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Mit dem 2008 erschienenen Album „Gumbo“ fiel der Startschuss für Brenk Sinatras interna-tionale Producerlaufbahn. Vom JUICE Magazin zu einem der Top 20 besten Instrumentalalbenaller Zeiten gewählt, schaffte „Gumbo“ mit seinen brachialen und zugleich sehr souligen,sample-basierten Instrumentals den Sprung raus aus Österreich und rückte Brenk als Aus-nahmeproducer erstmals in den Fokus.Der Nachfolger„Gumbo II“erschien 2011 über das Kölner Label MPM, das mit Brenk Sinatra so-wie weiteren Ausnahmeproducern an Bord den wachsenden Hype um instrumentalen Hip-Hopmitzündete. Brenks kompromissloser, zweiter Part der Gumbo-Reihe katapultierte ihn kurzer-hand in die Riege der gefragtesten Beat-Produzenten Europas. Seither war auch der dritte undfinale Teil der Gumbo-Reihe in Planung, jedoch hinderten die immer mehr werdenden musi-kalischen Projekte und nicht zuletzt auch der Druck, die ersten beiden Albumteile zu toppen,Brenk an der Fertigstellung seiner Instrumental-Trilogie. Der Folder mit den dafür selektiertenInstrumentals wuchs auf weit über 100 Beats, wurde teilweise gelöscht und ständig in seinerZusammenstellung verändert, bis Brenk das gezielte Sammeln von Gumbo-Material 2017 vor-erst einstellte. Damals vollzog Brenk einen stilistischen Wechsel, der ihn weg von klassischen,Samplebasierten Beats hin zu jenen entspannten Trap-Hybriden führte, die heute als seinTrademark-Sound bekannt sind. Auch wollte sich das Mindset für die Fertigstellung von „Gum-bo III“ nicht einstellen und andere Projekte wurden vorgezogen, bis das Album komplett in denHintergrund rückte. Über die Jahre wurden Fans und Journalist*innen auf die Frage nach einemRelease Date immer wieder von Brenk vertröstet, „Gumbo III“ wurde zu einem sehnsüchtigerwarteten Phantomprojekt.

Fast Forward in das Jahr 2021: erstmals seit vier Jahren klickt sich Brenk wieder durch den Folder mit den einst für die „Gumbo III“ produzierten Interludes, musikalischen Skizzen undbereits fertiggestellten Beats. Mit einer neuen Label- und Verlagssituation im Hintergrund(2021 gründete Brenk das MusiklabelWave Planet Recordssowie den dazugehörigen VerlagWave Planet Publishing) fällt er den Entschluss, dass die Zeit für den Abschluss der Gumbo-Trilogie nun reif ist und Wave Planet Records zur neuen Heimat dieses Projekts werden muss.Danach folgt eine wochenlange und mühselige Wiederherstellung der in den Jahren 2012 bis2016 produzierten Instrumentals. Brenks Hauptaugenmerk war es, den musikalischen Spiritder Instrumentals unverändert zu lassen und den Sound nicht zu modernisieren. Aus heutigerSicht klingt das mit unzähligen Vinyl-Samples gespickte Chop-Gewitter auf der „Gumbo III“wie man es von Brenks früheren Beats kennt, anachronistisch und gerade dadurch erfrischendanders. Als einziges Update für die „Gumbo III“ Instrumentals wurden lediglich ein neuesMixing von Brenk sowie das Mastering seines hochkarätigen Producer-Kollegen Dexter zu-gelassen.Für die perfekte visuelle Ergänzung des Gumbo-Sounduniversums sorgt das verspielte, vorDetails strotzende Cover-Artwork von Cone The Weird, der bereits das markante Artwork zum„Gumbo II“ Album lieferte.Die Vollendung der Trilogie wird unter anderem mit einer ganz besonderen „Gumbo TrilogyBox“ zelebriert, die im Oktober 2022 erscheinen und das Herz jedes passionierten Sammlershöherschlagen lässt

Der Anti-Folk-Hero/Indie-Crooner Adam Green ("Friends Of
Mine", "Jessica Simpson", "Emily", Moldy Peaches etc.)
veröffentlicht seine letzten witzig-bissigen Songs "That Fucking
Feeling" nun nochmal über Capitane Records und erstmals auf
LP. Es ist eine rasante und auf den Punkt gebrachte Platte
geworden. Wie auch schon der Vorgänger ENGINE OF PARADISE
überschreitet die LP kaum die 20-Minuten-Marke, aber die die
zehn Songs - nur wenige länger als zwei Minuten - sind ein
Ausbund an hochnervöser, verspielter Kreativität zwischen
Leonard Cohen, Scott Walker und Ben Lee. Mal bis auf Stimme
und Gesang runtergebrochen, mal opulent mit Streichern
arrangiert können die Songs es locker mit den Großtaten der
älteren und jüngeren Vergangenheit Greens aufnehmen. "Ich
wollte etwas veröffentlichen, das zu Hause aufgenommen
wurde. In den guten, alten ,Moldy Peaches"-Tagen habe ich
alles am Küchentisch meiner Eltern aufgenommen. Aber es ist
jetzt auch schon 20 Jahre her, dass ich so einen Song
veröffentlicht habe. Ich habe ein paar Songs in Quarantäne
aufgenommen, die ich direkt in den Laptop eingesungen habe
und ich mag, wie direkt sich das anfühlt." Die CD-Version wurde
limitiert im Mai 2022 über das Künstlereigene Label
veröffentlicht, jetzt gibt es zur Neuauflage der CD auch Viny

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Peach Vinyl

Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

Tape
Parisian quintet En Attendant Ana have dazzled since day one. From the muted strains of their 2016 EP "Songs From The Cave", to the assured 2018 TiM debut "Lost & Found", to the sparkling refrains of "Juillet"; released just before the world collapsed around us, and which stood as the band's rebirth and purest statement of their music ambitions - until now. "Principia" is the band's third album and is without a doubt their best yet. Bandleader & principal songwriter Margaux Bouchaudon's voice anchors many of the songs on "Principia", her crystalline delivery ringing out like a bell as the band swoons & sways beneath her. The songs on "Principia" were composed from a place of confusion about the state of the world and her place in it, looking outward and inward for answers. They question our perception of others, the one they have of us and finally the one we have of ourselves in a society where the individual is king and the group is forgotten. Guitarist Max Tomasso - newly joined just before the recording of "Juillet"- feels more "moved-in" on these tunes, his sly guitar-work gliding effortlessly through. No showboating - only prickling at the precise moment necessary in suit of the song itself. New member Vincent Hivert (their touring sound man, Hivert joined the group just as touring was underway for "Juillet", replacing founding member Antoine Vaugelade)'s bass-work is rubbery & flexible, bouncing around and thru the melodies on a rhythmic sugar-high, practically urging on drummer Adrien Pollin's metronomic swing. The band's secret weapon, multi-instrumentalist Camille Frechou's trumpet & saxophone are more present & considered in the arrangements, adding a new layer of sophistication to the group's already debonair indie pop. Her beatific harmonies add a yearning to Bouchaudon's lilting phrases; sometimes uplifting, other times melancholic. Bouchaudon says "One of the most important points we tried to focus on was the place given to each instrument. For the first time, we withdrew parts, we were careful not to play everyone at once and I think that the result is a much lighter album in which every musician has a specific place and moment". But this album is also the first one to have been shaped entirely by the band, from the conception to the production. The meeting of Vincent Hivert and Margaux Bouchaudon gave birth to a duet in which the technical and artistic aspects were intertwined from the very beginning of the conception of "Principia". Apart from reshaping En Attendant Ana's dynamic, Vincent Hivert was able to think as a musician and producer as soon as they started working on Margaux Bouchaudon's demos which brought a new dimension to their music. The two of them recorded and mixed the album together reuniting their references and artistic goals. "Principia" is a great step forward without sacrificing the things that make the band unique. The nods to French pop (both current & classic) still permeate the proceedings, and the group's penchant for Anglo-Saxon indie pop from The Nineties (think Electrelane, Stereolab, American Analog Set) still rings out, but there's an air of - dare we say - maturity in "Principia"s twelve songs. The group always felt a little 'out-of' and 'ahead-of' its time, but tunes like "Wonder" "The Cutoff" and "Same Old Story" are cinematic and romantic, and absolutely feel like the next great phase of an already great band.

LEMON YELLOW VINYL

As mui zyu, Hong Kong British artist Eva Liu navigates the tricky territory of ever-changing identity, merging fantasy and folklore to create a stage for self-acceptance and deliverance. On her debut full-length Rotten Bun for an Eggless Century, Liu utilizes chopped-up sound- scapes, delicate industrial ambience and sweet pop melodies to introduce a character--a guide--who can be stretched across worlds to offer the catharsis of patience, perseverance and understanding. This isn't a character formed from a desire to escape or flee the real world, but rather a way to submerge even deeper into ourselves. Rotten Bun for an Eggless Century is a reflection of everyone, and everything, that made us who we are. On her 2021 a wonderful thing vomits, Liu was praised for her seamless integration of darkened, often ominous instrumentation and pillowy-soft vocals. As the front person of UK indie-rock trio Dama Scout, Liu effortlessly navigates a disorientating genre-bending sonic landscape with a playful, gentle dexterity. Now, with the help of Dama Scout bandmate Luciano Rossi as co-producer, Liu's first solo full-length builds upon these previous worlds to form a blossoming, more upbeat patchwork of lo-fi percussion, poignant lyricism and oddly alluring arrangements. The writing process of Rotten Bun for an Eggless Century prompted Liu to explore more of her Hong Kong heritage, allowing a space for acceptance and celebration. "I am Chinese and I am owning it," she explains. "Before, I would resent it. I tried doing things that would make me like less Chinese somehow." As the album began to take shape, Liu read the traditional Chinese folklore writings of Pu Songling and joined local East and Southeast Asian groups. It opened a portal into a new self, where Liu could blend her love of video games and film scores with traditional Chinese instruments.

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Exclusive Bundle LP+7"-
Exclusive lim.Yellow Vinyl + 7” Black Vinyl including exclusive Bonus Track “Slimbo”.

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

TRANSPARENT PURPLE VINYL

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

Tape

If Songs of Praise was fuelled by pint-sloshing teenage vitriol, then Drunk Tank Pink delved into a different kind of intensity. Wading into uncharted musical waters, emboldened by their wit and earned cynicism, they created something with the abandon of a band who had nothing to lose. Having forced their way through their second album's identity crisis, they arrive, finally, at a place of hard-won maturity. Enter: Food for Worms, which Steen declares to be "the Lamborghini of shame records." It marks a sonic departure from anything they've done before, abandoning their post-punk beginnings for more eclectic influences, drawing from the tense atmospherics of

Merchandise, the sharp yet uncomplicated lyrics of Lou Reed and the more melodic works of 90s German band, Blumfeld For the first time, the band are not delving inwards, but seeking to capture the world around them. "I don't think you can be in your own head forever," says Steen. A conversation after one of their gigs with a friend prompted a stray thought that he held onto: "It's weird, isn't it? Popular music is always about love, heartbreak, or yourself. There isn't much about your mates." In many ways, the album is an ode to friendship, and a documentation of the dynamic that only five people who have grown up together - and grown so close, against all odds - can share

One of the most popular instrumental songs ever, “Green Onions” started out as a band jam at a demo recording session for rock’n’roll singer Billy Lee Riley with the famed Stax Records house band. Stax label head Jim Stewart liked what he heard and recorded what would become the basis for the band’s debut album. Christened Booker T. & The M.G.s, they released “Green Onions” with original members Booker T. Jones (organ, piano), Steve Cropper (guitar), Lewie Steinberg (bass), and Al Jackson Jr. (drums) in October 1962. The title track became a worldwide hit, covered by dozens of artists including the Blues Brothers, the Ventures, the Shadows, Deep Purple, Mongo Santamaria and Count Basie.

The deluxe 60th Anniversary Edition of “Green Onions” releases as a 1LP 180g vinyl in a green translucent colorway similar in hue to the vegetable it celebrates plus a 4-page insert, including band photos, Stax Records ephemera and David Ritz’s new liner notes.

Summertime sounds abound on the sixth Drum Chums disc, which comes lovingly dubbed and diced by our friendly Fruit Merchant Hidden Spheres.

Known globally for his free-flowing DJ sets, halcyon house hits and mastery of melody, Tom's been at the top of his game for time now - just check those releases on Rhythm Section and Scissor & Thread - and it's a pleasure to carry his drum sticks for this one. Cracking open his vault of top secret DJ tweaks, Spheres explores sweltering proto-house, tropical disco lilt and deepest waters across three floor-ready cuts.

The Fruit Merchant plucks something ripe from the Kalimba Tree on the A side, starting the party properly with joyous Afro-house jam 'Stolen'. Carnival-friendly drums and a Boyd Jarvis bassline wind up your waist while the call-and-response vocals and exuberant brass send hands and heads skywards before the track transitions into an utterly ecstatic sax-led breakdown. This is magic.

For the B-side, Hidden Spheres treats us to a couple of deep digs from his time in Australia, both originating in the Aboriginal community.
Emerging from the astral vibrations of a didgeri-drone, 'You Better Dance' casually locks into an irresistible 105bpm groove, strolling through the echo-laced dub space as its poetic vocal speaks to your soul.
Balearic-paced and cosmic-minded, this one plays perfectly next to those I-Level 12's.

For finale 'Together', Spheres shifts back into proto-house mode, locking a hypnotic piano riff into some militant snare rolls to lay the foundation for the impassioned vocal. Delivering the occasional diversion into more mournful territories, Spheres reminds us why deep house deity DJ Sprinkles always takes his calls.

100% Drum Fun Guaranteed.

Souk is delighted to present the sophomore album from a true fixture in Cairo seething electronic scene who should, by now at least, remain anonymously famous behind the 3Phaz moniker. Both as a way to make focus on the music itself regardless of identity and to sever ties with past projects, 3Phaz acts like an entity in itself, a most suitable conjuration of sounds past and future gravitating on their own dimension. Though connections are inevitable and welcoming with home turf artists such as ZULI or Rozzma, the Souk catalogue or percussion obsessed travelers like DJ Plead or errorsmith, 3Phaz's dalliance with the traditional sounds of Shaabi and Mahraganat and possible intersections with Grime, Techno and Bass-heavy subcultures feel very much their own.

Stripping away some of the dankest & darkest layers that made his debut album - Three Phase - such a dystopic proposition, Ends Meet envisions a different kind of future, that while not necessarily utopian, feels less tense and more celebratory in the capture and release mastery of its syncopations. Through seven percussion workouts summoned from hard hitting kicks, flinty hand drums, darting rhythmic excursions and traditional flute-like synth melodies, 3Phaz creates a set of raw and ever-intriguing dj tools for adventurous dancefloors that escape the mere functionality associated with the term to bristle with a life of their own.   

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

SEASIDE SILVER VINYL

After Belgian electro-samba wunderkinds Antena split at the end of 1985, singer Isabelle Antena immediately shed her cold wave crown for a sophisticated pop princess tiara. On 1986's Martin Hayles-produced En Cavale, echos of Madonna and city pop abound, with a lipstick stain of L80s Euro dance and spilled cosmopolitan's worth of bossa nova stirred in for good measure. This elegant second chapter of a French pop diva has been expanded to include Antena's shelved Island Records demo, adjacent B-sides and rarities, plus an expansive essay and previously unpublished photographs.

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

LTD Violet Vinyl

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

Violet Vinyl

"During the recording of TOTALLY, we were having a blast and the music just kept rollin' out so we decided to also put together a tasty EP. Guests Mario Lalli on STÖNER Theme and Greg Hetson of Circle Jerks and Bad Religion on our version of the Motorhead/Pink Fairies classic City Kids makes this EP extra sweet. Jump in and let's BOOGIE TO BAJA! If the name Stöner seems a little on the nose, well_ it is. Brant Bjork and Nick Oliveri, founding members of the stoner rock legend Kyuss, are joined again by drummer Ryan Güt (of Bjork's solo band) and they've got dibs on the thick and dusty swinging grooves, returning as Stöner with their sophomore release "totally_" Stöner's love for their early inspirations (bands like Blue Oyster Cult, Kiss, Ramones, Blue Cheer, Misfits, Black Flag, The Stooges, MC5) result in big, groovy, sunbaked riffs that can cruise low and slow but then floor it and run all the red lights. Live, this is a band about the magnetism between the players, the groove, the loose vibe and straight up badass rock and roll_ Stöner are masters of their trade. With "totally..." Stöner is in its true form, getting together and having fun. Stöner's world is a colorful joyride, heavy of rock but not of head. The record cranks with vibes of classic hard rock, heavy blues, desert rock and psych rock jams - things that come organically to this trio Stöner can't help but express an abundance of punk rock rawness and passion for real rock and roll swagger. With two records, "Live at Mojave" and "Stoners Rule" (available on Heavy Psych Sounds), the latest release "totally..." sees the band realizing the chemistry of these old friends developing a statement of pure rock and roll fun.

Explore the Duster universe on the far superior 45RPM format. This deluxe triple 7" box contains Duster's first single_1997's Transmission Flux (including "Stars Will Fall" & "Orbitron"), 1998's Apex, Trance- Like (featuring "Four Hours"), plus Stratosphere's painfully absent "Echo, Bravo" and the lost 2002 outtake "What You're Doing To Me." Housed in replica sleeves and placed in a sturdy two-piece box, Moods, Mode s also contains a Duster-branded hanky for those who like to accessorize .

Yellow Vinyl

Explore the Duster universe on the far superior 45RPM format. This deluxe triple 7" box contains Duster's first single_1997's Transmission Flux (including "Stars Will Fall" & "Orbitron"), 1998's Apex, Trance- Like (featuring "Four Hours"), plus Stratosphere's painfully absent "Echo, Bravo" and the lost 2002 outtake "What You're Doing To Me." Housed in replica sleeves and placed in a sturdy two-piece box, Moods, Mode s also contains a Duster-branded hanky for those who like to accessorize .

"Void+1" is officially starting to unleash its arsenal of 12 releases that have already been scheduled for 2023, and the journey starts with Scalameriya's "Nullification EP". On board are 4 tracks in different styles, specifically designed to showcase the variety of techno-branches that will be explored on the label in the future. From minimalistic structures to metallic stompers, hommages to 90's roots and electric breaks."

Chocolat is the 2000 British-American romantic comedy-drama film directed by Lasse Hallström (The Cider House Rules) starring Juliette Binoche, Judi Dench and Johnny Depp. The movie was adapted from the novel written by Joan Harris and is about a woman and her daughter opening a chocolate shop - with Sunday hours - across the street from the local church in a small French village.

The music is composed by Rachel Portman and the soundtrack also includes “Minor Swing” from Django Reinhardt/Stéphane Grappelli and the 1936 jazz standard “Caravan” from Duke Ellington and Juan Tizol.

Rachel Portman has written over 100 music scores for film, television, and theatre. She was also the first female composer to win an Academy Award in the category of Best Musical or Comedy Score for Emma in 1996 and in 2015 she received the Primetime Emmy Award for Outstanding Music Composition for the HBO TV series Bessie.

Chocolat is available as a limited edition of 500 individually numbered copies on white coloured vinyl and includes an insert.

Hailu Mergia & Dahlak Band's Wede Harer Guzo is the third release on Awesome Tapes From Africa for Ethiopian keyboard and accordion maestro. In the years since Shemonmuanaye, Mergia has revamped his touring career, playing festivals and clubs worldwide, including a recent tour supporting Beirut. By 1978, Addis Ababa's nightlife was facing challenges. The ruling Derg regime imposed curfews, banning citizens from the streets after midnight until 6:00 am. But that didn't stop some people from dancing and partying through the night. Bands would play from evening until daybreak and people would stay at the clubs until curfew was lifted in the morning. One key denizen of Addis' musical golden age, Hailu Mergia, was preparing a follow-up to his seminal Tche Belew LP with the famed Walias Band. It was the band's only full-length record and it had been a success. But his Hilton house band colleagues were a bit tied up recording cassettes with different vocalists. Still Mergia, amidst recording and gigs with the Walias, was also eager to make another recording of his instrumental-focused arrangements. So he went to the nearby Ghion Hotel, another upmarket outpost with a popular nightclub. Dahlak Band was the house band at Ghion at the time. Together they made this tape Wede Harer Guzo right there in the club during the band's afternoon rehearsal meetings, with sessions lasting three days. Dahlak Band catered to a slightly more youthful, local audience, while Mergia's main gig with the Walias at Addis' swankiest hotel had a mixed audience that included wealthy Ethiopians, foreign diplomats and older folks from abroad. Therefore, their sets featured lighter fare during dinnertime and a less rollicking selection of jazz and r&b. Meanwhile, Dahlak was known more for the mainly soul and Amharic jams they served up for hours two nights a week to a younger crowd. Mergia released Wede Harer Guzo ("Journey to Harer," a city in eastern Ethiopia) with Sheba Music Shop, which was located in the Piazza district but has long since shut down. His cassette copy is the only known source we could find. Jessica Thompson at Coast Mastering managed to restore the recording to clean up layers of hiss, flutter and distorted frequencies, made worse by years of storage. Although there are some remaining sonic artifacts of the era's recording and cassette duplicating quality, this reissue captures the band's inimitable vibe. Recalling the audience's positive reaction to Wede Harer Guzo's novel arrangements, he says it sold well and found many fans. However, as no trace of the tape can be found online, there's no indication as to why the cassette appears largely forgotten until now

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over two 2x12” volumes, a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

The Altons turn up the heat with another platter produced by the Inland Empires's own, Bosco Mann. A soulful duet at its core, “Float” finds the group exploring new realms of pop excellence. The sophisticated arrangement and instrumentation gives the tune a cinematic feel that builds to a crescendo of psychedelic, swirling of strings – immersing the lsitener in a wash of Morricone-tinged euphoria. A track that wouldn't be out of place in the next 007 blockbuster. On the flip is “Cry for Me”, a latin-tinged mover featuring Adriana Flores on lead vocal. Her pleading, soulful delivery gives the bouncy, hook-laden tune a seriousness that's simultaneously uplifiting and heartbreaking.

Kouslin returns to Livity Sound with a second collection of slippery club tracks after the 2020 Vision E.P. With an emphasis on head-twisting sound design and a detailed line in percussive programming, the London-based producer continues to reach into intriguing new areas without forsaking soundsystem-ready physicality.

The tracks which make up the Patterns E.P. stemmed from a period of personal experimentation, where Kouslin returned to making music for its therapeutic benefits rather than a fixed purpose. The loops and sketches he returned to and expanded upon for this EP bristle with originality at every turn.

There is a continued exploration of dancehall rhythms on ‘King’, while ‘Five Four’ toys with time signatures for a jagged, fast-paced abstraction of techno. ‘Why Don’t You Don’t’ is harder to pin down thanks to its knotty beat and mutant synthesis, and ‘Michael’ flips the script further with an unexpected swerve into pearlescent melodic lead lines – the perfect demonstration of the honest and instinctive approach Kouslin took when making these tracks.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

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

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

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

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

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

For this release we have compiled some of the version sides to those releases. Dub still being an integral part of the Reggae Sound System Sound. So sit back and listen to what Black Solidarity, one of the most important and often overlooked labels were bringing to the dance, dubwise, back in those heady 1980’s times.

With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

The title, nature morte, is the French term for still life paintings whose literal translation is "dead nature." BIG|BRAVE color the songs of nature morte with unease, creating an air of beauty in decay, chords suspended in contemplative stillness. Robin Wattie"s experiences structuring lyrics and song forms on The Body & BIG|BRAVE"s Leaving None But Small Birds informed her work on nature morte, creating stories that, like many folk tales, are at once specific and universal. Wattie"s voice manages to be commanding and vulnerable with impressive range and intimacy. Even her gasps carve their way through the tidal crash of Mathieu Ball"s distortion wail and the pummel of Tasy Hudson"s drums. The momentum of nature morte conjures the image of a beast collapsing beneath its own weight before resiliently staggering upright to thunder onward. BIG|BRAVE convey heft from silence as deftly as they do from swaths of feedback and distortion to cathartic ends. "Distortion is key," notes Ball The three members recorded primarily live over the course of a week at Machines with Magnets with Seth Manchester, pushing the potential of their instruments beyond expectations. For each song, the trio"s songwriting and attention to detail deliver its simple but devastating emotional power. Across the album"s six pieces BIG|BRAVE create a tension between immediacy and patience, invoking the essence of disquiet, while conveying anguish through inventive arrangements and nuanced performances. nature morte captures BIG|BRAVE at their heaviest and their mournful fury is at its zenith, an album where each moment is so immense and consuming that it possesses its own gravitational pull.

The title, nature morte, is the French term for still life paintings whose literal translation is "dead nature." BIG|BRAVE color the songs of nature morte with unease, creating an air of beauty in decay, chords suspended in contemplative stillness. Robin Wattie"s experiences structuring lyrics and song forms on The Body & BIG|BRAVE"s Leaving None But Small Birds informed her work on nature morte, creating stories that, like many folk tales, are at once specific and universal. Wattie"s voice manages to be commanding and vulnerable with impressive range and intimacy. Even her gasps carve their way through the tidal crash of Mathieu Ball"s distortion wail and the pummel of Tasy Hudson"s drums. The momentum of nature morte conjures the image of a beast collapsing beneath its own weight before resiliently staggering upright to thunder onward. BIG|BRAVE convey heft from silence as deftly as they do from swaths of feedback and distortion to cathartic ends. "Distortion is key," notes Ball The three members recorded primarily live over the course of a week at Machines with Magnets with Seth Manchester, pushing the potential of their instruments beyond expectations. For each song, the trio"s songwriting and attention to detail deliver its simple but devastating emotional power. Across the album"s six pieces BIG|BRAVE create a tension between immediacy and patience, invoking the essence of disquiet, while conveying anguish through inventive arrangements and nuanced performances. nature morte captures BIG|BRAVE at their heaviest and their mournful fury is at its zenith, an album where each moment is so immense and consuming that it possesses its own gravitational pull.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” *click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” *click, click.

Translucent Orange Vinyl. 'The Portable Herman Dune' Vol. 2 is the second part of an acoustic anthology, in which 22 years of songwriting are laid bare, stripped to the most intimate bone. Though sonically naked, the songs are bundled up in emotion and loaded with life. The album was recorded in Ivar's studio Santa Cruz Records, in San Pedro, California. Centre-stage are David Ivar's songs, with his 1954 guitar, his 1930s mandolin, and his voice, plus exceptional guests: Julie Doiron, Mayon (Ivar's life partner), Jolie Holland, and Kimya Dawson providing vocal counterpoint.

Orlando Voorn is back on Heist after his 2022 ‘Heist mastercuts’ EP and comes in with a heavy dose of soulful machine funk. ‘Heist mastercuts part 2’ has the techno & house veteran showing his eclectic style with the vocal cut ‘Soundsystem’, Midwest inspired sample jam ‘High’ and his Boo Williams collaborative drum workout ‘909’.

On the first Heist mastercuts, Orlando dove deep into his archives and presented a collection of old and new tracks, showing us that his music has aged well and reminding us that he’s a producer still on the top of his game. He kept busy in 2022 with releases on our own label Transient Nature, Kompakt, a handful of Bandcamp only tracks, and a self-released album. Somehow, he found the time to work on his follow up ep on Heist and managed to completely blow us away with the music.

The EP kicks off with Soundsystem: a masterclass in simplicity. A steady and minimalistic groove guides you through the track, where silky vocals and woozy chords take you on a trip through Orlando’s sonic universe. Orlando moves into freak mode with a trippy lead and dubbed-out keys to add some playfulness to an already outstanding track.

‘High’ is Orlando’s take on what could easily be an old Andrés track. Here, he samples a female vocal (I get high, I get high, I get high), and cleverly adds his own vocals to add depth and originality to the track. The percussion on high grooves in an effortless way and underlines the feel of this track: It’s fun, cool and incredibly funky. There’s a bit of Dam Swindle sauce on the mix to make sure this track hits the right spot on any dancefloor.

On the flip, there’s ‘Day by day’: A classic Orlando Voorn cut with a live bassline, plenty of chopped samples and a Rhodes loop that could have come straight from a B-roll of a ‘First Choice’ recording session. The b-side ends with a collab with Orlando’s close friend Emil and legendary Chicago producer Boo Williams. The producers take a monologue from Boo Williams about working the 909 and deliver a drum workout -yes with the 909- that keeps on building energy, showing exactly what Boo is talking about.

The digital package also includes an instrumental mix of Soundsytem and an alternative mix to 909, just for good measure. This is the first artist release in our 10 years of Heist anniversary year and this EP perfectly encapsulates the Heist Sound: varied, deep, soulful, and banging.

Yours sincerely,
Maarten & Lars

Adam Lambert war schon immer bestechend gut darin, die Songs anderer Künstler und Künstlerinnen zu interpretieren – von seinen Anfängen bei „American Idol“ über seinen Auftritt bei den Kennedy Centre Honours 2018, wo er Cher mit seiner fast zärtlichen Version ihres Megahits „Believe“ zu Tränen rührte, bis hin zu seiner Rolle als aktueller Sänger von Queen.

Nun geht der Grammy-nominierte Künstler konsequent den nächsten Schritt und kündigt ein ganzes Album ausgesuchter Coversongs an. „High Drama“ erscheint am 24. Februar 2023 und markiert zugleich sein Debüt bei Warner Music. Schon jetzt gibt es zwei Songs daraus zu hören: „Ordinary World“, eine kraftvolle, atmosphärische Balladenversion des Duran-Duran-Hits von 1993, sowie Lamberts wunderschöne Interpretation des Noël-Coward-Klassikers „Mad About The Boy“ aus den 1930er-Jahren. Fans des Musikers werden wissen: Er performte den Song kürzlich bereits im Rahmen der BBC-Show „Strictly Come Dancing“ (siehe unten). Außerdem wird Lamberts Version auch in dem kommenden Film „Mad About The Boy — The Noel Coward Story“ über das Leben des Noël Coward zu hören sein, der kommendes Jahr in die Kinos kommt.

„High Drama“ – der Titel des neuen Albums ist natürlich nicht von ungefähr gewählt, denn der US-Amerikaner liebt die große Geste. Und wir erleben ihn hier mehr denn je als einen Künstler, der sich in seiner eigenen Haut wohlfühlt, der voll und ganz er selbst ist – und jede Minute davon auskostet.

Bei seinem neuen Album übernahm Adam Lambert auch die Rolle des ausführenden Produzenten, die Songs selbst wurden produziert von Tommy English (Kacy Musgraves, Carly Rae Jepsen), Andrew Wells (Halsey, OneRepublic), George Moore und Mark Crew. „High Drama“ nimmt uns mit auf eine Reise durch die moderne Musik, von Klassikern wie Ann Peebles' „I Can't Stand The Rain“ und Bonnie Tylers „Holding Out For A Hero“ bis hin zu Hits jüngeren Datums wie Billie Eilishs „Getting Older“ – hier in einer Glam-inspirierten Version – und einer rockigen Interpretation von Lana Del Reys „West Coast“. Gemeinsam haben alle Songs, dass sie sich durch Adam Lamberts unvergleichliches Gesangstalent auszeichnen.

Aktuell arbeitet Lambert übrigens auch an seinem eigenen Musical, bei dem sich auf eigene Songs von ihm und eine Starbesetzung freuen kann.

"Dynamic Root Rock Experience" ist der Begriff, mit dem
SIENA ROOT ihre Musik beschreibt, und genau diese
Erfahrung ist es, die das neue Album "Revelation" der
Schweden für den Hörer so attraktiv macht: eine
kompromisslose Mischung aus hypnotisierenden
Rhythmen, schweren Riffs, schönen Soli und emotionalem
Gesang. Die Band verwöhnt den Hörer mit einem Ritt, der
weiter geht als die Band jemals zuvor, um zu erleben,
wie östliche akustische Folk-Melodien mit hartem Rock
und nordischer Wildnis verschmelzen. Es ist eine
dynamische Roots-Rock-Offenbarung!
Das neue Album "Revelation" ist das vielseitigste in der
Karriere von SIENA ROOT geworden; die Band springt
zwischen starken Melodien und schönen Harmonien,
geführt von dieser fantastischen starken Frauenstimme.
Mit ihrer unglaublichen Bandbreite an verschiedenen
Stilen zeigen die elf Tracks den musikalischen
Einfallsreichtum der Band. "Revelation" wird ein
musikalisches Lieblingsgericht für den Hörer werden, mit
all den klug ausgewählten Zutaten, sorgfältig gewürzt von
erfahrenen Musikern, die ein perfektes Gespür für den
richtigen Moment haben, wenn handgemachter Root Rock
serviert werden soll.

"Dynamic Root Rock Experience" ist der Begriff, mit dem
SIENA ROOT ihre Musik beschreibt, und genau diese
Erfahrung ist es, die das neue Album "Revelation" der
Schweden für den Hörer so attraktiv macht: eine
kompromisslose Mischung aus hypnotisierenden
Rhythmen, schweren Riffs, schönen Soli und emotionalem
Gesang. Die Band verwöhnt den Hörer mit einem Ritt, der
weiter geht als die Band jemals zuvor, um zu erleben,
wie östliche akustische Folk-Melodien mit hartem Rock
und nordischer Wildnis verschmelzen. Es ist eine
dynamische Roots-Rock-Offenbarung!
Das neue Album "Revelation" ist das vielseitigste in der
Karriere von SIENA ROOT geworden; die Band springt
zwischen starken Melodien und schönen Harmonien,
geführt von dieser fantastischen starken Frauenstimme.
Mit ihrer unglaublichen Bandbreite an verschiedenen
Stilen zeigen die elf Tracks den musikalischen
Einfallsreichtum der Band. "Revelation" wird ein
musikalisches Lieblingsgericht für den Hörer werden, mit
all den klug ausgewählten Zutaten, sorgfältig gewürzt von
erfahrenen Musikern, die ein perfektes Gespür für den
richtigen Moment haben, wenn handgemachter Root Rock
serviert werden soll.

"Dynamic Root Rock Experience" ist der Begriff, mit dem
SIENA ROOT ihre Musik beschreibt, und genau diese
Erfahrung ist es, die das neue Album "Revelation" der
Schweden für den Hörer so attraktiv macht: eine
kompromisslose Mischung aus hypnotisierenden
Rhythmen, schweren Riffs, schönen Soli und emotionalem
Gesang. Die Band verwöhnt den Hörer mit einem Ritt, der
weiter geht als die Band jemals zuvor, um zu erleben,
wie östliche akustische Folk-Melodien mit hartem Rock
und nordischer Wildnis verschmelzen. Es ist eine
dynamische Roots-Rock-Offenbarung!
Das neue Album "Revelation" ist das vielseitigste in der
Karriere von SIENA ROOT geworden; die Band springt
zwischen starken Melodien und schönen Harmonien,
geführt von dieser fantastischen starken Frauenstimme.
Mit ihrer unglaublichen Bandbreite an verschiedenen
Stilen zeigen die elf Tracks den musikalischen
Einfallsreichtum der Band. "Revelation" wird ein
musikalisches Lieblingsgericht für den Hörer werden, mit
all den klug ausgewählten Zutaten, sorgfältig gewürzt von
erfahrenen Musikern, die ein perfektes Gespür für den
richtigen Moment haben, wenn handgemachter Root Rock
serviert werden soll.

Recorded in 1973 at the Church of Saint Mary Magdalene in Paddington, London, Unfinished Picture is Rupert Hine's second LP. The songs where all composed by Hine with lyrics by David McIver and Simon Jeffries. On its sessions, Hine was surrounded by a host of outstanding musicians that included Simon Jeffes (Penguin Cafe Orchestra), Mike Giles (Giles, Giles & Fripp / King Crimson), Mick Waller (Cyril Davis, The Steampacket, Jeff Beck Group), Ray Cooper (Eric Clapton, Elton John) among others.



Rupert Hine's recording adventures started with the release of a 7" 45 by the folk duo Rupert & David "The Sounds Of Silence". In 1971 he was approached by Purple Records for the release of his debut solo LP Pick Up A Bone, which despite its lack of commercial success featured a strong collection of critically acclaimed compositions that made Purple Records want him to record a second album - Unfinished Picture, on which Hine showed a fantastic evolution to a more conceptual, cinematic approach. Echoes of Ray Davies, Kevin Ayers or hints of Nick Drake taken to a more 'happy' territoire mix with beautiful strings by The Martyn Ford Orange Ensemble and even some ARP synth explorations to build a fantastic collection of sounds that take the listener on a trip through the worlds of folk, psych and prog.



Hine's career would soon take off as a famed producer, he did work with Kevin Ayers, Milla Jovovich, Jonesy, Steve Tilston, Anthony Phillips, Camel, Saga, Rush, Tina Turner, Howard Jones, Bob Geldof, Suzane Vega, and many others.

2022 jährt sich die Veröffentlichung der ersten Single
und des ersten Albums der internationalen Supergruppe
des Soul/Funks, die mit ihrem Memphis-Sound die
Soul-Landschaft neu erfunden hat.
"Green Onions", einer der populärsten Instrumentalsongs
aller Zeiten, begann als Band-Jam bei einer
Demo-Aufnahme für den Rock'n'Roll-Sänger Billy Lee
Riley mit der berühmten Stax Records Houseband.
Stax-Labelchef Jim Stewart gefiel, was er hörte, und er
nahm auf, was die Grundlage für das Debütalbum der
Band werden sollte.
Unter dem Namen Booker T. & The M.G.s
veröffentlichten sie "Green Onions" mit den
Originalmitgliedern Booker T. Jones (Orgel, Klavier), Steve
Cropper (Gitarre), Lewie Steinberg (Bass) und Al Jackson
Jr. (Schlagzeug) im Oktober 1962. Der Titelsong wurde
ein weltweiter Hit, der von Dutzenden von Künstlern wie
den Blues Brothers, den Ventures, den Shadows, Deep
Purple, Mongo Santamaria und Count Basie gecovert
wurde.

Canto Ostinato is the new volume of classical minimalism from musician and producer Erik Hall. Written for four pianos in 1979 by Dutch composer Simeon ten Holt, the piece is freshly framed as an intimate, hour-long solo performance consisting of multitracked grand pianos, electric piano, and organ. Modern yet warm, ethereal yet tangible, Hall's Canto Ostinato expertly bridges a revered piece of meditative concert repertoire with a tactile and highly personal studio setting. Chicago-born and Michigan-based, Erik Hall is known as a multi-instrumental pillar for the groups NOMO, Wild Belle, and his own songwriting moniker In Tall Buildings. He has composed music for feature films, and as a producer/engineer he has shaped records for Natalie Bergman and Western Vinyl labelmates Lean Year. In a 2020 creative pivot, he chose to reinvent composer Steve Reich's monumental contemporary classical masterpiece Music for 18 Musicians as a solo undertaking, applying the piece's score to the familiar keyboards, guitars, and synthesizers in his studio. "At the time I think I was working through my identity as a musician and an artist," Hall explains, "and on a level there was some sort of exorcism of a long held pop spirit." The album was celebrated for being "freshly thrilling" and "legible in history but assertive of the moment" (Pitchfork) and "beguiling, meditational, and magical" (Electronic Sound). It won the 2021 Libera Award for Best Classical Record, and it quickly joined the canon of the piece's quintessential recordings. "There is a pseudo-meditational benefit to working on a longform piece that's built on repetition," Hall says. "Every stage- from internalizing the music, to executing the performance, to editing and mixing the record- requires deep and sustained presence of mind. I've always been drawn to a hallucinatory combination of harmony and repetition, and I found the entire process addictive." An apt second chapter, Canto Ostinato is inherently vast, and its score gives great creative license to the performer. Comprising 106 sections, complete freedom is given to repeat each one as many or as few times as desired. Additional leeway is given with regard to dynamics, articulation, and even instrumentation. On the heels of his previous, rather maximal arrangement, Hall chose to limit this album's palette to three foundational keyboards of his studio: a 1962 Hammond M-101 organ, a 1978 Rhodes Mark I electric piano, and his family-heirloom 1910 Steinway grand piano. "This particular piece brought the added challenge of rekindling my dexterity as a pianist, something I haven't maintained in earnest since I was a teenager," he admits. The ensuing five-note rhythmic motif- the piece's primary building block- is steady and workmanlike, forgoing virtuosic flare for depth, texture, and resonance, and eventually giving way to the stunning gratification of a gorgeously lyrical left turn. As with Music for 18 Musicians, Hall employed no loops nor quantization nor any programmed or sequenced instruments of any kind. Every part was performed live in a room and captured with microphones, one at a time, each informed by, and reacting to the last. In this way the record breathes with interplay and an organic humanity, complete with flaws, noise, and the faint sound of turning pages. The recording quality is nonetheless toneful and saturated, characteristic of Hall's production style and straying from the usual transparency of classical albums by using gear with tubes, transformers, and various stages of compression in the signal path. Always there is unmistakable realism and the feeling of being present in the room, sitting among the keys, hammers, and tines. Ten Holt said: "Time, patience and discipline are the prerequisites for making a genetic code productive." His landmark composition provides Hall once again with a wondrous space in which to reverently embody this sentiment and deftly convey the elegant beauty of this music.

The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio's members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara "Ish" Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals. After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group's collective intuition to fully shape the melodies and arcs of the music. The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey. Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition. Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.

The album’s title is a play on the word “Israel, meaning "to wrestle with God,” and IDK finds himself struggling with the existence of “He” – or God – during the course of the album’s 35 minutes, but not getting a clear answer. And he invites the album’s featured artists and the album’s listeners to think through the complexities of (their relationship with or belief in) Him.

A Detroit resident, William Odell Hughes is a much-loved street educated singer-songwriter and music composer. As a regular passenger riding to work on the Detroit East Side bus route in the early eighties, he met jazz pianist Pamela Wise who also rode the bus to work every day and who he noticed was always reading music. Pamela told him about saxophonist, clarinetist, and producer Wendell Harrison (founder of the legendary Tribe collective and a regular collaborator of Pamela Wise). She introduced Odell to Wendell, who was impressed with William’s compositions and felt that it would be a great project for release on his WenHa record label.

Hughes and Harrison began producing and recording the album to be called “Cruisin”featuring musical arrangements by both Wendell Harrison and Pamela Wise. This album (released in 1981) was the first recording for Hughes and the beginning of a long musical journey that continues to this day. Cruisin’ features an all-star line-up that includes Andrew Gibson (The Counts), Pamela Wise (Tribe) and award-winning Detroit Jazz icon Wendell Harrison…all doing their bit and making this a monster of an album!

William Odell Hughes’ debut album has all the best characteristics of an 80s album: it’s filled with funky playful beats and has excellent soulful honey-dipped vocals. On Cruisin’ the listener is treated to both mellow soul sounds and electrifying disco boogie (that’ll make even the shyest of club goers want to get up and dance) and Wendell Harrison’s instantly recognizable flute-playing and synth pads give the record a warm, relaxed groove. Prepare yourself for funky vibes, cool soothing feet-tapping rhythms, fantastic interplays on vocal tempos…all backed by a beautiful array of soulful synthesized and cosmic music.

References to universal awareness are plentiful throughout and the spirituality of The Tribe remains a constant undertone; a gentle reminder of WenHa’s roots. With a sound like this, it’s no wonder that this album has long been considered a grail for crate diggers around the world. All of the above makes this incredible record both timeless and as relevant today as it was back when it was initially released.

Tidal Waves Music now proudly presents the first ever vinyl reissue of this rare funk & soul album (original copies go for large amounts on the second-hand market) originally released in 1981 on WenHa records. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip. This vinyl edition also features the original photography by acclaimed British photographer Brian Smith known for his work with artists such as Screamin’ Jay Hawkins, Howlin’ Wolf, Chuck Berry and John Lee Hooker.

Limited edition colored pressing is for Indies Only. Vinyl housed in a tip-on jacket. For Fans Of... John Carol Kirby, Pharoah Sanders, Bill Evans, Durand Jones & The Indications, Misha Panfilov. Debut LP from Okonski. Features current and former members of Durand Jones & the Indications (Steve Okonski, Aaron Frazer, and Michael Montgomery). Follows the debut single 'By The Lake', a collaboration with Germanbased artist and new Karma Chief signee Pale Jay (500k Monthly listeners). The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio’s members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara “Ish” Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals. After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group’s collective intuition to fully shape the melodies and arcs of the music. The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey. Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition. Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.

First release from Ten Lovers Music in 2023 is from Stefano De Santis with a superb 7″ featuring two tracks Barra Nova and Partido#2, Barra Nova is an up-tempo Brazilian Broken Beat Fusion piece carrying on from where his last tack on Ten Lovers Music “Song For George D.” TLM030 left off. The AA side drops a few gears for some slow Broken Beat action with the track Partido#2 but still retaining his unmistakable sound, keeping it jazzy. Stefano is a multi instrumentalist, playing the Rhodes Piano, Moog, Prophet 5, Solina Strings Ensemble, Juno 6, Upright Piano and Percussion on both tracks. This 7″ is release 40 number on Ten Lovers Music, so this a very proud time for us to be able to put out such amazing music.

For the first time the work of Jacqueline Nova is available to the public in vinyl LP format. - Jacqueline Nova is one of the pioneers of Latin American electronic music and an essential figure of the Colombian avant-garde. - Jacqueline Nova (Ghent, Belgium, 1935 - Bogotá, Colombia, 1975), a representative figure of Colombian avant-garde music, developed important and radical work within the field of electronic and instrumental music, as well as in interdisciplinary forms. This album CREACION DE LA TIERRA - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) CREATION OF THE EARTH - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974), under the curatorship and research of the Colombian composer Ana María Romano G., recovers Nova's most important electroacoustic works: Creación de la tierra Creation of the Earth (1972), Oposición-Fusión [Opposition-Fusion] (1968) and Resonancias 1 [Resonances 1] (1968-69), as well as the music for the film Camilo el cura guerrillero [Camilo the Guerrilla Priest] (1974), composed during her stay at the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) , of the Torcuato Di Tella Institute, in Buenos Aires, as well as in the Study of Phonology of the University of Buenos Aires. The compilation also includes the instrumental works Omaggio a Catullus (1972-1974), Transiciones [Transitions] (1964-1965), and Asuimetrías [Asymmetries] (1967), in which she explores randomness, timbre possibilities or the encounter between acoustic and electronic media. - The interest in experimenting with the human voice, and interdisciplinary work involving visual arts, were some of the aspects that have defined Jacqueline Nova's work. Ana María Romano has written: "Nova lived in an environment hostile to change, to debate and discussion, hostile to her being an autonomous and lesbian woman. She undertook feats that make her a pioneer, even though she did not set out to be taken as one, but only as a result of the commitment, dedication and passion of a creator with her society. Jacqueline Nova died in Bogotá of bone cancer. Her tragic and early death not only cut short a career in full creative force, but also directly affected the development of electroacoustic music in the country. After her death there was a great silence -close to 15 years- in musical creation with electronic means. Nova challenged a conservative milieu and survived alone, working in a field thought to be exclusively masculine. But it was a woman who strengthened the use of technology in Colombian music. A risky bet that sadly represented a high cost: Nova was relegated during her lifetime, but her noises managed to shake and question the comfort zones of the Colombian musical establishment". - CREACION DE LA TIERRA - Ecos palpitantes de Jacqueline Nova: Música electroacústica e instrumental (1964-1974) [CREATION OF THE EARTH - Throbbing Echoes of Jacqueline Nova: Electroacoustic and Instrumental Music (1964-1974)] is published through Buh Records, on all digital platforms and in a double vinyl edition, limited to 300 copies. The album includes a booklet with extensive information written by Ana María Romano G. This publication was possible thanks to the Ibermúsicas fund.

After leaving BMG, Theo Lawrence returns to independence with the launch of his own label Tomika in 2020 and a busy year in 2022: opening acts for Robert Plant & Alison Krauss and Charley Crockett, Americana Fest (Nashville), SXSW and a European tour, Theo Lawrence unveils a new album entitled Chérie. A 12-track jewel case, recorded in Nashville and sailing between ultra- romantic and thrilling ballads, Louisiana Cajun sounds, silky string arrangements and epic vocal flights taking you back to the Pop Music heyday of Roy Orbison and Frank Sinatra. Theo Lawrence is a young French-Canadian songwriter based in Bordeaux. His music is rooted in the country music of the 50"s and 60"s, while borrowing elements from soul, pop and rock&roll of the same era. A mixture of styles and sounds, with a deep love of tradition, while bearing the stamp of modern times. Theo brings a new sound to traditional American music, and with this new album confirms that he is part of the prolific new North American country scene.

By popular demand, Big Crown Records is proud to present Holy Hive's Harping EP on vinyl for the first time. For their debut EP on Big Crown Records, they decided to start things off with an extended reunion enlisting all of their favorite players from the Big Crown Family and beyond. The backbone for all these songs is the accomplished Harpist Mary Lattimore, who gives her learned heartfelt accompaniment to every song. There are guest vocals from one of their favorite songwriters Sasami on two tracks and a cast of lively characters assemble to add their lines - Dave Guy on Trumpet, Nick Movshon on bass, Katie Jacoby and Kristine Kruta on Strings, Leon Michels on Vibes, and nally Jens Jungkurth, Chris Connors, and Alex Deturk as sound sculptors.

HOLY TURQUOISE COLOUR VINYL

By popular demand, Big Crown Records is proud to present Holy Hive's Harping EP on vinyl for the first time. For their debut EP on Big Crown Records, they decided to start things off with an extended reunion enlisting all of their favorite players from the Big Crown Family and beyond. The backbone for all these songs is the accomplished Harpist Mary Lattimore, who gives her learned heartfelt accompaniment to every song. There are guest vocals from one of their favorite songwriters Sasami on two tracks and a cast of lively characters assemble to add their lines - Dave Guy on Trumpet, Nick Movshon on bass, Katie Jacoby and Kristine Kruta on Strings, Leon Michels on Vibes, and nally Jens Jungkurth, Chris Connors, and Alex Deturk as sound sculptors.

Minimal Wave present Kintsugi, Martin Dupont’s first album in 35 years. The album features lush re-works of their old songs, originally released on their highly sought after 1980s albums. The French band is known for making beautiful, heady electronic, with striking, poetic vocals. A hard-to-classify group from Marseille with a cult following and some mainstream success, Martin Dupont has inspired some of the luminaries of the contemporary music scene crossing many genres from trip-hop to electro to techno. Kintsugi reassembles their old spirt that is colorful, enthusiastic, and delicate, yet also melancholy and mysterious. A mixture of hot and cold, light and dark. Martin Dupont’s music is considered electronic though they incorporate guitars and clarinets as well. They are described by many as New Wave, though their music truly transcends genres. Listen to Kintsugi, a collection of Martin Dupont’s emotive songs that have now been reinvigorated with a larger than life presence. Record manufactured in France and organized via Meidosem.

In a blizzard of delirious sonics and twis’ up samples extracted from the annals of dancehall and ragga, Seekersinternational return to Sneaker Social Club to double down on the manifesto they laid out with the original RaggaPreservationSociety EP way back in 2016.

As ever, the SKRS magic lies in their ability to convey a deep affection and serious dedication for the source material while simultaneously getting shamelessly weird with it, taking the mutant tendencies of dancehall’s wildest instrumentals and injecting some added cosmic sauce into the mix. On this new record, they’re also embracing the volatile potential of junglist breaks - always intrinsically linked to Jamaican music at the point of inception, especially in the rough and ready daze of ragga jungle.

‘No Parasites (Lickshot)’ is a fierce mission statement, raining down mayhem without ever slipping into familiar modes - the emphasis is on the ragga, the jungle is there as a piquant flavour in the stew, but as ever the SKRS sound remains entirely out on its own. In contrast, ‘CaughtUp (HeartBreaks)’ almost edges closer to hardcore structures, but something keeps slipping in to run the interference, hovering just beyond perception for that all important woozy feeling.

‘2GoldChain (DriveUCrazy)’ is cut up enough to be another interstellar voyage, but here SKRS keep the music back in the mix and let a tapestry of chat lead out front as though capturing a casual street level chaos - bewildering and familiar in equal measure. ‘OriginaloftheOriginal’ completes the set with an earth-shattering script flip once more, coming on like square wave grime and half-speed breakbeat set to emotional stun. If it takes a minute to make sense, that’s because you’re hearing something entirely new.

Released as part of the Acoustic Sounds Series celebrating 70 years of Contemporary Records, Saxophonist Art Pepper’s first album “Meets The Rhythm Section” features Pepper’s legendary sessions with the East Coast rhythm section for Miles Davis’s quintet. Originally released in 1957 and recorded by legendary engineer Roy DuNann this new edition features ALL-ANALOG mastering from the original analog tapes by Bernie Grundman. It is pressed on 180-gram vinyl at QRP and presented in a tip-on jacket.

Endlevel sind mit ihrem zweiten Album "Weekend War" zurück und starten ihre zweite Offensive. Die 11 neu komponierten Tracks beinhalten alles was Endlevel ausmacht. Thrashige Riffs mit einem Death Metal Einschlag, gutturaler Gesang und hohe Thrash Vocals, treffen auf rhythmische Finesse und unterhaltsame Texte - Metallerherz was willst du mehr? Das entsprechende Artwork von Martin Chmelícek (u.A. Spasm, Gutalax, Insistent, Obscene Extreme Festival) fängt visuell perfekt die Marschrichtung ein: Jeder Track, voll gegen die Kauleiste, dazu viel Bier und das Wochenende steckt einem Montags noch in den Knochen! Die 11 Tracks fräsen sich mit einer Unbekümmertheit und gleichzeitig brillanten Produktion in den Gehörgang, dass es einfach nur Spaß macht. Für den tollen Sound war Christian Schäfer verantwortlich, der unter Anderem auch schon für Fateful Finality oder Doom Division an den Reglern saß. Wer also seinen Death Metal auch gerne mit etwas Thrash Metal vermischt und auf Bands wie "Inhuman Condition", "Bolt Thrower", aber auch "Malevolent Creation" und einer Prise "Anthrax" steht, der sollte sich aber ganz schnell "Endlevel - Weekend War" auf den Plattenteller legen und sich bei einem bis 12 Bier ordentlich die Kauleiste massieren lassen. Das Album erscheint auf CD, Vinyl und ist auf allen gängigen Streaming-Plattformen verfügbar.

BASSIST/COMPOSER PETROS KLAMPANIS LOOKS TO PAST AND FUTURE AS HE TRANSFORMS TRADITIONAL GREEK MUSIC WITH TORA COLLECTIVE

Unique instrumentation bridges Greek folkloric and modern jazz worlds, with Klampanis (bass, artistic direction), Areti Ketime (vocals), Thomas Konstantinou (oud, laouto), Giorgos Kotsinis (clarinet), Kristjan Randalu (piano), Ziv Ravitz (drums, electronics, co-production) and more.

Following up his acclaimed recent outings Rooftop Stories and Irrationalities, bassist and composer Petros Klampanis creates one of his most inventive musical settings to date with Tora Collective, his sixth album as a leader. For Klampanis, who grew up in Athens, Greece
surrounded by the confluence of Mediterranean and Balkan folk cultures, making music has always meant navigating cultural crossroads. With Tora Collective (“Tora”=“Now”) he puts traditional Greek music at the centre, even as he presents it from a bold new angle.

In addition to the two new originals “Disoriented” and “South By Southeast,” Klampanis and his compact hybrid jazz/Greek folk ensemble interpret popular Greek songs such as “Xehorismata,” “Sybethera,” “Hariklaki” and “Menexedes ke Zoumboulia.” These songs, Klampanis asserts, are “not just part of Greek cultural heritage or a fragment of the past, but also as part of the future: they live into the present, breathe into the ‘here and now,’ while constantly evolving in a dynamic state and in dialogue with contemporary music.”

“For me it’s a personal thing,” he says. “I want to reflect on what Greek music and culture offer the world. How can music from the Aegean to Epirus and from the Ionian Islands to Crete, meet and speak to the hearts and minds of musicians and audiences from different parts of the world, different traditions and backgrounds?”

To that end, Tora Collective draws on regional characteristics, as Klampanis explains: “Every region has a strong identity. In Epirus the clarinet is more prominent and the music has this slow, groovy, meditative vibe. The islands are lighter sounding, Macedonia is groovier, faster tempos and energetic dances. Music from Asia Minor or Istanbul is more sophisticated. Greeks often refer to Istanbul as ‘Poli,’ from Constantinopoli, so the songs from there are called ‘Politika.’”

There is magic in the clear and consistent voice of Areti Ketime throughout Tora Collective, as can also be said for the supremely voice-like articulation of Giorgos Kotsinis on clarinet. Ziv Ravitz, on drums and electronics, also plays a pivotal role as coproducer: “He added so much in the orchestration,” says Klampanis. “His knowledge of electronics, all these non-acoustic sounds and keyboards, treatments of the acoustic instruments, it’s all because of Ziv. He brought a new perspective on the whole thing.”

The string element in Tora Collective is also strong: in addition to Klampanis’ bass there is Thomas Konstantinou on oud and the traditional Greek laouto, as well as Kristjan Randalu (the pianist in Klampanis’ Irrationalities trio) providing an anchor and bringing Klampanis’ inventive arrangements into harmonic focus. Additional guests appear: Alexandros Arkadopoulos on clarinet for “Disoriented,” Laura Robles on percussion for “South by Southeast” and trumpeters Sebastian Studnitzky and Andreas Polyzogopoulos on “Milo Mou ke Mandarini” and “Hariklaki,” respectively. (“Milo Mou” is slated as a post-release bonus track.)

Using traditional Greek music to discover a common new voice, the project aims to build dialogue, spark creativity, cultivate respect for the past, pave a path forward, discover a new musical storytelling powerful enough to reach and touch audiences in many countries. This is an experiment that bridges worlds: the east and the west, the traditional and the modern, the nostalgic and the forward-looking, using the power of music and improvisation.

A completely re-recorded and remastered version of KAUAN's black metal masterpiece, Aava Tuulen Maa. Released with brand new cover art, different arrangements, and updated recording, ATM Revised is the definitive edition of the band's third album. Released in a beautiful vinyl sleeve with a bonus vinyl-sized booklet. ATM Revised (Aava tuulen maa) was recorded in the early days of Kauan. It was the first album recorded outside of the group's home studio with strict budget limitations. Finally in 2021, everything came together. Kauan blew off the dust from the original recordings and carefully removed all the compromises. This is not just a "remastered" version of the original, it's complete recordings of real drums and bass, restored and refined original tracks, carefully mixed & mastered with analogue gear with all respect to the source. Original art pieces by Sergey Jung were also rescanned, together with all the sketches and imperfections, so now you can experience a beautiful new-looking layout.

First time on vinyl, expanded version of Japan-only CD album from 2006! Now a double LP with unreleased tracks on audiophile grade colored vinyl (Disc 1: Opaque Baby Blue, Disc 2: Opaque Brown) The Jungle Bros embraced of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz sample , on this reissue double LP Release on Colored Audiophile grade Vinyl , the I got U album is remastered and re-released with additional tracks .Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam), and Sammy Burwell (DJ Sammy B). Known as the pioneers of the fusion of jazz, hip-hop, and house music, they were the first hip-hop group to collaborate with a house-music producer. The trio released their debut album, Straight out the Jungle in July 1988. Their hip-house club hit single, "I'll House You" was added to the album in late-1988 reissues. Fostered by Kool DJ Red Alert, the Jungle Brothers success would pave the way for De La Soul, A Tribe Called Quest, and eventually the Native Tongues collective that they founded. Hip-Hop-House with a jazzy feel including "I Got U", a re-recorded "Sunshine" and four bonus tracks/versions. -- The Jungle Bros embrace of a range of styles -- including house music, Afrocentric philosophy, a James Brown fixation, and of course, the use of jazz samples -- _John Bush, All Music

Sound Of Smoke sind eine vierköpfige Psychedelic Soul- & Bluesrock Band aus Freiburg mit einem ordentlichen Vintagevibe. Die Bandmitgliedern um Frontfrau Isabelle Bapté schaffen es mit einem Mix aus Blues, Soul und Stonerrock auf eine Reise durch die Zeit mit zu nehmen, als Klänge a la Jefferson Airplane, Black Sabbath und Led Zeppelin in Ihren Bann zogen. Mit "Phases" veröffentlicht das Freiburger Psychedelic-, Soul- & Bluesrock Quartett kaum ein Jahr nach der Platte "Tales" ihre zweites Album über Tonzonen Records. In zahlreichen psychedelischen Jamsessions entstanden elf neue Songs, welche man im legendären Big Snuff Studio in Berlin aufnahm. Das Album wurde in einer 10-tägigen Session komplett analog mit der Technik aus den 60er & 70er Jahren auf Tonband von Szenen-Ikone Richard Behrens (Kadaver, Elder, Odd Couple, All Them Witches uvm.) aufgenommen. "Phases" überzeugt mit eingängigen Bluesrockriffs, orientalische Klängen, bis hin zu schwebenden, sphärischen Klangwelten aber auch Krautrock. Das Leitmotiv bleibt jedoch Isabelle Baptés versiertes Flötenspiel und ihre warme, individuelle Stimme, welche Grace Slick wieder aufleben lässt. Florian Kiefer, welcher den Titel "Reincarnation of Lemmy Kilmister" mit seinem markanten, grollendem Basssound (und Backenbart) für sich beansprucht, bildet mit Johannes Braunstein ein groovendes Fundament im Stile von John Bonham. Getreu dem Motto "Im just tryin to write the best guitar riff in history" wie schon einst Jimmy Page oder Richie Blackmore und einem Faible für Wildwestromantik, trägt Jens Stöver letztlich das gewisse Etwas zum "Sound Of Smoke" bei. Veredelt wurde "PHASES" danach noch mit Orgel- und Synthoverdubs von Isabelle und Florian. Sound Of Smoke freuen sich mit " Phases" ihr anspruchsvollstes Album einem großen Publikum präsentieren zu können.

Avant-garde pioneer Eric Dolphy achieved incredible things with the bass clarinet, establishing it as a vehicle for solo improvisation, and was equally adept on alto and flute, gaining kudos from peers such as John Coltrane and Charles Mingus. Outward Bound holds a special place in jazz as Dolphy’s first LP fronting his dynamite quintet, leaving conventions behind from the get-go. With the entire group on tremendous form throughout and Dolphy reaching the heights of his genius, this is a stellar release from a giant whose star shined brightly and briefly, until his tragic early death from undiagnosed diabetes.

Incl. Bonus tracks "April Fool" and "245 (alternate take 1)"

Neues Album auf Vinyl der legendären niederländischen Power Metal Band Martyr..1982-1987 erschienen zwei Alben und Songs auf einigen Compilations, die heute in der Metal-Szene als Kult gelten. Der Stil von Martyr war schon immer einzigartig, eine Freude für diejenigen, die starke Melodien, schnelle Riffs und ein hohes Maß an Technik lieben. Auf vielfachen Wunsch gab es seit 2006 erst Reunion Shows auf großen True Metal Festivals und zahlreiche Tourneen. Bei "Planet Metalhead" hat sich die Band entschlossen, zum reinen Heavy Metal zurückzukehren, für den die Band so bekannt ist. Mit dem 80er-Jahre-Vibe, Zwillingsgitarren, hämmernden Drums und Bass und dem fantastischen Gesang glänzt die Band auf diesem 10-Song-Album. Auch aufgrund einer starken Produktion von Schlagzeuger Rick Valcon ist dies eine höllische Metal-Platte und alles rund um dieses Album strahlt Heavy Metal aus, von Musik bis zu Songtiteln und vom Albumtitel bis zum Artwork. Es sollte kein Zweifel daran bestehen, wenn Fans oder Käufer das Album in die Hand nehmen, dass sie wissen, was sie erwartet: Ein musikalischer Planet des Pure Fucking Heavy Metal, auf dem wir alle eins sind und wo wir alle gerne sind. Willkommen bei Planet Metalhead.

Often credited as the “Mother of Hip-hop”, Sylvia Robinson was a seminal blues-turned-soul singer, producer, and writer who released a slew of sultry and sensually charged records in the 1970s as a solo act and in the duo Mickey & Sylvia. Pillow Talk remains her most intoxicating work; a steamy bedroom funk record featuring her illustrious breathy, intimate vocals embedded with silky acoustic guitars, lush orchestral strings, piloted by a series of soft, subtle, and seductive clubby rhythms that still sounds fresh and entrancing today.

Electric Light Orchestra leader Jeff Lynne did more than figuratively reach for the sky on Eldorado. Daring to be bold, and creating imaginative worlds that invite the listener to escape the mundane, the visionary composer-musician achieved a multidisciplinary fantasia and, in the process, a prog-rock landmark. Nearly 50 years later, the concept album's brilliance can be experienced like never before in cinematic, IMAX-worthy fashion.

Sourced from the original analogue master tapes, pressed on MoFi SuperVinyl vinyl at RTI, housed in a keepsake box, and limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP set of Eldorado allows the long-time audiophile staple to resonate with reference-setting dynamics, tones, and colours. Conjuring the feeling of journeying to different horizons, the record's songs teem with layer upon layer of details, which can now be heard as the producers intended. This very special release both pays tribute to the record's merit and enhances the spectacular program for generations to come.

Presenting the album with breathtaking clarity yet retaining the warmth, texture, and emotion that differentiate live music from reproduced sounds, the collectible reissue features beguiling levels of in-the-moment presence, grand-scale sound-staging, and instrumental balance. Bursting with a veritable cornucopia of stimuli, MoFi's Eldorado package also benefits from superb separation and immersive atmospherics that stem from the meticulous remastering process – as well as an ultra-low noise floor, industry-leading groove definition, and dead-quiet surfaces courtesy of the MoFi SuperVinyl properties.

The premium packaging and gorgeous presentation of the UD1S Eldorado pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, the reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in everything involved with the album.

An artistic breakthrough that established Electric Light Orchestra as a pioneering band (and confirmed Lynne as the leading practising Beatles disciple), the 1974 effort remains notable for its involvement of a full orchestra and choral section, the range of which are captured with exquisite results on this LP. Eldorado distinguished itself from the band's first two works not only via Lynne's sharpened songwriting but due to the hiring of an orchestra that augmented the group's three string players. Co-arranged by Lynne and conductor Louis Clark, the symphonic movements bolster the contagious fare without ever drowning it. The accents also act as transports into the varied narrative universes.

Finished as a story before Lynne put notes down on paper, Eldorado ironically owes its inspiration to Lynne's father. In response to his dad's criticisms about the band, Lynne conceived a melodic tour de force that, like The Wizard of Oz, which informs the cover art, emphasizes the power of everyday dreams and everyman heroism. It's no coincidence that the sonic journey begins with an overture punctuated by the words of a cynic who condemns "the dreamer, the un-woken fool."

Beautiful yet fun, ambitious yet consistent, Eldorado proceeds to celebrate such romantics and escapists. A Technicolour escapade marked by lush melodies, fluid crescendos, and an intoxicating blend of energetic rock and sweeping orchestral elements, the album weds rich imagery and sweeping sounds in manners that make the two inseparable. In Lynne and company's hands, reality and fantasy collide, and dissolve any dividing lines. The proof is not just in the epic production, but in the timeless (and catchy) nature of songs such as the balladic "Boy Blue," power-pop packed "Illusions in G Major," and, of course, the aptly titled hit, "Can't Get It Out of My Head."

Decades later, Eldorado doubles as an invitation to break away from monotony whether you're listening to your Mobile Fidelity reissue on a large system or an excellent pair of headphones.

MoFi SuperVinyl


Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior

Mobile Fidelity Sound Lab's UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called "converts") are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

Tugging at the heart strings with his new release, Cartridge shows why he is one of the most highly rated producers in the game. This is a sublimely deep yet diverse EP which showcases Cartridge's musical side. Sometimes melancholic on tracks like Abandon and Voyage. Poignant and touching with Valentines Ting. The title track Sweetheart is not only melody driven, it's also a proven party mover. Each of the tracks tells their own story and as an overall release they come together to make something greater than the sum of their parts. This is Cartridge stepping his game up to the top level.

“Dandelion” blooms a previously undiscovered and unknown sweet spot between 60’s psychedelia and 70’s power-pop, equally pastoral and street-wise, every note tuned to moving and astounding melody. “Dandelion” offers lush arrangements of unforgettable, legend-making songs, performed entirely by Daniel himself.

BROODING PSYCHEDELIC REVELATIONS FROM THE STAVANGERIAN OUTSIDERCORE

The uncanny is never out of bounds in the debut release by shadowy Norwegian duo Firmaet Forvoksen. Gaute Granli and Thore Warland, two archetypes of the Stavanger experimental scene long active through solo work (Gaute Granli’s recent Ultra Eczema notoriety, for one) and other collaborative projects (Thore Warland’s ongoing drum devolutions with Golden Oriole, for another), have joined forces under multiple configurations over the years in order to finally coalesce under the FF banner. Together they project an ever-unfolding vision that sonically erodes into a radiant abyss, like some serious atonement from probable jazz school fugitives.

Undone Shal is an unfurling tapestry of erratic guitar pickings, muffled percussive conjurings, barging synths, and moans that are part lamentation, part incantation. These arrangements evoke a definite psychedelia, plunging the listener into unsettling yet luminous expanses of liminality that recall only the most brooding of outsiders. Like craggly rocks piled on top of each other forming an incomprehensible, gravity-defying tower, Firmaet Forvoksen’s disjointed musical deployments forge something lucid and concrete while grazing the edges of complete inscrutability. This strange relic of a record follows the lineage of KRAAK rosterees past and present - the KRAMPs, Ignatzes, Red Bruts and Calhau!s of our hearths - through its assemblage of crude elements that incite the universe to vomit its hidden harmonies and forcibly test the boundaries between fluency and unintelligibility. No Norwegian wood wisecracking to be made here, for these two dwell in a malleable zone where chaos aligns to draw you in, hinting at all that is obfuscated like a marching band to nowhere.

Coming February 2023 pre-order your copy today!
AAA Audiophile 200g 33rpm Double LP!
Mastered by René Laflamme at 2xHD on Nagra Equipment!
Cut All Analogue at Bernie Grundman Mastering!
Plated by Master Craft & Pressed at Le Vinylist in Quebec!



Jazz at the Pawnshop is a multi-session recording made by Swedish sound engineer Gert Palmcrantz on December 6-7, 1976, at Jazzpuben Stampen (Pawnshop) in Stockholm, Sweden. A pawnshop had operated on the site prior to the jazz club. Proprius Records founder Jacob Boethius produced the album, and it has been issued several times under multiple labels and formats. The album is regarded by many audiophiles as one of the best jazz recordings of the 20th Century.

The recording features Arne Domnérus (alto sax, clarinet), Bengt Hallberg (piano), Lars Erstrand (vibes), Georg Riedel (bass), and Egil Johansen (drums).

In the high end audio world, audiophile sound engineer René Laflamme has carved out a reputation for definition of excellence. Manufacturers of audiophile equipment such as Nagra Audio, renowned D to A converter manufacturer dCS Ltd and high-end turntable manufacturers, Kronos Audio seek his expertise in representation and assistance in design. Audiophile quality microphone designer and 8 times winner of 'Best sound in show' at high-end audio equipment conventions, Laflamme uses his knowledge and unfailing instinct to match various audio components to create the best all-encompassing sound experience. The exclusive 2xHD system is the fruit of Laflamme's total experience and imagination.

Repressed on vinyl. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Good Aderegechegn gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases.

But when 19 Naughty III was released on February 23, 1993 with the lead single Hip Hop Hooray the group proved that they could recreate that magic. Celebrating its 30th Anniversary this year, the album has been certified platinum and "Hip Hop Hooray" has become a hip hop anthem. The single was #1 on the charts, earning the band their second Top 10 hit, with the video directed by Spike Lee, featuring
appearances from Tupac Shakur, Run-DMC and more. The album also contains the hits "Written on Ya Kitten" and "It's On" and has guest appearances from Heavy D and Queen Latifah. Production was handled entirely by group member KayGee, who has one foot in the clubs and the other one on the street corner, and that's true of the group as a whole.

2023 Repress

Two years ago Credit 00 was lucky enough to find a flat with a winter garden in the midst of the city's concrete vastness. Setting up his studio there, surrounded by plants, facing the backyard oasis with its trees, bushes and birds singing all day was quite the opposite of his usual work environment. The contrast of being in nature whilst surrounded by an urban neighbourhood is explored on Credit 00's latest outing on Uncanny Valley. Two different settings represented on either side of the vinyl record. The street side of the building is Credit 00's typical habitat: rough drums, face melting acid and ghetto style track arrangement. R U READY 2 JACK pays tribute to Belgium New Beat and wants to sound like Hardcore that is coming from the heart. TRUE 2 THE GEHM is an ode to one of the true German Acid innovators, Andreas Gehm (R.I.P.), originally written in 2016 for a compilation, which raised money to help him cover expenses incurred due to his severe health issues. The backyard side reveals the influence of flora and fauna on Credit 00's work. On both THE GARDEN and DEEP IN THE JUNGLE, you can hear his synthetic interpretation of mother nature's repertoire. Birds chirping, acid frogs croaking and the wind blowing through the trees to the sound of jungle drums. Despite all the differences between the concrete and the green jungle, there are also a lot of similarities. As the artwork (hand-drawn by Credit 00 himself) illustrates, graffiti spreads all over buildings like wild vine grows on rocks: chaos reigns everywhere, whether in natural or man-made environments!

The latest from Steve O'Sullivan and Mosaic's archive raiding series sees the first ever airing for an unreleased extended mix of the soft and soul-drenched 'Composure', plus two choice selections on the slip, the sleek sub-bass powered 'She Don't Do Chicks' and a dub mix of the equally streamlined 'Bumper Car'. If the A-side is a luxurious period piece of sorts - it could be related to Underground Resistance's 'Galaxy 2 Galaxy' for instance - then two on the other side could have been made yesterday they're so relevant and playable, coasting along with the kind of subtly jacking framework and dubby basslines that G Man made his own. All lovingly remastered at The Exchnage too.

'Turning (Inside Out)' is the new 12" dance single from Arbutus Records, a collaboration between Canadian synthpop artist Moon King and Baltimore production team Visors, with added vocals from fellow Bmore rapper DDM and, in a surprising turn of events, saxophone from the Neptunes' Chad Hugo, under his St Charles alias.
The 'pandemic-era online collab' has given us some strange and unlikely gems, of which this record is certainly one - a mesmerizing
mid-tempo groove with Moon King and DDM's call and response vocals floating above, culminating in a catchy chorus: 'feels like turning inside out, when I need you there, you're not around'.