Cerca:studio one

Die Symphonic-Heavy-Metal-Band Evolucija präsentiert ihr lang erwartetes Album „The World is Full of Wrath“. Produziert von Metal-Veteran Marko „Wolfy“ Vuckovic, gemischt und gemastert im Fascination Street Studios in Schweden von Linus Corneliusson und Jens Bogren, verspricht das Album mit kraftvollen Riffs und mitreißenden Melodien ein symphonisches Heavy-Metal-Erlebnis. Im Osten Europas gehören die Fünf zu den großen Bands und teilten die Bühnen mit den größten Namen der Metal-Szene wie Paradise Lost, Doro Pesch, Children Of Bodom, Tyr und Pestilence.

Stephen EvEns highly anticipated new album Here Come the Lights is set for release, March 29, the album is self-produced and mastered with Sean McGee (Abbey Road) will be released via Onomatopoeia (Hurtling, William D. Drake, Crayola Lectern). The album celebrates the recent success of his limited-edition vinyl only release, Smoking Is Cool (recorded with Steve Albini). Here Come The Lights takes a step into the future, as folk-art tales are interspersed with psych rock magic and post-punk sensibilities amidst swooping and motoric guitars, sound effects and metronomic happenings, in this rich tapestry of life. A Song For Europe teases, cracking, and fizzing onto our radar, this ‘love affair to Europe’ is a celebration of a continent and moments in time, complete with virtuoso guitar, full backing choir and grunge atmospherics. Firefly has a pure folk aesthetic, sound effects, symphonies, and percussion combine in a call to find one’s true strength. BBQ Head picks-up more of a groove, interspersed with rapping style lyrics fused with the fuzzy intermission of 7 Bells. Lazy Eyes takes on a more mournful and melancholic hue, depicting a couple’s evasive looks over dinner, as they avoid the elephant in the room, cracks into a soaring space-rock ending. A Tree takes us on a kaleidoscopic journey into the forest, as EvEns takes a moment out from modern life, where he and his dog Rudy escape into the autumnal wilderness. A Bee takes on a more high glam Roxy Music appeal meets 70s novelty pop, fun and exhilarating. The album is polished off with a song of hope called Happy New Year, metronomic beginnings, gentle Hammond orchestrations weigh-up the importance of friendship and the meaning of success. Multi-instrumentalist and talented musician Stephen EvEns tours with his own guitar and full band line-up. The album welcomes a whole host of Brixton Hill Studios collaborators, accompanied by former Echobelly/Curve bassist Debbie Smith, Cardiacs alumni Bob Leith and William D. Drake, and Hurtling guitarist and sometime My Bloody Valentine keyboard player Jenny Macro, Stephen EvEns plays live at The Lexington, alongside labelmates from Onomatopoeia

Taped in 1957, Anita Sings the Most was the only recording session ever, either live or at the studio, on which Anita O'Day was backed by the legendary pianist Oscar Peterson, who appears here with his trio of that time, featuring guitarist Herb Ellis and bass giant Ray Brown. Anita's most enduring collaborator, drummer John Poole also performs on the date, which is one of the singer's very best. O'Day, herself, considered it among her finest recordings. THE COMPLETE LP + 3 BONUS TRACKS - 180-gram VIRGIN VINYL LIMITED EDITION of 1,000 COPIES.

The first regular Dave Brubeck Quartet with Paul Desmond included Joe Dodge on drums and, alternatively, brothers Bob or Norman Bates on bass. In 1956 Joe Morello took over as the quartet’s drummer in place of Dodge (the Bates brothers would be replaced by Eugene Wright on bass a few months after the recording of this album, and with his arrival the “Classic Quartet” was born). Jazz Goes to Junior College is, therefore, a recording that shows a transitional phase of the quartet. It also marks a return to “live” albums after making various studio LPs. This was a “sequel” to the Brubeck Quartet hit Jazz Goes to College, recorded during various college concerts in 1954. THE COMPLETE ALBUM - 180-gram VIRGIN VINYL - LIMITED EDITION -

METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.


Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Bone White opaque + Black Galaxy effect vinyl in dub style jacket (jacket sleeve with centre hole cut out so label shows throug
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all.

Woven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth" orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.

If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Four years and one pandemic after his latest Dreams Of A Dark Building EP, the herald of dungeon synth pop is finally back from his shallow grave.

Life has not been gentle with Seattle-based solo producer Parker Lautenschlager over the past few years, imposing its unpredictability and forcing him to channel all the feelings that come with it into Profit Prison’s music.

It’s no surprise that his first full-length album Gilt marks one futher step towards the dark corners of italo / hi-nrg body music. Typical Profit Prison’s vocals and melodies, reminiscent of OG synth masters Kraftwerk, Giorgio Moroder and Orchestral Manoeuvres in the Dark, are still here, buried in the mix and waiting to haunt the listeners and drag them down in one sulfurous dancing spiral.

Lead single Sophia juxtaposes some weirdly camouflaged vocals with one heavenly chorus that seems willing to revive your fortunes while instead it literally sings “But I lost it all”. A Matter Of Tact displays pop escapism over some throbbing minimal synth tension, Seven Words sounds like a throwback to 70’s italo filtered through the eyes of a 21st century punk rocker. Katalina has a rampant synth à la Carpenter climbing over a story of loss and Katalina, An Ascetic is a solo ramble reaching for the inner light on a carpet of cold keys.

What’s more, tracks got longer in Parker’s recent songwriting, with most of the songs being now five minute long and reaching peaks of seven minutes with the closing, almost progressive disco jam of A.R.P. (Amphetamine Research Project), nothing short of a lucid dream on the floor of Studio 54.

Last but not least, the artwork by French artist Robin Roche delivers medieval-yet-punk graphic vibes to match just perfectly the sounds on this record.

Before Circus Lupus landed on DC’s venerable Dischord Records, the group’s original Midwest lineup recorded a full album’s worth of songs less than a year after forming. With the demise of DC’s Ignition in the late ’80s, bass player Chris Thomson headed to Madison, WI for college. Before leaving DC, he dove headfirst into being a vocalist fronting the short-lived throwback punk / hardcore project Fury. Thomson served up pointed and profound Tony Cadena-inspired screeds about betrayal, disappointment and poseurs all set to a soundtrack of furiously primitive and chaotic music supplied by members of the DC punk band Swiz. Brief yet influential, this band marked Thomson’s switch to vocals, putting him on course to front Circus Lupus and claim a notable spot in the DC punk timeline of the late 20th century. Soon after arriving in Madison, Thomson was invited to join a new project started by friends Chris Hamley, Arika Casebolt, and Reg Shrader. Circus Lupus marked a change in direction from the familiar sounds of DC punk that Thomson had been associated with for years. The newly formed group looked to noisier Touch & Go and Homestead bands for inspiration, aligning themselves with bands from Chicago, Louisville and Milwaukee. One early supporter of the band described the new group as “profoundly familiar yet uncategorizable. Like if the Germs had gone to college and never got pulled into hard drugs and suicidal behaviors.” The original Circus Lupus lineup played a dozen shows and recorded these songs with Eli Janney at Inner Ear studios in August of 1990 while on a brief tour. Within a year, the band would decide to permanently relocate to Washington DC, where they felt they had more opportunities. Shrader opted to move to Chicago and would ultimately join the Touch and Go band Seam. Old friend Seth Lorinczi (Vile Cherubs) would become their new bass player, forming the version of the band that most listeners are familiar with. While a few of these ended up on their first single, the rest were shelved, some later to be rerecorded with Lorinczi and released on Dischord. L.G. Records is proud to have helped this notable recording see the light of day. The original tapes were recovered by Ian MacKaye and transferred by Darren Edwards. Tim Green remixed and remastered the original recordings at Louder Studios in California.

Warehouse Find! Test Pressing!

It's Toby Tobias time folks! Ahead of his brilliant LP which will be dropping here on DOG in September we give you a little reminder of why he's one of the heroes of the underground UK house scene. Toby has been honing his skills as a producer, DJ, promoter and all round nice guy for years now and we're very happy to be offering up fresh new club business from the man himself in the form of The Rising EP. Never one to go for the obvious, he always puts his neck on the line and pushes his productions in an interesting and often unexpected direction, making full use of his fully analogue studio to get those 'happy accidents' into his tracks which gives him the edge over so many others on the scene today.

Even with a straight up club banger like The Rising, Toby makes sure things stay edgy, raw and just a little bit mental. At the end of the day this is a Chi-town influenced filter disco banger but with fresh spin that'll make sure it creates the perfect vibe when you drop it in the clubs.

Taking things in a deeper direction we have Jitterbug on the remix, keeping the pace and drive but dipping the original in a vat of thick, syrupy treacle which gives us an altogether more heady, spaced out vibe for those moments when only the trippiest shit will suffice.

Flip over for Toby's own dub version of The Rising which strips it all back and warps it out for a loopey, Soundstream influenced take on the original. Full of attitude but keeping the bags of fun times feel with more punch than Frank Bruno (in his heyday!)

* The Blackstones were formed by Leon Leiffer in 1974. Since the initial group formation, there have been several line up changes, currently the group consists of: Leon Leiffer, Tony Mahoney, Jr. Bailey, and they have recently been joined by A.J. Franklin (Chosen Few, Federals). On tours they have supported Curtis Mayfield and the Impressions, Rufus Thomas, Dennis Brown, Owen Grey, John Holt, Alton Ellis and many more Soul / Reggae greats.

Over the years they have worked with many notable Jamaican producers, Count Shelly, Fatman, Phill Pratt, Lloyd Charmers, Lindel Lewis, Tony “Ruff Cut” Phillips, Winston Curtis, Jah Larry, Tony Owens, and the late great Bunny ‘Striker’ Lee and the legendary, Clement "Sir Coxsone" Dodd, at Studio One in JA.

This release features two rootical vocal sides of their consistent repertoire. The 4 track EP features a re-work of “Selection Train” (Orig,”Selected Few”-JA) and “Hell & Heaven” (Orig-Lloyd Clarke-JA). The vocal tracks are replete with Instrumental Versions from Alvin Davis (Horns / Steven 'Marley' Wright (Guitar) / Asha B (Perc/Congos)..

To live again has never been so good. So sexy. So groovy. Reelow's reeturning to the game with 'Reeborn' - his highly-anticipated second album on his own Reecords label. This one's not just about the music: Reeborn is the resume of adventures, friendships, missed flights, collaborations, and hundreds of hours in his Barcelona studio: a magnet that attracts artists, buddies, and music enthusiasts, becoming a meeting point and exchanging fulcrum. The Hungarian groove master and Solid Grooves resident delivers four irresistible cuts in perfect Reelow's fashion, diving between skipping drums, shuffling grooves, and jackin' bass tones, taking listeners on a road trip deep into his trademark rough and funky sound. Reeborn, now.

Toaster Jah Thomas began his career on the west Kingston sound systems of the mid-1970s, making a massive splash with ‘Midnight Rock’ in 1976. After a debut LP for Channel One, his self-produced Dance On The Corner raised the bar several levels. Voiced at King Tubby’s studio, mixed by Tubby, Jammy and Scientist and edited by the King himself, the album has Thomas chatting over hard Roots Radics rhythms earlier used by Barrington Levy – the perfect platform for Thomas’ relaxed chants, vexed rants, and commentaries on Jamaican life. This is Jah Thomas at his best – a must for all fans of reggae, dub, deejay, and dancehall!

GRAMMY award-winning singer-songwriter Jess Glynne announces her long-awaited third studio album JESS, set for release on 26th April via EMI Records. With her most personal work to date, this new collection of music adds to Jess' repertoire of over ten billion global streams and gracefully follows her success of becoming the only British female solo artist to score seven number ones on the UK Singles Chart.

Repress!

‘Hardcore Jollies’ was Funkadelic’s ninth studio album and their debut on Warner Bros Records. Released in October 1976 and dedicated to “the guitar players of the world”, it showed Funkadelic was the heaviest black rock band since Jimi Hendrix’s Band Of Gypsies (even featuring Buddy Miles on one track). With lead guitarists Michael Hampton and Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell’s keyboard wizardry and many more, the album was helmed by the genius of George Clinton. Reaching no.12 on the US R&B chart, the album spawned singles ‘Comin’ Round The Mountain’ (US R&B No.54) and ‘Smokey’ (US R&B No.96) and a live remake of 1973’s ‘Cosmic Slop’ from the album of the same name. Recorded during rehearsals for 1976’s P-Funk Earth Tour, this version features a vocal introduction dropped from the 1973 studio cut. Over 45 years since its original release, ‘Hardcore Jollies’ is among Funkadelic and George Clinton’s best-ever albums and remains a masterful example of their creative genius. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram coloured vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Afro-Cuban star Daymé Arocena has announced her new album 'Al-Kemi' which will be released on February 23 via Brownswood Recordings. It is her first album since 'Sonocardiogram' in 2019.



Dayme's new single "American Boy" accompanies her album announcement. No other song on the album embodies Arocena’s artistic liberation like “American Boy” - an exhilarating, futuristic slice of progressive pop. “I wrote it ten years ago, but thought it was too much of a pop song,” Dayme reflects. “In an indirect way, the music industry had shown me that I wasn’t welcome in that world. There isn’t a Black woman like me who enjoys the kind of success usually reserved for Rosalía or KAROL G. The image of music genres like salsa or bachata has been painfully distorted throughout the years. You are supposed to clone and fuse yourself in order to conceal your Black or indigenous side. They told me I didn’t fit in that world, but I’m going to prove them wrong.”



When Daymé decided to switch gears and record her fourth studio album in Puerto Rico with the iconic producer Eduardo Cabra (Calle 13), she never imagined that she would end up moving there.



“From the moment I stepped foot on the island, I realized that I never wanted to leave,” says the 31 year-old Cuban singer/songwriter with a hearty laugh. “At the time, I had spent three years away from Cuba, living in Canada with my husband. I called and asked him to come over to Puerto Rico, and to please bring all my stuff. It wasn’t a conscious decision on my part. It was simply love at first sight.”



Relying on instinct and intuition is how Daymé has managed her career since she burst on the international scene with 'Nueva Era,' her prodigious debut album, in 2015. Now, she has fully reinvented her sound with 'Al-Kemi,' a revolutionary – and transformative – fusion of neo soul singing, Afro-Caribbean beats and slick new millennium pop.



The album is titled 'Al-Kemi' with the Yoruba word for alchemy. "It means the cosmovision of transformation," she explains. "It is mixing all the elements to achieve an unbeatable result, full of shine and light, like gold springing from the skin."



From the cosmopolitan smoothness of lead single “Suave y Pegao” – an effortless fusion of jazz, bossa nova and urbano stylings with reggaeton star Rafa Pabön on guest vocals – to the smoldering neo-soul of “A Fuego Lento,” with Dominican singer Vicente García, Daymé’s latest album relies on sacred formats of the past but rearranges them in a conscious quest to redraw the very definition of what Latin pop is supposed to sound like.



“It was definitely a team effort,” she reflects from her new home in San Juan. “Flexibility may well be my biggest virtue. I’m always open to every possible suggestion when it comes to making things better. My piano player, Jorge Luis "Yoyi" Lagarza, and I worked on the demos with the rest of my band. Then with Eduardo Cabra’s direction, we enlisted musicians from all over the Caribbean – Cuba, Puerto Rico, the Dominican Republic. Everybody added their energy and coloring.”



It was Daymé’s piano player who originally suggested she contact Eduardo Cabra known for combining commercial aptitude with a refined sense of craftsmanship. Not only did Cabra accept the singer’s offer, but he also invited her to stay at his home during the four months when they recorded 'Al-Kemi' in his Puerto Rico studio.



“I had no idea that he was familiar with my music,” she enthuses. “Eduardo has been in the industry for a long time, and he comes from a world that is more global and commercial than mine. He was the ideal candidate for this project, but I initially didn’t know if he would understand the social, psychological and personal complexities of the message that I wanted to express.”



“Daymé is one of the most talented musicians that I’ve ever worked with,” says Cabra. “Working together was a joy, because she knew exactly the kind of fusion that she was going for: a cross between her Afro-Cuban roots – which clearly are strong on this album – with the more contemporary vein of analogue synths, samples and a bit of electronica. We wanted both worlds to communicate, to be both respectful and disrespectful to the ancestral colors. I feel comfortable with both, and even Calle 13 walked the two paths. This is also the album where Daymé opened up to the Caribbean at large. Her understanding of harmony and her performance skills are out of this world.”



Born in Havana in 1992, Daymé grew up immersed in Afro-Cuban folk, but also listening to cassette tapes of Sade Adu, her father’s favorite singer. She was identified as a prodigious



talent at only 8 years old and soon started studying music. After studying at the prestigious Amadeo Roldán conservatory, she became co-founder and band member of the Cuban-Canadian jazz collective Maqueque in 2017. With the collective, she launched several international tours and earned a GRAMMY nomination.



“In Cuba, the emphasis on technique is exacerbated,” Daymé explains. "At the same time, opportunities are scarce on the island. A career in music provides a potential for escape, which is why the competitiveness is off the charts.”

A humanity-reminding suite of miracle moments, Someone Like Me unites a geographically unbound cast of real people in pursuit of a meaningful connection. Taping their lived experience in economic studios in quiet English counties, Pacific Northwest woodland retreats and the big city bustle of Sydney and Los Angeles, these kindred spirits rendered sheer beauty in the process. Custom pressed folk songs of love, loss and the lord saviour.

Illuminating minor works from seasoned players such as former Syndicate Of Sound chart-topper Sharkey and late-era Canned Heat lynchpin James Thornbury, the collection simultaneously honours the fleeting amateurism of hobby musicians. With their one shot at tangible vinyl, freshman Lynne Ann Kingan realised her loose bubblegum rocker on campus time, while U.S. Navy recruit Fred Potts cut his unconditionally serene ballad remotely stationed on a Spanish naval base. Spartan production continues to reign with Jon Betmead’s hair-raising gospel, howling into infinite space, and Goldrust’s stripped back garden hymn.

Throughout the hour-long reflection, faith has an intermittent yet revelatory presence, most overtly with the divine choral soul of Seventh-day Adventist quartet Remnant. More subtly, Gary Ramey and Jim Kennedy both turned to song in their spiritual quests, offering their all to a universal power. An irrefutable compilation cornerstone, the National Office For Black Catholics showcased Charles Murphy’s lionhearted account of the Black experience at a 1971 concert. Five years earlier, high school seniors The Superwomen would use their hauntingly angelic harmonies to address racial inequity with a breathless take on ‘Lowlands’.

Reaching the furthest corners, Someone Like Me secures the inaugural licence of three homespun masterpieces. Discovered by fluke in the digital haystacks of Youtube and Soundcloud, Jim Huxley’s bedroom pop earworm melds peacefully into Charlie Webster’s synthesized reverie. Meanwhile, Hollywood’s John Agostino introduces us to the bizarre world of tax scam records, with the artist only now learning that his tender psych-folk demos were leaked via a 1977 bootleg.

Compiled and lovingly restored by armchair digger Mikey Young (Eddy Current Suppression Ring/The Green Child), Someone Like Me pays due service to seventeen rarefied journals of truth and devotion. Adorned with visual artist Chris Fallon’s figure and flora dream extractions, the uniting songbook is further detailed by expansive track-by-track liner notes and a forward from San Franciscan poet Rod Roland.

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

Irlam's infamous upstarts DJ Absolutely Shit are at it again with four more tracks to rattle yer spines and rupture yer spleens.
Utilizing the classic approach of sourcing a sick sample, adding a rugged breakbeat, then tweaking out the buzz for maximum enjoyment, the pair deliver an explosive EP of global hypercoloured mayhem that burns hotter than an oz of 'Ells Angels sputnik.

'Bridge To Your Heart' grabs Sade by the hand, shoves two purple doves down her throat and queue-jumps to the front of Bowlers for an endorphin-rushing hardcore workout full of modern beat engineering and sample manipulation.

Switching approach, 'Bolivia' shuns the dreamy feminism for an altogether more masculine affair - roping in the Wu for an argy-bargy, elbows-out speaker shaker full of hi-definition laser stabs and destructive, land mine subs.

Hitting the accelerator, 'Rocking You Eternally' traverses the jungle boarders in a blacked out Nova, Ab Shit's flair and panache at drum programming and contemporary production chops beautifully on show throughout this big system roller with a carp-hunting vocal hook.

'Gong' closes off proceedings, merging moods inna more seductive flavour. E-soaked pianos and a gentle throb coaxing us to that end-of-night climax that'll have us humming the piano line all the way down the M65 home.

No jokes cru, this is some of the best tackle to emerge outta the DJ Absolutely Shit studio to date. One of two, vinyl-only EPs and ahead of their debut album that follows on C90 tape.

Boing boing boing, boing boing boing, boing boing!!

Keep It Simple!

That's what Tony Allen told me, whether on stage, in the recording studio or when we were working together on the album "The Source"(Blue Note 2017) in my studio. Obviously, if he repeated it at will, it's because it's so difficult, to express the essential, not to scatter, over-play, over-arrange. So natural for him, so constraining for others! For years he pushed us, the members of his group to develop our projects. I had something in mind, necessarily with him, unfortunately his unexpected demise decided otherwise.
It took a moment to accept his departure, to accept being a voice, to find a new path. The desire to continue the work started together, that of mixing styles, sounds to appropriate them and create new, authentic. The desire also to meet new people, another energy.
After composing music for this project, I asked my friend Ben Rubin, musician and producer to help me record it. I found in NYC what I was looking for, a sense of urgency, that of doing, generous and committed musicians. I knew Jason Lindner, a musician that I have been following for a long time and he was the first person I thought of for pianos and synthesizers. He has this ability to find new and powerful sounds, with a direct and unadorned playing. For the drums, I didn't especially thought about a musician whose playing could come close or far to Tony's. Ben suggested Josh Dion to me, I've been following him since his "Paris Monster" project, I love his ability to make his drums sound like a new instrument by playing the bass synth with his right hand, that forces him to keep it simple! He also plays 2 tracks in drum/synth mode on the album.
I'm also happy that he agreed to sing a song on this album.
So we recorded at the Figure8 recording studio in Brooklyn, Eli Crews providing the sound recording, we decided with Ben to create a powerful and assumed sound from the take. Many biases on the tones, whether on the drums and the keyboards. Back in my studio in Paris, I continued to search, to dig while recording additional saxophones, percussions and keyboards.

I met Tchad Blake during a week-long mixing seminar. His work on the album on is radical.
Keep it simple?
Difficult but I try to remain so on all the phases of evolution of this project, from writing to production, in the improvisation parts. Where I feel it the most is in the immediate joy of playing with Jason and Josh, of tweaking a few sounds in my studio to create the unexpected, surprise in the structures, authenticity. Simple as the desire to go towards something essential, to seek oneself, to find oneself, to doubt but also to invent oneself.

"All our dreamers lose to the light" - from "Angels Go Home" When the pandemic began, and the world shut down, so did the process of creating for Iron & Wine's Sam Beam. In its place was a domesticity that the singer hadn't felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes: "I feel blessed and grateful that I and most of my friends and family made it through the pandemic relatively unscathed compared to so many others, but it completely paralyzed the songwriter in me. The last thing I wanted to write about was COVID, and yet every moment I sat with my pen, it lingered around the edges and wouldn't leave. This lasted for over two years." The journey back began with a recording session in Memphis to record a handful of Lori McKenna tracks for the EP Lori with friend and producer Matt Ross-Spang. The cathartic experience reconnected Beam with his love for making music, and soon enough the paralysis had passed, and he was finishing lyrics and booking studio time for what would become Light Verse. Light Verse was recorded with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon (with an additional session at Silent Zoo Studio with a 24-piece orchestra), with a host of talented musicians joining Beam: Tyler Chester, Sebastian Steinberg, David Garza, Griffin Goldsmith, Beth Goodfellow, Kyle Crane, and Paul Cartwright. And, Fiona Apple joined Beam on vocals for the duet "All In Good Time." Beam lyrically once again takes focus on a series of both fictional and personal insights, filled with desperate characters and wide-eyed optimists, offering promise and a dose of heartache, tears and laughter, life and love. Taking stock in the album's title, he jokes, "Light verse is a form of poetry about playful themes that often uses nonsense and wordplay, and it's my first official Iron & Wine comedy album!_. Just kidding_." While true this may be Iron & Wine's most playful record, Beam says the title mostly reflects the way the songs were born with joy after the heaviness and anxiety of the pandemic. Where recent records like Beast Epic or Weed Garden gave air to the disquiet of middle-aged frailty and brokenness, these songs trade that for the focus acceptance can bring. Moment by moment, they delight in being pointed or silly (or both) and attempt beauty over prettiness. Light Verse arrives April 26th, and it's Iron & Wine's seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. Track by track, its equal parts elegy, kaleidoscope, truth, and dare.

In 1993 American guitarist / producer Charles Normal was traveling in Europe with Guns n' Roses. When they arrived in Norway, Charles arranged a meeting with the Oslo based underground band Sister Rain. There was an immediate kinship between the two bands, and the next day members of both bands went into a recording studio and wrote a song together. The result was the genesis of The Merchants of Venus, a band formed by Normal, Guns' keyboardist Dizzy Reed, and Sister Rain members Aslak Nygren and Rune Annaniassen. Normal stayed in Oslo while Guns n' Roses continued on their tour, and eventually negotiated a contract with Warner Music for a full album release. Recording commenced in Hollywood, California in late '93, but was brought to a sudden halt when the Northridge Earthquake destroyed their studio and master tapes on January 17, 1994. Warner flew the band back to the safer environs of Oslo where the entire album was rebuilt from the ground up. The result became Wish Across the Land. Now 30 years later, the album is remastered and released on vinyl for the first time, and features unreleased bonus material.

1998 was a fertile year defined by juggernaut projects from Black Star, Lauren Hill, Outkast, and others, all of whom synced experimentation with foundational tenets that made the 1990s ferociously groundbreaking.


Out of Oakland, California, a collective known as Hieroglyphics were positioning away from industry control, to helm their own assets in manners more suited to their own marketing self-vision. While artists have certainly went solo prior, this came at a critical juncture for the crew during a spiraling and newfound Internet world. Born out of this independent spirit was the crew’s first official studio album 3rd Eye Vision.


The album spans twenty-two songs, all featuring beats by Domino who manned the lion’s share of production. A-Plus, Opio, Del, Casual, and Phesto also contributed beats. MCs each had their own song, short interludes highlighting their individuality through short verses, a clear espirit de corps statement.


Even among standouts like “Oakland Blackouts” or “At The Helm,” perhaps the most celebrated song off the release is “You Never Knew,” a track that propelled 3rd Eye Vision to #88 on the Billboard Top 200, not an entirely easy feat as a new label competing with the late ‘90s’ abundant onslaught of classic material.


In celebration of 20 years of 3EV, Fat Beats and Hiero Imperium are proud to present this CD/Vinyl reissue in deluxe packaging, expansive liner notes and the full original album tracks and a bonus for the very first time in one package.

nit is the genius underdog of the current French chanson scene. After playing along with Sébastien Tellier or Juliette Armanet (a huge success in France), after remixing Phoenix, Myd, Dita Von Teese, Cola Boyy, Tony Allen or Jane Birkin, here he comes with his debut album. The balearic sound is always a big nit influence, feel good electronics & lush acoustic chords.

Spotted by French label Record Makers (Sébastien Tellier, Kavinsky, AIR, Cola Boyy) with his 2017 “Dessous de plage” first EP, nit has since grown from funky DIY library music to a lush and complex groovy sound. The magic of this debut album “Big Bang Puzzle” is a keen sense of composition and an innate affinity for 90’s European electronica.
It’s a playful album, the work of an artist at the peak of his craft, determined to twist styles and references (Daft Punk, Ennio Morricone, Robert Miles, Vangelis...) in order to give them a new form.

“Big Bang Puzzle” is a tangle of psychedelic and cartoon-esque pieces, an abstract modernist painting of sounds inspired by vintage pop music. The cover, created by Swiss artist Flora Mottini, offers a first glimpse of his brand new universe.

But it’s also by collaborating with French iconic design studio H5 that nit suddenly enters the French Touch genealogy. nit takes the shape of an n that grows legs and arms to become a cheeky cartoon character traveling through a real space-time continuum. Parisian H5 studio has been involved since the end of the ‘90s in the design of strong visual concepts for French Touch’s elite (Etienne de Crécy, AIR, Mirwais). French music at its best from which nit is a direct descendant. And one who expands and opens even further: pop, italo-disco, trip-hop impulses, Morriconian cavalcades, lo-fi aesthetics, Caribbean music. Producer and mixer Lucien Krampf (Oklou, Ascendant Vierge, Casual Gabberz, CRYSTALLMESS) was the person in charge of mixing this ambitious record.

nit is both a question and an answer, and a musical enigma that pushes us to explore the far reaches of our imagination…

‘Landmass’ Turtle’s first artist album since 2017’s ‘Human’. To be released on 24 March 2023, it is his third official album having also released the acclaimed ‘Who Knows’ EP in 2013.

‘Landmass’ is a beautiful body of work that flows naturally as one piece of music and is inspired by the sparse surroundings of Jon’s studio in Argyll, Scotland, an area he moved to to try and escape the noise of the city and a move that has directly impacted on his creative process.

Jon Cooper… “Since I started producing music I have never gone into a track with any preconceived ideas, I let the music develop in its own way so my direct surroundings have always played a huge part in how it sounds and the hustle of the city was something I felt I needed to get away from. This was a cathartic experience in making it - it's a real outpouring of love for the Scottish countryside and the beauty I’m lucky enough to live in and see every day!”

Jon’s musical journey is one of experimentation and passion. A regular of the electronic scene in Glasgow in the late 90's/early 2000’s, he started to experiment with DJing and music production more for his mates entertainment than with any aspiration of a career as one of the most understated electronic artists Scotland has produced.

We Release JAZZ is very happy to announce an exciting new body of work by Joseph Deenmamode aka Mo Kolours. The singular musical spirit’s new 21-track album Original Flow is available as a double LP housed in a heavy 350gsm sleeve with original artwork by Mo Kolours himself and the classic WRJ obi strip, as well as in digipack CD and digital formats.

A catalog of critically acclaimed records, including his self-titled debut (2014), ‘Texture Like Like Sun’ (2015), 2018 album ‘Inner Symbols’ and three companion EPs, established Deenmamode as a prodigious musician and vocalist. Pitchfork extolled his “hypnotic, tribal-infused dance grooves”, DJ Mag appreciated the “colourful celebration of soundsystem culture”, and Resident Advisor advocated that “no one sounds quite like Mo Kolours”. Musical analogies were drawn by The Guardian as “The best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry” and Mojo as “like Marvin Gaye produced by J Dilla”.

Five years ago, Deenmamode moved to the Japanese countryside. Far away from familiarity, he contemplated his place and further questioned his identity. “I had none of my ‘own’ people around. I had time to really find what makes me tick musically. Japan has helped me go back to those subconscious leanings, really go deep, and reflect the aspects that make up my story”.

The tracks on ‘Original Flow’ have been constructed from sessions, improvisations and soundbites captured around the world during this time; collecting contributions from musicians including Deenamode’s brothers Reginald Omas Mamode and Jeen Bassa plus Andrew Ashong, Charles Bullen, Dwaye Kilvington, Eddie Hick, Stefan Asanovic, Myele Manzanza, Ross Hughes, and Tom Dreissler. Deenamode says “I’m proud of this album’s creative process. Coming from a tradition of scouring through hours of records, I wanted to create my own samples, to find that perfect loop that no other producer could put their hands on. I decided to invite a group of friends and acquaintances, who also happen to be incredible musicians, to a studio in Crystal Palace to improvise based on some loose ideas I had. We spent all day, and recorded everything”.

‘Original Flow’ is an album of UK street-soul nouveau, future indigenous jazz fusion, Rasta Segga, Nyahbinghi jazz, Malagasy Hebrew hip hop. While retaining a spirit of exploration and improvisation, it sees Deenmamode grow and flex beyond beat tape brevity, expanding composition and stretching his musical muscle to play live with other musicians. Themes of empowerment, overcoming adversity, and mental liberation coexist with notes from ancient history, futurism, and science, as well as musings on family and togetherness.

‘Magik Momentum’ springs from a discussion that features at the start of the song, an inspiring mentor answering a question from Deenmamode about improvisation and what role it plays in life when planning and manifesting the future. ‘Rockets to Mars’ questions the lack of care for the billions of people with nothing, while governments plan to explore space. “This sparked a comparison in my mind to a Sonny Okuson song that I would reference when performing. Okuson’s song talked of the lack of resources in many communities in the world, while governments go to the moon”.

He says the music behind ‘The News These Days’ is “possibly my favourite on the album”. Looped like he would a late sixty jazz-fusion sample, there was nothing added and the track was complete within a matter of minutes. “It was the first and best moment from the entire Crystal Palace session”, he adds. The album’s contrasting title track with minimal instrumentation played solo by Deenamode. While frustratingly searching for gems in past recordings, he thought in a burst of ego, “I don’t need no-one else to make a dope beat!” picked up his ravanne, (the traditional frame drum of his fathers home-land of Mauritius), pressed record, and started to play. He says, “In my thoughts were the rhythms of the Nubians in Upper-Egypt and Sudan, the swing of the huge drums played by Mauritanian women, of-course the Sega beat of Mauritius, and the ever inspiring beat of James Yancey”.

Driven by UK broken beat, Cuban congas, Nigerian and Mauritian inflections, ‘Love Vibration’ follows the concept that all emotions carry a vibratory frequency and pays homage to the frequency of creation and the power of love. The two part ‘Tatamaka’ tells of the history of Deenmamode’s ancestors, the maroons of Mauritius. “We are people who managed to run from our oppressors and find refuge in a corner of the island called ‘Le Morne’ where they could not reach us. One bloody day they came in numbers to re-capture, to revenge. Many of us chose to jump to our deaths, rather than be taken back into subjugation. The poem by Creole Richard Sedley Assonne says; “there were hundreds of them, but my people, the maroons chose the kiss of death over the chains of slavery”. Tatamaka was the name of a famed maroon leader who was murdered for claiming his, and our people’s freedom. The song is the imagined journey of escape and freedom by an ancestor of the maroons of Le Morne”.

Born in the west midlands and raised on the traditional sega music of his father’s Indian Ocean homeland of Mauritius alongside records by the likes of Jimi Hendrix, Santana and Michael Jackson; his influences expanded with late 90s jungle and drum and bass nights in Bristol, experiments at art college in Camberwell, and the rich culture of Peckham, “at the time we called it the Afro Quarters of London” says Deenmamode, adding hip hop, dub, soul and soundsystem styles to his individual sound.

He explains, “I love drum music, from hand-drums to 808s. I love music from the ancient past, heritage music, indigenous music, traditional music passed down from the beginning of time. Music from the body, hand claps, grunts and foot stomps. Music with audible depth, busy, bustling, highly charged. Music from the soul, the music from beyond. I love music from the islands and the mountains. The music of the streets, hustle music, alleyway beats. Club music”.

He describes the creative process as thinking in images. “The visual world and the world of sound seem to intermingle in my thought process. When I play the drum with my eyes closed, a world of imagery dances and moves with beat. Improvised drumming feels like I am listening to what I want to hear, rather than trying to play what I want to hear. Following the rhythm and finding new pathways to walk within the patterns is what I experience. In this way I often feel I am just a listener, instead of the player”.
Original Flow is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Reissue of Feu! by Rotorelief Records on vinyl LP and CD - April 2024.Industrial Punk, Noise'n'Roll
Featuring Jac Berrocal.


"THIS RECORD WAS INVENTED IN TEN DAYS. WHEN NAGI BAZ OFFERED TO LET US USE HIS STUDIO FOR A WEEK, WE HAD JUST FINISHED RECORDING DOCTOR CHANCE 93.

THE PLAN WAS IMMEDIATELY TO PAY A SORT OF TRIBUTE TO MY WRITER FRIEND JEAN-FRANÇOIS CHARPIN (1957-1987), AN ACCOMPLICE OF THE SEX PISTOLS, WHO HAD INITIATED THE CHALET DU LAC CONCERT IN SEPTEMBER 1976, BEFORE CREATING THE EXCELLENT AND FLEETING AVANT-GARDE MAGAZINE GRABUGE IN 1978 (TWO ISSUES PUBLISHED).

WE SPENT A WHOLE WEEKEND WITH JACK BELSEN LAYING THE FOUNDATIONS OF SIX TRACKS FROM MACHINE MATRICES, LOOPING RHYTHMS, WHILE I WROTE AT FULL SPEED ON THE TYPEWRITER. ON MONDAY I FINISHED FORMATTING THE RAW LYRICS WHILE BELSEN RECORDED THE RHYTHMS. THE NEXT DAY, IT WAS MY TURN TO RECORD THE VOCALS AS ONE - THEN JAC BERROCAL AND LITTLE DRAKE PLAYED THEIR INSTRUMENTAL PARTS.

TWO DAYS OF MIXING LATER, IT WAS FINISHED. THE FOLLOWING MONDAY, NAGI BAZ LEFT HIS RECORD LABEL. AFTER THIRTY YEARS, THE REISSUE OF FEU! (AUGMENTED BY GENOTYPE FROM MESSAGERO KILLER BOY, RECORDED JUST BEFORE I LEFT FOR CHILE IN 1994) TURNS OUT TO BE A DOUBLE EULOGY FOR J.-F. CHARPIN, BUT ALSO FOR JACK BELSEN, WHO WAS ABRUPTLY SNATCHED FROM LIFE FOR ONE AWFUL SEASON, BETWEEN LATE SPRING 2018 AND HIS DEATH ON 7 DECEMBER THE FOLLOWING YEAR. -"

Christina Kubisch’s Stromsänger finds this legendary sound artist at the top of her game mixing electromagnetic wave recordings with a score for six voices, creating powerful results. Stromsänger is based on a collaboration with the Norwegian vocal ensemble Trondheim Voices and on a special experience while researching and recording electromagnetic waves in the city of Trondheim.

“The general theme of the composition is the idea of sounds which travel. During a tram ride from the city up to the hills with an old tram I discovered not only stunning views of the surrounding landscape but as well a special soundscape. Wearing a custom made induction headphones, I could hear the normally hidden electromagnetic fields of the tram, which were so impressive and musical to me that I immediately decided to base my piece for Trondheim Voices on this discovery.

As a start, a series of pure vocal recordings were produced by Trondheim Voices while listening to a choice of electromagnetic tram sounds and following score instructions. This material was mixed in my Berlin studio and afterward was played back through a multi-loudspeaker setup into the room of the Elisabeth Church in Berlin and was instantaneously recorded. The emerged recording was played back and recorded again. The process of playing back the previous recording was repeated numerous times, generating numerous “re-recordings”, until the voices sounded aethereal and abstract. The last one of these recordings became the very beginning of the Stromsänger piece.

Part A is based on the electromagnetic sounds of the waiting tram and previously recorded voices. The singers come on stage and start to sing together with their recorded part which slowly fades out while the live singing takes over: a kind of choral for electrical tram waves and voices.

Part B is based on the actual tram ride with strong and intense electromagnetic sounds. The single recordings were treated electronically and were divided into six channels. Each singer has chosen one of these files and improvises with the magnetic sounds as a soloist or in duos or trios.

Part C is based on the itinerary of the tram ride to Lian, where a pilgrim's path starts. The names of the single stops, which have very beautiful and poetic names, are performed together as a kind of "sound poetry". The singers walk around on stage and/or can choose special positions for their performance. The recording of the word "Lian", the final stop, was recorded beforehand and played back and re-recorded several times in the open Norwegian landscape near the final tram stop. The voices slowly disappear and fade out.”

Christina Kubisch, 2024

Die irische Pop-Rockband Picture This kündigt ihr lang erwartetes viertes Studioalbum "Parked Car Conversations" an, das am 26. April 2024 (via Hansa Records, Deutschland) erscheinen wird. "Parked Car Conversations" wird als Picture This' ehrgeizigstes Werk bezeichnet, das bisher veröffentlicht wurde. Das Album besteht aus 15 Tracks, die die Band in den letzten drei Jahren geschrieben hat. Viele von ihnen, wie z.B. "Song To Myself", beleuchten eine emotionale Tiefe, die auf früheren Alben unberührt blieb, und zeigen die Band - insbesondere Texter und Sänger Ryan Hennessy - von ihrer verletzlichsten Seite. Das Album ist ein Einblick in Hennessys persönliche Hürden, die damals unüberwindbar schienen. Die Stärke, solche Situationen zu überwinden, und das daraus resultierende Wachstum stehen im Mittelpunkt von "Parked Car Conversations". "Parked Car Conversations" wird als CD, LP und limitierte Fotobuch Edition erhältlich sein. Letzteres bietet einen ebenso intimen wie einzigartigen Einblick in den Alltag der Band. Vom ersten kleinen Gig bis zur Headline-Show beim Electric Picnic, Irlands größtem Musikevent mit über 70.000 Besuchern. Aber auch durch die Studioaufnahmen und Videodrehs entsteht hier zum ersten Mal ein komplettes Bild der Band und zeigt die Band persönlicher denn je.

With $10 Cowboy, Charley Crockett didn’t set out to make a themed record. He had released a concept album in 2022, the critically acclaimed Man From Waco, propelling Crockett to new heights and establishing him as one of the leaders of a sparkling revival of traditional country and folk music. For the follow up album, Crockett wrote freely, over a two-month period, as he wound his way across the United States on the back of a tour bus. The resulting songs—raw, personal, vivid portraits of a country in transition—ended up being connected after all. “This material is written at truck stops, it’s written at casinos, it’s written in the alleys behind the venues, it’s written in my truck parked up on South Congress in Austin,” explains Crockett. “A ramblin’ man like me, a genuine transient, is in a pretty damn good position to have something to say about America.” As the album unfolds, you begin to understand that a $10 Cowboy is anyone who has hustled to get by, who didn’t fit in, who has slept on other people’s couches, or the street, who has fallen down, gotten up, and ventured from home chasing a paying gig, or a new start. “Being out on the road gives you a first-hand experience of how different kinds of Americans see themselves as going through some kind of great struggle,” Crockett says. “The roughneck working the oil and natural gas fields in West Texas. The single mother raising kids by herself. The young man working a street corner because he thinks it's his only option. I would be dishonest if I said I couldn’t see the thread. Each of ‘em feel invisible. I am struck by the battles they are fighting internally, and the ways they have been entrapped by what America says they are.” The album was recorded at Arlyn Studios in Austin, produced by Crockett and his long-time collaborator Billy Horton. It was recorded live to tape, with anywhere from 6-12 musicians and backup singers on each track, giving the songs the feel of a live performance. It’s a sound Crockett has been after for years. “Reason I cut it on tape is because when you got the right people in the room, and the great players rise to the occasion when that red light is on and the tape is rolling, you get the magic of a great performance.” It's exactly what he achieved with $10 Cowboy. Regular bandmates Fox, Nathan Fleming, and Mayo Valdez are joined by some of the genre’s most talented players—Rich Brotherton, Kevin Smith, Dave LeRoy Biller, T. Jarrod Bonta and others, including a string quartet. Lauren Cervantes and Angela Miller sing on the album. While the musicianship and accompaniment are exquisite, they are also subtle, placed joyously, yet judiciously across the album. No, Crockett didn’t set out to write a themed record. Or, through his studied eye, to find America. But with $10 Cowboy, he might have done both.

Mafia Musik is the fourth studio album from mercurial Los Angeles rapper, D. Savage. Initially breaking out in the SoundCloud rap scene in 2016 with the track, “30 Round Clip,” D. Savage has blossomed from underground icon to full-fledged star, with Mafia Musik serving as his magnum opus. At 13 tracks, D. Savage relentlessly keeps his foot on the gas for the entire duration of the album, with scorching hits such as “Kome On,” “Dirty Dan,” & “JOKER, Pt. 2.” One of the leading artists in the plugg sub-genre, his delivery and style is melodic and airy, yet far from soft. It’s clear the future is bright for D. Savage, and Mafia Musik serves as a great foundation for what is to come for him.

Für den Nachfolger ihres Debütalbums haben sich die bekannten Rocker Ian Crichton (Saga), Nigel Glockler (Saxon) und Robert Berry (The Greg Kihn Band), auch bekannt als SiX By SiX, in einem Studio in der San Francisco Bay Area zusammengefunden und ihre gemeinsame Alchemie entfesselt. Sie arbeiteten das ganze Jahr 2023 hindurch, um ihre vielfältigen musikalischen Talente zu biegen, zu formen, zu hämmern und zu streicheln und daraus 11 beeindruckende Tracks zu machen. Mit diesem Album setzt das klassische Power-Trio seinen einzigartigen melodischen Raum fort und verschmilzt gitarrengetriebenen Rock, Metal und Prog zu einem einzigartigen und kraftvollen Klangbild. "Beyond Shadowland" wird als limitiertes CD-Digipak, Gatefold 180g 2LP und als digitales Album erhältlich sein. Das Vinyl enthält Bonusmaterial, darunter zwei alternative Instrumentalversionen und ein ganz besonderes Orchester-Medley mit klassisch interpretierten Versionen ausgewählter Stücke von "Beyond Shadowland", gespielt von einem Orchester in Budapest, Ungarn.

CONTEXT During the height of the pandemic, Melbourne, Australia experienced the longest lockdown in the world, keeping residents inside their homes for a total of 262 days. In the midst of this were the five members who would form AWOL, driven to create and write music almost out of necessity. Once the ban was lifted, the band hit the recording studio and released their debut EP, AWOL, in 2021 through Last Ride Records. The timing was perfect as the Australia hardcore scene was experiencing serious growth, and AWOL soon found themselves playing shows with Speed, Iron Mind, No Apologies, and on a country wide run supporting No Pressure in early 2022. The band’s persistent drive and heavy playing style caught the attention of Flatspot Records, who will release AWOL’s debut full length, Tear 'Em To Bits this Spring. It’s not hard to listen to Tear 'Em To Bits and feel like you’re going to get ripped apart. The nine tracks are monstrous, filled with gruff vocals, groove-driven riffs, and meaty breakdowns. AWOL draws from bands like Madball and Biohazard, but also fit right along modern day acts like King Nine and God’s Hate. The lyrics are punishing, covering everything from deception and failed relationships to addressing drug addiction and police brutality. And while the record packs a lot of aggression, AWOL is purely here to revel in hardcore and the community it’s built for them. On making Tear 'Em To Bits the band simply states: “The only goal was to make a good hardcore record that we were proud of and that our friends could get behind.” AWOL is Christian Schultz (vocals), Mike Williams (guitar/vocals), Otis T Bennie (guitar/vocals) Pat Shanahan (drums) and Pablo Barnes (bass) Produced and recorded by Mike Deslandis, with additional recording by Otis T Bennie, at Black Lodge Studios. Mixed by Jon Markson at The Animal Farm. Mastered by Brad Boatright at Audiosiege. MARKETING AND SELLING POINTS: * AWOL is one of the biggest hardcore bands in Australia at the moment * Can appeal to not only the Hardcore crowd but also Punk, Metal, and Rock demographics as well * Has toured w/ No Pressure, Regulate, The Story So Far, Speed * Will tour AUS, US, UK, EUROPE in 2024 * A perfect hardcore release that will stand the test of time! * Has played festivals such as L * Mixed by Jon Markson (Drug Church, Drain, Regulate, Koyo) * Music Videos for AWOL (single) + Tear Em’ To Bits (Single) * Alexa Gallo of Wordless PR will be working press * The Syndicate will be working Radio Campaign * Matt Hughes Good As Gold will be working UK press + radio * Released by Last Ride Records in AUS * First EP on Flatspot Records * Pressed on Colored Vinyl

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

If blue is the color of sadness, or the best color to reach authenticity, R.Y.F. – the project of the Italian singer-songwriter and musician Francesca Morello, based in Ravenna – goes even further with the new album Deep Dark Blue. Deep Dark Blue is an underwater album, maybe it is even a deep-sea album. The sound is dark and muffled, as if we were in a sort of cradle, a blue bubble, a sea cocoon in which to wrap ourself ves to regenerate and achieve peace, but whose casing also conveys energy. Born following a dazzling baptism in the mesmerizing sea of Stromboli, in Sicily, Deep Dark Blue is an album of suffering and healing which confirms R.Y.F.‘s destabilizing power. According to her: ”Sometimes I experience moments of great suffering, in the last two years caused by my wife’s health problems. I was “broken inside” and I didn’t know if I would be able to go back to the way I was before. Deep Dark Blue tells how I felt and how I would like to rebuild myself. I still talk about the freedom to love, but I also felt the need to talk about suffering, and I tried to do all this with irony, in the most joyful way possible. And it worked. That’s why this is also a healing album”. In Deep Dark Blue there are also some important guests, underlining R.Y.F.’s rise in her international career. They are Moor Mother, Skin (Skunk Anansie) and Alos (aka Stefania Pedretti, formerly OvO and Allun), united by feminism, queerness and political activism, to get precious artistic affinities stronger in these hard times of new repression that we are experiencing. Deep Dark Blue arose from software and analog instruments and was then developed with Maurizio “Icio” Baggio (The Soft Moon, Boy Harsher), who also took care of recording, production, mixing and mastering at the music studio La Distilleria in Bassano del Grappa. Matteo Vallicelli (The Soft Moon, Death Index) participated in the production of some tracks. Although it flows with compact fluidity, the album highlights R.Y.F.‘s mastery in expressing herself through different stylistic genres. There is a dark electro-punk common thread, but there are also blackness (Run Run Run), alt-metal guitars on dance house structures (Can I Can U feat. Skin), industrial doom (Deep Dark feat. Alos) and other experiments (the instrumental interludes Droplets and Sirene). The variety of sounds corresponds to a spontaneous variety of topics. The theme of suffering opens and closes the tracklist with Blue and Deep Dark feat. Alos, almost as if to represent a first contact with the water and the culmination reaching the bottom of the abyss, and is approached both with a smile on the lips in the sexy Lies and from a more authorial perspective in the heartfelt Violent Hopes and December 25th, the first songs on the album to have been written. Deep Dark Blue by R.Y.F. is an immersion from which you emerge different from your old self, some kind of magical creature in a new form, but it is first of all an electric shock from which one is violently happy to be struck.

. Lodge has been performing and recording with The Moody Blues for more than five decades, selling in excess of 70 million albums, and also enjoys a successful solo career, doing what he loves, performing and playing music. Lodge has been voted one of the “10 most influential bass players on the planet,” and has been the recipient of numerous awards, including ASCAP, and Ivor Novello Awards for Outstanding Contribution to Music. John was inducted into the Hollywood Walk of Fame, and in 2019 was given a star in his hometown ‘Walk of Fame’. In 2018, John and the Moody Blues were inducted into the ‘Rock and Roll Hall of Fame’, and in 2019 John was given the Lifetime Achievement Award in the Prog Awards. John’s latest release is the new studio Album ‘DAYS OF FUTURE PASSED – MY SOJOURN’. The album was recorded over the last year and has grown from John’s current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album

"Nothing and no one can extinguish this flame within you," sings Emilie Simon from the opening title of Polaris, her first true album in ten years. An apparent long eclipse that the French singer, musician, and producer has nevertheless used to explore new territories, open uncharted paths, and reinvent her musical vocabulary and narrative threads. Like Ariane in a dreamlike world, she stretches these threads along her journey, inviting us to blindly follow.

After composing music for the film "The Jesus Roll" with John Turturro, and a musical journey between Earth and Mars through a series of singles, in 2023, Emilie Simon chose to revisit her debut album, both in the studio and on stage, to definitively close a chapter begun twenty years earlier. She also published "Phoenix," a gothic tale with a "vampiric" theme, sung and spoken in alexandrines. The central character, Lily Mercier, is the same one found at the heart of the Polaris adventure. Clearly, Lily is a projection of Emilie, on a quest for the North Star that symbolizes the never-extinguished desire to find her way. The dazzlement too, when one is a musician always eager to ignite again for the infinite mysteries of sound and to translate its shivers into songs.

This album, sung in both French and English, succeeds in combining the clarity of melodies with the demands of production. It immediately captivates (the irresistible burn of the Sun) and enchants over repeated listens, like a lasting iridescence of a thousand sonic fragments. Recorded in New York (where Emilie lived for a long time), Los Angeles, Montreal, Rome, and Paris (where she returned to settle), Polaris has its own cartography. Its universe is the standard scale, its pulsation inspired by cosmic rhythms, and its unique poetry both disturbs and captivates. A sign that nothing and no one can extinguish this flame within her.

Amadis and The Ambassadors" are a music group who came together in London, through front man Amadis Ferreira; cooking up a blend of music with flavours of Afro, Funk, Reggae and Soul on the menu. Rich in melody and groove, it will take you on a journey of rhythm and conscious vibration.

I want to express my unconditional gratitude to my mother and my father for all the love they have given me, all the guidance and for showing me how to share the same with all peoples in the most prosperous manner. I would like to thank my musical family, The Ambassadors, for their courage, advice, musicianship and having believed in this vision, without visionaries beside me the journey would be much harder and dimmer to see. Words alone cannot describe the joy in my heart, this is why we play music. You are blessed. My infinite gratitude also spreads to my beautiful sisters and nieces along with family dotted around various parts of the world, Angola, Portugal, India, Switzerland, Spain, Luxemburg, France, England; and to my spiritual family of dear friends, cousins, uncles and aunties spread throughout this planet all under one firmament. You are loved. Last but not least, I would like to praise my brother and friend Jonathan Rogers for opening up his studio and being the binding cord that enabled the possibility of this album to come to fruition along with the love that only true higher spirituality brings.

Dark Matter ist Pearl Jams zwölftes Studioalbum und die erste Veröffentlichung der Band seit dem von der Kritik hochgelobten Gigaton (2020). Das Album ist der Höhepunkt eines frischen und rasanten Ansatzes der Band und des Produzenten Andrew Watt (Rolling Stones, Iggy Pop, Post Malone, Miley Cyrus, etc) Während die Band bei Gigaton in vielen Aufnahmesitzungen Songkonzepte erarbeitete und die Fertigstellung des Albums etwa drei Jahre dauerte, kamen die Bandmitglieder für Dark Matter ohne vorgefertigte Songideen und ohne eigene Instrumente in die Shangri-La-Studios. Die Kreativität fand in Echtzeit statt und war eine wirkliche Gemeinschaftsleistung. Die LP wurde in drei Wochen fertiggestellt. In einem Interview mit Classic Rock sagte Mike McCready kürzlich, “Andrew Watt really kicked our asses, got us focused and playing, song after song. It took a long time to make Gigaton, but this new one didn’t take long. Andrew was like: ‘You guys take forever to make records. Let’s do this, right now.’”Von der Bühne ihres Konzerts in Austin im Sommer 2023 sagte Eddie Vedder “We’ve made a record for next year. What I can tell you is if you like the musicians in this group, you’re gonna hear them playing at their highest level.” Dark Matter erscheint auf CD, Vinyl und als Deluxe CD (inkl. Dolby Atmos Version)

Die offizielle Wiederveröffentlichung des Dub-Klassikers "Scientist Encounters Pac-Man" ist als 2LP-Edition mit Poster (60x60 cm) erhältlich! Die Aufnahmen des Originalalbums von 1982 finden sich auf der ersten LP, sie wurden mit den Musikern der Roots Radics in Bestbesetzung im Channel One Studio eingespielt und im King Tubby Studio abgemischt. Am Mischpult saß Hopeton Overton Brown, besser bekannt als Scientist, und für die Produktion zeichnete Linval Thompson verantwortlich. Auf der zweiten LP finden sich die dazugehörigen Versionen der Sänger u.a. von Eek-A-Mouse, Linval Thompson, Dennis Brown und den Viceroys und den Meditations. Für dieses herausragende Re-Issue Projekt wurde die Top-Adresse, was Audio-Mastering in Europa angeht, die Firma Soundmasters in London, engagiert. Das dazugehörige Artwork von Tony McDermott hat bis heute nichts an seiner Faszination verloren.

Here In, Absence" ("Here, In Absence" for the book) is the result of the dialogue between the Finnish photographer Mikael Siirilä and the music artists The Humble Bee & Offthesky initiated by IIKKI, between March 2023 and January 2024.

After a first release in 2019 on IIKKI ("All Other Voices Gone, Only Yours Remains"), a second one in 2020 on LAAPS ("We Were The Hum Of Dreams"), Craig Tattersall (The Humble Bee) and Jason Corder (Offthesky) come back with a third stunning out-of-time beauty, paired with the Mikael Siirilä photography works.

Craig Tattersall is a former member of The Remote Viewer and Famous Boyfriend bandmate Andrew Johnson. Tattersall's music can be found these days more often under his alias The Humble Bee; as a founder member of The Boats; and in his collaborative works with the likes of Bill Seaman in The Seaman And The Tattered Sail. He has run the wonderful label Cotton Goods from 2008 to 2015 and since 2009 he has recorded 16 solo albums on his moniker The Humble Bee and almost the same under his name on some collaborations.

Jason Corder is experimental-ambient multimedia artist based in Denver, CO. He has been producing music, video art, audio software, and the occasional interactive sound sculpture, for over 20 years. He teaches private courses on generative music and occasionally lectures on various sound design topics at Denver University. He currently is the Audio Director at the Denver based videogame studio Dire Wolf. Over the years, he has worked with labels such as Home Normal, 12k's term, Facture, LAAPS and more. Over the years he has performed at Mutek, Decibel, Communikey and other festivals, sharing the bill with likeminded artists Pole, Matmos, William Basinski, and more.

Mikael Siirilä: "I am a darkroom artist (b. 1978) based in Helsinki, Finland. My small individual photographs examine the themes of absence, presence and outsiderhood. My characters appear immersed in their inner worlds and moments of being: simultaneously absent and intensely present. The pictures also reveal the outsider’s gaze, lost in observation and reflection. My pictures are true observations captured with minimal interaction with the subjects. Their origin is in the act of looking, and they feel causally connected to the world. The craft of printmaking is inseparable from my artistic expression. I work solely with black & white film and the darkroom. The slow, contemplative process lends the pictures a calmness. I make physical pictures I want to stare at, feel and become lost in. Again and again."

Fine Art Book, Ltd. to 500 copies:
Hardcover book printed on Munken Lynx 150g/m2 // 80 pages, 18cm x 24cm, 51 photos // Logo and slot embossed // Selective UV varnish // Visible seam and cutting cover pages // Hand-numbered, hand-stamped.

An edit-reissue of this gargantuan double cassette released back in 2014 under the Typhonian Highlife moniker, 'H.R. Giger's Studiolo' finds netherworld voyagerSpencer Clark at a particularlybeguiling conjunction of his labyrinthine-esque soundworld. With complete disregard for linear timelines and trajectories, 'H.R. Giger's Studiolo' finds both inspiration in the swiss master's vision and the Cenobite iconographypreviously exploredby Clark on Fourth World Magazine's 'Pinhead in Fantasia'. The CD Head Cenobite picture adorning the cover makes the connection more than apparent.

A sprawling, two and half hour excursion on the tape version, here properly edited down to the wax container, the first two volumes of 'H.R. Giger's Studiolo' are some of Clark's most mystifying recordings. A baroque odyssey through an hermetic maze of alien voices, warping sound effects, oneiric keyboards and a quasi-orchestral sense of space and dynamics, 'H.R. Giger's Studiolo' feels like an hallucinatory fever dream still unlike everything else, either from before or after. Time doesn't apply here, anyway.

Mastered by Rashad Becker
Artwork by Spencer Clark

2024 heißt es 20 JAHRE CHINESE MAN (RECORDS)! Das aus Südfrankreich stammende Trio Chinese Man (bestehend aus High Ku, Matteo & Sly) tritt seit seiner ersten VÖ unabhängig unter der Fahne des eigenen Label Chinese Man Records auf. Gegründet 2004, beziehen sie ihre Einflüsse vor allem aus dem Hip-Hop, Trip-Hop, aber auch aus Dub, Electro und Reggae. Mit über 600 Shows weltweit im Rücken, kehrt die Band 2024 für ihrem dritten richtigem Album zurück, eund einer explosiven Live-Show. Dieses neue Album wurde in den Studios des Labels in Marseille sowie in Paris, im Studio Zarma und im berühmten Studio Ferber in Paris aufgenommen, insbesondere mit dem Orchester "L'Ensemble Hors Champ". Die Leitung des Orchesters wurde Gilles Alonzo anvertraut, einem der Gruppe nahestehenden Musiker, der die Orchesterparts für sechs der 13 Titel des Albums mitkomponiert und arrangiert hat. Zu den Gästen des Albums gehören z.B. General Elektriks, KT Gorique, Stylo G, Isadora, Youthstar & Miscellaneous, FP & Green T (ASM) und Stogie T. Die Gruppe hat außerdem Ferdinand Lemoine für Bläserarrangements eingeladen. Lemoine hat bereits mit dem Funk-Produzenten Dabeull und der Pianistin Sofiane Pamart zusammengearbeitet. Wie schon bei ihrem ersten Album vor zehn Jahren hat die Gruppe beschlossen, Sodi (Studio Zarma) für die Koproduktion und den Mix des neuen Albums sowie Antoine Chabert (Studio Chab) für das Mastering zu engagieren. Die Gruppe kehrt mit dem Wunsch zurück, ihr Album einem erneut größeren Publikum zu präsentieren. Drei Vorab-Singles bereiten dafür bereits den Weg.Doppel-LP (schwarzes Vinyl) sowie CD!

Meaning ‘Hi’ in Uruguayan slang, Opa are a South American jazz-funk phenomenon. Fusing Uruguay’s native Candombe rhythms with North American jazz and pop music, Opa’s space-age synthesizers, boisterous grooves and compositional magic expressed a distinctive Afro-Uruguayan voice within the global jazz vernacular: a voice which remains as vital and unique today as when it was recorded, almost half a century ago.

Having migrated to New York from Montevideo in the early seventies, Opa were heard playing in a nightclub by renowned producer and label owner Larry Rosen. At Holly Place Studios between July and August 1975, Rosen oversaw Opa’s first recordings using a four track TEAC 3340. The album would become home to some of Opa’s hardest hitting funk jams, with moments of songwriting wonderment and soulful pop and rock progressions combining with the jazz-funk fusion Opa would become known for.

Mysteriously (for reasons unknown to the band), Opa’s debut was shelved and remained so until the mid-1990s. But the Back Home recordings were used as demos, gaining Opa a record deal with Milestone Records and the subsequent release of two cult-favourite albums: Goldenwings (1976) and Magic Time (1977).

Opa would also collaborate with North American titans including bassist Ron Carter, producer Creed Taylor and Brazilian icons Airto Moreira, Flora Purim, Hermeto Pascoal and Milton Nascimento. In more recent years Opa’s music has found new audiences after being sampled by Captain Murphy (aka Flying Lotus) and Madlib.

For fans of Azymuth, Weather Report, Cortex and The Headhunters, Opa’s Back Home will be released on Vinyl LP and CD on the 8th March 2024 via Far Out Recordings

The Morning Papers Have Given Us the Vapours was made with the black watch bandmates and producers/engineers Rob Campanella (Brian Jonestown Massacre, The Tyde, The Warlocks) and Andy Creighton (The World Record, Parson Red Heads). Ben Eshbach, formerly of The Sugarplastic, arranged the strings. Kesha Rose guests on lead vocals on the second single, Oh Do Shut Up. And the great Lindsay Murray once again lends her beautiful backing vox to a number of tracks.

the black watch songwriter/frontman John Andrew Fredrick wrote the ten songs on this, his Los Angeles-based band's latest album, entirely unselfconsciously, with no set goal in mind other than to revel in the joy of songwriting, and, eventually, the luxury of recording his music with his more-than-accomplished band. The Morning Papers Have Given Us the Vapours, produced separately and together by Rob Campanella and Andy Creighton evinces the black watch's often stunning ability to, as Andy Gill once observed in The Independent, "find chaos in the calm, melody in the miasma."

Fredrick, who has also published four comedic novels and a book on the early films of Wes Anderson, jovially describes himself as "a recovering Anglophile--one who'll never, one hopes, fully recover." From his home studio in the Angeleno Heights district of L.A., he waxes eloquent about how being branded, as it were, as a too-ardent lover of British music, film, and literature has left him as bemused as has the tag "prolific" that is often affixed to reviews of his work.

"I just don't think it's all that interesting to note that we've made so many records. Looked at one way, it's a sort of deflection from talking about the timbre if not the quality of the individual songs. Though I know it can be intimidating for fans who've just discovered us--a sort of 'My goodness, where do I start with this band that has put out LPs since 1988?' I get it. I do. I picture someone standing at our slot at a bin at a record store becoming overwhelmed at the prospect of picking the 'wrong' title. And then walking away and not picking up anything from us!" Fredrick laughs. "What can you do indeed?"

He started his career as a songwriter as a result of an American Football injury that left him bedridden in the home he grew up in in Santa Barbara, California. The year The Beatles immortal double-album came out at Christmastime he broke his leg so badly that he had to be home-schooled for an entire year. His parents, ex-teachers themselves, refused to let him watch telly for more than an hour a day. He propped a Silvertone acoustic on top of the massive cast that screamed all the way up to his thigh from his toes, and began to write little melodies and lyrics that, doubtless, did not in the least mask his love for the Fabs, The White Album in especial.

And he read and read and read--histories of the American Revolution and Civil War, mostly, and as many Dickens novels as his mum and dad could bring him. "That year," Fredrick observes, "surely made me who I am today. Proof that intensely unfortunate-seeming events can prove most fortunate. As a sport-mad kid, it made me absolutely mental that I was exiled from the activities I loved most and the school teams I played on. What a blessing undisguised that injury was! Not that I'd like to experience anything like it ever again, mind you."

Fredrick can even recall a few of the melodies he wrote as boy ("Utterly trite, of course, completely jejune"); and in a way, The Morning Papers Have Given Us the Vapours showcases a kind of get-back-to-where-you-once-belonged sensibility. "I didn't intend, this time, to make an album per se. I write both songs and fiction in order to find out what happens, to find out what I might want to say," he notes. "Rob often asks me what a particular song is about; and I often reply that I either don't know, or would prefer that others say. Same thing goes for when people ask me where they should start with our discography. I never know what to say. Our LP from 2011, Led Zeppelin Five (remastered in 2021 for its tenth anniversary), has been our best seller, I think--but that may be because some stoned Zepheads thought their gods had perhaps put out a record they'd missed!"

Despite being deadly serious about music-making, TBW's been known to either whimsically or perversely title their albums. Examples: Jiggery-Pokery (an allusion to John Lennon assessing George Martin's productions), After the Gold Room (a pun on the Neil Young classic plus a local eastside L.A. watering hole), Sugarplum Fairy, Sugarplum Fairy (echoing Lennon's famous count-off to A Day in the Life), Fromthing Somethat (a garbled spoonerism/lyric while doing a vocal), Brilliant Failures (the 2020 release that, along with Fromthing Somethat, was named Album of the Year by venerable indie rock magazine The Big Takeover), and the aforementioned LZ5.

For the new LP, the band recruited longtime friends and allies Ben Eshbach (the Emmy-Award-winning frontman of The Sugarplastic) and Lindsay Murray (Gretchens Wheel) to compose and arrange strings and sing heaps of lovely backing vocals, respectively.

And the result? A collection of songs that Fredrick, in his quite-but-not-quite self-deprecatory way, might call another set of brilliant failures. "Every song, every LP we do, is a failure of sorts--no matter how powerful or beautiful or pleasing-to-us it turns out," John concludes. "I have often said that my aim is to write songs as good as anything on The Beatles... and I will never achieve my goal. And thus I'll have to keep at it, keep trying. And chin-chin to that!"

And now your attention's been brought to a band (or you've heard of them or heard a track or two down the years) that has been pegged by The L.A. Weekly as "a national treasure" as well as "the most criminally-neglected indie pop group imaginable."

So here's to the prospect of that ostensible neglect becoming as much of a thing of the past as John Andrew Fredrick's year-long stint in bed.

Honk driven throb with Thin Lizzy styled melodies overlaying supreme HARD ROCK prowess...
This is HEAVY ROCK for now!!
Spidergawd is Per Borten (guitar, vocals), Kenneth Kapstad (drums), Rolf Martin Snustad (baritone sax) and Bent Sæther (bass). Depending on how well versed you are in Norwegian rock music (or how big the rock you live under is), these names will mean a lot to you, or possibly nothing at all. Whatever the case, with three very strong albums now under its belt, this band has the right to stand on its own merits.
Spidergawd III is, logically enough, Spidergawd's third album, one of a trio - so far - of LPs that seem to appear with alarming regularity at least once a year in between numerous 7's and what feels like constant touring. These guys are on fire, and you can hear it in every song and see it at every concert. A band that is self-confident enough to record their debut album during their fifth-ever rehearsal, and who have since evolved even further and found their voice, which is adventurous, energetic and very immediate.
Since the release of Spidergawd II, the band has toured Europe several times, played Roadburn, Roskilde and the Reeperbahn Festival, and Per finished building his recording studio, which Spidergawd III was then promptly recorded in. Spending more time on the recording of III than they did on its predecessors, Per and Kenneth worked on the songs together in advance, focusing in particular on what Per describes as expanding his guitar vocabulary.
And you can hear it. Still in-your-face rock, this album is a touch more complex, with more depth and even more color. No fear, the band has not sacrificed melody to the god of noodling - the melodies are strong and the songs (still) boogie their asses off. And if the sax at the beginning of The Best Kept Secrets doesn't make you do the same, then there is no help for you.
Crispin Glover Records in cooperation with Stickman Records is proud to present Spidergawd's third album to the world. In finest Spidergawd tradition, the album once again comes on black180 gr vinyl with an absolutely stunning cover and a CD included. Tour to follow, of course!

“The first full length LP by Joshua Massad and Dylan Aycock. Massad is a tabla player living in India and studying under Zakir Hussain. Massad and Aycock came together in Tulsa to record live at the legendary Church Studio which was founded by Leon Russell in the ’70s. Over a few nights they captured some moments in the studio before it came under new ownership and just before Joshua moved to India. “Aycock improvising on 12-string with Massad accompanying tabla and sitar. A flowing river of sound, a meeting of the minds. The little touches that Dylan’s brother Jesse Aycock adds (bits of synth) really sweeten the deal as well. Track two recorded in Leon Russell’s legendary Church Studio.” —Aquarium Drunkyard “Track one is an improvisation recorded at the home of Joshua Massad’s friend who he was house sitting for and invited me to come play. When I showed up the door was open and he was deep in practice so no words were spoken. I set up a mic and just started playing. We played for fortyfive minutes straight and the twenty mins of the first track was culled from that moment. We clicked immediately and that was the first time we ever played together. Joshua is studying and teaching in India now where he’s been since 2019.” —Dylan Golden Aycock

This tune has a long history. We recorded some tracks with Prince Jamo back in 2010, of which this was one of them. A couple of years back Andreas picked up this track again with the idea of making a new riddim for it with live musicians and a more organic feel. Linking it up with Earth Works studio & musicians at the studio aka Signal One Band.
The riddim was then sent to Aba Ariginal for horns overdubs.

Andreas did make this all happen, so this is a retrospect release, in the loving memory of our brother, a true rootsman soldier, Andreas Weslien.

Big Crown Records is proud to present Brainstory’s sophomore full-length album Sounds Good.

Based in L.A. but hailing from the Inland Empire's own Rialto, California, two-thirds of Brainstory, Kevin and Tony Martin are brothers by blood, while Eric Hagstrom is a brother through their music and long term friendship. Since they started the band they have constantly faced situations that forced them to rise to the occasion. They got signed to Big Crown Records, they stepped up their game. COVID happened, they learned to record themselves. They started touring a ton sharing the stage with the likes of Lady Wray and they got their live show super tight. All of this time spent grinding and growing has certainly paid off. The path to take their art to the next level is clearer than ever, and once again, they are here for it. If there is one thing that is abundantly clear on Sounds Good, it’s that Brainstory has leveled up.

Part of this evolution is undoubtedly attributed to having access to and working constantly in their own studio in Long Beach. Another major factor is that their brotherhood has expanded. "I've been playing music with my brother all my life and now with Eric for a long time," Tony tells us. "Leon, though, is like another brother I've just met."

Leon Michels, Big Crown's co-owner, produced this record and applied his unmistakable golden touch in crucial ways. The other member of the extended Brainstory brotherhood whose contributions were essential to the album, is studio engineer legend Jens Jungkurth who controls the tones and textures of the music. "That's what you're hearing, our connection, the fun moments, the little details," Kevin describes. "This record isn't half what it is without them—and it made us want to match that effort," and match that effort they did. Album opener "Nobody But You" is an uplifting, dance ­oor burner, that shows off a new side of Brainstory's range. Drummer Eric Hagstrom’s crushing back beat lays the foundation for an inspirational feel good banger that manages to take the uncomfortable truth that “nobody will save you but you” and turn it into pure blissful motivation. "Peach Optimo" is a laid back half time tune that blends the bounce of Down South Hip-Hop with California G funk and Jazz. They once again show off their B said ballad talents with "Gift Of Life" but this time taking the genre to a new place with lyrics about existentialism and a track that is drop dead gorgeous, haunting, and profound all at once. "NyNy" is an homage to Kev and Tony's recently deceased grandfather while "Too Yung" is a show stopping, deeply personal, stripped down number about being introduced to

alcohol at a young age. They put another hit on the boards with "Hanging On," a Latin / Psychedelic Soul inspired banger featuring Claire Cottrill on background vocals while "XFaded” addresses the all too common vicious cycle of smoking and drinking too much over a trippy shuf­e.

"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." That's one way to describe change: catching up to oneself. Each member of Brainstory has gone through shifts, both personally and musically, and all of that threads through Sounds Good. It's easy to say that the music industry can be short on lasting, genuine relationships. However, for Brainstory, from day one it's been about standing by each other, for each other. Their friendship started the group. Track listing:

Drummer Kendrick Scott and bassist Alexander Claffy join rising-star Danish pianist RasmusSorensen for the release of a special trio project - BalancingAct- recorded in true jazz spirit in the heart of New York City. Timeless repertoire and intricate originals combine in a piano trio session which captures thetradition of years gone by: three players meeting in a studio to produce music which somehow sounds as if they spent a lifetime together. Sorensenrelocated to New York City in 2018 to pursue his studies at the Manhattan School ofMusic on a full-tuition scholarship and within five years had proved himself as a compellingcreative force, playing alongside some of the scene"s most reputable musicians and performing his original compositions in some of the world"s mostrevered jazz clubs. In line with New York"s fast paced spirit, the session with Claffy and Scott was set up, planned and recorded within a matter of days, with the musicians meeting on the day and spending just three hours together in the studio. It"s something of a rite of passage for pianists to showcase their treatment of classic jazz repertoire;Sorensen choses a selection of Great American Songbook classics and a lesser-knownColtrane number for this, his sophomore album. Alongside a handful of originals, the recording with two veteransof New York"s prestigious scene is a masterclass in energetic, spontaneous, playful and exciting piano trio playing. Effortless groove, rich contemporaryharmony, virtuosic improvisations, dextrous rhythmiccomplexity and intricate arrangements make for an adventurous and thrilling listen; the first meeting of three fearless and experienced masters of their craft. Jazz is no stranger to the concept of passing the baton from one generation to the next, not through loud exclamations and accolades, but by who the greats choose to work with. With Balancing Act, Sorensenhas not only produced a beautiful trio album, but staked his claim - with the help of Scott and Claffy - as one of the ones-to-watch from the new generation of pianists.

Zwischen bezaubernder Zärtlichkeit und Brutalität, zwischen den Feuern der Unterwelt und den kältesten Dämpfen des Nordens, das ist das Wesen, das WINTERHORDE genannt wird. Gegründet im Jahr 2002 in Nordisrael, hat sich die Progressive Extreme Metal Gruppe weiterentwickelt und versucht, mit jedem Akkord, den sie spielen und aufnehmen, etwas Größeres zu werden. Nur der Himmel ist die Grenze. Ob durch die uralten Künste des geschwärzten Metal bis hin zu den Juwelen der Progression, WINTERHORDE sind auf dem Weg, das nächste Ding der artikulierten Extremität zu sein.

WINTERHORDE hatten das große Vergnügen und das Privileg, mit einigen der größten Bands des Metal wie JUDAS PRIEST, BEHEMOTH, ACCEPT, W. A. S. P, DIMMU BORGIR, KEEP OF KALESSIN, AMORPHIS, SATYRICON und vielen mehr auf den Bühnen verschiedener europäischer Festivals wie "Metal Days", "Rockstadt Extreme Fest", "OST Mountain Fest", "Metalhead Meeting", "Maximum Rock" und "Metal yard" aufzutreten.

WINTERHORDE bahnten ihren Weg in den progressiven Manierismus des Extreme Metal und veröffentlichten ihr Debüt "Nebula" (2006, Burning Star Records), dem eine komplette Europatour mit den finnischen Black Metalern CATAMENIA folgte. Das zweite Album "Underwatermoon" (2010, Twilight Vertrieb) wurde von V. Santura (DARK FORTRESS, OBSCURA, PARADOX, TRYPTIKON) aufgenommen und produziert. Anfang 2016 vollendete WINTERHORDE eines ihrer abenteuerlichen und höchst geheimnisvollen Epos, "Maestro" (Vicisolum Productions) wurde erneut von V. Santura produziert und von Jens Bogren gemastert. Kritiker und Fans begrüßten das dritte Studioalbum "Maestro", das im Mai 2016 veröffentlicht wurde.

Sechs Jahre später, und WINTERHORDE sind wieder bereit für die nächste Herausforderung. Voller Energie und einer neuen, überwältigenden Besetzung haben WINTERHORDE die Arbeit an ihrem neuen, vierten Studioalbum "Neptunian" geschafft.
Im Juni 2022 wurde die Single "The Greatest Plague of Earth" veröffentlicht.

Metal Temple zine:
"This is an expression of extreme passion, through a whirlwind, and a strong character. Winterhorde is back different, but preserving their miraculous nature"

Winterhorde's bassist and founder, Alexander Latman, comments on "The Spirit Of Freedom"
"This song deals with the unbreakable spirit of simple people, who are ready to die for keeping their land free. We wanted to show this spirit, not only in the warrior himself but also in his family members who are filled with pride of their fallen loved one. The simple people are those who sacrifice their lives for unnecessary wars waged by rich people's games. They die, but never give up their freedom and identity. The conflict of life versus freedom at any cost".

Sales Info:
- PR-Kampagne über die deutsche Agentur ALL NOIR für Print / Presse / Radio in der EU + O'Donnell Medien für PR in den USA
- frühere Musikvideos haben jeweils 5-stellige Ansichten auf YT erreicht
- neues Album gemischt und gemastert von Jaime Gomez Arellano (Ghost, Paradise Lost, Insomnium, Moonspell)
- Feat. Künstler auf Album: Kobi Farhi von Orphaned Land und Davidavi Dolev von Subterranean Masquerade

New Jackson marks his long awaited follow-up to 2017’s From Night To Night with its successor OOPS!... POP for long-time collaborators Permanent Vacation. A concise triumph in techno pop, its 9 tracks elevate his signature electronic sounds into anthemic new heights.
David Kitt is a prolific sonic polymath who’s enjoyed a colourful career making whatever he likes.
While releasing music under a vast array of aliases and collaborations for close to two and a half decades, New Jackson has remained his irregular home since 2011 for when ‘at one with the machines’. It offers a kaleidoscopic window into his love of dance music, and on his debut album under the alias From Night To Night (released in 2017 on Dublin’s All City label) he unfurled his singular vision; a dilated suite of nocturnal soul coaxed from his beloved electronic equipment with songwriter’s nous, sonically etched as blunted whispers coalesced from the dusky billows of Dublin bay. Further EPs and singles followed, alongside a beloved live show he toured globally, plus detours with his critically-lauded Garies duo (with Lumigraph) and a David Kitt solo album.
In the time since his New Jackson debut, he’s slowly distilled his studio methodology to help mine the true core of his musical self. Within this experimentation, he has stumbled upon the bounty that is OOPS!... POP, his most direct and euphoric body of work to date. Recorded across the span of five years and three different countries, Kitt has managed to transform his beloved alias into a leaner beast, tightening the screws around arrangements and songwriting to inspire an album sonically effortless in demeanour and spontaneously playful in structure and form. Aided by a stacked cast of collaborators including Rita Lynn, Donnacha Costello, Riche “Jape” Egan, Yenkee, Kean Kavanagh, Margie Jean Lewis, Meg Cronin and Fehdah, it bears the hallmarks of the studio albums of yesteryear in its dynamism and gratification while drawing on his rich bouquet of influences across a century of recorded music.
Opener SI SI SI lulls you in with its smothered vocoder’d croons and patient groove, BURNT DEEP next yields a surprising deep house turn, lit gently with casual hedonism. LIKE rewires the playbook entirely, shuffling along its minimal 80’s boogie groove with a cheeky grin, before lead single OUT OF REACH further mines the golden pastures with its glorious stuttering techno power-pop fit with that anthemic chorus. DAY IN SHOCK digi-dubs around the wonderful vocal turn of Fehdah in purest heads-down manner, then THE OK HOLE and STROBE both descend the psychedelic wormhole of anaesthetised breaks and electro with its entranced dancefloor gaze. I WANNA BE ADORED, the Madchester anthem from The Stone Roses, is then surprisingly reimagined as a lost kraut-pop robo sung classic while WITH THE NIGHT AT OUR FEET is our climactic conclusion, a mechanised symphony of dual proportions; a humane core of angelic harmonies chugging along in electro rhythm before soaring strings take us on our way.
New Jackson’s oeuvre, indeed David Kitt’s musical world, is vast; OOPS!... POP then might just be his opus across it all, a towering achievement of soaring catharsis in melody and song that soundtracks the most direct transmissions from his heart to yours

To back such a legendary artist, TABOU1 asked Sly & Robbie and the Revolutionaries (Channel One studio band in the late 70's) to work the "old school" way: all musicians would play live, together and in one take, as opposed to recording their parts separately as is now done in modern music. The result is stunning, with luminaries Ansel Collins and Robbie Lyn on keyboards and organ, Sticky Thompson and Skully Sims on percussions, Dalton Browne and Dougie Bryan on guitar. Bob Marley's synth wizard Tyrone Downie added some musical pixie dust while Stepper did the horns.

Next on deck, straight from Producer Dan Ubick’s Lions Den Studio, comes two more re-imagined soul classics from Los Angeles’ own Night Owls. First up, we have soul phenom Eli “Paperboy” Reed taking on Ray Charles’ classic “You Don’t Know Me” and Rocksteady champions Jr. Thomas & The Volcanos, laying their beautiful soul harmonies to Eddie Kendricks’ timeless “If You Let Me.”

For Side A’s “You Don’t Know Me,” Ubick had a tough assignment - find someone who could bring his own innate soulfulness to a song sung by “The Genius” in his prime. The answer came from Massachusetts-bred Eli “Paperboy” Reed, who moved to Clarksdale, Mississippi at 18 to cut his teeth singing in juke joints all over the Delta. Then, moving on to spend a year as minister of music at Chicago’s Southside church of Soul legend Mitty Collier (Chess Records) and relocating back to the East Coast to record for Capitol Records, Warner Brothers, Colemine Records, and now Yep Roc, Dan had found his man. On “You Don’t Know Me,” Reed’s voice ranges from belted lows to soulful highs that perfectly sets the stage for this more upbeat and Roots Reggae-infused rendition. With a tip of the hat to Jamaican legend and producer Bunny “Striker” Lee, Night Owls take Charles’ classic soul and R&B standard to new territory. But that’s not all; Ubick also brought in Staten Island’s crown jewel, Eamon Doyle, who meticulously laid in all the vocal harmonies, faithful to Ray’s original. On Side B is Eddie Kendricks’ “If You Let Me” feat. Jr Thomas & The Volcanos (Colemine Records), re-done here with a nod to another legendary Jamaican singer, songwriter, and music producer, The Techniques’ own Winston Riley (Johnny Osbourne, Dave & Ansel Collins, Hortense Ellis, etc.). Originally debuted on Eddie Kendricks’ post-Temptations 1972 masterpiece People…Hold On (Tamla/Motown), Night Owls create a decidedly more moody and dubbed-out tone here, laying into a bass-heavy one-drop feel that perfectly sets the stage for Jr Thomas’ soulful lead and Volcanos members Alex Desért (Hepcat, The Lions) & John Butcher’s (The Expanders) spot on backing harmonies. While keeping much of the original harmonic language, Night Owls bring this much-loved classic to new heights, primed for the dance floor. It’s hard not to sway your hip and groove to this one!

Reissue of early Japanese house outing by Junichi Soma, Shuji Wada and Katsuya Sayo. Comes with insert with liner notes.

All musical movements require a spark to set them alight; in the case of Japanese house music, that spark was provided by the forward-thinking resident DJs of The Bank in Roppongi, Tokyo. In 1989, to celebrate the ground-breaking club’s first birthday, the venue released a 12” EP featuring first-time productions from three of its DJs, Junichi Soma, Shuji Wada and Strong Katsuya AKS Katsuya Sayo.

Widely considered to be one of the first ever EP of house music produced in Japan, 1st Unit was never officially released. Instead, 500 of the 1000 copies pressed were given away at The Bank’s first birthday party, with the rest initially being sold not in local record stores, but rather the venue’s own in-house shop. Three decades on, the 12” is finally set to get its first worldwide release via Rush Hour’s Store JPN Series.

The record has its roots in The Bank’s willingness to give its ever-changing roster of DJs a free hand to play what they liked – at the time a rarity in Tokyo nightclubs, whose musical offerings usually revolved around strictly defined playlists. At The Bank in 1989, it was not only common to hear European body music and the kind of post-disco New York productions associated with Larry Levan’s sets at the Paradise Garage, but also acid house – something not offered at the time by other clubs in the city.

This cutting-edge blend of sounds, combined with the venue’s unique decor (it was modeled on the inside of a London bank, complete with a cashier’s window to take entrance fees), made The Bank a go-to spot for young party-goers, celebrities and forward-thinking Japanese musicians (Ryuichi Sakamoto was reportedly a weekly visitor).

When it came to celebrating the club’s birthday by cutting a unique record, it made sense for The Bank’s owners to turn to three of their most exciting resident DJs, who were assisted by Heigo Tani and Jun Ebi. The collective name, 1st Unit, was chosen to reflect the fact that all three resident DJs were debutants with no previous studio experience.

As this reissue proves, the music remains timeless, magical, and authentic to the sound of American house productions of the period – albeit with occasional twists,. Katsuya Sano’s EP opener, ‘I Need Love’, sounds like a twist on Larry Heard productions of the period – all jacking TR-909 drums, undulating analogue bass, dreamy JUNO synthesizer chords and evocative vocal samples.

The influence of Chicago acid house is also evident on Junichi Souma’s ‘Ubnormal Life’, whose unusual title contains what he says was an intentional misspelling. Driven forwards by restless drum machine handclaps, sweet chords and rising and falling melodic motifs, the track is an energetic and uplifting treat.

Perhaps the most influential of the three tracks at the time – within Japan at least – was Shuji Wada’s similarly misspelled ‘Endless Load’. Deeper and more melodic with a more expansive arrangement, the track’s combination of marimba-style lead lines, tribal drum patterns, dreamy chords and jazz-funk influenced bass offered a loose blueprint for the more successful and better-known Japanese deep house tracks that followed.

Maurice Fulton's outrageous remix of "The Fall" by Rhye has been cherished as a stone-cold masterpiece for the past decade. Out of print almost immediately, its legend has only grown and for too long it's been impossible to find a copy without parting with considerable cash. We've wanted to remedy this situation for years so we're delighted to announce that we've finally given it the Be With treatment.

The word ‘genius’ is bandied about liberally but it's fair to anoint Maurice Fulton with such lofty praise. Sheffield’s king of oddball disco, Fulton is one of our favourite artists, an outerspace-minded producer with roots in Baltimore club music who has no problem injecting dank interplanetary funk into the smoothest of acts. And so it goes with his remix of "The Fall". Rich and typically off-kilter, this is spellbinding disco par excellance. Fulton arms the track with a juddering electro-funk synth-bassline before shifting to a twanging disco reverb and conga-led, crash-cymbal-elevated groove.

Essential doesn't even cover it; it's just astonishingly good.

The gorgeous original, situated here on the flip, is a sublime serenade, all twinkling strings and sweet, sumptuous vocals over smooth, jazzy piano styles. It earned comparisons to Sade, Air and the xx upon initial release and it's still easy to understand why; it's warm and buoyant yet deeply melancholy. Elegantly downlifting, you could say.

Simon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every year.

Ltd Fanbox mit: 1x LP light blue Vinyl Emilio – Blessings / CD Emilio – Blessings / Cap (unisex, onesize, navy) / Gewinnspielzugang für ein Meet&Greet mit Emilio in Kooperation mit Lacoste am 27.04.24 in Berlin / Notizbuch mit 80 Seiten, liniiert / Kunstdruck / DIN A5 StickerbogenDas langersehnte, dritte Studioalbum des deutschen Ausnahmekünstlers Emilio ist vielschichtig. "Blessings" kommt mit weder straightem Pop, noch R&B, noch Rap, noch mehr als "Roter Sand" und "1996" mit einem ganz eigenen Vibe daher. Smooth im Klang, trotzdem immer wieder auch über allen Maßen detailverliebt, dann wieder mit dem Mut zur Lücke und immer mit genug Raum für Emilios Stimme, Stories und Songs.

The incendiary proto hard rock and ambitious epic journeys this album delivers are all the more uncanny and devastating when you realize Gary Del Vecchio was a mere 16 years old when the title track Buzzin was unleashed! Even more astonishing is how far he travelled over the next five years, documented in this brilliant selection of nine tracks from the classic daze of early 1970s underground rock. Ohio was a hotbed for hard rock at the time with bands like the James Gang, Glass Harp, Poobah, Left End, Damnation Of Adam Blessing… what you get here matches the style any of those bands laid down. Gary's music grabs you immediately and grows over time. Grabber and Grower… best of both worlds style! It makes sense that Gary later owned a recording studio, right out of the gate he was laser focussed on all the aspects involved in making music that stands the test of time. The guitar action is incredible, shards of sound flying free yet hitting the bullseye continuously, vocals confident with none of the macho posturing that ages poorly in much early hard rock. These tracks are all vividly recorded and meticulously mixed in a way that balances fiery performance and intelligent structure to maximum effect. The bass and drumming here are phenomenally inventive and propulsive, the several players involved across the album nail it in their support of Gary's vision. This is rock music born in the 'anything is possible' life affirming energy of the late '60s right on time with where the most enduring artists of the early '70s took it. Had he scored the major label deal he pursued with labels like Mercury or London at the time I am confident we'd be hearing his music on classic rock radio today! The music on this album is both uncompromising and accessible. In particular, the two long tracks Wasted King and Starman have all the moves needed to grab fans of Pink Floyd, Led Zeppelin and the likes by the throat and brain in the extended progressive epic department! RidingEasy Records sets a high bar when it comes to unleashing the best vintage hard rock you never heard… take my tip people, the ride this one takes you on is definitely an 11 on a scale of 1 to 10… Gary Del Vecchio really knows how to do it!

REISSUE OF THEE HEADCOATS' FINAL ALBUM IN THEIR ORIGINAL INCARNATION! Originally released by Friends Of The Buff Medway Fanciers Association Records in 2000! The final studio release by Thee Headcoats (until last year's Irregularis: The Great Hiatus) gets a long-awaited vinyl reissue! Includes eleven Billy Childish originals plus a cover of Bo Diddley's 'Great Grandfather'! Recorded at May Road & Red Studios. Engineered by Graham Semark. "Thee Headcoats, who put out their first album in 1989, have recorded raw, primordial romps that seem inspired by American Delta blues musicians like Sonny Boy Williamson or the Southern swamp rock of Hasil Adkins, while maintaining a decidedly English sound. They've recorded under a slew of monikers, and issued an amazing discography of full-lengths, EPs, 7"s, and what-have-you for virtually every cool indie label since they formed (including US-based labels like Sub Pop, Get Hip, Sympathy for the Record Industry, and K, among others). Whether he's covering songs with a Bo Diddley beat, garage rock chug, or playing one of his angry young man/dysfunctional family rantings ('The Day I Beat My Father Up', for example), Billy Childish has built up a solid and somewhat rabid fanbase by releasing songs that you wouldn't normally think would attract a huge audience to begin with. However, I Am the Object of Your Desire has the distinction of being the last album by this band, as their prolific leader Billy Childish moved on to a new band; they're called the Buff Medways, which is apparently an ancient and now extinct breed of chicken which had feathered legs. It's also the name of the UK imprint this record was released on. This collection kicks right off with the album-titled track reveling in pure Headcoats fashion: that warm, fuzzy vibrato guitar with Childish's fuzzy, electronically distorted voice (an effect repeated throughout the album); Johnny Johnson's soft, flowing bassline; and Bruce Brand's primeval drums. The group keeps this sort of mid-tempo riffage going for the next couple of tracks. Johnson plays a mean harp on 'Hurt Me (Slight Return)', but things don't really take off until 'In a Dead Man's Suit' and the swaggering, Texas blues 'Chatham Town Welcomes Desperate Men'. The band's punk roots show up in songs like 'An Image of You' and 'Your Crying Means Nothing to Me' while 'Come into My Mind' has a definite Kinks influence. All in all, an excellent album from this soon to be sadly missed band." - Review from 2000 by Bryan Thomas (All Music Guide)

Guido Belcanto has a total of 15 studio albums to his name, a catalog of around 300 songs and is one of the figureheads of Flemish song who always plays to full houses during his extensive tours. His first 5 albums were originally released by EMI and are now being reissued by Starman Records. His legendary debut “Op Zoek naar Romantiek” (1989) and successor “Plastic Rozen Verwelken niet” (1990) have already been re-released. His third album “Plaisir D'amour” (1992) will follow on April 19, an album that will now be released on vinyl for the very first time.

Guido Belcanto has a total of 15 studio albums to his name, a catalog of around 300 songs and is one of the figureheads of Flemish song who always plays to full houses during his extensive tours. His first 5 albums were originally released by EMI and are now being reissued by Starman Records. His legendary debut “Op Zoek naar Romantiek” (1989) and successor “Plastic Rozen Verwelken niet” (1990) have already been re-released. His third album “Plaisir D'amour” (1992) will follow on April 19, an album that will now be released on vinyl for the very first time.

finally repressed !

ARCHIELONG LP album consists of 8 intensely rolled tracks dating between 2012-2020. The release unfolds on 4 discs of 180gr, with gatefold covers, coated in Sani Stranskiʼs artwork.

Throughout ARCHIELONG LP, we are absorbed by what typically characterizes his narrative: a peculiar style of story in constant development. Structure and flow are a hallmark feature of his selections, adding one more trippy, eerie minimal style on top of the other, creating a rich and quirky haunted sphere.

A – The opening track, I HEAR VOICES THROUGH THE PIPE sets the scene for whatʼs to come, stirring the imagination with its dreamy, cinematic, organic sounds in disguise. The track provides a guidebook to distilling story, emotion and image into sonic form.

B – EXCESS ALL AREAS – hypnotizes the dancers with endless, reverberating grooves and a punchy 4/4 beat, introducing the audience to his gloomy world of emotions.

C – LA MANIA – lights up some dark pitched atmosphere around you and makes you feel like you are on the mythical La Mania club dancefloor in complete harmony, surrounded by strange and beautiful trippers. The song is like a painting, with frames that evoke flashbacks.

D – NEW LIFE – is a perfect minimalist setup of a percussion loop, throbbing chords and a sinewy walking bass, and itʼs almost intimidatingly heady. Its militant kick and incessant hi-hats propel the beat – definitely a dancefloor highlight.

E – MELODROM – percolates with Latin percussion and shuffling snares, which commingle with an array of voices and whispers that come from every corner of the song. From toolish to melodic, itʼs the diversity that creates the magic.

F – SING AND RUN – is one of those tracks that gives you nostalgia and reminds us of early mornings at the end of the party when the sun would be coming in through the windows and the dancefloor was in total harmony. Could easily cast a spell with the right audience.

G –RUMBLING DREAM – is a ritualistic-sounding slice, crossing towards the kind of slow-burning, atmospheric cuts that doubtless inspire his intricate studio productions. The vocals are unusually illustrative and make a lasting impression.

H – KLAUS DID IT – is an intriguing interplay between dark functionality and high velocity grooves — the type of deep, trippy, IDM-tipped tunes. Its warped tones are forming dank, lurching rhythms that trap you like a spiderweb, venturing into a bizarre, rewarding territory. The conclusion? You can spend a decade honing a very particular personal vision and not run short of inspiration. Mihigh is a world-builder: everything he does is about further extending and reinforcing that world.

ARCHIELONG LP is capturing the beauty at the intersection of experiment and perpetual learning

Hit La Rosa are the heirs of the psychedelic cumbia of Los Mirlos and Los Destellos. The band explores the many facets of Peruvian cumbia music, infusing it with pop music, folklore, jazz and dancehall to produce its distinctive grooves and hooks. “Ceres Entrópicos” it’s a collage of the landscapes and rhythms of Peru, product of sound exploration and free composition. This special edition of the original album has some remarkable additions like ‘El Pongo’, their single with the legendary amazonian group Los Mirlos and the remixes of the outstanding Latin producers El Remolón (Ar) and Ballcap (Mx). The band's precise-yet-dreamlike music and punk sensibility all come together to make music that explores life's shadowy sides. They are one of the Peruvian bands with the biggest international growth and one of the few with a Tiny Desk Session. The band is inspired by the sound of Peruvian Cumbia roots and also explores the folklore of other cultures around the world. Their experimentation is wrapped with a contemporary sound and psychedelic vibe that blends into a particular and unique harmony. The band hit Lima's underground scene in 2014 and released their first studio album in 2017 called "Hit La Rosa y Su Gran Unidad Tropical". In 2021 they released “Ceres Entrópicos”, their secondstudio album (digital only). From the beginning until now they have been part of the biggest festivals in Peru, the rest of Latin America, USA and Europe. “Ceres Entrópicos” it’s a collage of the landscapes and rhythms of Peru, product of sound exploration and free composition. First time vinyl edition

"Memorie d'Inverno" is the first collaboration album from Original Krash (Producer) & Casco aka Helmet (Performer) with the partecipation of various dope mc's and singers also the vynil exclusive include two remixes from leggendary prodcuers Dj Skizo (from Alien Army) and The Next One (from Zulu Nation and Rock Steady Crew).

"Memorie d'Inverno" is a concept album released for Outboard Music in June 22 and the title in italian stands for "Winter Memories".
The LP it's worked and founded on the classic style of Hip Hop where bassline, cuts and drums reign on the productions all made with the MPC5000 sampling original vynils. The songs are concived as a phootage of a memory, so made too survive forever in the ear of the listener. All the tracks has been mixed analogically by Matteo "Nost" Nolli at Nost Studio (excluded the two remixes made directly by the producers) with the supervision of Original Krash and the work on the sound it's an essential part of the LP and melted with the fact that most of the beats are sampled from Jazz and Soul defines the Hip Hop flavour of the album.

Thw philosophy and the work ethic behind "Memorie d'inverno" it could be perfectly resumed in the titles of the intro (True Knowledge Is The Future) and the outro (Today, Not Tomorrow) as a perfect closing circle. The message is don't waste your time around unuseful stuff and keep focused on what you like and really desire to reach, so you better tie the laces to your shoes, bust your back and study to obtain what you deserve beacuse no one is gonna do that for you.
Krash and Helmet thaks everyone who will support our business remebering to the one who hasn't already purchase the order that they really should beacuse... Italians Do It Better .

TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

TO THE LIMIT ist eine durchdachte Zusammenstellung von 51 Songs aus den Studioalben und Live-Aufnahmen, die die Eagles zwischen 1972 und 2020 veröffentlichten. Die bekanntesten Titel der Band sind hier vertreten, darunter die Nummer-1-Hits "New Kid In Town", "One Of These Nights", "Best Of My Love", "Hotel California" und "Heartache Tonight". Mit Songs wie "Desperado", "Victim Of Love" und "In The City" enthält das Set auch viele Fan-Favoriten. Außerhalb des Studios beleuchtet TO THE LIMIT das beeindruckende Tournee-Erbe der Eagles mit mehr als einem Dutzend elektrisierender Live-Tracks. Dazu gehören Ausschnitte aus Eagles Live (1980) - darunter der Top-40-Hit "Seven Bridges Road" - sowie Songs aus Hell Freezes Over (1994), The Millennium Concert (2000), Live At The Forum '76 (2017) und Live From The Forum MMXVIII (2020).

Ruutu Poiss with his second album “II” after his 2021’s debut full length “Palav Aed“, a welcome return to Wake Dream. Recorded in a concentrated period of time during the dark winter days of late 2022 and early 2023, “II” now finds it’s way to the public’s ears in the brighter days of the year.

An album as conceptual as it is emotional, with feelings of transformation and dreaming, hope and arrival, and an aesthetic that is both cinematic and hypnagogic, nostalgic and futuristic, it turns contradictions into harmonies, brings together the dark and the light, spinning and whirling freely around a steady core.

Recorded mainly with one synth and a collection of old drumcomputers, Ruutu Poiss once again shows his futuristic sonic virtuosity within the boundaries of a compact studio setup.

When we started playing music together in 1997, we could spend a lot of time on each individual track. It would mutate, go through many phases, until we’d get to the point when we’d decide to capture it and mix it on the fly.

Twenty-five years later, we changed gears. This album was produced across a two year period, during several sessions in our studio (the third member of the band), following this process: we plug the machines, we start a musical conversation, we press record when it gets interesting.

In the studio, that moment always comes, when a fragile and magical balance happens. That’s when we record, usually in one take, sometimes all in the same stereo channel, the computer sitting in a corner, its presence not interfering with our ears.

La Folie Studio is the fruit of this process.

Let’s get numerologistic with this new age reactionary-philosophic strategy manifesto:

Playing electronic music, whether alone or not, must be joyous, funky, and make you feelgood.

The studio is not a sanctuary but a place of life. Technology must not be intimidating.

Welcoming friends and new objects in the studio should be an infinite source of inspiration.

If nothing happens in the studio, turn off the light and play a percussion record.

Techno heads of all ages need something more spontaneous and freer than little thumbnails shared on a pocket computer. Château Flight offers a musical experience carved on grooves.

With 25 years of experience, Château Flight can cure all your musical ills, instantly and painlessly.

The key to success: midi sync + din syc + external trigs.

Although it felt like the world had stopped spinning, at times, it was during these days, months, and years of uncertainty that many of Venice’s “Stained Glass” songs were conceived. Each member of Venice was quietly and privately cataloguing their artistic interpretation of this new reality and uncertainty by recording or writing down little snippets of ideas, like guitar riffs, melodies, or lyrics…all of these came about while looking at life through a new lens.

They set up the writing circle using an electronic drum kit, small tube amps, direct acoustic guitars and bass and the sm58 stage microphones for vocals. This small and simple setup allowed the band to work on ideas at low-volume levels by using headphones or low-level playback through studio monitors without bothering the neighbors with live drums. “Lunches made by Michael’s wife, Danielle, and visits from their dog Sachi, kept us grounded and let us stay in the creative bubble without leaving that space”, says bassist, Mark Harris. Michael and drummer, Andre Kemp, who co-produced Stained Glass, would later re-record the drum tracks with real drums in a friend’s studio.

“The beauty of this approach on Stained Glass was that one person’s idea would be presented to the other 5 musicians and each guy added a different color to that idea”, says Michael. “Whether it was an unexpected drum beat, or a moving guitar line, those simple ideas turned into pieces of art, colored by the different musical and lyrical contributions. That only happens when you are working that idea out, together, and playing as one unit”.

That was the main inspiration for the album title; like a kaleidoscope, each guy's experience and taste in music was bringing a different color to the songs, but together their contributions made one piece of art, one song. Michael concludes, “if you zoom out, each song becomes its own color and all those songs or colors come together to form one big piece of art, one big piece of ‘Stained Glass’”.

Santana's seventh studio album Amigos remains one of the most important records in their discography. David Rubinson was hired as producer to create a tighter, more up-tempo, and vocally focused hit record. The jazz influences of ""Welcome"" and ""Borboletta"" were replaced by a new sound with a stronger R&B and funk feel with Mexican folk influences. The album became one of their biggest successes, reaching the Top 10 in many countries. The single ""Let It Shine"" put Santana back in the Top 10 of the Billboard Top 200 and ""Europa (Earth's Cry Heaven's Smile)"" became one of the most popular songs of the band's career. Amigos is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl, housed in a gatefold sleeve and includes an insert.

"

Amigos by Santana, released 12 April 2024, includes the following tracks: "Let Me", "Tell Me Are You Tired", "Let It Shine" and more.

This version of Amigos comes as a 1xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

Yuval Havkin, also known as Rejoicer, is one of the foremost exponents of downtempo music, inspired by the fusion of jazz and hip-hop. His new album thus draws on his early influences while exploring the world of calm, melodic electronic music that borders on ambient.

This Is Reasonable has a chill-out feel to it, a record filled with melodies and atmospheres that, throughout its eleven tracks, conveys a sense of calm and floating, akin to ambient music. Stripped of the clichés of the genre, the album is built around subtle melodies and rich harmonies from keyboards and synths, which borrow as much from the spirit of jazz as from the inventions of electronica, whilst being supported by a gentle groove. This equilibrium is perfectly captured by Rejoicer's moniker, a term that evokes both the idleness of artificial paradises and a soft, caring form of spirituality.

Musical path
Yuval Havkin was born in Israel in 1985, and grew up in England before returning to his homeland. He began studying classical piano as a child, but was put off by such conservative teaching and turned to hip-hop and beatmaking in his teens. Throughout the 2000s, he learned his skills "on the job", working with musicians he met in Tel Aviv, a local scene that nurtured a sense of community and emulation. Back then, he was particularly impressed by the grooves and electronic inventions of Detroit producer Dabrye, who had a revelatory effect on him, before he discovered legendary musicians Madlib and Jay Dee aka J Dilla, who led him down the path of beatmaking.

Yuval Havkin's music career got off to a more serious start in the late 2000s with the creation of his own label, Raw Tapes, both based in Tel Aviv. Blending jazz, funk and hip hop, whilst still embracing pop influences, the label's productions showcased the richness of the new Israeli scene combining cool, elegance, playfulness, and a degree of research and inventiveness, thanks to the talent of artists and bands such as Duo Brothers, Maya Dunietz, iogi, Nitai Hershkovits, the Buttering Trio and Rejoicer, the artist's most personal project.

In 2018, Rejoicer's warm and engaging sounds caught the attention of the prestigious Los Angeles label Stones Throw, renowned for having signed his idols Madlib and J Dilla, not to mention Aloe Blacc and Peanut Butter Wolf (its founder). Two albums followed, Energy Dreams (2018) and Spiritual Sleaze (2020), both of which demonstrate his instrumental mastery, jazz culture and lush orchestrations. Both albums are on a par with more renown sampling prodigies of the beat scene, and gave him his first international recognition.

Now based between Los Angeles and Savyon, near Tel Aviv, this hyperactive and instinctive artist simultaneously pursues a career as a composer, musician and label owner, member of numerous bands and collective projects (Apifera, PlayDead, collaborations with Jimi Prasad and Avishai Cohen) while also offering his studios and production skills to other artists.

“Fela Kuti meets Aphex Twin”
This new Rejoicer album, which follows three earlier jazz-tinged records, marks a new and more personal musical direction for an artist who previously favored group work and collaborations. Following his meeting with Mathias Duchemin, founder of the Circus Company record label and a keen enthusiast of the new Israeli jazz scene, Yuval chose to delve into a more electronic and sequenced style of music, playing Prophet 6 and 8 synths, a Juno 60, a Minimoog and his Fender Rhodes keyboard, in contrast with the more organic sounds of his previous albums.

While a few tracks on this new album may sound like a laid-back version of some of the Warp label's early electronic classics by Aphex Twin or Boards of Canada, Yuval Havkin claims to have also been inspired by the great Fela Kuti, particularly in his search for harmonies between bass, keyboards and percussion, and by his elder trumpet-playing friend Avishai Cohen, a musician he particularly admires.

Beyond these various influences, This Is Reasonable is an album of compelling and bewitching melodies. The moods, peacefulness and sheer beauty of This Is Reasonable are, indeed, quite paradoxical, in stark contrast to the country's tragedies (the title explicitly refers to recent political disputes in Israel) and the war currently raging less than a hundred miles from his studio. A paradox fully embraced by the artist, who views his music as a response to the violence of our times.

"My Black Country: The Songs of Alice Randall" is the companion album to Alice Randall's new book "My Black Country," which offers a lyrical, introspective, and unforgettable account of her past, her search for the first family of Black country music, and the radical joy in realizing the power of Black influence on American culture. The album is a powerful compilation of Black female country artists re-recording the greatest songs of Alice's catalog, bringing to life the Black characters and portraits of the Black west embedded in her songs. The album is produced by Ebonie Smith (engineer of 'Hamilton', founder and president of Gender Amplified, and the in-house producer for the Atlantic Records studio in New York). Alice Randall is a New York Times bestselling novelist, award-winning songwriter, and educator. She is widely recognized as one of the most significant voices in modern Black fiction and has emerged as an innovative food activist committed to reforms that support healthy bodies and healthy communities. She lives in Nashville where she writes country songs.

Following two revered albums, ‘Dissolve’ in 2017 and ‘Avalanche’ in 2019, London-based electronic songwriter and producer Tusks, aka Emily Underhill, has returned with her third: ‘Gold’.

‘Gold’ took form slowly over several months spent rewriting and reworking; half created at home in the middle of London and half during two solitary trips to Devon, where many of the songs found their inspiration. In need of some space, away from a shared house that had just been through a pandemic together as well as from a relationship that was coming to an end, she travelled to the south-west. It was here that she would get the bulk of her writing done, recognising there were some things she would have to work through alone, and in no small part it came to her in the form of a torrential storm. Bringing the album back to London, Tusks partnered with producer Tom Andrews to bring the tracks to life from studios like Ten87 in Tottenham and SS2 Recording in Southend.

Night Prayer is the 2018 studio album by Belgian Flemish artist Jasper Steverlinck, who is also known as the guitarist of rock band Arid. After releasing his debut solo album Songs Of Innocence in 2004, Steverlinck got where he needed to be with Night Prayer. At the essence. No sumptuously packed arrangements. No technological gadgets or needless fuss. Not a single fashionable beat left or right. On Night Prayer, it’s all about songwriting in its purest form. No poetic metaphors, but straightforward lyrics and unapologetic emotions.

Together with producer Jean Blaute he recorded 14 stripped down songs, which he all sang in one take.

Night Prayer is available as a limited edition of 500 numbered copies on gold coloured vinyl and includes an insert with lyrics

Foil Jacket - White, Blue and Gold Merge with Splatter. DEATH, die von dem legendären Gitarristen Chuck Schuldiner gegründete
Heavy-Metal-Institution, veröffentlichte ihr legendäres viertes Studioalbum Human 1991 und erntete weltweit großen Beifall der Kritiker. Die komplexe und progressive Musik und die introspektiven Texte des Albums markierten einen massiven stilistischen Wandel weg vom primitiveren Frühwerk der Gruppe, und Human wurde zu einem der einflussreichsten Metal-Alben in der Geschichte des Genres.

Dogs Of War is the twelfth studio album by the heavy metal band Saxon, released in 1995. This one marked a period of changes for Saxon, both in their sound and lineup. Thanks to early ‘90s albums like Solid Ball Of Rock and Forever Free, Saxon convinced many skeptics that they still have plenty of quality heavy metal to offer and after a three-year recording hiatus, the band returned to glory with the massive-sounding Dogs Of War. Once past its thunderous opening title track, Dogs Of War delivered a slew of improbably memorable and distinctive numbers, including ""Big Twin Rolling (Coming Home),"" ""The Great White Buffalo"" and ""Demolition Alley."" It was also the last album with longtime guitarist Graham Oliver as a member of the classic formation, who left shortly after the album release. Dogs Of War is available is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

Dogs Of War by Saxon, released 12 April 2024, includes the following tracks: "Don't Worry ", "Hold On ", "Demolition Alley ", "Give It All Away " and more.

This version of Dogs Of War comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc.

I love these musicians Sam Amidon, Karl Blau, Charlotte Greve, Shahzad Ismaily. I’ve played with some of them for two years and some for over twenty. We met up last spring at Figure 8 Studios in Brooklyn and rehearsed for one day before recording this album at the nearby Owl Parlor on March 29 and 30, 2023. It fills me with joy to hear my songs reinterpreted through the spirits of these masterful musicians (who are also my dear friends). I hope you enjoy this document, too. Thank you to Oren Bloedow at The Owl Parlor for creating a beautiful space for us to perform and record this music.” Sam Amidon – fiddle, electric guitar and vocals Karl Blau – bass and vocals Charlotte Greve – sax, synths and vocals Shahzad Ismaily – drums, piano and vocals Laura Veirs – nylon guitar, electric guitar, piano and vocals Recorded and mixed by Lily Wen Mastered by Josh Bonati at Bonati Mastering NYC Produced by Laura Veirs

.

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

If the setting is right, magic will happen. And so, this record came into being. Sunburned Hand of the Man, three decades into their one of a kind run, still possess the ability to amaze, stupefy and astound - even themselves. Recorded over a week at Big Blue, Adam Langellotti’s (Kurt Vile & The Violators) studio/house, "Nimbus" sees the band's amorphous lineup produce results such as high-test workouts, cryptic readings & a choice cover (Sun City Girls). A record that this band could only produce in 2024 and the required next step for the devoted fan base and or those interested in doing some self-work in an unconventional setting.

"Nimbus" by Sunburned Hand Of The Man includes the following tracks: "Ishkabibble Magoo", "Lily Thin", "Walker Talker" and more.

Poly Dance Theatre presents its new show: Warning: killer track! Let's start with side A: an international adventure. Backstage, we meet up with rico OBF, who has recorded MC Waraba, the Malian singer and pioneer of the "Balani show" for his forthcoming album on Blanc Manioc Records, at the dubquake studio. Still backstage, we come across androo, the little pictureditor hanging around, who offers to do a re-interpretation by re-creating a riddim from the vocal.

So here's poet rapper MC Waraba, singing in Bambara and French, telling us a story about a girl's difficult choices over a riddim made in androo.
The result is a strange, solid, bewitching and melancholy blend of dub, wave and drill trap music. The references are many and scattered, as always with androo (just take a look at his bedroom). After the pop-epic poem, dub mix versions unfold, from dub vocal, with reminiscence of the delay-cut poem, to deep, robust instrumental straight.

B side: Warning: killer track again! Warning: another kind of Wave-dub-trap. Warning: Identity is theft. Warning: Sound system style: 4 parts! Here, starting with a badly cut sample (against American transparency! long live Brecht!), we wander through a heavy chorus-stepper-weird-club-dub, ranging from the most pop to the most ruff, via the most experimental to the deepest. 4 episodes. One season. To see again and again. To play again and again (if need be).
4 episodes (Warning again: Sound system style: 4 parts!)
A series of versions in which the dub mix experiments and pushes the track to its limits.

Translated with deepl

Air Kraft Vision was a unique live act renowned during the late '90s and early '2000s for their live sets performed at the finest Tuscan clubs like Jaiss, Imperiale, Insomnia and the infamous open-air afterparty, The West.

The group was composed by Francesco Passantino, Davide Cali and Roberto Bonini (Robo). The peculiarity of AKV was to replicate the spontaneity of studio live sessions in clubs, bringing almost all their machines and hardwares on stage. The same attitude was reflected in their productions: one mixer, rough analog sounds and three minds perfectly synchronized with each other.
Evasione Digitale is proud to reissue "Wavy Gravity”, originally released in 2001, a totally refreshing approach to Italian progressive music.

NOTURNALL. This is the name of this young group that, in less than 10 years on the road, is considered one of the biggest and most important bands in Brazilian Heavy Metal history. Starting in 2014, its brief, but intense history brings some legends of the so-called “Brazilian metal scene” that left their marks on worldwide renowned bands: Shaman, Angra and Project46. They also have in their line-up legendary North American guitarist Mike Orlando, who sold hundreds of thousands of album copies with ADRENALINE MOB and was listed a top 100 guitar player of all time and also a top 10 superstar of the year 2008 by Guitar Player Magazine.Iconic concerts, bold tours, thrilling music videos and guest appearances by Heavy Metal legends from all over the world, such as Michael Kiske (Helloween, Unisonic), Mike Portnoy, James Labrie (Dream Theater), Russell Allen (Symphony X, Adrenaline Mob), Michael Romeo (Symphony X), Edu Falaschi, among others, consolidate the band as a true jewel of Brazilian Heavy Metal. In 2022, after almost 2 years away from stage, Noturnall started the year with a nostalgic concert in SESC 24 de Maio, presenting classic songs. Noturnall released their fourth studio album, entitled Cosmic Redemption, showcasing the band’s best shape and also featuring as special guests: guitarist MARTY FRIEDMAN and bassist DAVID ELLEFSON (both former MEGADETH), founding SYMPHONY X guitarist, MICHAEL ROMEO, the internationally renowned prog metal drummer, MIKE PORTNOY (ex-DREAM THEATER, THE WINERY DOGS, SONS OF APOLLO), who previously toured with the band and appeared in the video for the single “SCREAM! FOR!! ME!!!”, and lastly Brazilian MPB legend, NE Brazilian MPB legend, NEY MATOGROSSO.

Cosmic Redemption by Noturnall, released 12 April 2024, includes the following tracks: "Shallow Grave", "Shadows (Walking Through) (Feat. Michael Romeo)", "Tempo Não Para (Feat. Matogrosso)" and more.

This version of Cosmic Redemption comes as a 1xLP.

The vinyl is pressed as a opaque disc.