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After 'Transit', his successful solo debut, Safe is the second album Bert Dockx (Dans Dans, Flying Horseman, Ottla, Strand) is releasing under his own name.

This collection of songs and instrumentals navigates between threat and dream, between silence and storm. Unlike 'Transit', 'Safe' mainly consists of original work and just two interpretations (of The Velvet Underground & Ornette Coleman tracks). This time Dockx is not flying entirely solo either, he gets musical assistance from Loesje and Martha Maieu (Flying Horseman, Blackie & The Oohoos) and Thomas Jillings (Ottla, Linus). Koen Gisen, Ghent based producer for connoisseurs, is back at the controls. Together with them, Dockx paints a richly variegated and adventurous soundscape with echoes of his other musical projects.

We hear folk, psychedelia, ambient, introverted guitar rock, shaded jazz. Colourful vistas are contrasted with gloomy introspection. Careful listeners will also discover the narrative of a complex, painful, passionate love.

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Long considered a benchmark performance and recording, the Mercury Living Presence technique perfectly suits the rich, complex musical textures of Saint-Saens' masterwork. Recorded in Ford Auditorium, Detroit, October 12, 1957, with a Schoeps M201 microphone in the center and Neumann KM-56's on the left and right sides."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
An early favorite with audiophiles, this delightful and passionate album of Spanish and Latin American themed compositions will test the best modern-day playback systems. Recorded in the Eastman Theater, Rochester NY, March 25, 1957 with a Schoeps M201 microphone in the center and Neumann KM-56's on the left and right sides."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Mid-century Modern music, rich in dynamics and orchestral textures. The Wayne Peterson piece was commissioned and received its performance and recording debut by Dorati's Minneapolis band. Bloch recorded April 17, 1960; Peterson recorded April 21, 1959. Both recordings were made in Northrop Auditorium, Minneapolis MN, using three Schoeps M201 microphones."

"Long hailed as the audiophile's label, Mercury Living Presence represents an important milestone in the history of classical recording. Since they were first released, Mercury Living Presence LP records have been collected and coveted and 70 years after the label’s first release — Mussorgsky’s Pictures at an Exhibition, with Rafael Kubelík conducting the Chicago Symphony Orchestra — Mercury continues to be admired for the quality of its artistry and recordings: all celebrated for their sheer vividness of sound. This audiophile series sources the original first-generation master tapes. New HD transfers were made at Abbey Road Studios. Master files, including new 3-to-2 mixes for stereo titles, were produced by Thomas Fine, son of the original producer and recording engineer for the majority of Mercury Living Presence titles.
Janis's virtuoso recording, originally released on CD in 1994, finally gets its vinyl due. Recorded in Fine Recording Ballroom Studio A, September 25-29, 1961 with three Schoeps M201 microphones."

Recorded during the first few periods of lockdown and originally released as a cassette midway through 2021, O Yuki Conjugate's A Tension of Opposites Vol. 1 & 2 is now to be released as a limited edition, double-disc gatefold LP via World of Echo on 1st April. The enforced conditions of its creation represented a new way of working for O Yuki Conjugate founders, Andrew Hulme and Roger Horberry, a pioneering duo who have worked as close collaborators on multiple projects for almost four decades now. As such, their writing is for the first time divided in two and recognised as distinct, Horberry contributing the shorter eleven tracks that make up Vol. 1 (subtitle: At Variance), and Andrew Hulme the longer four that constitute Vol. 2 (Into the Pleasure Garden). It's fascinating to hear their approaches separated.

At Variance is defined by its mostly short-form approach, characterised by an airless ambience that recalls the late 20th Century modern minimalism of Thomas Koner, Markus Popp and the Mille Plateux universe, while in other parts, an element of the grander aspects of Eno circa Discreet Music, though retaining a characteristically gritty feel. Into the Pleasure Garden provides a notable contrast, forgoing the lightness of the preceding eleven tracks and embracing what might be understood as some of the more 'classic' elements of the OYC sound: their storm cloud-forming, heavy weather, post-industrial, fourth-world dystopia. Together and apart, OYC celebrate their 40th birthday this year, but remarkably, even under challenging circumstances, their music still retains an almost mystical power.

Future releases in the series are planned for later in the year and will continue with this approach, charting the outer reaches of the individual members musical inclinations. In the meantime, it might be worth giving some thought to start considering this pair an institution of sorts, or at least their own cottage industry.

Anthony Johnson's 'Gunshot' is one of the all dancehall-era defining records. The driving original rhythm, expertly constructed by ace deejay-turned-producer Jah Thomas with the Roots Radics at Channel One, formed a suitable platform for the strident wails of Anthony Johnson, a rising ghetto star that became one of the hottest vocalists on the evolving dancehall scene of western Kingston.

Reissued for the first time after its original release on the Midnight Rock label in 1982, with remastered audio and extensive liner notes by David Katz.

New album by pioneering German beatmaker FloFilz. On Close Distance, the lofiturned-hifi producer blends hip-hop inspired beats with contemporary jazz, alt r&b and a little rap. Featuring Alfa Mist, Blue Lab Beats, Jerome Thomas,

KeepVibesNear, Summers Sons & C.Tappin, Dal & Hunter Rose. Close Distance is his fourth album for Melting Pot Music. Since 2013, the self-taught bedroom producer and classically trained violinist has sold more than 10k LPs and gained 200 million streams.

Close Distance literally means “near in space or time” (or “nah dran”, as we say in German). The 16 songs on Close Distance came to life over the past two years. Many sketches were birthed at FloFilz's old home studio in Aachen. Some songs were made from scratch in London, where Flo did sessions with UK jazz supremos Alfa Mist and Blue Lab Beats at their studios. One was recorded in a kitchen in Streatham, where rap duo Summers Sons and pianist C.Tappin reside.
More sessions were already in planning when lockdown kicked in and travelling was no longer an option. Around the same time, Flo was about to move from Aachen to Berlin which he eventually did in November 2020. Once installed, he started sharing beats and files out of his makeshift studio in Moabit. Beat folders were sent to
London where two of our favourite new alt R&B vocalists – Jerome Thomas and KeepVibesNear – live. Another one went to Dartmoor where the jazz/hip-hop trio Dal added their magic touch while Hunter Rose processed her sultry vocals in Cape Town - 12 flying hours away from Berlin.

The album artwork has been created by Indonesian illustrator Fatchurofi, who caught FloFilz's attention through his work for everybody’s favourite band Khruangbin. Taking influences from Japanese Ukiyo-e art, Fatchurofi is adding a zen-like clarity (and tranquility) that resonates very well with the album.

It is no exaggeration to say that FloFilz has not only created another inspiring album with Close Distance but one that demonstrates how music can close the distance which we all have experienced (and still do) in a beautiful way.

Als Jóhann Jóhannsson im Winter 2018 überraschend in Berlin starb, endete auch ein hochinteressantes Zusammenspiel der Künste. Jóhann Jóhannsson hatte es gewagt, hatte Musik und Literatur, Musik und Theater, Musik und Film in seinen Kompositionen miteinander kommunizieren lassen, sehr innovativ, oft melancholisch, immer tiefgründig, klassische und elektronische Elemente verschmelzend.
Den Philanthropen und Kunstsammler Richard Thomas interessierten genau solche Grenzgänge. Er stellte sich vor, dass ein Werk entsteht, bei dem die bildende Kunst und die Musik in einen Dialog treten, sich
jedoch nicht gegenseitig übermalen, einander in Produktion und Interpretation nicht nachlaufen, sondern eins werden. Und er hatte einen Künstler vor Augen, den Berliner Maler Thilo Heinzmann, der seinerseits sofort an Jóhann Jóhannsson dachte.

12” album of previously released Dub album by Nkrumah “Jah” Thomas from Kingston, Jamaica. Re-issued on WHITE vinyl.

Nkrumah “Jah” Thomas is an esteemed reggae deejay and record producer who first came to prominence in the 1970s, later setting up his own labels ‘Midnight Rock’ and ‘Nura’.

"Ten years after signing his first record deal with Big Machine Label Group’s The Valory Music Co., arena-packing superstar Thomas Rhett — dubbed “the most reliable maker of No. 1 singles in country music” (Variety) — has five studio albums, 18 MULTI-PLATINUM and GOLD-certified No. 1 hits, 12 BILLION streams and the longest current active streak of consecutive No. 1s in the format (Mediabase/Country Aircheck Chart). He has been honoured with eight ACM Awards including Entertainer of the Year, two CMA Awards, five GRAMMY® Awards nominations, plus trophies from the CMT Music Awards, Billboard Awards and iHeartRadio Awards, in addition to being recognized with two CMA Triple Play awards for penning three No. 1 songs within a 12-month period. Thomas Rhett is delivering his sixth studio album WHERE WE STARTED on April 1. Inspired by his return to the road, the set marks a similar return to his in-the-moment mix of tempo, transcendent romance and tip-of-the-spearsonic trailblazing, as Country’s resident good-life philosopher.
RADIO: BBC Radio 2, Absolute Radio Country, CountryLine Radio, Downtown Country, Smooth Country
PRESS: MTV UK, The Express feature, Why Now, 1883, Atwood, Darkus, Maverick, country specialist outlets, UK bio written by Lisa Verrico (The Times)
SOCIALS: TW: 2.4M, FB: 2.4M, IG: 4.4M, TikTok: 802.5K
Available as a 2 LP black vinyl."

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

ltd edition box set, 4xlp + poster & dl card. rewriting the history of music, pere ubu continue to confound convention and shift personnel. the next box set in fire records’ reissue series, ‘nuke the whales’ houses 4 lps originally released between 2006 and 2014 – ‘why i luv women’, ‘carnival of souls’, ‘lady of shanghai’ and ‘long live pere ubu!’. ‘nuke the whales,’ is a nod of respect to a couple in cleveland who would daub such messages over the big news stations’ advertising boards. “very few bands display such dedication to constant self-reinvention as pere ubu” the quietus // all four albums have been remixed and remastered by original pere ubu member david thomas. ‘why i luv women’, originally released on glitterhouse in 2006, gains its first vinyl release. "spews 11 tunes of arcane lyrics and dense music” shrieked the cleveland gazaette. it’s joined by ‘long live pere ubu’ a soundtrack to a musical adaptation of the play. “skronking, squalling rhythms and melodic snippets undulating round a pulsating soundscape." record collector // and ‘lady from shanghai’, their fire debut for fire in 2013. originally released on the 35th anniversary of the group's debut, ‘the modern dance’, a latter day re-evaluation of the unprompted dance genre. and its follow up ‘carnival of souls’, a haunting “underscore’ to a tale of alienation, it “combines metallic percussion, spare guitars and david thomas' muttered vocals into something rustic and rickety, yet threatening at a moment's notice.”

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas

It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

“But Delamere must be considered as a music street sheltering as it does such artists as Junior Byles, Don Angelo, Triston Palma, Phillip Frazer and producer Ossie of the Black Solidarity label…” Beth Lesser
And the man who had made his name in the business selling other people’s records now became one of the most important and influential record producers of the era.
With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

Take cover: there’s a storm coming !

With its lyrical thunderbolts, lightning-flash fretwork and ground-shaking grooves, Black Wind Howlin’ is a record to blow your roof off – and Samantha Fish is stood at the eye of the hurricane. Released on September 20th through Ruf Records, Black Wind Howlin’ flips a finger at the cliché of the ‘difficult second album’, firing off 12 classic tracks that chart Samantha’s evolution as songwriter, gunslinger
and lyricist. While lesser artists work to a template or settle into a pigeonhole, Samantha shifts her shape across the Black Wind Howlin’ tracklisting. She can be brutally rocking on cuts like the tourbus snapshot of Miles To Go (“Twelve hours to Reno/ten hours til the next show”), the swaggering Sucker Born (“Vegas left me weary, LA bled me dry/skating on fumes as I crossed the Nevada line…”) and the
venomous Go To Hell (“Oh, this ain’t my first rodeo/You hit yourself a dead end/ Your voodoo eyes, ain’t gonna cast a spell/ So you can go to hell!”). And yet, elsewhere, backed by the versatile production of Royal Southern Brotherhood guitarist and longtime collaborator Mike Zito, you’ll find Samantha shifting gears to the aching slide- guitar balladry of Over You (“Echoing words, said I’d never make it on my own…”) and the redemptive country strum Last September (“Don’t
remember the curves of my face/Can’t feel the warmth in my embrace/Well I’m here to remind you…”). She might stop off for a gritty cover of Howlin’ Wolf’s.
Who’s Been Talkin’, and co- wrote Go To Hell with Zito, but all other tracks are Samantha’s self-penned originals, and it’s a mix to keep listeners on their toes. “I wanted this record to have a modern rocking sound,” she explains of the lightfooted vibe. “I also wanted it to have elements of Americana, country and roots.”
Therefore she had support from a first- call band that included Royal Southern Brotherhood rhythm section Yonrico Scott (drums) and Charlie Wooton (bass), back- up guitar and vocals from Zito, plus guest appearances from Johnny Sansone (harmonica), Bo Thomas (fiddle on Last September) and Paul Thorn (vocals on Go To Hell). So here it is. Harder, darker, bolder and better than even its revered predecessor (Runaway), this is the sound of an artist on the brink of the huge-time with both hands on the wheel.

Last October, when Bernard Allison returned to his old haunt of Bessie Blue Studios, Tennessee, to be greeted by fabled producer and career- long collaborator Jim Gaines, it felt like coming home. And when Allison fired up the amps, counted in the band and embarked upon his latest studio album, Highs And Lows, everything felt right with the world. “Just to be able to create music again after the pandemic,” he says of that long-awaited rebirth, “was incredible.”
For 56 years, music has been Bernard Allison’s essence. As the youngest son of the much- missed Chicago bandleader Luther Allison, he was a bluesman from birth. One week after graduating high school, Bernard cut his teeth on the road with Koko Taylor’s Blues Machine lineup – and ended up staying for most of the ’80s. By the close of the decade, however, he assumed a twin identity, leading and
writing for his father’s band, while forging a solo career that exploded in Europe off the back of early albums like The Next Generation (1990), No Mercy (1994) and Funkifino (1995).Now, released in February 2022 on Ruf Records, Highs And Lows sees Bernard acknowledge his lineage through two classic songs by his
father – Gave It All and Now You Got It – while offering nine originals. Try the irresistible groove of Hustler: a funk gem written by Bernard with Andrew Thomas, whose horn-and-harp groove evokes the strut of the title character. Or the masterful Last Night, which shifts tempo from an upbeat chop to a weeping slow- blues, capturing the changing moods of a man chasing his runaround woman. As for the title track, Bernard says it speaks for anyone left bemused by life’s rollercoaster: “It’s a part of life, the ups and downs that everyone deals with.”Right now, with a new album of stellar material to take out on his New Year tour, Bernard Allison is back in the ascendency – and the man can’t wait to return to his natural habitat. “The song So Excited is basically about the excitement of being able to be back on the road again,” he says. “I think everyone can relate to that.”

Prins Thomas veröffentlicht seine Alben 8 und 9 in zwei Stufen, jeweils als LP sowie am Ende gemeinsam auf einer CD. Er beendet damit eine Phase, in der er hauptsächlich Mixe und Remixe für andere Musiker erstellte, während er seine eigene Produktionsarbeit hinten anstellte. Davon befreit, bestreitet er seinen neuen Doppelschlag fast in Eigenregie, einzige Ausnahmen sind die fähigen Hände von Bugge Wesseltoft ('8') und John Carroll Kirby ('8' und '9').

“THE BEAUTIFUL NIGHT”, for many UK Northern Soul fans, epitomises the sound of the Seventies All-Night clubs. Originally spun at The Torch in Stoke and then in every club and soul night in the land. It was written and independently produced by Jimmy Thomas and released on EMI’s ‘Parlophone’ label in 1969. It has remained a rare and collectable 45 on the green promo and even more so on the scarce black stock copy.

In more recent times the original B-side, “Above A Whisper”, has found favour on the crossover scene with it’s more subdued modern soul flavour. Both sides have been remastered for this prestiguous 2022 release.

Born in Birmingham, Thomas Atlas began his impressive musical journey studying the greats thanks to his Father’s record collection.
From then, his fondness for Funk and Soul has grown stronger, taking him touring the UK and USA with some of the finest outfits. But Thomas always knew his destiny was to follow his own path and he has done just that! Now collaborating with British boutique record label Hillside Global on these exclusiverecordings.

The self-titled ten-track debut album leaks zest like a freshly pressed fruit.

This multifaceted artist takes influence from Maceo Parker and George Duke, while keeping true to his vision. It gets the foot-tapping instantly with an infectious cadence. Also, vocally, Thomas boasts a charming timbre which smashes through the mix with conviction.
The slick guitar riffs, bluesy rhythms and fist-pumping beats rip through with might, leaving the thirst for feel-good fully quenched! Hillside Global’s aim is to deliver an experience not just a product. These recordings are pressed under the Hillside Global Exclusive Black Label. The limited edition, first pressing consists of a spot-varnished gatefold sleeve housing a 180g marbled coloured vinyl.
This deluxe release also includes a complimentary download card, alongside a hand numbered certificate of authenticity signed by the label director and recording artist. Designed and pressed in Great Britain

Octahedron Each of the Mars Volta albums that preceded Octahedron had pushed the envelope further, their music growing larger, more intense, more complex.

Each had delivered an implied, unspoken challenge to its makers within milliseconds of its final notes: “top this”. And with each subsequent album, Omar and Cedric had turned their creative dials up one more notch, a further step past “eleven”.

With the addition of new drummer Thomas Pridgen, and their ranks swollen by extra guitarists, more percussion and a sax-player, the intensity of The Mars Volta’s sound had increased. Octahedron, however, would follow The Bedlam In Goliath’s brilliant excesses with a sideways step few were expecting, even though the group had telegraphed their intentions to take this new direction for years.

“This one didn’t have multi-layered sub-texts or any sinister spirits,” says Omar, referencing predecessor Goliath’s traumatic birth. “Octahedron was like an expression of will into reality. Like, ‘This one will be easy, this one will be fun’. Everything had a different process.” “Octahedron was a rebellion,” adds Cedric. “Us saying, ‘This isn’t like anything we’ve done before. This is our “pop” album.’ We’d always promised we’d do a ‘pop’ album.’ This was it.”

Described as a ’60s garage rock band performing as a mini-orchestra stuck within a Tarantino film, Los Angeles-based Spindrift is a cinematically inspired rock band that has also been described as “Heavy Western” or “psychedelic spaghetti-western rocknroll.” Led by songwriter-producer-composer Kirpatrick Thomas on guitar and lead vocals, along with Portland-based guitarist Becca Davidson, bass / baritone guitarist, producer, and vocalist Riley Bray, and aerospace engineer Joe Zabielski on drums and electronics, Spindrift creates a cinematic scope that has been heard on their compilation albums like Classic Soundtracks Vol 1, 2, and The West (released by Xemu Records), HBO’s Eastbound & Down (Seasons 1 & 2), the Quentin Tarantino-produced biker exploitation film Hell Ride, the film Diablo (featuring Scott Eastwood), and “The Ballad of Darrell Lemaire” from Season 1 Episode 9 of Hamilton’s Pharmacopeia (Viceland). Classic Soundracks Vol. 3 is their tenth studio soundtrack compilation album, co-produced by Riley Bray and Jello Biafra. Released by Jello’s own Alternative Tentacles Records, it completes a trilogy of themes from various feature films, documentaries, and TV mini-series. This final installment reveals a new level of maturity from the band, opening doors to new genres including espionage-esque Bond themes, upbeat guitar duets, “Italian Polizia” car chase electronica, hard rock from the Middle East, psychedelic disco, and progressive “kung fu” rock." "Los Angeles-based cinematically inspired rock band’s third in a trilogy of themes from various features. Songs have been heard on HBO’s Eastbound & Down, the Tarantino-produced Hell Ride, Diablo and Hamilton’s Pharmacopeia on Viceland.

Following the release of his exhilarating recent album Bring Backs, London based producer, pianist, bandleader and MC Alfa Mist today announces news of an upcoming EP, Two For Mistake alongside the track 'Bumper Cars'. The EP, out via ANTI-, will be available digitally on 17th November before getting a physical 10" vinyl release on 18th March 2022. Alfa's upcoming tour will be starting in November in the UK and starting Janaury for mainland Europe. The run will be the first time fans will be able to hear tracks from Bring Backs, and Two For Mistake, in a live setting. Bring Backs marked Alfa's first release for the label ANTI- and is also the most detailed exploration of his upbringing in musical form, one which has resonated with audiences to the tune of 7.5 million culuated streams to date. The album's nine tracks of groove-based intricacies, lyrical solipsism and meandering fragmentations are tied together by a remarkable poem written by Hilary Thomas expressing the sensuous realities of building community in a new country. Entirely written and produced by Alfa, the album was recorded in London with a core band of longtime collaborators including Jamie Leeming (guitar), Kaya Thomas-Dyke (bass and vocals) and Johnny Woodham (trumpet).

Thomas Headon was born in London and raised in Melbourne but dreamt of moving back to the city to pursue music. Thomas’ mum told him he had a year to get a “proper job” otherwise he would have to return home. Arriving in London just before the pandemic hit, Thomas started to build a community online - blowing up on TikTok with 14.7M likes and over 400K followers to date - with his off-kilter live sessions, tongue-in-cheek charm and remarkable song writing ability. Learning to write and produce on his own in his late teens, Thomas has already released a self-written and self-produced debut EP, ‘The Greatest Hits,’ and dropped The Goodbye EP last year, amassing 50M streams world-wide. All before his 21st birthday.

On November 5th, Thomas will announce his brand-new EP, Victoria, due 11th March 2022 and available to pre-order from the announcement. Alongside the announcement, he drops new single ‘Strawberry Kisses’ a few days prior, kicking off the road to the EP officially.
Building an incredibly loyal fanbase over lockdown and amassing 100K followers on Instagram, Thomas’ blend of playful alternative pop that speaks to the Gen-Z experience, has been compared to the likes of the 1975’s Matty Healy, and critically praised by Triple J, naming him a “seriously impressive force in pop music”. Already performing a charmingly energetic live session on Jack Saunders’ BBC Radio 1 show, Thomas has just sold out two nights at London’s Heaven on a 17-date tour in November, following the “Living Room Shows” tour, where he played an intimate acoustic series to thousands of fans across the UK. One of the first artists to curate Spotify’s Our Generation playlist, the 21-year-old has also collaborated with American singer-songwriter Lizzy McAlpine on his single 'Bored’ and gained over 50M global streams.
Thomas will also be supporting Sigrid next year on her European Arena Tour.

220 Volt were formed in 1979 in Östersund, Sweden by guitar players Thomas Drevin and Mats Karlsson, but gained traction after releasing their first single “Prisoner Of War” in 1982. When a radio station in New Jersey played the single and it soon became one of the most wanted songs, CBS offered them a contract. In
1983 their debut album was released, selling over 10.000 copies in Sweden alone. The band gained an incredible following all over the world after releasing this self-titled album and became very popular in countries as Japan, Germany and the United States. In 1984, the band performed with Nazareth and later with AC/DC.

In the 1990s, Malka Family landed from the planet Kif to convert France to their vibrant and crazy madness made of euphoric riffs and glittering suits. Direct heirs of George Clinton and his cosmic P-Funk, they quickly burned stages around the world with this communicative energy which only large ensembles have the secret to. France, Europe, Japan, Africa, Canada… They will be forced to stop in the early 2000s replaced by DJs and computers.

2021. June 5th. Three years after the reformation of the band, Ground Control received a message from "Major Thom" - the astronaut Thomas Pesquet himself. The post is clear! Le Retour du Kif produced in 2018 is played in space… @Thom_astro and all the crew members of the ISS are totally fans of the Malka Family’s Music!

A new era begins, the Jedi of Funk have swept away the machines and their logarithmic music, groove and heavyweight Funk reign in the galaxy once again. The Malka Family is releasing a new 14 track album, SuperLune, a crazy and heavenly funk combo!

This time, back to Malka Family’s old recipes. They spend hours, nights in the studio, writing songs, arranging horns, recording vocals, slapping the bass guitar… "SuperLune is a more introspective album, we did everything without any restrictions, and our funk is more accomplished than ever…" says Jo Mannix fresh out from mixing the album. French Radio Nova tells: "In their spaceship, the bass is definitely queen. From your head to your feet and (especially) through your buttocks, “Blue Funk” will awaken your senses. Without even realizing it, you've already been swept up in the crazy storm of the Malka Family. All the ingredients are there: the dance, the music and an atmosphere that only they have the secret to…" Last but not least, to accompany the interplanetary release of SuperLune, Malka re-embark in their spaceship for the next cosmic tour. Let’s go to the Moon! The SuperLune!

Heiko Voss has earned near mythical status as a torchbearer for the emotional, deeply felt and quietly radical style of electronic music. The blissed-out radiance of his Kompakt Pop single, “I Think About You” remains one of the label catalog highlights and a stellar run of collaborative singles as Schaeben & Voss; others might know him for his stewardship of the excellent, much-underrated Firm imprint. But with his new album, 3:30 Minutes To Live, released by Michael Mayer’s label Imara, Voss returns after a long silence with a beautiful collection of songs that hymn heartbreak with a lusciously melodic touch.

There is something definitive and newly confident in 3:30 Minutes To Live that has it feeling like a real statement of intent if compared to his earlier releases. “Although it’s not, 3:30 Minutes To Live feels like my debut album,” Voss reflects. “All releases before were more song sketches or electronic dance tracks.” Bunkering down in Teary Eyes Studio, Voss worked up somewhere between thirty and forty sketches of songs, which he whittled down to the twelve collected here, all of them situated in a unique space, but very much in accord with Voss’s defining aesthetic, which he describes as “indie pop music with a lot of guitar, electronic elements and a great love for melancholic ‘80s synth-lines.”

Voss is sensitive to both variety and consistency – 3:30 Minutes To Live sits together as an assured, vibrant collection of pop songs, but it’s marked by all kinds of surprising incident, like the guitar solo that erupts out of “This Is My Life”, or the acoustic guitar-led melancholy of the closing “This Summer”. It’s all borne of the alchemy of the studio process and the intimate romance of music-making. “If you constantly feel a little bit like you’re in love while writing and producing your music – simply because of the sound of the synth flowing warmly and gently through the room, or because the sequence of notes awakens something in you, or even a randomly arising groove in the loop of a guitar lick makes you shout, ‘Ha!!’ – then it usually becomes a beautiful song,” Voss nods. “Those moments make me happy.”

There’s also a delicious tension between the push of the music, its melodic lushness and gliding, ballerina-like movement, and the darker currents that pull through Voss’s lyrics, inspired by a “short, dramatic and toxic love affair.” This may read like familiar terrain for a pop album, but the way Voss weaves language through both the extra-linguistic joys of music and the inarticulate speech of the heart somehow allows for direct communication that is simultaneously plain-spoken and deeply profound. “Say It” is a simple, devastatingly effective plaint of alienation; “She Wasn’t Lonely” a simple portrait of everyday living set to chiming, clacking guitars, the music in the bridge taking astral flight as the titular character ‘lets herself go.’

A smart and sharp collection of songs that captures you with its gorgeous melodicism just as it blindsides you with its aching heart, 3:30 Minutes To Live is Heiko Voss at his most assured and open-hearted best.

Heiko Voss hat sich als Fackelträger einer emotionalen, von ganzem Herzen kommenden und nicht auf den ersten Blick radikalen Spielart von elektronischer Musik einen nahezu mythischen Status erarbeitet. Das schiere Glück, welches seine Kompakt Pop-Single "I Think About You" aus dem Jahr 2003 immer noch ausstrahlt, macht sie nach wie vor zu einem der Highlights des Label-Katalogs, wo sie neben einer ganzen Reihe hervorragender Singles als Schaeben & Voss steht; andere kennen Heiko vielleicht durch das tolle und vielfach unterschätzte Label Firm, für das er zusammen mit Thomas Schaeben verantwortlich war. Mit seinem neuen Album “3:30 Minutes To Live”, das am 4. März 2022 auf Michael Mayers Label Imara erscheint, kehrt Voss nun nach einer langen Pause mit einer wunderschönen Sammlung von Songs zurück, die den Herzschmerz – getragen auf den Schwingen unwiderstehlicher Melodien – ausgiebig besingen.

“3:30 Minutes To Live” kommt mit einer gehörigen Portion Überzeugung und Selbstbewusstsein daher, was im Vergleich zu seinen früheren Veröffentlichungen wie ein bewusstes Statement wirkt. "Obwohl es das nicht ist, fühlt sich ‘3:30 Minutes To Live’ wie mein Debütalbum an", meint Voss. "Alle meine vorherigen Veröffentlichungen waren eher Song-Skizzen oder elektronische Dance-Tracks."

Im Teary Eyes Studio arbeitete Voss zwischen dreißig und vierzig Songskizzen aus, die er auf die zwölf hier versammelten Songs reduzierte, die alle ihren eigenen Raum einnehmen, dabei aber sehr gut mit Voss' übergeordneter Ästhetik harmonieren, die er als "Indie-Pop-Musik mit viel Gitarre, elektronischen Elementen und einer großen Liebe für melancholische 80er-Jahre-Synthies" beschreibt.

Voss ist sowohl für Abwechslung als auch für Konsistenz empfänglich - “3:30 Minutes To Live“ ist eine selbstsichere, lebendige Sammlung von Popsongs, die aber auch von allerlei Überraschungen geprägt ist, wie dem Gitarrensolo, das aus “This Is My Life” herausbricht, oder die von einer Akustikgitarre getragene Melancholie des abschließenden “This Summer”.

Das alles ist entstanden aus der besonderen Alchemie des Studioprozesses und der intimen Romantik des Musikmachens. "Wenn du beim Schreiben und Produzieren deiner Musik ständig das Gefühl hast, ein bisschen verliebt zu sein – einfach weil der Klang des Synthesizers warm und sanft durch den Raum fließt, oder weil die Notenfolge etwas in dir weckt, oder sogar ein zufällig auftauchender Groove im Loop eines Gitarren-Licks dich ein 'Ha!' ausrufen lässt – dann wird daraus meist ein schöner Song", nickt Voss. "Diese Momente machen mich glücklich."

Es entsteht eine besondere Spannung zwischen dem positiven Elan der Musik, ihrer melodischen Verschwendungssucht, den gleitenden, Ballerina-artigen Bewegungen und den dunkleren Strömungen, die durch Voss' Texte ziehen, die von einer "kurzen, dramatischen und giftigen Liebesaffäre" inspiriert sind. Das mag sich wie ein vertrautes Terrain für ein Pop-Album anhören, aber die Art und Weise, wie Voss die Sprache sowohl durch die nonverbalen Elemente der Musik als auch durch den nicht artikulierten Ausdruck des Herzens verwebt, ermöglicht eine Art direkte Kommunikation, die gleichzeitig ausgesprochen klar und trotzdem tiefgründig ist. “Say It" ist eine erschütternd einprägsame Anklage von Entfremdung; "She Wasn't Lonely" ist ein einfaches Porträt des alltäglichen Lebens, untermalt von klappernden Gitarren, in dem die Musik einen astralen Flug unternimmt, während die Titelfigur sich "gehen lässt".

“3:30 Minutes To Live“ ist eine kluge und scharfsinnige Sammlung von Songs, die den Zuhörenden mit ihren wunderschönen Melodien fesseln, aber auch mit einer Menge schmerzenden Gefühlen konfrontiert. Ein Album, auf dem Heiko Voss ganz bei sich ist und Euch dabei mehr als nur sein Herz öffnet.

A new hub solely for the Icelandic talent’s unreleased material, BJARKI will also serve as a platform to launch a wealth of forthcoming audiovisual projects in the coming months, with the label logo designed by Paul Nicholson, NUMBER 3, and all artwork designed by Thomas Harrington Rawle - the creative behind the Care More project. Operating and creating its own storyline with every release, intertwining projects between Harrington Rawle and Bjarki across various mediums, the imprint will also drop a series of offshoot white label releases while being reactive and unveiling random drops across its upcoming schedule. Delivering his first solo release since ‘Oli Gumm’ on трип in 2018, late-February marks the first release on the new label as he unveils his four-track ‘I Wanna Go Home’ EP.

“I want to share more of my unreleased works, especially the tracks that I have created specifically for parties in each city I play. People impact my work a lot, and I would like to share this music directly before or after the show. I don’t see any other way than to set up my own channel or label where I can share all these ideas. Next year will be a lot about sharing stuff and being in direct contact with the audience.” - Bjarki

Opening the label with authority, ‘I Wanna Go Home’ welcomes a quartet of cuts showcasing the genre-spanning polymath at his best, delivering a medley of serious yet playful productions which arc back to previous material while also looking ahead to the future. A creative force with an unrelenting swathe of experimental ideas, influences and directions, this new eponymous imprint looks set to home some of Bjarki’s finest and most unpredictable material to date.

Wednesday 24th November - Kojey Radical, one of the UK's most influential musical voices, today announces details of his highly-anticipated debut album. Titled Reason To Smile, the 15 track album will be released on 4th March 2021 via Asylum / Atlantic Records. It features guest appearances from Tiana Major9, Masego, Shaé Universe, Cash, Kelis, Lex Amor, Knucks, Shakka, Wretch 32, Ego Ella May and Rex Life Raj and his own mother (whose voice weaves throughout the record) alongside a who's-who of global production talent including KZ, Swindle, Jay Prince, iO, The FaNaTiX, Cadenza, 169, Venna, Ric & Thadeus, Blue Lab Beats, Emil Larbi, Mr Cutts and Ed Thomas.

Having already made such an indelible mark on British music it's hard to believe that Kojey Radical has never released an album. Over four previous EPs, Kojey Radical has given people greatness but on Reason To Smile he's striving for perfection. Defined by a sound he describes as "space and bass" and featuring the singles "War Outside (ft Lex Amor)" and "Gangsta", Reason To Smile is without doubt Kojey Radical's most ambitious and complete work to date and an emphatic statement of the levels at which he operates.

Kojey Radical today also announces details of his “From Me To You” tour. Commencing on 4th March (album release day), the tour will see Kojey partner with record stores across the UK for a run of in-store and out-store shows and signings throughout album release week. These intimate shows will be a rare opportunity to see Kojey Radical so up close and personal and are sure to sell out quickly

In the late '70s, three do-right women from Cleveland forged a brief partnership with Ohio's everything man, Lou Ragland. Unlike the prefabricated singing combos of the day, Lily Pearson, Annette Warren, and Avetta Henry swapped lead duties as situation demanded. When a Ragland-centric publicity stunt preempted a concert appearance, Love Apple disintegrated, abandoning this rehearsal tape within the lo-fi confines of Thomas Boddie's cherished Eastside studio. Devoid of bass, the sparse instrumentation (only Lou on guitar and piano and Hot Chocolate's Tony Roberson on drums) accentuates each vocalist's aptitude, showcasing some of Ragland's finest songwriting in the process. During any given take, Ragland can be heard calling audibles, directing his singers to repeat a passage, or lending his own sweet tenor to the vocal mix. Never intended for release, Love Apple's six-song sketch is the perfect companion to I Travel Alone, bringing Ragland's unique musical vision into sharper focus.

At the start of 2021 I realized I hadn't paid much attention to my own productions lately, rather spending time doing remixes
or mixdowns for others or like many others, worrying over what the future will bring.

I started going through tracks and ideas I had started on but not completed and now as another annus horribilis nears the end
I have 2 albums ready for release, entitled "8" and "9".

Although I promised myself to never say it I personally think they're my best work so far and I hope someone else will get the
feeling of "a light at the end of the tunnel" when listening to these tracks just like I feel when listening back to them.

There are contributions from the very capable hands of Bugge Wesseltoft("8") and John Carroll Kirby(on both "8" and "9"), besides that it's just me.
Prins Thomas December 2021

Porter Ricks is a collaboration between Thomas Köner and Andy Mellwig. After the Re-release of the legendary album "Biokinetics", which is superb subaquatic dub techno, we re-release Porter Ricks first album on Mille Plateaux. The album demonstrates the move to a kind of discoid funkyness with an underlying almost organic rhythmight. But still its not music for beautiful souls. Instead, it combines funkyness with alien sonic fluxes and the rhythm of a killing mover.

Regal shares the final remix EP of his debut album, "RWYS Remixes Pt.03". With reworks from Alignment, Thomas P.Heckmann, _asstnt & Roll Dann, Sita Abellan & the Involve Records head himself.

Regal's "Remember Why You Started" LP faces its final rework. The last package welcomes Regal and Sita Abellan, Thomas P.Heckmann, _asstnt & Roll Dann and Alignment to shine their production skills to the Spanish techno luminaries first album.

Regal & multi-faceted Spanish artist Sita Abellan collaborated for the rework of "Cult Of Personality". Their rendering leans heavily into the realm of electro, with heavily distorted synth lines marching through like a freight train. Darting keys rush and reverberate back upon themselves before a powerful female vocal sample takes over from the male voice that commanded the original. Germany's Thomas P Heckmann takes on "Before I Die". Heavier and beefier than the original, the kick drum and baseline of Heckmann's remix take control and dominate the landscape. He retains Pau's distinct vocals, leaving a familiar dash of the original in this bolder rework. Percussion takes a front seat in this version, with snare drums and cymbals combating the bitter main synth melody.

Straight from Madrid's underground scene are producers _asstnt & Roll Dann, who team up for the remix of "Respect". A cut up, distorted rework that grows darker and more robust throughout. Bottomless kick drums ring out, while a heavily distorted electric guitar sample brings grime and a sonic haze to the track. The American male vocal sample is kept on from the original and remains even more powerful in it's reworked state than before. Italian producer Alignment wraps up with the accurately placed track "The Last Dance". In this final remix of the series the kick drum received a complete overhaul, instantly pivoting the track into a darker place. Only the curious melodic key sequence pours light into the track and brings with it an overwhelming sense of positivity to the closer. The baseline backs up the melody before percussion breakdowns take centre stage and the two fight for dominance until the final beat.

London based duo Blue Lab Beats announce their new and most ambitious album to date : “Motherland Journey”. The two producers and musicians assemble an all-star lineup ranging from Afrobeat star Ghetto Boy to rising stars such as Tiana Major9, Pip Millet, Ego Ella May, Kofi Stone and much more. They broaden their inspirations from their trademark Jazztronica and masterfully blend afrobeat, New R’n’B and Soul.

Die Grailknights melden sich mit ihrem sechsten Studioalbum 'MUSCLE BOUND FOR GLORY' zurück!
12 Tracks versprechen Superherometal der Extraklasse. Auf ihrem Album bringen die Knights kraftvollen Power Metal, kombiniert mit energetischen Retrosynthis, epischen Chören und cineastischen Klanggewalten, zu Gehör. Musik, welche für massiven Muskelaufbau sorgt, ganz ohne Steroide. Stimmliche Unterstützung gibt es von niemand geringerem als Thomas Laszlo Winkler, ehemaliger Frontmann der Power-Metal-Band Gloryhammer, und von Ben Metzner, Frontmann der Mittelalter-Rock-Band Feuerschwanz. Wer sich dieses muskulöse Metal-Workout nicht entgehen lassen möchte, kommt nicht drum herum 'Muscle Bound for Glory' auf den Plattenteller zu legen und sich live mit den Grailknights auf die Suche nach dem heiligen Gral zu begeben.

For Fans Of.. The Frightnrs, The Heptones, Toots & The Maytals, Jimmy Cliff, The Wailers. A bonus cut from Jr. Thomas' "Rockstone" sessions in L.A., this little nugget from a forthcoming 7” single oozes with all the sweet Jamaican vibes that fans of Jr. Thomas have become accustomed to! Authentically steeped in traditional JA music, but also clearly forward facing with wonderful original songwriting from Tom McDowall.

During the late 1970s, deejay-turned-producer Jah Thomas played a key role in the emerging dancehall movement, harnessing the Roots Radics at Channel One studio for rough-edged futuristic rhythms that became platforms for songs of everyday life. Junior Keating’s solid debut LP Weekend Lover gathered popular singles such as ‘Watch What You Do,’ which implored upright living, and lovers laments ‘Long Long Time’ and ‘Something Is Bugging Me’; ‘Conquering Lion’ showed that the versatile singer was also adept at deep roots tunes. With a tough mix by Scientist at King Tubby’s studio and additional editing by Bullwackie, this superb offering is of massive appeal to all fans of late roots and foundation dancehall.

Reinhold Weber, born in 1927, was known as a pioneer of electronic music. In his compositions, Weber placed a focus on twelve-tone music, he became increasingly fascinated in the field of computer music since the 1970s. He produced numerous works at the Studio for Electronic Music at the University of Karlsruhe.

Reinhold Weber was born in Gießen on July 18, 1927. He studied at Robert Schumann Conservatory in Düsseldorf (including composition with Jürg Baur, piano with Max Martin Stein) and passed his exam in composition, theory, piano and ear training with distinction. He completed further masterclasses with Wolfgang Fortner, Hermann Heiss, Oliver Messiaen (composition), Kurt Thomas (choral conducting), Andor Foldes (piano) and Gerhard Nestler (electronic music). Reinhold Weber was a professor at the Baden Conservatory of Music in Karlsruhe and also worked in the Studio for Electronic Music of the University of Karlsruhe. His works have been performed in numerous concerts and were broadcasted by SDR, WDR, NDR, HR, SWF and Radio Bremen. Reinhold Weber died March 25, 2013.

Actor Kurt Müller-Graf was born in 1913. After visiting the Theater Academy of Baden in Karlsruhe, he appeared on stage at National Theaters of Karlsruhe, Kassel and Munich since 1935. During World War II he performed in about 10 feature films by Bavaria Film Munich. After 1945 he played at National Theaters in Karlsruhe, Stuttgart and at Theaters in Nuremberg, Cologne, Munich, Mannheim, Baden-Baden and Burgtheater Vienna. Furthermore he had guest performances in Zurich, Basel, Salzburg and Heidelberg. Kurt Müller-Graf was touring and had broadcasts on radio and television shows at home and abroad. Kurt Müller-Graf died August 10, 2013.