAJESTY. Nachdem die Band nach ihrer Legends Tour Ende 2019 eigentlich nur eine einjährige Pause machen wollte um die Batterien wieder aufzuladen, wurden sie genauso wie der Rest der Welt durch die
Pandemie in eine deutlich längere Auszeit getrieben.

Doch diese Zeit haben die Jungs ausgiebig genutzt und an einem Album gearbeitet, welches auf perfekte Art und Weise alle die Dinge vereint für die die Band steht: Eingängige, große Heavy Metal Hymnen welche einem bereits beim ersten Hören packen und die Faust in
die Luft strecken lassen gepaart mit Texten über den ewig andauernden Kampf für Freiheit und seinen Weg zu leben.

"Back To Attack" ist ein Album welches seinem Titel alle Ehre macht. Eine stahlharte Produktion mit 11 Songs und einem Intro welche förmlich danach schreien auf den großen Heavy Metal Bühnen der Welt performed zu werden. "Back To Attack" ist nun bereits das zehnte Studio Album der Band und wird keinen MAJESTY Fan
enttäuschen da es von knallharten Uptempo Songs über hymnische Midtempo Stampfer bis hin zu einer gefühlvollen Ballade das komplette Spektrum der Band in perfekter Art und Weise abdeckt.

Auch das Artwork des Albums passt einfach ideal zu der Aussage der Musik und der Texte von MAJESTY: "Lass dich niemals unterkriegen und kämpfe für deinen Weg zu leben. Ein Weg welcher Freiheit bedeutet".