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'Brexit Music' ist kein politisches Album. Aber im Titel, der dem Künstler lange nach der Idee des Repertoires in den Sinn kam, steckt eine Vorliebe für britischen Spott: Am Ende soll die Kunst alle gesellschaftlichen Modeerscheinungen überleben. Der französische Pianist und sein Akustik Jazz-Trio wollten einen frischen, verspielten Sound, Groove und ein bisschen Humor. Ein beliebtes Lied zu covern ist für Jazzmusiker gängige Praxis, dennoch war die Idee eines ganzen Albums, das sich ausschließlich um britische Popmusik dreht, nicht selbstverständlich: Es war eine Herausforderung, ohne die Texte lebendig zu bleiben. So blieb oft das schlichte Material dieser Songs, auch wenn die meisten davon ein aufregender und freudiger Teil von Trotignon's Teenagerjahre waren. CD-Digipak und 180Gr. Doppel-LP mit vier Bonustracks!

Baptiste Trotignon - Piano, arrangements
Greg Hutchinson - Drums
Matt Penman - Upright bass

The first encounters of Chassol with Indian music date from his teenage years where, thanks to John Mc Laughlin and his band Shakti, he could hear ragas, rhythm structures and Indian instruments mixed with jazz.

Then came Ravi Shankar, Hariprasad Chaurasia and the devotional songs.
More recently, the documentaries by Louis Malle (Phantom India) and by Johan van der Keuken (The Eye Above The Well) left their marks on him and after having harmonized New-Orleans in "Nola Cherie", the choice to attempt at an harmonization of life, sounds, motifs, noises and traffic from Northern India quite naturally grew on him.

In Calcutta and Varanasi, India's most ancient city, he went to shoot sitarists, percussionists, singers, dancers, the kids, the Ganga, the city and the apparent chaos of the traffic.

Indiamore spreads over four movements, one same tonal harmonic suite of warm and real pop chords that marries the modal Indian music usually resting on a sole continuous bass line played by the tampura.

In repeating these images, in treating their sound as a music material and in harmonizing the actors' speech with his own harmonic obsessions, he achieves to blend a documentary approach into a

Coke Bottle Clear Vinyl. High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Suff Daddy (578k monthly listeners on Spotify), is one of the legendary beatmakers who shaped a whole era of bedroom producers. His unique approach and musical understanding sets him apart from all the other fish in the pond. He has released countless genre-defining albums and EP’s over the past 15 years building a loyal fanbase. Suff Daddy's songs have previously been featured in many editorial playlists including Spotify's "Jazz Vibes" (2.1M Likes), "BUTTER" (770k Likes), "Sweet Soul Chillout" (1.2M Likes) and many more.

Introducing "Hair Of The Dog," Suff Daddys musical journey that blends instrumental hip-hop, electronic, and dance genres. This captivating album, produced with his own Suff Style invites listeners to unwind From start to finish. Once again a Suff Daddy album thrives on the pure brilliance of his on way to create music. The album's cover art, masterfully crafted by the renowned painter Mitch (@itsallinsideus, 165k Followers), adds an intriguing visual dimension to the experience. Both artists have known each other for a long time and are currently preparing their audiovisual release- event for August 18th in Berlin. Bringing their art together as a unique experience for their audience.

The phrase "Hair of the dog that bit you" commonly denotes consuming alcohol as a remedy for a hangover, aiming to alleviate its effects. Suff Daddy plans to introduce his own hangover solution, which will be plant-based and devoid of alcohol. Through all of his career he frequently played with alcohol references and now its the perfect timing to release his own hangover cure. Additionally, this endeavor will serve as a social media catalyst for the entire project.

GAZELLE TWIN - aka composer, producer, singer, and visual artist Elizabeth Bernholz - has scored Sky's brand new TV series "Then You Run".

Created for television by Ben Chanan (The Capture), based on the novel YOU by Zoran Drvenkar, Then You Run follows four rebellious London teenagers on a city getaway to Rotterdam. This contemporary eight-part series boasts an incredible cast of rising stars; Leah McNamara (Normal People) as Tara, Vivian Oparah (Rye Lane) as Stink, Yasmin Monet Prince (Hanna) as Ruth and newcomer Isidora Fairhurst as Nessi.

The four friends embark on what should have been the perfect summer break which soon spirals into a dark and perilous adventure. When their attempt to take on some of the most dangerous people in Europe doesn’t quite go to plan, they find themselves on the run with three kilos of heroin, more questions than answers about Tara’s family, and a gang of deadly criminals tracking their every move.

Invada Records have previously released two recent Gazelle Twin scores (2020’s Nocturne and 2021’s The Power).

Her 2018 acclaimed album Pastoral was described by Pitchfork as “...belonging to a proud tradition of English satire, plumbing the depths of the nation’s psyche and twisting it to wryly discomforting ends”.

* Clear with Purple Center Vinyl * Fully printed inner sleeves * Liner notes by Larry Mizell Jr. // The album is named for the combs used to maintain an Afro hairstyle, and that's significant. The group's Ishmael "Butterfly" Butler said it summed up what they wanted to do with it: "It means the utilization of the natural, a natural style," he has said. Like with 1993's debut _Reachin' (A New Refutation of Time and Space)_, 'utilizing the natural' meant creating hip hop that blended jazz with the formidable rap skills of the aforementioned Butterfly, Craig 'Doodlebug' Irving and Mary Ann 'Ladybug Mecca' Vieira. Unlike that debut, it meant broadening to include guests such as Gang Starr's Guru, Jeru the Damaja, and Jazzy Joyce. Following the gold-selling commercial success of their debut, they here set out to prove their artistic prowess. This is intelligent, alternative hip hop that sounded like party music. Its lyrics are dense with wit, social commentary and politics - and its original inner sleeve was modeled on the newspaper of the Black Panther movement.

Samosa Records reaches its 30th release in style, and who better to mark the occasion than label boss De Gama with the superb ‘Tropical Gangster’ - a three tracker slice of vinyl heaven that’ll blow you face first into your summer paddling pool.

Opening this super-tropical affair on the A-side is afro beat stomper ‘Karibu Funk’ - and it wastes no time at all in introducing us to its tribal rhythmic awesomeness. The beats, the vocals, the outrageously funky bass and horns are a musical representation of an African sunset. A serious groove.

A2. brings us ‘Lucky Fellow’; a twisting, turning bouncy bass-bomb of a tune with a flute riff that would charm the clothes off you. De Gama is very much in Pied Piper mode here - you’re powerless to resist the sexy overtures of the drums, the haunting synth lead and solid bass line. Sizzling hot.

On the B-side De Gama offers a cool ‘Piña Colada’ after all the heat of the A-side. This Piña Colada, however, offers an oasis of many delights and flavours. What starts as a furious latino drum call breaks to a tropical bassline and hypnotic keys. The vocals are the cherry on the cake of an amazing arrangement of layered sound. Goosebumps.

The Tropical Gangster is an exceptionally special Samosa release befitting the occasion of reaching the 30 milestone, and another example of the consistently brilliant output from Samosa Records. Expect this one to sell out fast.

Robert Pollard has a very strong work ethic. With most of their touring canceled due to the pandemic and then a fractured kneecap, Guided By Voices ran up an extremely prolific streak in the studio, recording and releasing eight albums in the past three years and garnering piles of rave four star and five star reviews in the process. In case one were snoozing, the last album, La La Land was Uncut magazine’s “Best Of The Month.” The pandemic records were particularly notable and unique that the band members recorded most of their instruments individually in separate cities. Welshpool Frillies finds the gang back together, in a Brooklyn basement with producer Travis Harrison. Much of it was recorded live to tape. The catchy ear worms in these new songs are undeniable, as the kinetic energy of the band is captured in its most raw and pure form. The album is brash, no-frills, and punky, inspired by the wiliness of 90s-era GBV, specifically the Scalping The Guru compilation that Pollard put together in 2022. 2023 marks the 40th anniversary of GBV’s start in Dayton, Ohio. Robert Pollard was an elementary school teacher with no formal music training, and his unlikely success has been an odds-defying adventure. It’s never too late to discover this vital rock band and join the GBV cult.

indian green vinyl 2022 repress

City Of Light is the sixth solo album by American composer Bill Laswell, released on July 29, 1997. While it may appear an anachronism in his catalog, fans of Bill Laswell will find City Of Light an extension of ideas he has explored throughout his career. His strong interest in Eastern music and religion resulted in this 1997 collaboration with Janet Rienstra. Part sacred, spoken word, part meditative soundscape, City Of Light takes as its inspiration the holy region of Banaras, India. Said to belong to Shiva, Banaras also contains the Ganges river: a place sought by Hindus for their cremation. Surrounding the texts is some of the most compelling music this genre has produced featuring Trilok Gurtu on tablas, Coil (Peter Christopherson & John Balance) on electronic, Tetsu Inoue at sound collages and Lori Carson at vocals.

In 2003, Mental Disorder was inaugurated with its first e.p. "Psychiatric Hospital". Twenty years later Mental Disorder is pleased to present "Scoundrel", a release consisting of 3 tracks, all of them written and conceived by label founder Reeko and Surgeon, the living legend and one of the most influential artists of all time. Undoubtedly the most special, risky and different release in the whole MD catalogue so far.

On this release, we find rogue rhythms at 175bpm bordering on drum n' bass, gangster bass sequences with funk influences and eerie atmospheres, healing melodies and hypnotizing riffs that seem to come from vanished civilizations.

Anthony Child and Juan Rico bring to life the twenty-sixth in the mental disorder catalogue, giving a truly unexpected musical twist.

Wenn es ein einziges Wort gibt, um Saint Agnes zu beschreiben, dann ist es " Hingabe". Die vierköpfige Band aus dem Vereinigten Königreich steht für ehrliche Texte, raue Gesangsdarbietungen (von Frontfrau Kitty A. Austen) und wutentbrannte Musik, die denjenigen eine Stimme geben soll, die eher am Rande als in der Mitte stehen. Mehr Gang als Band, wollen Saint Agnes (römische Märtyrerin, Schutzpatronin für eine Reihe von Dingen, darunter auch Mädchen) diejenigen ermutigen, die geschlagen und verletzt wurden, sich aber weigern, sich niederzulegen, und das ist ein roter Faden, der sich durch "Bloodsuckers" zieht - das zweite Studioalbum von SA und ihr erstes für Spinefarm. Anfangend mit dem Titeltrack, ist dies ein genreübergreifendes Werk, das Elemente aus Metal, Punk, Industrial und Grunge aufnimmt, ohne an einen bestimmten Stil gebunden zu sein; die 11 Tracks kommen direkt von der Quelle, größtenteils selbst produziert und abgemischt (NIN-Kollaborateur Sean Bevan leiht seine Mixing-Fähigkeiten der zukünftigen Single / Video, 'Follow You'), und dieser in sich geschlossene Ansatz sorgt für ein zusätzliches emotionales Gewicht, mit Kerrang!-Coverstar Mimi Barks, die das Chaos auf dem kurzen, scharfen Schock, der 'Body Bag' ist, weiter anheizt.

Wenn es ein einziges Wort gibt, um Saint Agnes zu beschreiben, dann ist es " Hingabe". Die vierköpfige Band aus dem Vereinigten Königreich steht für ehrliche Texte, raue Gesangsdarbietungen (von Frontfrau Kitty A. Austen) und wutentbrannte Musik, die denjenigen eine Stimme geben soll, die eher am Rande als in der Mitte stehen. Mehr Gang als Band, wollen Saint Agnes (römische Märtyrerin, Schutzpatronin für eine Reihe von Dingen, darunter auch Mädchen) diejenigen ermutigen, die geschlagen und verletzt wurden, sich aber weigern, sich niederzulegen, und das ist ein roter Faden, der sich durch "Bloodsuckers" zieht - das zweite Studioalbum von SA und ihr erstes für Spinefarm. Anfangend mit dem Titeltrack, ist dies ein genreübergreifendes Werk, das Elemente aus Metal, Punk, Industrial und Grunge aufnimmt, ohne an einen bestimmten Stil gebunden zu sein; die 11 Tracks kommen direkt von der Quelle, größtenteils selbst produziert und abgemischt (NIN-Kollaborateur Sean Bevan leiht seine Mixing-Fähigkeiten der zukünftigen Single / Video, 'Follow You'), und dieser in sich geschlossene Ansatz sorgt für ein zusätzliches emotionales Gewicht, mit Kerrang!-Coverstar Mimi Barks, die das Chaos auf dem kurzen, scharfen Schock, der 'Body Bag' ist, weiter anheizt.

Lucinda Williams’ music has gotten her through her darkest days. It’s been that way since growing up amid family chaos in the Deep South, as she recounts in her candid new memoir, Don’t Tell Anybody the Secrets I told You. Over the past two years, it’s been the force driving her recovery from a debilitating stroke she suffered on November 17, 2020, at age 67. Her masterful, multi-Grammy-winning songwriting has never deserted her. To wit, her stunning, sixteenth studio album, Stories from a Rock n Roll Heart, brims over with some of the best work of her career. And though Williams can no longer play her beloved guitar – a constant companion since age 12 – her distinctive vocals sound better than ever. The band rocks out on the album’s jubilant opening track, “Let’s Get the Band Back Together,” which features a gang of background singers, including Margo Price and Buddy Miller. Inspired by “that need for community after all the isolation of the pandemic,” Williams offers, the song is “about getting old friends together again who’d drifted apart.” Price also joins her on the bluesy protest, “This Is Not My Town.” The evocative “New York Comeback” also includes guest vocalists – Bruce Springsteen and Patti Scialfa. A Lucinda Williams fan, Springsteen had joined her onstage in London a few years back, and he and Scialfa had wanted to contribute to a Williams album for a while. With Reese Wynans on B3 and the Pettibone-Mathis guitar attack, the musical setting perfectly matches the theme of “Comeback,” as well as on the catchy story-song “Rock N’ Roll Heart,” to which Springsteen and Scialfa also contributed vocals. Says Williams, “Having Bruce and Patti on these songs feels really great. It’s just so cool!” As she promises on the powerful last track of Stories from a Rock n Roll Heart–one of the best albums of her career–Lucinda Williams is “never gonna fade away.”

Debut Album Nottingham post-punks Do Nothing blend jerky, spidery rhythms with surreal, half-spoken vocals that recall the Fall 's Mark E. Smith . Do Nothing was formed in 2017 by four long-time school friends: frontman Chris Bailey, guitarist Kasper Sandstrøm, drummer Andy Harrison, and bassist Charlie Howarth. All had played in various acts around the city; the band got their start at the popular Maze Club. Bailey, whose father was a singer in an a cappella folk group, grew up listening to the sounds of Simon & Garfunkel , and his own biggest influence was Tom Waits . Initially attempting to copy big names like LCD Soundsystem (as heard on their first 7" single, "Gangs," released in 2019), they eventually became more confident about doing their own thing, and Bailey gave his stream-of-consciousness lyrics and outsider stage persona free rein. Associated with, but wary of, the then-popular post-punk revival, they made clear it was their intention to follow their own path. Their debut EP, Zero Dollar Bill, was released in 2020; another, Glueland, arrived the following year, with an album in the works.

Mike Viola is a producer, musician, songwriter and singer. Viola may be best known for his work with Panic! at the Disco, Andrew Bird, Ryan Adams, Jenny Lewis and Mandy Moore, but his solo career stands on its own starting with a number of acclaimed records as the leader of New York based cult favourite Candy Butchers and 7 critically adored Mike Viola records. His original music has been featured on soundtracks for movies such as That Thing You Do!, Walk Hard: The Dewey Cox Story and Get Him to the Greek. Decades into his career his music continues to resonate with and inspire new generations of musicians and music lovers. Viola is cranking out more music than ever including the fan favorites; “The American Egypt” from 2019 and “Godmuffin” from 2021. Paul McCarthy was recorded over the summer of 2022 on 1/2” tape at “Barebones”, Viola’s home studio in Los Angeles. Joined by his friends Jake Sinclair on bass and Brendon Urie on drums. Viola says, “I set out to make a sonic monster using the legs of James Gang Rides Again, the heart of Black Sabbath Paranoid, with my kid brain inside my greying middle aged head on top. I’ve hit a point in my life where instinct has taken the reins fully, logic now waits in the wings to sweep up the stage and pay the taxi fare home. This album is the result of committing to this path fully and laughing all the way.” Viola will support the album release with his first tour in over a decade with dates in Europe and the US in Winter/Spring 2023, and more dates to follow later in 2023.

Jetzt, da die Welt weitgehend aus ihrem Covid-induzierten Stupor erwacht ist, freut sich Per Nilsson darauf, SCAR SYMMETRY vollständig zu reaktivieren und die dramatischen, pulverisierenden Ereignisse von Phase II unter die Leute zu bringen. Getreu ihrem ursprünglichen Masterplan sind diese Könige der himmlischen Metal-Grenze dem Spiel immer noch weit voraus.
Eine Sache, die sofort klar wird, wenn Phase II in Gang kommt, ist, dass dies die brutalste Platte ist, die Scar Symmetry je gemacht haben.

Jetzt, da die Welt weitgehend aus ihrem Covid-induzierten Stupor erwacht ist, freut sich Per Nilsson darauf, SCAR SYMMETRY vollständig zu reaktivieren und die dramatischen, pulverisierenden Ereignisse von Phase II unter die Leute zu bringen. Getreu ihrem ursprünglichen Masterplan sind diese Könige der himmlischen Metal-Grenze dem Spiel immer noch weit voraus.
Eine Sache, die sofort klar wird, wenn Phase II in Gang kommt, ist, dass dies die brutalste Platte ist, die Scar Symmetry je gemacht haben.

Nein, so richtig hatte keiner mit dem Erfolg von „Crucchi Gang“ gerechnet. Das Mitte 2020 erschienene Debütalbum des gleichnamigen Bandprojekts basierte schließlich nicht auf irgendeinem ausgeklügelten Business-Plan, sondern auf einer spontanen Idee von Musikmanagerin Charlotte Goltermann, Element of Crime-Sänger und Autor Sven Regener sowie Francesco Wilking (Die höchste Eisenbahn, Tele).

Deutschsprachige Musiker und Musikerinnen singen ihre eigenen Songs auf Italienisch. Mit auf der ersten Platte waren Von Wegen Lisbeth, Faber, Sophie Hunger und viele mehr.

Jetzt folgt mit „Fellini“ die zweite Runde. Sie ist eigentlich eine nahtlose Fortsetzung der ersten, denn auch Wilking und Reising fanden Gefallen an den kleinen Fluchten aus dem Alltag – und entschieden sich, ohne große Pause weiterzumachen. Diesmal sind Musiker und Musikerinnen wie Tocotronic, Tristan Brusch und
Antje Schomaker dabei und interpretieren ihre Songs auf Italienisch.

Das Album macht Lust darauf, sofort südwärts zu reisen. Es ist gleichzeitig der Beweis dafür, dass Musik eine Sprache ist, die man auch dann versteht, wenn man die eigentliche Sprache nicht versteht. Klingt kompliziert? Ist es überhaupt nicht.
Setzen Sie sich in ihren Lieblingssessel. Schließen die Augen. Schenken Sie sich einen Drink ein. Wenn Sie rauchen, zünden Sie sich eine Zigarette an. Wenn nicht, holen sie sich ein Eis aus der Gefriertruhe. Und jetzt drücken Sie auf die Abspieltaste – capirete cosa voglio dire.

Erstauflage auf farbigem "Red & Blue" Vinyl. Jubiläums-Edition zum 30. Jahrestag des Debütalbums von Six Finger Satellite, The Pigeon Is the Most Popular Bird, mit einer brandneuen, vollständig remasterten CD und einer Doppel-LP-Neuauflage. Die 1990 in Providence, Rhode Island, von J. Ryan (Sänger/Keyboard), John MacLean (Gitarre), Peter Phillips (Gitarre), Chris Dixon (Bass) und Rick Pelletier (Schlagzeug) gebildeten Six Finger Satellite wurden für die Weapon EP schnell von Sub Pop unter Vertrag genommen. Nach Weapon machte sich die Band daran, ihr Debütalbum mit Bob Weston (von Shellac, die später eine Single The Bird Is the Most Popular Finger zu Ehren von Six Finger Satellite benannten) zu produzieren. Das 1993 veröffentlichte The Pigeon Is the Most Popular Bird war die erste Veröffentlichung, die den abenteuerlichen, bissigen Geist und Sound von Six Finger Satellite wirklich einfing. Das Album ist ein Meilenstein des lauten, beunruhigenden Post-Punk, mit Einflüssen von Gang of Four, The Birthday Party und Wire, aber auch mit einer gesunden Dosis der eigenen, einzigartigen Klangfeindlichkeit der Band. Zwischen den spröden Rocktracks finden sich auf The Pigeon Is the Most Popular Bird einige Keyboard- und Studioexperimente, die auf den späteren Alben der Band stärker hervortraten und LCD Soundsystem, DFA Records und einen Großteil des Post-Punk-Revivals der frühen 2000er Jahre vorwegnahmen. Pitchfork bezeichnete The Pigeon Is the Most Popular Bird zu Recht als "eine der besten Noise-Rock-Platten der 90er Jahre" und schrieb, dass "die Übergänge von albern zu bissig den unvorhersehbaren und ätzenden Ansatz von Six Finger Satellite hervorheben - dies war das erste von mehreren Beispielen dafür, wie sie Underground-Trends verschmähten, und ihre aufregendste bittere Pille, die es zu schlucken galt".

3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989

It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. Critically, as well as commercially, the album was a success. It contains the singles, "Me Myself and I", "The Magic Number", "Buddy", and "Eye Know".

The album title came from the Johnny Cash song "Five Feet High and Rising". It is listed on Rolling Stone's 200 Essential Rock Records and The Source's 100 Best Rap Albums. When Village Voice held its annual Pazz & Jop Critics Poll for 1989, 3 Feet High and Rising was ranked #1. It was also listed on the Rolling Stone's

The 500 Greatest Albums of All Time. Released amid the 1989 boom in gangsta rap, which gravitated towards hardcore, confrontational, violent lyrics, De La Soul's uniquely positive style made them an oddity beginning with the first single, "Me, Myself and I". Their positivity meant many observers labeled them a 'hippie' group, based on their declaration of the 'D.A.I.S.Y. Age' (Da. Inner. Soul. Yall).

Sampling artists as diverse as Hall & Oates, Steely Dan and The Turtles, 3 Feet High and Rising is often viewed as the stylistic beginning of 1990s alternative hip hop (and especially jazz rap).

Like the winged half-man/half-bull that dominates its outrageous cover, Cleveland Eaton's Half And Half is a mutant bass-heavy monster that absolutely slays. Incredible jazz-funk from 1973, it's been largely overlooked for decades, and unfairly so. This is just sensational music - a crate digger's delight. It's super funky throughout, with lots of layers, jazz breaks for days, dripping with style and gritty class. This is the first reissue of what has been a hard to find record for many years; it's long overdue. Joyous music for mind, soul and body.

Cleveland Eaton was a revered bassist who played an active role in the backing of Count Basie, the Donald Byrd Quintet, The Ramsey Lewis Trio, Terry Callier and Minnie Riperton; amongst many, many others. Half And Half was the first album released under his own name, initially released as a private press record on his - awkwardly named - Cle An Thair Records. It was then picked up by Gamble & Huff for Gamble Records. Varied, string-adorned and with stupid funky grooves, it's just exceptionally good.

Whilst Half And Half is treasured for its famously brilliant interpretations of gold funk-soul standards, Eaton proves an imaginative composer in his own right. Indeed, the album opens with a striking original; the earthy, laconic jazz-guitar-funk fusion of "Keep It Funky". Cleveland and co. do exactly that. Up next is a properly moving cover of Aretha Franklin's eternal "Day Dreaming". The flute and guitar combo truly achieve celestial greatness here. "Here Comes Funky Lou" rides a bassline from the Gods and a driving soul-jazz groove allows the track to go off in all sorts of directions. Serene guitar soul of the breezy variety one moment, crazy hectic violin-driven wig outs the next, courtesy of Ed Green who played with Dorothy Ashby and Alice Coltrane.

His blistering two track salvo of Stylistics covers to close out this A-Side of A-Sides will leave your jaw dropped, and they're likely the reason you're here for this. And why not? "Betcha By Golly Wow", which uses a bed of acidy synths and harmonica to create a unique atmosphere, is on some next level business. Melancholic, wistful, beautiful. "People Make the World Go Round" is so good, dripping in wonderful horns and ace percussive breaks, it could even be regarded as the definitive version. Seriously!

Opening Side B, War's gigantic "Slipping Into Darkness" is tightly tailored to Eaton's funky flute fusion arrangement whilst the insistent "Missing You" is a swaggering horn-heavy version of Luther Ingram's track from the Dilla/Ghostface-linked LP, I've Been Here All The Time. The creeping, screeching guitar-drenched original "John's Groove" features more fantastic horn lines and neck-snapping percussion whilst "The Love Gangster", written by Bill Wyman and Stephen Stills for his seminal Manassas LP, contains a heavy break with slick drums high in the mix and fuzzy guitars.

The album closes with two more Eaton originals. Written with Johnny Guitar Watson, "Lie" is one hell of a funky string and guitar-driven gem whilst the wild, celebratory "Ah Movin' On" cleverly quotes "Wade In The Water" (which he'd recorded with Ramsey Lewis in 1966) folding it into his new free-jazz composition. A message to his old boss, perhaps, as a sign-off?

We've worked on this reissue for 3.5 years, spending the whole time making it sound super sharp and looking as perfect as it possibly can. An absolute must-have for fans of soulful jazz-funk, Half And Half was mastered for vinyl by Simon Francis and cut by Pete Norman at Final Tweak. The bizarre artwork, mutant beast and all, was restored at Be With HQ over many painstaking months! Hopefully, this new edition, a real labour of love, should bring Cleveland Eaton into the homes and record boxes of many more people.

Bist du in der Stimmung für extrem eingängigen Melodic Death Metal von heute? Dein Dinner wurde soeben geliefert! Die legendäre finnische Metal-Band Omnium Gatherum präsentiert stolz dieses köstliche Vier-Gänge-Menü unter dem Titel "Slasher - EP". Inklusive dem fantastischen 80er Jahre Song "Maniac" mit einem speziellen Omnium Gatherum Touch!Inspirierende Modern Melodic Death Metal-Kompositionen gibt es von Omnium Gatherum bereits seit 25 illustren Jahren.Durch überwältigende musikalische Angriffe und unermüdliche Tourneen rund um den Globus haben sie in diesen wilden Jahrzehnten Legionen von Heavy Metal-Fans auf der ganzen Welt für sich gewonnen. In den Fascination Street Studios wurde die "Slasher - EP" von Jens Bogren gemischt und von Tony Lindgren gemastert. Erhältlich als limitierte CD-Digipak-Edition, schwarze 180g LP und digitale EP.

Back with his second full-length release of 2022 and follow-up to the wildly successful album, “FACE,” Babyface Ray gifts fans with “MOB,” an 18-track album featuring tightly selected appearances by Lil Durk, Blxst, Ninja, Doe Boy, Samuel Shabazz,King Hendrick$ & GMO Stax. 2022 was a banner year for Ray, with him being named to XXLs Freshmen class of 2022, as well as being elected to be part of the 2022 class for YouTube Music’s Black Voices Fund. He also embarked on his first sold out nationwide headlining tour, and appeared at several notable festivals, including Rolling Loud, Lyrical Lemonade's Summer Smash, Made In America, Wireless Fest, Broccoli City and others. After making a late night appearance on Jimmy Fallon, Ray announced his second headline tour slated for 2023, entitled “Courtesy of the MOB.” If one thing is clear, it’s that Babyface Ray is a force to stay for years to come.

Kundan Lal is a highly understated artist. Little is known about his background, though some refer to him as Kunsaf Halil, his personal life remains largely a mystery.

Gathering a cult following amongst people like Den Sorte Skole or DJ Marcelle with his previous releases, he is now set to sail new shores. There is a sense of wanderlust as he opens his box of field recordings, collected on his many travels. From the buzzing streets of Alexandria, early sunday markets in Tafraoute or a crackling bonfire down by the banks of the river Ganges. Each track takes you places.

Kundan's second album is a captivating blend of dubby beats, collages, and exotic instrumentation. Drawing from classic tools like the Roland 808, SC7 and the famous Space Echo, Kundan has created a unique and minimalistic sound that is sure to captivate listeners. At once nostalgic and experimental, "Power of Ra" is a must-listen for both electronic music purists and fans of adventurous soundscapes.

Compelled to work from home on his computer during lockdown, Kundan dusted his pawnshop e-piano, downloaded some orchestral soundkits and started to digitize almost forgotten field recordings. The "Power of Ra“ came to him.

“Illgrimage” is a good example of his approach. Combining atmospheric soundscapes with swirling strings, trombones and pianos. Echoes of birds and children playing in the streets. A small town filled with life and a theremin leading the way while you hear the faint yet powerful words of Greta Thunberg saying: "Imagine...“

“Raqaqa,” a powerful orchestral journey with a hip-hop edge. Tinkling chimes add a groovy vibe, while lush layers of wind instruments weave a masterful soundscape. It’s the slow-burning intensity of this track that pulls you in.

"Nasi Chip" is a signature song that exemplifies Kundan Lal’s musical prowess. An engaging beat coupled with chopped up vocals, 8-bit synth melodies and an arpeggiated piano provide an energetic atmosphere that is both cunning and unique.

”Cen" lures you into the egyptian realm. A Harmonium slithers serpent like around a pounding beat.Horns gently swaying to the rhythm of the desert.

It is hard to put your finger on his style or genre. You can feel Kundan Lal‘s DIY spirit in his production, carving his own ethnic genre. For enthusiasts of Roberto Musci or Muslimgauze, this avant-garde album is one for your collection. Keep your senses open and let the Power of Ra pass you to another world.

Es war einmal eine Bande von Trollen aus dem dunklen Norden. Tief in den Höhlen der Wälder feierten sie die ganze Nacht lang zu ihren eigenen Melodien aus Flöten, Mandolinen und Akkordeons. Meistens umgaben sie sich mit Fleischkeulen und Metkrügen, aber sie mochten auch die eine oder andere Prinzessin. Obwohl sie ein paar faule Säcke waren, reisten sie durch das ganze Königreich, um ihre trollige Musik für die guten Leute zu spielen. Und schließlich, nach unzähligen Raubzügen, sind ihre Geschichten von Abenteuern, Missgeschicken und anderen Märchen nun zu ihrem Debütalbum "Der Var Engang..." geworden.Trold spielt Folk Metal mit einem verschmitzten Lächeln, der garantiert die Party in den großen, dunklen dänischen Wäldern anheizt. Die Geschichten und Melodien stehen im Mittelpunkt, wenn sie mit verschiedenen Instrumenten und schweren
Gitarrenrhythmen gespielt werden, um die perfekte Atmosphäre zu schaffen. Die Geschichten wachsen, zischen und werden gesungen, während die Zuhörer auf eine Vielzahl von Abenteuern mitgenommen werden.Trold ist tief im nordischen Boden verwurzelt, wo sie sich von einer Fülle von Märchen und Mythologien inspirieren lassen. Riesen, Götter, die Tiere des Waldes und die wunderbare Welt des Meeres sind nur einige der Orte, an die Trold die Zuhörer entführt.Wenn die Trolle auf der Bühne stehen, kann man sicher sein, dass die Party beginnt und die gute Laune in Gang kommt.

For the 5th release Future Tones release a Jorge Gamarra EP and his new alias Ecstatic. The co owner of SUR released at some various labels before like Eya, Sur or Part of the gang.

For this new project mix an old tracks with new tracks from him. The A face comes with Tricky and Illapa, techno, spooky and mystic sounds. The B face comes with

• A globe spanning (France, Italy, Germany, USA, Belarus, Sweden, Russia, Australia, Canada) covers album of the late great Marc Bolan songs starting with the earliest cover in 1965 • Covering a huge range of genres and styles • A response to the U.S Hit album Angel Headed Hipster which opened up the songs of Bolan to a new American audience by using big names and TV advertising…this concentrates on quality recordings by lesser known artists • Presented in deluxe gatefold sleeve. • Reviews in Record Collector, Vive le rock R2, Shindig, Classic Rock.

Sometimes, things "just happen". For months, we’d been working away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

We’d been talking about the old days; making music with friends and dodgy kit, renting small practice rooms and using makeshift recording studios. It was such a common thing back then, you could pick a dusty space in a half-derelict building for as little as £25 a month. In those days, the Cabs and Human League had studios with posh-sounding names, but in reality, they were the same old workspaces long abandoned by the industries they were built for. Nevertheless, the grand names made them sound magical.

Sheffield had thousands of these spaces, and some still exist today, but their abundance and low-cost made Sheffield a very active place. Someone was always doing something. They’d exploded onto the scene in a flurry of excitement before disappearing just as quickly.

There’s something about these little mesters (workshops) that we believe lives in the very consciousness of Sheffield. It’s one of the reasons we never really had big scenes like Manchester or Leeds. The Hacienda would've never been built here.

We don’t really do big gangs or have that kind of mentality. We tend to exist in little pockets, often leaving each other alone. It would be 30 years before any member of The Black Dog talked to Cabaret Voltaire. Sure, we’d stood outside their practice room as kids, trying to listen in, but never felt any reason to approach. Sheffield is like that.

Once we had the first two tracks of the Black EP, we set off to see Jon at Do It Theesen, where he manually cut the tracks to an extremely limited set of 7" singles using a vinyl lathe. It just felt right to go back to the old ways; a small gang creating something special in workshops and sheds. There’s something very satisfying about it, a perfect circle, if you will.

We pushed further by adopting old practices, working with one synth per person and limiting the use of our computers. We only stopped short of putting everything on beer crates. It seems like madness these days, but there is raw creativity within these confines. Pretty much every band started this way. Depeche Mode travelled to the studio on the London Underground for their first appearance on Top Of The Pops, all lugging a synth each. That's how we approached the creation of this album; stripped back, raw and minimal - it just felt so right.

And then there’s the competitive element that was influenced when the original Human League split and became Human League MK II and Heaven 17. Both continued to use the same studio to write what became the albums "Dare" and "Penthouse and Pavement". There is something about that drive that is very Sheffield, just making stuff and hoping everything falls into place.

In Sheffield, we do things differently, because that’s how we are built. away on various projects and then, without really thinking about it, The Black EP just happened. It seemingly appeared from nowhere.

I was dancing when I was out, I was dancing when I was in. Is it strange to dance so late? Is it strange to dance so soon? Cosmic dancers always ball. Dancing with themselves, dancing space away. Right into the smallest hole a human brain can create: the inner cosmos, a psychedelic region, where time gets space and space turns to haze.

Berlin based producer TM Solver is such a kind of cosmic dancer. He has danced late. And so soon. Since 2008 he released yearly one, sometimes two albums via the German Berlin School dedicated label Syngate and its experimental subdivision Luna. Intensely meandering synthesizer journey music, that is pirouetting on inner universes, genuinely crafted in the tradition of Berlin School and Krautrock. You can catch the unearthly nuances of Can and the spaciously swinging psychedelic corners of Amon Dül, Embryo, Tangerine Dream, or Klaus Schulze. As TM Solver has been a lover of analog synthesizers for almost 30 years, all pulsates on analogue sound orbs under the zigzagging guidance of machines like Moog Prodegy, Korg MS20 and GRP A4, as well as state-of-the-art systems as ASM Hydrasynth and Korg Wavestate. When he got in touch with the Berlin club scene and all its propelling grooves in 2006, a new rhythmic universe joined his vast musical space of sound latitudes. “Tinkering around with sound structures is my thing. Leading the listener into a combination of music and sound spaces.“ he reveals on his emotive musical art. How affecting it works, is now displayed with four epic compositions for R.i.O., Berlin Wedding’s label of novel ways for caved rhythmic patterns. Grooving between 90 to 240 BPM, they offer a vast variety of emotional landscapes, slowing down, rolling up, drifting into genuinely layered tonality magic. Headspace music for vigilant wanderers. Utterly psychedelic and yet so clear. His R.i.O. debut “Subtraktiv Additiv“ comes with five additional remixes, fashioned by R.i.O. conspirator Benedikt Frey, Amsterdam based DJ and producer Mayo, “Die Orakel” magician O-Wells from Frankfurt, Siamese Twin Records co-runner Sunju Hargun, and the versatile club and beyond production duo Red Axes. They all respect TM Solver’s analogue zones and pitch them into the 115 to 130 BPM districts, while transcending his absorbing synth compositions into the world of nervous acid-laden ambient, slow-mo techno, industrial bass, post-trance, and all that hallucinogenic echo house. Nine subtle energy vibrations, epic and full of countless facets, shaped to turn on, tune in, and drop out.

Legendary 7X GRAMMY and Emmy Award-winning artist/producer Dr. Dre celebrates the 30th anniversary of his magnum opus, The Chronic by announcing the album will be re-released. The Chronic, which is not currently available on streaming services, will again be available to fans on all major DSPs .

Steve Berman, Vice Chairman of Interscope Geffen A&M, said: “Dr. Dre is without a doubt one of the most iconic and groundbreaking artists in the modern era. He has also used his platform to fuel some very impactful philanthropic efforts that will ensure his legacy is felt for generations to come. Dre’s solo career all started with the The Chronic, one of the most celebrated recordings of all time.

First released on December 15, 1992, The Chronic peaked at No. 3 on the Billboard 200 and has spent 97 weeks on the chart since its release. The album also spawned three top 40 hits on the Hot 100, including top ten records with "Nuthin' But a “G” Thang" (No. 2) featuring Snoop Dogg and "F— Wit Dre Day" (No. 8). The Chronic topped the Top R&B/Hip-Hop Albums chart for eight weeks, while "Nuthin’ But a "G" Thang" hit No. 1 for two weeks on Hot R&B/Hip-Hop Songs. Last June, Rolling Stone placed The Chronic on its 500 Greatest Albums of All-Time List, boasting how the album "redefined the West Coast Hip Hop sound." Pitchfork also holds the seminal album in high standing, saying The Chronic lives on as a “timeless show of strength” and “gave shape to L.A.’s present and future.” Videos from The Chronic are also available on Dr. Dre’s official YouTube channel.

Last year, Dr. Dre dazzled during the Super Bowl LVI Halftime Show in Los Angeles. His enormous set was star-studded, as Dre performed alongside some of music's biggest stars, including Snoop Dogg, Kendrick Lamar, Mary J. Blige, Eminem, and 50 Cent. Dre commanded the stage – just a few miles from his birthplace of Compton – with a groundbreaking setlist anchored by hits such as "The Next Episode" and the 2Pac-led "California Love." The historic performance earned Dr. Dre his first-ever Emmy for Outstanding Variety Special (Live). The Hollywood Reporter called the halftime show "thrilling and nostalgic," while Billboard credited Dre for his "seismic impact" on music.

lack Marble Vinyl! High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before.

Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me.

It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

8 Mile – Music From And Inspired By The Motion Picture (Expanded Edition) the soundtrack to Eminem’s semi-autobiographical legendary film of the same name was released 20 years ago (on 10/28) and spawned one of the biggest hits of his career, Lose Yourself, which has been certified 13x Diamond. 8 Mile is also famous for launching 50 Cent’s musical career with his first hit “Wanksta.” This new expanded edition features all of the songs from the album in an instrumental format alongside the demo version of “Lose Yourself.”

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

Red Vinyl

“Shambly Television Personalities/Swell Maps style earworm indie rock.” Brooklyn Vegan

“RIPPER! Melbourne’s TERRY return to complete a hat trick of three albums in three years (TERRYilogy?) that leaves the piss streak that is the rest of indie pop in 2018 dribbling down its own leg in the dust.” 8/10 CLASH

Call me Terry! It’s been a hot minute since we last heard from Terry, what’s he been up to? Five years on from their last album, ‘I’m Terry’, the Australian post-punk quartet proudly present their new record, ‘Call Me Terry’, for release on April 14th 2023.
Terry is made up of pairs Amy Hill & Al Montfort, and Xanthe Waite & Zephyr Pavey who started playing together for the fun of it in 2016. Seven years, four albums and three EP’s later, Terry is ready to pick up the phone again. Over the past few years Terry have kept themselves busy - but not only with Terry things. On top of numerous releases with alternating side projects (Constant Mongrel, The UV Race, Primo!, Sleeper & Snake, Chateau, Rocky, the list goes on… ) members of Terry have moved interstate, undertaken studies, had children and started new fields of work.
Terry began sharing the demos for ‘Call Me Terry’ online with each other in 2020 - as we all did - before getting together in 2021 at their trusty rehearsal space to record the beds. Overdubs were completed at Terry’s homes over the following year. Lyrically, in true Terry fashion, the record wastes no time in scrutinising Australia’s corrupt, colonial history. They sing it loud and sprawl it across the jacket of this record, highlighting the greed, privilege and entitlement of white, wealthy “Australia” which they won’t stand a second for.
Musically, ‘Call Me Terry’ still has the classic Terry sound; the four vocals singing as one gang, sharp guitars and quirky, burbling synths, the rolling bass and drums, all amidst their clever, dancey pop songs. Since day dot it’s been hard to reference a band that really sounds like Terry, which is always amazing. Truly a sound of their own!
But the sugar on top here may just be some of their finest horn, string and piano performances to date - all of which never feel crowded, cluttered or over-involved. More just excellent, necessary melodies. Rest assured Al still gives his famed Fuzz Factory a workout - and throws his tremolo into the pedal chain. It goes off. Tremolo is the order of the day for Amy and Xanthe too who also embrace the wobble, whilst Zephyr keeps the pulse of their politico-pop anchored.
Terry isn’t afraid to call the shots and Terry isn’t afraid to point the finger. Listen to what Terry has to say.

Malice was one of the more noteworthy bands of the ‘80s Los Angeles metal scene. License to Kill was their second album and was originally released in 1987. Max Norman produced, engineered, and mixed the album, he’s best known for producing several Ozzy albums during the ‘80s, as well as Megadeth’s Countdown to Extinction, and albums of various other metal bands like Y&T, Armored Saint, Savatage, and Lynch Mob a.o.

Old-school Megadeth fans will be tickled to discover that Mustaine and Dave Ellefson are credited with background vocals on two songs. Another guest appearance was made on this album by Tommy Thayer of Kiss. Founder Jay Reynolds later joined Dave Mustaine’s band Megadeth for a brief spell, and after that became a member of Metal Church.

License To Kill is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl

Dear Friends, it's 2023 and the future of Leftfield Bass, Trap, and Hybrid Grime is here... RATIONAL SOUL's debut EP, "SELF TITLED", is going to define a new era on the dance floor, reimagining 140 beats that typically are stereotyped into narrow catagories. "SELF TITLED" will become the worldwide definition of a style never heard before, sought after and inevitably copycatted by those inspired.

With no surprise, 2023 is set off to a paramount start for the German SATURATE! label, with an EP that “is the future of Leftfield Bass, Trap, and Hybrid Grime” and “it’s going to define a new era on the dance floor, reimagining 140 beats that typically are stereotyped into narrow categories.” The mastermind behind such a project, called SELF TITLED, is RATIONAL SOUL a Virginia-based, veteran electronic music producer. The EP is coming out in full on January 13, digitally and on vinyl, and it features six originals and four remixes. What sounds like a disorienting emptiness at the beginning, makes perfect sense when read as part of the overall narrative of the composition. “One moment you’re living happy-go-lucky, almost like it’s the script of a Disney movie, the next moment you’re questioning why you exist- how is it you’ve become a slave to the 9 to 5? Phone by your side as digital anti-anxiety medication, entertaining yourself with something nostalgic to remind yourself of better times…war against yourself, to reset your identity.” The fight against this subconscious condition was RATIONAL SOUL’s starting point while writing SELF TITLED. The artist’s attempt to light a lighter to ignite a spark in our consciousness and thus reveal the void in which we are immersed. “Wake up” he seems to want to tell us. Don’t be a pawn, be a player of your life. Let’s riot against this status quo and, quoting RATIONAL SOUL himself, “Let’s be gangsta and fuck shit up because we are mad at why our world is falling apart: twerk on a cop car with a fine cigar in your mouth type beat.” He then concludes by spilling one, big truth, “what better genre of music could describe these feelings than bass music?” How could we not agree?

T was released on the New York-based he second live album by the funk band Kool and the Gang, Live at P.J.’s,
De-Lite label in 1971. As the title indicates,
the LP was recorded at P.J.’s, which was a
popular nightclub and music venue in West
Hollywood, California. Kool & the Gang would
score a bunch of hits in the ‘80s, but that period
was nowhere near as funky and full of groove
and jazz flourishes as their earlier recordings.
That soul-jazz hybrid that they excelled in
playing can be found on this amazing club
performance. The band is predictably on fire
throughout the set, tearing through some hot
instrumentals, along with some nice vocals
on the medley of “Ike’s Mood” and “You’ve
Got That Lovin’ Feelin’.” The song “N.T.”
(No Title) contains a widely sampled drum
break which has been used in songs by
such artists as Nas, Q-Tip, N.W.A., Public
Enemy and Blue Boy