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In one sense, it’s easy for artists—songwriters, specifically—to express their feelings in their work. After all, that’s what the lyrics are for! But it’s much harder to convey emotional energy in how you play, slash at the guitar, and the structure of the music itself. That’s precisely why Girl and Girl’s Sub Pop debut, Call A Doctor, feels like such a vital, electrifying shock to the senses. Not since the early work of Car Seat Headrest or Conor Oberst’s widescreen emotional brutality as Bright Eyes has indie rock managed to come across as this intimate and grandiose, as the Australian quartet led by Kai James lay a lifetime’s worth of woes—mental health, the human race’s planned obsolescence if you’ve been living on this cursed rock you know what we’re getting at—across a canvas of indie rock that feels both timeless and in-the-moment.

An audacious and aggressively tuneful blast of a record, Call A Doctor is an unforgettable first bow from Girl and Girl, whose origins lie in James and guitarist Jayden Williams jamming in his mother’s garage in the afternoon after school. One afternoon, James’ Aunty Liss headed down to their practice space after walking her dog and asked if she could sit in on drums. “It sounded really great,” James recalls. “We begged her to stay, and she said, ‘I’ll stay until you find another drummer.’ We wore her down, and she eventually became a permanent member.”

After bassist Fraser Bell joined to round things out, Girl and Girl hit the road and began to make a name for themselves beyond the Australian bush, eventually signing to Sub Pop off the strength of word of mouth. Call A Doctor came together quickly soon after, largely recorded in marathon sessions in a two-story industrial complex over the course of two weeks. “That added to the intensity of the album,” James says about the frenzied creative process overseen by producer Burke Reid. “I can hear the stress in the record, which is good because that’s what it’s about—being tense, tied up, and in your own head.”

Call A Doctor’s eleven songs—spanning sweeping guitar epics and wry acoustic shuffles to spiky punk maneuvers and the type of raw, adoringly unvarnished indie-pop associated with legendary PacNW label K Records—are literally plucked from James’ personal history, as he reworked older recordings with newer lyrics reflecting his past struggles as well as new anxieties that emerged prior to the album’s recording. “I’ve struggled with mental health for a lot of my life,” he explains, “and I went through a particularly difficult patch when we were making the album; the band had started to get some attention, and I felt an enormous amount of pressure to live up to it.”

Far from the sound of collapsing under pressure, Call A Doctor finds James and Co. stepping up with their entire collective chest. This is a record that’s so out-and-out alive that you nearly feel like you’re in the same room with Girl and Girl as you listen to it; lead single “Hello” practically bursts through the speakers, amplified by Aunty Liss’ unbelievable stickhandling duties. “‘Hello’ is all about romanticizing your own misery. Letting those deep, dark, dirty thoughts take over. Understanding that even if you could pull yourself out, you wouldn’t because the constant stress and worry is far too familiar and comfortable.”

“Mother” pogos on a spiky groove that’s reminiscent of the geographically close New Zealanders who make up the legendary Flying Nun label, while “Oh Boy” draws from the Shins’ own jangly sound, injected with James’ wonderfully nervy vocals. Then there’s Call A Doctor’s sorta-centerpiece “Maple Jean and the Anthropocene,” a five-minute epic offering a new perspective on climate change and the notion of what it means, in a personal sense, to suffer: “I live in the bushland, and I was driving home one night and hit and killed a wallaby with my car,” James recalls while discussing the song’s lyrical inspiration. “My first thought was, ‘What is the universe trying to tell me?’ No remorse, no guilt, just total self-centeredness. Which was like, Woah, you fucking psychopath! This wallaby wasn’t put on this earth to send you a message. That’s what the song is about, our egocentric species - thinking you’re the main character and that everything that happens is somehow about you.”

“This record is about an individual who’s too far in their head, trying to get out,” James continues while discussing Call A Doctor’s overall outlook—specifically the snapshot it offers of its creator. But even though this record deals with uneasy topics we all know well from within ourselves, it’s important to emphasize how teeming with life Girl and Girl’s music is. There’s a brazen, bold sense of humor to this stuff, an undeniable brightness to the darkness that makes it impossible not to be drawn in as a listener. Feeling down never sounded so goddamn good.

Der legendäre Film The Shawshank Redemption (dt. Titel „Die Verurteilten“) aus dem Jahr 1994 wurde von Frank Darabont geschrieben und inszeniert und basiert auf einer Novelle von Stephen King aus dem Jahr 1982. Der Film erzählt die Geschichte von zwei Sträflingen, die im Laufe mehrerer Jahre eine Freundschaft schließen, um Trost zu finden und schließlich durch grundlegendes Mitgefühl erlöst zu werden. Bei seinem Erscheinen wurde "Die Verurteilten - Die Erlösung" für sieben Oscars und zwei Golden Globe Awards nominiert. Inzwischen ist der Film zu einem der beliebtesten Filme aller Zeiten geworden, steht seit 2008 auf Platz eins der IMDb-Bestenliste und wurde 2011 von der Jury zum besten Film aller Zeiten gewählt. Die Filmmusik wurde von dem mehrfachen Preisträger Thomas Newman komponiert. und 1994 für einen Oscar für die beste Original-Musik nominiert, was Newmans erste Nominierung dieser Art war. In einer zentralen Szene des Films singt die Sopranistin "Briefduett" ("Canzonetta sull'aria") aus Mozarts "Die Hochzeit des Figaro", das auf dem Soundtrack enthalten ist. Das Set enthält außerdem die Original-Songs "Lovesick Blues" von Hank Williams und "If I Didn't Care" von The Inkspots. „The Shawshank Redemption“ ist als 30th Anniversary Edition in einer Auflage von 2.000 einzeln nummerierten Exemplaren auf BLACK/WHITE MARBLED Vinyl erhältlich und enthält einen Druckbeileger.

repare to embark on a transcendent auditory journey with "The Sevens” a series of four 7-inch vinyl records that unveil a treasure trove of previously unreleased tracks from A Place To Bury Strangers' critically acclaimed 6th album, "See Through You." Renowned for their visceral sonic assault and immersive live performances, A Place To Bury Strangers has cemented the end-all-be-all space for over-the-top post-punk / shoegaze destruction. With this special vinyl collection, the band invites listeners to delve deeper into their sonic universe, exploring uncharted territories and hidden gems. “You'll Be There For Me” / “When You're Gone” is the fourth release. “When looking back at the recordings that were done around the time of See Through You there were a bunch of great tracks that just captured life back then and really had something incredible going on. Even though they are a bit raw and a bit personal, I thought it would be a mistake if they didn't come out. I thought it would be best to go back to my roots and put out a series of 7"s the way A Place To Bury Strangers started. That strange weird format where the tracks each speak for themselves, no album context to muddy the water. These tracks are such a contrast to the way I am feeling now and the current songs we've been working on so slip back into this moment in time.” says APTBS’ Oliver Ackermann

Auf Blue City von ABRAMS treffen genresprengende Härte und melodisch-perfektioniertes Songwriting aufeinander. ABRAMS verschmelzen Melodie und Dissonanz zu einer kathartischen Mischung aus eingängigen, treibenden Rhythmen, hochfliegenden Vocals und ätherischer Atmosphäre. Mit Elementen aus Heavy Rock, Shoegaze, Grunge und Post-Metal schaffen sie mit Leichtigkeit eine kristalline Schwere, die bittersüß und nostalgisch ist, aber auch nach vorne blickt. Die Band aus Denver bewegt sich mit ihrem fesselnden Sound auf dem Terrain von Bands wie Torche und Cave-In, während ihre Vorliebe für knackige, unwiderstehlich süchtig machende Riffs an die Alt-Rock-Ikonen Hum und Quicksand erinnert. Dennoch ist die wirbelnde Verschmelzung von Einflüssen nicht die Gesamtheit von ABRAMS. Blue City" ist der Ort, an dem eine tiefe Härte und Kompositionskunst zusammentreffen, ein Streifzug durch üppige, cineastische Passagen und kontemplative Psychedelik. Die Texte beschreiben ein metaphorisches Gefängnis, einen kalten, aber vertrauten Ort, an dem die Angst vor Veränderungen und die Unmöglichkeit zu handeln zu paradoxem, erdrückendem Komfort führen. Für Fans von Torche, Converge, Cave-In, Failure, Quicksand und Hum Limitierte Catharsis Edition in zweifarbigen orange-weißem Vinyl!

Auf Blue City von ABRAMS treffen genresprengende Härte und melodisch-perfektioniertes Songwriting aufeinander. ABRAMS verschmelzen Melodie und Dissonanz zu einer kathartischen Mischung aus eingängigen, treibenden Rhythmen, hochfliegenden Vocals und ätherischer Atmosphäre. Mit Elementen aus Heavy Rock, Shoegaze, Grunge und Post-Metal schaffen sie mit Leichtigkeit eine kristalline Schwere, die bittersüß und nostalgisch ist, aber auch nach vorne blickt. Die Band aus Denver bewegt sich mit ihrem fesselnden Sound auf dem Terrain von Bands wie Torche und Cave-In, während ihre Vorliebe für knackige, unwiderstehlich süchtig machende Riffs an die Alt-Rock-Ikonen Hum und Quicksand erinnert. Dennoch ist die wirbelnde Verschmelzung von Einflüssen nicht die Gesamtheit von ABRAMS. Blue City" ist der Ort, an dem eine tiefe Härte und Kompositionskunst zusammentreffen, ein Streifzug durch üppige, cineastische Passagen und kontemplative Psychedelik. Die Texte beschreiben ein metaphorisches Gefängnis, einen kalten, aber vertrauten Ort, an dem die Angst vor Veränderungen und die Unmöglichkeit zu handeln zu paradoxem, erdrückendem Komfort führen. Für Fans von Torche, Converge, Cave-In, Failure, Quicksand und Hum Limitierte Catharsis Edition in zweifarbigen orange-weißem Vinyl!

Limited to 500 LPs and 500 CDs. New album from the most danceable post-punk pop band in the UK. It's like something has exploded! CRUMBS have been incubating this, their second album, for a few years now. Who knows how they kept all the energy in check. It must have been like sitting on a volcano. The songs burst out with pure pop fire, sending splinters of guitar, sharp lyrics and snatches of the catchiest backing vocals. The rhythm section (Jamie and Gem): it's like Delta 5 meeting Le Tigre in a dark alley in Leeds, fusing blindly and completely, and then forcing its way into the back entrance of a venue, sending volts through the limbs of the unwitting punters, forcing them to dance. This is TIGHT. And as the lights come on and the indie kids throw themselves around, Ruth's vocals sweetly assault their ears with anger, joy, political intelligence - and all around, Stuart's guitar, sometimes twangly-melodic like the B52s, sometimes sweet and ringing like a memory of Scars, sometimes furious and feeding back, keeps you alert and thirsty for more. These songs do NOT outstay their welcome. Starts and ends are cut hard: no pre-echo, no wistful, drawn-out regretful fade-outs. CRUMBS have imbibed the key lessons taught by The Gang Of Four and The Au Pairs: never let the energy dissipate. But there is more than anger here. The band have smuggled a pop sweetness into the disciplined shapes of their angular songs. You're Just Jealous has sharp edges, but it's generous too. The album will be available as a vinyl LP, CD, download and on streaming services. CRUMBS - a brief history. They are based in Leeds, where they are active movers in the DIY scene that currently thrives in the North of England. They recorded a Marc Riley session in 2016, released their first album (on Everything Sucks) in 2017, toured extensively in 2018 and 2019, playing at the Brudenell Social Club with Swearin' and Jeffrey Lewis, and at plenty of fests such as LaDIYfest and Specialist Subject's birthday all dayer in Bristol, A Real Cool Fest in Bradford, Mousetival in Stockton and the Cambridge Indie pop Alldayer. They spent the pandemic creating these new, tightly-wound, irresistible pop songs. These are the people in CRUMBS and these are their influences: Stuart (GUITAR) - Bauhaus, Gang of Four, Shop Assistants // Gem (DRUMS) - Beat Happening, The Raincoats, Antelope // Jamie (BASS, BACKING VOCALS) - Delta 5, ESG, Chic // Ruth (VOCALS) - The Go-Go's, Mika Miko, Paint It Black Collectively - 80s pop music

"Everything's been fucked since David Bowie died or they started up the Hadron Collider" say The Janitors. This feeling is epitomised in the title of their riveting new album: An Error Has Occurred. Marking over two decades of activity for the Swedish psych-rockers, the recording is informed by heartbreak and loss as well as the dismal state of the entire planet. For The Janitors, these two polarities intertwine constantly: "What's personal is political and vice versa." To channel their frustration and anger, the band revived certain songs they'd shelved during the pandemic when working on the acclaimed Noisolation Sessions. They added others, written since, that suited the mood of sticking a middle finger up to the oppressive world around us. Whereas previous recordings were often layered up gradually, this time the full band (Henric Herlenius, Jonas Eriksson, Anders Thorell and Wilhelm Tengdahl) rehearsed intensely together before laying down everything live, over two days and nights, in a converted missionary church. The songs on Side A have the menace of Melvins, the swagger of The Stooges and the cosmic heft of The Heads. These are the more simply constructed and poppier pieces... or so the band believe. (One friend of theirs did consider this "delusional".) 'In A Bliss' acts as the album's radiant centrepiece. A palette-cleansing love song which recalls The Jesus And Mary Chain at their most starry eyed, it finds The Janitors searching for solace and strength in straightforward companionship. After this come the dronier numbers, drawn out with soundscapes and textures influenced by The Velvet Underground's sonic experiments and the equally immersive atmospheres of electronic acts like Massive Attack. Hence, 'Operator' swings threateningly like a space-rock Swans, while the approach on 'Farewell Spacegirl' is jazzier and more meditative. "It can be hard to muster up some, or even any, positive energy at this point in time," says Henric. "We are eternally grateful to have the creative output that this constellation gives us. Neither me or Jonas would probably be here, or be the same people we are, if it wasn't for The Janitors. We'll leave you with a quote from an old anarchist: 'Every society gets the criminals it deserves.'"

“All this I do for glory” is a reasoning and exploration of the machinations of ambition and legacy, an examination of the concepts of afterlife, and the first half of a doomed love story in the model of the greek tragedies. As a narra- tive, it exists temporally somewhere between 2015’s “Never were the way she was” (with Sarah Neufeld) and the 1st volume of the NHW Trilogy.

With this, his first solo outing since 2013’s “To See More Light”, Colin Stetson ventures into territory both familiar and strange. Here still, is the dogmatically stripped down approach to performance and capture (all songs recorded live with no overdubs or loops) but there is an immediacy to the album that belies a more invasive and thorough miking of the various instruments being utilized and a seeming influence drawn from the early nineties electronica of artists like Aphex Twin and Autechre, evident in the more pointed role played by the instruments’ many percus- sive elements.

There are ancestries, motivic and timbral, woven through these six songs that plainly anchor them within the shared universe of his Trilogy, though the overall experience is one of extreme intimacy, the sounds and imagery more tangible and immersive than previous offerings. The brief and brutal “In the clinches” recalls (or presages) echoes of songs like “Judges”, though now feeling like one has fallen down the bell of Stetson’s ancient bass sax- ophone itself. “Spindrift”, crystalline and serene, calls to mind the ambient works of Aphex Twin, while “Between Water and Wind” with it’s “Immigrant Song” swagger, relentlessly carves it’s way into the bedrock here, paving the way with an increasing focus on the minute and the minimal, with a deepened sense of patience shared by most of the album’s six tracks.

Engineered and mixed by Stetson himself, this album represents a decidedly independent approach across the entire creative process and finds him at the top of his game, both as a composer and instrumentalist as well as a producer.

R'n'Cs is the contraction of "Rem and the Courbarians". made up of Rem (drums - Vox) and the Courbarians brothers, Saïd (Guitar - Vox) and Gui (Bass Guitar - Vox). they were formed in the Orléans region at the dawn of the second millennium, combining Punk / Hard Core with overdriven Garage Punk'n'Roll. giving birth to a Rock'n'Roll speed all their own! The years go by. but the cadence remains the same. they are and remain definitively addicted to feedback and BPMs. Their Rock'n'Roll remains fast and furious. You'd think the teats they feasted on from an early age were loaded with nitroglycerine! And these R'n'R aficionados never tire of it! Class, delicacy and refinement have nothing to do with it. even if some music lovers will enjoy it! Their music isn't a poem, it's an ode to sex, drugs and rock'n'roll. all at breakneck speed! Hang on to the handlebars, because no one escapes this infernal spiral that grabs you and sends you straight to the devil's entrails! They became a national benchmark for speed rock'n'roll. and were repeatedly asked to play with bands such as Nashville Pussy, Supersuckers, Discharge, GBH, Unseen, Guitar Wolf, New Bomb Turks, The Cellophane Suckers, The Butchers, Burning Heads, Etc.. Over the years, R'n'Cs has always been backed, produced and supported by labels such as 442ème Rue, Beast Records, Guerilla Vinyl and of course Trauma Social. Their 7th Opus "Flytrap in the Murderhouse" released on Beast Records / Fly House Records (Trauma Social for the CD) saw the light of day in Spring 2024 and still remains in the tradition of Zeke, Peter Pan Speedrock, Mötorhead. This incendiary bomb will not differ from previous productions. Still in sweat, flames and Rock'n'Roll!!!! Hell Yeah!

Belgian industrial, post-rock collective THOT have announced their forthcoming fourth full-length album, `Delta', set for release in May 2024. A band existing in constant flux, THOT seem to thrive in the tumult of modern life and `Delta', their first long form release since 2017's breathtaking `FLEUVE', is an even more ambitious musical melting pot of the people, places, spaces and times that have helped define the band to date. Written, arranged, recorded and documented between late 2019 and 2023 by Fray alongside THOT collaborators Lukas Melville, Gil Chevingné, Stéphane Fedele, Anaïs Elba, Michael Thiel and Juliette Mauduit; `Delta' is as much a product of the band's past as it is their present, also featuring a true collaboration with the women of `Le Mystère des Voix Bulgares', an iconic Bulgarian traditional polyphonic choir previously sampled by THOT as well as the voice of award-winning Czech singer-songwriter Lenka Dusilová, who Fray met by chance through friends on the road. The album is a shifting collage of people, places, past and present, all stirred by THOT's renowned grasp of cinematic, post-rock dynamics and cold-wave electronic orchestration. Boundary-breaking by nature, THOT delivered a powerful, post-rock document of hope and perseverance against all odds.

Members of The Chats, second LP in anticipation of their debut Euro Tour, FFO Cosmic Psychos, The Saints, Stiff Richards. Australia never misses. European release of The Unknowns second LP, released on Bargain Bin Records in Australia. "There have already been some monster LPs released in 2023, and the sophomore album from The Unknowns just might be the best of the lot. The Brisbane-based then-trio released one of the greatest punk albums of the roaring twenties (so far) with Nothing Will Ever Stop back in late 2020. Now a foursome following the addition of The Chats' Eamon Sandwich on guitar, The Unknowns have returned with an even better follow-up. East Coast Low manages to take most of the musical genres I hold dear and mash them together in the most delightful way. Basically the sound is classic punk rock with a ton of energy and catchy tunes (what else would you expect from Australia?). Yet at the same time, this album aligns beautifully with modern-day garage punk, power pop, and straight-up rock n' roll. East Coast Low packs ten tracks of punchy sing-along punk rock into 23 and a half minutes of pure fun. Songs like "Dianne," "Rid of You," "Thinking About You," and "I Don't Know" prove once again that there's a certain kind of itch that only old school punk rock n' roll can scratch. These guys are doing nothing new. But man, they do it so freaking well! If we're talking about the cream of the contemporary Aussie punk crop, The Unknowns have earned a place in the conversation." Josh/ Faster and Loude.

Belgian industrial, post-rock collective THOT have announced their forthcoming fourth full-length album, `Delta', set for release in May 2024. A band existing in constant flux, THOT seem to thrive in the tumult of modern life and `Delta', their first long form release since 2017's breathtaking `FLEUVE', is an even more ambitious musical melting pot of the people, places, spaces and times that have helped define the band to date. Written, arranged, recorded and documented between late 2019 and 2023 by Fray alongside THOT collaborators Lukas Melville, Gil Chevingné, Stéphane Fedele, Anaïs Elba, Michael Thiel and Juliette Mauduit; `Delta' is as much a product of the band's past as it is their present, also featuring a true collaboration with the women of `Le Mystère des Voix Bulgares', an iconic Bulgarian traditional polyphonic choir previously sampled by THOT as well as the voice of award-winning Czech singer-songwriter Lenka Dusilová, who Fray met by chance through friends on the road. The album is a shifting collage of people, places, past and present, all stirred by THOT's renowned grasp of cinematic, post-rock dynamics and cold-wave electronic orchestration. Boundary-breaking by nature, THOT delivered a powerful, post-rock document of hope and perseverance against all odds.

»Música para 10m2 de Relva Sintética« (Music for 10 square meters of synthetic grass) includes a live recording of the Niagara performing at MAAT museum in Lisbon on 9th April, 2020. The recording is taken directly from the concert, without any additional production or mixing.

The set begins with strong nods to US minimalism before evolving into a quirky new age affair. Later, vocal experiments and some dreamy synth excursions set the tone. The gentle sound of water splashing is almost constant, for where there is grass, there must be watering.

An anthology of the intensely arresting work of Robert Fesler (1936-2023), revealing many of his compositions (1975-1987) created with his self-built synthesizers, with as pinnacle the μP RPF78. All music composed and recorded by Robert Fesler at his home on rue Cour Boisacq in Bierges, Belgium. Except one, all tracks are previously unreleased.

With profound simplicity and devotion, Fesler paints a hermetic inner world with strong emotions of confronting solitude, sensual alienation and traumatic angst. His music was as much a therapeutic treatment as an artistic expression. Fesler quotes, »Building my synthesizers and working with them enabled me to sublimate my anxieties.« Most tracks were played and recorded real time, often with two synthesizers (the Synthese 756 and the μP RPF78), capturing the heat of the moment in one take, without multitracking. The austere and reductionist approach reinforces the overall spirit of his work, resulting in an engaging, mysterious solitary journey. It’s quite incredible how one person can put so much technical cerebral content in the development of a machine and use it in such an emotional way.

The music of Robert Fesler might be considered as very Belgian. To situate it within a close entourage, one can say it has: The endurance of Baudouin Oosterlynck The purity of Dominique Lawalree The mysticism of Arsène Souffriau

BANGER MAKE MY BODY SHAKE MAKE THE SPEAKERS SHAKE

It was two and a half years ago when a conversation took place between Sal Carmona and Dj Producer Jovonn Armstrong; talks of which planted a seed in Sal Carmona's ear, which years later would manifest what was once a dream into a reality. No stranger, nor a newcomer in the world of dance music, Sal's experience in the club scene goes way back to the days when his sisters, to whom he credits for helping shape the person he is today, took him to Dave Mancuso's The Loft. An experience that he recalls being nothing short of magical. It was a spiritual encounter that immediately took over thus steering him towards the direction of clubs such as The Paradise Garage, Bentley's, Underground, Red Parrot, Latin Quarters, Roseland, Studio 54, just to name a few. Years later, Sal decided to take on the role, of which he became quite successful at, of promoting his own events in New York City; throwing regular parties at venues such as Park Circle & USA roller skating rinks, Red Parrot, The Palladium, The Copacabana and many others, soon becoming one of the premier go to promoters in NYC. Taking a long and well-deserved hiatus from the club scene, in 2012 Sal decided to make his return back to what he loves. It was around this time that he began thinking what it would be like to venture into creating his very own record label. Envisioning his first release being a bona fide House Music Album, one that would include some of his favorite producers. Not one to let dreams drift into the ether, while recollecting on that conversation with Jovan way back, Sal set out to make that vision manifest into a reality and thus emerged this dope compilation titled Banger "Make My Body Shake" "Make the Speakers Shake"

A great idea which brings together an interesting mix that includes highly sought out and respected veteran producers in the scene, such as Timmy Regisford, Ron Trent, Dj Jovonn, and Joe Claussell. Alongside with up and coming DJ producers who are garnering their own adulation of fans, in the likes of Vick Lavender, Mark Francis, Conway Kasey, and DJ Punch. With valuable directional contributions from friend Joe Claussell, this, to say the least, has become far more than just a seriously dope compilation that consists of a unique coming together of serious dance music. More than the aforementioned, Sal Carmona has manifested a dream into a game changing music scripture that is one of a kind, especially in this day and age where it seems where things are thrown together hoping for something to stick. On the contrary, this is well planned and thought out dopeness at A higher level consisting of all new house music that hasn't been brought together like this in a very long time and probably not for a while afterwards.

Introducing The Meters 'Now Playing' On Black Ice Vinyl - This Record Showcases Their Iconic Songs Such As "Cissy Strut," Played By Leo Nocentelli, And The Festive And Celebratory Track That Captures The Spirit Of New Orleans, "Hey Pocky A-Way." These Classics Resonate With Audiences Across Generations And Serve As Powerful Reminders Of Their Talent.

First exposed to the sounds of Samba and Bossa Nova while
touring South America with Dizzie Gillespie in 1956, Jones recalls
hearing Gillespie sitting-in with a Samba combo at Rio's Gloria
Hotel and how he was fascinated by the thrilling fusion of Jazz and
Samba. Some years later in 1962, he took a stellar big band into
NYC's A&R Studios to record the Big Band Bossa Nova album. It
was the culmination of a dream for Jones, who had never
forgotten the musical experiences he had encountered in Brazil.

The official soundtrack release to the new film of Amy Winehouse, BACK TO BLACK, releasing Spring 2024. Amy Winehouse is widely considered as one of the greatest artists in recent history, selling more than 30 million records worldwide. Her acclaimed self-produced 2006 album Back to Black, propelled her to global stardom, going on to win a (then) record breaking 5 Grammy Awards, including Record Of The Year and Song of The Year for hit single Rehab. Releasing on 140g 1LP Black vinyl, the tracklist comprises a carefully curated highlights collection of Amy's original recordings and tracks from her idols, such as The Shangri-Las, Billie Holiday and Dinah Washington, that are featured in the film, plus a new original track sung by Nick Cave. The vinyl product is housed in a single sleeve with printed inners featuring a personal note from director Sam Taylor-Johnson.

First up in D’Julz’s ‘The School of Night’ EP on his Bass Culture label is 'Nu Bass', a fresh and upbeat house sound with kinetic percussion and well-swung drums. Steamy vocal coos and deft synth stabs build a compelling future vibe before 'Spooky Electrik' comes in with more punchy but deep house sound. Dancing hi-hats pepper the groove along with curious little synth motifs, bringing a cosmic feel while the all-important bassline powers things forward.

D'Julz's knack for cooking up killer grooves is evident again on 'Money, Honey, Monday?' which is jacked up and percussive but also hugely seductive, with the smeared vocals and warming pads keeping things classy and soulful. Last of all, 'Triperie' is more menacing and stripped back - a paranoid lead synth roams about the mix as the crisp drums rise and fall in a fashion that will get floors marching late into the night.

Julien Veniel, aka D'Julz, has been a mainstay of the European scene for decades. He has established his Bass Culture label as one of house music's finest, always with a focus on deep sounds and punchy drum work. As well as his effective and stylish club cuts, he dropped his ‘Silent Drums’ album of ambient back in 2020 and continues to DJ all over the world. He is an artist who knows how to get real feelings into his tracks and shows that again here.

repress!

Signed by the Cogo protagonist Tonske, Anatman is a work of depth, intensity and a great attention to detail. Defined as well-formed, knowledgeable character with a strong artistic and technical background, Tonske produced a powerful, future oriented techno with atmospheric inserts.


The release is also rounded with two remixes by well known techno pillars.


Most known for his work in the famous Cassegrain project, Magna Pia is a composer, producer and a DJ whos combative dance floor trips are ripping through underground scene for some time now. He left his mark on variety of labels such as Infrastructure NY, Prologue, Killekill, Ostgut Ton, Counterchange and Semantica. His interest in combining contemporary techno music with archaic symbolism and unorthodox sonic nmoods with subtle 90s techno references is making him a true gem of the scene today. Co-founder of the infamous Traum nights in Croatia and Secession label boss, Volster is also a well established protagonist in techno circles. Somewhat mysterious, this broad but no nonsense techno artist is most known for his hypnotic, spiral and somewhat detroit sound which earned him an impressive list of feedback till this day. After two decades of continuous work and dedication, he is pawing his mark further with collaborations with names like Cassegrain, Aubrey and Anthony Linell and gigs from Croatia to the rest of the Europe, most notably the latest one in Berghain.

Forest Green Vinyl

Seafood Sam is a futuristic artifact. If that description might sound confusing at first, it matches the eclectic dualities found in true originals. With his effortless cool and timeless style, the North Long Beach native defies convention and exact comparison. He's a virtuosic rapper, a stop-you-in-your tracks singer, and a symphonic producer. Welcome to the lavish life of a laid-back transcontinental man of mystery, rolling in old school Cadillacs, eating caviar with a blade in his pocket, and making plays in vintage Pelle Pelle gear. A blaxploitation icon for the Instagram age, blessed with the bars of a `90s legend and 23rd century swagger. Seafood Sam is a true hero of modernity. On his full-length album debut for up-and-coming label drink sum wtr (Kari Faux, Deem Spencer, Aja Monet) debut, Standing on Giant Shoulders, Sam splits the difference between Snoop Dogg and D' Angelo, Curren$y and David Ruffin. The songs reveal a forward-thinking sensibility rooted in ancestral soul. He creates spiritual hymns for the streets that tap into universal ideals and irrepressible groove. In an era plagued by short-term thinking, his ambitions reveal a crate-digging depth of music history and a meticulous ear for detail. The giant shoulders in the album's title refer to James Brown, Bobby Brown, and Miles Davis - the holy trinity who inspired Sam's process. From the Godfather of Soul, Sam took a perfectionist's rigor and focus. The example of Bobby Brown lent an unshakeable confidence and self-belief. While the constant artistic left turns of the trumpeter that birthed Ccool offered an aspirational archetype. The story starts in the glory days of Long Beach hip-hop. As a young child, the G-Funk era soundtracked rides in Sam's father's car. Some of his earliest memories are trying to memorize Snoop's verse on "Nuthin' But a "G" Thang." Beyond gangsta rap, the LBC has historically doubled as a capital of lowrider soul and carwash oldies. At any intersection, you could hear Dogg Food or Brenton Wood, Warren G or Barbara Lynn. This too was absorbed via osmosis. It also just so happened that the art of performance was always in Sam's blood. So at family functions, he and his sister supplied entertainment by singing karaoke renditions of The Isley Brothers. While his Harlem Shake remains a thing of local lore. Long Beach is a culturally diverse mecca of skate parks and gang life, street fashion and tricky dance moves. This is the place that raised Sam on a diet of Wu-Tang and Nelly Furtado, Lil Bow Wow and Allen Iverson. He was the middle ground between his two older brothers: one who gangbanged, the other who graduated with a master's degree from UC-Santa Barbara. But it wasn't until the end of high school that Sam started to take rap seriously. Alongside long-time collaborators like Huey Briss and Reaper Mook, Sam's name began to make waves on the northside of the city, but he was partially distracted by a modeling career that paid the bills and took him all to way to walk in Paris' fashion week. The first turning point arrived with 2018's "Ramsey," a self-produced, slick-talk anthem with over 10,000,000 streams across all platforms. With each subsequent release, Sam showcased his peerless consistency, building buzz both online and in the city streets. Spin hailed his "smooth and unhurried cadences and understated lyricism_ that sounds like nothing else in Long Beach." Clash raved about Sam's "evolution as an artist, cruising through nostalgic production with slick, witty rhymes." The culmination arrives with Standing on Giant Shoulders. It's the evidence of a master, a young sensei in the model of Quincy Jones. All rhymes, singing, production, and arrangements were handled by Sam - with an assist from his close Long Beach kinsman Tom Kendall from the group Soular System. It's hard-edged and lyrical enough for disciples of Larry June and Roc Marciano, but orchestral and melodic enough for fans of Anderson .Paak and H.E.R.

Following a short hiatus, Superlux Records returns for their 9th exploration into the expanses of house, techno, and electro by welcoming the exciting, emerging Dutch producer and DJ Mathijs Smit to their roster.

As soon as Smit grabbed the attention of the Superlux crew with his hybrid production style and trademark vocoder work, they knew these were earworms destined for their catalog. Marking his first solo EP since 2021, Smit showcases his development In the studio on the 'Twisted Minds' EP with four modern, stylish house cuts loaded with versatility for use from peak time to warm up.

The release starts as it means to go on with 'Changed My Mind (But Not Myself).' A sleek, forward-thinking house jam that salutes to the past with a fast-paced, organ bass melody and intricate drum-machine programming, setting the tone nicely for what's to follow. The A-side wraps up with 'My Mind Is Yours'. Shades of golden-era Italian progressive to this one, a straight no-nonsense feel-good party starter; mark your cards for summer.

On the flip, we get deeper into the groove starting with 'Plugger'. A shuffling beat underscores a moodier bassline with acid flourishes to give this one a bit more of a basement feel, although the bright synths do leave enough versatility in this one to work in multiple settings; a testament to Smit's dexterity on the buttons! Closing out proceedings is the interminably funky 'Quiero, ' the last track submitted by Smit, which is suitably the one to close out a seriously impressive debut on the imprint.

The release continues Superlux's proud lineage of discerning dance music, with Smit being a welcome addition to a roster already sporting the quality of N-GYNN, Paul Blackford, LVCA & Thoma Bulwer. Expect more as the label continues its development in 2024 and beyond.

The latest release on Jai Alai follows the format of forgotten vinyl tracks never before released on 7” format, or previously CD only album tracks, and will raise some eyebrows in artist selection and pairing.

Donaldson Toussaint L’Ouverture Byrd II was one of the most significant jazz artists of all time having joined Art Blakey’s Jazz Messengers in the mid-50s and establishing himself as one of the best hard bop trumpeter/flugelhorn players. His progression was continuous through the 50s/60s working with John Coltrane, Gigi Gryce, Pepper Adams, Thelonius Monk, Sonny Rollins as sideman, and became one of Blue Note Records leading artists.

By the end of the 60s Byrd decided to move away from that idiom, experimenting with jazz fusion, African music and Rhythm & Blues. He worked hard to make jazz and its history part of the curriculum in US music colleges and he taught at many including Rutgers, Hampton, Howard, and Columbia, the latter from who he received his PhD in music.
Byrd took a great interest in how Miles Davis’ experimentation was resonating with a younger audience, and despite being castigated by his musical peers, his development of jazz fusion changed the jazz scene forever. His work with the Blackbyrds was a cornerstone for the progression of jazz funk in the UK.

The effect of his hook-up with brothers Larry & Fonce Mizell was immediate and his Blue Notes albums “Black Byrd” (1973), “Street Lady”, “Stepping Into Tomorrow” (1974), “Places & Spaces” (1975) and “Caricatures” (1976) became legendary on the newly evolving jazz funk scene with certain tracks such as “Change (Makes You Wanna Hustle)” normalising dance jazz on the disco floors, not to mention being a rich source for many hip-hop samples.
A slightly leaner period followed when he moved to Elektra Records and of the three albums with his new incarnation 125th Street NYC, a group of musicians he taught at North Carolina Central University, two were produced by Isaac Hayes including “Words”, “Sounds, Colors & Shapes” (1982) from which “Everyday”, a fabulous forgotten piece of mellow jazz funk derives.

By the end of the 80s he had returned to his harder straight-ahead jazz roots, but his place in history and the evolving of jazz as a dance culture in our clubs should never be forgotten.

Kalita are proud to announce the first ever 7” single reissue of what is possibly the most coveted gospel disco record in existence, the Al-Dos Band’s soulful masterpiece ‘Doing Our Thing With Pride’. This iconic reissue is backed by the band’s previously unreleased recording ‘Love Jones Coming Down’. At long last, Kalita revives this South Carolinian grail single, housed in a limited-edition picture sleeve. Originally penned and produced in 1976 by husband-and-wife duo William and Elizabeth Robinson in Greenville, South Carolina – a city steeped in musical heritage – the record was released in a run of just 200 copies the following year on their own label, Warmer Productions. ‘Doing Our Thing With Pride’ epitomises the best in uplifting crossover gospel disco, equally suited to both peaceful listening and dancefloor action. Despite garnering some attention upon its original release, the single struggled to make headway against the prevailing music forces of the time. Coupled with mounting academic and familial obligations, the release faded into obscurity, eventually becoming a highly sought-after gem, commanding exorbitant prices whenever an original copy surfaced for sale—a rarity that occurred only once every decade. Now, following their successful unearthing of the band’s unreleased album in 2021, Kalita present this remarkable record in a limited-edition 7” picture sleeve single.

Warehouse Find - Test Pressing!

Kyodai have had a strong run of releases since their debut here on Freerange last year. Their Mi Rumba EP must have impressed a lot of people as they went on to
release a follow up EP for Mad Mats blossoming Local Talk label and also have an EP due on Pokerflat in the coming weeks. Kerri Chandler dug it enough to
include on his RA podcast and it was also picked up for the Cielo Compilation on Nervous.

2024 repress

Staying on the Mediterranean coast for their third release, Music From Memory this time shift their attention to the work of Mallorcan musician Joan Bibiloni. TIP!

Primarily a guitarist, Bibiloni was creating music at an early age, releasing his first single at the tender age of 15. In his twenties he formed Spanish progrock outfits Zebra and Euterpe where he would meet Pepe Milan, the two of them becoming the bluesy folk duo 'Milan & Bibiloni'. Bibiloni himself would later go on to play with a number of luminary musicians such as Larry Coryell, Daevid Allen and John Cage to name but a few.

In 1982 Bibiloni set up his own label Blau in order to highlight the muchoverlooked work of musicians not only on his home island of Mallorca but across the Balearic Islands. In doing so he created a platform not only for
local talent but also for his own music to breathe a new life, much influenced by the landscape and life that surrounds the islands.

Whilst Bibiloni's first solo releases on his Blau imprint have stronger echoes of contemporary Jazz fusion of the time, it is on the album known as 'Una Vida Llarga I Tranquila' where Bibiloni really began to experiment with new sounds
and technologies; fusing tape loops, drum computers and synthesizers.

Taking these more electronic infused works as a departure point for the compilation and drawing on material from across his following five albums, 'El Sur' sets out to highlight Joan Bibiloni's unique ambient fusion and sun-drenched Mediterranean beach boogie.

Chelsea Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence.

There is a core element to Chelsea Wolfe’s music—a kind of urgent spin on America’s desolation blues—that’s existed throughout the entirety of her career. At the center, there has always been Wolfe’s woeful longing and beguiling gravity, though the framework for compositions has continuously evolved based on whatever resources were available. Her austere beginnings were gradually bolstered by electronics and filled out with full-band arrangements. The music became increasingly dense and more centered around live performances. Her latest album, Birth of Violence, is a return to the reclusive nature of her earlier recordings

“I’ve been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people—an incredible time of learning and growing as a musician and performer,” Wolfe says of the era leading up to Birth of Violence. “But after awhile, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have ‘Mercury in my hands,’ as a wise friend put it.“ Birth of Violence is the result of this step out of the limelight. The songs stem from humble beginnings—little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs on a makeshift studio and helped fill them out with his modern production treatments and the occasional auxiliary flourish from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola).

The album opens with “The Mother Road,” a harrowing ode to Route 66 that immediately addresses Wolfe’s metaphoric white line fever. It explains the nature of the record—the impact of countless miles and perpetual exhaustion—and the desire to find the road back home, back to one’s roots. Songs like “Deranged for Rock & Roll” and “Highway” offers parallel examinations on the trials and tribulations of her journeys while the ghostly “When Anger Turns to Honey” serves as a rebuttal to self-appointed judges.

While the record touches upon tradition, it also exists in the present, addressing modern tragedies such as school shootings in the minor-key lullaby “Little Grave” and the poisoning of the planet on the dark wind-swept ballad “Erde.” But the record is at its most poignant when Wolfe withdraws into her own world of enigmatic and elusive autobiography. Much like Alan Ginsberg’s hallucinatory long-form poem Howl, the tracks “Dirt Universe” and “Birth of Violence” weave together specific references from her past into an esoteric overview of the state of mankind. Though the lyrical minutiae remain secret, the overall power of the language and delivery is bound to haunt the listener with both its grace and tension.

“These songs came to me in a whirlwind and I knew I needed to record them soon, and also really needed a break from the road,” Wolfe says. “I’ve spent the past few years looking for the feeling of home; looking for places that felt like home. The result of that humble approach yields Wolfe’s most devastating work to date.

European Headline tour confirming now for 2020. UK/EU Publicity handled by Lauren Barley at Rarely Unable. Immense support from Press, including coverage with NPR, Pitchfork, FADER, Vice, Revolver, Decibel, Under The Radar.

"Return Of The Super Ape" was the final revelation from Lee Perry’s Black Ark Studio, a psychedelicized dub journey into uncharted sonic territories. The longplayer is now state-of-the-art remastered by Pete Norman (Finyl Tweek) and restored with original press artwork complete with inner disco sleeve!

The album from 1978 is the final chapter in the trilogy of albums in the period from 1976 - 1978 following "Scratch The Super Ape" (aka "Super Ape") and "Roast Fish & Cornbread". Produced, mixed and arranged by Lee Perry at the Black Ark Studio featuring on all tracks the skills of The Upsetters and additional vocals by The Full Experience on "Dyon-Anasaw" and "Tell Me Something Good". The frontsleeve artwork image was created by Lloyd Robinson (also known as the singer of the Studio One classic "Cuss Cuss").

Reggae expert Jeremy Collingwood says: "The Return Of The Super Ape that surfaced later in the year 1978 saw Perry way off the mainstream with a set that owed much to jazz with its loose structure and horn breaks. The title track took an early production from Perry, U-Roy's " OK Corral", and reshaped it into another futuristic outing - just like the original that had been a decade earlier. At the time few knew what to make of it and over the years its lack of proper re issue had meant it's remained a hidden Perry gem. It also marked the end of a hugely creative period at the Black Ark."

Tracklisting / side-split
Side One
A1 Dyon-Anasaw
A2 Return Of The Super Ape
A3 Tell Me Something Good
A4 Bird In Hand
A5 Crab Yars
Side Two
B1 Jah Jah Ah Natty Dread
B2 Psyche & Trim
B3 The Lion
B4 Huzza A Hana
B5 High Rankin Sammy

• Follow-up to the highly acclaimed dub album Super Ape, the album like its predecessor, was produced by Lee ‘Scratch’ Perry. This was the last album recorded by The Upsetters before Perry closed down his Black Ark Studio.
• The remastered album showcases the production skills of undisputed dub master with insanely layered textures and technical wizardry. With musical backing The Upsetters – Boris Gardiner, Mikey Richards, Sly Dunbar, Benbow Creary, Earl ‘Chinna’ Smith, Winston Wright, and Keith Sterling.
• Remastered by Pete Norman at Finyl Tweek
• Coloured Inner Bag

repress !

Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.

Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers merging in a unique musical blend.

Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu Genea's hometown, Napoli, becomes a true place of encounter.

You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.

Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté", where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song, giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic, deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multi-textured instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’ Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.

Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions, they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to unexpected musical journeys.

DJ Polo returns to Livity Sound with an EP that moves beyond the UK funky styles he established alongside Tribal Brothers on The Link Up EP in 2021. Through his productions and steady online radio presence, the Bristol-based producer has been flying the flag for lean, punchy rhythms with a low-end focus, but on If The Glove Fits Polo has branched out to explore different tempos and sounds taking influence from gqom, techno and Afrobeats.

Much like his approach to funky, this isn’t a set of genre exercises but more a celebration of the shared qualities which bind together dance music from different parts of the world. The result is four sharply-defined club workouts unique to DJ Polo that balance tension and release, flair and subtlety and a consistent physical weight true to Livity’s emphasis on soundsystem suitability.

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.

Travis Stewarts Reise zur Entstehung von „3FOR82“ begann passenderweise am 4. März. An seinem 41. Geburtstag, am 4. März letzten Jahres, wagte er sich in den Joshua Tree National Park in Kalifornien, um Klarheit und Inspiration für sein nunmehr elftes Studioalbum als Machinedrum zu finden. Zwölf hochintensive, nachdenkliche Tracks, die die Nadel zwischen seinem vergangenen, gegenwärtigen und zukünftigen Ich spannen.

Angesichts der Tatsache, dass Ninja Tune eines der Lieblingslabels des jungen Travis Stewart war, spricht dies für ein Mantra, das die Platte leitet: Nostalgie durch eine zeitgenössische Linse zu betrachten. In den stillen Weiten des Joshua Tree durchforstete Machinedrum alte Festplatten mit seinen Beats aus den späten 90er Jahren: Viele von ihnen wurden mit ‚Impulse Tracker‘ erstellt, einem groben Freeware-Programm, das fast ein Vierteljahrhundert lang unangetastet blieb. Nachdem er einen DOS-Emulator gefunden hatte, auf dem ‚Impulse Tracker‘ lief, nahm er sich selbst auf, wie er diese Beats spielte, um „3FOR82“ zu bauen: Sample für Sample erstellte er originale Sound-Datenbanken, die in eine eigene Bibliothek eingespeist werden konnten und „3FOR82“ einen unverwechselbaren Klang verliehen. Ausgewählte Zitate werden als Monologe oder Samples in die Musik eingeflochten - der Opener von „3FOR82“, „Oracle“, beginnt mit Reflexionen von Aja Monet über das Tanzen allein. Auf der Leadsingle, „ZOOM“ erzählt Tinashé von jugendlicher Lust auf der Tanzfläche; an einer Stelle in „KILL_U“ erinnert Tanerélle mit ihren beruhigenden Tönen daran, dass man manchmal „verloren ist und dann wieder gefunden wird, und dass man so viel erreichen kann.“; in „U_WANT“ sagt sich KUCKA selbst, dass „es bessere Tage geben wird“, während ROZET in „RISE“ riffet, dass sie „vom Boden in den Himmel wachsen wird.“. Die Wirkung, die das Thema auf „3FOR82“ hat, ist zart und eindringlich und verbindet diese Stränge von R&B, Pop, Jazz und Drum & Bass miteinander.

"Deep Dancefloor Jams of African Disco, Funk, Boogie, Reggae & Proto Electro Music 1977-1986reggWhen a passionate DJ and crate digger intuitively selects music for a DJ compilation, without artistic compromise and without the burden of trends, AfroMagic vol.1 emerges from the depths of his soul. Herewith we present the new favorite phonomancer’s tool for all the DJs who experience the dance floor as a sanctuary and a source of freedom and love.

The most fundamental thing that defines African music is that it was created for dancing. In African dance, there is often no clear distinction between ritual celebration and social recreational entertainment – one can seemlessly merge with the other. Because dance and rhythm have more power than gesture and more richness than words, and because they express the deepest experiences of human beings, dance is in itself a complete and self-sufficient language. It is truly an expression of life with all of its emotions – joy, love, sadness and hope – without which there is no African music and dance. For the African people, dance and music are integral parts of the body and soul, thus depicting the expression of life, current emotional states, visions or dreams. Through hypnotic repetitive music and dance, people communicate with each other and with the souls of the dead, the animals, the plants, the stars, the Gods… They free the body and the spirit through ecstatic states, reaching a healing sense of freedom, happiness, and satisfaction.

Throughout history, this transcendental perception of rhythm and dance originating from Africa, influenced popular music worldwide, thus creating new living and breathing forms of musical genres – freeing them from their industrial mold. Funk, disco, soul, boogie, reggae, dancefloor jazz etc., developed in parallel all over the world. It is foolish to perpetually discuss where they originated from and who were the creators of all these fiery dance floor genres – being obvious that they directly or indirectly originate from the African continent and its people who were as well, over the centuries, influenced by disturbing socio-cultural factors of colonialism. However, no one can enslave the soul. The seeds of free and uninhibited dance and rhythm, true to their original form, initially first sprouted onto the USA’s fertile fields of clubbing and popular music while later evolving in other parts of the world.

The disco funk club culture manifested itself as a phenomenal explosion of artists and grooves in the second half of the 70s in the USA. Shortly it spread around the world continually reigning over charts in its various forms – to this day. Clubs emerged where the DJ is an almighty shaman and the dancers are a tribe united under one roof. This urban ritual had and still has a single goal: togetherness, freedom, and love. Clubs have evolved into temples where we free ourselves from the burden of a consumerist lifestyle and suppressed emotions – a place where we receive love and give love – to be who we really are.

Disco funk clubbing was such an influential global phenomenon that its influence can be observed in various other genres from the disco funk era i.e. progressive rock, which mutated by layering complex rock arrangements with a disco funk groove resulting in hybrids, highly sought by today’s diggers, producers and collectors. The profit-hungry music industry of the 80s very quickly commercialized the original disco funk sound by amputating of its original Afro groove to be able to easily ‘sell’ it globally. So, the original disco funk groove became underground again, and it has remained so until this day. Today, for a DJ to unearth that ravishing groove that will lead the dancers to the stars, he must dig passionately like a true musical archaeologist in search of that groove that picks you up after just a few initial beats. That groove which forces the atoms in your body to vibrate, that groove which unites the body and releases the burden.

The AfroMagic compilation series is created as a tool for real DJs who stick to the aesthetics and essence of clubbing.

This continuation of the Afromagic compilation by DJ Borovich was created in a private jam session which served as an escape route from intense and complex love problems.

Unconsciously driven by intuition and emotion and following a live mix tape framework where many tunes are arranged instantaneously, Borovich narrates his story with a strong rhythm that cuts loose even the most blocked off energy nodes and restores happiness to the spirit and the body.

The musical experience of the groove is completed by the lyrics of the songs, which symbolically give DJ Borovich universal answers to his questions arising from questioning the boundaries, nuances and other forms of love.

When considering that Borovich’s selection was created to facilitate an escape from the burdens of reality through rhythm and dance, we can be sure that Afromagic Vol. 2 will have a 100% uplifting, energized and spaced-out effect on the listeners.

The intro to A1, “Feeling Happy” by the Apostles, introduces us to an experienced and slow, cool and irregularly tight groove containing a confidently sung chorus that instantly gives a sense of freedom and hints at the remainder of Afromagic Vol. 2: “I’m gonna feel happy, ´cause I know I’m gonna be myself.” After the anthemic song mantra of the Apostles, Aigbe Lebarty uncompromisingly continues with a dirty disco rhythm. Acidified by accented synths that elevate it to shamanic levels and held together by a female tribal choir, we embark on an uncompromising ritual disco journey. Without a moment to take a breather the prog funk band Mighty Flames and their Road Man launch a highly vicious and raw, thick funk groove spiced with acid synths and dirty RnR breaks, raising the bar for the A side. Jimi Hendrix himself would surely praise it given the ultimate freedom and virtuosity in the solo sections. With the last tune on A side DJ Borovich decides to burn the floor with Geraldo Pino’s psychedelic, acid furious groove and lyrics which describe this HEAVY part of love problems: “The way she walk, the way she talk, the way she does a funky dances, she is really really heavy – that woman”.

While the A side represents a compact intoxicating afro groove machine that separates us from reality and lifts us up to the stars in over 23 minutes, the B side is a treasure trove of proto sub-genres gems. This selection represents the mission of the Afromagic: to find singular events in African recorded discography of popular music from the 70s and 80s that give evidence to the birth of new modern genres on the Dark Continent even before they emerged in the U.S.A. or Europe. The beginnings of electronic music influenced genres are represented back to back with 80s synth jazzy pop, all painted in African colours.

The B side opens big with Jake Sollo and a huge reggae blues number singing about the humiliation of a man – goosebumps guaranteed! “You think I’m nobody that’s why, you don’t know the way for me, I’m somebody I know, I found myself at last”. Adolf Ahanotu then enters the scene with a hard sliding tackle at B2 and an exotic rare disco funk dancefloor napalm. A ‘Sensation’ that would ignite even the coldest of introverts. While we approach the end of the compilation the narrative revolves again and takes a different turn. No less and no more than to the proto-electro that Baad John Cross serves us in “Give Me Some Lovin´”. The fat and repetitive broken electro synth groove, championing many early 90s electro tracks, is presented here without hesitation and with constant tension accompanied by a mantric chorus “Gimme some, gimme some, gimme some looooovin’, EVERBODY!!!”. Finally, we’re guided to the end of Afromagic Vol. 2 by Eji Oyevole’s 80s synth pop style presented in an authentic afro manner, giving us a glimpse at yet another released Afromagic edition, as well as giving an answer to DJ Borovich’s love problems. A smoothly broken electronic rhythm resembling electrified highlife sounds, carried on the wings of a virtuoso dreamy saxophone on top of which Eji presents the most intimate parts of himself. Finalizing the track with a symbolic chorus, on the surface referring to the dancefloor and simply having fun, but in actuality referring to the skill and happiness of living: “I´m a dancer, I can dance”. So, get up and dance among the stars with DJ Borovich and Afromagic.

«First Rays Of The New Rising Sun» wurde im April 1997 veröffentlicht und war das erste Album, das unter der direkten Supervision der Familie Hendrix entstand. Mit siebzehn Songs, deren Entstehung von März 1968 bis zu Jimis letzten Sessions in den Electric Lady Studios im August 1970 reicht, markiert das Album das letzte grosse Werk des innovativen Künstlers Jimi Hendrix. Es beinhaltet "Dolly Dagger", "Angel", "Ezy Rider" und "Freedom". Diese Veröffentlichung ist eine neue, komplett analoge Ausgabe, die von Bernie Grundman aus den originalen 1/4"-Mixes gemastert und auf schwarzes 140-Gramm-Vinyl gepresst wurde.

Temples of Jura is proud to present ‘The Great Beyond’, the ninth studio album from Ilija Rudman. The concept of the album is the afterlife with words from Nikola Tesla, Slavoj Zizek, Jim Morrison, JF Kennedy, Charles De Gaulle, WH Auden, Azar Nafisi and Eleanor Roosevelt woven together to tell the story of ‘The Great Beyond’ and what may lie ahead for us all. The voice itself was created by Ai (let’s call him ERIC) and is set beautifully to music that has a timeless cinematic quality. Ilija only uses pure Analogue equipment in the creation of his music, resulting in a rich tapestry of basses, drums, chords and lead sounds. He’s been a prolific producer for over 20 years now with a discography that runs deep with more than 100 Vinyl EP releases and 8 studio albums, but we feel he’s reached the pinnacle with this concept album. We’ll leave the final word to ERIC “You gain strength, courage and confidence by every experience in which you really stop to look fear in the face.”

The Selenites Band returns with a Live album ahead of their 3 Studio album, due for release in late 2024. 8 tracks of psychedelic jazz influenced by Ethio-groove, Swinging Addis and pentatonic grooves, recorded in analog on tape recorders during two concerts between 2021 and 2023.

These recordings are an opportunity to discover 5 previously unreleased tracks, as well as live versions from the previous album "Behind The Mask". The Selenites Band are first and foremost a live band, and we've seen them at the New Morning, in Paris, in Belgium, as well as opening for the prestigious group GONG, on their only date in France, and at many other festivals. The Selenites Band's lively style takes us into a world of traditional music, Shamarnic grooves, spicy jazz and bewitching rhythms. A melodic universe, a music of heady modal trance, a cinematic space of energetic jazz punk! . All compositions are by Antoine "Obi Riddim" Laloux, with the exception of two tracks by Seyoum Gèbrèyès and Tlahoun Gèssèssè.

All sleeves are hand-silk-screened and numbered / limited edition

White color vinyl LTD editionb !

Fat fAt faT & FAAAT Industrial Acid weapons !

12'' / Red transparent Color Vinyl

Pain Beurre and his Intergral Transform brings a tribe long tune, morphing into Trance... or putting you into trance anyway...

CED "deadline" tune is a CC Atom incision in something more rockn'roll with a cool breakbeat drop...

All in one it's a thinlace of acid melodies and progressives structures... lightening sound !

Mastering : Stefan ZMK, Cut Simon the Exchange, Pressing Vinyl de Paris

Matching his signature melodic futurism with enduring club music structures, Pev brings the Pulse series to a natural conclusion with the Pulse Phase EP. On this third release he underlines the broader approach to tempos and styles he’s taken across this latest period of his output, soon to be coalesced into a new live set.

If there’s been a nostalgic streak detectable amongst the crisp modernism of the Pulse series, it comes through clearer than ever in the looped-up house jack and starry-eyed techno synth hooks of ‘Pulse IX’. ‘Pulse TEN’ pares back for a lean soundsystem workout driven by a strafing arp and fractured drums while ‘Pulse XI’ revisits 90s bleep techno with a deep, dubby intention. ‘Pulse XII’ completes the picture capturing the skeletal pressure of 2-step at its most slender and deadly.

There’s never a sense of over-familiarity — the exacting angles of the drums and alien hue of the synths maintain Pev’s distinctive sound first and foremost. But this series has also been an opportunity to hear some of his musical DNA more explicitly than before, cast in universal rave motifs propelled by the unrelenting pursuit of new forms for the dance.

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.