Suche:story

Welcome to the majestic world of Arodasio, a fictional floating island that finds its home in Dosi & Wishes and Dreams’ latest collaborative album. Though few tread here, the music recounts stories of the city’s former glory - soul-lifting piano melodies, cinematic drums and exotic ambience drift from far away in the distance, beckoning. Will you be the first to step foot on its land?

Das siebte Studioalbum von US-Ausnahmemusiker:in LP, erscheint am 29. September 2023 bei BMG. Auch mit dem Nachfolger zu Churches (2021) widmet sich LP der Komplexität menschlicher Erfahrung und vertont ein sehr viel klarer umrissenes Selbst- und Weltbild als je zuvor.

Das neue Album vereint insgesamt zwölf Tracks, die tiefe Einblicke in LPs bisherige Lebensgeschichte erlauben, wenn es immer wieder auch um zurückliegende Beziehungen geht - romantische Beziehungen, familiäre Beziehungen, auch um die Beziehung zu sich selbst.

Unterstützung bekam LP von Ashton Irwin (5 Seconds Of Summer), Andrew Berkeley Martin (Palaye Royale) sowie vom GRAMMY-nominierten Produzenten und Songwriter Matthew Pauling. Das Resultat ist ein fesselndes, extrem emotionales Werk, das vor allem zeigt, wie sehr LP gewachsen ist - und was sie alles auf ihrem Pfad der Selbstfindung herausgefunden hat. Love Lines verknüpft LPs unverwechselbare Stimme, aufrichtiges Storytelling und unverblümten Rock & Roll mit so viel emotionalem Tiefgang, dass LP selbst von einem essentiellen Meilenstein spricht.

The Perfect Storm is a 2000 disaster drama film directed by Wolfgang Petersen. The film is an adaptation to the non-fiction book of the same name written by Sebastian Junger. It stars George Clooney, Mark Wahlberg, John C. Reilly, and Diane Lane amongst others. The story follows a commercial fishing vessel that was lost at sea after being caught in 'The Perfect Storm' of 1991.

The soundtrack was composed by Academy Award-winning composer James Horner, who is known for scoring Titanic (1997) and Avatar (2009). The score revolves around a rolling, six-note motif to evoke the waves of the North Atlantic Ocean. The soundtrack also features the song "Yours Forever", performed by John Mellencamp.

The Perfect Storm is available as a limited edition of 1000 individually numbered copies on red & black marbled vinyl and includes an insert.

The mystery continues to deepen, as you hear whispers beckoning you out to the sea...

After refining their dark and seductive vision of alternative/gothic metal to surreal, cinematic levels with three EPs and a full-length album, The Cause of Shipwreck, behind them, the Assen-based Blackbriar continue to set their sails towards the future in 2023, signing with Nuclear Blast Records and working towards their second full-length album, again accompanied by long-time collaborator Joost van den Broek.

Formed in 2012 by Zora Cock, René Boxem, Bart Winters, and Frank Akkerman, they crafted their first single in 2014 with “Ready to Kill,” but it was 2015’s second single “Until Eternity” that truly propelled them into the scene. A sweeping track with an equally compelling and beautiful video, it continues to draw many to the act with over 18.1 million views since its debut. Taking advantage of the growing buzz surrounding the band, they independently recorded and released their first EP, Fractured Fairytales, as well as acquiring a second guitarist in Robin Koezen. This EP layed down an impressive foundation for the band’s ethereal and breathtaking sound and brought about new opportunities for the act, including tour dates in The Netherlands, Germany, Belgium, France, Switzerland, Czech Republic, Hungary, and more, where the band played alongside Epica, Halestorm, In This Moment, Delain and MaYan. To keep moving ahead with full control of their creative ideals, the band successfully crowdfunded their follow-up EP, We’d Rather Burn, and brought it to life in October 2018. This EP would be the first time the band worked alongside esteemed producer Joost van den Broek to arrange and produce the effort, and this fruitful collaboration allowed Blackbriar’s whimsical and enigmatic sound to reach new sonic heights. Released the same day as their self-made video for “I’d Rather Burn,” this EP showcased a stronger sense of dreamy atmosphere and brought listeners beautifully grim tales of witches, banshees, and sea sirens. In the time following, keyboardist Ruben Wijga (ex-Re-Vamp) took a larger role within the band and began playing shows, after being involved in the songwriting process since Fractured Fairytales.

A busy 2019 followed, the band released a haunting single in May entitled “Snow White and Rose Red.” A duet with Ulli Perhonen, their take on the Grimm’s fairytale featured striking cinematic visuals to accompany the spellbinding track. Continuing to dig deeper into fairytale realms, Blackbriar closed the year with their third EP, Our Mortal Remains. Ever-sharpening their intoxicating blend of storytelling and breathtaking musicianship, the EP brought about new live exposures for the act as well. Small, sold out tours with Epica in 2019 and 2020, as well as a sold out opening for Delain’s Apocalypse & Chill release show in Utrecht followed, with more future plans then being put on hold due to COVID-19. Championing their continued independence, which included everything from songwriting, maintaining their web presence, overseeing merch, as well as shooting and producing their own videos and photos, Blackbriar reached out to their ever-growing and loyal fanbase for assistance to make their full-length album a reality in 2020. Fans fervently heeded the call, reaching the € 25,000 goal in under 24 hours and ending with a total of € 70,000 and achieving all five stretch goals. An impressive accomplishment for an independent act, which also showcases a strong internet presence with over 214,000 YouTube subscribers and 46.1 million channel views as well as 27.6 million Spotify streams and 150,000 monthly streamers on the platform.

Self Made Man is the fourth studio album by American Roots Rock Band Larkin Poe. Originally released in 2020 this self-produced album is available for the first time on limited edition olive green vinyl. Georgia-bred multi-instrumentalist sisters Rebecca and Megan Lovell fortify their storytelling with a rock and blues-heavy sound that hits right in the heart, at turns stormy and sorrowful and wildly exhilarating.

There are only a few figures in music whose work influences and
shapes a genre as a whole. This is undoubtedly true of the Swede
Esbjörn Svensson. With his trio e.s.t., the pianist and composer
wowed audiences beyond age and genre affiliations. And his
influence on jazz as a whole reverberates to this day and already
within the second and third generation of musicians worldwide.
‘HOME.S.’ is Esbjörn Svensson’s only solo album and the sheer
existence of such a recording and its completely unexpected
discovery over a decade after its creation are nothing less than a
sensation: Since the early 1990s, Svensson focused almost his entire
creative energy and recording activities on his work with e.s.t.. Thus,
these new recordings are not only the first, but practically the only
ones that show Svensson in a setting other than that of the trio:
Intimate, concentrated and completely one with himself. The
recordings for ‘HOME.S.’ were made only a few weeks before
Esbjörn Svensson’s sudden death on June 14, 2008. Svensson
recorded the music in his Swedish home.
For almost ten years afterwards, the album rested untouched in his
wife Eva Svensson’s personal archive. Here, she tells the story
behind the discovery of the album and the music: “After Esbjörn’s
passing, I made sure all the contents of his computer were saved to
backup hard drives. And then I basically left them untouched for the
next ten years. At the point where I eventually felt ready to look into
the material, I soon realised that there was something I wanted to
look into.
“I took the hard drive and went to Gothenburg to meet with Åke
Linton, the sound engineer who had worked on all e.s.t. albums as
well as on their live shows. He was also the one who had helped me
to save the material from Esbjörn’s computer in the first place. So he
probably already knew that there was something hidden in there. But
nobody had listened to it.
“We went to his studio. And we pressed the start button. Then there
was a total silence and we couldn't speak for the entire time the music
was playing. After it finished, at first we were not able to say anything,
because we were both so touched and surprised that it was all there,
and that it was so beautiful. The tracks seemed to follow one another
like pearls on a string. After we just had sat there for a while we
agreed: This is really good. Musically, but also from a sound
perspective.”

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

In 2020, the previous band formation announced its breakup, leaving Nelson at a pivotal turning point musically, and more broadly, in life, to determine what came next.

Over the next couple of years, Ayala grappled with issues of loss, addiction, coping with pain, relationships gone awry, and relationships anew. He also experimented more sonically, spending countless hours in the studio jamming with friends and using (Covid) boredom as an incubator for creativity. The result of this time period is Lonely Citizen, Indian Askin's third album. Lonely Citizen finds Nelson exploring his own personal story in perhaps the band's most intimate work to date.

Musically, he nods to his Latin roots, with a focus on percussion and groove being a thread throughout the record. Simultaneously, the lyrics find Ayala taking a magnifying glass to his personal reflections on his hometown, Amsterdam.

He says on the album, "It's about feeling sick and tired, and maybe even ashamed, of the place I grew up in and what it's become. And especially what I've become while living my life here. I was born in this machine and I will forever be a part of it, yes. I just can't shake the feeling that I need to leave this noise behind."

She Spread Sorrow is the work of Italian industrialist Alice Kundalini. In her sparse and grimly atmospheric applications of noise, tone, and electronic sequencing, She Spread Sorrow expresses a volatile emotional core that speaks to abuse and repression with an unblinking candidness.

Orchid Seeds was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.

Kundalini’s signature whispered vocals once again beckons her audience closer on Orchid Seeds. Kundalini states that the album, “is about 5 different women of my family. Each track is about one of them with their difficult story and strengths. My family is totally destroyed now, no relation between anyone, but in the past there was a strong tradition of women with interesting personalities.” This sibilant allegorical history comes into focus amidst a claustrophobic and cinematic pall of dark ambient blight and death industrial torpor.

Vinyl mit Downloadcode. Die LP und CD Versionen dieses Albums unterscheiden sich in einigen Details: Nicht mit an Bord bei der LP-Version sind die Songs "Intro" und "Ends", die sich auf der CD finden lassen. Dafür gibt es auf der LP den Track ,Body And Blood" in einer längeren Version. Außerdem tummeln sich auf der D-Seite 100 Locked Groove Audio Loops, die exklusiv nur auf dem Vinyl auftauchen. ,CLIPPING. machen Partymusik für den Club, bei dem man sich wünscht, nie in ihm gelandet zu sein; das Auto, bei dem du dich nicht erinnerst, wie du eingestiegen bist und die Straßen, auf denen man sich nicht sicher fühlt." (Aus der Pressemitteilung für das CLIPPING. Debüt ,Midcity", das im September 2012 veröffentlicht wurde). Seit das verfasst wurde, hat sich einiges geändert für CLIPPING. Die Band fand heraus, dass die potentiellen Hörer bereiter für sie waren, als sie es erwartet hatten. Vor ,Midcity" erwartete keins der Mitglieder (Rapper Daveed Diggs und die Produzenten Jonathan Snipes und William Hutson), dass ihr kantiger Rap ein Publikum finden würde. Die Band war ursprünglich als Remixprojekt und Fußnote im wahren Leben der Mitglieder gedacht: Diggs ist ein Bühnenschauspieler; Snipes komponiert Filmmusik und Hutson ist ein etabliert Noise Musiker (Snipe und Hutson kollaborierten beim Soundtrack zur IFC Dokumentaion ,Room 237"). Doch seit der Gründung von CLIPPING. weitete sich das Feld der kommerziellen Musik leicht aus, so dass plötzlich Platz für mehr Noise und mehr Abenteuer in der elektronischen Produktion war (obwohl CLIPPING. selbst natürlich darauf bestehen, dass sie Rap Musik machen). ,Clppng" ist ambitionierter als ,Midcity". Das Album wartet mit Gästen wie Gangsta Boo (Ex-THREE 6 MAFIA und momentan bei DA MAFIA 6IX), Guce (Veteran der Bay Area; Mitglied von BULLYS WIT FULLYS), King T (Gangster Rap Legende der Westküste; Gründer der Likwit Crew; Mentor von XZIBIT und THA ALKAHOLIKS) und COCC PISTOL CREE (Newcomerin aus Compton, bekannt vom DJ MUSTARD Mixtape ,Ketchup"). ,Clppng" weitet die experimentellen Sounds der Band aus, um eine größere emotionale Palette zu bedienen. Doch die Band ist nicht zum Softie geworden; das Intro des Albums ist eins der brutalsten Stücke, das die Band je aufgenommen hat und ,Or Die" (feat. Guce) ist so bitterböse wie alles auf ,Midcity". ,CLPPNG" ist ein Album, das unter Beweis stellt, wie vielschichtig Sound sein kann, wenn die Regeln eines Genres mutwillig in Frage gestellt werden.

Morning Glory

Every twenty four hours is a chance to begin again and it is a renewed commitment to be involved in the cycle of nature - to play by rules set forth by something greater than ourselves that constantly resonates in the ears of those who are at peace. At the edge of each one of these beginnings, there is a brief moment that belongs to only "it". A special portion of time that directly connects to the circular motion of Space and Time. It is truth before reality. Realness before rationality. Self before consciousness.

We can feel it when we first see light and the recognize an indication that the new day has begun. It is honoring what makes all this possible.


Axis Expressionist Series.

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

The influence that 80s gay nightlife had on electronic music, pop music in general and the evolution of clubbing for
subsequent generations is pretty much incalculable. In spite of the shadow of AIDs and reactionary political and media
forces both at home and in the USA, the period 1980 – 1990 bore witness to a dazzling explosion of dance music that
artfully drew a line from the peak of late-70s disco to the emergence of house and its 90s glory days. The art of the
12” single, the thrill of the remix, the rise of the superclub, the electronic spark of chart pop, the challenging of gender
barriers… all had their origin in the gay clubs. It’s not unreasonable to make the claim that by the end of the 80s,
virtually ALL chart pop music sounded like it had its origins on the dancefloors of Heaven nightclub!
Over 4LPs and 24 tracks, ‘Box Of Sin’ strives to tell the story of that decade, and to tease apart the strands of 80s gay
clubbing to show a period of unrivalled creativity and disco diversity. Via the box’s themed discs it shows how highenergy became house, how gender-bending synth bands took over the pop charts, how pop stars the whole world
over found a route to fame via the gay clubs, and how the era’s biggest producers aimed their masterworks purely at
the dancefloor. High energy, deep house, Eurobeat, synthpop, divas, acid house… all combine to paint a picture of a
rich and vibrant lifestyle. Along the way, ‘Box Of Sin’ unearths some overlooked gems rarely compiled today:
meanwhile some of the decade’s biggest names in club music gather to get into the picture – from Whitney Houston
to Dead Or Alive, Bananarama to Bronski Beat, Aretha Franklin to Inner City.
Based on the actual club charts at the time and with a stunning design package inspired by the small ads section of
80s gay press, ‘ Box Of Sin’ comes fully annotated and with an introduction by renowned gay author Paul Burston.
Throughout, it’s illustrated with photography documenting 80s gay clubbers in action, provided for Demon by The
Bishopsgate Institute, the UK’s LGBTQ+ archive. The project also resurrects the much-loved brand ‘Disco Discharge’, a
recognisable hallmark of quality among collectors and aficionados of club music heritage.

The Tribe co-founder’s masterpiece, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The denitive reissue of this Spiritual Jazz album, one of the most sought after artifacts of the 1970s jazz underground. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Farewell To The Welfare is now available in a limited edition teal vinyl pressing. The Tribe Records co-founder’s lost album, rumored to exist no more. Mastered from the original tapes and lacquered by Bernie Grundman. “As I thought about re­flecting on an aggregate of music for this album, I projected my attitude and spirit while living and working here, in Detroit, Michigan. We are earning and learning a new way of life, which explicitly tells us to become self-reliant in taking care of our families and each other. Government hand-outs are not an option for us.” Wendell Harrison. The first ever issue of this Spiritual Jazz album. The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Original soundtrack from the animated TV series 'Professor Balthazar' (1967 - 1978) by Tomislav Simovic.

Gatefold LP, cut from the original master tapes, liner notes by Zeljko Luketic and exclusive graphics by Boris Stapic.

Master tapes were considered lost; now found and restored for this unique release celebrating Yugoslavia's biggest cartoon export of the times.

Professor Balthazar was filmed from 1967 to 1978 in Zagreb. It was a huge international success: from large fan base in Scandinavia to broadcasting on USA television and countries like Germany, Italy, UK, France and even Iran. It's still aired on various TV programs and video platforms.

Animation style and content is widely praised for being one of the rare cartoons that does not feature any kind of violence or aggression. The character of Professor Balthazar solves problems in a peaceful way. He uses his inventions and science to help his friends. Distinctive visual influence is a crossover of bright, psychedelic colors, weird shapes and naive art, typical for Zagreb School of Animated Film. This soundtrack is mastered from original tapes, composed and conducted by Tomislav Simovic.

The music is busy, playful and mixes influences of jazz, modern classical and even electronica. Fox & His Friends Records, also the curators of the largest ever multimedia exhibition on Professor Balthazar series in Museum of Modern and Contemporary Art in Rijeka as a part of the European Capital of Culture program in 2020, present the masters without any interventions in sound. This album cut includes longer rare version of main credits, made exclusively for Zagrebfilmijada, an event of public screenings of Professor Balthazar and other cartoons in cinemas in 1970's Yugoslavia.

Holy Hive haben in der kurzen Zeitspanne von 3 Jahren zwei Alben und eine EP veröffentlicht und dann beschlossen, sich aufzulösen. Während die Fans diese Nachricht zweifellos nicht mögen werden, bleibt uns allen die zeitlose Musik, die sie während ihrer gemeinsamen Zeit gemacht haben, erhalten, und produktiv waren sie sicherlich. Springs zartes Falsett über dem schweren Schlagzeugspiel von Homer Steinweiss erwies sich als eine himmlische Kombination und sie schufen einen Sound, der die Ohren und Herzen aller Hörer verzauberte und den Begriff "Folk Soul" prägte. "Big Crown Vaults Vol. 3 : Holy Hive" gräbt in der Schatztruhe unveröffentlichter Aufnahmen und holt einige heraus, die nie den Weg auf Vinyl gefunden haben. Diese Aufnahmen entstanden größtenteils während ihrer zwei Album-Sessions, einige wurden sogar aufgenommen, bevor sie bei Big Crown unterschrieben.

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They'd do the hand jive with TV stars past and future; they'd get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago. Julie Shore is Jenny's sister. She's always made music_playing Chopin, writing songs, making bands with her friends. She's had the archetypal Millennial journey of entering adulthood in the '08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive. Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration_ whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum. These four_Miles, Julie, Jenny, and Sara_are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They've all just finished a new record together: Will Butler + Sister Squares. "After Generations, I considered making a weird solo record. Me alone in the basement, etc., etc. Mostly I realized that what I wanted was the opposite," says Will. He increasingly turned to the band for feedback on lyrics and song structures. He asked Miles if they'd produce the record. The band played a run of shows in August 2022, airing out studio ideas in live rooms. After coming home, the band regrouped at Figure 8 Studios in Brooklyn. "I had quit my band Arcade Fire very recently, after 20 years_maybe the most complex decision of my life. I had spent the preceding two years at home with my three children. I was 39 years old. I was waking up every morning and reading Emily Dickinson, until I had read every Emily Dickinson poem. I was listening to Morrissey, to Shostakovich, to the Spotify top 50. I had unformed questions with inchoate answers," says Will. "But, honestly, I was feeling great about the record." The album projects widescreen emotional landscapes. Lead-off single "Long Grass" is like a Harry Styles song with 20 more years of life behind it. Standout track "Saturday Night" has a beat, according to Miles, "with that robot-alien-dancing-at-a-haunted- dive-bar feeling that we were going for." The back half of the album is a danceable, weird choral record with harmonies both beautiful and dissonant. Closing song "The Window" is the comedown after the party_Julie playing a Chopin Nocturne on a three-years-out-of-tune piano, slowed to half-speed on tape with Will singing over it in a voice exactly as tired as he was. It's a record with a warm, humane soul.