Cerca:sti

Equal parts Sheffield bleep, fractal IDM and interstellar ambience, Hyper Nu Age Tekno sees Taro Nohara (aka Yakenohara) plotting a star map on a faded rave flyer. Let the billionaires blast into orbit while you explore your inner space with Growing Bin.

From the LP's earliest moments, the whomping subs and crystalline chimes of "Space Debris", it's clear that we're a long way from Hamburg. Taro pilots this craft on a deep space exploration way beyond the run out groove, to a place where heartening chords herald a twin sunrise and any broadcasts are lost in translation. The polyrhythmic pulse of "Ill Ell" follows, its concentric chimes and rapid fire kicks summoning the teknoguild to a watery altar in the engineering department. Sticking with interstellar mysticism but taking a turn for the transcendent, "Baker Baker Paradox" spins Reich-ian repetition into a graphene gossamer embellished with chrome, crystal and shoegaze shimmer.
The B-side begins on the observation deck, bathing in the beauty of "Celestial Harmonia"'s sci-fi exotica, before the entheogenic "Use Your Head" prompts a delirious dash to the holodeck. Laying serene pads over a techy 4/4, Taro turns out the most danceable and dreamy track on the LP. As ambient chords ring out into the aether and rhythmic pulses shift out of phase, "Airplane Without People" is the loading screen for your virtual fantasy, soon rendered through the woody percussion and spheric bass of "Music For Psychic Liberation". Leave your body behind as you pick mushrooms in a CGI forest.

Clear Vinyl Repress!!!

The landmark hundredth single on Phantasy, Erol Alkan’s ‘Automatic’ accompanied with two remixes that further take the London DJ and producer’s psychedelic club vision in distinct directions. The original 12" pressing, limited to 100 and hand-numbered, sold out in less than an hour.

Palms Trax builds on the sensual reverie of Alkan’s production with an electrifying rework full of touches both French and personal. Throwing out a gloriously chic bassline, the Berlin-based producer sprinkles carefully considered sweeps, stabs and filters on a trip to timeless house euphoria.

Mirroring the first ever artist to release on Phantasy in 2007 where Alkan remixed 'Engine', LA Priest proves a perfect candidate to reconstruct the label’s centenary single, a task he approaches with typically esoteric nous. Coaxing a heavenly aura from the original’s glorious loops, Sam Eastgate’s collection of reengineered and self-made analogue equipment soon progresses to melt Automatic’s rhythm into sticky cosmic bliss.

"Sonny Stitt & The Top Brass" - Sonny Stitt (as); Jimmy Cleveland, Matthew Gee (tb); Blue Mitchell, Dick Vance, Reunald Jones (tp); Willie Ruff (frh); Duke Jordan (p); Perri Lee (org); Joe Benjamin (b); Philly Joe Jones, Frank Brown (dr)
General opinion has it that Sonny Stitt always stood in Charlie Parker’s shadow. That, however, is unjustifiable. The legendary jazz critic Nat Hentoff wrote, for example: »Sonny has been one of the wholly involved players, well known and admired for his soul and the earthiness of his message only by musicians who feel and play like he does and by that part of the jazz audience that is most moved by naked, open emotion. He has made his mark with them as an honest yea-sayer who can’t help but play what he knows and feels.« The present recording is proof of this – a session which shouldn’t really have worked out so well. Sonny Stitt’s alto saxophone presides over a seven-man-strong brass group, and although the prospect of a Sonny Stitt big band does not sound too promising initially, this rendezvous is really enjoyable, thanks in part to Stitt’s superb solos. At this time he was on the top of his form and he plays freely over the basis provided by the brass section consisting of Blue Mitchell, Jimmy Cleveland and Willie Ruff. The arrangements by Tadd Dameron and Jimmy Mundy are closely-knit yet offer enough room for swing and a generous pinch of soul. Special highlights are contributed by the unknown, female organist Perri Lee –, little groovy additions that are really successful and infuse the arrangements with a slender sound and sparkle. Although "Sonny Stitt & The Top Brass" may not stand in the limelight like "Boss Tenors" or "Salt And Pepper", it is certainly on a par with these from an artistic point of view.

ARCHITECTS’ new album captures a historic live stream performance
event at the iconic Abbey Road studios: spiritual home to legends like
The Beatles and Pink Floyd

Dubbed For Those That Wish To Exist at Abbey Road, the album features a reimagined orchestral version of their masterpiece album For Those That Wish To Exist, backed by their friends in the Parallax Orchestra, the well- respected UK based orchestra made up of some of England’s best and most versatile classical musicians, arranged and written by Simon Dobson, Parallax Orchestra’s conductor and a three times British Composer award (BASCA) winner for his
compositions.Vocalist Sam Carter speaks to the cultural importance of Abbey Road Studios, “It’s such an important part of music in not only the U.K. but all across the world. Some of the biggest and most important records of all time were recorded there. It’s such a joy to even be allowed into the building, let alone to record there. It’s a very special place; I still can’t quite believe we were able to create there.”

ARCHITECTS’ new album captures a historic live stream performance event at the iconic Abbey Road studios: spiritual home to legends like The Beatles and Pink Floyd. Dubbed For Those That Wish To Exist at Abbey Road, the album features a reimagined orchestral version of their masterpiece album For Those That Wish To Exist, backed by their friends in the Parallax Orchestra, the wellrespected UK based orchestra made up of some of England’s best and most versatile classical musicians, arranged and written by Simon Dobson, Parallax
Orchestra’s conductor and a three times British Composer award (BASCA) winner for his compositions. Vocalist Sam Carter speaks to the cultural importance of Abbey Road Studios, “It’s such an important part of music in not only the U.K. but all across the world. Some of the biggest and most important records of all time were recorded there. It’s such a joy to even be allowed into the building, let alone to record there. It’s a very special place; I still can’t quite believe we were able to create there.”

Somehow out of the blue they have returned with a killer new single called ‘Uzi’. Built around the constant Blurt groove, a thrilling and catchy incessant guitar line and Milton’s jazz sax that oozes Uzi elixir and his free form beat poetry it’s a stunning and brilliant single. Still fronted by the charismatic Ted Milton the band are on fire and suddenly in the right place at the right time. The deserved fuss about the likes of the brilliant Colin Stetson and Shabaka Hutchins taking the sax into new places lets not forget Blurt were there first and are still there now….time for this genius band to get some love…

"Stand In The Fire" - Warren Zevon (voc, g, p); Zeke Zirngiebel (g, voc); David Landau (g); Bob Harris (synth, p, voc); Roberto Piñón (b, voc); Marty Stinger (dr)

Warren Zevon had toured for quite some time as a songwriter in the rock scene, released a few singles and landed a flop with his debut LP in 1969 before the tide finally turned. Roughly ten years later, his live album – put together from a five-day residency at the Roxy Theater in West Hollywood – entered the annals of vinyl history as one of the best live albums of all time and was awarded four stars by the magazine Rolling Stone. Ambiguously entitled by the comprehensively educated Zevon, who had been confronted with the tough side of show business, "Stand In The Fire" delivers genial simple pure and straightforward rock right from the start, which hit the public with a vengeance. Full of vim and elation, the band pours out the significant, biting verses with fire ("Jeannie Needs A Shooter") and fuels the emotional inferno with high-speed bursts of rock ("Excitable Boy"). Zevon proves his skills as a singer and songwriter in the ballad-like yet powerful "Mohammed’s Radio". In a direct comparison to this number we have the forthright, no-nonsense hit "Werewolves Of London" with its close harmonies. Just how Zevon manages to succeed in getting his delicate voice and lyrics over to the public is shown in the powerful mix of heavy and honky-tonk ("I’ll Sleep When I’m Dead") and finally in the thunderous final number – "Bo Didley’s A Gunslinger" – with its percussive and metrically complicated antiphony.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under pure-analogue

All royalties and mechanical rights have been paid.

Recording: August 1980 live at The Roxy Theatre in West Hollywood, CA., by Billy Youdelman and Greg Ladanyi

Production: Greg Ladanyi & Warren Zevon

Last copies of ultra limited version on half & half black/red vinyl. Only around a 100 available!

“I learned long ago, never to wrestle with a pig” reasoned George Bernard Shaw. “You get dirty, and besides, the pig likes it.” True to form, Pigs Pigs Pigs Pigs Pigs Pigs Pigs have left the wiser of us aware that they are no band to be messed with. This is made manifest on ‘Viscerals’, their third proper, and an enormous leap forward in confidence, adventure and sheer intensity even from their 2018 breakthrough ‘King Of Cowards’.

Incisive in its riff-driven attack, infectiously catchy in its songcraft and more intrepid than ever in its experimental approach, ‘Viscerals’ is the sound of a leaner, more vicious Pigs, and one with their controls set way beyond the pulverising one-riff workouts of their early days. Yet Pigsx7 have effortlessly broadened their horizons and dealt with all these new avenues without sacrificing one iota of their trademark eccentricity, and the personality of this band has never been stronger, whether on the Sabbathian and philosophical warcry of ‘Reducer’, the debauched, Jane’s Addiction-tinged swagger of ‘Rubbernecker’, the Melvins vs Sonic Youth demoltion derby of ‘New Body’ or even the demented MBV-meets-Twisted-Sister party-banger from hell that is ‘Crazy In Blood’.

“We’re a peculiar bunch of people - a precarious balance of passion, intensity and the absurd” notes vocalist Matt Baty. Such is the unstoppable character of this unique and ever-porcine outfit; still the hungriest animals at the rock trough.

"The follow up to Self Esteem’s acclaimed 2019 debut album Compliments Please, Prioritise Pleasure is a record that reminds us all of the importance of being our unapologetic selves, putting your insecurities out there in the hope that it can be the first step towards healing them. Honest disclosure has always been Self Esteem’s forte, and so each track on Prioritise Pleasure handles difficult themes with nuanced perspective, comforted and counter-balanced with an array of rhythmic flourishes that speak to the eclecticism of her experience and influence. Self Esteem has moved on considerably since that her acclaimed debut. With NME DIY and Source magazine front covers, 6 Music A list's andTune of the week on Radio 1 with both Annie Mac and Greg James, things are really moving now. TV appearances include Channel 4 - Sunday Brunch - live performance, interview & show guest
19.10.21: TX Sky - Never Mind The Buzzcocks – guest panellist 21.10.21: TX – BBC 1 - Match of the Day – guest and performance. The album is released on a CD Mintpack, Black LP."

Lieve is the long-awaited second LP by British electronic music producer Holy Other, the first new music since 2012. Emerging from an extended stay at Bidston Observatory on the Wirral, Lieve was recorded throughout 2020 in the North West of England. Using the acoustics of the observatory — the cavernous basement and the geometrically-perfect wooden domes — Holy Other recorded and resampled material that would become the bedrock of Lieve.

A marker in the sand as his first output since 2012’s critically acclaimed Held, these recordings — including the voice of NYX’s Sian O’Gorman, violin from Simmy Singh and saxophone from Daniel Thorne — were cut, manipulated and pieced together to form Lieve.

“How do you break up with a place?”

Have you ever tried to leave your problems behind? No matter how hard you try to reshape yourself, your past remains. This is an album about L(i)eaving, coming to terms with the past, and trying to live in the present.

Much like his past work, Holy Other leaves the listener to draw their own semantic conclusions from the record. The lyrics are ambiguous — ghostly voices, whispers and stutters interwoven with his signature sound palette.

Still, the expressive mood from prior releases remains intact, even if these intimate textures and deft rhythms pick up more mature questions about false starts and failed escapes.

The title track single Lieve breaks almost a decade of silence, finding the language to articulate painful feelings, exhaling, and moving forward.

Critically acclaimed artist, producer and NTS radio host Kit Grill is set to release his new album 'Spirit' on the 18th February 2022 via his own imprint Primary Colours.

Having received glowing praise from electronic music tastemakers including Boiler Room, Resident Advisor, Electronic Sound, The Ransom Note, Headphone Commute, Inverted Audio and more, Grill's endless enthusiasm to write and produce music has seen him amass a rich and varied catalogue taking in influences including acid house, new wave, post-punk, ambient, electronica and techno.

Kit Grill's new album Spirit is a reflective collection of songs written and produced at the same time as 2020's Fragile. "The aim was to write an album completely different to Fragile, something much slower and open. I wanted to have a real distinction between the 2 records and producing them at the same time helped create this difference in sound and pace. Where Fragile is about maintaining an energy, Spirit is about creating a sparse uncluttered world." Spirit moves between hope and grief, transforming Grills personal experiences into a stillness of shimmering beauty.

Written and produced by Kit Grill
Mastering by Ryan Schwabe
Cover photography by Kit Grill

Riff-Maestro Abbath Doom Occulta festigt seinen Platz im Heavy-Metal- Olymp mit "Dread Reaver" - seinem dritten Album mit dem gleichnamigen Projekt ABBATH. Die charakteristische Mischung aus glühendem Speed Metal, traditionellen Metal Einflüssen und natürlich einem Hauch von eiskaltem Black Metal kreiert einen Sound und Stil, der zu 100 % Abbath ist. Seine unverkennbare Energie macht auch "Dread Reaver" zu einer quintessenziellen Hymne des totalen Metal-Chaos!


Für fans von IMMORTAL, 1349, Watain, Satyricon

Riff-Maestro Abbath Doom Occulta festigt seinen Platz im Heavy-Metal- Olymp mit "Dread Reaver" - seinem dritten Album mit dem gleichnamigen Projekt ABBATH. Die charakteristische Mischung aus glühendem Speed Metal, traditionellen Metal Einflüssen und natürlich einem Hauch von eiskaltem Black Metal kreiert einen Sound und Stil, der zu 100 % Abbath ist. Seine unverkennbare Energie macht auch "Dread Reaver" zu einer quintessenziellen Hymne des totalen Metal-Chaos!


Für fans von IMMORTAL, 1349, Watain, Satyricon

Tindersticks neues Album "PAST IMPERFECT The Best of Tindersticks '92-'21'" erscheint am 25. März 2022 über City Slang. Die Band feiert ihr dreißigjähriges Bestehen und präsentiert auf dem Album gesammelte Werke aus ihrer umfassenden Geschichte. Außerdem wird die Band in diesem Frühjahr auf eine ausgedehnte Europatournee gehen, mit unter anderem Terminen in Berlin, München und Hamburg.

"Both Sides of the Blade", ist der einzige bisher unveröffentlichte Song auf "Past Imperfect" und ist ein zärtliches Stück, das für Claire Denis' kommenden Film "Avec amour et acharnament" mit Juliette Binoche in der Hauptrolle geschrieben wurde und am 12. Februar 2022 bei den Berliner Filmfestspielen Premiere feiert.

Als Meister des intimen und ausladenden Stimmungsgesangs haben die Tindersticks über drei Jahrzehnte hinweg ihre eigenen Wege beschritten und haben bei ihren düsteren und weitreichenden Erkundungen des Herzens stets auf Trends verzichtet. "PAST IMPERFECT The Best of Tindersticks '92-'21" zeichnet die 30-jährige Reise der Band in einer unvergleichlichen Chronologie mit 20 Titeln nach. “Each step a story", wie Tindersticks-Frontmann Stuart Staples bei "How He Entered" sagt. Und jeder Song eine neue Wendung in dieser Geschichte

Stelios Vassiloudis enters an inspiring new phase as he unveils his sophomore LP All Else Fails available March 25th via Balance Music.

Hailing from Athens, Greece, Stelios Vassiloudis poses a triple threat as a composer, producer and DJ. Having been active in the electronic music scene since the early 2000s he has cultivated his own brand of distinctive ambience reflective of his rich and diverse musical background; transcending the dance floor via an emotional narrative of complex soundscapes, intricate harmonies and hypnotic rhythms. Over the past decade Stelios has released music under various other monikers, yet this new endeavour is his most diligent to date - allowing him to rediscover his love for making music during the process, "I'm more hopeful, inspired and determined than ever before."

Ten years on from the release of his debut LP, Stelios' detail-oriented offerings remain incomprehensibly thought-provoking and thorough with this new album. Noticeably dissimilar to any previous efforts, Stelios consciously took a step back from the pressure of maintaining a steadily flowing supply of functional, club-oriented music and as the world stood still amidst the pandemic, he embraced the opportunity to reconnect and express himself with a broader musical vocabulary. He admits that: "with the world around us seemingly on the fast track to Armageddon, the music ended up being very much reflective of the sadness and helplessness I felt."

All Else Fails is a stimulating odyssey to anyone listening. Harmonically dense, arcadian glistens seep throughout the ten tracks, each complementary to the next. Bask in the wistful iridescence and you won't be disappointed.

Stelios carved his way into electronic music by traversing around the globe as a DJ and performer - performing at intimate underground bars in Beirut, festivals in Miami, after-hours in Tokyo, beaches in Goa and mega clubs in Argentina. Having developed a formidable discography on esteemed labels such as Bedrock, Poker Flat, Ovum, Constant Sound and Darkroom Dubs, among others, Stelios' studio prowess and coveted productions cemented his reputation as a versatile and acclaimed artist. His intense passion and drive for innovation in music serves as the fuel to keep him inspired and relevant, qualities that no doubt ensure his reputation as an artist of the highest calibre, will endure.

Emerging DJ and producer Yemi brings the soulful groovers to the Time Is Now white label series.

Having already received support from the likes of UKG mainstays Sammy Virji, Conducta and Smokey Bubblin' B during his relatively youthful career, Yemi is certainly an artist to watch. For justification, look no further than the vibrant, uplifting 6-track EP which combines luscious vocals and blissful piano chords to create a sound which is at once nostalgic and fiercely forward-facing.

Its two opening tracks get things off to a buoyant start, with a bouncing 4x4 rhythm and the syrup-smooth vocals of emerging artist and long-time friend, Bria Keely. Pair these with rattling bongos on "Never Let You Go" and the gleeful trumpets of "Smooth Talkin" and you have two tracks which make it impossible to keep still.

"My Heart" welcomes a change in mood with a loose two-step swing and moody vocals: a track made for the feels. But before you get too self-indulgent, the deep bass grooves of "Soul Food" bring the energy right back and "Tension"'s euphoric piano chords leave things on an ecstatic high.

Ben Ritz has released EPs on Sweat Equity and Merge Layers. He's not afraid of the high bpms, but this isn't all blender no tender. This is futuristic, hard yet funky techno that is undeniably for the freaks. Find him in NYC or on his vinyl debut right here.

A1 "Up And Down" opens up with an ear-worm, repetitive melody that bangs and jacks with the hard kick and hi-hats. Freakish manipulation of the melody, tasteful breakdown and build-up, and a good dose of space throughout the track make this an undeniable sweat-dripper, trippy chugger. A2 "Do Make Me Strange" has a similarly catchy diddy that undulates around the drums. Restraint is the key here. Hard but funky, with distorted and drippy acidic takes on the main simplistic melodic line--this is a cerebral come-up, cooling your sweaty skin and leading your body to the nooks and crannies of the Hyper Groove.

The title track "Easily Disturbed" opens up the B side by ushering in the mood of the later hours. This is titillating, popping, syncopated, subtle, but still raucous techno right here. Perfect for mid-peak and when you're in your head, sending forces of rave rhythm telepathically to the rest of the dance floor. "Crystalline" closes out the EP with a boom and bang. Hypnosis overcomes. The ego-death has won out against your anxieties. This is music for the thrill-seekers of metropolitan dystopias worldwide...executed with nuance and style.

Ltd. Gtf. Yellow Pink/ Yellow Blue 2 LP + Poster & Sticker.Kamille Sharapodinov: "Unsere Frühjahrstour 2020 wurde abgesagt (16 Gigs in 18 Tagen) wegen der Pandemie dieses bösen Virus und das war ein echter Mist für eine kleine und unabhängige Band wie The Legendary Flower Punk, weil wir es lange geplant hatten und mehr als acht Monate damit verbracht hatten, es zu buchen. Aber um positiv zu bleiben, kamen wir mit einer eleganten Lösung! Buchstäblich in den letzten Stunden vor Quarantäne und Selbstisolation versammelten wir uns in unserem Proberaum, stellten das Aufnahmerigg ein und jammten und jammten und jammten. Danach hat unser Toningenieur Igor alles gemischt und gemastert und wir haben das Ganze in 16 Sets geschnitten (nach der Anzahl der Shows, die wir spielen wollten). "Beatroot 2020" ist eine Zusammenstellung der schönsten Momente dieser Jam-Sessions."

A collection of instrumentals previously unavailable from Diggin' In The Crates producer, Buckwild. Buck has worked with the likes of Notorious B.I.G., Black Rob, Jay-Z, O.C., Big L, Fat Joe, Diddy, Big Pun and many, many more. Volume 2 of a 3 volume series.

Achtes Volumen der beliebten Serie auf Stag-O-Lee. Limitiert auf 666 Exemplare, kommt das Werk feinstverpackt im 10" Cover mit Mittelloch. Gunsmoke ist eine Sammlung von Country- und Cowboy Tränenziehern mit oder ohne leichter Schräglage, melancholischem Rockabilly und Popcorn Noir aus den späten 50ern und frühen 60ern. So könnte eine alte Jukebox in einer verlassenen Stadt im alten Westen klingen....

For Susanna, nothing happens in a vacuum. Every creative act responds to what's come before. And by exploring this dialogue, we can learn new things about ourselves and the world. This idea has inspired the Norwegian artist throughout her near two1decade career. It's behind her unforgettable covers of classic songs and her interpretations of the paintings of Hieronymous Bosch. And it found its purest expression on 2020's Baudelaire & Piano, a stripped back song cycle setting texts from the 19th century French poet's The Flowers of Evil. In Elevation, its followup, Susanna's engagement with Baudelaire's work blossoms into a collaborative enterprise, combining tape, spoken word and song. The result is a unique musical conversation spanning centuries and disciplines; a "time travelling" project, as Susanna puts it, that moves between creative dimensions. She brings collaborators back into the process, nurturing connections made over a series of Baudelaire & Piano live shows presented in 2020 and 2021. Composer1improviser Delphine Dora offers teasing renditions of the original French texts, layering spoken recitation and otherworldly singing in a set of atmospheric vignettes. And tape recorder soundscapes from Stina Stjern-familiar from Susanna's Hieronymous Bosch project Garden of Earthly Delights (2019)-frame the album with hiss, hum and soft fingers of melody, like mist settling on a landscape. These contributions deepen the album's mystery and its evocative power. The result is an engrossing interleaving of sounds and registers; and, as Susanna describes it, "an intuitive and collective ceremony of the ethereal and mystical in life." Elevation features work by American occultist artist Cameron (1922-1995), an adherent of Aleister Crowley's Thelema movement. Her illustrations "Witch Woman", "Pan" and "Danse" adorn the release, which will be available on cassette as well as in the usual digital, CD and vinyl formats.Oslo-based artist Susanna has released music as Susanna and the Magical Orchestra and 'just' Susanna since 2004, through labels like Rune Grammofon, ECM Records and her own outlet SusannaSonata. She has collaborated with artists like Jenny Hval, Bonnie 'Prince' Billy and John Paul Jones, highly active with different projects, songwriting/composing, and making personal interpretations of other people's songs.

RE-RELEASE! Ein junger Mann mit einer unverwechselbaren, eigenen Stimme, einem Händchen für große Melodien und dem Drang in seinen Texten nach existentialistischer Wahrheit zu suchen, wo andere bloß Phrasen dreschen, macht sich mit viel Aufbruchselan auf. Ansa Sauermanns Erstlingswerk "Weiße Liebe" ist eine Ansage. Mit kraftvollem Songwriting, Rock'n'Roll-Attitüde und rauer Poesie nimmt er uns mit auf eine Reise; in einer Welt die aus den Fugen zu geraten scheint, hält er innere Einsicht, die stetige Arbeit an einem selbst und den weitest gehenden Verzicht auf Ironie und Sarkasmus für die einzig probaten Gegenmittel zur allgemeinen Lethargie und Hoffnungslosigkeit.

Reissue of The White Stripes second album (originally released in June 2000), which found the band recording in the comfortable confines of Jack White's Third Man Studios, then housed on the ground floor of his house in Southwest Detroit. The on point covers of Son House and Blind Willie McTell pair wonderfully with both the minimal downtempo somber numbers and the maximum energy explosions of unadulterated power. A 13 track album pressed on 180gm black vinyl and housed in a tip on sleeve. Both releases will have promo/marketing activity.

The insanely rare first 45 from the band that became Brief Encounter, so rare in fact most people are not aware of existence. Two covers, The Van McCoy and Cobb penned 'So Much Love' flipped with (My Favourite) Barbara Mason track 'Yes I'm Ready', a true deep soul classic. The sticking point in doing this 45 was waiting years to find a clean copy as the tapes were long gone, the band finally turned up a minter after a long time looking so big love to Gary and Montie Bailey.

Seit 2017 war Donnelly viel auf Tour. Während eines kalten Winters in Westaustralien, kehrte sie im Juni 2018 zurück nach Hause, um ihr Debüt aufzunehmen. Um das Album noch weiter zu verfeinern, rekrutierte sie eine komplette Band bestehend aus ihren besten Freunden - die Bassistin Jennifer Aslett, den Schlagzeuger Talya Valenti und den Gitarristen George Foster - und arbeitete mit dem Produzenten Dean Tuza zusammen, der die Songs auf abenteuerliche Art und Weise unterstützt, ohne ihnen dabei etwas von der Intimität und Herzlichkeit zu nehmen. "Beware of the Dogs" ist von einem sarkastischem Augenzwinkern und vollem Herzen durchzogen, auf dem Stella Donnelly in 13 lebenserhaltenden Liedern die Kraft beweist, für sich selbst, ihre Freunde und ihre Rechte einzustehen.Ihr Debüt ist ein Porträt, in dem sie sich Donnelly als Künstlerin zeigt, die ihre Stimme vollkommen beherrscht und ihren einladenden Charme und ihren messerscharfen Witz in authentisch rohen Songs einsetzen kann.

Art Blakey is one of the greatest jazz drummers and first made name for himself in the 1940s when working with bebop musicians Thelonious Monk, Charlie Parker and Fletcher Henderson. In the mid-1950s, he then formed The Jazz Messengers together with Horace Silver, which quickly became known as an incubator for young talent. 35 years after forming The Jazz Messengers, Blakey entered his final year still at it. Due to the many promising young players around the time, he expended the collective from its usual quintet or sextet into a septet for this fine recording session. Because Blakey constantly persuaded his musicians to write music, The Jazz Messengers stayed young in spirit, just like its leader.

Chippin’ In is available as a limited edition of 750 individually numbered copies on red coloured vinyl and includes an insert with upcoming titles from the Timeless Records 45th Anniversary Jazz Series.

'Legacy: A Tribute to Leslie West' will be released on CD, Silver vinyl and digitally.When Leslie West passed away in December of 2020, he left behind a towering legacy of epic recordings that few rock guitarists can match

But there was more to West than great songs (although, to be sure, he created a ton of them); there was his brilliant, idiosyncratic sound, a gargantuan earthmover that razed arenas and stadiums across the globe. More than just paralyzing tone, though, he also had a touch nobody could beat. Stinging, swooning and sensual melodies leapt from his fingertips – with a deft flick of his wrist, he sounded like a Delta bluesman had picked up a violin. These elements and more helped to make West one of the most significant, influential and
irreplaceable guitarists of the rock era.Originally, the album was intended to be a retrospective celebration of West's music on which the guitarist himself would perform some of his best-loved cuts with notable guests, along with a collection of new tracks. Two weeks before recording was set to commence, however, the guitarist passed away. While grieving the loss of her husband, Jenni was comforted by the constant stream of phone calls from famous musicians who
expressed their condolences, and without fail, each one said the same thing: "If you do any kind of tribute to Leslie, please let me know."An astonishing array of West's admirers – who also happened to be friends and peers – came together to celebrate the trailblazing musician on the aptly titled 'Legacy: A Tribute to Leslie
West'. Executive produced by Jenni West, Bob Ringe and John Lappen, the album features dizzying, heartfelt performances by Slash, Zakk Wylde, Dee Snider, Bachman & Bachman, Martin Barre, Joe Lynn Turner, Charlie Starr, Elliot Easton, Robbie Krieger, Mike Portnoy, Eddie Ojeda, George Lynch, Marty Friedman, Steve Morse and Yngwie Malmsteen, among others. Each track on its own is a corker,
but taken together the 12 cuts on 'Legacy: A Tribute to Leslie West' are a stunning and heartfelt testament to the true impact the guitarist had on musicians of all stripes, and as such, it's essential listening for both longtime fans and newbies.
Print coverage in Guitar Techniques, Rock Candy, Record Collector

Rare early Soft Machine cuts from 1963 -1970, featuring Robert Wyatt,
Kevin Ayers, Mike Ratledge, Hugh Hopper, Daevid Allen and others no
released on red vinyl

Promotion across social media platformsAdvertising in Record Collector and Shindig

Reissue of 2018 debut on 2 colour vinyl, black & milky clear. Note includes members of Pains Of Being Pure At Heart. More than anything else, Oh Boy is a celebration of teenage fandom and friendship. Each song is “about” something else, of course: a betrayal, a breakup, new love, parenthood. The usual stuff. And we’re hardly teenagers. Yet somehow Massage feels like the kind of band you were in back in high school. We were friends first. We all had other lives. We started playing music almost by accident. (Michael wanted to learn drums; Alex wanted to relearn guitar after playing bass in the Pains of Being Pure at Heart; Andrew and David invited themselves to their second practice.) We made a playlist of songs we loved hundreds of them long before we recorded anything: the Feelies, the Go-Betweens, East River Pipe, the Lemonheads, the Breeders, Flying Nun, Sarah Records. Alex and Andrew started writing songs the way kids do to sound like their heroes. No matter how we tried, though, the songs half Alex’s, half Andrew’s came out sounding like “Massage”: scrappy, catchy, minimalist, and sincere, with Gabi’s harmonies elevating each track. Every Monday after practice, we went to Jay’s Bar for beers and poutine. There was no point to any of this. We were just having fun. Then one day we realized we were a band. Oh Boy is our attempt to capture this easy alchemy on tape the strange magic of a bunch of amateurs coming together, finding their own wavelength, and making something out of nothing. We couldn’t have asked for a better partner in crime than our pal Jason Quever of Papercuts, who recorded us on random weekends over the course of two years. We hope the result sounds as loose, low-key, idiosyncratic, and ultimately indelible as the bands that inspired us — the ones you already know, and the ones that are still just teenagers goofing off in some suburban garage.

All Away Lou is the new band from Lou Hanman; a 40 something, queer, English woman living in Philadelphia, PA, still playing punk rock three decades in because it's fun and she needs it! The force behind UK punk favourites Caves & Flamingo 50. Lou emigrated to the US 6 years ago to pursue music full time, touring & recording drums, bass, guitar for the likes of RVIVR, Mikey Erg, Thin Lips, Katie Ellen, Queen of Jeans, Worriers. After a significant songwriting drought, the pandemic and a break from touring gave Lou the space to focus on her own musical output and spend some time recording at Headroom Studios in her current hometown of Philadelphia, PA with Kyle Pulley and Jackie Milestone. While she records everything herself, All Away Lou is very much a band, and an opportunity to get loud, sweaty and rock out as soon as the possibility arises. The name simply comes from never feeling at home, always away. She had felt the culture shock of moving to the states from the UK (especially of the political landscape after November 2016) and a breakup that underpinned the realization that life was not turning out the way she had hoped. Lyrics on the record reflect this point in Lou’s life: the need to return to a feeling of “home” and have the courage to change her mind, take a new path and not settle for things that didn’t feel right. All Away Lou will be taking the album on the road with dates in the UK & Ireland supporting Jeff Rosenstock & Fresh in April 2022.

Acid Jazz subsidiary Countdown Records presents a new release from Graham Day: ‘Master of None’.

The former Prisoners front man emerged in the Bill Childish / Medway scene. While not enjoying the recognition and commercial success of some of his contemporaries at the time, he has emerged as one of the most enduring and prolific songwriters of the era.

‘Master of None’ is a unique addition to the Graham Day canon, featuring 12 new songs, with all instruments recorded entirely by the man himself - a measure of the depth of talent on display and his continuing creative vision.

The Prisoners were regarded as one of the best live bands of their time, and they maintain a loyal fanbase, for whom this release can be considered vital.

Rare Nigerian Afrobeat-Afropop Album.

First vinyl reissue since 1985.

Solo Album by Ofege Frontman Melvin Ukachi.
First Ever Release Outside Of The African Continent.
180g BLACK vinyl limited to 500 copies (w/obi strip). Non-Returnable.
Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia…but his biggest legacy is without a doubt him being the singer and bandleader of Ofege.
Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band!
Melvin Ukachi recorded four milestone albums with Ofege: ‘Try and Love’ (1973) ‘The Last of The Origins’ (1976), ‘Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: ‘Evolution-Bring Back The Ofege Beat’ (1981) and ‘I am Ok’ (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike.
On the album we are presenting you today (I AM OK from 1985) the listener is treated to Ofege’s trademark sound…but we’re also shown a perfect glimpse of the late 70’s afrobeat works combining soul, jazzy rhythms, William Onyeabor style laid back electro funk synths & fluid boogie-danceability. The female backing vocals and handclaps by Princess Bunmi Olajubu (Femi Kuti) also deserve a special mention because they add so much depth and grooves to this amazing record.
Expect some serious local ‘all-star’ guest musicians on this record as well. Next to him playing the synth, Jake Sollo also produced this gem of an album! To top things off the tracks were recorded and mixed at the legendary RAS Studio in Akwa, Nigeria…all slickly engineered by John Malife (Black Children Sledge Funk Band, T-Fire, BLO).
‘I AM OK’ was released on CRS Nigeria in 1985 and is a total Afro-pop-funk classic that begs for a special place in your record collection. It’s tight, funky and Melvin’s soulful vocals are to die for. This record is a monster!
Tracklist:
I'm Ok , I Don't Mind , Come and Dance , We are Fine , Keep on Loving Him , Wanted , I Wanna Hide You

If you are serious about Heavy Metal, then most likely CRYSTAL VIPER doesn’t need an introduction. The band was founded by the singer and guitarist Marta Gabriel, and released its debut album in 2007. Since then, they toured in more than 15 countries, played in both tiny clubs and at huge open air festivals, released 8 studio albums, and bunch of singles. So one thing is sure: they are one of the most hard working and most determined bands of their generation. Their latest studio album entitled "The Cult" is still hot: it came out in 2021, and brought CRYSTAL VIPER back to their roots: the traditional and pure Heavy Metal, full of epic melodies, classic riffs and guitar harmonies, ripping solos, and catchy refrains. The band couldn’t tour properly and promote the album due to pandemic, but instead of sitting and waiting for better times, they decided to record more material. Their newest release, "The Last Axeman » starts with a new version of the early CRYSTAL VIPER classic and fan favorite: "The Last Axeman", and is followed by a brand new song entitled "In The Haunted Chapel" (which like all the songs from the newest album "The Cult" has lyrics inspired by an H.P. Lovecraft story). The band knows their brand of Metal very well, so included is a surprise cover song: remake of "Ulitsa Roz", originally written by the Russian Heavy Metal heroes ARIA. Follows a remake of "It’s Electric", the classic headbanger of NWOBHM heroes DIAMOND HEAD, then 4 songs taken from "The Cult" album, but recorded live in studio, as part of the #RockOutSessions series. These new, stripped down and rough versions of "The Cult", "Asenath Waite", "Whispers From Beyond" and "Flaring Madness", show the pure and untamed energy of the band, and were also released as a 20 minutes long music video. CRYSTAL VIPER are here to stay. They are passionate about Heavy Metal. They represent the Metal Nation !

REDSHARK was founded in 2012 in Barcelona - Spain, by Philip Graves (guitar) with the aim of delivering Classic Pounding Heavy Speed Metal. Their traditional 80s metal influences may plunder the nostalgia circuit but REDSHARK are ruthlessly carrying the torch with great attitude, and powerful melodic songwriting. The band had their full line up fixed in 2013 with Javier Bono on 2nd guitar, Mark Striker on drums, Chris Carrest on bass, and Pau Correas on vocals. Their debut official release "Evil Realm" ep came out in 2019 and showed the band pushing the velocity further. Those intense five songs drew a roaring response and helped to spread REDSHARK name nationwide and abroad. REDSHARK have since honed their gloriously raw yet precisely incisive, dark, catchy and addictive speed heavy metal crunch staying faithful to their original influences taken from undisputed metal legends like Judas Priest, Savatage, Exciter and Metal Church. The band's albums front cover concepts look entertaining with their comic book type of artworks depicting a mad red human shark on a killing spree. It also represents the band's out for blood impulse in churning out those hard hitting riffs and also refers to their energetic live performances. That redshark is obviously the band's mascot. In 2021, they composed and recorded their full length debut album 'Digital Race’. It was produced by Jaume Perna (Jack Dark) and mixed & mastered by Gonzalo Vivero in In The Red Audio. As always, the cover art was by Jose Antonio Vives. LG Valeta , guitar player from the much acclaimed ‘77 guests on the track 'Pallid Hands' with a stunning Flamenco guitar solo. REDSHARK is pursuing their heavy speed galore with 'Digital Race', sticking to their traditional and catchy melodic sound that has been associated with the band 80s tinged Metal since their early days.

Nothings Real, So Nothing’s Wrong is Kevin’s 10th full length record. His career began in the early 2000s with the band Miracle Of ’86. Along the way Kevin has amassed a loyal and rabid fan base. He has built an interesting career with the ability to play as a solo artist, his own band – The Goddam Band – and as a member of Bad Books alongside Manchester Orchestra, and as a touring member of The Front Bottoms and Brand New. In 2015 Kevin started his split 7” series – artists involved included Craig Finn, The Front Bottoms, Matthew Caws (Nada Surf), David Bazan, Meredith Graves and many others. This helped open up a new audience. Kevin has toured the world as a headliner and toured with a wide variety of artists including Manchester Orchestra, Frightened Rabbit, John K Samson, Julien Baker and Pinegrove to name a few. Also, Devine has appeared at numerous festivals including Lollapalooza, Bonnaroo, Ohana, Shaky Knees and many more. From Kevin: Nothing’s Real, So Nothing’s Wrong is a grown-up break-up record, for strugglers by a struggler. It’s a record about fatherhood written during a pandemic. It’s a kitchen-sink 10th album pivot, painstakingly brought to life by two career-long collaborators and their shared and split obsessions. Lyrically evocative, excavating and unflinching without irresponsibly printing your journals.

Nothings Real, So Nothing’s Wrong is Kevin’s 10th full length record. His career began in the early 2000s with the band Miracle Of ’86. Along the way Kevin has amassed a loyal and rabid fan base. He has built an interesting career with the ability to play as a solo artist, his own band – The Goddam Band – and as a member of Bad Books alongside Manchester Orchestra, and as a touring member of The Front Bottoms and Brand New. In 2015 Kevin started his split 7” series – artists involved included Craig Finn, The Front Bottoms, Matthew Caws (Nada Surf), David Bazan, Meredith Graves and many others. This helped open up a new audience. Kevin has toured the world as a headliner and toured with a wide variety of artists including Manchester Orchestra, Frightened Rabbit, John K Samson, Julien Baker and Pinegrove to name a few. Also, Devine has appeared at numerous festivals including Lollapalooza, Bonnaroo, Ohana, Shaky Knees and many more. From Kevin: Nothing’s Real, So Nothing’s Wrong is a grown-up break-up record, for strugglers by a struggler. It’s a record about fatherhood written during a pandemic. It’s a kitchen-sink 10th album pivot, painstakingly brought to life by two career-long collaborators and their shared and split obsessions. Lyrically evocative, excavating and unflinching without irresponsibly printing your journals.

Suzanne Santo has never been afraid to blur the lines. A tireless creator, she's built her sound in the grey area between Americana, Southern-gothic soul, and forward-thinking rock & roll. It's a sound that nods to her past — a childhood spent in the Rust Belt; a decade logged as a member of the L.A.-based duo HoneyHoney; the acclaimed solo album, Ruby Red, that launched a new phase of her career in 2017; and the world tour that took her from Greece to Glastonbury as a member of Hozier's band — while still exploring new territory. With Yard Sale, Santo boldly moves forward, staking her claim once again as an Americana innovator. It's an album inspired by the past, written by an artist who's only interested in the here-and-now. And for Suzanne Santo, the here-and-now sounds pretty good. Yard Sale, her second release as a solo artist, finds Santo in transition. She began writing the album while touring the globe with Hozier — a gig that utilized her strengths not only as a vocalist and multi-instrumentalist, but as a road warrior, too. "We never stopped," she says of the year-long trek, which often found her pulling double-duty as Hozier's opening act and bandmate. "Looking back, I can recognize how much of a game-changer it was. It raised my musicianship to a new level. It truly reshaped my career." “Defiant” - American Songwriter “a bluesy ripper that gets its sizzle not just from her dynamic vocals but from a dirty, undulating guitar line from Gary Clark Jr” - Buzzbands “On “Fall For That,” she digs deep to sing about the push and pull between needing human connection and solitude, chaos and calm” - Buzzbands “bold storytelling and introspective reflection” - CMT “Catchy-as-hell” - Glide “she digs deep” - KCRW “Suzanne Santo is one of those musicians that come along every once in a blue moon.” - National Rock Review “Santo takes ownership and power back with crass and candor, introducing shameless, self aware dialogue that opens the door for conversation that leads to real healing.” - Paste "spunky" - Premier Guitar “Southern-gothic soul” - Rolling Stone Country “vivid musical portraits” - San Diego Union-Tribune

Like only the most gifted storytellers, Matisyahu spins the rare kind of stories that simultaneously enlighten and enthral and expand the audience’s sense of possibility. On his eponymous new album, the Grammy Award-nominated singer/songwriter/rapper shares his most autobiographical work to date, merging that personal revelation with a shapeshifting collision of reggae and hip-hop and boldly inventive pop. Produced by Salt Cathedral (a Brooklyn-based duo comprised of Colombian musicians Juliana Ronderos and Nicolas Losada), the result is an undeniably transformative album, one that invites both intense introspection and unbridled celebration. About “Chameleon” On the album’s dancehall-infused lead single “Chameleon,” Matisyahu presents a potent piece of self-reflection spiked with equal parts idiosyncratic wordplay and warmly expressed wisdom (“Turn an evil eye inverted to let the light in/Illuminate the evil till dem heart get sizzlin’”). “Chameleon” Quote “Chameleon has two facets. On the one hand it is able to blend with its surroundings in order to survive without sticking out. On the other hand is the shedding of its coat in order to grow. The story line continues here as our protagonist must learn both the necessity to blend in it at times but also to continue to grow and change.”

GLOK is the electronic alter ego of Andy Bell; best-knownas the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

For more than a decade now, Fleck E.S.C. has marked himself out as one of the most playful and prolific producers in the electro game. Across dozens of releases for labels including Bass Agenda and Science Cult, the France-born, Japan-based artist has made his name through a production style which balances limber beats with exploratory textural work.

Fleck E.S.C. debuted on Central Processing Unit in 2018 with the Discrete Opinion EP. Now, after stopping by the Sheffield label last year on a Silicon Scally remix job, Fleck E.S.C. delivers his second EP for CPU in the form of Rough Silk. The record's intriguing title proves an apt introduction to this four-track affair. These cuts are at once sleek and abrasive, anchored by robotechnic machine-funk grooves yet also full of strange, shifting shapes.

The opening title-track expertly sets out Rough Silk's stall. Heralded by gurgling synths and all manner of whirring percussive tones, 'Rough Silk' blossoms around the minute mark with the introduction of a wickedly buoyant lead synth. This is music at once visceral and full of mystery, the sound of wending through the back alleys, and the feeling carries through to the following cut 'Hat in the Cat' - as the synth pads spool out overhead, the machine-funk snap of the beat has an almost aquatic quality that links it back to Drexciya.

Much like 'Rough Silk', the record's first B-side 'Faking Sweet' also shifts gears. The opening strains of the track seem to be preparing for another insistent, expansive broken-beat pulse, but it stiffens its neck around ninety seconds in. Programmed drums whirr around a jittery machine-gun bass while discordant synths pull at the edges of the track, all of which brings a strong dystopian energy that increases further as the percussion sounds become increasingly bug-eyed.

After so much excitement, 'Digger Play' closes out the EP with a softer touch. There's still plenty of low-slung bounce to the beat, but the track runs a little slower, and there's a warm wistfulness in the synths which gives 'Digger Play' a painterly, almost poetic feel. However, while it may take its foot off the gas, the production here is as deft as it is everywhere else on Rough Silk.

With new EP Rough Silk, electro whizz Fleck E.S.C. brings the sort of casual mastery to proceedings that has characterised his career to date.

RIYL: Silicon Scally, Jensen Interceptor, Annie Hall