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Techno Parade Vinyl is delighted to release this brand-new project by Robert Armani.

The successful Hit Hard Remixes with our beloved artist has proven that he is still a Legend. Straight techno with his very own sound is going to burn the hearts of you all no doubt. Techno Parade for techno lovers. We love techno!

Limited Pressing.

Invisible City Editions returns with an official repress of a fantastic double-sided private press rarity from 1989 Detroit. Featuring two legendary Inner City alumni Producer/keyboardist Engineer Art Forest and Inner City background vocalist dancer/singer Shawn Pittman. On the A side a lush slow modern soul slow burner “Dreams'' features a deep,spatial throbbing bass line with glistening synths floating underneath cool angelic hypnotic vocals by Ms Pittman.” 'Dreams are only Dreams till you make it real' chants Shawn Pittman and we’re lead down a dazzling maze of mirrors. With “I'm Losing Control (Extended Bass-ment Club Mix)” on the flipside a wild late night warehouse dub remix features sci-fi vocal effects,fostex tape loops and ultra-heavy bass and driving drum machines. Minimal lush soul perfect for early mornings and the post-club world and a wild sci-fi house winner for late night club sessions. An IC fave! Remastered by Brandenberg/The Carvery (Note: we’ve also removed the drum machine going out of sync that was on the original press) Official Repress via Art Forest and his label Wildboy.Essential stuff!

Art Forest is an Electronic Engineer and production wizard from Detroit Michigan. He originally recorded 2 of Inner CItys’ Biggest Hits “Good Life” and “Big Fun” and continues to record to this day. Art Forest still finds and repairs equipment to add to his studio today. He also recorded for Paula Abdul “Straight Up” and Madonnas’ “Justify My Love” Shawn Pittman was a singer and dancer from Detroit who was a good friend of Inner City vocalist Paris Grey. Shawn Pittman sang backing vocals and harmonies on “Good Life” and “Big Fun”.

The Best Old School Death Metal album from the Netherlands gets a well-deserved re-issue! Crushing, aggressive, abrasive, pounding, bone crunching... In an age when blast speed drums were still mostly used by grindcore acts (and some pioneers such as Morbid Angel) and now classic bands such as Cannibal Corpse, Suffocation, Deicide were still tiny demo acts, Dutch masters Pestilence released one of the best old school Dutch death metal classics ever to be unleashed upon mankind, the album that made a huge impact upon its release. “Consuming Impulse” is one intense album. one could say this album is definitely up there with classic death metal albums such as Death’s “Leprosy”, Obituary’s “Slowly We Rot”, and Morbid Angel’s “Altars of Madness”. With “Consuming Impulse”, Pestilence created their greatest, most complete album, successfully marrying the primitive brutality of their previous effort ‘Maleus Maleficarum’ with the technicality of their later releases. Whereas their debut album “Malleus Maleficarum” had some hints of thrash metal, this was gone on “Consuming Impulse” although the up tempo beat was still of course very much present. The production was heavy yet remarkably transparent. The riffs of Patrick Mameli on “Consuming Impulse” are simply mind-blowing. Even though quite simple at times they still prove extremely deadly. Try the main riffs in the verses of ‘Process of Suffocation’ and ‘The Trauma’ for starters. Speed monsters like ‘Dehydrated’ and ‘Reduced To Ashes’ were simple compositions but the intensity of this material just oozes out of your speakers. The presence of these straight forward raging death metal tracks was perfect to balance the dynamics and variety of the album. Songs such as ‘Chronic Infection’ and the classic ‘Out Of The Body’ incorporated some great interacting differentiating guitars and much more diversity in pace and riffing.

Under The Sun is the follow-up to the astonishing Roots and contains yet more absolutely essential Nucleus material. Originally released on Vertigo in 1974, Under The Sun was never re-pressed and of course those original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has stayed relevant. To steal a line from a recent review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

Under The Sun opens with the crisp, medium tempo “In Procession”. It’s a typically inventive Carr track with layers of dramatic, riff-led themes and repeating brass blasts. Bryan Spring’s “The Addison Trip” is a moody funk piece, with Kieran White guesting on wordless vocals. Roger Sutton contributes some fine bass guitar on this track, particularly the great solo at around the two minute mark. The excellently-named cool, jazzy ballad “Pastoral Graffiti” paints bucolic pictures with its mellow sonics, plaintive horns and Bob Bertles’ flute.

Sutton’s superb, bass-driven “New Life” brings a different dynamic. Horns, guitar and electric piano swirl over the head-nod bass motif and a killer Ken Shaw guitar solo. A false fade out halfway through brings in a new bass riff that’s picked up by the whole ensemble as Carr wah-wah noodles over the top. It’s full-on. The gorgeous, laidback “A Taste of Sarsaparilla” is exactly that - closing out the first side with a cute blast of what is to come over on the killer flip.

The whole of Under The Sun’s second side is a suite of three “Themes” written by Ian Carr. The uptempo first theme “Sarsaparilla” is comfortably one of Nucleus’ best. What would’ve been a cluttered mess in the hands of most is instead an effortless lesson in clarity and zing. Between Geoff Castle’s electric piano solo, the relentless funky drumming and more wild wah-wah trumpet from Carr, Nucleus show you how it’s done.

The languid groove of second theme “Feast Alfresco” is much more typical of “classic” Nucleus and sounds like something that might’ve been on Roots. A Bertles baritone solo and a guitar solo from Shaw weave around the core, serpentine brass theme.

The darker “Rites of Man”, the third and final theme, is a slow build to a solid bass and electric piano riff, shored up by some tricky brass. Carr takes the theme even further and there’s still plenty of room for soloing from all corners of the Nucleus. As usual, the dynamic Sutton/Spring, bass/drums duo is holding down the rhythm for the rest to jam around.

This Be With edition of Under The Sun has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The bleak, rain-dappled cover matches the melancholic vibe of the record and has been restored as the finishing touch to this long overdue re-issue.

Knucks takes the Hip Hop world by storm as he gears for the release of his highly anticipated new project "Alpha Place"'.Following the release of his unorthodox visuals, Knucks delivers heartfelt messages through addictive rap compositions

A dynamic new face to the genre, "Alpha Place" focuses on the feelings and thoughts that the artist and producer has been experiencing growing up in London, channeled through the stirring essence of music. Highlighting important narratives and revitalising the Hip Hop genre, with a composition which is both soulful, moving, and memorable, the rising new artist is changing the rules of the
game.Knucks is taking his artistry to new heights in Alpha Place, with soulful samples and distinctive production styles paired with some of the UK's biggest names in the rap game. The project is more than just an ode to the neighbourhood Knucks grew up in Alpha House but a representation of life and culture on all sides of the capital. Giving a voice to many experiences shared by young people growing up. Knucks makes his mark on the industry with this new body of work pushing boundaries and channelling his authentic flow and flair.

From selling out headline shows and opening for the likes of Wretch 32, Knuck's approach and unorthodox style has garnered over 150 million streams across all platforms independently as well as earning critical acclaim from outlets such as GQ Style, Wonderland, Notion and many more. Boasting a range of noteworthy features including contributing show-stealing verses on collaborations like "Beg To Differ" with Emil, "Ting Tun Up, Pt. II '' with Montreal's Skiifall.

Jonathan Jeremiah veröffentlicht sein 5. Album 'Horsepower For The Streets'! Ein Großteil des neuen Albums wurde auf dem Land in der Nähe von Bordeaux, während der Pausen von Jonathans erster Frankreich-Tournee geschrieben, bevor das Album final in einer monumentalen Kirche in Amsterdam mit einem 20-köpfigen Streichorchester aufgenommen wurde.

Im Grunde ist 'Horsepower For The Streets' ein Konzeptalbum in elf Kapiteln, das von dem bleibenden Schmerz und der Zerbrechlichkeit lebt und uns dabei lehrt, unsere dunkelsten Dämonen zu akzeptieren.

Die Songs darauf fangen einen speziellen Groove früherer Jahrzehnte ein, mit schrammelnden Gitarren, majestätischen Streichern und warmen, nostalgischen Harmonien.

So auch der Titeltrack und erste Single, auf dem Jonathans vibrierende, soulige Stimme und die tiefgründigen Texte auf eine groovige Rhythmusgruppe und Streicher á la Lalo Schifrin, Michael Kiwanuka oder Terry Callier treffen.

Seit ihrer Gründung im Jahr 2004 durch den Multiinstrumentalisten und Songwriter Justin Greaves ist CRIPPLED BLACK PHOENIX die Stimme der Stimmlosen - seien es Tiere, Ungleiche oder Andersartige. CRIPPLED BLACK PHOENIX haben es sich zur Aufgabe gemacht, die Ungerechtigkeiten, die der Menschheit und ihren Lebewesen widerfahren, zu beleuchten. Ihr Kampf geht mit ihrem neuesten Studioalbum "Banefyre" weiter. Das Album ist von einer Tiefe und Introspektion durchdrungen, die CRIPPLED BLACK PHOENIXs Stellung als Band, die sich über alle Genres hinwegsetzt, weiter festigen wird.

There is a moment on Sides, the new album from Richmond, Virginia-based duo Lean Year, in which a hospital room floor is filled with white chrysanthemums. This imagery, based on an opiate-induced hallucination experienced by vocalist Emilie Rex's mother as she recovered from surgery, is a perfect encapsulation of the band's second album: dreamlike and beautiful, yet burdened with cold, stark reality. Sides is a harrowing journey through realms of grief and memory, a meditation woven into a tapestry of synth pads, woodwinds, and Rex's instantly recognizable voice. The duo of Rex and Rick Alverson - who also works as a film director (The Mountain, Entertainment, The Comedy) - originally set out to write an album about conflict, but during the writing and recording process, they were confronted with a number of personal tragedies. Alverson lost both of his parents in rapid succession, Rex's mother received a cancer diagnosis, and the couple's beloved family dog, Orca, died. These events transformed the album into an exploration of loss - an attempt at processing the painful, complex, and private emotions that bubble to the surface when confronted with death. "We thought we'd do a concept album called Sides where we could reflect on all of the division in the world, and some in our own families, but then COVID transformed everything / everyone, and we suffered our own specific losses. The record became about loss and grief," Rex explains. "In this way, the title Sides was still appropriate: our individual grief and collective grief, the margins of before and after, the act and feeling of during and enduring. It felt like straddling a threshold between two opposing sides - the moment before conflict and the moment after it passes, life and death, the act of living and the memory of the act. Grief feels like a contention between what you knew and what you now know, and often both feel real and unreal at once." Sides - produced by Alverson alongside Erik Hall (In Tall Buildings) and featuring contributions from Elliot Bergman (Nomo, Wild Belle) and Joseph Shabason (Destroyer, The War on Drugs) - as a distinctly cinematic quality, perhaps due in part to Alverson's other career. Moments of jazz, slowcore, and dirgelike R&B find their way into the sorrowful, ambient suite, lulling the listener into a state of calm while the lyrics speak of ghosts, childhood, and mortality. Despite the gravity of the subject matter, Sides succeeds in mastering a balancing act between pathos and pop. Each song is indelible and haunting, with melodies that have the kind of broad appeal reminiscent of Karen Dalton, Aldous Harding, and FKA twigs.

Nach zwei überzeugenden Alben erscheint mit "Sauropoda" nun das dritte Album der Electro-Funk Band L"ECLAIR. Die fünf Songs sind absolut dancefloor-tauglich und groovy. Zwei Jahre nach dem Debüt "Cruise Control" (2017) und ein Jahr nach dem erfolgreichen zweiten Album "Polymood" (2018) erscheint nun das dritte Album der Genfer L"ECLAIR. Auch auf "Sauropoda" setzt die Band eine Vielfalt von Vintage-Equipment und Synthie- Sounds ein. Die Tracks sind allesamt sehr warm und erinnern an elektronische Songs aus den 1970ern. Eine Art spaciger Grundteppich durchzieht die Songs, während Bass und Drums einen unwiderstehlichen Groove über das Ganze legen. Aber auch experiementelle Kraut-Elemente lassen sich in den Songs finden. "Proto-Prog-Groove" nennt die Band ihren Sound und trifft es damit genau auf den Punkt.

,Four" überrascht mit einem nuancierteren und reiferen Psychedelic-Sound, während gleichzeitig der für Fabienne typische zackige French Pop trifft 60's-Garage Stil beibehalten wird. Es gibt eine Vielzahl von Instrumenten, insbesondere das Mellotron funktioniert als willkommene Ergänzung bei vielen Tracks. Die zeitgenössischen Originalkompositionen ,I'll Never Be Lonely Again" und ,See How They Run" sind meisterhaft für Fabiennes unverwechselbare Art kreiert worden, und beide zeichnen sich durch einen starken 60's Groove aus, der mit ihrem charakteristischen Sound in Einklang steht. Wie bei jeder Fabienne Delsol LP werden sorgfältig ausgewählte Cover von Fabiennes zarter Stimme liebevoll interpretiert: ,Follow Me" von Lyme & Cybelle ist ein wunderbarer Garage-Folk-Ausflug und ,Face", der Eröffnungstrack des zweiten Albums von The Human Beinz, kommt als atemberaubende Interpretation. Fabienne einen ,Spare Parts" Album-Track in Angriff nehmen zu hören ist keine Überraschung, immerhin ist sie ein lebenslanger Status Quo Fan und ,When I Awake" als zurückhaltend funkelnde Fassung gibt es so nur von ihr. Der Höhepunkt ist Francoise Hardys schwelender französischer Klassiker ,J'ai Fait Du Lui Un Reve" der hier üppig ätherisch, mit starker Emotion und langsam aufbauenden Tonschichten neu interpretiert wird.

Presenting a brand new vinyl compilation featuring artists from the electic Funkiwala label – from Brasillian Afrobeat to Bengali Funk to Indo-Cuban-Nigerian Jazz to European Jazz Soul to traditional Baul Myticism - 3 newly released tracks by Phil Dawson, Cubafrobeat and Lokkhi Terra, with other tracks previously released digitally or on CD only - "if further proof were needed that London is a hotbed of cross-culturally inspired expression, it's new record label Funkiwala"Evening Standard

1. QUE BELEZA - Phil Dawson feat Nina Miranda and the +2s (Domenico, Moreno and Kassin)

A funky version of a Tim Maia classic from the legendary 'Racional' period. Guitarist Phil Dawson grooving with Brasillian musicians Moreno Veloso, Domenico Lancelotti and Kassin Alexandre (the +2s), vocalist Nina Miranda and co-producing with Marco Dalle Luche

2. ON A SUMMERS DAY - Archie the Goldfish -

A project co-led by trumpet player Graeme Flowers and guitarist Chris Bestwick. This track is a nod to the great Miles Davis electric albums of 50 years ago, taken from a 5-track EP "Water & Light' incorporating elements of jazz, drum & bass, funk and hip hop (released in 2021)

3. ENI AGEE - Cubafrobeat -

Formed out of the collaboration between London fusionistas LoKkhi TeRra ("probably the worlds best Cuban-Afrobeat-Bangladeshi group"Songlines) and UK's Afrobeat Ambassador Dele Sosimi ("A true legend"Clash), Cubafrobeat was initially the name of their critically acclaimed album from 2018 (" A total Stonking Blinder"All About Jazz). This has evolved naturally into an entirely new musical beast – and this is their first single.

4. HARMONIUZINHO - Lokkhi Terra

Taken from their debut CD album "No Visa Required" (2010), this is one of the tunes that put Lokkhi Terra on the map. Recorded in Kishon Khan's home studio the track captures the beginning of this London band's journey.

5. KANDE REVISITED - Lokkhi Terra

This a reworking of Lokkhi Terra's version of a classic Bangla Folk song written by Hason Raja. Maintaing the spirit of unique sound clashes, the track combines a typical London Afro Funkiness with the sublime Bengali vocals of Aneire Khan, Sohini Alam and Aanon Siddiqua. The original version was released on their 2012 CD album "Che Guava's Rickshaw Diaries".

6. NUORACLE - Justin Thurgur

Originally released as a digital single, this release from Justin Thurgur, composed in collaboration with Kishon Khan, is a Cuban Jazz track that features driving Timba bass lines and Afrobeat inflected horns and is a nod to the Nuyorican Latin Jazz scene of the '50's, '60's and '70's, which has been a big inspiration to them.

7. EU TOPO - Beiju

Beiju is the combined work of two unique practictioners: Firstly, Adma Macedo Newport from Salvador da Bahia, a singer who has integrated the great Afro-brazilian musical traditions of her native city with that of those she's lived in on her travels. Secondly, Phil Dawson, a London-based guitarist and music writer who has collaborated with many stylistic originators internationally, including those from all four corners of Africa. .

8. SHADHO KI RE AMAR - Shikor Bangladesh All Stars

Taken from their debut album "Soul of Bengal" - This Folk super group is made up of legendary session musicians from Bangladesh. This track features the late great Baul Rob Fakir and is written by the great mystic, Baul Lalon Shah, whose songs are still be found throughout the Bengal today.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book "Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

"KNOW YOUR ENEMY" NEU GEMISCHT, REKONSTRUIERT UND WIE URSPRÜNGLICH VORGESEHEN IN ZWEI SEPARATEN ALBEN NEU VERÖFFENTLICHT: "SOLIDARITY" UND "DOOR TO THE RIVER"Nach dem Erfolg von "This Is My Truth Tell Me Yours" aus dem Jahr 1998 planten Manic Street Preachers ein ehrgeiziges Nachfolgeralbum, das in Form von zwei eigenständigen Alben veröffentlicht werden sollte: eine aggressive, rasante Rückkehr zu ihren Wurzeln namens "Solidarity" und "Door To The River", eine eher versöhnliche, nachdenkliche Kollektion. Während der Aufnahmesessions bekam die Band kalte Füße und entschied sich für ein einziges Album, das sie nun dazu zwang widersprüchliche Ideen nebeneinander auf ein und derselben Platte zu platzieren.Während er das Archiv der Band durchstöberte, um eine Jubiläumsversion von "Know Your Enemy" zusammenzustellen, fand Nicky Wire die Originalbänder von "Solidarity" und "Door To The River", die er während dieser Aufnahme im Studio gemacht hatte. Als er die Idee vorbrachte, diese Platten neu zu erstellen, stimmte James Dean Bradfield unter der Bedingung zu, dass er die gesamte Aufnahme mit dem langjährigen Studiopartner der Band, Dave Eringa, remixen könnte.Der Schreiber und langjährige Mitstreiter der Band, Robin Turner, erklärt in seinen ausführlichen Notizen auf den Sleeves, dass diese Veröffentlichung "der Director's Cut von 'Know Your Enemy' ist. Das Bild wurde sorgfältig restauriert, aufgeräumt, aufgehellt. Obwohl es nicht darauf abzielt, das Original zu ersetzen, erweitert es dies auf jeden Fall."Dieses Set enthält die beiden angestrebten vollständigen Platten, plus Demos, Outtakes, unbenutzte Mixe von Tom Lord-Alge und Tracks, die auf dem Original "Know Your Enemy" enthalten sind, sowie bisher unveröffentlichte Fotos von den Aufnahmesessions, die von Mitch Ikeda, einem festen Kollaborateur, aufgenommen wurden.

Blue - also Antony Costa , Duncan James , Lee Ryan
und Simon Webbe -, das ist so ein Name, der einen
automatisch in die Boygroup-Ära transportiert: Sie waren
nicht nur einer der größten und erfolgreichsten Acts jener
Hochphase, sondern vor allem auch einer der besten. Auf
den drei Alben, die ihnen in den Nullerjahren
Spitzenplätze in den Charts (u.a. 3x #1 UK, 1x Top-10
DE) und reichlich Platin bescheren sollten, verschränkten
sie lässigen R&B mit hochauflösender Pop-Perfektion und
emotionalen Balladen, was der im Jahr 2000 gegründeten
Boygroup nicht nur 16 Millionen verkaufte Albumeinheiten
bescherte. Auch zwei BRITs räumten sie ab im
Königreich, wo sie gleich 11 Mal die Topregion der
UK-Singlecharts aufmischen konnten und davon gleich
noch drei Mal die #1 belegten.

Parallel zur Stadiontournee werden Blue im Herbst ihr
sechstes Album Heart & Soul veröffentlichen - ihr erstes
fürs neue Label Tag8 Music/BMG. Der neue Longplayer
unterstreicht und zelebriert all das, was die Band während
ihrer ersten Blütezeit ausmachte, denn er spielt immer
wieder auf die Vergangenheit an, bringt aber auch
kontinuierlich Neues ins Spiel. Ihr Trademark-Sound
schwingt im sorglos-ausgelassenen Titelsong, der von
MNEK (Beyoncé, Little Mix) mitkomponiert wurde,
genauso mit wie in der gefühlvollen Ballade "Magnetic",
bei der die Jungs mal wieder ihr ganzes umwerfendes
Stimmvolumen auspacken dürfen. Mit der Leadsingle
"Haven't Found You Yet" legen Blue einen Instant-Classic
vor, der klanglich eher in Richtung Justin Bieber oder
auch jüngere Coldplay-Hits geht. Man hört, dass sie
unbedingt alles geben wollten für Heart & Soul

Mit ihrem kurzweiligen "Slow Food" richtet das polnische Quintett ZK Collaboration den Fokus aufs kulinarische Ohr, das selbst bei atemberaubendem Improvisationen und rasanten Unisonoparts immer noch jede Zutat präzise herausschmecken will und nach einem Kontrast zu unserer informellen Fast Food Mentalität sucht. Mit eingängigen Themen, packenden Grooves und verführerischen Sounds ist " Slow Food" genau das richtige Album für diese Zeit.

Die stilistische Karte ihres Slow Foods ist weit gestreut, aber zu keinem Zeitpunkt eklektizistisch oder gar beliebig. In den verschiedenen Töpfen, Pfannen und Öfen wird ein Acht-Gänge-Menü gezaubert, dessen Ingredienzien sich zwar mit Jazzrock, Fusion, Post Bop, freier Improvisation, Folk, epischen Soundscapes und
typischen polnischen Jazz-Motiven von der Komeda-Tradition bis zur Aufmüpfigkeit des Yass beschreiben lassen, aber ganz eigene Geschmacksnoten und Konsistenzen entfalten, die sich jeder eindeutigen Zuordnung entziehen

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.
The band’s 1990 debut, ‘Smoke ‘em if You Got ‘em’, made quite the first impression
with frantic stand-up bass, fiery guitar playing, and the Rev’s wild howls stirring up a
volatile cocktail of ‘50s rockabilly, punk energy, and sly humour. AllMusic said of the
album, “it’s all sleaze, it’s all wrong, and it’s all so very, very right,” while, on
encountering the hit single ‘Psychobilly Freakout’, Beavis and Butthead raved “This
dude is weird!” “Yeah, yeah, he’s like… our kind of people.”

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.

1993’s ‘The Full Custom Gospel Sounds Of’ stepped things up a bit, with fuller
production by fellow Texan Gibby Haynes of the Butthole Surfers. In addition to the
hilarious ‘Bales of Cocaine’, the album features the furious ‘400 Bucks’, the
atmospheric creeper ‘The Devil’s Chasing Me’ and ‘Wiggle Stick’. On seeing the
video for the latter, Beavis declared, accurately, “Yes! This guy RULES!” while
Butthead agreed, “Yeah… this guy ROCKS! ROCKS!!”

Sub Pop are excitedly finally repressing vinyl versions of three scorching ‘90s
psychobilly classics by Reverend Horton Heat. All three have been out of print on
vinyl since the mid-1990s, with original pressings going for considerable amounts at
the ol’ junk shop.

1994’s ‘Liquor In The Front’ gets even more aggressive - heavy, even - sonically,
with production by Ministry’s Al Jourgensen and the high-velocity opening pairing of
the high-velocity instrumental ‘Big Sky’ and the blistering lament ‘Baddest Of The
Bad’. The highest selling of the Rev’s first three albums, ‘Liquor In The Front’ was
originally co-released with Interscope Records, with the album hitting #18 on the
Billboard Heatseekers chart and the single ‘One Time For Me’ hitting #40 on the
Modern Rock chart. In the words of AllMusic, “for sheer crank, nothing in his catalog
can touch it.”

Brighton sextet Opus Kink share their debut EP ‘‘Til The Stream Runs Dry’,
via Nice Swan Records (Sports Team, Pip Blom, FUR, English Teacher).
• Partnering up with the cult indie label for their first extended release, the
enigmatic collective - comprised of Angus Rogers, Sam Abbo, Fin Abbo, Jed
Morgans, Jazz Pope and Jack Banjo Courtney - lend a blend a dizzying
array of influences in their ever-evolving enigmatic style, producing an
experimental patchwork of explosive material that’s consistently earned
widespread plaudits since bursting onto the scene.
• With EP lead singles ‘I Love You, Baby’, ‘The Unrepentant Soldier’ and ‘Dog
Stay Down’ attracting praise from all corners of the press landscape (NME,
DIY, So Young, Dork, Clash, Gigwise), not to mention countless BBC 6
Music (Steve Lamacq, Lauran Laverne) spins, the six-piece are clearly
primed for a busy summer.
• Having already ticked off live dates alongside labelmates Malady and
Mandrake Handshake, in addition to a sold-out headliner at London’s
legendary 100 Club last month, the band have a slew of festival appearances
lined up in the months to come, as well as shows with FEET and Bull.
• Detailing their EP, Opus Kink stated: “You may begin by dipping one stained
and rancid toe, but you know that once those waters have been tasted
there’s only one way to go - into the stream, away down the valley like
flotsam and windfall. Here lie six songs of bad love, ill winds, possession,
stagnation and earthly delights.”
• “Horn-fuelled filth-funk, where punk & jazz combine in grimy circumstances” -
NME
• “A land where growled-jazz meets the blues in a showdown to end all
perceptions of genre… Opus Kink have succeeded in turning listeners on
their head” - So Young
• “A frenetic groove-filled glimpse of what’s to come” - DIY
• “Intense blast of guitar pop” - Clash
• “There is a sense that they are still only just beginning to hit their stride” - M
Magazine
 Tourdates - August 20 Beautiful Days, September 28 Oslo London, 29 Record
Junkee Sheffield, 30 YES (Pink Room), Manchester.

Recorded in 1971 by a 27-year-old pastor and an after school program choir, Like A Ship is a stirring and powerful meditation on the wayward aftermath of the Civil Rights Movement. Tracked with the help of Chess/Cadet maestros Gene Barge, Phil Upchurch, and Richard Evans, the album is a mix of euphoric gospel and Mayfield-esque political soul, with sleigh bells, hand claps, and jazzy piano stabs. Sampled by T.I., Kanye, and Khaled, Barrett created a rapturous, crossover gospel classic that's still wildly relevant.

Es geschah gegen Ende des Jahres 2008, als drei Liebhaber der 7"-Single beschlossen, in Berlin eine neue Vinyl-only Clubnacht zu starten. Mit dem Ziel, die Fixierung auf einen speziellen Musikstil, den bis dahin die anderen Vintage Dances zelebrierten, zu durchbrechen. Es sollte keine Grenzen geben, also begaben unsere drei sich auf eine lange Reise, immer auf der Suche nach neuem schwarzem Kleinvinyl für die Sammlung, möglichst oskur, aber mit der Prämisse, den Tanzboden zu füllen. Und hier nun findet sich die 3. Sammlung aus dem Dusty Ballroom Schatzkästchen - eine spannende, aber eklektische Mischung aus 40er Jahre Jump Blues, 50er Jahre Exotica, einer Prise DooWop, Surf mit Eastern Vibe, Rock & Roll aus Hawaii, Burlesque Tunes und mehr. Funktioniert in jeder Lebenslage!

In the spring of 2020, Willem Ardui and Jean-Valéry Atohoun of blackwave. found themselves in a difficult creative and personal period and in need of a change of scenery to recharge. They find their peace in the cosmopolitan melting pot of Los Angeles, the City of Angels, and for Ardui and Atohoun also a city of dreams. A dreamworld in which they rediscover themselves as artists and as individuals.



The spark from which blackwave. had emerged in 2016 caught fire again during their 20-day trip to the American West Coast. With renewed passion, inspiration and vision, the duo writes and works on new music, as if in a daze, day and night, with no limits to the creative process. With about thirty demos in their pocket, Ardui and Atohoun fly back to Belgium. Three days later, the first covid-lockdown hits them cold and the regained enthusiasm slowly ebbs away. Another period of uncertainty began, and at one point it was even doubted whether the group would continue to exist...



But the towel is not thrown in the ring. blackwave. starts polishing the American demos and distills 11 tracks from them. These now make up 'no sleep in LA', their second full-length album and follow-up to 2019's successful 'ARE WE STILL DREAMING?' 'no sleep in LA' is about the highs and lows of the past years, the insights they have gained, the difficulties and the beautiful moments. Everything about the record feels a lot more mature as a result. Existential themes are explored more and more deeply. Doubt and uncertainty, depression, grief and loss, dreams and ambitions, nostalgia, love and desire, no stone is left unturned.



The album also exudes maturity on a musical level: it is more compact in length than its predecessor, but the instrumentation is more in-depth. Strings, horns, backing vocals and other session musicians enrich the genre-transcending sound of blackwave. Everything is arranged to perfection without being delineated. The common thread is the thoughtful and lively lyrics of the two frontmen, and the layered production of Willem Ardui. To this end, Ardui received help on a number of tracks from the likes of Paul Meany (Twenty One Pilots), MiSCHiEF BOY (Cantrell), Spencer Petersen (Sego), Tobie Speleman (incidentally mixer of the entire record), and even his younger brother Remco Ardui.



Celebrated guest features include Lute (signed to Dreamville, J.Cole's label), Abhi The Nomad (artist from Austin, Texas who met the duo in LA) and Caleborate (a good friend and old friend to blackwave. fans). Kirby, who has already collaborated with the likes of Beyoncé and Kanye West, co-wrote the song "I Miss" on the album.

Opening with the buzz of a smartphone on vibrate, First Hate’s sophomore album Cotton Candy launches to life with “Someone New,” a synth-driven statement of intent. The Danish duo’s charged songs are rooted in a recognizable universe, but traverse a wide array of genre experiments and pop detours. Cotton Candy follows the quest of its protagonist stumbling through a crumbling world, winning and losing lovers, swinging from extreme highs to hopeless lows. The title alludes to transience and ecstasy, the surge of a sugar rush before nausea sets in, the way cotton candy dissolves into nothingness leaving only sticky fingers. Throughout, the productions glitter with synthetic detail and hypermodern finesse, effervescent but elusive. “Life is a rollercoaster and we’ve ridden the ups and downs.” During the recording sessions, a collage of Copenhagen musicians flowed through the studio. First Hate is a fixture of the city’s creative community, but ultimately exists in their own sphere, carving a niche as parallel universe pop stars, embracing sweet and bitter, risk and reward: “Sometimes the ones who love you most are the ones who hold you back.” Anton and Joakim grew up in Copenhagen and met when they were 15 through common friends on the street where they lived. “I didn’t enjoy being home so I used to stay at my friend Jakob's basement in an old church on Willemoesgade street,” says Wei. “His mom was the priest. She baptized Anton at age eight during his Jesus phase when he demanded a late baptism from his atheist parents. Jakob was friends with Elias who lived up in Anton’s end and they introduced us to each other. One summer my parents finally married after 20 years of dating. Joakim moved in for two weeks and we accidentally trashed the apartment while they were on their honeymoon. Later on Jakob, Elias, and two other friends, Dan and Johan, formed the band Iceage. Watching our friends’ growing success was a catalyst in creating our own project. At that point everybody in our friend group was making punk music, so the most punk thing we could think to do was start a pop duo.” The First Hate catalog comprises more than nine years of work, including their 2017 cult classic, A Prayer For The Unemployed, a collaborative album Dittes Bog, two EPs and several singles. All of the recordings are self-produced, until they are ready to be finished in the studio. “We have sort of a twin alliance. Like couples finishing each other’s spaghetti at restaurants, we finish each other’s music. Having people enter this sacred mix has been such a pleasure.” On stage Anton and Joakim embody the contrasting yet complimentary energies of yin and yang: Joakim pushing buttons, steering the ship, working synths and samplers with harmonious calm, while Anton’s body bullets around the stage, pounding out his kinetic dance moves. The name Anton means fragile flower, an apt metaphor for his stage presence. A fragile flower shooting through concrete. To behold a performer who consistently delivers such intense live performances is a rare pleasure. “Live means love. When everything is right. When we meet the audience heart to heart. Then the planet spins even faster.” First Hate has performed over a hundred shows across Europe, Asia, the U.S., and Russia, both as headliners and alongside fellow Copenhagen acts Iceage, Lust For Youth, Communions, Soho Rezanejad, Trentemøller and Grand Prix. “We are on a quest of love, yes it’s as cheesy as that.”

What is there to say about this album that hasn’t been said before? Multiple words could be used to describe this album: Timeless. Essential. Masterpiece. Definitive. Sickening. Yes, even sickening falls into this category, because believe it or not, back in 1996 when Cryptopsy released “None So Vile,” it was unlike anything else at the time. From the first drum hits and guitar riffs of “Crown Of Horns,” it would have been obvious, and still is to this day, that Cryptopsy improved on themselves since “Blasphemy Made Flesh.” But then you combine some of the most technical and speedy Death Metal to date with the sickening screams, snarls, growls, and grunts of vocalist Lord Worm, and I’m sure that 1996 was the year Death Metal changed forever. “None So Vile” is a testament to the Death Metal formula, and the odd thing is is that not many have tried to emulate it. I don’t know why. Maybe it might be because of how difficult it would be to emulate an album of this calibur. Cryptopsy is a massive influence upon Death Metal. Many factors contribute to the influence Cryptopsy struck upon Death Metal. One of them is absurdly seen from Flo Mounier’s maniacal drumming. As far as I’m concerned, two words can sum up this man: Speed Demon. But just because he’s speedy doesn’t mean he loses any shed of technicality. But Flo is not alone in making Cryptopsy. With the duo of Jon Levasseur and Eric Langlois on guitar and bass respectively, Cryptopsy was noted for their technical music playing. Just look at songs like “Slit Your Guts,” “Graves Of The Fathers,” and “Phobophile” to see how this duo completely tore apart everything that may have been considered a standard for Death Metal at that time. These two remade the standard by bringing shredding guitar and audible, crushing, and technical bass playing into the mix. The playing by these two is a testament to technical playing. But what truly makes Cryptopsy, and many would agree, is Lord Worm. This man is down right beastly. No true word in the English vernacular could describe what this man brings to Cryptopsy and what he did for Death Metal on “None So Vile.” At this point in time, I don’t think anyone could have anticipated vocals like this. He is downright in-fucking-human. His screams are vicious, his gutteral growls are putrid, and the longevity at which he can perform and hold these vocals is insane. But not only did Lord Worm bring a sickening unnatural vocal style, he brings

An iconic landmark album within Death Metal. “Testinomy of the Ancients” gets the well-deserved reissue! Two years after releasing one of the best death metal albums ever to surface from The Netherlands, Pestilence hit jackpot again with their 1991 album “Testimony Of The Ancients”. The biggest differences with their previous effort “Consuming Impulse” are simple: The production is more clean, short intermezzos between all the songs, the average pace is lower and Patrick Mameli has taken over lead vocals. Pestilence has had a well-deserved place in the first wave death metal elite, mentioned in one breath with the likes of Death, Sepultura, Cynic, Atheist and the likes. Rightly so, because their progression up untill this album is comparable to, say, Carcass. With every album they developed their sound so no release sounds alike but still stays Pestilence undeniably. Their previous album “Consuming Impulse” was unprecedented in brutality and morbidness. ‘Testimony of the Ancients” is less relentless, but it makes up for that with an onimous dose of morbid melodies, great lyrics and an all out Lovecraftian atmosphere. The highlight of this album is definately the guitars. Patrick Mameli and Patrick Uterwijk are a great tandem, combining melodic (twin) soloing with screeches and crashes of tremolo filled chaos. Take for example the song “Land Of Tears”. The guitar solo starts out very emotional, almost ballad like and then switches into high gear, so that all listeners who were dreaming away immediately abbandon all hope for solution of the saddening first guitar part. Noteworthy also are the supportive keyboard samples, never obnoxious, always morbid. Other album highlights are the title track (with truly frightening and insane lyrics), ‘Twisted Truth’ with its catchy dynamics, ‘Profetic Revelations’ (excellent chorus) and basically the whole album is perfect. Special attention to the final track (the album sticks together with samples, which are all great by the way) ‘Stigmatized’. This is death metal perfection, combining Slayer, Death and even Iron Maiden to create a masterpiece of metal.

Crate digging DJs Mr Thing and Chris Read return to BBE Music with a second volume of their compilation series ‘The Library Archive’, presenting more Funk, Jazz, Beats and Soundtracks from the archives of Cavendish Music. Founded back in 1937 and originally known as Boosey & Hawkes Recorded Music Library, Cavendish Music is the largest independent Library Music publisher in the UK and also represents a host of music catalogues across the globe. The influence of Library Music on British pop culture cannot be overstated, especially during the 1970s when companies KPM, De Wolfe and of course Boosey & Hawkes provided the soundtracks to iconic TV shows such as The Sweeney and The Professionals, as well as a host of feature films. The discs produced by Boosey & Hawkes for TV and radio production have, over the intervening years, gained a cult following among collectors and have found themselves sampled by successive generations of beatmakers. Renowned scratch DJ Mr Thing and WhoSampled’s Chris Read, both lifetime beat fanatics, first entered the Cavendish vaults in 2014, presenting their first compilation of rare Library Music cuts in 2017 on BBE Music. Both knew that Cavendish Music’s vast low-ceilinged London basement still held a host of hidden treasure just waiting to be rediscovered, so the pair returned in 2020, emerging with ‘The Library Archive 2 - More Funk, Jazz, Beats and Soundtracks from the Archives of Cavendish Music’. “This new collection leans toward the less obvious titles, not only the funky sides and tracks ripe for sampling but also some of the jazzier corners of the catalogue” says Chris Read. “As with Volume 1, this is more than merely a collection for sample heads - it's a compilation of great funk, jazz, soundtracks and experimental themes to be enjoyed by DJs, producers and fans of good music alike.”

ke and Tina Turner formed a duo in 1960 and were soon seen as “one of the most potent live acts on the R&B circuit. The duo released their sixth studio album River Deep - Mountain High in 1966, which was produced by the legendary Phil Spector with his “Wall Of Sound”. They recorded the album with session musicians Jack Nitzsche, Leon Russell, Jim Horn, Glen Campbell, Darlene Love and Clydie “Brown Sugar” King.

The opening title track became a major hit and is still seen as one of the songs that shaped rock and roll. It is also the track that was arguably the high point of Spector’s “Wall Of Sound” production style. The 12-track set included three more successful tracks: “A Fool In Love”, “I Idolize You” and “It’s Gonna Work Out Fine”.

"The prolific band returns with a brief and seething left-turn: a furious homage to the scummiest, crustiest hardcore of the early ’80s". (Pitchfork)

"Brain stem cracking scum-punk recorded tersely in the basement of my home. After a notoriously frustrating eon, the knee-jerk song path was aggressive and hooky. This is an homage to the punk bands we grew up on—the weirdos and art freaks that piqued our interests and pointed us on the trail head to here / now. Bad times make for strong music is something I agree with. I would say that is evident by the past few years of output from the underground. Transmissions have been all over the map: scanning…searching...sweeping out in the darkness looking for a foot hold.

OSEES A Foul From represents some of our most savage and primal instincts. Fight or flight. And the importance of a sense of humor in the darkest hour. Nothing wrong with keeping it snappy in the meantime. For fans of Rudimentary Peni, Crass, Bad Brains, Black Flag, Screamers, Abwärts, Stooges and all things aggressively tilted towards your face. You can lean back but don’t flinch…it’s a brief foray into the exhausting pogo pit, so stiffen your back and jerk with your knees. Enjoy." - John Dwyer

Light Splitting is a love letter to the purest of sonic signals, to curiosity and to the way we interact with sound.

Based out of Berlin, Germany, electronic music composer and performer Hainbach creates shifting audio landscapes THE WIRE called "One hell of a trip". His music has been released on Opal Tapes, Seil Records, Spring Break Tapes, Limited Interest and Marionette. He has been fascinated with sine tones, noise and FM since he discovered the dial on the radio. Never losing his childhood wonder, he still searches for the sounds in between on modular synths and other devices.

Through his YouTube channel Hainbach brings experimental music techniques to a wider audience. He creates videos on the composition of experimental electronic music, esoteric music equipment and avant-garde music techniques. His live A/V show, performing with tape loops, modular synths and test equipment, accompanied by the visuals of Nani Gutiérrez aka Orca, was presented at venues such as Kantine am Berghain, Uebel & Gefährlich, Acud Macht Neu and Arkaoda Berlin.

Seit ihrer Gründung im Jahr 2004 durch den Multiinstrumentalisten und Songwriter Justin Greaves ist CRIPPLED BLACK PHOENIX die Stimme der Stimmlosen - seien es Tiere, Ungleiche oder Andersartige. CRIPPLED BLACK PHOENIX haben es sich zur Aufgabe gemacht, die Ungerechtigkeiten, die der Menschheit und ihren Lebewesen widerfahren, zu beleuchten. Ihr Kampf geht mit ihrem neuesten Studioalbum "Banefyre" weiter. Das Album ist von einer Tiefe und Introspektion durchdrungen, die CRIPPLED BLACK PHOENIXs Stellung als Band, die sich über alle Genres hinwegsetzt, weiter festigen wird.

The 40th Anniversary Edition of Fairytales is the final of many incarnations of singer Radka Toneff and pianist Steve Dobrogosz’s jewel of a duo album. In the course of the 40 years that have passed since its release – on LP in 1982, CD in 1986 – Fairytales has sold well over 100 000 units, making it the top-selling Norwegian jazz record ever, and was also voted Norway’s best album of all time in a poll of Norwegian musicians in 2011. For four decades the sometimes delicate and sometimes robust melodic intimacy between the singer and the pianist, and the fragile strength with which they imparted their lyrics and music, has cast a spell on listeners from all music scenes. Constantly new generations are enthralled by the 41 auditorily minimalist but eloquently narrative minutes, and this final version, with improved sound quality, brings us closer to the magic of the Toneff/Dobrogosz duo than ever before. Fairytales had a solemn epilogue when Radka died under tragic circumstances a few weeks after the album was released and had begun to go from strength to strength. In retrospect, though, it is not the memory of the loss of an incomparable singer, but rather the content of what Radka accomplished together with her American duo partner that keeps Fairytales alive. “It’s not just the sound itself, but it’s also about how Radka sings, about the sensitivity in her voice,” Steve Dobrogosz has said. The pianist describes Radka as a superb, forthright and genuine interpreter who was “at her best” with Fairytales, and he rejects any implication that she sounds especially lonely or depressed, or that the album can be construed as part of any autobiographical timetable. The sum of singer Radka Toneff was, naturally, more than the parts she was able to display on Fairytales. But when practically all subsequent singers in Norway, from Sidsel Endresen up to the young talents of today, get a warmth in their voices and eyes when they talk about Radka as an artistic ideal and a source of inspiration, it is not least because they heard Fairytales at some point, and were sold. The fact that the album has also been the impetus for an interest in Radka that has produced posthumous records, books, radio documentaries and countless articles only confirms the strong position the album still occupies in the Norwegian music scene, a position that this 40th Anniversary Edition will further reinforce. Terje Mosnes, January 2022 01 The Moon Is A Harsh Mistres (Jimmy Webb) 02 Come Down In Time (Elton John/Bennie Taupin) 03 Lost In The Stars (Kurt Weill/Maxwell Anderson) 04 Mystery Man (Steve Dobrogosz/Fran Landesman) 05 My Funny Valentine (Richard Rodgers/Lorenz Hart) 06 Nature Boy (Eden Ahbez) 07 Long Daddy Green (Blossom Dearie/Dave Frishberg) 08 Wasted (Radka Toneff/Fran Landesman) 09 Before Love Went Out Of Style (Dudley Moore/Fran Landesman) 10 I Read My Sentence (Steve Dobrogosz/Emily Dickinson)

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing a 2-colour blue and yellow cosmic swirl vinyl. Full download included as well. Blacklab are back. The self-proclaimed ‘Doom witch duo from Osaka’ are set to drop their 3rd album ‘In A Bizarre Dream’ this summer. Their debut ‘Under the Strawberry Moon 2.0’ saw them taking Sabbath inspired doom, mashing it with a Japanese sensibility and a fuzzed-up groove. It certainly caused a stir, but only hinted at their potential. Album two ‘Abyss’ added to the mix. A Stooges like squalor to the riffs, dollops of lo-fi hardcore punk and loose riffing, pointing the way towards a signature sound. So what of the ‘difficult’ third album? Not so difficult at all it seems. ‘In A Bizarre Dream’ ups the ante considerably, to let rip and define what Blacklab are about. The combined talents of Jun Morino on production and Wayne Adams (Big Lad, Green Lung, Pet Brick, John, Cold In Berlin) on the mix have conspired to produce a towering beast of a record. A real step forward for the ‘Doom Witch Duo’. The drums have a humungous ‘Fugazi’ like welly, and the guitars are a boiling maelstrom of fuzz dense riffola and warped psychedelics, with added synth. Yuko’s throat shredding snarls are as mean as a pissed off Satan, and melodious, often within the same song. This is doom meets hardcore punk, hooky melodies, and killer riffs, all cranked up to the max. Japan has always had a special take on ‘noise’ and ‘heavy’ and with ‘In A Bizarre Dream’ Blacklab add their own spin to that tradition. Gone is the lo-fi approach, here is Blacklab in full effect. ‘Cold Rain’ and ‘Abyss Woods’ (debuted at their storming set at London’s Desert Fest and appearing here in its full version) are two nuggets of epic fuzz heavy doom with added screamo and a neat and canny grasp of melody at its core. Very much a Blacklab trademark. ‘Dark Clouds’ is D-beat fuelled hardcore, fierce and ferocious, with Chia’s rolling thunder drumming underpinning the distorted guitar. It’s pretty exhilarating stuff that shifts the mood perfectly. ‘Evil I’ is just that, a riff as evil as it gets, morphing into a chugging punk wig out. Then followed by ‘Evil II’ a breather, almost mellow, melancholy, with layers of dark overdrive threatening to explode beneath a sweet yet menacing vocal. Then, the mid-point of the album drops a real surprise. Yuko has said before that the band’s name is a combination of her two favourite bands, Black Sabbath and Stereolab. Odd bedfellows to be sure, but if you want to know what that combination might sound like ... here it is. ‘Crows, Sparrows and Cats’ actually features Laetitia Sadier of Stereolab, no less, providing the lead vocal, adding a layer of cool over Blacklab’s Hawkwind meets krautrock sludge. It’s a stoner groove with pop at its heart ...Sludge Pop even, a surprising gem amongst the maelstrom of sound around it. The skewed, sludgecore of ‘Lost’ with its push-pull riffs and rolling thunder drumming, signals that it’s back to business as usual. And after the brief atmospheric instrumental interlude that gives the album its title, comes ‘Monochrome Rainbow’ a huge beast of a track so simple, yet so seductive, from its filtered bass intro to its massive ebb and flow groove and stomping ending. The vocals are all mystery and melody, and the music is kind of a Groundhogs meets Goatsnake ten-ton fuzz-fest, with a singalong, wave your arms in the air chorus. The new Japanese Doom-blues, and what could be the album’s defining moment. ‘In A Bizarre Dream’ closes with ‘Collapse’ verging on noise rock, complete with throat shredding vocals and a crushing wall of guitars, that switch from a stoner groove to full on punk assault, teetering on mayhem before finally ending with the sound of Yuko switching off her fuzz pedal. Perfect. Blacklab have negotiated that ‘difficult’ third album with aplomb and have created a sound that, despite their many influences, is all their own.

Rock Eupora, the moniker for Mississippi-bred, Nashville-based artist Clayton Waller, has always been a heart-on-your-sleeve musical endeavor. From his earliest recordings, Waller has never been afraid to ask the big, searching questions of life. Catchy, hooky pop sensibilities have similarly been a consistent through-line in Rock Eupora's catalogue. Featuring singable, fuzzed-out guitar hooks and stuck-in-your-head-all-afternoon choruses, the discography of Rock Eupora–including three full-length albums, two EPs, and a smattering of singles to date–brings to mind Blue Album-era Weezer or the high-energy, hard-charging, harmony-laden early Beatles singles. These defining features are still present in Pick At The Scab, Rock Eupora's latest full-length album, and yet, something feels different. "I wanted to let the songs breathe a bit," Waller says of his mindset while writing the material that would become the songs for Pick At The Scab. "I gravitate towards writing up-beat, high energy songs, but this time around, I decided to lean back a little and let the songs speak for themselves."

Sympathetic Magic is an ecstatic, delirious, and deeply touching piece of music; a towering new work in Kim Myhr’s increasingly substantial output as an artist and composer. Sympathetic Magic is the follow-up to Kim Myhr’s 2017 album You | me, which was widely praised and received an honorary mention at the 2018 Nordic Music Prize. While the immersive warmth of You | me is still present, Sympathetic Magic is more expansive than its predecessor. A band of eight musicians playing a wide variety of instruments including electric 12-string guitars, drum machines, vocals, synthesizers, organs and lots of drums and percussion, has created a work of a grander scale. The shimmering, oceanic waves of You | me has been traded for cosmic currents in Sympathetic Magic. Put simply, Sympathetic Magic is a collection of song-like structures that has expanded into symphonic proportions. “With You | me, I wanted to create an ocean of sound, where the listener is surrounded by a myriad of elements that has equal importance in the music. I wanted to challenge this a bit, to push certain elements forward. The result is a more song-like kind of music than what I’ve done before.” – Kim Myhr Just before starting working on Sympathetic Magic, Kim bought an old 70s Yamaha organ (the YC45d), after falling in love with the sound of it on different recordings. At first, he thought the organ would be a subtle element on the new record, but it ended up becoming a focal point: “It’s a brilliant in-your-face sound that brought an ecstatic quality to the music. Playing around with this instrument, along with an 80s Roland Juno synth and a new drum machine took the music in new directions.” – Kim Myhr. Thematically, Sympathetic Magic circles around a longing for collectivity and togetherness. While the world was locked down in 2021, thanks to a commission from Oslo Jazz Festival, Kim had the opportunity to delve deeply into this project, working with the members of the band, one at a time: “The music created a situation of unexpected positivity. It felt like a social project even if I spent most of the time on it alone. And all this positive, joyful energy felt quite magical, arriving like out of thin air in this otherwise grim situation. It all felt like a hallucination, which fed back into the music. Sympathetic Magic is like a dream within a dream.” – Kim Myhr The title of the record is a term coined by James Frazer in The Golden Bough. He writes: “things which have once been in contact with each other continue to act on each other at a distance after the physical contact has been severed”. “In a closed down world where all our connections with the outside suddenly are remote or absent, the line between the real and imaginary is blurred. I felt that the term perfectly summed up the thoughts, processes and sentiments that went into the making of this record”, says Myhr. “Kim Myhr is a master of slow-morphing rhythms and sun-dappled textures that seem to glow from the inside”. The Guardian 1/And I Thought These Are My People 2/Gifting Senselessly In Endless Lavishness 3/Move The Rolling Sky 4/Iridescent 5/Up To The Sun Shall Go Your Heartache 6/I Wonder If I Shall Fall Right Through The Earth 7/Heart Streams

Aidan Baker is a classically-trained multi-instrumentalist using the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from rock, electronic, classical, and jazz. A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects - most notably the duo Nadja - on such independent labels as Karlrecords, Important Records, Southern Lord, and his own imprint, Broken Spine Productions. Baker is also the author of several books of poetry. A regular live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, and Mutek, among others. Originally from Toronto, Canada, Baker currently resides in Berlin, Germany. Recorded mid-pandemic, Songs of Undoing cannot help but have a sort of mid- or post-apocalyptic overlying concept, lyrically dealing with themes of exodus and travel / wandering, self-reliance, the weight of history...with pointed references to two post-apocalyptic, societal / environmental collapse novels, Octavia Butler's "Parables of The Sower" and Kate Wilhelm's "Where Late The Sweet Birds Sang." Musically, the songs move between minimal slowcore and a sort of textural noise-rock or what might be called deconstructed grunge, taking influence from artists like Lungfish, American Analog Set, PJ Harvey, and Stina Nordenstam.

Auf seinem dritten Album Stellar Drifting präsentiert George FitzGerald ein Album voller Staunen und Emotionen, voller glitzernder Melodien und schillernder Elektronik. Das Album ist ein echter Fortschritt in Bezug auf Umfang und Komposition und gilt als eines der größten Werke unserer Zeit im Bereich der atmosphärischen elektronischen Musik, das mit den Füßen auf dem Dancefloor steht, aber mit dem Herzen 1000 Meilen über der Erde selbst.

Stellar Drifting ist FitzGeralds Interpretation des Klangs völliger Freiheit, in der er das Bedürfnis anspricht, sich mit seiner inneren Welt zu konfrontieren und dem Gefühl der Begrenzung zu entkommen. Um dieses Gefühl des grenzenlosen Lebens zu erforschen, hat sich FitzGerald vom Weltraum inspirieren lassen und die Bausteine des Albums aus Weltraumbildern und Audioaufnahmen von Raumsonden zusammengesetzt. Auf dem Album sind auch einige der faszinierendsten Künstler und Songschreiber der Welt vertreten. Die für den Mercury nominierte irische Band SOAK leiht "Rainbows and Dreams" ihre Stimme, Animal Collective-Aushängeschild Panda Bear verleiht "Passed Tense" einen poetischen Schwung und London Grammar revanchiert sich mit "The Last Transmission" für FitzGeralds Arbeit an ihrem britischen #1-Album Californian Soil. George FitzGerald ist seit über einem Jahrzehnt eine herausragende Figur der elektronischen Musik, die mit einem Bein im Underground und mit dem anderen im Mainstream steht. Er war an der Spitze der britischen Szene, als er bei Londons kultigem Black Market Records arbeitete, und verbrachte dann ein Jahrzehnt in Berlin, wo er auf renommierten Labels wie Aus und Hotflush Recordings veröffentlichte, bevor er bei Domino unterschrieb und sich vom Club-Produzenten zum Albumkünstler wandelte. Es folgten zwei von der Kritik gefeierte Alben, Fading Love (2015) und All That Must Be (2018), auf denen er mit Künstlern wie Bonobo und Tracey Thorn zusammenarbeitete und seinen Sound zu einem atmosphärischen und weltweiten Status erhob.

In three club-geared tracks, Kyoto-based producer Ko Yang maps the allure of floating off-world and the joy still here on planet earth.

A founder and resident of Osaka’s long-running City Boy Lounge party, Ko Yang has been a steady contributor to Japanese party culture for the better part of a decade, hosting international and domestic artists at the homegrown CBL parties.

The release is rounded out with a remix from Alex Kassian, a major talent whose name has become synonymous with quality. Kassian has provided a cut of proggy, tribal euphoria that seems to lift off indefinitely, and is already bringing clubs to a froth internationally

Bliss Point is honored to bring you this collection of off-kilter, otherworldly club sounds from one of Japan’s most exciting talents.

Artwork and packaging by Chris Harnan

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (846k monthly listeners on Spotify). With an ethos of attention to detail and appreciation for the everyday things in life, 823 doesn’t stick to any particular genre. 823’s releases include Cabu’s (800k Monthly Listeners on Spotify) “So Far To Go” EP, Ta-ku and matt mcwaters’s duo project “Black and White,” which featured Masego collaboration “Flight 99” (14 million streams on Spotify), their debut release with Australian producer and instrumentalist Kuzich, and multiple sold out clothing capsules. “All Things Considered Vol. 1” set off a collaborative series of curated compilations, featuring both budding and well-established artists around the world including Idealism, Wun Two, pastels, SwuM, Jinsang, Saltyyyy V, and more. “All Things Considered Vol. 2” sees the continuation of this project, this time in partnership with fellow Perth-based powerhouse, Butter Goods.

Butter Goods is a Perth clothing brand rooted in skating culture and style, but drawing inspiration from hip-hop, jazz, and music at large. Butter Goods has been featured in major publications, including GQ, Complex, and HYPEBEAST. They’ve collaborated on releases with Peanuts and Puma, and have reached international levels of popularity. Butter Goods co-founder Garth Mariano’s deep love for and eclectic tastes in music drive his creativity, and are front and center in his partnership with Ta-ku and 823 on “All Things Considered Vol 2,” where the two team up to curate a wide-ranging compilation.

Arriving on September 2nd, 2022, “All Things Considered Vol. 2” is an exploration of Ta-ku’s and Mariano’s extensive and often overlapping musical palettes in two parts. The record pays homage to the love of instrumental music and hidden gems of new school jazz and funk that act as a source of inspiration and nostalgia for the both of them. The collaboration brings together over a dozen producers and instrumentalists from Sydney to Chicago, including Jadu Jadu, Gnarly, Tenderlonius, silentjay, and more. Side A is curated by Ta-ku and 823. It’s as much a love letter to the past as it is a nod to the future of beat-making. Featuring sample heavy, drum looped beats, sprinkled with the occasional ear candy for the attentive listener, it presents cruisy soundscapes & easy listening. Side B is curated by Garth and Butter Goods. It’s a raw and eclectic companion to Side A, leaning heavily into the texture and grit of multi-layered jazz and funk-driven beats.

As with any 823 release, the project is as visual as it is sonic. The artwork and visualizers are a celebration of Garth’s love of thrift culture and old nature documentaries, fused with 823’s design aesthetic of bringing everyday inspirations to the forefront. CRT style visuals are paired with 90’s spin, slide and fade away transitions. When partnered with the music, each visualizer could easily work as the intro for an episode of a VHS series of nature docos.

1st single, “senzu bean,” arrives on July 7th and kicks off Side A, showcasing Ta-ku’s hip-hop-centric tastes. Sydney producer Jadu Jadu teams up with UK-based TAMBALA, apltn, and Makzo for a vibrant instrumental. From a head-nodding bassline beneath fuzzy synths, to soft horn licks sprinkled over electronic drums, “senzu bean” is sonically rich and multilayered.

2nd single, “Too Much” by UK producer saaaz arrives July 20th. It’s a moody and low-tempo beat that builds itself up over time, complete with cryptic vocal samples and syrupy drums and bass. Also off of 823’s Side A, “Too Much” maintains a laid-back hip-hop theme but with saaaz’s signature and definitive lo-fi twist.

3rd single, “Goodmorning” from Baro Sura and silentjay of Melbourne arrives August 3rd, kicking off Butter Good’s Side B. The track is bright from start to finish and is a sun-filled track perfect for closing out the summer with. Final single, “Fool’s Gold” by Los Angeles producer L.Dre arrives August 17th. The infinitely creative beatmaker layers soft hums and the sounds of crashing waves over crisp drums and an infectious bassline. Together, it makes for a beat that sounds like it was made outside, under the sun, and is best enjoyed in the same way.

Focus track, “Seventh Wonder” by Tenderlonius, comes off of Side B, and is a window into the ideas and palettes on both sides of the compilation. The beat slowly fades in, one sound at a time, until it reaches a full-fledged groove, soaked in synths, bass, and horns, that’s impossible not to move to.

On the whole, “All Things Considered Vol. 2” is a forward-focused, sonic journey into the minds behind two of today’s great creative brands, and is as artistically eclectic and varied as those minds are, and a proud follow-up to its first volume.

LP contains A2 poster on uncoated stock.

Hudson Mohawke ist für viele ein Produzent, der neben Leuten wie Flying Lotus und Oneohtrix Point Never die moderne Ära von Warp definiert hat. Seine Talente als Klangkünstler und Clubagitator kommen auf 'Cry Sugar' voll zur Geltung, was sich wie das kompromisslose Hudson Mohawke-Album anfühlt, auf das wir alle gewartet haben, auf dem er seine Faszination der Verschmelzung von Hoch- und Trivialkultur auslebt. Schließlich ist er der Architekt der hochauflösenden Trap-Produktion, die sich in den 2010er Jahren zu einem Stil entwickelt hat, der überall - von mit Bierdosen übersäten College-Partys bis hin zu Arby's-Werbespots - Verwendung findet. Amerikanische Dekadenz wird so zu einer Bühne, auf der seine Musik gedeihen kann - der DJ-Pult wird für ihn zum Komponistenpodium, auf dem er das spannungsgeladene Drama zwischen Ausschweifung und Apokalypse inszeniert, die 'mise-en-scene' der Clubkultur 2022.