Suche:t go

This is the second package of remixes for the hypnotic folk music of the Ainu a cappella group Marewrew. 
Ukouk Remixes Pt. 02 is dedicated to dub-infused remixes, featuring Elijah Minnelli and Peter Presto on a 7" single.
Elijah Minnelli is a producer of dub music. The London-based artist specialises in a fusion of folklore and dub, which he masterfully demonstrates on his latest release Perpetual Musket on the FatCat label. His remix of Marewrew's Uekap is a deep and breathing take on the mesmerising round singing vocals, dubbed in a live take through his mixing desk. The chopped vocals are used like percussion instruments. Elijah Minnelli has also contributed a moody DJ mix to the Pingipung podcast series, sharing some of his knowledge of pre-reggae roots music from the Caribbean and South America.
Pingipung founder Peter Presto remixes the same track, Uekap, with his unmistakable dubby playfulness. The vocals are merry, the groove stumbling and slow. The flute melody qualifies as a perfect stress antidote.
The electronic dub trio Cloud Management added their version of Honkaya to the digital package. There is an Andi Otto remix in the bundle, Hunpe Yan Na. The song is about a whale that has stranded ashore; Otto dubs the song with Heiko Gogolin’s bass clarinet, blown organ pipes and his cello. Finally, Californian folk wizard Contact Field Orchestra adds his atmospheric, haunted version of Etukuma Kara.

The Flaming Lips will celebrate 25 years of their seminal 1999 album, The Soft Bulletin, with the brand new The Soft Bulletin 25TH Anniversary Vinyl out September 6. It will be available in limited-edition 2LP Vinyl with stunning Zoetrope designs notably co-created by Drew Tetz and band frontman Wayne Coyne. Plus, it boasts brand new sleeve artwork in addition to an insert with text penned by Wayne.

The Flaming Lips first unveiled The Soft Bulletin on May 17, 1999. Anchored by staples such as “Race for the Prize,” “Waitin’ for a Superman,” and “Feeling Yourself Disintegrate,” it earned some of the highest critical praise of the band’s career. Pitchfork placed it at #3 among “The Top 100 Albums of the 1990s,” hailing it as “godlike music” and professing, “Remarkably, the band's music maintains a general air of feel-goodness while their lyrics concern sobering subjects as bleeding, bites, and mortality.” Moreover, Entertainment Weekly bestowed an “A” rating upon the record, Spin scored it “9-out-of-10,” NME applauded it with a “9-out-of-10,” and Pitchfork delivered a rare perfect “10.0” score.

Blakk Tape is the 4th solo mixtape released by underground legend Conway The Machine from Griselda Records on March 27, 2018. With the majority of production handled by Daringer.

After several rare vinyl editions of his releases, Blakk Tape is now officially reissued on black vinyl, limited to 500 copies.

Die limitierte Deluxe Edition von Archives Vol. III enthält Aufnahmen und Filme, die

die unangekündigte Bandbreite von Young’s Bemühungen aus der Zeit von 1976-1987 zeigen. Es ist eine der umfangreichsten Anthologien in seiner aufgezeichneten Geschichte. Insgesamt sind es 22 Discs, davon 17 CDs in 11 Softpaks und 5 Blu-Rays in 3 Softpaks. Es sind 11 Filme auf Blu-Ray, davon 4 bisher unveröffentlichte. Die insgesamt 198 Musiktitel enthalten 121 bisher unveröffentlichte Live-, Studio-, Mix- oder Schnittversionen und 15 bisher unveröffentlichte Songs, die hier zum ersten Mal überhaupt. 62 Tracks waren bereits auf verschiedenen Aufnahmen erhältlich. Die Blu-Rays enthalten 128 Tracks, über 14 Stunden Film. Die Box enthält außerdem ein 176-seitiges Buch und ein Poster. Mit über 28 Stunden können Sie von New York nach Denver fahren, die ganze Zeit hören und bei Ihrer Ankunft immer noch Stunden übrig haben.

Quill was a Boston-based rock band that had national exposure when they played the Woodstock festival in August of 1969.

The quintet got together in 1967 and played New England and New York over the next few years, getting

some positive regional press for their combination of high- wattage rock with elements of psychedelia and jazz,

and what would later be identified as performance art. Most of the songwriting was handled by John and Dan Cole,

who tended to deliver fairly complex pieces that lent themselves to elaborate performances, sometimes involving some heavy audience participation as well.

Straight off the back of his first live headline tour, 1-800 GIRLS continues his journey of binding genres through emotion with his debut EP ‘That’s Just How I Feel’ on Seb Wildblood’s label all my thoughts.

Mirroring his previous works, this four-track collection is a tapestry woven around themes of transformation and progression. Evolving with each production, this release is a strong statement of intent for how he means to go on.

The EP itself is made up of 4 scantily clad, lovestruck dance tracks that feel purpose built for the summer festival run. Proudly bearing all the hallmarks of a UK production, pitch vocals are inked onto the body of each track with detail and care. He demonstrates his ability to stir emotion with simplicity, and seasons each production with tastefully chosen found sound recordings.

Black Truffle is thrilled to present a Song for two Mothers / Occam IX the first ever solo release from Laetitia Sonami. Born in France in 1957, Sonami studied with Éliane Radigue in Paris before moving to California in 1978 to study electronic music at Mills College, going on to make important innovations in the field of live electronics interfaces and multi-media performance. Sonami is perhaps most closely associated with one of her inventions, the Lady’s Glove, an arm-length tailored glove fitted with movement sensors allowing the performer fluidly to control digital sound parameters and processing, as well as motors, lights and video playback. Having performed with the Lady’s Glove for 25 years, Sonami retired it in 2016, turning her attention to the interface/instrument heard and pictured here, the Spring Sprye.

In Sonami’s own description, “The Spring Spyre is composed of three thin springs that are attached to reverb tank pickups, mounted on a metal ring. The audio generated when the springs are touched, rubbed or struck is analyzed in Max/MSP. The extracted features are then used to train machine learning models in Wekinator and Rapidmax and control the audio synthesis in real time. We never actually hear the springs.” After decades of aversion to documenting her work on recordings, a Song for two Mothers / Occam IX treats listeners to two side-long performances with the Spring Spyre: the very first piece developed for the instrument and the most recent, the two contrasting remarkably in sound palette, energy and form. A Song for two Mothers (2023) spins an intricate web of rippling synthetic burbles, rapid sweeps and fizzing textures. Performed in real time with the sensitive and partly uncontrollable Spring Sprye ("a bit tyrannical," Sonami calls it), the music is delicate yet chaotic. Abrupt gestures hover against a backdrop of silence, "devoid of spatial or temporal direction". After several minutes, the sound-world becomes metallic and percussive, tapping and ticking in pointillistic flurries before a wavering harmonic cloud emerges, sprinkled with resonant drips and pops.


Occam IX is a radically different proposition. At the outset of Sonami’s exploration of the Spring Sprye, she asked her former teacher Éliane Radigue to compose a piece for it—and her: like all of Radigue’s work since she ceased working with analogue electronics at the beginning of the 21st century, Occam IX is written not only for an instrument but also for a particular performer. These scores are developed verbally, through meetings and conversations between performer and composer; each is grounded in an image (usually kept from listeners, to avoid influencing their experience); all magnify the subtlest acoustic phenomena and require great commitment and patience from the performer. Sonami’s is one of the few Occam pieces to make use of electronics, bringing it closer to Radigue’s famous longform pieces for ARP 2500. Beginning from a rumbling low tone, the listener is gradually immersed in slowly lapping waves of synthetic tones, eventually thinning out into delicate bell-like pings against a background of white noise, reminiscent of one of the most beautiful sections of Kyema from the Trilogie de la Morte.


Accompanied by notes from Sonami, her longtime collaborator Paul DeMarinis, and Radigue, and illustrated with scores, photographs and images of the Spring Spyre, a Song for two Mothers / Occam IX is an essential document celebrating an under-recognised pioneer of electronic music and performance.

Cardinal Fuzz and Feeding Tube Records are proud to present to you the 2nd LP from TOMOYUKI TRIO (Tomoyuki Aoki, Mike Vest & Dave Sneddon) following their debut LP ‘Mars’ on the esteemed Riot Season Record Label. Tomoyuki Aoki is the founding member and lead guitarist of the legendary Tokyo Psych Monsters UP-TIGHT. Of all the Japanese psych-rock groups that emerged in the late nineties and early noughties, Up-Tight are the most reverent, the most directly plugged into the source, from their name (Velvet Underground) with knowing referential song titles like “Sweet Sister” to their extended heavy, dark black clad acid fried one chord psych melters -- we're talking bands like Fushitsusha, White Heaven, Kousokuya, Shizuka, and the grandaddies of 'em all, the deservedly-legendary, Les Rallizes Denudes. Shitsuren If anything has got an even heavier, dronier edge than what we heard on the last one. Super fuzzed guitars, sad ballads, grinding distorto epics and numbed, narcotic rhythms. This is one to play at maximum volume so that you can soak up its molten magik as over 2 sides of Shitsuren’s grueling guitar hypnotics you uncover the darker side of the ensembles personality to find them digging deep to drag the audience with them into the shadows of stoner psyche. If you can picture Okhami No Jikan, Asahito Nanjo. Musica Transonic & Toho Sara then you’re close to the outrageous levels of psychedelic excess captured here, a riotous concoction of ferociously brooding, locked down heavy bearing intensity of fierce/brutal speaker battering in the red levels.

Takes ist eine 16 Track Compilation mit je einem Track von jeder der 16 der 17 CDs des Archives Vol. III Box Set. Diese Sammlung enthält 3 unveröffentlichte Songs und 12 bisher unveröffentlichte Versionen und wird die einzige Vinyl-Edition sein, die diese Songs enthält.

Blue Glitter Vinyl. One Step Closer has always believed that hardcore is limitless. On All You Embrace, the band puts that theory into practice. Every release from the Wilkes-Barre, Pennsylvania band has seen them exploring the sonic overlaps of hardcore, emo, and '90s alternative rock without an iota of self-consciousness, or pretension, creeping into the mix. All You Embrace is a collection of 11 songs that show One Step Closer reaching for something deeply honest and, as always, authentic."I wanted to showcase One Step Closer in its fullest state," says vocalist Ryan Savitski. "Every single part of the band, I wanted it to be there. I wanted us to be 100% ourselves and be as authentic to our band as we could possibly be." For fans of their first EP From Me To You, there are songs like "Blur My Memory," which show the passionate melodic hardcore the band built its name on is still part of the program. But it's immediately followed by "The Gate," a song that taps into the expansive reaches the band hinted at on This Place You Know and put on full display with the powerful follow-up EP, Songs For The Willow. Every element of One Step Closer is on display throughout the record, as they expound upon every idea until each one has achieved its full potential. The result is a record that's bigger, catchier, and moodier than anything they've done before, while still feeling exactly like OSC.Taken in full, All You Embrace is the sound of One Step Closer honoring their past while building a future that looks more open, more creative, and more expansive. It's a place where records like Start Today, Diary, and Floral Green are all in conversation with one another. Even the album's cover art marks a new direction for the band - the dizzying, frigid blur of blues & blacks colliding is a painting of guitarist Ross Thompson spinning in place, evoking how it feels to listen to these eleven tracks about change, grief, anger and the growing up. One Step Closer feels like the next in a line of revered bands coming from the crescent-shaped depression of Wilkes-Barre - and All You Embrace is the perfect introduction to the most exciting version of the band to date.

Vor mehr als einem Jahrzehnt krachten The Dead Daisies mit voller Wucht in die Musikszene. Ihre Mission: den guten Oldschool-Rock im Stil der 70er
Jahre zu spielen, einige der besten Musiker der Welt zu versammeln und mit ihren Fans eine großartige Zeit zu verbringen, um die Rockmusik am
Leben zu erhalten.
The Dead Daisies veröffentlichten im Mai die erste Single „Light ´Em Up“ ihres gleichnamigen neuen Albums. Mit „Light ´Em Up“ bestimmt die Band
nicht nur den Ton ihrer neuen Scheibe, sondern ebenso den der 2024er Welttournee, die durch die USA, Großbritannien und Europa führt.
„Light ´Em Up“ wurde in Nashville mit Produzent Marti Frederiksen aufgenommen und ist gleichzeitig das erste Album der Band seit 2022 und die
erste mit ihrem zurückgekehrten Sänger John Corabi seit 2018.
Das neue kompromisslos rockige Album ist randvoll mit großartigen Hooks, Dougs begeisternden Gitarrenriffs und Johns unverwechselbarem Gesang.
Kein Zweifel: Wenn The Dead Daisies die Scheibe live spielen, wird es das Publikum von den Stühlen reißen.

Das Top-20-Live-Album aus dem Jahr
1993, ist zum ersten Mal überhaupt
auf LP erhältlich.

Coming out on September 6th on Sharptone Records, Sundiver is Boston Manor’s fifth album and one that represents a glimmering dawn for the Blackpool five-piece. Grown from a seedbed of optimism and sobriety, the LP celebrates new beginnings, second chances and rebirth. With two members recently stepping into fatherhood, hope is baked into every note. “Datura came out of these really dark few years over the hangover of the pandemic,” Henry reflects. “I'd been struggling a lot with drinking and not taking care of myself and bad mental health and stuff. We wanted Sundiver to be the next morning of the following day.” He explains that it feels good this time round to write through the lens of positivity. “The themes began to emerge, of rebirth, spring, dawn, sunshine and then other elements just started to fit into that.” It was during the making of Sundiver that Henry found out he was going to be a dad. This album is a significant one for the band. Originally coming out of the emo and pop punk scene, they’ve explored sonics and genres throughout their career, taken risks and achieved more than they could ever had dreamed of. They’ve grown up as Boston Manor – their lives and the world changing around them. They’re now taking stock, at a crossroads of the band they were and the band they could be.
While writing the album, they revisited the bands that shaped them in the late 90s and early 00s. “I was listening to the music I loved when I was a teenager and I just thought, why don't we make music like our favourite bands?”, guitarist Mike Cuniff remembers with a smile. “So we brought our interests to the table that way. Y2K kind of vibe. There are elements of Deftones, there are elements of Portishead in there, some Garbage, The Cardigans.” He laughs and adds NSYNC to the list of inspirations. From this cocktail of classics comes a dynamic and ambitious record, rich with depth, groove and more hooks than Peter Pan’s nightmares. Lyrics that foxtrot from parallel universes to personal growth, vivid dreamscapes to raw grief. Individually they’re single strokes full of meaning and magic. Together they’re a landscape.
Container (out Feb 15th) is the first single and it’s them at their best – impassioned and infectious. “This song is about the stagnancy of life creeping up on you & how that can bring about change.,” Henry explains, citing Ocean Song by US band Daughters as an inspiration.

The concept of the butterfly effect is present on Sundiver – how small actions can lead to big changes. This is no clearer than on their second single, Sliding Doors (out April 5th). It has the golden sound of late 90s Lollapalooza rock – think Smashing Pumpkins - rebooted with crisp 2024 production and a potent heaviness. In the lyrics Henry wonders, what if?, pondering on what could be. The idea that there are infinite versions of you whose lives splinter off in different directions at every decision you make. That there’s another you out there somewhere right now reading this sentence, and another me writing it. “So much is down to chance and circumstance,” Henry says. “You might catch that train and your life totally changes. Or you might miss it and things stay the way they are.”
Heat Me Up (out May 30th) is defiant and victorious, the audio equivalent of quitting your shit job and driving into the hot summer sun with a head full of dreams. “The lyrics are about love and gratitude,” Henry shares. “Another theme on the record is just appreciating what you have. It’s about not taking for granted the things that you've been afforded.”
There was some natural magic in the creation of Sundiver. They worked with their usual producer, Larry Hibbitt, and engineer, Alex O’Donovan, but instead of recording in London again they ended up in the green pastures of Welwyn Garden City. “Because Larry lives out in the countryside now, it was a way different environment and way different experience recording this time,” Mike remembers. “That contributed a lot to the brighter sound of the record.” The daily barbecues they had during their recording sessions imbued the process with harmony – five old friends spending quality time together and making quality music.
However, the album is by no means one-note. Birthing this new world they’ve created wasn’t without it’s pain, and that can be heard in the heavier moments on Sundiver. What Is Taken Will Never Be Lost is the most-stripped back on the album, a slow rock number seasoned with the downtempo Portishead influence. The heartfelt lyrics are Henry’s way of processing the loss of his grandfather, who died in a hospice last year(?). “It was just fucking horrible. It was always cold when I went there and they were always trying to get rid of me. The song title, What Was Taken Can Ever Be Lost, is the idea of his memory fading at the time because of dementia.” Henry goes onto explain that shoeboxes of photographs, diaries and a legacy is what he’s left behind. “He lived a really rich life and it has really impacted me and my father. His legacy is etched into the fabric of history in a very small way.” This song continues the connection between his grandfather and the band, as his painted face is emblazoned on the cover of the very first Boston Manor EP, Driftwood. As well as emotionally heavy themes, there’s heaviness in the music of Sundiver too. The closing song, Oil In My Blood, descends into an intense shoegaze outro with Debbie Gough from Heriot screaming hellfire. It’s in moments like this that the band show us aggression and fury can be as much a part of positive change as quiet introspection. The last lyrics of the song, “It resets and starts again,” leaves us in contemplation as the final chord rings out.
Touring the US, Europe and Japan over the years makes for an impressive CV, but if you know anything about Boston Manor you’ll know that they’re all about their hometown. Their choice to work with Blackpool-based photographer Nick Barkworth is testament to that. They’ve been working with him since the pandemic. “He captures Blackpool in a light that really reflects the weirdness and quirkiness of the town,” Henry says.” He's got a really good way of presenting that.” For the Sundiver cover, Nick photographed a 30ft tall abstract glass sculpture made by the local artist John Ditchfield. A striking and bewitching monolith that’s familiar to them but unusual to most people. “It has such kind of a gravity and power to it,” Henry describes the sculpture which stands in a field just outside of the seaside town. “It reminds me of either an explosion or a star or a supernova. To me it represents new life, power and radiance.” Boston Manor have got a knack for that - connecting the otherworldly and the everyday, the stars and the streets.
They’re a band known for using their music to make bigger statements about society. This time round they’re harnessing the uplifting power of music, and the communion it creates, as an antidote to the daily doom and isolation. “It seems like absolute chaos out there at the moment,” Henry says. “You’ve got Gaza and Israel, you've got Russia, you've got the fact that 40% of the world is going to have an election this year and increasingly most governments are leaning very far to the Right. The internet is dividing everybody, people are getting poorer and more desperate. It's really, really scary.” They considered trying to tackle the weight of it all in their music. “We could’ve written Welcome to the Neighbourhood on steroids, where it's just absolute darkness and misery”. He’s referring to their 2018 concept album that deals with class, inequality and the bleaker side of Blackpool. “But I think it's really important to write something that people can be immersed in and find some sort of solace in. Somewhere they can escape to from the modern day pressures and everything that’s going on. We’re all in this together.”

Originally released in November 1984, Limahl’s debut solo album ‘Don’t Suppose’ is to be reissued on recycled lavender vinyl to celebrate its 40th anniversary. The album is probably best known for the aforementioned ‘Neverending Story’. As well as featuring in the film of the same name (which is being revived for the big screen once more), it more recently found a whole army of new fans when it appeared in the final episode of the third season of Stranger Things. Set in 1985, the song is sung by Dustin (Gaten Matarazzo) and his long-distance girlfriend Suzie (Gabriella Pizzolo) as a way to reconnect after not seeing each other for some time. Following the season's release on July 4, 2019, interest in the track surged; viewership of the original music video had increased by 800% within a few days according to YouTube, while Spotify reported an 825% increase in stream requests for the song.

Further reflecting on the album Limahl goes on… “I can’t believe it’s been 40 years, yet sometimes it feels like yesterday! Looking back now, it's surreal to think that at just 24 years old, being born and raised on a Wigan council estate with no family connections in the music business, I was thrust into a whirlwind of travel and appearances to promote my music worldwide via TV, radio, and press—long before the internet.

“I’m excited to imagine where and how the song will continue its journey. It’s amazing that it still feels relevant 40 years on. I’m not too shy to say how immensely proud I am of its achievements.”

• The return of the award-winning 2009 release • Available on CD and limited-edition translucent red LP • On tour throughout 2024 Since 1999, the GRAMMY-nominated southern rock band NEEDTOBREATHE have quietly emerged as a dynamic force in music, from independently releasing their first album in 2001 to finding themselves playing arenas and receiving nominations for multiple Dove Awards, Grammys, and Billboard Music Awards. After releasing two successful albums, Daylight and The Heat, on Atlantic Records, the band their third album, The Outsiders, in 2009. The record quickly put them on the map, peaking at #20 on the Billboard 200 and at #2 on the Hot Christian Albums charts. The first single, “Lay ’Em Down,” reached #4 on the Hot Christian Songs chart, and other tracks crossed over to Triple A (“Something Beautiful” #12) and the Alternative charts (“Hurricane” #29). AllMusic gave the album four stars, claiming it “offers up another collection of sweeping, reverent rock songs [and] flirts with touches of roots rock and traditional gospel, from the title track's powerful Southern stomp to the sheer power of Bear Rinehart's voice." The Outsiders won the Dove Award for Rock/Contemporary Album Of The Year, and “Lay ’Em Down” landed honors as Rock/Contemporary Recorded Song Of The Year.

Two years later, the band would be on tour as the opening act for Taylor Swift’s Speak Now world tour, as well as performing alongside acts including Tim McGraw and Train. Since the release of this landmark album, NEEDTOBREATHE have reached arena-sized proportions, headlining iconic venues such as Bridgestone Arena in Nashville, TN, and four sold out shows at Red Rocks Amphitheaters in Morrison, CO. The band most recently performed at the 2024 CMA Awards in Austin, TX, with Jordan Davis, whom they also recorded an episode of CMT Crossroads with. Now, over fifteen years since The Outsiders was released and brought the band to greater heights, NEEDTOBREATHE are re-pressing the long sold-out record for the first time ever on translucent red vinyl.

Don Juan's Reckless Daughter is a 1977 double album by Canadian singer-songwriter Joni Mitchell. Her ninth album, it is unusual for its experimental style, expanding even further on the jazz-influenced sound of Mitchell's previous recordings. Mitchell has stated that, close to completing her contract with Asylum Records, she allowed this album to be looser than anything she had done previously.

Don Juan's Reckless Daughter was released in December 1977 to mixed reviews. It reached No. 25 on the Billboard charts and attained gold record status within three months.

Shadows and Light is the second live album by Canadian musician Joni Mitchell. It was released in September 1980 through Asylum Records, her last release for the label. It was recorded in September 1979 at the Santa Barbara Bowl in Santa Barbara, California.3

For the album, Mitchell was backed by a band of acclaimed jazz and fusion musicians consisting of guitarist Pat Metheny, bassist Jaco Pastorius, drummer Don Alias, keyboardist Lyle Mays, and saxophonist Michael Brecker. Additionally, vocal group the Persuasions appear on the title track and a cover of Frankie Lymon & the Teenagers' "Why Do Fools Fall in Love".


[a] a1. INTRODUCTION [1:51]
[b] a2. IN FRANCE THEY KISS ON MAIN STREET [4:14]
[c] a3. EDITH AND THE KINGPIN [4:10]
[d] a4. COYOTE [4:58]
[e] a5. GOODBYE PORK PIE HAT [6:02]
[f] b1. THE DRY CLEANER FROM DES MOINES [4:37]
[g] b2. AMELIA [6:40]
[h] b3. PAT’S SOLO [3:09]
[i] b4. HEJIRA [7:42]
[j] c1. BLACK CROW [3:52]
[k] c2. DON’S SOLO [4:04]
[l] c3. DREAMLAND [4:40]
[m] c4. FREE MAN IN PARIS [3:23]
[n] c5. BAND INTRODUCTION [0:52]
[o] c6. FURRY SINGS THE BLUES [5:14]
[p] d1. WHY DO FOOLS FALL IN LOVE [2:53]
[q] d2. SHADOWS AND LIGHT [5:23]
[r] d3. GOD MUST BE A BOOGIE MAN [5:02]
[s] d4. WOODSTOCK [5:08]

The Deslondes are a five-piece group of dudes from New Orleans. The band splits up songwriting and lead vocal duties among its five members, continuing its democratic ethos and musical versatility. Multiple members have released solo recordings between their sophomore release, Hurry Home (2016) and their previous release Ways & Means (2022). Now, with their latest record, Roll It Out the band continues to build on their inventive take on New Orleans country and R&B. Roll It Out finds the band leaning on the country-folk of their debut along with the sometimes-psychedelic, electrified gospel-soul sound of their previous records The sound will continue to draw comparisons to the country-funkiness of The Band, Link Wray, and others but Roll It Out is the sound of a band that understands the history of American music, while embracing their own contemporary approach.

"The debut album of Berlin’s favourite two-thirds Welsh, one-third Danish instrumental psych-disco trio, out Aug 30th. Imagine Jaki, JJ and Jarre*** locked in a room together, with a memo from John Carpenter that reads “Goblin + Swans = ?”. Something like that. Raw drums, bass, vintage organs and synths are utilised to brutal effect via 7 epic songs that deliver disco disquietude, krautrock, oscillating horror soundtracks and beyond.

Or, as the band themselves insist: ""the Nicki Minaj of dungeon synth"".

The band name is the Greek classifying nomenclature for man: aka The Talking Animal. As promulgated by Anthony Burgess.

Zammit A.D. – drums, organs, synths. TNT Taylor – 4-string electric bass. Fred Alert – Moog, Dominion, percussion

featuring guest vocals from Gemma Ray. Recorded and mixed by Ingo Krauss (Swans, Einsturzende Neubauten) at Candy Bomber, Berlin. Produced by Zoon Phonanta

The band has had a difficult birth. They got together, did two shows (one with Gruff Rhys), then pandemic struck, leaving them far apart. They got back together, then Fred broke his back in an accident. When they finally reconvened, they recorded, then their other musical projects took over (eg Jon Spencer & The Hitmakers, The Third Sound). The album and live plans were then delayed by more broken limbs. Now fully healed they are poised to heal you back in gratitude, at their soon to be announced in-person performances.

*** Liebzeit (Can), Burnell (Stranglers), Jean-Michel"

"King Yellowman is the 1984 Columbia Records debut album by Yellowman. The artist, whose real name is Winston Foster, is a Jamaican reggae and dancehall artist who first became popular in Jamaica in the 80s. After he rose to prominence in his home country, he released this record under the Columbia label. Yellowman is considered to be one of the pioneers in reggae and hugely contributed to Jamaican musical culture and the internationalization of reggae. King Yellowman is available as a 40th anniversary edition of 1000 numbered copies on yellow coloured vinyl."

The next album in our Cuban Classics series is a hard one to pigeonhole. It’s a real oddity, unique and not in keeping with the majority of Cuban albums we know, but it's all the better for this. Coming courtesy of Juan Almeida, the Fantasia LP is an eclectic and epic, instrumental ride through Latin jazz-funk, trippy electronics and orchestrated classical music. Sounding at points like a full-blown orchestrated score to a dusty animated film extravaganza, with phrases and passages repeating like the appearance of ghostly spectres throughout the recording. At others, it busts into exotic funk, psychedelic-trippiness and Afro-Cuban percussion.

As rich and varied as the record, so too was Juan Almeida's (Juan Almeida Bosque) life. A descendant of African slaves born in a poor neighbourhood in Havana in 1927, Almeida went from bricklayer to university law student, through which he would meet Fidel Castro. He played a key role in the Cuban revolution, becoming the only black commander and famously voicing “Aqui no se rinde nadie!” (“Nobody here surrenders!”) when outnumbered at the start of the offensive. Castro would later make him one of his vice presidents, but Almeida’s legacy does not stop there. He also became the composer of over 300 popular Cuban songs, many of them recounting his days as a guerrilla.

Produced, orchestrated and conducted by Rafael Somavilla, who worked on a vast array of Cuban recordings including Raúl Gómez's 'Instrumental' which we also reissued on Mr Bongo, the feel of Fantasia is big, luscious, grand and pop-classical. It has become a highly sought-after, cult Cuban rarity amongst collectors and like many great albums, every repeat listen brings with it new elements previously unnoticed. Such is its richness and depth. A truly mesmerising, off-the-beaten-track instrumental record.

After years of visiting graveyards, combing through haunted houses, and pursuing (heh heh) dead ends, we finally tracked down the rights to the legendary Frankie Stein and His Ghouls series! Why did we risk life, limb, and livelihood to find these records? Well, first of all, long-time Real Goners know we LOVE these campy ‘60s takes on horror rock—witness our previous macabre moves into the Zacherle, Munsters and Groovie Goolies franchises. But there’s something extra special about these Frankie Stein and His Ghouls records. You wouldn’t think that Halloween records released by a subsidiary (Power Records) of a children’s specialty label (Peter Pan Records) would be so…er…visceral, but these records are definitely the most out there of their kind. And there might be a reason for that…you see, it has been revealed that the Power label enlisted the aid of some very, very interesting musicians for some of its projects. For instance, the imprint’s 1966 album Batman and Robin by The Sensational Guitars of Dan and Dale was actually produced by Tom Wilson of Bob Dylan, Velvet Underground, and Mothers of Invention fame—and the band was made up free jazz legend Sun Ra and members of The Blues Project! Which has led to all sorts of speculation about who Frankie Stein and His Ghouls actually were; among the names bandied about are guitarist Duane Eddy, jazz saxophonist Max Greger, and, yes, Sun Ra and the Blues Project again. At any rate, prepare yourself for frenetic rock-and-twist workouts punctuated by deranged howls and shattering sound effects. And with a back story like this, it’s no wonder original copies of these albums sell for downright horrifying prices…here come the last two for a truly fiendish finale!

The album art proves nobody can do The Twist quite like a giant snake! This never-before-reissued 1965 classic offers “de-compositions” for dancing like “Be Careful, It’s My Throat” and “Saturday Evening Ghost,” pressed in coke clear with yellow “serpentine” swirl vinyl limited to 900 copies!

This is going to be the scariest spoken word record you’ve ever heard. We’re not joking…and neither is Vincent Price. The star of such horror classics as House of Wax, The Abominable Dr. Phibes, and Theatre of Blood (and, of course, narrator of Michael Jackson’s Thriller video) can barely hide his delight while he takes his audience through a graphic and occasionally grisly history lesson in witchcraft from the Bible through the Middle Ages, the Spanish Inquisition, and Nazi Germany. Then, accompanied by occasional eerie, abstract electronic music, Price’s sinister satisfaction only mounts as he provides instruction in the dark arts, with such tracks as “How to Make a Pact with the Devil” and “Curses, Spells, Charms.” It’s all in good fun, of course…or is it? The mysterious writer of the script, one Terry d’Oberoff, has only one other credit to his name: as the “mascot” of an early ‘70s band called…wait for it…Black Magic. This 1969 double-LP release has long been coveted by collectors of the curious and macabre, and for its first reissue in over 50 years, we are giving it the Real Gone treatment, reproducing the gatefold jacket and the full-size, 8-page booklet that accompanied some copies. It’s a combination history textbook and how-to manual in witchcraft, with a title page depicting a particularly unsettling spell called “The Hand of Glory” involving the severed, salted, and dried hand of a convicted felon. We are releasing this one-of-a-kind album on clear with orange “pumpkin” swirl vinyl…Happy Halloween.

Rob Zombie and Waxwork Records have partnered to release an exclusive, curated line of classic Horror movie soundtracks! “Rob Zombie Presents” features several never-before-released film soundtracks that were personally selected by the singer, songwriter, and filmmaker.

“I have always been a huge fan of movie soundtracks. So I jumped at the opportunity to work with Waxwork on this project.” Says Zombie, “I can’t wait to release these albums. So many of these films are greatly under appreciated and, they all contain such great music. So, to be able to release these deluxe packages is a dream come true.“ - Rob Zombie

Rob Zombie and Waxwork Records are thrilled to announce the debut vinyl release of THE LAST MAN ON EARTH Original Motion Picture Score by Paul Sawtell & Bert Shefter. The Last Man On Earth is a 1964 post-apocalyptic science fiction horror film based on the 1954 novel I Am Legend by Richard Matheson. Starring Vincent Price, the plot follows Dr. Robert Morgan (Price) who lives in a world where the human population is infected by a plague that has turned them into undead, vampiric creatures that cannot stand sunlight, fear mirrors, and are repelled by garlic. Every day, Morgan follows a routine where he marks days off the calendaqr and sets out to hunt the vampires, killing as many as he can and then burning the bodies.

After working together on the successful release of the official soundtracks to Zombie’s films House of 1000 Corpses, The Devils Rejects, 3 From Hell, The Lords of Salem, Halloween 1 & 2, and The Munsters, Zombie explored other ways to collaborate with Waxwork in an effort to unearth, re-master, and release classic, left-of-center Horror soundtracks from films that he is a life-long fan of. The line of soundtracks features deluxe packaging, heavyweight colored vinyl, new artwork by prominent Horror illustrator Graham Humphreys, liner notes and interviews conducted by Rob Zombie with filmmakers and actors. Titles include premiere releases of Spider Baby, Carnival Of Souls, The Last Man On Earth, The House On Haunted Hill, The Legend of the Seven Golden Vampires, and many selections from the HAMMER film library.

All killer, no filler type biz as Naarm hardware donny Furious Frank makes his Oyster Cult return.

Strictly dancefloor wreckers from beginning to end. Girder-strength rhythm and driving, direct torque on the menu as Frank opts in favour of club-ready ordnance. Those with a taste for the rough n’ ready have never been in safer hands.

He’s bringing the heft like it's going out of style while keeping true to sci-fi and hallucinatory tendencies. Future-proofed forays into acid and trance backed with some of the toughest breakneck groove you’re likely to hear this summer. Darting synths, flourishes of 303; all the good stuff.

Dealing damage from the controls of his drum machine, urgent basslines and lacerating percussion are primed for maximum impact. Quintessentially Furious."

This is the 6th album by the Swedish legend Jonas Lundqvist. I’s a big album about angels, God and the trouble of relations.

After six years, the American alternative rock band Buffalo Tom are back in 2024 with their tenth full-length studio album, titled Jump Rope. During the lockdown, the band kept on writing and sent each other ideas for arrangements and parts, which resulted in a sizeable backlog of song ideas. A sort of direction made itself apparent from the ideas they were trading; most of the songs called for an acoustic, quieter production. Eventually, emerging from their basements, they slowly got to actually working together on the songs in the same room, rehearsing quietly (especially for the super-loud Buffalo Tom), with acoustic guitar. After giving most of the songs a good amount of overdubs and a lot of electric guitars, the songs evolved into this beautiful and thrilling new Buffalo Tom album: Jump Rope. Jump Rope features the singles “New Girl Singing”, ""Helmet"" and ""Autumn Letter"" and is available on black vinyl.

Kevin Godley and Lol Creme worked together for several decades, were part of many different bands and wrote hit after hit. Two highly successful multi-instrumentalists, singers and producers who became world renowned video producers as well. Godley & Creme's Collected album features inventive, eclectic music blending pop, rock, and art influences, showcasing their unique, avant-garde style. This 2LP features the duo's biggest hits, including ""An Englishman In New York"", ""Freeze Frame"", the top hit ""Cry"" (which showcased their amazing video), ""Wide Boy"", and ""A Little Peace Of Heaven"" among others. The 2LP Godley & Crème Collected is housed in a gatefold sleeve with liner notes.

Much Afraid is the second studio album by American Christian rock band Jars of Clay and was released in 1997. Following the charting success of the band's debut album, Much Afraid earned the band a Grammy Award for Best Pop/Contemporary Gospel Album. It debuted at #8 on the Billboard 200 and was certified Platinum. The album features the multi-instrumentalist Greg Wells, who went on to produce OneRepublic, Katy Perry, Pink, and Rufus Wainwright, playing drums and bass guitar on almost every song; he also co-wrote ""Tea And Sympathy"" and the single ""Crazy Times"". The tracks ""Fade to Grey"" and ""Frail"" were both from the group's 1994 demo recording Frail. All other tracks from that demo appeared on the debut album Jars Of Clay in 1995. Much Afraid is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl.

In 2007, the American rock band Puddle Of Mudd released their third studio album Famous. It debuted at #27 on the U.S. Billboard 200 and contains some of their most popular tracks to date. The single “Psycho” hit the Billboard Hot 100 and topped the Modern Rock charts in the United States. Thee more tracks were released as singles: “Famous”, “We Don’t Have To Look Back Now” and “Livin’ On Borrowed Time”.
Famous is available on vinyl for the first time and includes a 4-page booklet with lyrics.

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

The Curse ist das zweite Album der kalifornischen Metalcore-Band Atreyu. Ursprünglich im Jahr 2004
veröffentlicht, wurde das Album in den Vereinigten Staaten mit RIAA-Gold ausgezeichnet und erreichte
Platz 1 der Billboard Independent Albums Chart. The Curse enthält die Singles ”Bleeding Mascara”, ”Right
Side of the Bed” und ”The Crimson”. Diese Wiederveröffentlichung enthält eine Coverversion von ”You
Give Love A Bad Name”.

Die britische Singer-Songwriterin und Musikerin Martina Topley-Bird wurde durch ihre Zusammenarbeit mit
den Trip-Hop-Pionieren Tricky und Massive Attack in der Musikbranche bekannt. Besonders hervorzuheben
ist ihr gefühlvoller Gesang auf dem Track ”Teardrop” von Massive Attack aus deren Album ”Mezzanine”,
der zu seiner atmosphärischen Wirkung beiträgt. Auch auf Trickys Debütalbum ”Maxinquaye” (1995)
hat ihre eindringliche Stimme den unverwechselbaren Sound geprägt. Als sie 2003 zu einer Solokarriere
überging, erntete sie mit ihrem für den Mercury Award nominierten Debütalbum ”Quixotic”, das bei Independiente Records erschien, großen Beifall der Kritiker. 2004 erweiterte Topley-Bird ihre Zusammenarbeit
und lieh ihre Stimme den Gorillaz-Tracks ”All Alone” und ”Kids with Guns” von deren Debütalbum ”Demon
Days”. Seitdem hat sie weitere Alben veröffentlicht, darunter ”Anything” (2004), ”The Blue God” (2008)
und ”Some Place Simple” (2010).
Martina Topley-Birds von der Kritik hochgelobtes und für den Mercury Award nominiertes Debütalbum
”Quixotic” wird zum ersten Mal auf Vinyl veröffentlicht. Diese erweiterte Ausgabe enthält das Originalalbum sowie drei B-Seiten und einen unveröffentlichten alternativen Mix der ersten Single ”Sandpaper
Kisses”. Sie wird auf Doppel-Vinyl gepresst und in einem Gatefold-Sleeve verpackt sein.

This year's compilation is once again dedicated to the Bärenherz children's hospice here in Leipzig.
The people in this organization do such incredibly important work, but unfortunately it is all too often "invisible" - because if we're honest, it's not a topic you like to deal with unless you are directly or indirectly affected yourself. And then you realize that the costs of care, accommodation, supplies and psychosocial therapies are only partially covered by health insurance. The children's hospice does not receive any state subsidies, and that's why it is dependent on private donations.

We asked a few old friends from our new hood (now that we are no longer just mentally but also physically located in Leipzig) for tracks, as well as new ones - from Connewitz to Chicago - bridging the gap between Neo-Soul, good old Boom Bap, Modern Funk, Electro, Synthiepop, Breaks and of course, House Music in all its shades.

One love goes out to all artists and supporters!

Since dropping his first single in 2021, Michael Adebayo Olayinka, the artist known as Ruger, has made a habit of standing out amongst worldwide audiences, not least thanks to bright pink hair, an eyepatch, and an unequivocally true-to-himself attitude. Spending the bulk of 2023 on a sold-out international tour, Ruger has steadily granted fans a stream of top-tier projects in two short years, from the debut EP ‘Pandemic’ to follow-up ‘The Second Wave’. Breakout single ‘Asiwaj’” would catapult him to wider fame, the track going #1 in Nigeria and #3 on the OCC Afrobeats Chart in the UK, whilst “Girlfriend” and “Bounce” would catch further attention from fans worldwide.

Pour Un Homme Seul, the debut EP from Pete Beardsworth, is a cathartic exploration of the spiritual world of jazz and the healing force within. Originally just simple melodies jotted down in the back of a small leatherbound notebook, the songs were written during a long period of solitude in the year following a traumatic accident that left Pete without the bottom parts of his legs. Charting a journey of hope and rediscovery, the tracks are aural fragments of a voyage through a harsh, personal wilderness, and back again to civilization and consciousness. This voyage is painted with woodwind, electronics, vocals, found sounds, and synthesizers provided by Pete.

Accompaniments by renowned Erhu player Ling Peng, Yazmin Lacey's drummer Tom Towle, guitarist Roshan Gunga, bassist George Butt, and vocalist Daisy Godfrey. It follows long-standing collaborations with Yazmin Lacey, for whom Pete produced EPs Black Moon and When The Sun Dips 90 Degrees, the genre-crossing Invisible Orchestra, Brooklyn's own Chris Rock, and work as part of free-jazz inspired electronic outfit Three Body Trio.

This eponymous release from Three Body fuses digital futurism with cosmic organica. Hedonistic breakbeats, woodwind and keys interpolate six melodious tracks, stemming from live recordings, revolving around percussive conversations. With the band's raw minimal approach and combination of natural and synthetic instrumentation, this elemental EP offers an innovative study of contemporary electronic music and its relationship with ethnic rhythms and tones.

With the world in the throws of lockdown, the record never received its live inauguration, but it got nuff love on radio, with 6Music, WWFM and NTS all championing the release. It's since gained cult status amongst DJs with an ear for earthy tones, with tracks 'Palm Leaf' and 'Jampa Gawa' regularly spreading their wings. The trio's unique approach to sound is shaped by years of impromptu improvisations. The characterful drums and synthesis of Tom Towle, masterful sampling and engineering from Guohan and the wandering woodwind of Pete Beardsworth form the skeleton of this record, meticulously fleshed out in subsequent studio sessions.

One of the biggest dark wave / electronic / goth sensations ABU NEIN returns with a brand new album called "Dark Faith". This is their third album and the band has over the years built a strong a steady following of fans around the globe. A Progress Productions priority release.

A new release on this label and this time its one of DJ Recharge……..

This is the first reissue of the “Piece Of The Action” LP since 1973, and the CD has bonus tracks with everything Bobby Hutton recorded between 1969 and 1974. Everything taken from the original master stapes and restored.

Bobby Hutton is from Detroit, Michigan and began his career after winning a talent show at the 20 Grand nightclub. In 1971 he performed on the very first nationally aired Soul Train TV programme. He cites Jackie Wilson as his biggest influence. He began writing under his real name Harold Hutton, then Billy Davis at Chess Records persuaded the change to Bobby Hutton. He had decided not to pursue a career at Motown, and after one single for Checker, then another at Blue Rock (a subsidiary of Mercury) he moved to the Philips label for the huge Northern Soul favourite, “Come See What's Left Of Me" which was first played at the Stafford All-Nighters back in1985, covered up as Casanova Brown. Talents that produced and arranged for Bobby during those Blue Rock/Philips sessions include Donny Hathaway and Joshie Jo Armstead, and in fact it was with Jo that Bobby co-wrote that Northern Soul classic.

The Philips tracks are all on the CD as bonus tracks to the Piece Of The Action” album for ABC Records in 1973.

Produced by Dee Ervin, there are several fine tracks to enjoy but surely none better than the Gary Wright-penned “Lend A Hand” which became one of the biggest 'modern' Northern Soul tracks of all-time after spins at venues like the Highland Room at the Blackpool Mecca and Wigan Casino. The track was first championed by DJ Colin Curtis in 1974.

The album is beautifully produced with vocal accompaniments from artists including Patti Hamilton of The Lovelites, Jean Plum, Mikki Farrow and Frankie Karl. It received great reviews at the time and that persuaded ABC to release a non-album follow-up 45 produced by the brilliant McKinley Jackson and Reginald Dozier credited “Loving You, Wanting You, Needing You, Wanting You”/'Watch Where You’re Going” which is an elusive, highly sought-after single by soul collectors worldwide (now an Expansion 7” reissue).

In 2007, Bobby was honoured as he was voted the best singer in Chicago, quite an achievement and something that Bobby is quite rightly very proud of

Blue Matter are extremely proud to be releasing a brand-new album by the great English eccentric, Paul Roland. ‘Morbid Beauty’ will make its’ appearance in mid 2024 and is a fantastic example of Paul’s trademark mixture of gothic rock and psychedelia, if perhaps a little more rock flavoured than usual. To Blue Matters’ surprise and delight the album features our old friend Mick Crossley (Flyte Reaction) on guitar throughout. Paul Roland is from Kent and has been making music since the late 70s. He has issued countless albums on a variety of labels and has been cited as a ‘psych legend’, a ‘true cult hero’ and a ‘great innovator’. Frank Zappa is quoted as saying somewhat amusingly ‘Paul Roland writes nice music, but it’s too complicated for me!’ Paul’s musical reputation is probably somewhat greater in Europe than in the UK, which seems strange as he has been so influential to many British acts. Paul is also a celebrated music journalist and successful author having written books on cinema, history and music. For us, to be able to release a new album, and a fantastic album at that, by an artist of his calibre is a long and handsome peacocks’ feather in Blue Matters’ Edwardian top hat

What better time to resurrect and regurgitate one of the most extreme (and downright indefensible) releases in Alternative Tentacles history? OG Grindcore/Death Metal to the max, here’s their second-ever, from ‘92. Whole concept at the time was one big celebration and tribute to those super-gory Mexican crime weeklies, like Alarma, Peligro and Alerta. Where do you think the cover came from?? Identities were secret, all lyrics en Espanol. Rumors link some big names, from Fear Factory, Faith No More, Sepultura, and more... Why the name? Besides the obvious "Witchcraft" translation, “Santeria = animal sacrifice, but Brujeria = human sacrifice!” Or so they say. Featuring 6 amazing tracks this is Mexican death grind at its best. Enjoy.

A 140 gram pressing in 3mm spine red disco sleeve with sticker.

Vermelho Wonder is a Brazilian duo formed by music producer and DJ Márcio Vermelho and performer/singer Ivana Wonder. Since their formation in 2016, they have been acclaimed for their avant-garde and experimental style. ‘Se Você’ is an electronic torch song that was originally released digitally in 2021 by Gop Tun (also one of Brazil’s main festivals for Electronic music). For the first time the single is brought to Vinyl alongside a new Jura Soundsystem interpretation. Bonus track ‘Catman’ (Dub) rounds off the 12” with a touch of underground house.

Vermelho Wonder is a unique phenomenon, creating a one-of-a-kind atmosphere with their mix of performance, vocals, and DJ sets. Ivana's mysterious and captivating presence, combined with Vermelho's elegant production, has seen their live show delivering captivating performances at iconic venues such as SESC, CCSP, Oca do Ibirapuera, Teatro Oficina, and Hélio Oiticica's installation in Brasília.

Design by Bradley Pinkerton.

Mesdames et Messieurs! Another 7" from FLEUR! If you dig THE KINKS, HOLLY GOLIGHTLY, FRANCOISE HARDY and THE REMAINS, this 7" is essential!

A-side "Nous Continuerons a Marcher Ensemble" is a stop-and-go pounder that starts with a biting guitar riff and builds to the catchy and powerful chorus. This song will also feature on her upcoming new album later this year.

B-side (and 7" exclusive!) "Tu M'as Mise a Genoux" is a fast moving punker with leading fuzzbass.

Two uptempo pounders written by Mark ten Hoor from THE KRYNG. These cats also recorded all the backing tracks for this 7", the previous 7" "Tu Es Un Etre Parfait" and the upcoming album.

This fabulous black vinyl 7" comes with a sticker!

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

MOVIE MOVIE takes the listener on a cinematic journey in their songs. They combine elements of power pop, '60s, '70s, and '80s garage, classic, alternative, and glam rock, but they have a sound all their own, with afocus on strong hooks and melodic vocals.

MOVIE MOVIE was formed in NYC in early 2022 by Derek Davidson (formerly of THE ELECTRIC MESS), and includes former members of other popular NYC and internationally known bands, including Andrea Sicco (TWIN GUNS) and Frank Caira (THE ABOVE), with Alan J. Camlet (also from THE ELECTRIC MESS). They recorded their debut 6 track EP "Now Playing" (Ghost Highway/KOTJ), over the summer of 2022, with the addition of Dave Amels (REIGNING SOUND) on keyboards.

They quickly followed it up with a full 10 track LP, "Storyboards" (Topsy-Turvy), completing it in early 2023, and they toured Spain later that year to well-received shows and receptive audiences. Around that time they went back into the studio and recorded the 10 tracks that would become their second full LP, "In 4-D!" (Topsy-Turvy), for release in late 2024. Again, they emphasize their cinematic flashback approach in the sequencing, with a wide range of styles along the way, beginning with '60s garage, through pop psychedelia, glam, New Wave, post-punk, and even veering into stadium rock territory (in the best sense) by the end, all filled with ear worms and indelible vocal arrangements and harmonies.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Mind Lines, the second record from Silver Scrolls, is the follow-up to 2020's Music for Walks. Dave Brylawski (Polvo, Idyll Swords) and Brian Quast (Polvo, the BQ's) once again team up with producer and de facto third Scroll Greg Elkins, to make an album that plants you firmly in your rock feelings. All of them. Classic rock, psych rock, indie rock, post rock, pre rock. Rock as hell.

Mind Lines. Follow them. Inspiration, spotted in the wild, lured out of dusty record bins and chased down scum alleys and garden paths, sounds stalked and collected, wrestled and arranged, until everything is in its proper place and the final LP is as it should be. Or shouldn't be. Nine minute and seventeen second radio hits. Indie rock drum solos. Whatever. Whatever dumped from the butterfly net of their collective unconscious. Whatever stumbled through the door of their open minds. Whatever works.

At this point in their collective music careers, the Scrolls are free to emulate, ignore, or destroy convention, as they see fit. Dave and Brian have seen enough, the Mind Lines have been drawn, traced... The songs are as classic as they are brand new. Yesterday chasing tomorrow. Noon is the verse, midnight the chorus. and right now is the bridge. The Scrolls chug deep from the fountain of spooky tooth, shooting sparks through their teeth. Let's go.

On Mind Lines, the Silver Scrolls are still walking, shredding, open to whatever comes next. The music came down from the mountain. Please stay a while.

Hidden Notes Records (Spindle Ensemble, Fran & Flora, Josh Semans) and Tardigrade Records (Cosmo Sheldrake, Howl) are excited to announce a unique collaboration to release ‘Selected Worlds’, the monumental and ambitious debut triple album by composer and pianist Daniel Inzani. Over the past 2 decades you might have seen Inzani performing with dozens of bands from Bristol’s underground alternative and avant-garde scene, blending classical, jazz, contemporary, improvisation, unusual harmony and rhythms as a band leader and collaborator. He’s released an avant-garde collaborative album with Alabaster dePlume, is the musical director and arranger for Cosmo Sheldrake’s 19 piece live band, leads his own critically acclaimed modern chamber quartet Spindle Ensemble and (the now disbanded) 8 piece Ethiopian Jazz meets Frank Zappa group Tezeta, He has toured worldwide as a keys player, collaborated with Canadian ensembles Evergreen Club Contemporary Gamelan and London Symphonia and co-founded Bristol’s experimental collective Bloom, leading to tours and releases with UK rocksteady favourites Count Bobo, the psychedelic space doo-wop of Dubi Dolzcek and many more. After years of recording, touring and eclectic composing he has gathered a trusted set of musicians who are both skilled improvisers and virtuoso players to record an instrumental triple album for release under his own name. The 3 vinyl discs act as albums in their own right, each with different sets of musicians, instrumentations, genres and intentions. The 3 discs were recorded live over 3 day periods in quick succession, with Daniel’s regular collaborator Cosmo Sheldrake engineering the recording sessions. It’s quite possibly the only album you’ll ever hear that starts with a neo-impressionist string quartet, goes on to merge avant-garde symphonic arrangements with group improvisation and ends with an 8 piece cosmic jazz band wigging out, yet Inzani’s voice is clear throughout making for a cohesive 2 hour odyssey from the mind of a composer whose idiosyncratic style thrives through variety Listeners will hear influences from the aforementioned composers including Mingus, Tsegué-Maryam Guèbrou, Ravel and Moondog in Inzani’s music but might also find the soundtracks of Morricone and Jonny Greenwood nestled alongside the loose freeform leanings of Alabaster dePlume, the contemporary jazz of Kamasi Washington and the unique collaboration by Floating Points and Pharoah Sanders (minus the electronics perhaps.) Daniel will be performing a special preview of the album with an 11 piece band at WOMAD Festival (27.07) and a launch concert at this year’s Hidden Notes Festival in Stroud (21.09), with further tour dates to be announced

Two 1980s Brazilian boogie bombs from Sandra de Sá and Equipe Rádio Cidade get a remastered reissue as part of Mr Bongo Brazil 45’s series.

Sandra de Sá’s ‘Olhos Coloridos’ is an ‘80s MPB/boogie jam, taken from her self-titled 1982 LP on RGE Brazil, that sits perfectly alongside the likes of Tim Maia, Marcos Valle, Robson Jorge and Lincoln Olivetti. No surprise then that Lincoln Olivetti and Robson Jorge feature on the track, backed by some of the members from Banda Black Rio. A joyous combination of funk basslines and dreamy Rhodes that marry with jubilant horns and Sá’s incredible vocal tones.

On the B side, Equipe Rádio Cidade ‘Bons Tempo Sao Paulo (Good Times)’ was originally released on a rare promo only 7 inch from 1980. Giving a Brazilian boogie makeover to Good Times by Chic / Rapper’s Delight by Sugarhill Gang, the track is voiced by radio DJs from Sao Paulo wishing their listeners a Merry Christmas and Happy New Year.

This replayed version, heavy on the clavinet with a samba-infused, cuica-laced percussion breakdown, gives a true Brazilian spin on one of the most distinctive melodies out there.

Remastered with refreshed artwork.

2024 Repress

Following the Recent Dip Into the Theo Parrish Archives That Was the Twin Cities, Phil Weeks' Robsoul Imprint Looks to Another One of Detroit's Adopted Sons in the Form of Rick Wade. Like That Recent Parrish Reissue, Weeks Re-Releases Another Three Tracks From Wade's Bulging Discography. the Upbeat Disco Loops of "Players Theme" Was Originally Released on French Label Funky Chocolate in 2002 and Still Sound Fresher Than Anything Being Plied by the Soundcloud Dwellers Today, While "Can't You See" From 2003 Provides a More Soulful Take on House Music. on the Flip, the Tracky Funk and Cascading String Melodies of "I Feel Good" Originally Graced Wade's Own Harmonie Park Imprint in 1998, but Sound No Less Vital Today. Essential....

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

UFC presents Cybernetic Implant, its seventh release, an EP where electro and cyberpunk go hand in hand with hardware equipment for a trip to an unpromising future. The Ep consists of six tracks, three originals mixes produced by Ático Corp. and three remixes by producers Hd Substance, 7053M4R14 and Robot City.

In the three original tracks we find three different visions of electro where broken and sharp rhythms are mixed with bursts of synthesizers, atmospheres and samples that refer directly to less optimistic science fiction.


On the other side we have the three remixes where each artist contributes their particular vision by reimagining the tracks in their studios directly from their hardware gear. Synthesizers, drum machines and hardware effects are once again invited to the journey. Welcome this time not to a credible future, but to a dystopian future.

Denzel Curry's forthcoming King Of The Mischievous South Volume 2 finds him presenting a sequel to the project, and bringing back the sound, that helped launch his career. While the first installment of King Of The Mischievous South was performed from the perspective of his Raven Miyagi persona, a name bestowed upon him by Raider Klan founder SpaceGhostPurrp, Volume 2 finds Curry operating under his Big Ultra persona -- an elevated version of Raven Miyagi that is bragadocious and revels in the success that Curry has seen over the last decade of his career. Creating King Of The Mischievous South Volume 2 has been a goal of Curry's for some time, though his earliest attempts to do so ultimately morphed into other projects, namely his 2016 album Imperial and 2020's 13LOOD 1N + 13LOOD OUT. It wasn't until he stopped overly attempting to create Volume 2 that its songs started to emerge naturally. 

Given the project's sound, which pays homage to the great musical heritages of the South -- from Memphis to Houston and Curry's own South Florida -- its features include the region's greats, both old and new, as well as others whose style is indebted to the South's musical legacy. Features include fellow former Raider Klan member Key Nyata, Memphis stalwarts Juicy J and Project Pat, Texas' Maxo Kream, That Mexican OT and Mike Dimes, North Carolina’s TiaCorine, Atlanta's 2 Chainz and Kenny Mason and South Florida's Ski Mask The Slump God and PlayThatBoiZay, as well as ASAP Ferg and ASAP Rocky, among others. The project more broadly and the intentional inclusion of Rocky and Ferg is Curry's attempt to show what could have been had relationships not soured with SpaceGhostPurrp, fulfilling the promise that existed at the rise of their respective careers in the early 2010s.  

With all of the otherworldly adventures Denzel has taken listeners on over the course of his last few conceptually-driven albums, this project serves as a showcase for the fun, spontaneity and technical mastery that has made him one of rap's most in-demand talents over the course of the last decade. 

After a slight hiatus Jad & The’s Speed Dial imprint is back and this time joined by a myriad of underground talent to give you the Various Artists “Rhythm Rituals” EP.

The A side is jam packed with 3 uptempo tech-prog-chug goodness featuring Eora Nation based up and comer Mtty, label head Jad & The, and a re-issue of Pocket’s timeless “Smoke Signals” previously released via Australia’s seminal “Thunk” Recordings in the year 2000.

On the flip the tempo is slowed but Australian DJs DJ Relax and Local Support deliver arguably the finest moments on the record - broken beat Balearic badness in the best way, hell yeah!

Akons erstes Studioalbum, ”Trouble”, wurde am 29. Juni 2004 veröffentlicht.
Mit Hits wie ”Lonely”, ”Bananza (Belly Dancer)” und ”Locked Up” erreichte das Album Platz eins der
Albumcharts in den USA, Großbritannien, Frankreich, Deutschland, Dänemark und Australien.
In den USA wurden 1,6 Millionen Exemplare verkauft, was Akon in den Ruhm katapultierte und ihm einen
Platz im Guinness-Buch der Rekorde als weltweit meistverkaufter Künstler für Master-Klingeltöne sicherte!
Zur Feier des zwei Jahrzehnte alten Jubiläums wurde ”Trouble” zum ersten Mal seit seinem Debüt
wiederveröffentlicht.

This summer is all about the Toxic Funk jams over at Breaknbeat Paradise Recordings and for the 15th installment of the Toxic Funk series we have welcomed back the Suckaside team to produce 2 timeless funky joints.

Suckaside aka DJ B-Side and Sucka Timmy is always on point when putting their tasty funky mashups together and this time around they're keeping it fresh with some soulful funky twists on some catchy RnB jams.

This is the second time Suckaside is dropping a toxic funk 7"inch after their highly successful Vol. 7 from 2021.

Starting things off with the catchy Sometimes Bootyful that featuring some smooth RnB vocals on a funky organ riff with a steady rocking breakbeat.

On the b-side the smoothness continues on the highly addictive Sugar Face, that's take a big slow-rockin' groove and mashes it with some catchy RnB vocals that will leave you asking for more every time it's played.

Another timeless 45 that will be going quick so get it while you can and look out for more Toxic Funk coming very soon…

The notion of house music as a form of uptempo soul music is intrinsic evidence with a record like the one on hand. Professor Supercool’s If You Love Somebody is many things at once: an example of a special brand of British pop music, influenced by US-American soul more or less from the get-go, the Second Summer of Love, the conception of Balearic as a music genre, the cultural interchange of European dance floors and DJs from across the pond and underground music marketing through the vessel of special one-time pressings. The mysterious Professor Supercool is actually a moniker for Dr. Rob of The Blow Monkeys’s fame, who produced the song with a veteran and legendary DJ of the Northern Soul scene „The Real Hector“ – a resident at the famous Wag Club.

Originally a part of the band’s Album Spring Time For The World, it appeared first as a special For-Promotion-Only-12“ in 1989 with limited information as a trial ballon to „avoid preconceptions“. The fear was without reason. Like the band’s other big dance floor record and Balearic fave LA Passionara a year later, it got played and supported by the DJs of its time. Next to Graeme Park at the Hacienda or Paul Oakenfold, it also got picked up by Mastermixer Tony
Humphries and became a staple at his radio and club sets for KissFm respectively Club Zanzibar. While the vocal mix found its way on said album, the preferred 12“ instrumental version has never been released anywhere else up until now and made the record go for a substantial amount of Discogs dollars.
Expanded with an edit by the label’s in-house DJ Gerd Janson that is supposed to work as a dub alternative to the vocal mix, the 12-inch and bundle download contain the original plus a faithfully restored and remastered version of the instrumental in demand. If you love this record it is impossible to let it go.

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

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

Dam Swindle return to Heist in excellent form with a 4-track EP in their signature style.

The iconic Amsterdam duo returned to the studio after their much-lauded ‘Minor Fools’ EP, where the lead track ‘That’s Right’ became one of the most heartwarming tracks 2023. Their recent contribution to the Phonica 20-year compilation -‘Allright (just a tribute)’- is turning into one of the biggest hits of this year with big plays on pretty much every festival around, whether it’s Glastonbury or Dekmantel. The guys are known for their ability to bend different styles into something very much their own and their newest addition to the Heist catalog is no different. The ‘Touch Me Again’ EP sees them go from sample-heavy house to classic 90’s piano-driven tracks with a touch of acid and it’s one you don’t want to miss.

The record starts with ‘Touch Me Again’, a house jam with chopped vocals, energetic synth stabs and a big breakdown. Add to that a touch of acid and you’ve got a follow-up to their Phonica hit of 2023.

‘Hang On’ takes you back into classic Swindle territory, with their signature sampling style and knack for finding those lush vocals. The synth chops and bassline give the track its upbeat energy and the distant filtered pads move in an ever so subtle way, that there’s always something new happening while keeping the attention on that catchy main hook.

On the flip, we see the guys take things a bit deeper with emotive vocals and introverted keys layered over a steady groove on their track ‘The Joy of Melancholy’. Fast-forward to the drop and all that energy comes free with a huge piano break, which propels the track into a blissful ‘hands-in-the-air’ dancefloor moment.

The EP closes with ‘Forever and Ever’, a gospel-inspired Deep house tune full of organ hits and off-kilter sample chops. This 4-track EP gives you jam upon jam upon jam and sees Dam Swindle solidify their position as the go-to artist in the house scene and keeps them at the forefront of electronic music.

Grab this record while you can and share the love,

Heist Recordings.

Northern Soul fans have always been deeply fascinated by the never ending treasure chest of unreleased jewels in the Motown catalogue. But this must surely be the best yet. Written by Motown songwriters Chester Pipkin and Gary Pipkin, who worked out of Motown’s west coast office, “Stuck-Up” was a serious attempt to replace Mary Wells after she left the company.

2024 Very Small Repress!!

It's time for another GAMM battle weapon, only the third one since we dropped the first one back in 2004!

This time 'Ukokos' and keyboard wizard 'Jabco' lay down some Dilla(ish) hip hop beats and piano action over that incredible live video clip that went viral with Kanye West's Sunday Service band doing a combined live cover of 'Keep Rising To The Top' and 'All Night long' - each cover with genre of gospel/soul. ... A serious battle weapon for any soulful head - Another G.A.M.M sureshot !!!

Typically, a band's big indie label debut doesn't come 15 albums into its career, but with Constant Smiles' Paragons, here we are. Primary songwriter and sole "constant" member Ben Jones_who considers Constant Smiles a collective_sees its impressive output as a way to document the group's evolution. Since its live debut as a noise duo on Ben's home of Martha's Vineyard in 2009, Constant Smiles has grown to include contributions from 50 other members, all of whom have personal connections to the group's extended family. And while the collective has indulged an array of musical whims along the way - including Ben's penchant for penning a new set's worth of material for each live performance - Constant Smiles' sound has tightened up considerably over their past couple of albums, in large part as a result of Ben's working relationship with Mike Mackey, who has become his main creative partner. This increased focus manifests on Paragons in the band's most cohesive batch of songs to date, ranging from shimmering psych-pop excursions to bittersweet, piano and string-accented strummers, and an execution that feels like a massive step forward for the band. Through its recent forays into dream pop and shoegaze (Control) and synth-pop (John Waters), Constant Smiles has learned how to incorporate its experimental inclinations more fluidly into the mix. Artists like Yo La Tengo, and the more recent Rat Columns, are good touchstones for Constant Smiles' musical approach - tethering to an indie-pop core while perennially mining genres, always finding new ways to intrigue listeners and pursue a unique vision. Paragons was produced and engineered by Ben Greenberg in the last two weeks of December 2020 at Gary's Electric, with additional recording done by Ben Jones at his home studio, The Void, and his Aunt Leanne's house. The album was mixed at Circular Ruin Studio and mastered by Josh Bonati. The band on Paragons consists of Jai Berger (who performed "Introduction"), Spike Currier (bass and synth), Matthew Addison (drums), Emma Conley (violin), Nicky Wetherell (cello), Adam Lipsky (piano), and Ben Greenberg (guitar and Mellotron).

Harde Smart is back again! With the new Harde Smart 7" Sampler, you get a taste of the upcoming Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's, the successor to the acclaimed original Harde Smart compilation that showcased the best of the Dutch-linguistic territory back in the '70s. Even in the decade that followed, a whole host of gems were made that were remarkably danceable, catchy and playful, as proven by the two tracks on this sampler. Joost Belinfante puts it nicely on the B-side: 'nothing to prove, nothing to claim, it is as it is.' Harde Smart never disappoints.

Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's

Harde Smart is on it with the sophomore compilation effort Flemish & Dutch grooves from the 1980's. Vinyl aficionado's No Sleep Richy and Micha Marva teamed up with Sjefke De Kok (one of Holland's illest to rack those crates!) to continue their journey. While raking deep in the dusty bins with Dutch and Flemish records, they once again discovered an exquisite selection of tracks. Too weird to play, too rare to throw away. From butt-shaking boogie to weird disco adventures on wax, this album is sounding like all the good stuff the eighties had to offer: both smooth and sexy as well as dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

The Harde Smart 7" Sampler will be released on Friday 15 March 2024 via Sdban. Harde Smart volume 2: Flemish & Dutch Grooves From the 80's will be released soon via Sdban

Schwarzes 140g Bio-Doppel-Vinyl mit bedruckten Innenhüllen ohne Beilagen



Einstürzende Neubauten präsentieren ihr neues Album. Sie suchen nach neuen Formen. Nach dem unentdeckten Ton und dem noch unausgesprochenen Wort. Seit ihrer Gründung am 1. April 1980 verschieben die Einstürzenden Neubauten die Parameter von Mainstream und Subkultur, um das Unhörbare hörbar zu machen. Und vielleicht auch das Unerhörte. Ein sich über vier Dekaden erstreckender Feldforschungsversuch, der nun ins nächste Stadium tritt. In ihrem 44. Bestehensjahr geht die Formation weit zurück zu ihren Wurzeln, um sich gleichzeitig neu zu definieren. Ein verändertes Selbstverständnis, für das das Berliner Quintett plus eins 2024 sein eigenes Genre kreiert hat: apm - alien pop music. Ständige Weiterentwicklung - so könnte man das Schaffen der Einstürzenden Neubauten kurz und knapp zusammenfassen. Eine musikalische Evolution, die beim 1981 veröffentlichten Albumdebüt "Kollaps" beginnt und sich nun auf dem im April 24 erscheinenden Album "Rampen - apm: alien pop music" manifestiert, auf diesem präsentieren sich Blixa Bargeld, N.U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser und Felix Gebhard nun von ihrer unberechenbarsten und eigenwilligsten Seite. Auf ihrem neuen Album setzen die Neubauten nun allen Sound-Spekulationen ein - wenn auch spätes - Ende. Schon seit Mitte der 1980er-Jahre experimentieren die Einstürzenden Neubauten auf der Bühne mit sogenannten Rampen: Öffentliche Improvisationen mit offener Entwicklung und Ausgang; Abschussrampen ins noch Unerforschte, die die Band im Jahr 2022 auf ihrer letzten "Alles in Allem"-Tournee im Zugabenteil performte und deren Mitschnitte als Basis für das neue Album dienen. "Rampen - apm: alien pop music" ist Popmusik für Paralleluniversen und Zwischenwelten. Für Hyperräume und Interzonen. Mikrokosmisch und intergalaktisch zugleich. Eine demimondäne Behauptung außerhalb aller physikalischen Gesetze, mit der die Einstürzenden Neubauten ein stilistisches Niemandsland zwischen Vergangenheit und Zukunft betreten. Rückkehr zu den Wurzeln einerseits, andererseits entsteht aus lärmgewaltigen Kracheruptionen, auf kryptische, oftmals fragmentarische Lyrics treffend, eine neue Kunstform: Populäre Musik für Aliens und Außenseiter. Aus Anti-Pop ist Alien Pop geworden. Fremdartig. Kokonhaft versponnen. Ungehört. Sonus inauditus. Nicht ganz unabsichtlich erinnert das reduzierte Coverartwork an das ikonische Layout des "Weißen Albums" von den Beatles. "Ausgehend von der Idee, dass die Einstürzenden Neubauten in einem anderen Sonnensystem ebenso berühmt sind wie die Beatles in unserer Welt", so Blixa Bargeld über die Gratwanderung zwischen Avantgarde und Augenzwinkern, Provokation und popkultureller Diskontinuität. Womit auch direkt das zentrale Thema vorgegeben wäre, das sich wie ein roter Faden durch alle Songs zieht: Veränderung, utopische Gedankenspiele und Vergänglichkeit. "Ich habe auf der Platte ein paar Lösungen gefunden und Dinge formuliert, wie ich sie vorher noch nicht formuliert habe, weil sie mir noch nicht so klar waren. Ich bin jemand, der denkt, durch Musik Erkenntnisse zu gewinnen. Das war schon immer so. Die Überzeugung, in der Musik etwas zu finden, was ich vorher nicht wusste. Und etwas zu singen, was ich vorher nicht wusste. Etwas, was sich dann als Wahrheit herausstellt. Oder zumindest als sinnvoll, wenn man es ein wenig kleiner halten will." Dieses Album repräsentiert die nächste Stufe der Evolution, auf der man die bekannte Sprache schließlich hinter sich gelassen hat. Und die Eröffnung weiterer, unendlicher Möglichkeiten: alien pop music.

Italian artist Fedele unveils exciting upcoming album ‘Depth Of Being’ which again finds him exploring all new electronic music realms. The 11 track album arrives on his own label Obscura and is his first since going solo. Fedele is a key part of the underground scene and has been working alone for the last three years since his departure from Agents of Time.

He has truly made his mark in that time with music on the likes of Ellum Audio, Tiga’s Turbo Recordings and his own Obscura. This superb new album is a mix of stylish progression from the signature sound Fedele is known for while the other side of the album dives more into the experimental world, using more vocals than before.

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

Detroit's Niko Marks with a Soulful Detroit House EP. Soulful,Jazzy, with vocals
so sweet, your soul's gonna hurt. Strictly limited to 250 copies, no repress.

Mindgames' commitment to capturing the essence of golden era Jungle while infusing it with updated production techniques perfectly complements ASC's approach. On these two EP’s, ASC bridges the expansive soundscapes of his Spatial releases and the raw dynamism of his 2020 jungle trilogy for Samurai Music.

From the heads down launchpad of Shadow Of The Beast, to the deep stepping glide of Phaaze, and onto the epic scapes of Cells Interlinked, ASC writes a sonic manifesto of his mastery of deep jungle. Snowblind is a reverent nod to Photek’s fascination with space jazz, while Flux is a floating groove that snakes itself around one of the most infectious b lines you will hear anywhere.

Seven timeless entries in the Jungle story book that embody the spirit of the 90s while reshaping it’s framework into entrancing new forms.