Search:stranger

Following their eponymous debut in 2007, Exploding Head is A Place To Bury Strangers’ most notable record, garnering the New York noise rock outfit critical praise and a cult fanbase. Lead by Oliver Ackermann, the band had a simple goal for ‘their first proper studio album’; “to create the craziest, most fucked-up recording ever."

Recorded at their Death By Audio studios in New York and released on Mute Records, the album was critically praised for its explorative sound, taking inspiration from shoegaze icons such as Jesus & Mary Chain and My Bloody Valentine. Pitchfork described the album as “frustrated aggression, lacerating feedback… saturated with slender indie-pop melody."

The album has now been digitally remastered by Oliver Ackermann and is presented in three formats; Deluxe 2LP (Band Website & Tour D2C Exclusive), 2CD Deluxe & 1LP Standard. This 1LP 140g Transparent Red Vinyl is housed in Standard Sleeve and features exclusive sleeve notes by music journalist Tris McCall.

Freedom – the debut album from Leah Weller – a modern soul soundtrack to her head spinning twenties turning into empowered, contented thirties. Completed last year, Weller’s first complete album follows a decade-long career on catwalks, in front of cameras and making dancefloors shake, constantly on the move and with music as a constant companion. Finding the escape route out of anxiety-inducing mix-and-match career moves with the stability of love, the slowdown of repeated lockdowns and, finally, motherhood, Weller’s race is now to be run at her own pace with a collection of songs set perfectly to her flow.



Gathering nine, finely-tailored songs together with a drum beat of support from producer and collaborator, Steve Craddock, the collection speaks, much rather than screams, of finding the sweet spot between the need for hope, however naïve, and the truths that only experience can spell out.

Freedom – the debut album from Leah Weller – a modern soul soundtrack to her head spinning twenties turning into empowered, contented thirties. Completed last year, Weller’s first complete album follows a decade-long career on catwalks, in front of cameras and making dancefloors shake, constantly on the move and with music as a constant companion. Finding the escape route out of anxiety-inducing mix-and-match career moves with the stability of love, the slowdown of repeated lockdowns and, finally, motherhood, Weller’s race is now to be run at her own pace with a collection of songs set perfectly to her flow.



Gathering nine, finely-tailored songs together with a drum beat of support from producer and collaborator, Steve Craddock, the collection speaks, much rather than screams, of finding the sweet spot between the need for hope, however naïve, and the truths that only experience can spell out.

Pure Wicked Tune is a mixtape-style collection of extracts & cut-ups, taken from DIY cassette recordings featuring rare groove and "soul blues" soundsystems playing at early morning house parties and blues dances - mostly in South & East London - between the mid 1980s & early 90s.

Sounds like Funkadelic, Touch of Class, Latest Edition, JB Crew, Manhattan, 5th Avenue (and the many more featured on this tape) originally began to form in the mid-1980s. With lovers rock dwindling, and the reggae scene becoming dominated by harder digital-style dancehall, these sounds provided a tight but loyal crowd with a potent alternative - playing a mixture of killer rare soul, funk and boogie records in an inimitably reggae soundsystem style, complete with toasting, sirens and effects aplenty.

They were most well-known for playing at house parties and blues dances, typically in small flats or warehouses, with timing of such events generally running from the early morning hours until late the next afternoon. Though the popularity of the sounds faded following the dance music explosion of the early 1990s, there has been continued demand for revival sessions ever since. Whilst the influence of key British reggae & dancehall soundsystems on subsequent UK sounds like hardcore & jungle is relatively well documented, a similar line can just as easily be drawn from these sounds and the aforementioned styles' tendency toward sampling popular rare groove cuts, particularly well evidenced in the work of Tom & Jerry, 4hero, Reinforced & LTJ Bukem among others.

This represents the first outing in a series of collections exploring the sounds of UK soundsystem culture, via extracts from archival DIY cassette recordings of blues parties, dances & clashes made between the late 70s and early 90s. Often duplicated and shared widely, these ruff and ready "sound tapes" provided keen ears with music that wasn't otherwise readily available on the airwaves or in the record shops, and would go on to leave a deeply-rooted but too often overlooked influence on the UK's musical landscape.

Since the release of 2020’s acclaimed ‘The Cause of Doubt & a Reason to Have Faith’, London based Lookman Adekunle Salami has been busy working on the eagerly-awaited follow up and today has released the first taste of what’s to come in the form of new single ‘Desperate Times, Mediocre Measures’. After four studio albums and with well over 35 million streams, Salami’s music continues to push genre boundaries and is certainly no stranger to spoken word - ‘Desperate Times, Mediocre Measures’ sees him return to this method as he waxes poetically about the state of power and wealth in the modern world; "Desperate Times, Mediocre Measures" is a song that tackles the idea of the cyclical and corrosive nature of power structures across our societies - Hierarchical Structures that, like all structures in our reality, are made up of, and reinforced by people who find themselves, more often than not, enforcing the very corrupted elements of those structures purely due to the fact that this can become the prime method of propping themselves up.” Very much a shift in a new musical direction, Lookman enlisted the help of renowned string arranger Stephen Bentley-Klein, who has worked with the likes of John Barry and Deep Purple, to provide the lush orchestration which works in perfect tandem with Salami’s thought provoking word play. L.A. Salami’s message is - once again - a highly interesting insight into the pitfalls of today’s society, constantly proving how is he is an artist we should all be paying serious attention to.

Repressed !

Raised on Colombia’s Caribbean coast and united by it’s capital, Bogota, Ghetto Kumbé combine the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world. The secret behind their irresistible electronic sound lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album’s co-producer, The Busy Twist, adds all the legacy of the UK’s Bass scene to the Afrofuturistic sounds of the 3 Colombians.

Inspired by the different revolutionary movements emerging all over the world, their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves.

Using musical motifs from Africa and Colombia’s Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Techno and House, Ghetto Kumbé creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. This has not gone unnoticed and they’ve played Barranquilla’s world-famous Carnival, Boiler Room, and have even opened for Radiohead.

Limited edition picture disc in full colour printed sleeve

Covered In Stars featuring members of Luna, Spacemen 3, Slowdive, Spectrum, Add N To (X), The Vacant Lots, Spiritualized, Slipstream and more.

This is a wonderfully colourful, beautiful fun and powerfully transcendent album by Fuxa, Featuring driving drum machines, gritty fuzz bitten guitars on The Sun Is Shining and Mary, 80's neon midnight post-punk disco grooves on Shadazz and perfectly blissed out floating in space vibes (Help Me Please and Cluster Fuxa). The synths shimmer and elevate, guitars attack and sparkle and the vocals deliver dark romanticism which evoke often David Cronenberg inspired fantasies such as photographs of car crashes, crushes on perfect strangers and unknown futures. 
 - Simon Scott (Slowdive)


Fuxa returns in 2022 with a new album  'Covered In Stars'
 
Eight new songs and several years in the making, of what can best be described as a full on sonic explosion. Mixing space-rock elements, krautrock rhythms, punchy beats and swirling electronic sweeps and beeps that would make for a perfect soundtrack for any warp speed travelling cosmonauts with phasers set to fun!!
 
For the past 25 years Fuxa front man Randall Nieman has no doubt been on a cosmic journey in sound and space. from his early beginnings a part of Detroit locals Windy and Carl as a guitarist/synth player, running and releasing close to 100 releases on his own label Mind Expansion, to later joining Sonic Boom's (Spacemen 3) group Spectrum for close to a decade. Performing the songs that Spacemen taught him touring across North America and Europe as well as recording and releasing several releases with Sonic under the Spectrum moniker. 
Randall has since worked with and released numerous amounts of material with the likes of Martin Rev (Suicide), The Telescopes and Dean and Britta (Luna) to name a few.
 
It is no surprise that Randall would once again build this new album with friends that he became close to over the years musically and there's certainly no shortage of indie royalty star power on this album
 
Produced by Randall Nieman, Richard Formby and Stefan Persson.
Mastered by Simon Scott (Slowdive)
This album features guest appearances from Britta Phillips and Dean Wareham (Luna), Ann Shenton (Add N to (X)), Mark Refoy and Jonny Mattock (Spiritualized, Slipstream), Roger Brogan (Spectrum/Dean Wareham), Jared Artaud (Vacant Lots) and more! Each adding an unmistakable and timeless element that Fuxa's core members have created. 
It would be hard not to notice the sheer aesthetic glory of this release as once again Randall has chosen the amazing James Marsh (most would remember him as the phenomenal artist responsible for all the Talk Talk albums over the years. His artwork is not only featured on the jacket but on both sides of the limited edition picture disc vinyl.
Covered in stars is a celebration of 25 years of music and friendships made along the way. 

Ladies and gentlemen, welcome to the Fuxa! 

Lücken in der Plattensammlung? Du hast Glück! Wir freuen uns sehr, limitierte Neuauflagen von zwei essentiellen Alben von Anna von Hausswolff präsentieren zu können. Das 2015er Album The MIraculous und das 2018er Meisterwerk Dead Magic. Beide Alben werden in limitierter Auflage auf farbigem Vinyl neu aufgelegt!

French outfit Happiness Therapy continues its release schedule this September with a brand new EP from Glasgow-based Spanish artist Dan Be. The four-tracker, aptly named Makes Me Happy, also features a collaboration with Portuguese talent Bernardo Mota.

Y4 Collective head Dan Be is no stranger to the Happiness Therapy family. An accomplished producer, he first debuted on the label in 2021 via Happy House, Volume. 3, before appearing on the VA’s fourth edition later that year. Now, Makes Me Happy marks his first full-length feature on the imprint, continuing a highlight 2022 for the fast-emerging Spaniard.

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV

2x LTD CLEAR VINYL
Limitiertes, durchsichtiges Doppelvinyl inklusive Downloadcode!

Grammygewinner RAC veröffentlicht sein lang erwartetes neues Album auf Counter Records!

Aufgenommen in Anjos' Heimstudio in Portland und bei Sessions in L.A., finden sich auf RAC's neuem Album Kollaborationen mit u.a. Rivers Cuomo von Weezer, Vampire Weekends Rostam, MNDR, ST. Lucia, KNA und Joywave. - EGO ist Anjos ambitioniertestes, geschlossenstes und persönlichstes Werk und zeigt deutlich seine organische Weiterentwicklung als Künstler auf. Geboren und aufgewachsen in Portugal, lernte Anjos in seiner Jugend Klavier und Gitarre und spielte in lokalen Bands. Später zog er in die USA, um Musikbusiness am Greenville College in Illinois zu studieren, bevor er sich in Portland, Oregon, niederließ. Anjos gründete RAC im Schlafzimmer seines Studentenwohnheims und gewann fortan ein stetig wachsendes Publikum für sich, wodurch offizielle Remix-Aufträge für u.a. Lana del Rey, Yeah Yeah Yeahs, Ellie Goulding, Foster The People, Phoenix, Imagine Dragons, Two Door Cinema Club und The Shins enstanden. Seine erste Grammy-Nominierung erhielt Anjos schon 2016 für seinen Remix von ODESZAs - Say My Name und bei den diesjährigen Verleihungen gewann er mit seinem Remix für Bob Moses' - Tearing Me Up .

Mit seinem ersten Song, - Hollywood , begann RAC 2012 eigenes Material zu veröffentlichen und unterstrich mit seinem Debütalbum - Strangers von 2014 seinen Qualitäten als Songwriter. Darauf enthalten waren die Singles - Let Go mit Kele von Bloc Party und MNDR sowie - Cheap Sunglasses mit Matthew Koma. Außerdem absolvierte er bereits gefeierte Auftritte auf den weltbekannten Festivals Coachella, Electric Zoo und Lollapalooza.

• Brings together themes from popular soundtracks and TV series
• Ramin Djawadi Game of Thrones, Max Richter The Leftovers, Downton Abbey main theme, Lalo Shiffrin Mission Impossible, Henri Mancini The Pink Panther, and many more

1. Ramin Djawadi
Game of Thrones Medley (Main Theme/The Night King/Light of the Seven)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

2. Lalo Schifrin
Mission: Impossible
arr. & orch. Matthieu Gonet

3. Justin Hurwitz
La La Land Medley (Mia and Sebastian theme/ Another Day of Sun)
arr. Matthieu Gonet

4. Trad. Scottish, late 19th century
The Skye Boat song (Outlander)
arr. Julie Berthollet, Camille Berthollet

5. Trad. Italian, late 19th century
Bella Ciao (La casa de papel)
arr. & orch. Matthieu Gonet

6. Boots Randolph & James Rich
Yakety Sax, (The Benny Hill Show)
arr. & orch. Matthieu Gonet

7. Max Richter
The Leftovers Suite
arr. Julie Berthollet, Camille Berthollet


8. John Barry
The Persuaders! (Amicalement vôtre)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard



Side B:

1. Ludovico Einaudi
Fly (Intouchables)
arr. Julie Berthollet, Camille Berthollet

2. Julie Berthollet
Flashback
words and music by Julie Berthollet, arr. Camille Berthollet

3. John Lunn
Downton Abbey Main Theme
arr. & orch. Matthieu Gonet

4. Henri Mancini
The Pink Panther
arr. & orch. Matthieu Gonet

5. Lorne Balfe, Rupert Gregson-Williams and Hans Zimmer
The Crown Main Title
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

6. David Arnold & Michael Price
The Game is on (Sherlock)
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

7. Loik Dury & Christophe Mink
Dix pour Cent
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

8. Mathieu Lamboley
Arsène (from the Netflix original series Lupin)

9. Kyle Dixon & Michael Stein
Stranger Things Main Theme
arr. Matthieu Gonet; orch. Matthieu Gonet & Ronan Maillard

10. Danny Elfman
The Simpsons Main Title
arr. Matthieu Gonet

11. Camille et Julie Berthollet
Générique
music by Julie Berthollet, arr. Camille Berthollet

Here’s artist Max Kuhn on hearing the new Ralph White recordings for the first time: “I was driving a familiar round trip across the high desert when I first put it on. It immediately spoke to me. In the lyrics there's a familiar geography for me, a familiar emotional landscape for all of us. And maybe it was driving an almost 40 year old truck on sun baked & cracked asphalt in July, but it's like you can hear his songs coming apart- the cadence, the rhymes stumbling & defying expectations, consistency but they just keep moving. You have no choice but to go with it. Probably a good lesson for how to live in this era we're in, cracking up but keeping it all running somehow, trying to make something pretty with the time.” Recorded in Austin, Texas in March of 2020, just days before the city and the rest of the world shut down, Ralph White spent two days with producer, Jerry David DeCicca (Will Beeley, Ed Askew) and recording engineer, Don Cento, capturing a raw and wild set of performances. Ralph, having recently converted his van into a mobile living and touring quarters equipped with a wood-burning stove, left Austin, the city where he was born 70 years ago, and retreated to an Arizona commune where he began building a new house in the desert hills to escape the virus and insanity of daily living. Ralph takes us on a journey through his myriad of travels: from Dock Boggs to Syd Barrett to William Faulkner to Stella Chiweshe to Blind Uncle Gaspard…scratching banjo, rasping train whistle hollers, rolling kalimba, rousing accordion, taut shimmers of guitar, caustic fiddle and lyrics - that could have been hidden amongst the dusty inner groove of a lost Harry Smith 78 - weaving in and out of streams of consciousness, time and place. In addition to his solo work, White has recorded or performed with a diverse group of folk and avant-garde musicians: Thurston Moore of Sonic Youth, Jandek, Jack Rose, Eugene Chadbourne, Michelle Shocked, Sir Richard Bishop, and Michael Hurley. “This is what Ralph White really sounds like. It’s what time passing really sounds like. It’s what a look really feels like. This record is someone touching you all over!” --Bill Callahan “Striking, electrifying acoustic music from an underappreciated legend of the American Southwest. Here, tight song structures meet open, unadorned instrumentation: guitar, banjo, kalimba, accordion, fiddle, and White's elastic voice, unspooling pitches and syllables. White draws listeners in on his terms. Lyrics wind and twist and pull back: "Motel 6, Motel 6, Altoona, Altoona; missing you, missing you so, great big hole in my--..." Brave, beautiful, a high point in White's long career. And this is just Volume 1!” - Eli Winter. "What Ralph White puts on albums and onstage is so mind-boggling and vast, it forces those of us in the description business down a treacherous path." --Darcie Stevens, Austin Chronicle. “White was a member of well-loved punk bluegrass outfit Bad Livers, but his solo work is possessed of a much more lonesome spark, exaggerating the implied drone at the heart of the music of Dock Boggs and The Stanley Brothers…White plays wooden six-string banjo, violin, button accordion and kalimba and his voice has a high, eerie quality to it…extremely psychedelic.” --David Keenan, The Wire Tracklisting: 1. Gun Barrel Polka 2. Misinformation Shuffle 3. El Golfo 4. Something About Dreaming 5. Rye Straw 6. The Stovepipe Blues 7. No Stranger 8. Morning Sickness 9. Lord Franklin

Die vierte Staffel der Netflix Erfolgsserie Stranger Things zeigt signifikanten Einfluss auf einige Songs, die in den Episoden Verwendung fanden. Einer dieser Schlüssel-Songs ist ”Pass The Dutchie” von Musical Youth. Der Titel warim Jahr 1982 ein internationaler Riesenhit: in den Single-Charts belegte er im UK die
#1, in Deutschland erreichte er die Nummer 2 und entwickelte sich auch in den USA zu einer Top-10-Hit.

”Pass The Dutchie” zeigt zuletzt bei den Musikstreamingdiensten exponentielles Wachstum und gehört mittlerweile auch zu den Titeln, die beim Videoservice TikTok für jedeMenge ”Creations” sorgt.

Killer EP. Next-level Shackleton.

Taking off from Beaugars Seck’s foundational sabar drum rhythms — recorded by Sam in Dakar in February 2020 — Shackleton has constructed a trio of intricately layered, luminous, enchanted, epic excursions. The second is more dazzled and meandering, with jellied bass, insectile detail, and discombobulated jabbering; the third is more liquid, fleet of foot, and psychedelic, with a grooving b-line and funky keyboard stabs, scrambled eastern strings and hypnotic vocalese.

The harmonium in The Overwhelming Yes sounds like Nico blowing in chillily from up the desert shore. The overall mood is wondrous, twinkling with light, onwards-and-upwards; an uncanny, dubwise mix of the ancient and the futuristic. Mark Ernestus’ Version is stripped, trepidatious, mystical, and stranger still, with just a snatch of the original melody, extra distortion and delay, and crystal-clear drum sound.

Twenty minutes of startlingly original music, with Shackleton the maestro at the top of his game, and a characteristically evilous dub by Mark Ernestus. Mastered by Rashad Becker; handsomely sleeved.

Sick to the nth. Love 4 Ever.

Revenge Techniques presents the vinyl reissue of TAFKAMP's magnum opus 'INDRUKKEN'. Originally released on cassette tape back in 2018, the album features some of the artist's deeper and dreamy productions to date, an exciting trip through the musical impressions of the artist mostly known as techno/rave producer 'Stranger'. TAFKAMP showcases a selection of music ranging from slow melancholic breakbeat to euphoric uptempo electro and everything in between.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

Divino Niño are no strangers to bold reinvention. When Camilo Medina and Javier Forero_friends whose bond dates back to their childhoods in Bogotá, Colombia_moved to Chicago and recruited guitarist Guillermo Rodriguez to form a band, they were psych-pop outsiders playing live shows with a drum machine. With the addition of drummer Pierce Codina, their 2019 breakthrough and debut LP for Winspear, Foam, solidified their place as local indie rock mainstays. Soon after, multi-instrumentalist Justin Vittori joined to round out their lineup. Once again, with their masterful, unpredictable, and eminently danceable new album, the band has done something radical: They totally upended the way they write songs, eschewing practice room jams for unrelentingly collaborative beats, implied grooves for immersive dance floor heaters, and mellow vibes for frenetic doses of reggaeton, electropop, and trap on their most adventurous and ambitious work to date. Welcome to the Last Spa on Earth. Written and recorded over the past two years, Last Spa on Earth deals in release and catharsis: confronting your darkest moments and coming out better for it. The album artwork, done by Medina, a longstanding visual artist, depicts a dreamy, yet graffiti-tagged spa, void of physical bodies so listeners can envision themselves in this unique environment. It represents the yin and yang approach Divino Niño took while creating the album: the serenity of the spa and the chaos of the party. Ultimately, the band's desire is to provide healing in the same way one feels after sweating, shivering, stretching, and resting at the spa against the backdrop of the world's darkness. Last Spa on Earth is the cathartic product of Divino Niño letting go of their musical preconceptions, past traumas, and future anxieties to embrace change, chaos, and each other's contributions both to these songs and to each other.

The iconic first album of the finest instrumental soul group from Stax Records including the " Green Onions " Anthem ! Originals Versions Remastered

Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS ascend to the next level of mind-bending modern metal on their upcoming, in-your-face full-length, IMAGO, out March 18, 2022. Following their 2019 Napalm Records debut, the XXXXX EP, the unbridled outfit breaks new ground and transcends all expectations with their exciting and undeniably fresh second studio album. IMAGO’s multifaceted, cathartic delivery seamlessly mixes gut-punching hardcore riffs and catastrophic breakdowns with colorful electronics, brutalizing vocals and, at times, trance-like synth – exploring elements of djent, hip-hop and even hyperpop influence along the way. The album’s addictively erratic, emotive atmosphere echoes their spontaneous live performance; having previously toured with modern metal giants JINJER, the four-piece relentlessly smashed European stages while captivating each listener with futuristic stylings reverberating the likes of Bring Me The Horizon, Architects, Norma Jean and LANDMVRKS. Furiously crashing opener “SOMEONE ELSE” sets free the uncompromising spirit of SPACE OF VARIATIONS – instantly breaking down genres and placing a forceful exclamation mark at the start with smashing instrumentation and a feverish vocal and lyrical assault by Dmytro Kozhukhar and Olexii Zatserkovnyi. Devastatingly heavy “1M followers” takes no prisoners from the first second and features a hefty appearance from former Asking Alexandria vocalist Denis Stoff, resulting in a fearless, addictive metalcore banger. Tracks like eponymous “IMAGO” and intense mid-tempo “Serial Killer” emphasize the multifaceted nature of SPACE OF VARIATIONS with sporadically scaled-back instrumentation and emotion turned to 10. On the contrary, previously released penultimate post-hardcore dystopia “Ultrabeat” delivers bone-crushing beats and is by far no stranger to the band’s devotees. Closing with an insane verse from Ukrainian rap sensation ALYONA ALYONA, the track undeniably marks a milestone in the unit’s soon-to-be revered history while representing the seething desire to expand all limits of songwriting and creativity. This mindset embodies SPACE OF VARIATIONS and their sonically boggling ode to the future, IMAGO. 1. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS steps up its game with hard-hitting opener “SOMEONE ELSE” from the upcoming full-length album IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. “SOMEONE ELSE” promises aggressive screams, charging transitions and deadly synth parts straight to your face. Stay tuned for this futuristic metal monster called SPACE OF VARIATIONS! 2. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS drifts off into distant universes with their second single “vein.mp3” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. Like a bestial alien, "vein.mp3" goes wild with its shattering drums, thudding bass, heavily distorted guitars and evil screams. Beware of this musical demon called SPACE OF VARIATIONS! 3. SINGLE - EN Unstoppable Ukrainian metalcore unit SPACE OF VARIATIONS reveals its album title track “IMAGO” from the upcoming full-length IMAGO. Previously touring with modern metal giants JINJER, the five-piece already smashed numerous stages across Europe. With melodic, yet distorted and heavy riffing, booming drums and deep growls, "IMAGO" proves itself as SPACE OF VARIATIONS’ anthem! 

Long is the way and hard, that out of Hell leads up to Light.

Right On Time - Trojan Rock Steady is the 2nd part of the exclusive Music On Vinyl’s Trojan compilation series, which celebrates the best works from the legendary reggae label Trojan Records. It was compiled by Laurence Cane-Honeysett, who also wrote the linernotes. Some of Trojan’s finest are featured on this compilation; as there are The Gladiators, The Melodians, The Gladiators, Ken Boothe a.o.

First Marianne Faithfull compilation since 2001’s ‘An Introduction to…’ and the first to contain rare and unreleased material since the Island Anthology ‘A Perfect Stranger’ in 1998. Containing 4 previously unreleased recordings including 1 completely unheard song. In addition to the unreleased material, 22 of the 29 tracks on the LP are making their first appearance on vinyl or first appearance since their original release, and on the 2xCD set, 9 recordings are making their cd/digital debut.



This compilation offers a definitive overview of the first 30 years of Marianne’s recording career on the Decca and Island labels, and features versions of all of her notable singles including the original issue of her final Decca 7” ‘Something Better’ / ‘Sister Morphine’ featuring alternate takes unavailable since 1969: It acts both as a primer to the uninitiated and a rarities collection for those already converted. The title Songs of Innocence and Experience acknowledges the change in vocal style between Marianne’s orchestral folk-pop of her 60’s career with her high pure voice and her new wave punk influenced comeback at the end of the 70’s with Broken English featuring her trademark fractured vocals.



The front cover features a hand drawn pencil image by Lithuanian artist Aiste Stancikaite, commissioned exclusively this for the project, and the packaging contains many rare and unseen images.

Classic Black Vinyl, DL Card.
LA-based musician Marina Allen’s spectacular debut proper and follow up to last years acclaimed 18 minute mini-opus, ‘Candlepower’. ‘Centrifics’ is a joyful collection of observations and questions about the self, the world, and how they interact. Awe-inspiring reflections accompany mesmerizing melodies while Allen’s extraordinary range and depth of singing showcases a wide array of influences from Karen Carpenter to Karen Dalton, from Joanna Newsom to Fiona Apple, from Cate Le Bon to Waxahatchee, via Meredith Monk and the New York avant-garde. Produced, engineered and mixed by Chris Cohen. Co-engineered by Jonny Kosmo. “A songwriter of rare skill and intensity” Clash // “Exquisite melodies and cool, pure, dreamy delivery" Mojo // “Intensely personal and widely universal” Paste

Say ZuZu is an Americana rock band from New Hampshire - Originally
formed in 1991,Say ZuZu recorded and released nine full-length albums
before disbanding in 2003 and reuniting in 2019
The band's first release on Strolling Bones Records is Here Again: A Retrospective
(1994-2002) and includes highlights from the group's five studio albums recorded
during its touring heyday. A new studio record from the band is scheduled for
release in October 2022 on Strolling Bones Records. 'For those who haven't met
our music before, these are highlights from five records released between
1994-2002. The songs focus on the large internal lives of people in small mill
towns like ours. This record also chronicles a decade of growth from a fiercely
independent, self-produced New Hampshire band that flew under the radar during
the heyday of the 1990s alt- country movement. The title of the record, "Here
Again", is inspired by a song from our 1994 self-titled record. We've always sought
to write songs that hold up, personal songs that are durable and can stand on
their own in a variety of arrangements. "Here Again" is one of those songs. It's
also a fitting title for a record that's an opening salvo from a recently reunited
band with its first new studio record forthcoming in Fall of '22.' Here Again is set
for release on February 25, 2022 via Strolling Bones Records.

From a Balkan basement comes an EP so filthy that we had to cover the record with a color photo. KRI records first installment oscillates between EBM and electro, ready for sweaty dancefloors and those extra long afterhours needing some “warm leatherette”. A well crafted five tracker journey is a debut collab by two veterans, Christian Kroupa discovering his darker shades coming off of an LP on Natural Sciences under his Alleged Witches moniker, while Le Chocolat Noir is no stranger either with seals of approval on Return to Disorder and L.I.E.S among others. Get ready for plenty of melodies, massive chords and menacing vocals spiced with an epic acid remix by the Mannequin boss Alessandro Adriani.

-Heavy Metal Sampler mit Underground-Hits und Kultsongs
-umfasst die „goldenen Achtziger“ mit Stücken von 1981 bis 1988
-Vinyl only (keine digitale Version)!
-EYECATCHER: attraktives Cover mit Hommage an die Serie
„Stranger Things“
-bedruckte Innenhülle mit Essay über den 80s Metal und viele Fotos
-mit einem neuen Vinyl-Remaster des Manilla Road Klassikers
„Necropolis“
Trotz dem Vinylboom, der in szenestarken Musikrichtungen
noch deutlicher ist als in der Popmusik, gab es in den letzten
Jahren bisher wenige Compilations auf LP. Dabei waren
Zusammenstellungen ein ebenso wichtiger Teil der Siebziger und
Achtziger, eben in der Zeit, als die Schallplatte das gängige Medium
war und ein Mixtape eben nur ein Tape war.
„Heavy Metal Things“ spielt natürlich auf die erfolgreiche TVSerie „Stranger Things“ an, die in den Achtzigern spielt und bei
den Jugendlichen einen ganz eigenen Lifestylewunsch erzeugt hat.
Trotz der spannenden Handlung erlebt man eine Zeit, die in einigen
Punkten doch einfacher und entspannter war – trotz dem Kalten
Krieg und unsicheren Atomkraftwerken. Die Schallplatte (und
erstaunlicherweise sogar die Kassette) gehört in diese Zeit, die sich
mit der Hochphase des Heavy Metal überschneidet. In Szenekreisen
taucht daher oft die Floskel „goldene Achtziger“ auf, denn so
ziemlich jedes Metal-Subgenre wurde hier erfunden oder klang
wenigstens bereits an. Ein ruppiger, teils noch von der Gesellschaft
geächteter Stil wurde zu einem kommerziellen Erfolg. Auch die
Neunziger, gespickt mit Grunge und Crossover, konnten die Rückkeh
des traditionellen Heavy Metal in den 2000ern nicht verhindert. Und
durch die Serie „Stranger Things“ werden Jugendliche auf Songs un
Bands aufmerksam, die in Folge nach über 30 Jahren wieder in die
Charts schiessen.
Trotzdem ist die LP „Heavy Metal Things“ keine Compilation mit
den großen Hits der Mega-Acts in diesem Segment. Im Gegenteil!
Hier wird gezeigt, welche spannenden Acts aus den USA und
Europa zunächst nicht mit dem Massenerfolg gesegnet waren,
allerdings von neugierigen und interessieren Genrefans mittlerweile
entdeckt wurden. So konnte man auch in den letzten Jahren Bands
wie Manilla Road bei Festivals wie dem Hellfest, Sweden Rock
oder Maryland Death Fest sehen. Kultgruppen wie Griffin (USA),
Witchfynde, Malleus oder Dark Wizard kehrten auch zu den
Bühnen zurück. Der Underground ist im Heavy Metal in der Tat
eine größere Sache, als man bei dem Begriff zunächst annehmen
müsste.

Restock

If you've ever had the feeling that things just don't make sense, that there's a hidden world of dark magic waiting in the dead spaces, the forgotten corners... well this is the music for you.

Dutchman Erik Griffioen's obsession with the esoteric is well known, and for some time his Lloyd Stellar alias has focused on this sense of the world just out of view.

Griffioen runs LDI Records as an outlet for his prolific creativity, but this release for Gated pulls from his early works, the tracks that almost got away.

This is one-strobe-in-a-dark-room electro, which rides the fine line that exists somewhere between euphoria and madness. It's relentlessly underground. And we love it.

Often duplicated, never imitated: the power of Lauer! Albeit being no stranger himself to musical influences from the outside, the producer from Frankfurt managed to carve out a sound that is very much his own. Indie-dance, Italo, power pop and house music in its traditional sense get mixed up in a blender of happiness.
Lauer’s latest achievement for Running Back and welcome return is a mini-LP called Cyclone Days. Aptly titled and ably executed, it’s everything you would expect or want from him. A world of merry music, where melody is king.

On top of that , you get value for your money: Vocal blockbusters like the upbeat Somebody (instrumental included) and the more restrained Friends (both with frequent collaborator Dena), sit comfortably between instrumental hits. Resonator and Neway take the role of the proverbial keys to happiness, while the title track or Exterminate balance it out with joyful melancholy.
Just imagine Righeira signing to Factory Records or Durutti Column on holidays in Rimini and you are halfway there. The days might be like a cyclone, but as long as there are records like this, the shelter isn’t blown.

TANGERINE DREAM'S 2008 CLASSIC IS AVAILABLE ON VINYL. Tangerine
Dream have been a fundamental influence on electronic music since
Edgar Froese founded the band in West Berlin in 1967
Providing the groundwork for multiple electronic music genres including ambient
& electronica, inspiring musicians & other art forms, with seven Grammy
nominations to their credit. In recent years, their music has featured in the
popular TV shows such as 'Stranger Things' & video games including 'Grand Theft
Auto'.
'Views From A Red Train', originally announced to become Edgar Froese's solo
album for summer 2007, was finally released in April 2008 as a regular Tangerine
Dream album. Though all compositions are still by Edgar Froese, he was
accompanied by one or two of his fellow band members on all but one track.
Regarded as one of the best latter-year Tangerine Dream albums by fans & critics
alike, this album stands alongside earlier, classic TD recordings. 'Views From A
Red Train' will be issued by Kscope on gatefold LP.

After the worldwide success of her debut album ‘Believer’, LAU’s long awaited sophomore album ‘Circumstance’ is finally here.



LAU (AKA Laura Fares), a prominent figure in the Synthwave and Retrowave scenes has finally gone solo after over a decade of writing Synthwave hits for other artists.



What is it like to fall in love in these crazy pandemic times? What about falling for someone miles away that we’ve never met? Is it real love or just a fantasy?



In this new album, LAU talks about the challenges, the uncertainty, the crazy circumstance she has found herself in, the ups and downs of “virtual romancing” in the distance, and falling in love with a complete stranger that she’s never met (yet). LAU explores the bittersweet feelings of happiness (to finally fall in love again), mixed with the anxiety and the uncertainty of longing for someone that we’ve only seen on a screen, added to the frustration of not being able to travel to meet them in person.



LAU recorded most of this album in her new home in Barcelona (Spain) throughout 2021 and finished recording the album in her hometown (Buenos Aires, Argentina), creating ten fantastic Synthpop / Retrowave tracks (and a couple of Disco-Pop songs) produced by international producers like Brian Skeel (USA), Zak Vortex (UK), Ends 84 (France), Saint Innocent (France), Popcorn Kid (India), Adam Siana (Sweden) and TAKTA (Norway).

Seit ihrer Gründung 1968 haben Deep Purple weltweit über 100 Millionen Alben verkauft und mit Songs wie 'Smoke On The Water', 'Highway Star', 'Space Truckin', 'Hush', 'My Woman From Tokyo', 'Perfect Strangers' oder 'Knocking At Your Backdoor.' Klassiker geschaffen, die unzählige Bands beeinflusst haben und immer noch beeinflussen. Acht Jahre nach ihrem letzten Studioalbum "Rapture Of The Deep", eine Zeit in der die Band unzählige Shows gespielt hat und exzessiv getourt ist - die letzte Tour im Herbst 2012 hat alleine in Deutschland über 60.000 Tickets verkauft - hat sich die Band entschlossen ein neues Studioalbum einzuspielen. Ian Gillan sagt dazu: " Vor 2 Jahren wäre es falsch gewesen, vor 5 Jahren wäre es falsch gewesen! The time is NOW. Wir hatten das Gefühl es ist an der Zeit was Neues zu sagen und das haben wir getan. NOW What ! ist eine der wichtigsten Aufnahmen, an der ich jemals in meinem Leben beteiligt war.'

Mit Produzent Bob Ezrin, der sich neben diversen Kiss oder Alice Cooper Alben auch für die Produktion des legendären "The Wall" von Pink Floyd verantwortlich zeichnet, ist es Deep Purple gelungen ein Album einzuspielen, dass die Perfektion und Eleganz von - Perfect Strangers' hat und die wilde Freiheit von - Made in Japan' widerspiegelt.

Coming 40 years after he first started performing in bands in his native North West of England, Butterfly Mind is the most surprising release yet from Tim Bowness. From the short, sharp shocks of Always The Stranger and Only A Fool to the long-form ambition of the sensuous Dark Nevada Dream, the cinematic Electro-Ballroom of Glitter Fades and the dystopian paranoia of Say Your Goodbyes Parts 1 and 2, Butterfly Mind delivers a thrilling fusion of Art Rock invention, Post-Punk energy and epic soulful ballads. Tim’s seventh solo album features the stellar rhythm section of Richard Jupp (in his first major session since leaving Elbow) and Nick Beggs alongside a spectacular guest list including Ian Anderson (Jethro Tull), Dave Formula (Magazine), Peter Hammill (Van Der Graaf Generator), Martha Goddard (The Hushtones), Gregory Spawton (Big Big Train), Mark Tranmer (The Montgolfier Brothers / GNAC), Saro Cosentino (Franco Battiato), Italian Jazz musician Nicola Alesini, US singer Devon Dunaway (Ganga), Stephen W Tayler (Kate Bush) and, marking his first studio work with Tim for nearly three decades, former No-Man violinist Ben Coleman. Produced by Tim Bowness and Brian Hulse (Plenty), the album was mixed and mastered by Steven Wilson. Available as Limited 2CD Edition (featuring alternate mixes and bonus material), and a Limited 180g LP + CD edition featuring special die-cut artwork by Carl Glover. Also available as Digital Album.

Concrete Castle Dubs return with a double sided 10” rocket launcher from the legend that is Spikey Tee. Two heavy hitters on that ruffnek drum and bass tip, Badder Than Me and Bumbo Ras, coming on a frosted clear 10” vinyl.

Having been involved in the music industry since the early 90’s Spikey Tee is certainly no stranger to the game, not only on a production tip but vocally too. From being signed to Virgin as part of the groundbreaking crew The Sindecut, releasing and featuring on music with the likes of Bomb The Bass, Roots Manuva, Morcheeba, Sola Rosa, Mr Scruff, Jah Wobble and many more, releasing his own solo album on Tokyo Dawn in 2020, and bossing the decks as a dj around the globe too.

We’re very proud to have him deliver two sterling tracks for the label and bring the fire we like to represent neatly!

Lauv, auf dessen Visitenkarte ganz oben Sänger/Songwriter/Producer/Multiinstrumentalist (und auch „Platin-Abräumer“) stehen müsste, begreift sich in erster Linie als Geschichtenerzähler. Denn es sind vertonte Geschichten, die ihm eine riesige Fangemeinde in der ganzen Welt beschert haben – magische
Anekdoten aus seinem direkten Umfeld, die er regelmäßig in eingängige Hymnen für seine Generation zu verwandeln weiß. Nachdem ihm schon sein erstes Album mit „I Like Me Better“ einen astreinen Welthit bescherte, beginnt nun das nächste Kapitel – das noch aufregender, noch umwerfender klingt, auch weil sein Storytelling noch ausgefeilter ist: All 4 Nothing. Auf „All 4 Nothing“ (erscheint am 05.08.2022) entwickelt Lauv seinen Trademark-Sound weiter, indem er noch mehr von sich preisgibt, sich noch mehr
öffnet: Er habe sich auf das Erzählen von Geschichten konzentriert, sagt der Kalifornier über die neuesten immersiven Songwelten aus seiner Feder. Inhaltlich geht es um Nostalgie, persönliche Konflikte, schließlich auch um Selbstermächtigung.

“Irreverent and playful” MOJO // “...an utterly distinctive, mental world.” The Financial Times // “From keening ballads to haunting waltzes, Paradise has never seemed stranger” Shindig // “There’s a buoyancy to even the most lacerating lines now, a liberating relief in pressing on” Uncut // Way back when, before the pandemic, and before the release of Alex Rex’s last album Paradise escaped the confines of lockdown, Alex Neilson took a break from the road and set about putting together a record of poems extracted from the collapsed goldmine of his brain. Returning to his experimental roots, Mouthful of Earth’s cutting and oft heart-wrenching stanzas are set to music largely from underground legends Alastair Galbraith, Richard Youngs and Alex’s cult experimental drone record Belsayer Time (originally released on Time Lag Records in 2006. This is the first time that this music has ever been made available digitally). And for one track, Alex reunites with ex-Trembling Bells mucker Lavinia Blackwall for some free-form experimental jazz, reminiscent of the more psychedelically unhinged moments of Cammell/Roeg´s Performance soundtrack. To quote Stuart Maconie’s sleeve notes for the record, “One of the first things I learned about Alex’s musical imagination and modus operandi was a joy in collaboration, and Mouthful Of Earth continues in a tradition that has seen him work with many kindred spirits across many genres; Bonnie ‘Prince’ Billy, Current 93, Jandek, Kan Mikami, Shirley Collins, Six Organs of Admittance, Josephine Foster and Baby Dee. The list is disparate and stellar, the results are always interesting and alive.” Continuing in the spirit of collaboration, Mouthful of Earth’s words and music are accompanied by a digital book of drawings by Kent-based visual artist, musician and art psychotherapist, Benjamin Prosser (Insta: @benjaminprosser). These are not so much literal illustrations as reactions. The combination of poems and visuals works a suite of haunted vignettes, dense with bleak humour and hallucinatory images. “The phantom hand of a lover pressed over the mouth of your mother” / “the whole gurning universe” / “the collapsed farmhouse of my mouth”. Mouthful of Earth is both visceral and corporeal, flecked with blood, sweat and beers. Or as Alex puts it "a continuous project of describing the human spirit pushed to the point of crisis”. Mouthful of Earth finds beauty in scarring and peace in torment. It’s both an assault and a balm of sorts. Life, says Neilson “is not a golden arc / It's a bent aerial / connected to a vast and terrible machine/operated by a child”. But listen hard and you will also hear beauty… “The song of yourself, roaring like a cloud, explicable only by light”. With sleeve notes by BBC Radio presenter and author Stuart Maconie, Mouthful of Earth is released on limited edition vinyl (300 copies only) and digitally via Neolithic Recordings. Reminiscent of his early work with Trembling Bells, and again featuring Lavinia Blackwall on vox, the track is a red herring; a nod towards a lighter shade of darkness.

Emotive soul singer Doris Duke got her start backing gospel artists and was a mainstay at the Apollo in the early 1960s. cutting some demos for Motown that remain unreleased. After a debut single that made little impact (credited to Doris Willingham), she became Doris Duke at the behest of Swamp Dogg, who produced this acclaimed solo debut, I’m A Loser, regarded by many as one of the best “deep soul”albums ever issued. Cheating saga “To The Other Woman (I’m the Other Woman)” was a top-fifty pop hit and “Feet Start Walking” also reached the US R&B charts, assuring Duke’s eternal reputation, despite the collapse of Canyon Records, the label that first released this hefty gem.

(2021 Remaster)

Jessica Ackerley (Honolulu, Hawaii) and Patrick Shiroishi (Los Angeles, California) are both members of the newly announced super-family-group SSWAN (along with trumpeter Chris Williams, drummer Jason Nazary, and bassist Luke Stewart). Both have prolific outputs and work diligently to push the boundaries of their respective instruments and previous musical ideas.

'Across Water' sees Ackerley and Shiroishi contributing their own unique takes on the ambient sound. Jessica contributes 'I Am Here' and 'The Crevices Between My Heart', each following the collection's theme of water while the guitar and synth work on the second composition gives way to visuals of deep-sea life that can only sustain itself away from the hustle and bustle of crowdedness. Similarly, Patrick is no stranger to straddling the fine lines between subtle and overt emotionality. 'Because You Went There' and 'Leaving It All Behind' are his offerings, seemingly looking up to the sky rather than down ay the ocean, infused by the sweet and smoggy California air.

Jonathan Kusuma is no stranger to club music. He has played, produced and re-edited multiple works. This is what he excels at. But on Dream Bot, he wants his audience to discover a more introspective side of his. Raised in Indonesia, where rhythms are abound, be it from a folk song sung in a ceremony, a machine in a soul-crushing factory or a Boombox on the back of a bicycle, Jonathan’s ears are destined for a career absorbed in rhythm and sound.

With 5 tracks of kaleidoscopic rhythms and introspective moods on Dream Bot, he is paying homage to his rich musical education and heritage. Layered percussive samples come to mind as well as the intricate interplay of gamelans and moody arpeggios. They both evoke their distinct mournful tunings. Dream Bot is a reminder of his roots and the beauty of the sounds on the Indonesian streets that have left many ears in awe.

The Institute is happy to present a newcomer in its ranks: Lasha Chkhaidze, one of the 13 members of collective "If Strangers." Georgia is home to melancholia and many exciting musicians, something we have shown in many of our previous releases. Lasha’s first album is part of this theme.

These six tracks gently pull you into a subtle and immersive journey. Listen and soon you find yourself pulled into the beauty of sadness - surrounded by these carefully crafted soundscapes which offer a perfect opportunity for a moment of introspection. The young Georgian delivers ambient and piano at its finest on this first LP.

As the legend says, Agartha is a lost kingdom, located in the earth’s core.
Only the bravest found courage to go to the journey to find it.
As you go deeper, the road gets darker, scarier… The journey to Agartha symbolizes the journey to the untraveled parts of human consciousness, which often frightens us, but as we observe and heal our dark parts we no longer need to compress and hide them. Facing our main fears will make our road mor adventurous, and one day the whole journey will become a tale. Tale of a man who found the lost kingdom of Agartha.

Announcing Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar. 500 only pressed / black vinyl theres 200 for UK/EU only

When Isa Gordon sent the demo of this album to me I knew I wanted to release it before I had got half way through it. I had previously released her super good Resili collaborative project but I wasn’t quite prepared for how good this was going to be. Isa is patently a once in a blue moon talent and I feel honoured to help get her unique, visionary sounds out into the world. This is next level programming & sound design but always with soul, and musicality. Sui generis.

Isa says

“For you only came about in the lockdown winter in 2020. I started seeing a lot of beats and motifs that I’d been working on working together as a collection and spent a few months compiling, completing, mixing and weaving together the tracks into a coherent album.

It was many nights tucked away entering the wormholes of making music and trying to honour the emotion contained in each song by expanding the sentiments within them into complete pieces, chasing down the journey in each one.

It was a very personal, solitary exploration of how I interpret and compose instrumentals, with the rare global situation inhibiting outsider contact and influence. I include a mix of tempos, styles and freely combine digital and live instruments in order to serve whatever intention or feeling needs to be heard”.

Isa is an Ayrshire bred, Glasgow based producer and singer. Impressed upon by myriad styles; Singing folk music since a youngster, Playing guitar since a teen, Producing electronic music thereafter. Now freely cherry-picking whatever sounds, instruments, words and methods serve the feeling. Exploring solitary beat making as Isa Gordon and Singing and writing heartfelt lyrical ditties with her band Fantasy Land.

Now a two-times Number 1 UK Albums artist, Jack Savoretti’s 2015 album ‘Written In Scars’, a UK Top Ten, is now regarded as his breakthrough. A stunningly confident, almost effortless collection of songs, it contains co-writing and production from the likes of Adele / Sia musical collaborator Samuel Dixon and, on one highlight ‘Tie Me Down’, Matty Benbrook (aka Jake Bugg). Released in very limited quantities on vinyl at the time, and unavailable on the format for some years to the chagrin of Jack’s dedicated fanbase, this new repress of ‘Written In Scars’ comes on limited edition Aztec Gold vinyl, this new repress of ‘Written In Scars’ is looking and sounding better than ever on the format.

The new vinyl repress of Written In Scars represents another step in the celebration of Jack’s phenomenally successful years with BMG. After a successful mini digital campaign around ‘Christmas Morning’ in December 2021, this long-overdue vinyl repress of Jack’s first album with the label, comes courtesy of demand from diehard fans and all the new fans he has won over since its original release in 2015. Both Sleep No More and Singing To Strangers will follow with their own special vinyl editions in time.

Auf 'Third' hebt Jitwam seine Fähigkeiten als Beatmaker und Produzent auf ein neues Niveau, verschmilzt Live-Musik mit Samples und Edits, garniert sie mit Features von Melanie Charles und Akhtari und weckt Erinnerungen an die Suche nach Frieden im Chaos des täglichen Lebens. Inspiriert von seiner Zeit in NYC kombiniert Jitwam mit trunkener Unbekümmertheit Einflüsse aus Latin, Soul, Punk und einer Menge Disco zu einem einzigartigen, reichhaltigen Sound. Die 10 ansteckenden Songs aus moduliertem Gesang und traditioneller Instrumentierung vermengen sich mit dem Schwung von Soul-House und Jazz. Entsprechend erhält Jitwam Support von Gilles Peterson, Moodymann und Matthewdavid.

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late `50s and hasn't looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark's "American Bandstand" (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We first got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link - all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the first time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly influenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 - another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music.

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late `50s and hasn't looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the first Latino artist to appear on Dick Clark's "American Bandstand" (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We first got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link - all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the first time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly influenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 - another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music.

Sunny Ozuna is a living legend and a man worthy of praise on many levels. In the Texas and Latin Music pantheon, few have been at it longer and are more revered by their fans and peers than Sunny is. He became a star right out of high school in the late ‘50s and hasn’t looked back in the seven decades since. Among countless other honors and notable achievements, Sunny was the ­rst Latino artist to appear on Dick Clark’s “American Bandstand” (in 1963). He penned "Smile Now, Cry Later," a hit for him and The Sunliners, which along with the theater masks that grace the album's cover, became staples in the Chicano Soul and Lowrider Soul cultures. We have been fans of Sunny & The Sunliners' music for a long time. We fi­rst got in touch with Sunny to try to reissue some of his records in 2013 but we didn't sign a deal until 2015. It took a trip to San Antonio and then two years of steady phone calls before they decided "if you have been chasing us for this long, you must be serious." With Sunny's blessing we started getting everything mastered, scanned, and planned. First we released 2017's Mr Brown Eyed Soul Vol. 1 compilation that put rare 7" sides next to some of his biggest hits and mixed in some choice album cuts for good measure. In the wake of that, we released three of Sunny's full lengths with their original track lists and art: Smile Now, Cry Later, Little Brown Eyed Soul, and The Missing Link all of which were Record Store Day releases that raised money for the victims of 2017's Hurricane Harvey. For the 7" collectors, we reissued ­ve 45s, making some very hard to come by sides widely available again and pressing some tunes on the format for the ­rst time. In 2020, as an homage to Sunny, we released Dear Sunny... a compilation of Big Crown artists covering Sunny & The Sunliners songs. Through all of this we were able to do what we set out to do: get Sunny's music to a new audience of people and make it all accessible and available again to his existing fanbase. Sunny still keeps a busy schedule and loves performing as much as he did as a teenager. His music and the music that it directly in‑uenced are seeing a resurgence in popularity in the last few years. With any luck at all, our efforts played some small part in that, and on that note, we present Mr Brown Eyed Soul Vol. 2 – another compilation curated by us, where we dig a little deeper into Sunny's catalog and pull some lesser known gems that hold court with his hits. Hats off again to Mr Brown Eyed Soul himself, San Antonio's own, Sunny Ozuna, we are sure you will enjoy the music. Tracks: Side A 1 I Can Remember 2 Sitting In The Park 3 Give Me Time 4 Should I Take You Home (Keyloc Version) 5 If I Could See You Now 6 Come Back Baby 7 Viva Mi Triestesa Side B 1 Runaway 2 Sharing You 3 I’ve Never Found A Girl 4 Together 5 I’m No Stranger 6 Best Of Both Worlds 7 Baby, I Apologize

Limited to 500 copies worldwide.


Heavy as f-ck and deep as hell, this devastating split album gleefully corrupts and corrodes Dub’s sunshine reflections. Celebrating rhythm & noise in its dank echo chamber, these demolition dub tracks are built from obsessive studies in distortion, overdrive and seriously ruff textures, amongst an absolutely insane amount of sub-bass level.

‘Disintegration Dubs’ is a three way low end collision, between G36 (The Bug aka Kevin Martin/Gorgonn’s rig torturing beat project) and JK Flesh (Justin Broadrick of Godflesh/Jesu etc…). As the album title suggests, this instrumental pile up of floor crawling, sound system crushers, is a clearer sign than ever, that these three producers crave their dub cuts to be mutant and heavyweight, totally damaged and completely atomised. Dub as sonic obliteration

Anyone previously smitten by Techno Animal’s deeply psychedelic face off with Porter Ricks, on the long out of print ’Symbiotics’, or who worshipped Zonal’s recent rhythmic wreckage via Relapse records, will surely gorge greedily on Disintegration Dubs’. Likewise, newbies, who have snapped up this year’s ‘Fire’ by The Bug or ‘New flesh in dub’ by Godflesh, will find endless pleasure within these dread-tech, annihilated dubs and Industrial strength steppas rhythms. Echoes of Basic Channel, early Iration Steppas, Public Image Limited or even Andy Stott can be heard within this collection’s haunted atmospherics and bulldozing rumble. Yet, these three individual producers have obviously found their own recognisably original sound, within these monolithic grooves, and what makes this album so utterly refreshing, is just how well the three disparate sound manipulators complement each other fully, as they collectively set their sights on some shared, relentlessly futuristic sci-fi vision, for a new form of dub.

Obviously, Martin as The Bug, and Broadrick with his colossal dubs of Godflesh and his filthy back catalogue of JK Flesh releases, have both long since subscribed to the genre, aesthetic and fragmentation of Dub. Meanwhile relative newcomer, Gorgonn, is The Bug’s long time, live soundman, and former bandmate with DJ Scotch Egg in Devil Man, as well as having formed Dokkebi Q with Kiki Hitomi (ex-King Midas Sound), so he is no stranger to the art of deviant dubs either…

G36 dropped their appropriately titled debut EP ’Floor Weapons’, in 2018, on PRESSURE, as well as providing the backing riddim for the first ever release from Jamaican MC phenomena Nazamba, with his startling debut, ’Vexed’. Alternately, Justin has previously released seven albums solo, as JK Flesh, that systematically contorted, distorted and completely bastardised techno for labels such as Hospital Productions, Downwards and Speedy J’s Electric Deluxe… (Next year will also see a full JK Flesh album on PRESSURE too…!)

This album is Mastered by Stefan Betke aka POLE, at Scape Mastering.

Limited Edition 100 Only Red Vinyl LP - Hand Signed and Numbered / Quantity: 100 - Beth Blade and The Beautiful Disasters are a melodic Hard Rock band based out of Cardiff, South Wales. The four-piece provide monster riffs, huge choruses and a dose of old school rock and roll attitude. With aggressive muscle and melodic sensitivity, this band is reigniting the flame of British Hard Rock. They have an unmistakable modern presence whilst keeping the spirit of old school rock and roll alive. The band have been a non-stop force to be reckoned with, building a strong pedigree touring with Marco Mendoza and The Electric Boys, and have supported old and new legends such as Kee Marcello, Y and T, Dan Reed and Danny Vaughan, Ricky Warick and Damon Johnson, Massive Wagons, Those Damn Crows, Tyketto and Graham Bonnett. They are no strangers to festivals either having performed at Hard Rock Hell, Planet Rockstock, Monsterfest and most notably with KISS on the globally renowned KISS Kruise in the US. The band's first two albums received glowing reviews across the rock press and resulted in international radio airplay including heavy rotation on major networks in the UK. Beth herself has sung backing vocals on the last two Thunder albums with the latter reaching number 3 in the U.K. Top 40 Album Chart and number 1 in the U.K Rock Chart in March 2021. The band are currently working on album number 3 and have a number of live shows and festivals already booked alongside The Treatment, Mason Hill, Collateral and will be hitting the road again on a UK tour with Swedish Rockers Thunder Mother. The band is fiercely determined and has the grit to surpass their previous accomplishments through intense live performances and a passion for rock and roll that is unrivalled.'

Club Glow co-founder Denham Audio is no stranger to linking up with friends. Running the label alongside fellow breaksmiths Mani Festo, LMajor and Borai, the rave-focused producer has established the imprint as one of a leading name in acid hooks, lairy basslines and whiplash-inducing breakbeats, and here - on Cheeky Sneakers - he readies the release of five varied cuts of lowend pressure and sky-high euphoria alongside Swankout, Thugwidow and Coco Bryce.

'Good Time' does what it says. A cut of happy-hardcore inspired breaks beamed straight from the Midlands; there is just enough headsy energy to keep the chin-stokers entertained, whilst inspiring an emotional, smiling release for those whose infatuations lie closer to ravey keys and Bangface Weekenders. Swankouts second collaboration - 'Keep On' - is a growling slab of screw-face electro and breaks, highlighting both producers' knack for finding the sweet spot between varying forms of UK music - fast, hardcore and dutty, it's a surefire party starter. Thugwidow is introduced on 'Testing My Patience'; the producer has been making a name for himself with some excellent releases on Sneaker Social Club and Circadian Rhythms, and here he and Denham Audio combine on a chugging steamroller of malfunctioning, soulful riddims.

It's a dreamy meet on 'Close 2 Me' - Coco Bryce recently collaborated with Amy Dabbs on an excellent jungle EP which received support from BBC Radio 1 and more, and here the Netherlands produce brings his native hardcore spirit to the surface on a pitched-vocal cut of jungle-techno.

Seeing out the release is a remix from emerging producer RAVETRX, who has recently enjoyed sessions on Rinse FM and NTS alongside Roni and Hooversound Recordings co-label head Sherelle.

Fabric resident Anna Wall and production partner Corbi link up again for the first time since their debut EP 'DATs In The Attic' dropped on Ritual Poison in 2019. Between then, Anna has gone on to release music on her own label Dream Theory and turned in a gorgeous deep cut for music platform 22 tracks' final send off before closing. Corbi has been no stranger to production either, heading up important label Fina records and releasing stand-out EPs on Rough Recordings & Kouncil Cuts.

The pairing bring their newfound knowledge to LTWHT, shape shifting between colorful displays of breakbeat and melodic perfume. Ahead of the release, Anna & Corbi spoke of their love of digging into the past, delving into old techno and rave records and inspired by artists like LFO. While the influences are apparent their sound remains unique, contemporary and flourishing with personality.

Title track 'Persistence' opens with choppy breakbeats and deep subs, adding extra depth and weight; providing the perfect base for the record's shimmering synth lines. 'Consciousness' then conjures wide-eyed atmospherics, joining hands with a soothing, deep bassline and diamond shaped arpeggio. 'I'm just changing consciousness' is gently spoken as the track ebbs and flows across the oceans moon-lit surface.

Subtly euphoric and inherently introspective, B side opener 'Take A Moment' shows a developing side to the pair's growing sonic palette. Early trance meets breakbeat, in an emotive display of otherworldly electronics and primordial whispers. The tracks bassline and lead add an extra layer of playfulness, turning the track from a cerebral workout to a blissful dance around an open flame. The record comes to a close with 'Regardless' an acid inspired dream that unfolds amongst a backdrop of clouded pads and intoxicating patterns.

Coming 40 years after he first started performing in bands in his native North West of England, Butterfly Mind is the most surprising release yet from Tim Bowness. From the short, sharp shocks of Always The Stranger and Only A Fool to the long-form ambition of the sensuous Dark Nevada Dream, the cinematic Electro-Ballroom of Glitter Fades and the dystopian paranoia of Say Your Goodbyes Parts 1 and 2, Butterfly Mind delivers a thrilling fusion of Art Rock invention, Post-Punk energy and epic soulful ballads. Tim’s seventh solo album features the stellar rhythm section of Richard Jupp (in his first major session since leaving Elbow) and Nick Beggs alongside a spectacular guest list including Ian Anderson (Jethro Tull), Dave Formula (Magazine), Peter Hammill (Van Der Graaf Generator), Martha Goddard (The Hushtones), Gregory Spawton (Big Big Train), Mark Tranmer (The Montgolfier Brothers / GNAC), Saro Cosentino (Franco Battiato), Italian Jazz musician Nicola Alesini, US singer Devon Dunaway (Ganga), Stephen W Tayler (Kate Bush) and, marking his first studio work with Tim for nearly three decades, former No-Man violinist Ben Coleman. Produced by Tim Bowness and Brian Hulse (Plenty), the album was mixed and mastered by Steven Wilson. Available as Limited 2CD Edition (featuring alternate mixes and bonus material), and a Limited 180g LP + CD edition featuring special die-cut artwork by Carl Glover. Also available as Digital Album.

Grammy award-winning blues icon returns to his Delta blues roots for the
most captivating musical statement of his long and legendary career
Charlie's first new solo studio release in seven years is stripped-down and semiacoustic, driven by his deft guitar playing, while also featuring the masterful harp
and soul-deep vocals for which he is famed.
'Mississippi Son' is front porch country blues that is at turns raucous and languid,
haunting and impossibly soulful. The track listing includes Musselwhite originals
and songs by Charley Patton, Yank Rachell and Big Joe Williams. This warm,
intimate recording is loaded with feeling and exhilarating, timeless music.
Essential listening for any blues fan.
Blues Matters feature interview plus review confirmed
ADVERTISING: Blues Matters, Blues In Britain, Blues & Rhythm

The insanely-prolific (as well as simply, insane) DANGER BOYS are most likely no stranger to your ears. In the past few years, the Neapolitan duo of (Raffaele Arcella) WHODAMANNY and (Enrico Fierro) MILORD has churned out innumerable releases (both as solo artists and with their projects THE NORMALMEN and MYSTIC JUNGLE TRIBE, of which the duo comprises 2/3) that have infected dance floors the world over.

Here, the duo inhabits their latest incarnation/incantation: DANGER BOYS. The result: a postapocalyptic, post-punk, disco-not-disco masterpiece that sounds like a record you dug out of a dusty flea market bin in Mexico City in 1982 - or maybe 2082 - hard to truly say.

The EP starts off with the spaced-out chugger, Monsters From the Future - which drags you into their bizarre universe, before ratcheting up the tempo for the rest of the EP.

Next up is Mind Control Musique, which delivers an insanely catchy chorus sung in a non-existent language.

THEN - the B-side - where Danger Boys opt to sing in Spanish for two versions of Gringo Tropicana, a track which is already becoming a staple of numerous prominent DJ’s summer festival sets (including Bradley Zero, Yu SU, and Artwork, to name a few).

As always, Vinyl only. Picture sleeve with OBI strip.

“I’m closing a chapter in my life,” Barbie Bertisch says to me from a park bench in Greenpoint, “I spent the last four years working towards gaining confidence around my ideas and my creative perspective. This feels like a culmination of that process” The “this,” in question is Bertisch’s debut record Prelude, a collection of eleven songs that chronicle 5 years of Bertisch’s life. The legendary musician Anna Domino describes the record best: “Prelude is a record of layers and depths. The melting phases and soaring distances.”


Raised in Buenos Aires and Miami, Bertisch has called New York home for most of her adult life. When she started piecing together Prelude, she was in her Brooklyn kitchen. It was early quarantine. Stuck at home instead of DJing at clubs, she found the space to parse through the archives. What she previously considered unworthy of attention in the era of distractions, finally made sense as a whole once all the noise was turned down. Compiling a list of songs in various states of completion, Bertisch dreamed up an album, a chronicle in growth and healing frustrations of the past, an honest account of someone trying to find her own voice. That in and of itself was a journey. It took years for Bertisch to accept that she was an artist. “I felt like I was surrounded by men who ruled every space. I constantly felt like I had to ask permission to enter, always around bands but never the girl in the band” she says.


Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in “After The Storm”. Bertisch also focuses on rhythm, bass guitar being her main instrument, and no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person.“Is This What You Wanted?” is fiery, a pointed provocation to domineering figures from her past. It’s full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. “28,” the record’s opening track is more peaceful. It’s all languid keyboard arpeggios with the occasional flourish of a cascading synth effect.


Since most of the songs already existed in some form or another, Bertisch’s job on Prelude was to refine and reimagine music that had previously been private. She spent time rearranging, rewriting, adding elements newly available to her, such as the saxophone, and pushing the limits of the rough mixes to mold the universe she envisioned. Along the way, Bertisch grew more excited about her abilities as a musician. The resulting record is one that is inherently confident.


Prelude is also a homespun release. It’s coming out on Bertisch’s own label, Love Injection Records, which she runs with her partner Paul Raffaele. The two also DJ and make zines under the name, which started in 2015. Love Injection is a love letter to New York. Prelude is a word of encouragement to those struggling with self-actualization. The record was mixed by Justin Van Der Volgen and mastered by Walter Coelho. Love Injection Records holds the remix tradition in high regard, and they’ve enlisted reworks by some of Barbie’s favorite producers. It’s all a labor of love for Bertisch. Prelude is her: Barbie the musician.
©℗ Love Injection Records 2022

Veyl is pleased to welcome Marco Freivogel’s Prequel Tapes for an immense 8 song release, 'The Golden Cage'. Completing an album cycle of themes and exploration which began with 2015’s 'Inner Systems', 'The Golden Cage' is perhaps Prequel Tapes’ most diverse and expansive work - utilising the artist’s own vocals for the first time and evolving his production and sound to new, uncharted dimensions.

Working off the trauma of his father’s suicide, 'The Golden Cage' was spawned from a hyper-realistic dream experience which revealed the artist’s path, catalysing new productions and techniques. The result is a striking work of unconventional electronics that journeys through rhythms, atmospheres and experimentations. A true narrative of a continuously challenging personal journey Beginning with the tension-building, free flow of 'My Turn', we then delve into grief and anger with 'I Hate You', which transforms into the pulsating tempos of 'Stranger or Lover'. The glistening nostalgia of 'Last Things' marks the halfway point before grappling with the heavy introversion of 'Alone' and devious energy of 'Mind Corner'. Nearing the end of our trip, 'Without Remission' uncovers the most dance floor tuned
piece while finally the title track closes things out with an energy that will linger long after you’ve listened.

Er gründete die Band im Oktober 1982 gemeinsam mit Schlagzeuger Vinny Appice, nachdem beide ihre Band Black Sabbath verlassen hatten. Ergänzt wurde die Band durch den irischen Gitarristen Vivian Campbell (Sweet Savage) und Bassist Jimmy Bain (Rainbow, Wild Horses). Im Mai 2010 verstarb Ronnie James Dio. Dies war der Grund für die Auflösung der Band. 1994 war für DIO eines der erfolgreichsten Live-Jahre. Am 10.Juli 1994 absolvierte die Band ein grandioses Konzert in den USA, welches vom US-Radiosender FSW-5 mitgeschnitten und nun freigegeben wurde. Diese strikt limitierte
Schallplatte enthält alle großen Hits und Alltime-Klassiker der US-Rock-Gruppe und kann als zeitliches Dokument angesehen werden.

“Lovage” is defined as “an herb that is said to be a benefit for relieving abdominal pains due to gastrointestinal gas…also touted to reduce flatulence when consumed as a tea.” But when placed in the able hands of sonic mastermind Dan “The Automator” Nakamura, recording under the guise of musical lothario Nathaniel Merriweather, the result is a concept album of “music to make love to your old lady by.” With the help of collaborators such as Mike Patton (vocals), Jennifer Charles (vocals) and Kid Koala (turntables), Merriweather serves as your personal guide to the sensual side of life, painting a satirical, darkly funny portrait of love and sex with left-field hip-hop and instrumentals as only he can do.

After his contribution to the label’s 2nd Anniversary compilation, Justin K. Broadrick returns to KR3 with a 6-track solo EP as JK FLESH. One of the most legendary names in the British alternative music scene, with a career spanning three decades with various projects such as Godflesh, JK Flesh, Jesu, ZONAL and more, Broadrick has always been able to push the emotional boundaries that lie within us through sonic violence, and yet he strikes once again with this new release. VENEER OF TOLERANCE – is pure electronic power, brain-scratching metal techno. The album opens its dark doors with a rough intro; a driving speech that Justin himself proclaims to be a manifesto on the irregularity and unpredictability of life. From then onwards, the whole album assumes the appearance of a running horse. Heavy bass lines with raw resonances feel like an approaching earthquake… A brutal cerebral assault!

Marc Brauner makes his return to the label, this time collaborating with fellow Berliner, Ulrich Harrison - better known by moniker Tender Games - on five summertime sweeteners.

These two producers are no stranger to working together, co-running their own imprint, Nostalgics Records in their home town of Berlin. This collaboration then came together naturally, and represents the ideal blend of Marc Brauner's syncopated rhythmic tendencies, and Tender Games' musical antecedents in soul music and penchant for instrumentation.

'Concrete Jungle' epitomises this fusion: a two-step rhythm carries a deep bassline which cruises beneath a blissed-out trumpet melody. 'You Keep Me Up' and 'Listen' are skippy old school bangers, the former complete with anthemic piano stabs a la Manix and Inner City and the latter peppered with blithe whispers of a saxophone. 'It Makes Me' follows suit, substituting hi-hats for a focus on funk-inflected low ends before the UKG-leaning 'Violation' draws things to a close with MC vocal chops and bass womp ruffage.

Concrete Jungle EP drops 17th June 2022 via Shall Not Fade

After a 2 year hiatus, Silver Dollar Club returns to round out a trilogy of EPs with a sparkling slab of weirdo tearjerkers and club-ready cuts from Bristol's own Remotif. With a healthy lineup of releases on Coymix, Air Miles, and his own label Familiar Strangers, it's been a busy year for Joe Reddick and for good reason: Prolific and versatile, he combines a classic club sensibility with an exploratory approach to space and texture that results in a sound all his own.

Slap Bass, wet arps, emotional breaks & driving percussion all come together to make a record that we're very proud to be able to put our name on. This will be the last in a series of three records from Silver Dollar Club; so play it in your sets, play it in the car, play it in the bath, whatever you do, just play it

Clear Vinyl

Music became an escape for Greta during lockdown, and her new songs tell us about the feelings of love and longing that became an essential part of the pandemic for the German, Copenhagen based singer-songwriter. The songs follow last year’s successful debut album ‘Ardent Spring’ and together they make up her new album ‘Forever We’ll Be Dancing’, which will be released on February 4th 2022

Like so many of us, Greta spent most of last year trapped inside her apartment. While some have been making puzzles or knitting sweaters Greta has been writing songs about love, euphoria and longing; longing for the clubs of Berlin, longing for social contact and trying to find a way out of an emotional darkness.

During the Corona lockdown, Greta found herself in a romantic symbiosis with her husband and though the isolation brought them closer, it was also a challenging time where Greta’s husband struggled with depression.

»Music became my escape and if I needed to take a break and connect with myself, I could disappear into my computer and write a lot of songs. That was a good thing. Difficult, but good. It’s extremely hard to be close to someone who’s in pain when you have to carry them because they’re not able to carry themselves. In that sense, lockdown has been a good thing. My husband needed me and because of the lockdown I didn’t have to worry about missing out on anything. I feel that I’ve reached a deeper understanding of his feelings because we’ve had time to talk about them«, Greta says.

»Zwei Herzen«
The bubble of love and depression became a source of strength and personal growth, but it also caused Greta to miss the world outside and her family in the small German town Husum. Because of this, Greta wanted to fulfill a wish she had kept for a long time – she wanted to write songs in her native tongue, German. This is why multiple of her songs carry titles such as ‘Nicht Allein’, ‘Genug’ and ‘Drei’.

»I’ve been crazy homesick and that has definitely inspired the album. I have not written in German before, so for me this was a way of connecting with my roots. I can listen to German with Danish ears now, because I’ve lived here for so long now, and it allowed me to use the language differently and more rhythmically«.

Strictly limited to 10,000 numbered copies, pressed on MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition enhances the blockbuster work for today – and the ages to come. Surpassing the sonics of any prior version, it peels away any remaining limitations to provide a transparent, lively, ultra-nuanced presentation of a record that won six Grammy Awards – including prizes for Album of the Year, Best Male Rock Vocal Performance, and Best Rock Song. The expanse and depth of the soundstage, fullness of tones, natural snap and extension of the guitar strings, realistic rise and decay of individual notes, and roll of Clapton's vocals all attain demonstration-grade levels.

Housed in a deluxe box, the UD1S Unplugged pressing features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording and the reissue's premium quality. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact 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 the art – and everything involved with the album, from the images to the finishes.

Truly, everything about Unplugged matters. Having sold more than 10 million copies in the U.S. and more than 26 million copies worldwide, the 1992 work resonates with listeners of all generations and speaks a universal language. Recorded for MTV before a very small audience on January 16, 1992, the 14-track set became the signpost for future acoustic-based endeavours that witnessed artists of all stripes re-examining their catalogues and, in many instances, as Clapton does here, placing familiar originals in fresh contexts and unveiling spirited versions of cover material. Needless to say, Clapton's session turned MTV's series into can't-miss programming for which the likes of Rod Stewart, Tony Bennett, Nirvana, Pearl Jam, and more would soon participate.

Kicking off his performance with a spirited instrumental to establish the mood, Clapton immediately wades into the style that originally caught his attention as a British teenager in the early 1960s: American blues. Backed by a superb band that includes guitarist Andy Fairweather Low, pianist Chuck Leavell, bassist Nathan East, and drummer Steve Ferrone, Slowhand delivers a rhythmic, toe-tapping rendition of Bo Diddley's "Before You Accuse Me" that announces he's come to reconnect with his muse. What follows over the course of nearly the next hour stirs the heart, shakes the soul, moves the mind, and invigorates the senses.

Of course, there's no talking about Unplugged without keying in on "Tears in Heaven," the striking ballad Clapton penned about the death of his four-year-old son. More emotional, direct, spare, and healing than the studio version released a year prior, it crackles with an intimacy, maturity, poignancy, honesty, sweetness, and integrity that inform the entire concert. Indeed, how Clapton frames other favorites here – transforming "Layla" into a relaxed, comfortable stroll and ruminating on the seasoned ripples flowing throughout "Old Love," for example – indicate both a creative rebirth and gleeful acceptance of the next phase of his career.

And that very direction (two of Clapton's next three albums would be all-blues projects) is what really makes Unplugged so indispensable. Equivalent in mastery if not in volume to the output that earned him his "God" nickname, interpretations of Jesse Fuller's "San Francisco Bay Blues" (complete with kazoo!), Big Bill Broonzy's "Hey Hey," Robert Johnson's "Walkin' Blues" and "Malted Milk," and Muddy Waters' "Rollin' & Tumblin'" showcase a learned professor in his element and all the wheels turning.

In every regard, Clapton's Unplugged session was appointment listening when it came out in August 1992. With the arrival of MoFi's UD1S pressing, that sensation is more urgent than before.

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

Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master tapes and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master tape. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog 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.



SACD



Mastered from the original master tapes, Mobile Fidelity's numbered hybrid SACD enhances the blockbuster work for today – and the ages to come. Peeling away remaining sonic limitations to provide a transparent, lively, ultra-nuanced presentation of a record that won six Grammy Awards (including prizes for Album of the Year, Best Male Rock Vocal Performance, and Best Rock Song), it places Clapton and company in your room. The expanse and depth of the soundstage, fullness of tones, natural snap and extension of the guitar strings, realistic rise and decay of individual notes, and roll of Clapton's vocals all attain demonstration-grade levels. A perennial audiophile favourite, Unplugged now tosses its hat into the ring as a demonstration disc.

Fresh from delivering standout performances at Berlin’s renowned Panorama Bar and Amsterdam’s DGTL, Theo Kottis presents his first solo release on Permanent Vacation, the sparkling ‘On Your Mind’ EP, released on 1 July (vinyl & digital).

The creation of the six tracks on ‘On Your Mind’ EP, provided moments of escapism for Theo Kottis, during the depths of lockdown 2020. His nods to synth pop and italo fun, inspired by bands of the new wave era, are intended to bestow upon the listener those same blissed out moments. There’s more to these tracks than meets the ear, particularly stand out ‘On Your Mind’, the product of relentless pursuit. For Theo, the collaboration with Permanent Vacation was long awaited and is a memorable mark within his thriving career.

Theo Kottis said: “Thrilled to finally share these tracks, I worked on them 2 years ago and was fortunate enough to find them a home at Permanent Vacation, which has long been one of the labels I've admired most. As these tracks were a solo lockdown project, I've loved collaborating with PV on the release - particularly the creation of the vinyl. Next up - I can't wait to play them out IRL in parties this summer.”

Edinburgh-born and now London-based Theo Kottis is set for a big summer with a host of high profile worldwide festival and club dates, with forthcoming dates including his Beautiful Strangers label Off Sonar showcase party in Barcelona with KiNK, Saoirse, & a B2B with Ryan Elliott, Warehouse Project, El Dorado Festival, Ijland Amsterdam, Pikes Ibiza and Lost Village Festival.

Now available at a much cheaper price. SOS JFK, the one and only album from folk two-piece The Children’s Hour, which featured Josephine Foster and Andy Bar. Initially released in 2003, the album introduced audiences to Foster’s enchanting vocals and poetic folk, which would be developed to staggering effect in her later solo recordings, such as the recently released critically acclaimed album Blood Rushing (Fire Records). The Children’s Hour were an acoustic duo comprised of members Andy Bar and Josephine Foster. The two friends first connected in 2000 in a short-lived rock trio called Golden Egg, and then on a lark formed the pop song-writing duo oriented toward more naïve themes. Foster was a recent opera school dropout and the band became a vehicle for her to explore singing in a non-operatic manner into a microphone and learn to play the guitar. Bar was finishing studies at the Art Institute of Chicago and was honing a personal and highly melodic fingerpicking style inspired by bossa nova in particular. They were heard performing in a Chicago dive bar and given a surprise invitation to make a studio recording (SOS JFK), which both found to be an extremely nerve-wrecking learning experience. Meanwhile fans of their music rose up from unexpected corners, even invited by the band Zwan to open all the shows of both bands´ maiden tour. Initially conceived of as a modest front porch collaboration and side project, the band did not withstand all the attention long. Bar and Foster took meandering paths in diverse directions, although the two remain stalwart pals and both continue to dedicate themselves to the muses.

Million Dollar Money Machine is Perttu Lindroos and Simo Råman. All tracks written, composed and arranged by Million Dollar Money Machine. Guitars, bass by Simo Råman. Vocals, synths, drum programming, bass, melodica by Perttu Lindroos. Mixed by Perttu Lindroos. Mastered by Tuomas Salmela / Phonogenic Audio. Cover design by Dora Söderlund.

Credic ist ein fünfköpfiger Melodic-Death-Metal-Juggernaut aus Stuttgart, der klingt, als würde die frühe Göteborg-Szene einen Spaziergang durch die klangliche Unterwelt von 'Stranger Things' machen. Mit 'Vermillion Oceans' präsentieren uns Credic ihr zweites Studioalbum. Atmosphärisch düsterer Melodic Death für Fans von Bands wie Dark Tranquility, Amorphis, In Flames oder At The Gates!

The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

Hospital Records proudly present the debut solo album from drum & bass icon Grafix. ‘Half Life’ is an introspective glimpse into the influences and sonic development of the Bristol-based producer, who over the years has established himself as a pinnacle of the dance music world. Grafix’s first ever studio longplayer as a solo artist consists of 14 hotly-anticipated pulse pounding anthems, featuring killer collaborations from the likes of Metrik, Lauren L’aimant, Reiki Ruawai and Chrissie Huntley in his hit singles ‘Somewhere’, ‘Feel Alive’ and ‘Skyline’.

High-octane dancefloor energiser ‘Skyline’ sees drum & bass titans Grafix and Metrik collide for a third time on this futuristic drum & bass cut infused with pure uplifting soundscapes. Enter a world of powerhouse synthesis, relentless basslines and Metrik’s very own vocal performance. This is just the follow up you needed from the mammoth success with the duo’s previous collaborations ‘Overdrive’ and ‘Parallel’.

Grafix draws upon his love for rave culture on the acid heavy ‘Blast Out’ - a no-holds-barred drum & bass system shocker. Skittery vocal chops, shredding bass hits and minimal-funk drums show the side of Grafix well known for tearing up the dance - never afraid to drop a wild card.

From the hypnotic and distorted energies on the likes of ‘CTRL’ and album title track ‘Half Life’, to the forward-facing vibes on LP numbers such as ‘Accelerate’ and ‘The Chance’, the versatile flavours supplied by Grafix throughout are a testament to his years of experience in the studio.

Other album highlights include two tracks with the immensely talented Lauren L’aimant who boasts previous releases on staple dance imprints including Anjunadeep, Colorize and Protocol Recordings. ‘Watch The Sky’ is an anthemic stepper home to Lauren’s spine-tingling vocals and Grafix’s catchy synth hooks. ‘Feel Alive’ captures the pair’s undeniable ability to strike up a euphorically cutting-edge dance music banger.

The ‘Half Life’ LP also features the previously released tracks ‘Radiance’ as well as radio hit ‘Somewhere’ featuring New Zealand’s very own Reiki Ruawai. Both tracks of which are no stranger to worldwide drum & bass listeners.

Grafix’s debut album marks a signature milestone within his musical journey as a solo artist and his achievements so far only scratch the surface. The first single ‘Somewhere (feat. Reiki Ruawai)’ to drop from his album racked up global airwave support with an impressive number of plays from radio tastemakers including Danny Howard, René LaVice, Mollie Collins, the George FM crew in New Zealand and of course, Fred V. With regular support from big hitters including Sub Focus, Wilkinson, Friction, Camo & Krooked and more, Grafix’s music continues to talk for itself when racking up countless DJ spins as well as consistent landings across pinnacle industry platforms such as UKF. Keep an eye out for Grafix at Snowbombing, Hospitality On The Beach Albania and more throughout 2022!

Soul Music in Los Angeles was nearing its peak in 1966. The pre-eminent company was of course the giant Capitol Records and the uptempo songs that they released at the time still retain great power and attraction for many dancers today. But there were several small, private concerns making soul music, looking for that one big hit, and singers who were trying to find the break that would take their careers onto a new and higher plane. This album nods towards Capitol but concentrates on the varying styles of soul that the smaller, more agile labels released at the time. Many of these have been overlooked for far too long now, but here is the perfect opportunity to find out just how strong and varied the West Coast soul scene really was in the middle of the 1960s.

As boundless as their music, WHORSES debut
with a double album, like it’s the most natural thing
do to. But is it?
 For sure for these four noise cowboys: their
nameless first brainchild pulls together a fat
number of eighteen tracks, and although there
might be some signs of schizophrenia showing,
this true pièce de resistance breaths honesty and
pure expression through every pore.
 Hitting hard and moving deep in one and the same
creation: yeah, you’re in for a ride.
 WHORSES are a band of extremes, bringing out
the roughest and softest in themselves and in
everyone who dares to dive into that pool of blunt,
deep cutting, ever evolving and limitless sounds.