Buscar:spr

Type-303 returns to Super Rhythm Trax and spreads his wings to present a very acidic 4 tracker. It’s a beautifully balanced Ep that deftly moves between filthy warehouse bangers and poignant melodies cascading over broken beats, perfect for early morning moments of reflection.

First release of Paris Acid City on Freesome Records, vinyl only. A three tracks EP of solid, quality house music, sprinkled with Paradise Garage classics magic powder. Dub and acid versions on B side.

Die Groove Metaller DEVILDRIVER können auf neun Alben, zahllose internationale Tourneen und weltweiten Erfolg während ihres 30-jährigen Bandbestehen zurückblicken. Als die Welt im Jahr 2020 in den Lockdown ging, machten DEVILDRIVER keine Pause und veröffentlichten den gefeierten ersten Teil ihrer zweiteiligen Dealing With Demons-Saga. Internationale Medien wie Revolver, Metal Hammer, Kerrang und Consequence rühmten das Album und Blabbermouth postulierte: ”Wenn die zweite Hälfte dieses Mammutprojekts mit der ersten mithalten kann, wird dies als ein entscheidender Moment in der Geschichte von DEVILDRIVER in Erinnerung bleiben.” In Zeiten in denen das gesellschaftliche Klima härter ist denn je kommt DEVILDRIVERs zehntes Album Dealing With Demons Vol. II wie gerufen. Die neuste Scheibe des Quintetts wurde erneut von Steve Evetts mit Unterstützung von Gitarrist Mike Spreitzer produziert.

Unverkennbar ist Dealing With Demons Vol. II härter und unerbittlicher als sein Vorgänger. Schonungslos ist sie nicht nur die düstere beider Platten, sondern richtet den Blick in die dunkelsten Abgründe der
Psyche von Frontmann Dez Fafara und die Auseinandersetzung mit seinen Dämonen, die ihn schon lange heimgesucht haben.

Wenn sich jemand die Frage überhaupt gestellt hat, ob DEVILDRIVER in nächster Zeit langsamer werden, beweist Dealing With Demons Vol. II, dass sie auch nach 20 Jahren in ihrer Karriere Dämonen bezwingen
können und an der Spitze des Metals weitermachen.

Freitagabend. Das Wochenende ist immer noch eine glänzende Aussicht und die Müdigkeit verwandelt sich plötzlich inin einen energischen Drang, Spaß zu haben, auf Beutezug zu gehen, einfach zu LEBEN. Das ist der Moment, in dem NIGHTHAWKsperfekte Mischung aus klassischem AOR und Weltklasse-Hardrock am besten zur Geltung. Unverblümt, unverblümtund verdammt brillant.

"Prowler", ihr neues Album, hält genau das, was es verspricht: erstklassigenRock'n'Roll.Außerdem hat die Band den richtigen Stammbaum, um das zu liefern, was sie verspricht. Nighthawk begann als einSoloprojekt von Robert Majd (Bassist bei Metalite & Captain Black Beard). Die Idee war einfachSpaß zu haben, Gitarre zu spielen und energiegeladenen Rock'n'Roll zu schreiben. Das Debütalbum enthielt eineverschiedenen Sängern. Nach der Veröffentlichung des ersten Albums im Sommer 2021 verspürte Robert den Drangmehr zu machen.Diesmal sollte der Einsatz höher sein. Er buchte die weltberühmten Abbey Road Studios, eine Bandund eine Sammlung von Songs, die dem Kaliber des Studios entsprechen. Björn Strid (The Night FlightOrchestra, Soilwork & Donna Cannone) übernahm den Gesang, Magnus Ulfstedt (Ginevra) das SchlagzeugSchlagzeug, John Lönnmyr (The Night Flight Orchestra) an den Keyboards und Christan Ek (Captain BlackBeard) am Bass. Neun Eigenkompositionen und zwei Covers (von Kiss und Bruce SpringsteenKlassikern!) wurden in nur zwei Tagen live im Studio aufgenommen.

Following in the footsteps of 'L'Espròva', a record released in 2018 by and 'Mantras', a body of long instrumental pieces, Ernest Bergez joins Jacques Puech, Elisa Trebouville and Loup Uberto to explore the possibilities of a collective energy. L'Herbe De Détourne achieved to catch the vivid energy of the band playing live and combined it with all the sonic explorations the musicians had in mind for a long time, in a completly free state of mind. Themes and songs are wound up in complex rhythmic gears and follow one another in a continuous momentum. Freely digested, the traditional repertoire from the Massif Central mutates and hybridises with invented forms, inspired by traditional Greek, Persian and North African music... The result is music that is as much for the ears, the feet, as for the guts and perhaps the heart.
It can be a ball, a concert, or a spontaneous ceremony. The Occitan language takes a central place, both as musical material and as a poetic and emotional springboard. Inspired by traditional canvases, a poetic form emerges and makes its way through the old words, passed from mouth to mouth.

'Sweet Tooth', das dritte Album der Emo-Band Mom Jeans, wurde in New Jersey in den Barber Shop Studios mit Produzent Brett Romnes (The Front Bottoms, Oso Oso, Dogleg) aufgenommen. Die Band spricht von einem echten, umfassenden Studioerlebnis, das sie befähigte, ohne jegliche Abstriche ein bisher unerreichtes Maß an Feinschliff zu erreichen. Tyler Povanda (Save Face) und Kory Gregory (Prince Daddy & The Hyena) steuerten die Vocals bei.

Are you ready to embark on a wild ride through the sonic wonderland of ‚Life Of Phoroma‘? This isn‘t your average V/A extended player compilation – it‘s a pulse-pounding journey through chaos, confusion, and pure eclecticism that‘ll take you beyond just dancing.

Terra Magica Rec. sixth release is a passionate ode to the fusion of EBM and psychedelic, perfectly blending lightning-fast new age and tribal hypnotic soundscapes with 1980s synth atmospheres high on Trance.

It’s Electronic Disco gone Techno gone HiNRG gone wrong folks! Enjoy. The SH-101‘s aggressive cuts, the Sequential Circuits‘ mesmerizing melodies, and the heavily processed Neumann TLM 193 vocals seamlessly weave in and out of acid-ish and electro breakbeat grooves, „Why am I suddenly standing at Tokyo Teleport Station? What happend to my last week?“ Welcome to relaxed Rave-basslines and lo-fi rhythms that will intoxicate your senses.

Get loose and fall into your next portal of unexpected spiritual flows. Catch your six unique tracks for a highly eclectic journey through mysterious and magical moments. So strap in and become one with the sound, because ‚Life Of Phoroma‘ is your roller coaster ride to unforgettable sonic adventures.

Limited one time pressing of 1000. Raising the bar yet again, Night Owls' first single of 2023 lays yet another set of classic soul songs on you, flipped into the band's signature style. On Side A we find The Flamingo's beloved Doo-Wop/soul hit from 1959, "I Only Have Eyes For You," re-imagined to wind your waistline with Night Owls' longtime friend and collaborator - the one-and-only Chris Dowd from Los Angeles' legendary Fishbone on vocals. Known for tunes like "Pouring Rain" and "Everyday Sunshine" Dowd brings his signature soul drenched delivery with a hint of rude boy grit to match the rhythmic and tonal stylings of the group. Wanting to take things to the next level, producer Dan Ubick called in veteran underground Jamaican legend Tippa Lee (Stones Throw, Dub Club, Jammy's, Greensleeves, etc.) to sprinkle his magic rasta dust on top and deejay/toast on the track and the results are burning hot.
But wait, that's not all!! On Side B we find the beloved beat diggers classic "Live And Let Live," originally performed by Jimmy Jones in 1970 on Deke Records out of Chicago. For the Fender Rhodes-driven reggaefied version here, Night Owls roped in another longtime friend - Los Angeles kingpin and mover ’n' shaker, "Music Man" Miles Tackett to add his soulful vocals to the track and it's as buttery as cornbread from Cracker Barrel! Tackett is the mastermind behind globe-trotting funk/soul collective Breakestra (of which Night Owl Dan Ubick was a member) and legendary weekly L.A. dance parties like Funky Sole, Root Down and The Breaks. This side also includes Destani Wolf, who many will remember was featured on Night Owls’ version of “Let’s Stay Together”, providing the beautiful ‘verbed out backing vocals

"Split 1.0" is definitely a split release! Side A delivers some fresh hypnotic techno sounds by Bastian Balders himself while side B catches up with some groovy house tracks by Anton Kubikov, who is active since the mid 90s and well known for his minimalistic dub techno-house style. Side A ends with a mysterious electronica outro while Anton produced some chilled guitar riffs combined with acoustic signals and delays to finish the whole EP. Don't miss this limited hand-stamped record!

Early bird support by:
Vincent Neumann, Cecilia Tosh, Truncate, Alexander Kowalski, Kaiser, illousion, ForestOn Stasys, Kontinum, Richie Hawtin, Cristian Varela, Virgo, Hellix, Vasco Valente, Frank Leicher, Ina Kacz, Carlotta Jacobi, Hypnotic Black Magic, Clubberia / Nori, Juho Kusti, DJ W!ld, Rich NXT, Marcel Dettmann, JosephCapriati, Wlderz, JakoJako & many more.

The Croatian duo PEZNT pay homage to arguably the best meal of the day, 'Breakfast'. With vocals from Born I Music, Claude started playing it this Spring and the song quickly started to get the 'Birds on the hunt trying to find out what it is, hitting a fever pitch when he played it at the Oakland BBQ.
As the original is already becoming a favorite, we enlisted Miami's ghetto house expert, Jesse Perez, to give it a flip and put his high energy beats and bass behind it.

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

Ed Sheeran is set to release his new album ‘-‘ (Subtract) - the last in his decade-spanning mathematical album era - on 5 May 2023 through Asylum/Atlantic on vinyl, cassette and CD. An album that revisits Ed’s singer/songwriter roots, and one that was written against a backdrop of personal grief and hope, ‘-’ (Subtract) presents one of the biggest stars on the planet at his most vulnerable and honest.
In Ed’s own words - “I had been working on Subtract for a decade, trying to sculpt the perfect acoustic album, writing and recording hundreds of songs with a clear vision of what I thought it should be. Then at the start of 2022, a series of events changed my life, my mental health, and ultimately the way I viewed music and art.
Writing songs is my therapy. It helps me make sense of my feelings. I wrote without thought of what the songs would be, I just wrote whatever tumbled out. And in just over a week, I replaced a decade’s worth of work with my deepest darkest thoughts.

Within the space of a month, my pregnant wife got told she had a tumour, with no route to treatment until after the birth. My best friend Jamal, a brother to me, died suddenly and I found myself standing in court defending my integrity and career as a songwriter. I was spiralling through fear, depression and anxiety.
I felt like I was drowning, head below the surface, looking up but not being able to break through for air.

As an artist I didn’t feel like I could credibly put a body of work into the world that didn’t accurately represent where I am and how I need to express myself at this point in my life. This album is purely that. It’s opening the trapdoor into my soul. For the first time I’m not trying to craft an album people will like, I’m merely putting something out that’s honest and true to where I am in my adult life.

This is last February’s diary entry and my way of making sense of it. This is Subtract.”
Since he first learnt ‘Layla’ by Eric Clapton on guitar at the age of 12-years-old, Sheeran’s love of the singer/songwriter began. Growing up with the likes of Damian Rice, Bruce Springsteen and Bob Dylan playing on repeat in his parents’ house – artists that his dad, John, introduced him to – ‘-‘was always on Ed’s horizon. Yet as the songs and writing process took on a whole new meaning and direction after a series of hard-hitting events impacted Ed’s world in 2022, one thing that remained untouched was his strong desire to make a record anchored in his love of singer/songwriter compositions. And now, as he gears-up for the release of his most soul-baring work to date, ‘-‘ serves as a timely reminder for why Sheeran remains one of the most gifted lyricists of his generation; an artist who breaks down his own experiences for fans to seek comfort and belonging.
‘-‘ is the result of Sheeran pushing the boundaries of his songcraft, as he delivers the most profound songwriting of his career. Teaming-up with Aaron Dessner (The National) on writing and production after the pair joined forces following an introduction from mutual friend Taylor Swift, Ed and Aaron began crafting the album in February last year. Writing over 30 songs during their month-long studio stint, the album’s fourteen tracks are seamlessly tied together by exquisite production from paired back, folk-leaning textures to bolder, full-band/orchestral arrangements.
Ed Sheeran burst onto the UK music scene in 2011 with his debut album ‘+’. Rapidly establishing himself as a history-making artist, he followed with ‘x’, ‘÷’, ‘No.6 Collaborations Project’ and ‘=’ - a catalogue that has seen Sheeran become one of the world’s biggest musical success stories of the 21st century.

Six years, more than fifty releases, countless artists and multiple subsidiaries; the Oyster Cult’s reach extends far beyond what sceptics once thought possible. It’s only fitting, then, that we gather some of our finest under the Kalahari banner in celebration.

The anniversary release is upon us. Six whole years since Jacy helped inaugurate the label with a spin on Midwestern house, OYSTER40 signals a landmark occasion. 18 tracks, quadruple vinyl boxset action, and in true Oyster Cult tradition, it comes bearing pearls.

Dancefloor squarely in focus, the Cult assembles on a compilation spanning alumni and new inductees alike. It’s an assemblage of the fractal, explorative and ritual-ready; at once a focused distillation of the Kalahari sound and celebration of its many acolytes. Big on atmosphere, heavy on groove, we delve deeply into the musical DNA shared by all who grace the label.

Tough, direct cuts (Sansibar, Roza Terenzi, Big Zen, Maara & Priori) to the pristine and widescreen (S.O.N.S., Volodymyr Gnatenko, Adam Pits), this is all quintessentially Kalahari. Elsewhere though, the likes of D. Tiffany and SW. journey further into realms of abstraction: the former opting for hi-tech, dreamstate IDM, while the SUED co-founder dissolves a house template into dubby introspection.

Calling upon contemporary talents for the most part, there are also exceptions. Raymond Castoldi - the one-time house producer best known as Madison Square Garden’s music director - returns with an unreleased nugget from ’91, while an ‘Aliens’-sampling track from Detroit-indebted techno outfit Syzygy gets the reissue treatment.

OVERVIEW: Engelwood, or Matt Engels, is a viral 24 year-old future funk, lo-fi, hip-hip and electronic music producer from Brooklyn, NY. Drawing on influences from producers like Flamingosis and Vanilla, as well as Japanese Funk and Soul music, Engelwood’s music could best be described as the soundtrack to your trip to the beach. The blends of funk, soul and tropical music, together, creates a unique fusion of sounds you can relax or dance to. Engelwood is also known for his productions for Dillon Francis, bbno$, Cuco, sophie meiers, Mia Gladstone, and Yung Gravy’s biggest hits such as “Knockout” and “Yung Gravity.”

F# A# ∞ was recorded at the original Hotel2Tango in spring 1997 on a rented 16-track tape deck and supplemented with various field recordings. In the preceding year, the band had taken shape as a quasi-orchestral outfit involving most of the players that would go on to make three more records and tour the world many times. This is the first recorded document of Godspeed as a large band and is soaring, fragile, awkward, heartbreaking stuff. Constellation released a vinyl-only pressing of 500 copies in August 1997, with LP jackets hand made by the label, the band, and various local artisans. It has since gone through dozens of re-presses, with virtually all of the original packaging elements preserved. The opening monologue on Side One ("Dead Flag Blues") is taken from Incomplete Movie About Jail, an unfinished film by Efrim.

Der in Paris geborene Singer-Songwriter, Performer und Produzent norwegischer Abstammung, der gerade bei Because Music unter Vertrag genommen wurde, hat den größten Teil seines erwachsenen Lebens im Ausland verbracht. Diese ständige Bewegung war ausschlaggebend dafür, dass Aime die englische Sprache als diejenige wählte, in der er sich als Künstler am ehrlichsten ausdrücken kann.

Der schillernde Post-Pop des Singer-Songwriters, Performers und Produzenten hat nach der Veröffentlichung seines Debütalbums ”Say Yes, Say No” internationale Anerkennung gefunden. Nun präsentiert Aime Simone sein neues Album ”Oh Glory” inklusive der bereits veröffentlichten Songs ”Baby Don’t Quit”, ”Not What You Wanted” und ”Answer The Night”.

Er beschloss, seinen Musikstil ”Post-Pop” zu nennen, da er sich aus einer so reichen Palette von Stilen bedient, dass das Konzept eines einzigen Musikgenres verschwindet. Die Harmonien und die Refrain-Struktur seiner Songs stammen aus dem klassischen Pop, mit Untertönen von Soul und Gospel sowie Einflüssen von Clubmusik.

Auf den 11 Tracks von ”Oh Glory” verschließt Aime nie die Augen vor den dunklen Phasen seines Lebens. Wie Caravaggio und seine Gemälde, deren Schönheit dieses Album inspiriert hat, nutzt
Aime Simone diese Kontraste, um eine vom Licht durchdrungene Dunkelheit zu beschreiben.

"London alt rock band Sad Boys Club have announced their debut album Lullabies from The Lightning Tree will be released 5th May via Modern Sky. Today the band have also announced new EU and UK tours for the spring and shared the album's lead single and its accompanying video ""To Heal Without a Scar (Is a Waste Of a Good Wound)"".
"

Mikail Tafari aka Congo Natty aka Conquering Lion aka X Project aka Rebel MC is back.
After releasing his acclaimed 31 track album last October on digital platforms, he comes with a 9 track double LP featuring the more uptempo tracks & Mixed Double CD Mixtape.
He created the tracks with his ‘Resistance Band’, featuring a rich talent of the established & new global artists from Brazil, Japan, Jamaica via Deptford & Tottenham. It crosses genres of Drum & Bass, Reggae, Jazz & shows the Rootz of Jungle. The Resistance Band include The cream of reggae: Courtney Melody, Reggie Stepper, Junior Delgado, Daddy Freddie & Carroll Thompson. The new school of uk vocal talent: Maverick Sabre, Eva Lazarus, Akala, Klashnekoff & Logic & the new jazz school : Shabaka Hutchins, Nubya Garcia on sax & Amrit Kaur on sarangi. Plus international artists: from Brazil – Monkey Jhayam, Japan : Junglists Youths, Fikir Amlak & Krar Collective from Ethiopia, but all have their rootz in Jungle.

Set to represent the global diaspora and giving a voice to the people on the upcoming album, Congo tells the most important story jungle music can tell whilst documenting the uprising and reflecting on where mankind, culture and the journey is at in 2023.

With a five decade deep discography spanning seminal and timeless releases like Street Tuff, Tribal Bass & Wickedest Sound (as Rebel MC), Junglist, Get Ready, Code Red, Under Mi Sensei, Get Wild, Kunta Kinte and more, Congo has played a founding and hugely influential role in one of the most phenomenal, boundary breaking music movements the UK has ever known.

Remaining on the front line of the musical rebellion to this day, Mikail understands jungle’s power to unite and break barriers. Weaving positive affirmations of his spiritual life as a Rastafarian into his song writing, he has been an consistent protagonist in the jungle uprising since the early 90s. Forever humble, he seeks to spread more positivity and encourage unity, whilst focusing on the new generation who will carry his torch into the next five decades.

Continuing to spread the Congo Natty message as a performer, musician, label owner, pioneer, revolutionary, humanitarian and father, Ancestorz (Rootz Of Jungle) is set to be his most personal, ambitious, timeless and expert album to date and his finest chapter yet.

Die Trackliste für Guardians of the Galaxy Vol. 3: Awesome Mix Vol. 3 (Original Motion Picture Soundtrack) besteht aus 17 Songs und wird am 5. Mai auf CD und 12” 2-LP Vinyl erhältlich sein.

Im Film spielen Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillan, Pom Klementieff, Vin Diesel als Groot und Bradley Cooper als Rocket, Sean Gunn, Chukwudi Iwuji, Will Poulter und Maria Bakalova
mit. James Gunn ist der Regisseur und hat auch das Drehbuch geschrieben. Kevin Feige ist Produzent, Louis D’Esposito, Victoria Alonso, Nikolas Korda, Sara Smith und Simon Hatt fungieren als ausführende Produzenten.

Elza Soares’ 34th studio album and her first to feature previously unrecorded material exclusively composed for her. Over a sprawl of distorted guitars, squalling horns, taught strings and electronic shards, samba is savaged by rock ‘n’ roll, free-jazz, noise and other experimental music forms as Elza tackles the burning issues of 21st century Brazil: racism, domestic violence, sex and drug addiction.

A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica. Her life-story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil’s repressed female, black, gay and working-class populations.

Wincent Weiss meldet sich mit seinem vierten Album ”Irgendwo Ankommen” zurück. Auf dem Album behandelt er Themen wie das ”Ankommen” und ”Wurzeln schlagen” und bringt mit „Irgendwo“ die ”Irgendwas” (2017) / ”Irgendwie” (2019) / ”Irgendwann” (2021) Reihe zu Ende.

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.

Recorded with a who's who of fusion titans including trumpeter Eddie Henderson, bassist Stanley Clarke, and keyboardist Herbie Hancock, Dance of Magic channels the lessons drummer Norman Connors learned in the employ of Pharoah Sanders, Sam Rivers, and Sun Ra, marshalling Latin rhythms, electronic textures, and cosmic mysticism to create non-denominational yet deeply spiritual funk-jazz. The sprawling 21-minute title cut spans the entirety of the record's first half, capturing a monumental jam session that explores the outer edges of free improvisation but never steps past the point of no return.

Connors' furious drumming is like a trail of bread crumbs that leads his collaborators back home. The remaining three tracks are smaller in scale but no less epic in scope, culminating with the blistering "Give the Drummer Some." by Jason Ankeny

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.

DJ/Producer Kingdom (Kelela, SZA, Tinashe, Fade To Mind Records) und Songwriter/Producer Rush Davis (Duke Dumont, Dawn Richard, Scarface) widmen ihr Kollabo-Album 'Transmission' auf TOKiMONSTAs Label der legendären Queer-Party 'Mustache Mondays' in L.A. Mit technischer Weisheit und experimenteller Freiheit sprengen sie Dance- und R&B-Grenzen links der Mitte und verbinden klassische Kenny Dope House-Hymnen (oft in der Ballroom-Kultur gesampelt) und Janet Jackson-inspirierte Produktion mit Kingdoms komplex-synkopierten Rhythmen und Streuseln von Melancholie und Sex.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

One of the most recognisable keyboard players of all time, Lonnie Liston Smith has been a crucial figure in the ongoing pollination of jazz for over fifty years. Having worked and performed with some of the genre"s biggest innovators, he is responsible for some of the genres" major stylistic shifts and taking Jazz-Funk into exciting new directions. His notable turns as sideman for heavyweights like Max Roach, Art Blakey, Got Barbieri, Miles Davis & Rahsaan Roland Kirk, along with his output as a leader of his own group stands as some of the most creative keyboard work of all time. He is revered by generations of musicians and continues to be a presence in shaping contemporary sounds.

Ltd Transparent Blue Colored Vinyl. Lonnie Liston Smith JID017 is the seventeenth installment in the Jazz Is Dead catalog. This album features nine original songs by Adrian Younge, Ali Shaheed Muhammad and the 1970s jazz-funk pioneer, Lonnie Liston Smith. Smith's music (Expansions, 1974 and Visions of a New World, 1975) has served as the foundation for iconic hip-hop samples and ecstatic dance floor revelry. Lonnie Liston Smith 017 marks the legend's return to the Fender Rhodes keyboard, an instrument he had not played since the 1970s. All songs produced by Adrian Younge & Ali Shaheed Muhammad. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.

Erdling lassen die Bestie von der Leine! Nur ein gutes Jahr haben die Deutsch-Rocker gebraucht, die erneuten Lockdown-Repressionen zu überwinden und mit ihrem neuen Album „Bestia“ zurück ins Rampenlicht zu stürmen. Eine Hymne wie die Single „Freiheit“ kommt in Anbetracht der vergangen drei Jahre natürlich nicht von ungefähr und wird vielen aus der Seele sprechen. Episch, emotionsgeladen, mitten auf die Zwölf rockt sich das Quintett um Erdling-Frontmann Neill Freiwald durch zehn brandneue Lieder und lässt neben dem regulären Album noch einige zusätzliche Bestien aus dem Zwinger.

Wenn es um geradlinigen, knochenbrechenden Death Metal geht, liefern DEFILED aus Tokio! "The Highest Level" bleibt der traditionellen Death Metal-Formel treu, während das düstere Songwriting der Band zu ihrer Authentizität beiträgt. DEFILED versuchen, mit diesem neuen Album ohne Schnickschnack auszukommen, und sprechen stattdessen direkt die Sensibilität von Death Metal-Fanatikern der alten Schule an, die einfach nur auf der Suche nach gesichtsschmelzender Gewalt sind!

FFO: Autopsy, Pyrexia, Pungent Stench, Macabre, Cadaver

Wenn es um geradlinigen, knochenbrechenden Death Metal geht, liefern DEFILED aus Tokio! "The Highest Level" bleibt der traditionellen Death Metal-Formel treu, während das düstere Songwriting der Band zu ihrer Authentizität beiträgt. DEFILED versuchen, mit diesem neuen Album ohne Schnickschnack auszukommen, und sprechen stattdessen direkt die Sensibilität von Death Metal-Fanatikern der alten Schule an, die einfach nur auf der Suche nach gesichtsschmelzender Gewalt sind!

FFO: Autopsy, Pyrexia, Pungent Stench, Macabre, Cadaver

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.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

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.

Visceral yet inherently soulful, 'Hardly The Same Snake' is the sound of the Johannesburg-born, Doncaster-raised artist Doya Beardmore finally finding his voice – both literally and figuratively. In practical terms, that involved finding the courage to foreground his gravelly baritone in these gloriously genre-agnostic productions. But it also meant branching out beyond his safety net to figure out the artist he truly wanted to be. As Skinny puts it today, “This album is what I would have created the first time round had I rated my own voice.” The idea of forging your own path – and shedding skin, so to speak – is integral to 'Hardly The Same Snake'. Begun pre-pandemic and completed in the spring of 2021, it’s a defiantly outward-looking record contemplating family, religion and major life milestones, from parenthood to death. Where previously Skinny relied on dream diaries as his primary lyrical resource, this time he took notes at design exhibitions, using these unfiltered observations as a jumping off point for songs. If this superb second album proves anything, it’s that it doesn’t matter how much Skinny errs on the side of self-deprecation – he remains one of the UK’s most fearlessly original voices. Skinny Pelembe's second album 'Hardly The Same Snake' is out on April 28th on Partisan Records.

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.

A brillant Acidcore sound... Pure tunes, trippy sound !

With Cruisin', their second album for Telephone Explosion, Toronto's Bernice distils their playful sense of composition resulting in the most affecting collection of their young career. Across fifteen tracks, a special kind of contemporary, jazz-inflected pop unfolds, miraculous for being both fun and musically adventurous, all in the name of emotional resonance. Each groove in the bassbin is matched by a little scratch at the listener's heartstrings. The album was recorded at home with Phil Melanson (Sam Gendel, Andy Shauf) and Thom Gill (Beverly Glenn-Copeland, Joseph Shabason), led by songwriter and vocalist Robin Dann (Martha Wainwright) and producer Matthew Pencer, with additional contributions from longtime members Dan Fortin and Felicity Williams (Bahamas) being captured remotely.

Throughout their eleven years as a group, working at the intersections of several scenes and spotlights (many of which begin and end at Toronto's beloved Tranzac Club), Bernice have developed an idiosyncratic musical language that feels immediately inviting and wonderfully refreshing. The group's two previous releases, Eau De Bonjourno (2021) and Puff: In The Air Without A Shape (2018) received generous nods from both Stereogum and Pitchfork, who described the music as "unusually mesmerizing". With the songcraft a little more crystalline and the vulnerability notched up, Cruisin' feels like the right record to open Bernice up to a much wider audience.

Development of the album began in Spring, 2021 during a writing retreat at the family farm in Bond Head, Ontario. Members of the band luxuriated in slow time, tinkering with lyrics and melodies, sharing meals, knitting. From this communal gathering, the concept of 'dedication' emerged as a guiding theme. Specifically, developing songs in an almost epistolary form; as love letters or check-ins for friends, community members, pets and other more elusive acquaintances (a longtime working title for the project was 'Songs For People').

Lead single 'Underneath My Toe', one of the first pieces developed under this theme, finds the group at their most graceful and direct. Beginning with songwriter/vocalist Robin Dann singing simply 'Hi / I miss you all the time', the composition proceeds to shift subtly between soft jazz balladry and low-bit funk, revelling in the intimate beauty of a long-time-no-see letter to a dear old friend.

Though being a band that so deeply values the art of fartin' around, Bernice couldn't settle on such a straightforward approach. During the creative process, a clarifying question arose: 'Can you cruise to it?'. This somewhat ambiguous aesthetic criteria became a guiding light for the album. 'Sure, it's a beautiful song about building trust with a new nonagenarian friend... but can you cruise to it?'.

Case in point, both follow up singles, 'No Effort To Exist' and 'Second Judy', fall into a more nebulous, bewildering category of song. Undoubtedly affecting, emotionally charged, existentially searching, yet also undeniably juicy. Drum patterns skitter into place while synth tones shift on a dime to meet thematic twists. There's errant whistling and curious overdubs. Then in come elegant backing vocals, elevating the narrative while an unlikely, left-field groove is established. Miraculously, the listener is not just moved, but Cruisin'.

Therein lies the marvel of Bernice: they remind us that the rec room funk of Mario Kart 64 need not exist in mutual exclusivity to a rich tapestry of human emotions. Even as we live through this most cursed timeline, we can look into the heart of things, dwell on the challenges we're called to witness, and find a little levity to carry us through; grab a lil' mushroom and cruise the existential soup.

Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.

Fred und Luna hatten schon immer eine Vorliebe fürs Symmetrische. Das zeigt sich an den Motiven ihrer Albumcover und auf dem aktuellen Album nun auch an der Länge der Musikstücke, die sich allesamt an der Fünfminutengrenze bewegen.
„Im Fünfminutentakt“, so der entsprechende Name ihrer neuen Schöpfung, ist „Fred und Lunas“ vierter Longplayer, eine erlesene Auswahl zeitgemäßer Instrumental- und Gesangsstücke mit einem sensiblen Gespür für repetitive Rhythmen, bezaubernde Melodien und hypnotisierende Klänge.
Besonders hervorzuheben sind das in drei Sprachen gesungene Stück „Es ist so schön“ ? mit seinem sensiblen Gespür für die Freude, seine Liebsten nach Monaten der pandemiebedingten Einsamkeit endlich wiederzusehen ? und das dancefloororientierte „Tanz mit mir“, das erahnen lässt, wie sehr selbst computerhafte Stimmen Sehnsüchte und Träume erwecken können.

Wer sind Fred und Luna?
Fred und Luna wohnen in einem Modehaus in Karlsruhe. Die beiden Mannequins sind die Musen des Musikers, Poeten und Foto- und Filmemachers Rainer Buchmüller.
Von seinen Mannequinfreunden und der Liebe zu deutscher elektronischer Musik der letzten Jahrzehnte inspiriert, produziert Rainer Buchmüller unter dem Namen „Fred und Luna“ moderne musikalische Abenteuerreisen mit einer Kombination aus sich wiederholenden Beats, elektronischen Klanglandschaften und Elementen der Krautrock-Ära. Oder wie er es wahlweise nennt: Elektrokraut beziehungsweise Krautelektro.

Unterwegs mit Fred und Luna (Das Luna-Prinzip)
Weil die beiden Mannequins Fred und Luna ihr Modehaus nie verlassen, übernimmt Rainer Buchmüller unter dem Pseudonym Sugar Ray Buckmiller bei Liveshows die Rolle von FRED.
LUNA hingegen erfindet sich von Konzert zu Konzert neu und wird von einem oder mehreren kurzfristig ausgewählten, wechselnden Musikern vertreten. So wird jeder Auftritt zu einem überraschenden und einmaligen Ereignis für das Publikum und die Musiker selbst.
Achtung: Die nächste Luna könntest du sein!

First release on the new french label Disques de la Spirale, featuring an experimental motorik-kraut-dub infused, semi-improvised live act built by Tamara Goukassova, Axel Larsen & Théo Delaunay (Panoptique, Succhiamo, Violent Quand on Aime, Radiante Pourpre..) from Simple Music Experience ; featuring Maoupa Mazzocchetti, Fiesta en el Vacío, Ventre de Biche, Kyle Knapp (Deliluh) …
For fans of Faust, Tomaga, Tony Conrad...


French non-jazz trio overflowed by Simple Music Experience’s funders Tamara Goukassova, Théo Delaunay & Alexandre Larcier, offering a 40mn of non-simple music madness, and navigating between a dozen of etiquettes from undecided space rock to motorik-infused-dub, medieval folk, cartoon trance; everything under the seal of psychedelia and half-improvisation.
Built from drums, violin, springs, samples, reiterations, overdubs, trumpets, synths, distortions; and the appearances of L. Cedrón (Fiesta en el Vacío), L. Retraite (Ventre de Biche), K. Knapp (Deliluh), F. Mazzocchetti (Maoupa Mazzocchetti).

Chimera embraced by three members of the Simple Music Experience label, also (co-) liable at one point for the acts of Axel Larsen, (The) Simplists, Violent Quand On Aime, Constance Chlore, T. Goukassova, Radiante Pourpre, Succhiamo or Panoptique; Parasite Jazz emerged in 2016 in the smoke of a suspicious performance on Simple Music TV. An improvised and protean artifact at birth, the project settled down at the end of 2020 as a trio (Axel Larsen, Constance Chlore, Tamara Goukassova) in Marseille, then as a sextet during the Illusio festival in the summer of 2021. A series of concerts with a shifting line-up followed - Kyle Knapp, Luca Retraite and Luna Cedrón sometimes appeared and with them, spontaneous incandescences. This first series of collective hallucinations took the form of an album during a perilous recording at Grrrnd Zero (Lyon) in October 2021, and is completed by live recordings gleaned over the course of the summer episodes.

All tracks are composed and performed by Parasite Jazz:
Alexandre Larcier: bands, FX, springs
Tamara Goukassova: violin
Théo Delaunay: drums, percussion, synthesizer, tapes

Florent Mazzocchetti: trumpet on "Carton Jazz" and "Alarm Twist" (sampled)
Luca Retraite: bass on “Terciopelo” and guitar on “Alarm Twist”
Luna Cedron: vocals on “Terciopelo”
Kyle Knapp: lap steel on “Terciopelo” and “Untitled live at Gigors”
Around Function: Sketches, band lettering

Recorded and mixed by Théo Delaunay at Grrrnd Zero (Lyon) and l'Embobineuse (Marseille) except "Terciopelo" recorded at Illusio (Pradelles) and "Untitled live at Gigors" at La Sye Electric (Gigors-et-Lozeron).

Mastering: Rupert Clerveaux
Cover: Diane Malatesta
Design: Alan Briand
Parasite Jazz thanks: Quentin Mosko, the Groovedge/Illusio crew, Théo & Clyde, Maoupa Mazzocchetti, the 3 jokers Luna Luca and Kyle, Grrrnd & the Embobineuse.

In its main mix, Surprise is a classic early nineties house track that heavily nods towards the Big Apple, house music’s disco roots and the power of swinging drum programming, albeit with meticulous production work and engineering. In short, it sounded and sounds as un-German as Germans can. The Holy Bassline Mix on the other hand is already in the shape of things to come. Carried by a Roland TB-303, sprinkled with trance bits and elegiac pads, its in perfect balance.
Others thought so as well. Heavily supported by David Holmes and Andrew Weatherall, it was the manager of the latter who licensed it to Eye-Q Records UK with the addition of the Fake Jazz Mix and ordered remixes by freshmen Isoleé and Losoul who became pillars of Playhouse. The first known for his idiosyncratic and sculptural ways of creating dance music meets the irresistible funk of his peer and both add spice to the already great menu. Here you have the chance to listen and digest Surprise in all its glory and entirety for the first time. Carefully remastered and processed by Lopazz and packaged by Running Back. Remember the good times and get some more.

10th Anniversary des 'Back to the Roots'-Klassikers der Emo-Core Götter Architects als Picture-Vinyl. Zurück zu sich selbst zu finden, kann so simpel sein und gleichzeitig so komplex klingen. “Daybreaker” ist ein schlaues, kunstvoll zerkratztes Album, dessen subtile Schönheit entschlüsselt werden möchte. Exemplarisch wirkt “Alpha Omega” wie ein brillantes Kaleidoskop, das je nach Blickwinkel neue Facetten offenbart, bei dem Störgeräusche als Stilmittel funktionieren und die Gitarren heftig am stählernen Käfig rütteln wie eine Furie, die ihren Zwinger sprengen möchte.

For the second release we have four unreleased tracks made between 1994 to 1996 at Alien Recording studio in London from duo PAN-TONE (Alec Stone & Andy Panayi). Best friends for over 35 years, both had a passion for making their own style of music and getting out it to the people around the world. Sadly passed away, Andy has been a very big font of inspiration for us, we are proud to release these four housey tracks from the past to all of you.

The first ever cut on the seminal and stellar German record label Acid Orange, owned by Beroshima himself, aka Frank Muller. An absolute masterpiece of intelligent dance music that with its over thirty total minutes opens up wide spaces of pure listening and lays the foundations for the development of what will soon be recognized as minimal techno. But above all it is a political record that frames delicate social issues and carries a clear message of how music and art in general stands against all forms of occupation and repression. The reissue comes courtesy directly by the author, great artist and true ambassador of good vibes, and we are proud to contribute to the spread of the "Untitled" manifesto.

Slovak-Hungarian musician Adela Mede explores the interplay between voice and technology with field recordings. She sings in three languages (Slovak, Hungarian and English). Intimate ambient utterances with themes of spiritual growth accompanied by experimental electronics with a wide scope of influences; from minimalism to folklore. Initially released in early 2022 to universal acclaim on digital and cassette, Night School is extremely excited to share Szabadság on vinyl. Mastered by Rupert Clervaux for vinyl, the clearer format teases out new nuances in the music, revealing a physicality and permanence to Mede’s first masterwork.

"Szabadság is a navigation. This debut by Adela Mede, recorded in her family home on the Slovakian border with Hungary, searches through the personal, familial, cultural, folkloric and geographic of her past and present.

Examining both the vulnerability and determination of her voice - as it leaves the lips, raw, and in the ways it can be transformed with digital processing - the embodied memories of language, of utterance, are explored.

Airy, open sound worlds and tentative strings of improvised naked vocal transform themselves into insistent repetition. Fizzing, sparkling electronics are set against the beautiful grainy depth of field recordings. The locations, these places, are found and lost - home is found and lost - in a dance of fragmented vocal harmonies. Three languages (English, Hungarian, Slovak) weave a song of spring, nature, forgiveness, togetherness and rebirth.

A relatively new label based out of Brooklyn, New York, their third release BKS-03 continues to build off of the success of BKS-01 and BKS-02 and again enlists local NYC underground heroes to fill out the Various Artist format, with interludes spread throughout.

The first track on the A-side enlists House Legend Eric Kupper, who frequently collaborated with the late Frankie Knuckles and is responsible for some of Knuckles' biggest hits, drops an absolute stormer of a track that will get any party started. Track two sees Andrew Licata go deep and dreamy with beautiful pads and great percussion perfect for an outdoor jam session or deep in the afterhours.

The B-side enlists BK Sway regulars DeWinter & Emma for a dance floor filler that's bound to shake any massive sound system. Track 2 sees After Touch and Jay Prouty get heady with deep jazzy vibes and a trippy spoken word to complete the package.

Label art from NYC mural legend Cern aka Cernesto.

Nach zwei Jahren Krise in Deutschland und Europa, verschobenen und gecancelten Shows, veröffentlichen die Saarländer nach vier Jahren „Abstinenz“ ihr zehntes Vollalbum. Mit Erklingen der ersten Töne des Intros zum Song „Zurück an die Front“ ist klar wer hier am Werk ist - Wieso auf Experimente setzen, wenn es gut ist wie es ist! Titel wie “Töte was Du liebst“, “abnorm“, „Voll auf die 12“ und “Von Anfang an“ bieten eine komplette Stilübersicht des Schaffens der Brüder von knallhart und schnell, über Hoffnung schöpfend und aufmunternd, bis hin zu ruhig, einfühlsam und bewegend. Mit der Ballade “Das, was Du verpasst hast“ setzen Pascal und Co. wieder einen ruhigen Abschluss, der es in sich hat und eine Lebensphilosophie mit auf den Weg gibt! Der Hit des Albums ist auch zugleich die einfachste Nummer, drei Akkorde die den Text zu "Als wir noch jung war'n" untermalen, definitiv DER Live Ohrwurm, der jede Party sprengt!
Das Album erscheint als CD+DVD im Digipack, welche auch in der CD Box Edition enthalten ist, weiterhin im Vinylformat mit Gatefold limitiert auf 666 teuflisch gute Einheiten, LP Box und natürlich als CD im Jewelcase.
Die Box beinhaltet neben exklusivem Inhalt auch ein Geheimfach unter doppeltem Boden zum Verstauen von allem Möglichen, was nicht auf den ersten Blick gesehen werden soll.

Ebenfalls recht exklusiv ist die Livepräsenz der KrawallBrüder in 2023 denn es werden nur 5 Orte in Deutschland gespielt, dazu gibt es eine Handvoll verlesene Auslandsauftritte.






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The first reissue of seminal early 1980's electronic recordings from the British Electric Foundation (B.E.F.), aka HEAVEN 17 / ex-THE HUMAN LEAGUE's Martyn Ware and Ian Craig Marsh, with Adi Newton (CLOCK DVA / THE FUTURE), and John Wilson (HEAVEN 17), originally a cassette-only release (1981).

Following two groundbreaking albums ('Reproduction' and 'Travelogue'), the original line-up of Sheffield-based The Human League split in half in late 1980. The two primary musicians in the group, Martyn Ware and Ian Craig Marsh, formed a new production company - the British Electric Foundation (B.E.F.) - and signed a deal with Virgin Records to write and produce up to six albums a year. The artists they were to produce would include Heaven 17, their own new band formed with vocalist Glenn Gregory.

B.E.F. would also release their own material, commencing with the music on this collection, which was issued in various permutations in 1981-82. Its initial release in March 1981 was a limited edition numbered eight song cassette entitled 'Music for Stowaways', with 'Stowaways' being a reference to the original name for the then-new Sony portable cassette player - later renamed the Walkman - of which B.E.F. were great fans. 'Music for Stowaways' was intended to be listened to on such a device. The cassette was followed by a seven song LP, 'Music For Listening To', which had a slightly different tracklisting, while other B.E.F. music was utilised for B-sides of early singles by Heaven 17.

This music was among the first recorded by Martyn and Ian directly after their departure from The Human League. Some tracks had evolved from other recordings they were working on at the time, such as 'Groove Thang' - an instrumental version of the debut single by Heaven 17 - and 'The Old At Rest', which derived from a version of 'Wichita Lineman' by Jimmy Webb, their very first recording with Glenn that would subsequently appear on B.E.F.'s 'Music of Quality and Distinction, Volume One' covers album in 1982.

Supporting musicians on 'Music For Stowaways' included Adi Newton of Clock DVA (who had been a member of The Future with Martyn and Ian pre-Human League) on the track 'Uptown Apocalyse', with John Wilson (who provided incredible guitar and bass for Heaven 17) appearing on Groove Thang.

The innovative sounds heard on 'Music For Stowaways' were an inspiration to many aspiring electronic artists. In 2015, Uncut magazine included it in a list of the '50 Greatest Lost Albums of All Time'.

Das Debütalbum des Electro-Punk Musikerkollektivs aus Teesside im Nordosten Englands um Frontmann Kingsley Hall.
Gegründet 2019, schloß sich die Band - bestehend aus Hall (Gesang und Gitarre), Robbie Major (Synthesizer), Hugh Major (Bass und Sequenzer) und Jonny Snowball (Schlagzeug) - aus "einem kollektiven Misstrauen gegenüber den politischen Entwicklungen" heraus zusammen. Nails ist ein wütendes, an Dringlichkeit kaum zu übertreffendes Statement, brutal und minimalistisch, in dem Hall über Beats, Drone Noises und Gitarrenfeedback mit seinem unverkennbaren Sprechgesang gesellschaftliche Mißstände lauthals anprangert. "a shit-hot artist" (NME). Darüber sind sich auch Anhänger der Band wie Sleaford Mods, Black Francis (Pixies), Steve Albini und Modeselektor einig.

Für Fans von Idles, Sleaford Mods, Divide And Dissolve, Bob Vylan und Billy Nomates!

Nach zwei Jahren Krise in Deutschland und Europa, verschobenen und gecancelten Shows, veröffentlichen die Saarländer nach vier Jahren „Abstinenz“ ihr zehntes Vollalbum. Mit Erklingen der ersten Töne des Intros zum Song „Zurück an die Front“ ist klar wer hier am Werk ist - Wieso auf Experimente setzen, wenn es gut ist wie es ist! Titel wie “Töte was Du liebst“, “abnorm“, „Voll auf die 12“ und “Von Anfang an“ bieten eine komplette Stilübersicht des Schaffens der Brüder von knallhart und schnell, über Hoffnung schöpfend und aufmunternd, bis hin zu ruhig, einfühlsam und bewegend. Mit der Ballade “Das, was Du verpasst hast“ setzen Pascal und Co. wieder einen ruhigen Abschluss, der es in sich hat und eine Lebensphilosophie mit auf den Weg gibt! Der Hit des Albums ist auch zugleich die einfachste Nummer, drei Akkorde die den Text zu "Als wir noch jung war'n" untermalen, definitiv DER Live Ohrwurm, der jede Party sprengt!








[f] B1.

Vier Jahre nach dem weltweit veröffentlichten und von der Kritik gefeierten Album "Nucleus" im Jahr 2019 (eine Neuaufnahme ihrer klassischen Hits mit englischen Texten) hat die führende japanische Heavy-Metal-Band ANTHEM die pandemische Auszeit klug genutzt und ist nun startklar, ihr brandneues Studioalbum "Crimson & Jet Black" zu veröffentlichen.
Alle Songs sind wieder in englischer Sprache, und das Album wird weltweit veröffentlicht werden.

Das Ziel von ANTHEM für das 21. Jahrhundert ist es, jedes ihre früheren Werke zu toppen, und mit diesem Album haben sie sich selbst noch einmal übertroffen!

"Crimson & Jet Black" ist unverkennbar "ANTHEM", klingt aber gleichzeitig frisch. Die Band hat wieder einmal bewiesen, dass sie eine der konkurrenzfähigsten Heavy Metal Bands der Welt ist und eine Kraft, mit der man rechnen muss. Verpassen Sie nicht ihr neues Kapitel, das gerade erst begonnen hat!!!

Vier Jahre nach dem weltweit veröffentlichten und von der Kritik gefeierten Album "Nucleus" im Jahr 2019 (eine Neuaufnahme ihrer klassischen Hits mit englischen Texten) hat die führende japanische Heavy-Metal-Band ANTHEM die pandemische Auszeit klug genutzt und ist nun startklar, ihr brandneues Studioalbum "Crimson & Jet Black" zu veröffentlichen.
Alle Songs sind wieder in englischer Sprache, und das Album wird weltweit veröffentlicht werden.

Das Ziel von ANTHEM für das 21. Jahrhundert ist es, jedes ihre früheren Werke zu toppen, und mit diesem Album haben sie sich selbst noch einmal übertroffen!

"Crimson & Jet Black" ist unverkennbar "ANTHEM", klingt aber gleichzeitig frisch. Die Band hat wieder einmal bewiesen, dass sie eine der konkurrenzfähigsten Heavy Metal Bands der Welt ist und eine Kraft, mit der man rechnen muss. Verpassen Sie nicht ihr neues Kapitel, das gerade erst begonnen hat!!!

Dauw presents 'babel', the debut album from Belgian duo ZONDERWERK. The duo’s name means ‘’without work’’, but it also comes from “bijzonder werk”, where bijzonder is particular, special, unique. They like to work with images/paintings that are “bijzondere werken”, odd works.

babel is an ambitious exercise in translating images into sound. babel was initially created for the eponymous theatre piece by architect and artist Steve Salembier. Inspired by the biblical legend, Salembier envisions the legendary city as an abstract, sprawling modern metropolis in continuous flux. Its steel and glass skeleton is a representation of both an accumulation of overlapping contemporary cityscapes and a metaphor for the anonymous repetitiveness of our daily routines mirrored by the architecture. Subway lines, sky scrapers and whirling highways converge into a megalopolis of monstrous proportions. Despite the composition’s initial context as soundtrack for a theatre play, for the band this album is seen as a standalone work, whose complex sonic material can be appreciated without having seen the piece.

Their score focuses on fleshing out the imposing imaginary universe both in terms of scale and meaning. One of their biggest inspirations were Michael Woolf’s photographs, which served as the basis for the original theatre piece. His use of grey and repetition is translated into looped harmonies and fine-grained drones that progressively open up like blooming ice flowers.

With sounds of bells and metal as their primary materials, Carrijn and Sanders build soundscapes that are at once seductive and unsettling. The atmosphere on tracks like “DreamArp4Kort4” make for majestic, mysterious synths conjuring otherworldly visions, while the angelic glockenspiel set against subtle explosions in “VuurFeest” suggest a serene yet potentially dangerous place. Other tracks like “RoomCarousselTapeLoop5” create multi- layered textured drones through the process of tape decay, a commentary on the cannibalistic nature of the city.

Resulting from an arduous improvisational processusingold samplers with elements such as the Beam harp, a self-made metal instrument with piano strings, reel to reel tape recorders, field recordings and violin, babel perfectly captures the oxymoron of the man-made concrete jungle that is at once inhospitable yet endlessly awe-inducing.

ZONDERWERK is a duo consisting of Linde Carrijn and Dijf Sanders who started this project during the pandemic as a way of exploring their relationship as creative partners. Carrijn has a background in acting but recently came more to the fore as composer/performer with original scores for theatre and her other band Brik Tu-Tok founded with multi-disciplinary artist Maxim Storms. Sanders is a composer and gear enthusiast, more well-known for his eclectic works that draw from a wide-array of non-Western music. His milestone-album Moonlit Planetarium paved to way to a broader audience and recognition from major press in Belgium. In 2021, his work as a producer was recognized with a nomination at the Music Industry Awards.

The Magic Movement is happy to welcome Swedish artist Anton Kling with a full EP on their label.
After his mesmerizing single "You", which he contributed to a Various Artist release last spring, he's finally back in full force with his Phobos EP.

The EP contains atmospheric originals, full of warm and almost jazzy synth work, syncopated rhythms and haunting vocal snippets. There's a beautifully melancholic red line which flows through the EP. His passion for ambient music and lo-fi textures is clearly audible in every track, where spacious soundscapes meet gritty percussion sounds.

On remix duties we find Alex Banks, who made a name for himself on Alex Cooper's Mesh imprint, and who is a perfect fit for the track "Phobos". Praised by the likes of BBC Radio 6 and Mixmag as well as with work released on Monkeytown and Ninja Tune, Alex turns Phobos into a bass heavy broken beat bonanza, featuring hypnotic arpeggios and saturated lead synths.

Kevin McCormick's unreleased bedroom studio tape material (1982-1984). Moods similar to Durutti Column, Woo, Crosby’s spacey moments, and Boards Of Canada’s nostalgia.

Following the release of Light Patterns in 1982, Kevin recorded a series of songs onto tape that explored the sonic possibilities of a solitary guitarist. Shedding the acoustic sound of his previous effort, he adopted a swelling electric palette to apply his moods to. These recordings are a shift in direction to a sparse and ambient style, and their hazy, repetitive movements create room for evocative melodies.

Kevin fills a deficiency of guitar-forward music with his minimalistic approach that is somewhere in the space between ambient, rock, jazz, and avant-garde. On Sticklebacks, he casts away the morning elegance of Light Patterns and leans further into the introverted feelings of the small hours. It is a nascent springtime journey that shows just what Kevin is capable of with six strings.

Artist Hannu Karjalainen and his new LP Railo is the third album to be released on the Signature Dark label, first digitally and later on vinyl. The album features seven electroacoustic ambient soundscapes.

The tracks were composed during the winter months in Helsinki, Finland in 2019-2021. Railo (finnish for "a crack in the ice" or "crevasse") can be seen as on ode to winter, the richness of the seasons and different weather conditions which have been an inspiration to Karjalainen’s work.

The arc of the album follows seasons from autumn to spring, starting from cold autumn winds (Viima) and ending to the melting of the ice (Sula). Different winter phenomena are explored on the way, including ”Routa” (finnish for "ground frost"), ”Kuura” (rime) and ”Kelirikko” (a term known especially in the archipelago meaning a time at the end of winter when the frozen sea does not support transportation anymore but boat traffic is neither possible). Yet, the album is being suffused with a sadness stemming from the threatening permanent changes in the diversity and balance of nature trough the climate change caused by us.

Junior Jack’s timeless 2004 disco/house fusion ‘Stupidisco’ receives a spread of dynamic remixes from some of the most talented remixers around.

Kicking things off is Spanish DJ and producer David Penn, who takes the stems and gives them an immaculate polish! Taking JJ’s Pointer Sisters sampling goodness and working into a re-sliced, disco-house filter journey with punchy kicks, tremulating basslines and an anthemic piano that is guaranteed to bring the sun out from the clouds.

Next up is Germany's Deeperlove with the toughest mix in the package with it's tech house inspired drums and bassline.

On the flip side, Aussie based Kiwi Jolyon Petch jumps in, delivering 2 killer remixes with his Italo inspired Jolyon Petch Remix and a nu-disco treat under his Elektrik Disko alias.

Alternative Hip Hop Artist Rebel ACA Channels his Pain in "Migraine" ft. Spragga Benz, Rodney P

LONDON - The word "migraine" can make you twinge, especially if you experience the pounding head, vertigo, and tinnitus associated with migraines. Imagine if you put all those feelings into music - that is what Rebel ACA did with his latest single, "Migraine."

Rebel ACA's new single flows through his twenty-year journey of advising on international tax by day and rapping and producing by night. Perhaps, the ACA stands for his accounting qualification.

Dropping in April, there will be two versions, an original version and a DJ Phantasy Remix of "Migraine" on streaming platforms. Depending on the version, "Migraine" is a musical representation of a severe headache. The drum and bass mix features a funky, constant drone throughout the track, while the original version is a funk-latent hip-hop song.

"I suffer very badly from migraines every week," said Rebel ACA. "To me, it was logical to write a song about migraines. The lyrics talk about what it feels like by using synthesizers to bring out the feeling of a migraine."

Joining Rebel ACA on the single is Spragga Benz and Rodney P. The duo shares their thoughts on using marijuana to cure a migraine. While Rebel ACA acknowledges he is not a medical doctor, studies have shown that smoking weed can reduce migraine pain.

"We talk about smoking weed to fight the migraine," he said. "The lyrics revolve around what it feels like to have one in your head. Doctors have told me that migraines are caused by triggers like alcohol and getting f*cked up. Then you get a migraine and now you get more f*cked up on pills or weed to feel better." This revolving cycle spirals throughout the single.

Born and raised in the UK, Rebel ACA experienced London's musical melting pot from birth. Hailing from northwest London, he was exposed to the rich Caribbean influence and massive underground music scene.

From squat parties to illegal raves, London's music was all mashed up, and Rebel ACA soaked up every genre and cultural influence. As a result, he is a successful singer/songwriter/producer who fuses hip hop, reggae, and indie sounds to create his unique style.

"Where I come from, the UK hip hop is like the 90s hip hop in America," he stated. "There is a hip hop scene that talks about poetry. I'm trying to keep it real with my lyrics and talk about things that are important other than guns, money, and bitches."

Rebel ACA's music is versatile but uniquely his own by utilizing numerous live instruments and coming in hard with a big boom-bap sound. The Rebel ACA sound is born by adding a funk influence on his tracks aligned with funky bass. On "Migraine," he uses some vintage 70s French influence vibes to give the single a flavor of its own. There is nothing out there like "Migraine."

Rebel ACA records under Buttercuts Records, a company he owns and operates. The London-based production company has been "bashing out buttery beats" since 2000. Buttercuts Records is the go-to place for releasing hip hop, reggae, breaks, funk, soul, and folk records with a tongue-in-cheek attitude and marketing that surpasses witty wordplay.

As "Migraine" gains international attention, it is easy to understand how Rebel ACA combines old and new hip hop with effortless flows and brilliant lyrics. Maybe the world is ready for an international tax advisor who drops bars and vibes out to some wicked rhymes.

Make sure to stay connected to Rebel ACA on all platforms for new music, videos, and social posts.

a A1. DJ PHANTASY VOCAL MIXfeat. Rebel ACA
b A2. DJ PHANTASY DUB MIXfeat. Rebel ACA
[c] A3. DJ PHANTASY INSTRUMENTAL MIX [feat. Rebel ACA]
[d] B1. OLD KOOL F U NKY MIX [feat. Rebel ACA]
[e] B2. OLD KOOL F U NKY INSTRUMENTAL [feat. Rebel ACA]
[feat. Rebel ACA]

Spawning from the Manchester music scene in 2008 and now sucking in members from all over the UK, the Riot Jazz Brass Band is a nine-piece genre-mashing, foot stomping party behemoth bringing the love buzz to ears and feet all over the world

New album RIOT JAZZ MAKES PEOPLE HAPPY is the culmination of a 15- year mission to spread joy and get people moving. With three trumpets, three trombones, sousaphone and drums bringing the noise and MC Chunky conducting the chaos, the result is a gleeful cacophony encompassing jazz,hip hop, drum 'n' bass, trap, grime and more.

The intoxicating sound and spirit of the Riot Jazz Brass Band, as well as its deep commitment to exploring all sorts of musical genre, has seen it tapped to collaborate with a variety of top artists and play at festivals across Europe.

One of the most established festival bands on the circuit with appearances at Glastonbury (West Holt Stage), Womad (Big Top), Jazz Sous Les Pommier (France) to Soundwave (Croatia) and everything in between. Recent UK tour last April/May all across the country.

“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.

So sehr Waterparks auch ein Genre sprengendes Kollektiv von drei Freunden ist, die Musik machen und abhängen, repräsentiert Waterparks wirklich eine größere, wagen wir es zu sagen, Bewegung. Das Trio aus Houston - Awsten Knight Gesang, Gitarre, Otto Wood
Schlagzeug und Geoff Wigington [Gitarre] - hat dem Rock auf bescheidene Weise wieder Lebendigkeit verliehen. Ihre seltsame magnetische Anziehungskraft hat eine wachsende Schar hingebungsvoller Fans angezogen, die ausverkaufte Shows besuchen, ihre Songs wie verrückt streamen und sie sogar in mehrere
Billboard-Charts befördert haben. Jetzt starten sie mit ihrem fünften Album in voller Länge INTELLECTUAL PROPERTY eine neue Ära.

There's something intangible about Celeste, the Soundcarriers’ second album, originally released in 2010. It has a light, lucid quality, almost like driving exhausted through a strange city at night. Freeflowing yet tethered, dreamy yet attacking, the band continue the fight to reconcile competing impulses. Various threads just about keep the shimmering tapestry from tearing. Haunting folk melodies underpinned by rhythmic static and the physicality of the totally analogue recording and mixing, baroque keyboard counterpoints and sweeping arrangements. The opener “Last Broadcast” seems to encapsulate this but it's almost as if the album gets the angst out of its system with this track and is free to explore the quieter, less crowded back streets. After the smoke of “Last Broadcast” has cleared, the twisting road takes in the soft introspection of “Hideaway” and “Morning Haze”, both tracks morphing into heavy psyche grooves or the eastern tinged psyche funk of “Signals” and “Rise And Fall”. Or takes another turn with the tightly arranged opening segment of “Long Highway”. Somehow it still manages to fit in ‘60s pop gems like “There Only Once”. An album to really lose yourself in, yet more concise than the sprawling Harmonium and more relaxed and freeflowing than the nervy rush of Entropicalia, Celeste could be arguably their most indispensable album and not to damn it with faint praise, their most listenable.

Nachdem Thees Uhlmann im Rahmen seiner "Junkies & Scientologen" Tour in den vergangenen drei Jahren 170 Konzerte gespielt hat erscheint am 02.12.2022 das Thees Uhlmann & Band Live Album "100.000 Songs Live in Hamburg". 3LP Edition (Grünes Vinyl, Gatefold), inklusive Din A2 Poster.