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The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

The Tribe co-founder’s debut, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The definitive reissue of this Spiritual Jazz album which set the stage for his Vibes from the Tribe The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos.

In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

NOW That's What I Call Music Vol. 420, a split release between Mom Jeans, Prince Daddy & The Hyena, and Pictures of Vernon, captures each band at a moment in time where they, along with Counter Intuitive Records itself, were in the midst of creating a new wave of emo infused pop punk. Originally released in 2017, the EP sees each band growing in new directions following now-classic releases and hinting at the great heights each would go on to reach in the following years.

Nach 42 Jahren im Metal-Business kommt Grave Diggers Front-Ikone Chris Boltendahl mit seinem ersten Soloalbum - "Reborn In Flames". Unter dem Banner von Chris Boltendahls STEELHAMMER konnte Chris eine illustre Zunft erstklassiger Musiker für dieses Werk gewinnen. An der Gitarre ist kein Geringerer als der Ex-Orden Ogan-Gitarrenzauberer Tobias Kersting zu finden. Mit ihm hat Chris alle 10 Tracks auf "Reborn in Flames" geschrieben. Komplettiert wird das Line-Up durch Lars Schneider am Bass (ex Orden Ogan) und Patrick Klose am Schlagzeug (Iron Savior). "Reborn in Flames" strotzt nur so vor klassischen Power-Metal-Riffs- eine glühende Mischung aus "Grave Digger meets Metal Church. Von Heavy-Metal-Steamern à la "Reborn in Flames", "Fire Angel" oder "Beyond the Black Soul" bis hin zu den Groove-Monstern "Gods of Steel, Out of the Ruins oder The Hammer that kills" hört man auf dem Album alles, was das Metalherz begehrt. Das Album endet mit der Coverversion des Klassikers "Beds are burning" von Midnight Oil. Tobias Kersting veredelt das Album mit filigranen Power-Metal-Riffs und Weltklasse-Soli, während Lars Schneider und Patrick Klose dem Duo Kersting/Boltendahl die nötige Basis liefern. Die unverkennbare Stimme der Totengräber-Legende regiert... "Reborn in Flames" ist ein Feuerwerk an Metal für jeden Headbanger, der klassischen Metal liebt... Mit "Reborn in Flames" schaffen die vier Musiker ein eigenständiges, frisches und hochklassiges Power-Metal-Debütalbum. Wie Ozzy sagte: "Let the madness begin"

Nach 42 Jahren im Metal-Business kommt Grave Diggers Front-Ikone Chris Boltendahl mit seinem ersten Soloalbum - "Reborn In Flames". Unter dem Banner von Chris Boltendahls STEELHAMMER konnte Chris eine illustre Zunft erstklassiger Musiker für dieses Werk gewinnen. An der Gitarre ist kein Geringerer als der Ex-Orden Ogan-Gitarrenzauberer Tobias Kersting zu finden. Mit ihm hat Chris alle 10 Tracks auf "Reborn in Flames" geschrieben. Komplettiert wird das Line-Up durch Lars Schneider am Bass (ex Orden Ogan) und Patrick Klose am Schlagzeug (Iron Savior). "Reborn in Flames" strotzt nur so vor klassischen Power-Metal-Riffs- eine glühende Mischung aus "Grave Digger meets Metal Church. Von Heavy-Metal-Steamern à la "Reborn in Flames", "Fire Angel" oder "Beyond the Black Soul" bis hin zu den Groove-Monstern "Gods of Steel, Out of the Ruins oder The Hammer that kills" hört man auf dem Album alles, was das Metalherz begehrt. Das Album endet mit der Coverversion des Klassikers "Beds are burning" von Midnight Oil. Tobias Kersting veredelt das Album mit filigranen Power-Metal-Riffs und Weltklasse-Soli, während Lars Schneider und Patrick Klose dem Duo Kersting/Boltendahl die nötige Basis liefern. Die unverkennbare Stimme der Totengräber-Legende regiert... "Reborn in Flames" ist ein Feuerwerk an Metal für jeden Headbanger, der klassischen Metal liebt... Mit "Reborn in Flames" schaffen die vier Musiker ein eigenständiges, frisches und hochklassiges Power-Metal-Debütalbum. Wie Ozzy sagte: "Let the madness begin"

Nach 42 Jahren im Metal-Business kommt Grave Diggers Front-Ikone Chris Boltendahl mit seinem ersten Soloalbum - "Reborn In Flames". Unter dem Banner von Chris Boltendahls STEELHAMMER konnte Chris eine illustre Zunft erstklassiger Musiker für dieses Werk gewinnen. An der Gitarre ist kein Geringerer als der Ex-Orden Ogan-Gitarrenzauberer Tobias Kersting zu finden. Mit ihm hat Chris alle 10 Tracks auf "Reborn in Flames" geschrieben. Komplettiert wird das Line-Up durch Lars Schneider am Bass (ex Orden Ogan) und Patrick Klose am Schlagzeug (Iron Savior). "Reborn in Flames" strotzt nur so vor klassischen Power-Metal-Riffs- eine glühende Mischung aus "Grave Digger meets Metal Church. Von Heavy-Metal-Steamern à la "Reborn in Flames", "Fire Angel" oder "Beyond the Black Soul" bis hin zu den Groove-Monstern "Gods of Steel, Out of the Ruins oder The Hammer that kills" hört man auf dem Album alles, was das Metalherz begehrt. Das Album endet mit der Coverversion des Klassikers "Beds are burning" von Midnight Oil. Tobias Kersting veredelt das Album mit filigranen Power-Metal-Riffs und Weltklasse-Soli, während Lars Schneider und Patrick Klose dem Duo Kersting/Boltendahl die nötige Basis liefern. Die unverkennbare Stimme der Totengräber-Legende regiert... "Reborn in Flames" ist ein Feuerwerk an Metal für jeden Headbanger, der klassischen Metal liebt... Mit "Reborn in Flames" schaffen die vier Musiker ein eigenständiges, frisches und hochklassiges Power-Metal-Debütalbum. Wie Ozzy sagte: "Let the madness begin"

Nach 42 Jahren im Metal-Business kommt Grave Diggers Front-Ikone Chris Boltendahl mit seinem ersten Soloalbum - "Reborn In Flames". Unter dem Banner von Chris Boltendahls STEELHAMMER konnte Chris eine illustre Zunft erstklassiger Musiker für dieses Werk gewinnen. An der Gitarre ist kein Geringerer als der Ex-Orden Ogan-Gitarrenzauberer Tobias Kersting zu finden. Mit ihm hat Chris alle 10 Tracks auf "Reborn in Flames" geschrieben. Komplettiert wird das Line-Up durch Lars Schneider am Bass (ex Orden Ogan) und Patrick Klose am Schlagzeug (Iron Savior). "Reborn in Flames" strotzt nur so vor klassischen Power-Metal-Riffs- eine glühende Mischung aus "Grave Digger meets Metal Church. Von Heavy-Metal-Steamern à la "Reborn in Flames", "Fire Angel" oder "Beyond the Black Soul" bis hin zu den Groove-Monstern "Gods of Steel, Out of the Ruins oder The Hammer that kills" hört man auf dem Album alles, was das Metalherz begehrt. Das Album endet mit der Coverversion des Klassikers "Beds are burning" von Midnight Oil. Tobias Kersting veredelt das Album mit filigranen Power-Metal-Riffs und Weltklasse-Soli, während Lars Schneider und Patrick Klose dem Duo Kersting/Boltendahl die nötige Basis liefern. Die unverkennbare Stimme der Totengräber-Legende regiert... "Reborn in Flames" ist ein Feuerwerk an Metal für jeden Headbanger, der klassischen Metal liebt... Mit "Reborn in Flames" schaffen die vier Musiker ein eigenständiges, frisches und hochklassiges Power-Metal-Debütalbum. Wie Ozzy sagte: "Let the madness begin"

Ced Gee & Kool Keith, both members of the legendary Ultramagnetic MC's, regroup for a new Ultramagnetic MC's record. The resurgence of classic Hip hop moves strong into 2022 with new release from Ultramagnetic MC's "Kool Keith x Ced Gee." Arising from the Boogie Down Bronx in the mid-'80s as a far-flung hip hop trio with a heap of new ideas to try out, Ultramagnetics Kool Keith, Ced Gee, and DJ Moe Love occupy something of a singular place in the old-school pantheon. Combining funk-heavy tracks with jeep-rocking beats and obscure lyrical references, Ultramagnetic MCs have a list of firsts to their credit: the first rap group to employ a sampler as an instrument, the first to feature extensive use of live instrumentation, the first to feature a former psychiatric patient (Kool Keith) on the mic. Early singles like "Something Else" and "Space Groove" were block-party staples and created waves in the underground, eventually landing the group on the disco-dominated Next Plateau label, where they released their underappreciated debut. The following years found the group shuffling from label to label, releasing albums on Mercury and Wild Pitch before splitting to pursue various projects. This special event will feature Kool Keith and Ced Gee performing classic Ultramagnetic MCs songs and sharing stories and history about the making of their iconoclastic catalogue.

First impressions matter. Especially on a debut album. Time and attention-strapped listeners size up an artist within a song or two, then move on or delve in further. Fortunately, it only takes Margo Price about twenty-eight seconds to convince you that you’re hearing the arrival of a singular new talent. “Hands of Time,” the opener on Midwest Farmer’s Daughter, is an invitation, a mission statement and a starkly poetic summary of the 32-year old singer’s life, all in one knockout, self-penned punch. Easing in over a groove of sidestick, bass and atmospheric guitar, Price sings, “When I rolled out of town on the unpaved road, I was fifty-seven dollars from bein’ broke . . .” It has the feel of the first line of a great novel or opening scene in a classic film. There’s an expectancy, a brewing excitement. And as the song builds, strings rising around her, Price recalls hardships and heartaches – the loss of her family’s farm, the death of her child, problems with men and the bottle. There is no self-pity or over-emoting. Her voice has that alluring mix of vulnerability and resilience that was once the province of Loretta and Dolly. It is a tour-de-force performance that is vivid, deeply moving and all true. From the honky tonk comeuppance of “About To Find Out,” to the rockabilly-charged “This Town Gets Around” to the weekend twang of “Hurtin’ (On The Bottle)”, Price adds fresh twists to classic Nashville country, with a sound that could’ve made hits in any decade. Meanwhile, the hard-hitting blues grooves of “Four Years of Chances” and “Tennessee Song” push the boundaries further west to Memphis (the album was recorded at the legendary Sun Studio). • Hometown: Nashville • Recorded at Sun Studios

She may be making her first appearance on NuNorthern Soul, but Zeynep Erbay is no newcomer. A classically trained pianist who took a turn towards the dancefloor while at university, the Turkish DJ/producer earned her first release on Compost Records way back in 2007 after taking part in 2006’s Red Bull Music Academy programme. Since then, her career has been on an upwards trajectory, with releases on Fools Gold and Soul Clap Records confirming Erbay as a genuine rising star of underground electronic music.

On the Healer EP, the Istanbul-based producer showcases the more atmospheric, sun-kissed end of her productions, taking a turn away from synth-powered, disco-leaning club tracks towards something more suitable for al-fresco events, sun-down sets, and sofa-bound listening sessions.

Inspired by a poem inscribed on the back cover of the EP, Erbay’s two original instrumental tracks simply ooze with emotion. The poem tells the story of a whale searching for her family while helping others along the way, which acts as a metaphor for our wider search for belonging and acceptance.

This aural narrative unfolds firstly across ‘Heart of a Healer’, a slowly unfurling stunner in which emotion-rich chords, gentle electronic melodies and Erbay’s poignant and picturesque piano motifs, gently rise above a chunky dub disco bassline and mid-tempo, triple-time drums.

Delving further, the effortlessly emotional, life-affirming composition ‘Healer Whale’, where Erbay’s impeccable piano playing ushers in languid, jazz-flecked drums, dubby bass, sumptuous synth-strings and colourful, slow-moving chords.

On remix dutires, NYC-based Italian Danilo Braca, who also mastered the release, provides a fine club-focused fix of ‘Heart of a Healer’, laced with crunchy machine drums and undulating TB-303 acid lines. NuNorthern Soul regular Marshall Watson handles ‘Healer Whale’, first delivering a fine ‘Remix’ version that effortlessly blurs the boundary between dub disco and Balearic nu-disco, before serving up a shorter, ambient ‘Reprise’ version.

Bosq & Kaleta return for the second single off their forthcoming full length album. Uplifiting Afro Disco & Funk are the name of the game on this beautiful release with artwork by Amanda Lobos from Brasil.

It's not possible to pick an A & B side between these two quality cuts, recorded between Bosq's Medellin Studio, NYC & Cotonou, Benin (one of Kelata's hometowns).

Sonayon is a midtempo summertime Afro Disco burner that almost doesn't need a translation from it's Gun (A language native to Benin and some parts of Southern Nigeria) lyrics for you to understand that it speaks of overcoming hardship & brighter days ahead.

Meji Meji, loosely meaning something akin to "two heads are better than one" in Yoruba takes a similarly positive stance, with Kaleta singing about unity over division on a heavy Disco Funk groove with blistering horns and heavy percussion.

Both sides already getting heavy support on dancefloors worldwide.

HiNRG masterpiece and often heard anthem in Mexico's Sonidos movement parties. Originally released in '89 at the tail-end of the HiNRG epoch as “house music” was starting to stake its territory in the charts, this production remained an underground hit by Los Angeles based duo Tyrants in Therapy (aka Dreams Come True). The melodic themes and lyric nuances explored in Sweet Magic make it a unique and unforgettable hymn you'll be humming when you wake up after a night at Patrick Miller. Faithfully remastered from the original master tapes which we managed to find and digitize in Los Angeles. Featuring a new stripped down extended mix by Castro using the original stems from the master tapes.

Sister Rosetta Tharpe is often referred to as "the godmother of rock and roll" for her pioneering guitar technique, use of distortion/reverb, and a 1963 UK tour with Muddy Waters that has been cited as a huge influence by Eric Clapton, Keith Richards, and Jeff Beck. Though she reached more widespread notoriety across the world in the '50s and '60s thanks to the folk/blues revival and her beloved status among UK blues and rock musicians, it's her early recordings from the late '30s and early-mid '40s that are the most brilliant, visceral, and emotional of her career. This excellent collection compiles 18 of those amazing gospel and R&B sides into one place. Essential.

Eric Hilton von Thievery Corporation hat sich für diese 7" mit Puma Ptah von der Thievery-Liveband zusammengetan. Exzellente Reggae/Dub/Afro-inspirierte Headz Music. Limitierte Auflage auf grünem Vinyl.

Repress!

"One Step Forward" is the debut album from Brighton based DJ and producer Cut La Vis aka David Lavis. Raised on a healthy diet of 90s hip hop, roots reggae and ska, Cut La Vis debut album for NICE UP! is a melting pot of exactly that - the sounds and culture he grew up around whilst learning his trade. Starting off as the DJ for a reggae band in his hometown of Hereford, he soon gravitated to the turntablist explosion of the mid 90s, competing in local competitions and B-Boy jams. At the same time, his love for dub and roots reggae led him into trying his hand at the fertile reggae mash-up scene, making a name for himself with an array of dancefloor shaking blends of classic hip hop tracks infused with a feel good skank, as well as remixes for for artists such as Blend Mishkin, Dreadsquad and Max Rubadub. Making the transition from mash-up maverick to original producer, you can still expect the same reggae infused bangers, dubwise hip hop and ska shakers complemented by an impressive array of guest vocalists plus a little help from a tight band of session musicians. Following their summer hit "Still Have The Love", London-based reggae/soul singer Maddy Carty appears on a number of tracks, as well as Bristol songstress Eva Lazarus who has been bothering the top 40 recently alongside Etherwood (Hospital Records). Roots Manuva collaborator and Speech Debelle's Mercury-winning producer Lotek blesses the mic on the bouncing "Rinse & Repeat" as well as UK Dancehall legend Tippa Irie who crops up on "Love My Music" pus an appearance from regular collaborator Mystro who opens the album with "Hit Me One Time". Rounding things off are JA dancehall MC Peppery and vocalist from Origin One, Parisa - giving the album a healthy balance of established artists and newer talent. With a cheeky nod to the classic Max Romeo track, "One Step Forward" also refers to this being Dave's debut album and making his first step into the future whilst retaining inspiration from the past.

Wenn es ein einziges Wort gibt, um Saint Agnes zu beschreiben, dann ist es " Hingabe". Die vierköpfige Band aus dem Vereinigten Königreich steht für ehrliche Texte, raue Gesangsdarbietungen (von Frontfrau Kitty A. Austen) und wutentbrannte Musik, die denjenigen eine Stimme geben soll, die eher am Rande als in der Mitte stehen. Mehr Gang als Band, wollen Saint Agnes (römische Märtyrerin, Schutzpatronin für eine Reihe von Dingen, darunter auch Mädchen) diejenigen ermutigen, die geschlagen und verletzt wurden, sich aber weigern, sich niederzulegen, und das ist ein roter Faden, der sich durch "Bloodsuckers" zieht - das zweite Studioalbum von SA und ihr erstes für Spinefarm. Anfangend mit dem Titeltrack, ist dies ein genreübergreifendes Werk, das Elemente aus Metal, Punk, Industrial und Grunge aufnimmt, ohne an einen bestimmten Stil gebunden zu sein; die 11 Tracks kommen direkt von der Quelle, größtenteils selbst produziert und abgemischt (NIN-Kollaborateur Sean Bevan leiht seine Mixing-Fähigkeiten der zukünftigen Single / Video, 'Follow You'), und dieser in sich geschlossene Ansatz sorgt für ein zusätzliches emotionales Gewicht, mit Kerrang!-Coverstar Mimi Barks, die das Chaos auf dem kurzen, scharfen Schock, der 'Body Bag' ist, weiter anheizt.

Wenn es ein einziges Wort gibt, um Saint Agnes zu beschreiben, dann ist es " Hingabe". Die vierköpfige Band aus dem Vereinigten Königreich steht für ehrliche Texte, raue Gesangsdarbietungen (von Frontfrau Kitty A. Austen) und wutentbrannte Musik, die denjenigen eine Stimme geben soll, die eher am Rande als in der Mitte stehen. Mehr Gang als Band, wollen Saint Agnes (römische Märtyrerin, Schutzpatronin für eine Reihe von Dingen, darunter auch Mädchen) diejenigen ermutigen, die geschlagen und verletzt wurden, sich aber weigern, sich niederzulegen, und das ist ein roter Faden, der sich durch "Bloodsuckers" zieht - das zweite Studioalbum von SA und ihr erstes für Spinefarm. Anfangend mit dem Titeltrack, ist dies ein genreübergreifendes Werk, das Elemente aus Metal, Punk, Industrial und Grunge aufnimmt, ohne an einen bestimmten Stil gebunden zu sein; die 11 Tracks kommen direkt von der Quelle, größtenteils selbst produziert und abgemischt (NIN-Kollaborateur Sean Bevan leiht seine Mixing-Fähigkeiten der zukünftigen Single / Video, 'Follow You'), und dieser in sich geschlossene Ansatz sorgt für ein zusätzliches emotionales Gewicht, mit Kerrang!-Coverstar Mimi Barks, die das Chaos auf dem kurzen, scharfen Schock, der 'Body Bag' ist, weiter anheizt.

Futurismo are proud to present a first time reissue of the killer 1985 album: Just A Million Dreams by the uncompromising Alan Vega.

The remastered version of this LP comes with two unreleased bonus tracks produced by Liz Lamere and Jared Artaud of The Vacant Lots. It is packaged in a gloss laminated sleeve with a huge fold-out poster and contains new liner notes by Henry Rollins.

Presented in a remastered deluxe vinyl package, Just A Million Dreams, produced by Ric Ocasek and Chris Lord-Alge, takes Vega on an expedition into new territory. As an artist Vega had a crucial drive, but having a hit record was never a motive, neither was pandering to expectations, which is why Just a Million Dreams is perhaps a perfect statement for that moment, bettering the then bastions of MTV rock without even trying, an exercise in subversion that still has Vega’s unique artistry at its core. Would you expect anything less from one half of NYC legends Suicide? Perhaps not, but the hows and whys to Vega landing himself in such a mainstream position are perhaps just as fascinating as the record itself.

Here Alan Vega’s vocals sound better than ever, full of emotion and brooding honesty. Lyrics painting images of dystopian love might be a sideways move away from the intense nihilism of his past, but it’s still the real deal. Alan Vega could not be anything else. Listen to tracks like ‘Creation’ and you still get that raw emotion he spent his career honing. Set against the grandeur of mid 80’s production: big processed drums, runaway guitar solos, we get a rare peak into what Vega would sound like if he was allowed to be a rock star drenched in the sonic excesses of the era. It was a brave and unfairly misunderstood move, but the components come together to form an incredible anti-commercial, commercial album. Just A Million Dreams is the sound of Alan Vega taking on the 1980’s and winning.

With help of the official Vega Vault, two never before heard tracks have been unearthed from the 1985 JAMD recording sessions and brought to life by long time collaborator Liz Lamere and Jared Artaud of The Vacant Lots, adding a new insight to the recordings. Henry Rollins also lends a new written perspective, making this release a vital addition to the collections of Alan Vega and Suicide fans. It has been said that Alan Vega is forever, his unwavering artistic approach can be witnessed throughout his career, whether as part of Suicide or as a solo songwriter, poet or sculptor. Just a Million Dreams is just another example

Second album from Elias Mazian.

While his debut album Vrij Van Dromen hinted at the work of a bedroom producer, Elias Mazian never was the person to hide. After becoming a resident DJ at the now gone club Trouw ten years ago, he spent many nights playing records at clubs, and today he is as visible during the day as selector and host on FM radio. With this follow-up record he does one more step out of obscurity: moving from low to high fidelity, into more sincerity.

The songs on Alleen Bij Mij comfortably sit next to the songs he shares with friends on Private Hearts, Mazian's radio show dedicated to pop melodies. Like classic sixties records, the LP clocks just above thirty minutes, while also sharing their harmonic approach. Additional influences can be traced back to seventies krautrock, Dutch disco dub from the eighties and the storytelling of mid-2000's Dutch rap. Channeling these sounds into his own after hour tales, Elias Mazian created the perfect album for late bike rides and night trains alike.

Seconded by his good friend and multi-instrumentalist Anton Pieete and the all-knowing engineer Eelco Bakker, the album is produced and mixed for Mazian's melodies to shine. Combining observations from daily life with the big themes of pop music, this mixture results in eight songs ready for radio play.