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When Eastward was first announced back in 2018, it was heralded for its pixelated prowess and quirky sense of style. In the three years leading up to its release, the hype train continued to gather steam as more and more was unveiled. Upon launch, it became clear that Eastward was about so much more than just style. It had substance, too. A modern celebration of early '90s video games, Pixpil's Eastward delivers a poignant yet hopeful post-apocalyptic story set in a delightfully dark world. It's a story of tribulation and triumph for a small indie studio and offers a thought-provoking exploration of societal constructs whilst also providing some warm-hearted and good-humoured fun. Eastward's iconic art style is complemented perfectly by its incredible original soundtrack composed by Joel Corelitz. In celebration of Eastward's recently launched and highly anticipated Octopia DLC, Black Screen Records and Lost In Cult Records have teamed up to bring you an exclusive opportunity to secure a series of beautiful Eastward OST items.

When Eastward was first announced back in 2018, it was heralded for its pixelated prowess and quirky sense of style. In the three years leading up to its release, the hype train continued to gather steam as more and more was unveiled. Upon launch, it became clear that Eastward was about so much more than just style. It had substance, too. A modern celebration of early '90s video games, Pixpil's Eastward delivers a poignant yet hopeful post-apocalyptic story set in a delightfully dark world. It's a story of tribulation and triumph for a small indie studio and offers a thought-provoking exploration of societal constructs whilst also providing some warm-hearted and good-humoured fun. Eastward's iconic art style is complemented perfectly by its incredible original soundtrack composed by Joel Corelitz. In celebration of Eastward's recently launched and highly anticipated Octopia DLC, Black Screen Records and Lost In Cult Records have teamed up to bring you an exclusive opportunity to secure a series of beautiful Eastward OST items.

This One Is For The Party is the final studio album by The Trammps, originally released in 1984. The Trammps, hailing from Philadelphia, were a prominent fixture in the disco scene of the 1970s. Consisting of Earl Young, Harold Wade, Jimmy Ellis, Robert Upchurch, and Stanley Wade, they were known for their infectious grooves and energetic live performances.

The Trammps earned their place in music history with hits like “Disco Inferno” and “Hold Back the Night”, but also “Shout” and “Move” became disco classics. 40 years after its original release, the tracks of This One Is For The Party continue to fill dance floors at parties and their influence can be heard in modern dance and pop music. The album also features a guest performance by the Dutch female group Mai Tai on “I Don’t Know (One For The Party)”.

In 2009, American metalcore band Atreyu released their fifth studio album Congregation of the Damned. For this album, the band returned to their "heavy hardcore" roots, following 2007's Lead Sails Paper Anchor, while also wanting to "move forward", which resulted in a more melodic approach. It was produced by Bob Marlette (Ozzy Osbourne, Airbourne) and mixed by Rich Costey (The Mars Volta, System of a Down).

Three tracks were released as singles: “Storm To Pass”, “Lonely”, and “Gallows”. The album debuted at #18 on the Billboard 200, selling 26.000 copies in its first week of release.

Congregation of the Damned is available as a limited edition of 1500 individually numbered copies on gold coloured vinyl, housed in a gatefold sleeve and includes an insert. This vinyl edition features the original artwork for the first time.

Remedy, a dynamic and cutting-edge melodic rock metal band originating from the heart of Stockholm, Sweden, burst onto the music scene in 2022 with an unmistakable presence. Their debut album ‘Something That Your Eyes Won't See' charted in Sweden and had a massive impact, including truly incredible positive feedback from the Rock and Metal World. Now it's the time for the second album ‘Pleasure Beats the Pain', co- produced with the Swedish S-Rock Music Production, a huge sound journey between catchy melodies, powerful riffs, huge sound and mesmerising guitar solos. With these new songs, the band presents a sound even more personal, pushing boundaries even further. Drawing from the lively sounds of the 80s, but adding a modern twist, Remedy captivates listeners with their contagious energy.

Their magic is driven by energetic guitars, powerful vocals, and catchy hooks across Rock, Pop, and Metal genres, blending retro vibes with fresh innovation seamlessly. In line with the production of Remedy's debut album, ‘Pleasure Beats the Pain' is mixed and mastered by Erik Martensson (Eclipse) at Mass Destruction Production. “Fuelled by the success of our debut album, stepping back into the studio felt like the most natural progression for us. With 'Pleasure Beats the Pain,' we reached a defining moment in Remedy's journey, solidifying our sound. With a balance of light and dark, day and night, pleasure and pain, love and hate, our music mirrors life's complexities, melding melodic rock & metal into a harmonious blend. Through this, combined with a distinctive approach to instrumentality and songwriting, Remedy emerges”, Rolli concludes.

Toronto, ON prog metal outfit Red Handed Denial release their fourth studio on 24 May, produced, mixed and mastered by Lee Albrecht (The Devil Wears Prada, Of Virtue, Silverstein).

A Journey Through Virtual Dystopia is their most accomplished offering to date, both for song composition, musical technique; pushing their melodic and heavy game to a new level as shown on lead single Parasite.

The album will be pressed on a stunning White/Orchid (A Side/B Side) Limited Edition vinyl and CD.

Common Blah is the debut full-length by Portland, Maine's Weakened Friends. Founded by songwriter Sonia Sturino, drummer Cam Jones, and bassist Annie Hoffman in 2013, the trio is a low pressure outlet for volatile music. Recorded by Hoffman and perfected over the last year, the songs broadcast heavy feelings amid screech and feedback with little more than a distortion pedal the clog up the signal chain. The album also features guest shredding by peer and kindred spirit J Mascis (on the song Hate Mail). Common Blah will be out via Don Giovanni Records on October 19th.

Erste Vinylreissue des Kultalbums "Progressive Youth" von Peter Broggs aus 1979, aufgenommen mit der ursprünglichen Roots Radics-Begleitband bei Channel One und gemischt in den King Tubby-Studios von Scientist. Diese Zauberformel vereint die besten Engineers und Musiker Jamaikas, trifft den Nagel auf den Kopf und liefert einen echten Rohdiamanten, 100% pure Roots, bei dem jeder Beteiligte hervorragende Leistungen erbringt. Die LP ist eine der mit Abstand besten Roots-Reggae-Neuauflagen der letzten Jahre, remastered und auf schwarzem 180g Vinyl im 350g-Cover gepresst. Ein absolutes MUSS für jeden Reggae-Fan.

'empathogen' ist WILLOWs sechstes Studioalbum. Mit dieser Veröffentlichung schlägt WILLOW nach ihrem vielbeachteten Album 'Coping Mechanism' aus dem Jahr 2022 eine neue, alternative und jazzige Richtung ein. Das Album enthält Beiträge von Jon Batiste und St. Vincent. Die Album-Kampagne umfasst Auftritte bei Jimmy Fallon, NPR Tiny Desk (weitere werden noch bekannt gegeben) sowie Titel-geschichten in Allure, Flaunt und Pop.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Der neueste Titel in der Veröffentlichungsreihe der Steve Hackett-Vinyl-Editionen ist sein 15. Studioalbum "Feedback 86". Das Album erscheint hiermit zum allerersten Mal auf Vinyl! Es ist eine Sammlung von Songs aus dem Jahr 1986, von denen einige ursprünglich für ein zweites GTR-Album gedacht waren, und enthält Auftritte von Brian May (Queen), Bonnie Tyler, Chris Thompson (Manfred Mann's Earth Band) sowie den Marillion-Mitgliedern Ian Mosley und Pete Trewavas. Diese Veröffentlichung wurde speziell für Vinyl neu gemastert und kommt als Gatefold 180g Black LP.

In the Merry Month of May is the final studio recording of the late, great Tony Conrad, and the first duo release with Jennifer Walshe, one of Conrad"s most important collaborators in the final decade of his life. A wild, improvisatory flaying of song; the sheer sonic force recalls the ecstatic charge of Conrad"s Slapping Pythagoras, with Walshe"s clarion voice at the heart of it. A one-of-a-kind concoction whipped up by two fearless and often peerless souls. It"s a joy to hear their manifest mutual regard and commitment to busting a gut.

wieder auf Lager Wenn immer es um das beste deutschsprachige Album aller Zeiten geht, sind die Fehlfarben mit "Monarchie und Alltag" vorn dabei. Es erschien 1980. Seitdem ist viel Wasser den Rhein hinabgeflossen, und Peter Hein hängt "das Frühwerk am Hals wie ein Mühlstein". So zumindest singt er im Stück "TCM (Polychemie)" vom Album "Xenophonie". Hein klagt zu Recht. Denn auf "Xenophonie" klingen die Fehlfarben ungemein frisch. Der Opener "Dekade 2" stellt sich mit einem Wahnsinnsriff vor; kurze Zeit später erklingt Peter Heins Stimme mit eben jenem typischen Ausdruck, diesem Gesang, den nur er beherrscht: dringlich-konkret und doch voller Poesie und Melancholie. Bei aller Ernsthaftigkeit kommt die Lässigkeit nicht zu kurz, seit "Resistance" von Family 5 war Hein nicht mehr so locker. Und im Schlussstück, dem fast zehnminütigen "Herbstwind", verwandeln sich die Fehlfarben in Riders on the Storm, ehe ein Fortuna-Düsseldorf-Schal den schönen Spuk vertreibt. Produzent der im Berliner Hansastudio live aufgenommenen Stücke war Moses Schneider (Beatsteaks, Tocotronic).

The Emmy-winning Comeback Kid himself comes back yet again with a blunt, brilliantly quotable stand-up special. "Baby J" takes the form of a wide-ranging conversation between John Mulaney, a kid in the balcony named Henry, and the rest of the sold-out crowd at Boston"s Symphony Hall. And now, you! John dominates the chat, of course - and while his cautionary tales are a bit too convulsive to be functionally preventative, you probably aren"t here to be cautioned. So have at it!

Black/White Swirl Vinyl, limited to 200 copies. Hannover based band RESOLUTIONS is back with their sophomore album "Monster Mirror" out May 24th, 2024 via End Hits Records, marking their 10th year as a band and the newest addition to the End Hits Records roster. Starting in 2013 and after releasing their demo, several 7"s and 2016's "Weightless" album while playing hundreds of shows across Europe, RESOLUTIONS return with 10 catchy songs combining elements of alternative and melodic punk rock bands from the 90s and 2000s. Growing through discomfort while aiming on keeping their sound true to songs and records they love, the five piece band created 10 highly energetic songs that formed a uniquely sounding album with lyrics focussing on the aspect of self-reflection and the lacking urge of constant 24/7 self-optimization in the world's current living pace. This very same discomfort pushed RESOLUTIONS to step out of their to date comfort zone of the genre's almost stereotypical trusty three chords and gruffy vocals to perform on a clean but powerful recording which was done by Alex Sickel at Tiny Pond Studios, who worked with the band already on their first LP - "Weightless".? "Monster Mirror" calls for fans of bands with somewhat dark and (over-) thoughtful lyrics, yet accessible and driving melodies like HOT WATER MUSIC, ALKALINE TRIO and JIMMY EAT WORLD.

Das 2016er Studioalbum von Flotsam And Jetsam markiert einen der Höhepunkte ihrer Bandgeschichte. Voller Selbstbewusstsein beschloss die Power/Thrash-Kultband aus Phoenix (Arizona), es zu ihrem selbstbetitelten Album zu machen. Und es ist alles da, wofür man die legendäre Truppe liebt: "Flotsam And Jetsam" verbindet die gleichermaßen großartige wie eigenständige Gitarrenarbeit mit hoher Intensität, tollen Melodien und darüber thronend: Erik A.K. - eine der besten Stimmen im Metal.

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

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

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

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

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

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

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

The Road Is No Place For A Lady was Cass Elliot’s final studio
album. The album was signified with touches of swing music and gospel and was promoted with the single “(If You’re Gonna) Break Another Heart” written by Albert Hammond.
The Road Is No Place For A Lady is available as a limited edition of 1000 individually numbered copies on pink coloured vinyl. After its initial release, this is the first time in 50 years that the album has been reissued on LP. After its initial release, this is the first time in 50 years that the album has been reissued on LP.

" Inspired by a lifetime of listening to jazz + woodshedding, Andrew Bird on his new album Sunday Morning Put-On presents his take on the Great American Songbook. Andrew Bird Trio features Ted Poor (drums) & Alan Hampton (bass), and transcends nostalgia, pushing his limits as an improviser. Replacing saxophones with violin solos, and showcasing Andrew's signature vocal prowess, the Trio reimagines jazz standards completely live in southern California’s legendary Valentine Studios. "

Das 14. Studioalbum der Band – Jon Anderson, Chris Squire, Trevor Rabin, Tony Kaye und Alan White – erschien ursprünglich 1994 und war eines der ersten Alben, das komplett digital aufgenommen wurde. Die Tracks schaffen gekonnt den Spagat zwischen virtuosem 70er Prog und kommerziell ansprechendem 90er Rock. Diese Jubiläumseditionen entstanden in enger Zusammenarbeit mit Jon Anderson und Trevor Rabin und enthalten umfangreiche Booklets.

Long awaited re-release of The Mary Onettes second studio Album, Islands. The Swedish Dream-Pop pioneers first released Islands in 2009 on legendary Labrador records. Now a limited edition LP version is coming on Welfare Sounds & Records. This gorgeous transparent vinyl is a must have for the serious record collector.

On a holy roll after the success of their stunning 2023 LP IV: Sacrament, Lancastrian heavy metal apostles Wytch Hazel here ally themselves with the underground pomp wizardry of Phantom Spell for an addictively flippable split seven-inch.). On the flipside, Phantom Spell explore more cryptic vistas with Palantíri, a song about Tolkien’s crystal balls, nailing the arcane, otherworldly vibe of those early
NWOBHM pioneers who used keyboards to project a heightened level of mystical drama.

"Brainwashed" ist das zweite Studioalbum der britischen Metalcore-Band While She Sleeps - es erschien am 23. März 2015 - und wird jetzt zum ersten Mal überhaupt auf Vinyl erscheinen. Das Album wird am 22. Mai 2024 über Music For Nations / Sony Music veröffentlicht und auf exklusivem rotem Vinyl gepresst.

SIHR: sonic manifesto by a post-anything quartet feat. multi-instrumentalists from the Mediterranean inland Sea. New folklore for a devastated planet, including Frédéric D. Oberland (Oiseaux-Tempête), Grégory Dargent (H), Tony Elieh (Karkhana) & Wassim Halal (Polyphème).

After a few concerts/screenings improvised as a duo in Cairo and Beirut, as well as for the Rencontres d’Arles, the Lille photography center and the Belgian magazine Halogénure, Dargent and Oberland have teamed up with mavericks Elieh and Halal for a puzzling cross-border manifesto. The first sonic moves of this eclectic quartet, made in a bunker studio somewhere between Paris and Berlin, urgently took the form of a quest, that of a neo-folklore for troubled times, a music seeping with many kinds of atavism and experimenting in all directions. A fertile no-man’s-land where trance and contem- plation, jazz and electronica, acoustics and electricity would merge in a stimulating mystical magma.

From the possible emergence of a Babelian language to the shared desire to rediscover music as a ceremonial act, this encounter took place over three days of improvised sound bacchanalia, the phases of which were all recorded by Benoit Bel (Zombie Zombie, Thurston Moore Group, Oi- seaux-Tempête). A hallucinated and generous testimony, SIHR is a synergy of many different worlds and many different possibilities, the sonic vision of a present conjugated in a hybrid tense and exalted by too many tangos danced on the glowing ashes of our days.

Multi-instrumentalist & photographer, Frédéric D. Oberland has been leading the Oiseaux-Tempête collective for over ten years, lying somewhere between avant-rock and free jazz, repetitive music and electronics. Founding member of the bands FOUDRE! and Le Réveil des Tropiques, he’s also perfor- ming solo and composing soundtracks for cinema and installation art. Since 2018, Oberland co-cu- rates the NAHAL Recordings imprint alongside producer Mondkopf.

Electric guitarist, oud player, composer and photographer, Grégory Dargent cultivates his musical schizophrenia and identity through improvised music, trance music, jazz, hijacked maqam, repeti- tive music, pop, electro-acoustic installations and French chanson. From L’Hijâz’Car to Babx, from Berber singer Houria Aïchi to Rachid Taha, from Trio H to Sirventés enragés, from music for images to contemporary choreography, from the most acoustic of ouds to the most nuclear of guitars, he conducts, accompanies, composes, deciphers, questions, delves, makes mistakes, bounces back, ar- ranges, orchestrates and tirelessly shares his creative passions.

Tony Elieh is one of the pioneers of experimental music in Lebanon. A founding member of the first post-rock group of post-war Lebanon, The Scrambled Eggs, he has since developed his unique elec- tric bass skills in various groups and styles of music including collaborating with in groups such as Karkhana, Calamita and Wormholes Electric. Relocated in Berlin in recent years, he has performed a solo set of heavily processed bass generated sounds.

Is Wassim Halal only a darbuka player? Maybe !? But what about his music, compositions, ideas. You can find him with Polyphème playing and co-composing popular-contemporary music with Gamelan Puspawarna, or next to the french bagpiper Erwan Keravec, with the Bey.Ler.Bey trio (w/ Laurent Clouet & Florian Demonsant) working on an improvised-balkan-already-improvised-music, with per- formers and drawers Benjamin Efrati and Diego Verastegui, with Gregory Dargent and Anil Eraslan in H, creating a new pedal generating »Random taksim«, composing his own »Poème Symphonique pour 100 youyou« or composing pieces for ensembles.

Seit über drei Jahrzehnten bahnen sich die Tolis-Brüder Sakis und Themis ihren geschwärzten Weg durch die Metal-Welt. ROTTING CHRIST, die Architekten des hellenischen Black Metal, mischen seit 35 Jahren histrionische Atmosphären, hypnotische Chöre und neoklassische Arrangements. Jetzt präsentieren die griechischen Metal-Legenden ihr 14. Studioalbum: 'Pro Xristou'. 'Pro Xristou' bedeutet auf Griechisch "Vor Christus" und ist eine inbrünstige Hommage an die letzten heidnischen Könige, die der christlichen Flut standhielten und die alten Werte und das Wissen bewahrten.

Tauche mit Tracks wie "The Apostate" und "Ygdrassil" tief in das Vermächtnis von Figuren wie Flavius Claudius Julianus sowie mythologischen Nordischen Königen ein. 'Pro Xristou' bringt die Essenz von Rotting Christs unverkennbarem Stil auf den Punkt - eine melodische Sinfonie mit Momenten unnachgiebiger Härte.

Das Titelbild stammt von Thomas Cole (1801-1848) und ist Teil der Gemäldeserie "The Course of Empire" (Zerstörung).

Für Fans von NIGHTFALL, MOONSPELL, SEPTICFLESH, PRIMORDIAL, VARATHRON

BANGER MAKE MY BODY SHAKE MAKE THE SPEAKERS SHAKE

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

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

Wewantsounds is delighted to announce the reissue of Ziad Rahbani's cult album "Amrak Seedna & Abtal Wa Harameyah," one of his praised albums from the 80s, released on the sought-after Lebanese label Relax-in in 1987. This release is an event as the album, recorded at Rahbani's By-Pass studio, was only released in Lebanon at the time. Mixing Arabic music with Funk and Fusion Jazz and hints of Boogie, it's a bonified Rahbani classic, sought after by Arabic groove DJs and collectors around the world. The reissue features audio remastered by Colorsound Studio in Paris and a 2 page insert with a new introduction by Mario Choueiry from Institut du Monde Arabe in Paris (English/French).

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

José James - the forward-looking, genre-defying Jazz singer for the hip-hop generation - has done it again. “1978” (his 12th studio album since 2008’s “The Dreamer'') announces an instant classic, combining James’ deep love of jazz and hip-hop with songwriting and production nods to R&B heroes Quincy Jones, Michael Jackson and Leon Ware. Produced by James and featuring an all-star ensemble including Grammy nominees Pedrito Martinez (Camilla Cabello, Eric Clapton), Marcus Machado (Daniel Ceasar, Pharoahe Monch), Jharis Yokley (Sleigh Bells, My Brightest Diamond) Chad Selph (Bilal, FREELANCE) and David Ginyard (Solange, Blood Orange), “1978” pulsates with the socially conscious feel-good vibes of Marvin Gaye, Prince and Stevie Wonder. James also skillfully explores the boundaries of Black music, featuring Brazilian rising star and recent Latin Grammy nominee Xênia França as well as Congolese-Belgian rapper/filmmaker Baloji.

London outfit Kassian continue their broadly- evolving yet highly detailed journey through and beyond sound towards something ever more expansive. Their second release for !K7 Records comes in the wake of creating a dedicated hardware-forward studio in a Northeast London container complex, where they have the freedom to interlink their machines. This renewed focus brought them to Supercontinent EP, named for the ancient geological era when Africa and South America were joined as Pangea.

A reformulation of rhythmic ideas inspired by South= African Amapiano and South American Baile Funk governs the two hemispheres of the record. The pair examine and deconstruct dancefloor material, eschewing 4/4 for interlocking shaker patterns, searing acid lines, cracking breakbeats, and vocal samples in Zulu and Brazil Portuguese.

The immediacy of the restless rhythm and bass-led funk of “Yena” (the word Yena translates to ‘he/him /man’)forms a sweet spot where double-time and half-time can coexist. “Yami” (‘mine’ in Zulu) is a slinkier proposition which sheds prominent percussion in favour of a weighty, fluid, acid-informed bassline undulating from below.

An ascending percussive riff marks the arrival of “Pulgueiro”, followed closely by break beats and the nostalgia of distinctly British acid electro; it is an intentionally future-forward retelling of a vintage sound, replete with a mind-melt breakdown of rave pads.

A dubbed-out groove dominates the bottom-heavy “Sistema” – a groovy, steady roller that chugs and propels and chugs with head-nod hypnotism through an intricately minimalistic approach.

Sie ist zwar vor ein paar Monaten erst 22 geworden, gilt aber schon seit über einem halben Jahrzehnt als die einflussreichste und einzigartigste Künstlerin unserer Zeit, als Stimme ihrer Generation – jetzt ist sie zurück mit neuer Musik: Billie Eilish veröffentlicht am 17.05.24 ihr drittes Studioalbum „HIT ME HARD AND SOFT“.
Wie schon die beiden gefeierten Vorgängeralben zusammen mit ihrem Bruder FINNEAS geschrieben und aufgenommen, zählt das neue Werk jetzt schon zu den absoluten Album-Highlights des Jahres.
Auf die ersten Viralhits mit 14 folgte schließlich das gefeierte Debütalbum „WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?“, das Anfang 2019 in 18 Ländern direkt auf Platz 1 ging – und u.a. auch in Deutschland Platinstatus erreichte. Mit einem GRAMMY-Rekord ins aktuelle Jahrzehnt gestartet, als sie als erste weibliche Künstlerin in allen vier Hauptkategorien abräumte, konnte die US-Sängerin für den Bond-Titelsong „No Time To Die“ auch ihren ersten Oscar mit nach Hause nehmen. Inzwischen 9-fache GRAMMY- und zweifache Oscar-Gewinnerin, ging das zuletzt veröffentlichte Album „Happier Than Ever“ (2021) sogar in 20 Ländern auf die #1 – eingerahmt von gleich 16x Platin und weiteren Gold-Auszeichnungen. Den zweiten Oscar gewann sie für ihren Barbie-Beitrag „What I Was Made For“.
Beim dritten Album „HIT ME HARD AND SOFT“ handle es sich ganz klar um das gewagteste Albumstatement ihrer Karriere, ließ Eilish schon im Vorfeld durchblicken. Vor allem sage der Albumtitel eigentlich schon alles: Es ist ein wahnsinnig emotionales Werk, das berührt, das harte und auch softe Schläge austeilt, indem die 22-Jährige inhaltlich und klanglich immer wieder neue Genre-Grenzen absteckt. Vor allem vertraut die vielfache GRAMMY- und Oscar-Gewinnerin auch dieses Mal auf ihre Instinkte – und unterstreicht genau damit erneut, weshalb sie als die spannendste Songwriterin unserer Zeit gilt.

180GM BLACK VINYL : 500 PRESSED WORLDWIDE.

Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.
Formed in the first wave of British post-rock alongside the likes of Mogwai in the late 90s, John Peel favourites Billy Mahonie are set to return with the first new music from their original line-up in some twenty-four years. Whilst their debut album ‘The Big Dig’, released in 1999 on Too Pure Records, is considered a classic of the post rock genre, Billy Mahonie always crafted their intricate music with memorable hooks and melodies and performed it with energy and gusto. Theirs was not an aimless, meandering sound, instead the songs and attitude were rooted in punk rock, and still are. Billy Mahonie put the rock into post-rock.
Set for release this coming May 24th via Whistling Sam Projects, ‘Field Of Heads’ sees the band returning with their classic original line-up of Gavin Baker (guitar), Howard Monk (drums), Hywell Dinsdale (bass and guitar) and Kevin Penney (bass and guitar). Whilst this line-up has been semi active for a few years, no new material came to fruition. After their last gig in 2017, however, the band decided it was time to get back into the studio, but with two members living abroad new challenges were faced, but ideas were shared, old ones were resurrected and finally in October of 2019, Billy Mahonie were back in the studio.
Recorded over two long weekends on either side of the Covid 19 lockdowns, the band tracked at The Church studios, owned by their former collaborator and front of house engineer Paul Epworth, with senior engineer Luke Pickering at the controls, allowing ‘Field Of Heads’ to quickly take shape.
New single ‘Kaiju’ gives the music world the first taste of ‘Field Of Heads’ and right from the off, it’s classic Billy Mahonie. Immediately bursting into life with the energy and melody that is so unique to their sound, Howard’s driving drums thrust the music ahead as the guitars and synths weave their way around them. Intricate and shifting, but never at the expense of a tune that sticks in your head.
“This one came from a chord progression myself and Gav first tried out jamming in 2010,” explains drummer Howard. “Needless to say, when Hywell and Kev got their hands on it, it became something no-one ever envisaged. Kev's great title is, of course, the Japanese name for the subgenre of monster-based science fiction. A frenetic riff opens the song and for a counter guitar part only two options remain, play in the minimal gaps or find an overarching theme. We chose both. Kaiju films influence the additional Synths, echoes of those early Japanese movie themes. Some people we have played this to in advance have suggested this track is one we should lead with, as it is kind of where we left off. We agree. It rocks pretty hard. And is a bit funky too. What’s not to like?!”
 
Furthermore, Billy Mahonie now have their own label, Whistling Sam Projects, set up for global distribution through SRD, an almost sold-out London launch show at The Lexington on May 4th, and they are confirmed to play Portals Festival Saturday May 25th in East London. After nearly quarter of a century, Billy Mahonie are very much back.

2024 Repress

Released on Cherry Red in 1981, Threat To Creation spotted the collaboration between two mystical entities: Creation Rebel and New Age Steppers. Forerunners of the british dub scene the two bands shared several members, a who’s who of the On U-Sound school and key figures of the Bristol and London scene. Adrian Sherwood is – obviously – the man behind the desk a craftsman on its own, a character with no borders and one of the most sought after producer of the time. The supergroup is ran by post-punk stalwarts Bruce Smith (The Pop Group) on drums and Keith Levene (PIL) on guitar. Ari Up of The Slits sits on piano and organ, while masters Crucial Tony is both on bass and guitars. Members of African Head Charge – bass player George Oban, Eskimo Fox and Style Scott on drums – are welcomed addition to the line-up. Threat To Creation is still recognizable as an album ahead of its time, a futuristic blend filling the gap between the Jamaican heritage, the so-called (post) industrial revolution and the studio witchery of the whitey man.

Sounds Good ist ein Album, das, vereinfacht ausgedrückt, seinem Namen alle Ehre macht. Die aktuelle Single Hanging On folgt auf den Bombast-Track Nobody But You und Gift of Life mit Kevins Delfonics-artigem Gesang, der die Bandbreite der menschlichen Erfahrung thematisiert. Kevin und Tony Martin sind Brüder, Eric ist ihr Bruderund langjähriger Freund durch die Musik. Während die anfängliche Verbindung der Band auf der berauschenden Mischung aus Jazz-Performance-fokussierter Musikschule und der Plackerei lokaler Auftritte gründet, wurde ihre Bindung durch unzählige Stunden auf Tour und die Produktion von zwei Studioalben gestärkt – 2019 das Debütalbum Buck und 2021 die EP Ripe. "Being on the road, doing our own tours, and backing incredible people like Lady Wray, has sharpened our skills and really revved us up for this record", sagt Kevin."It's been four years since our last full length record, and with everything that's happened since, it's like we've been catching up to ourselves." Das ist eine Möglichkeit, Veränderungen zu beschreiben: sich selbst einzuholen. Jedes Mitglied von Brainstory hat Veränderungen durchgemacht, sowohl persönlich als auch musikalisch, und all das zieht sich durch diese Platte. Der Weg zur Weiterentwicklung ihrer Musik ist klarer denn je zuvor. Wenn es eine Sache gibt, die auf diesem Album überdeutlich wird, dann ist es, dass Brainstory sich entwickelt haben. Ein Teil ihrer Entwicklung ist zweifellos darauf zurückzuführen, dass sie ihr eigenes Studio in Long Beach haben und dort ständig arbeiten. Ein weiterer wichtiger Faktor ist, dass sich ihre Gemeinschaft erweitert hat. "I've been playing music with my brother all my life and now with Eric for a long time", erzählt uns Tony. "Leon, though, is like another brother I've just met." Aus der Freundschaft ist die Band entstanden, und jetzt trägt die erweiterte Gemeinschaft dazu bei, sie weiter voranzutreiben. Die Sterne stehen günstig, dass sie mit diesem neuen Album einen großen und wohlverdienten Schritt machen, und das hört man ihrer Musik an – music that just Sounds Good.

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

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

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

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

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

wieder auf Lager Vor drei Jahren veröffentlichte Sebastian Lee Philipp gemeinsam mit dem Produzenten Ralf Beck (Nalin & Kane, Unit 4) das Debütalbum des Bandprojekts Die Wilde Jagd. Bald darauf zog sich Beck aus dem "operativen Geschäft" zurück. Aber dennoch hat er einen gewichtigen Anteil am neuen, zweiten Album: Er hat dieses nicht nur co-produziert und abgemischt, ohne seine analogen Synthesizer, Drumcomputer und Studiotechnik würde Die Wilde Jagd nicht derart kraftvoll und gleichzeitig fein ziseliert klingen. Nächtelang schloss sich Philipp in Becks Tonstudio Uhrwald Orange ein, um seine ganz eigene, zu Klang gewordene Bilderwelt aufzunehmen. Sie gleicht einem nächtlichen Flug ins Unbewusste durch das Geäst des symbolischen "Uhrwalds", hinein in eine "Fremde Welt" und ihren gespenstigen Protagonisten - den "Sauregaulen", "Flederboys" und "2000 Elefanten". Das minimalistische, spannungsgeladene und düster-hypnotische Werk ist natürlich auch eine Ode an das Tonstudio selbst - an die analogen Gerätschaften und den allgegenwärtigen EMT-Plattenhall. Nur hier konnte Philipp sein Klangideal mit den von Beck erstellten Signalketten aus Kompressoren, Vorverstärkern und Kanalzügen nach seinen Vorstellungen verwirklichen.