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As a self-described “sponge for club music”, London-based Bristol transplant Ian DPM has cut a singular figure in both the West Country and the capital in just a handful of years. Already situated as the tastemaker behind music curation platform Definite Party Material, co-owner of Scuffed Recordings, and Noods Radio and Rinse FM resident, Ian DPM’s emergence as a producer has marked him as an expansively curious, bass-forward figure at the bleeding edge of genre boundaries.

After retreating to his hometown of Portsmouth during lockdown to absorb the blueprints of ‘90s techno, Ian emerged with a new phase of experimentation: techno-inspired and indebted, yet eschewing loops and grids for a loose-limbed, open minded engagement of the form.

Taking inspiration from the iconic carnival rides that are inseparable from their high-octane happy hardcore soundtrack, “One For The Waltzers” begins with a distant rumble of muffled breakbeats that inch ever closer. But rather than dizzying lights and in-the-red maximalism, “One For The Waltzers” gradually reveals its knowingly deep shimmy and groove. It is a drum-heavy and rhythmic production, masterfully using negative space to showcase every contour of its slowed-down rave horns and acid house synth lines.

“KE01” inhabits the flipside of the same sonic world “One For The Waltzers”. Here, feverish percussive energy contrasts against pensive melodic synth chords. It’s a heady warehouse affair, familiar and complex, referential yet contemporary, and only adds to the momentum that Ian DPM is gathering.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

The Mothership has come! It has arrived in the form of the strictly limited collection box “Music Is The Healing Force Of The Universe”, containing all singles released on the label between 2019 and 2021. The Höga Nord – galaxy resounds of all good between strict electro and loose jams, fluffy krautrock and moist world music to underwater techno and space funk. Although, what it is that defines the Höga Nord sound is not genres, instead it is, to cite Mathias Nilsson, founder of and boss for the label, music “strongly connected to fantasy, to the creative world.” Creativity over profit!

The collection is an overview on Gothenburg’s underground music and on an international scene that breathes similar air as the local Swedish acts that Höga Nord Rekords has chosen to highlight. The kinship between Jesse’s 80’s varnish sports car-electro and Purple Desert Rain God’s more traditional mountain sound can appear distant but the artists come together in their free spirited approach to their own productions – what all acts on this collection has in common is that they move toward something new, something beyond the genre they are in.

“Music Is The Healing Force Of The Universe ” mark the closer for Höga Nords first run. The 2010s are over and the 2020s lies open for further investigation of the cream of the Swedish and international of underground scenes!

'The dynamic pop-meets-R&B duo, Two Another, today announce their hotly anticipated debut album “Back to Us”, an album that traverses themes of self-acceptance, queer identity, letting go of the idea of perfection and hope for the future. Blending alt-pop, funk and R&B, the upbeat buoyancy of Two Another’s sleek yet energetic productions on “Back To Us” has an infectious potency to transform a mood or an outlook track after track. The duo again confirm their unparalleled talent as they channel raw emotion into undeniable grooves across the ten tracks which are pumped with compelling stories executed by the honeyed melodies of Eliot Porter and the joyous synths of Angus Campbell.

Zurich’s Elvis Cassetta delivers a dazzling four-track debut EP to his brand-new WhyNot imprint. Complete with a refined deep house sound, this is an expertly crafted body of silky smooth grooves to get floors shaking.

'Down With Us' instantly displays Cassetta’s effortless ability to create a hot house swing using just a handful of elements – subtle groove, skittish percussion and a sultry vocal sample. The whole track is thrown out wide in the breakdown, but then as the bassline is brought back in, Cassetta draws it all back in close for an intimate dancefloor moment. Definitely one of those hands-in-the-air peak-time scenes.

Dreamy synth pads steadily build under a thunderous kick drum pattern on the EP’s second track, 'Focals Finest', which takes the tempo up a notch for a real sweat inducer.

Finally, it’s all about a raw bassline on the metallic and techy 'Jupiter Groove'. Contorted slices of spoken word dip in and out throughout to create another level of leftfield, danceable percussion. While the low end is the main focus on the original, in Silat Beksi’s remix, we hear a brighter take on the deep groove. There’s a swirling sample, more prominent key stabs, eerie vocals and a teasing smattering of melody. Percussive elements are thrown from all angles, and they pulsate up into the rafters of the lofty house track, leading you further into a state of hypnosis.

Overall, these are house tracks made right – a classy release fit for warming in crowds in style.

Don Carlos, one of the very first italian deejays to wrap his productions up in that Deep House aura that was gripping on european clubnights and fast became the soundrack of sunday after hours with sunglasses on and beautiful dawns in the background. Both Don Carlos tunes sold by the loads on 12”s and LPs but never ever came out on a 7”. I’m quite sure many of you already know Mediterraneo while the Flute House take of Alone is an off-the-radar version played systematically by Tony Humphries for ages.

A limited edition 7' release by Francisco Aguabella, both tracks taken from the rare Hard Hitting album released 1970 on EPSILON records. These two have never been on 7' before, includes wonderful re-production cover of the original sleeve

Track A1 - 'Desire' - Amazing vocal club classic which has stood the test of time always in demand. Never before pressed and released as 45. A massive dancer and a must have release.
Track B2 - 'Casa fuerte' - if you like Latin jazz dancers this is for you - top class banger.

Limited edition 7' VINYL COLLECTION
Label & cat no DYNAMTIE CUTS - DYNAM7023

A limited edition 7' release by FOXY, both tracks taken from the 'GET IT ON' LP. Again DYANMITE CUTS give you never been on 7' release. Including a wonderful re-production of the original sleeve x500

Track A1 - 'Mademoiselle' - RARE GROOVE Club classic, Sexy DANCE FLOOR vibes and long awaited 45 release, Djs favorite. !!!!
Track B2 - 'Tena's Song' Mid-tempo DISCO VIBE. Classic drum break. Great DJ tool
MUST HAVE 45 rpm 7'

Landmark albums deserve to be released on Glorious Vinyl, and that's why Lovemonk is presenting the first ever vinyl edition of Martín Buscaglia's 2006 corker, El Evangelio Según Mi Jardinero.

"Brain, brain, thanks for being in my head and not in my knee, if not, I wouldn't be able to kneel down to pray or keep that promise I cannot reveal". Those are the first words (translated from Spanish) of 'Cerebro, Orgasmo, Envidia y Sofía', the song that kicks off El Evangelio Según Mi Jardinero, the fourth album by Uruguayan pop genius Martín Buscaglia and his second on Lovemonk.

El Evangelio is a wonderful collection of deliciously cheeky and brutally honest songs composed by a man who was lucky enough to grow up in a home where several of his home country's cultural greats (Eduardo Mateo, Urbano Moraes, Rubén Rada, all three of legendary candombe innovators El Kinto, and Hugo Fattoruso, of Opa) would drop by to chat, write and hang out. They, and other heroes like Marvin Gaye, Tom Waits, Stevie Wonder, and Jorge Ben, have had a lasting influence on Martín's music, and it's no different on El Evangelio. Martín wrote most of the songs and plays all kinds of instruments, conventional and not so conventional (the ravanahatha - an ancient bowed, stringed instrument used in South Asia, different toys such as the Simon device and a carousel), and there are cameos by the likes of Arnaldo Antunes, Nicolás Ibarburu and Juana Molina.

El Evangelio Según Mi Jardinero is a dazzling piece of work that will make you dance your ass of and take you to place you haven't visited since childhood. Even 12 years on, the at times complex songs actually sound deceptively simple and stunningly fresh.

A limited edition 7” release by TARIKA BLUE, this outstanding band release two LPs back in 1976 and 77 on the famous Chiriucuro, label. DYNAMITE CUTS give you a super fresh loud 45 cuts.

Track A1 – “Dream flower” –Djs favorite, This wonderful mellow jazz class. Taken from the mega Rare self title LP “Tarika blue”. Sampled by many hip hop artist, most famous J Dilla for the Erykah Badu “Didn’t cha know”. Heavy jazz bass line.

Track B2 – “Jimi” this is an outstanding guitars solo monster. Similar too Maggot brain by Funkadelic, HEAVY Guitars with pure emotion and feeling “JIMI” features James mason & Ryo Kawasaki on the solo guitars

This has to be the holy grail of Weldon’s work, with his unique interstellar musical language. Back in the early 70s, Weldon Irvine was well ahead of his time both with his relatively radical, ‘modern’ jazz scores, and his overtly humanist lyrics. The almost Alice in Wonderland world of the late great Mr Weldon Johnathan Irvine, is one to get totally submerged in. Mr Irvine was such a calm and gentle person who just oozed music, baring his soul onto vinyl. It is such a great honour to be able to release some of my absolute must-haves, from his Nodlow music label on to 7” for the first time.

First recorded in 1973 and released on Nodlow records, we have taken 3 wonderful tracks from the epic “Time Capsule” LP – “Déjà vu” this quirky, yet catchy, song has been edited down, from 9 minutes to 3mins 43secs and this is the first time on 7’ for this 45 release. Weldon on Keys and vocals; back up with Emerson Cain; Lenny White on Drums; Tony Wiles, percussion; and Alex Blake on bass. Speaking to the family, I found out that Weldon had wanted to release a 7” of this back in the day, but it never happened, so this is for you, Weldon.
On the flip is “I am”, A spiritual interlude of words, and a feel that bring Weldon into the room, poetic masterpiece of earthly ideas and musical chords.
“Bananas” is a 90s Jazz Club dancer, this again shows Weldon doing his thang. Super funky drums and bass; plus it has that signature Weldon turn around rift

Wow, we’re so happy to reissue these incredible two gems from the mighty Brian Auger’s Oblivion Express. Mr. Auger is a superb Hammond organist & pianist. Known previously for his work with Julie Driscoll, Brian Auger & The Trinity in the 60s, Oblivion Express vibes kicked off in the 70s.
Our A side ‘Inner City Blues’ is a cover of the Marvin Gaye classic. A Hammond driven groove with a deep percussive backing and killer vocals, this version stands up as a banger in its own right, a must have cut!! b/w ‘Voices Of Other Times’ is one of my favorites from the Closer To It LP, a super funky, jazz-rock thang, up-tempo and includes a wonderful sample and loop. Dynamite Cuts DJs tool, and one for the collectors!

Both tracks are taken from the groundbreaking ‘Closer To It’ album from 1973 which was such a genre bending release it entered the US jazz, R&B and rock charts simultaneously. We release this amazing 45 with the permission & cooperation of Greg Boraman’s Soul Bank Music – who recently announced they have licensed Brian Augers’ full back catalogue to re-issue, including many previously unheard rarities from Brian’s personal archive.

Jalaluddin Mansure Nuriddin was an American musician and poet. He was one of the founding members of The Last Poets, a group of poets and musicians that evolved in the 1960’s. Earlier in his career he used the names Lightnin’ Rod and Alafia Pudim. He is sometimes called, “The Grandfather of Rap’, and wa a devout Muslim, poet, acupuncturist, and marital art expert. Nurridin’s talent and genius with words and rhythm are renowned. He produced some epic poems. The band featured on this release just happens to be the one and only Kool & The Gang.

Lightnin’ Rod feat Kool & The Gang – Hustlers Convention

Freestyle reissue another 12" of prime UK boogie funk - this time giving a fresh cut and press to Bogaz's "I've Got Love", originally released back in 1983 on Dave Stevens' AGR Records imprint.

Bogaz were a short-lived group formed of seasoned musicians and session players Raff Peermamode, Trevor Murrell & Randy Hope-Taylor of Congress, Cargo & Incognito fame. I've Got Love represents one of only two 12"s ever released by the group.

Japan's guitar hero Takeshi Terauchi reworks traditional songs and lets everything go wild with his magnificent and frenzied guitar sound. Enter the electrifying world of Eleki!

Gatefold 180g heavy vinyl LP, reverse board print. Comes with extensive liner notes by Japanese pop culture writer Julien Seveon (Cinexploitation)

All tracks licensed by King Record Co., Ltd., Tokyo, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nker

The aftermath of World War II gave rise to a global phenomenon that saw new generations of young people rise up determined to forge new paths from their elders – culturally, politically, and musically. Japan was no exception and the recent past made the local youth angrier, hungrier and even more determined to fully experience something different from their parents. The country caught on to the early rock & roll craze almost in tandem as it was happening in the States. Teenager Chiemi Eri singing "Rock Around The Clock" and Kazuya Kosaka with "Heartbreak Hotel" were among the first to make what would soon be called Rokabiri accessible to a large audience. Teacher and parent associations showed concern regarding this new music when teenagers started missing school to attend afternoon shows – one of which most notably being the Nichigeki Western Carnival where all the top names of Rokabiri played to sold out audiences. But by the end of the 1950s, the youth of Japan had moved on to something else entirely: Eleki.

The 50s and 60s were a time of rapid change that saw trends come and go. Japan, like all other industrial countries, saw its youth move from one musical sensation to the next. And in the early 60s, there was one band in particular that created a distinct new flavor: The Ventures. Leaving behind vocals and focusing strictly on the impact of the sound of the electric guitar, The Ventures drove kids crazy all over the world. Other bands followed, most notably The Shadows, but in Japan, no other instrumental rock band managed to leave such an impact. The sound of The Ventures helped boost guitar sales in Japan and soon hundreds of cover bands were popping up all over the country. The Eleki Bumu (electric boom) was now in full effect with Takeshi Terauchi emerging as its first and greatest guitar hero.

Terauchi was born January 1939 in the prefecture of Tochigi, north of Tokyo. His mother taught music and played the shamisen – a traditional Japanese stringed instrument – while his father ran, among other things, an electronics shop. Their respective professions were to be decisive in the path that Terauchi would later take. Serendipitously, at the age of five, Takeshi was given his first instrument – a guitar. His destiny sealed, he quickly began experimenting with different tools from his father's shop to give his instrument a stronger sound. The technological approach came from his father, the technique from his mother. Terauchi's signature playing style owes a lot to his mother's instrument of choice, as he attacks the notes on his guitar as one plucks the strings of a shamisen.

This exceptional compilation you are holding in your hands explores some of the best works by Takeshi Terauchi, recorded between 1966 and 1974, where the guitar hero looks inwards to Japan for inspiration. A meeting between traditional folk songs and the unique way Terauchi and his band play: the content is explosive, inspired, and highly addictive! The 60s and 70s were undoubtedly Terauchi's finest hours, and in the late 60s, one Japanese critic said that Terauchi was not only the best guitarist in Japan, but also in the world. You can now find out why.

"El Pasaje del Aumento" is a collection of syncopated rhythms for hypnotic slow dance. An accident of oppressive atmospheres with a humorous sense of rhythm and composition, which moves between downtempo, African rhythms and dub. With a certain oriental softness, it introduces you into a state of enchantment, spell... a hypnotic and mysterious restlessness, almost uncomfortable. Sentuhlà squeezes his Yamaha Rm1x on this second album, creating rhythms that you would never believe possible with a single synthesizer. He spins, twists and strangles it to the limit, til getting the last drop of frequency and oscillation.

Without too obvious references, it recalls the rhythms of Toulouse Low Trax or Wolf Müller, the experimentation of Muslimgauze, the repetition of Huerco S... But if you ask Sentuhlà himself, he will also mention Fela Kuti, Sun Ra, Can, Cabaret Voltaire, Tom Zé or Lee Scratch Perry...

Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long-standing figure in the already rich underground scene of Valencia. In this solo excursion, he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms, and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear-eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened African rhythms beat up no-wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

In 2021 Velocity Press published Who Say Reload: The Stories Behind the Classic Drum & Bass Records of the 90s, an oral history of the records that defined jungle/drum & bass straight from the original sources. The deluxe coffee table book has since sold thousands of copies and prompted many to comment that it should have an accompanying soundtrack.

Now author Paul Terzulli has compiled a Who Say Reload album. However, where the book focused solely on classics and anthems, the compilation takes a different route and offers up a selection of top-quality tunes from some of the scene’s most respected artists and labels.

Like the book, the album covers the genre’s nineties golden era, and the many styles of D&B are represented. Pioneering producers and crowd-pleasing favourites sit alongside a few sought-after obscurities by the unsung heroes of the scene. Most importantly, there are some absolute bangers!

The 16 tracks are spread over two volumes of 2 x 12"s, and there is also a 13-track digital version, taking you on a journey through music forged from raw breakbeats and basslines that soundtracked a culture of all-night raves, specialist record shops and pirate radio stations.

Jungle/drum & bass is approaching its 30th anniversary. Its sonic and cultural legacy is still being felt today. There’s still plenty of old music that might be “new” to some, and these tunes still pack as much of a punch as they did back in the day. That unique energy generated by a combination of breakbeats, bass and creativity never gets old.

Produced in conjunction with Above Board distribution. All tracks mastered from original sources and fully licensed. Mastering by Beau Thomas @ Ten Eight Seven Mastering. Liner notes from Who Say Reload author Paul Terzulli. Photography by Eddie Otchere. Artwork and design by Protean Productions.

Private Funk-Shun were a band formed in 1984 originating from the Loughton and Tottenham areas of north east London & Essex, and featured the vocal talents of Maxeen Edman-Messam - who would later go on to find fame in the early 1990s as key street soul artist Maxeen.

Originally performing under the name of Slipstream, but changing to Private Funk-Shun in 1985 after finding out another group were operating under with the same name, they toured around London & South East bringing a dedicated brit-funk following with them. Despite writing approximately 20 original tracks in their time, this self-released two-track 7" from 1986 was their only official output and has since become a certified rare groove, fetching upwards of £250 on the secondhand market.

Future Jazzers, notorious experimentalists and outfield eccentrics stumble onto the dancefloor. In the 90s. In the UK.

From an electronic music perspective, the period 1992 to 1996 in the UK that this compilation celebrates, was one of dizzying sonic diversification.

It was also a particularly turbulent time in the UK, not only politically and economically, but also culturally too. Economic catastrophe in ‘92 was followed by widespread poverty, a cost of living crisis and countless political scandals. Meanwhile, John Major’s Tory government pandered to its political base via unpleasant, authoritarian legislation that seemingly sought to crush rave culture, alternative lifestyles, and traveller communities. The UK was not so much a ‘Happy Land’ – to quote the name of this compilation – as an angry and divided one. Sounds familiar, doesn’t it?

Throughout, the music created by producers based across these Isles remained uniquely British, speeding up a process begun in the late 1980s through the emergence of street soul, bleep & bass and breakbeat hardcore – musical styles whose roots in multicultural inner-city communities made them distinctly different from the Black American sounds that had inspired their creators. It was here, rather than in the indie pubs of Camden, that real musical revolutions were taking place.

This deep diving selection brings together some truly adventurous and original electronic music from this period, much of it very hard to find. Major label outings connect with white label oddities with ease. Perhaps it could even be argued that many of these unearthed gems fit more easily into DJ sets in 2023 than they ever did at the time. The off-kilter swing of Richard D James’ obscure and highly sought after Strider B outing, ‘Bradley’s Robot’ is joined by further rare cuts from Cabaret Voltaire and the Black Dog, and artists as diverse as Ultramarine, Herbert, Fretless AZM, and Radioactive Lamb, amongst others.

This collection has been lovingly selected, compiled and mastered for maximum sonic playback. This very special release boasts sublime pastoral themed artwork, as well as informative and passionate liner notes by celebrated music scribe Matt Anniss (‘Join The Future’).

Ben Glas (b. 1992) is an experiential composer based in Berlin. Through ephemeral compositions Glas' work questions preconceived notions between the acts of passive hearing and active listening. In seeking to discover open ended forms of music and pragmatic listening perspectives, Glas' compositions focus on the realms of subjective perception and cognition, via the use of acoustics, psychoacoustics and space as tools for sonic composition. His work has been exhibited and performed internationally, including the Portland Institute for Contemporary Art (PICA), Glasgow's Radiophrenia Festival, the Soundwave Biennial (SF) and the Czong Institute for Contemporary Art (CICA). He is currently receiving his M.A. in Sonic Studies at the UdK.

Ben Glas writes… "Anonymous Sextet for Perverted Piano is a conceptual performance piece that combines a traditional grand piano, six long-distance remote controlled vaginal/anal vibrators and the prolonged use of the piano's sustainer pedal.

The six vibrators were strategically (and preparedly) placed atop of the strings of a various grand pianos (and one harpsichord), while random strangers around the globe connected to and operated the sex toys remotely. After the random and unwitting performers had befriended and synced-up with a catfishing account linked to the six individual vibrators and controlled by three different smartphones, they then sent vibrational patterns and pulses to stimulate their assumed target. The then-kinetic vibrators bounced, slid and bopped aleatorically through the tonal possibilities that the piano and piano's soundboard itself permits. The piano's sustain pedal was held down throughout the performance, elongating the triggered notes and the good vibrations.

All tracks on side A are performed by those unwitting performers, while side B's single track was performed with (more than) a little help from my friends (Anonymous (1), Genesis Victoria, Harry Hudson-Taylor and Hayden Dean)." – Ben Glas, Berlin, 16 February 2023.

Having lived and worked in numerous musical directions for many years, Semay Wu’s begrudgingly
faithful cello still remains at her side: from Merseyside, to Manchester, to The Netherlands, and now to
Central Scotland. Always trying to push age-old boundaries of how the instrument is viewed and heard,
her focus has led her to explore further collaborative and everyday improvisations, blending electronics
with mixed media and a variety of gestural art disciplines.

Raspberry Hotel is Semay’s first foray into recorded solo work. Finding it hard to stick to any one brief,
she filled out a room of a local studio space, with toys, everyday objects, instruments, and her cello.
Sitting on the floor, she recorded whatever came to mind. A week-long session of improvisations were
then taken home, spliced up and pieces were composed and mixed. Raspberry Hotel is made up of
fleeting, off-the-cuff performances, that can be listened to as separate tracks or as one long piece.

Clear Vinyl, limitiert auf 400 Exemplare. Am 10.03.2023 erscheint mit 'Tagträume an der Schaummaschine l' das vierte Album von Karies. Die pandemiebedingte Livepause schuf Freiraume fur konzeptionelle Weiterentwicklungen: Beschritt das letzte Album ,Alice' (2018) bereits neue stilistische Wege, wurde das Kaleidoskop musikalischen Anspielungen nochmals erweitert; dazu schlossen sich Thomas Zehnle und Paul Schwarz als Produzenten zusammen. Aufgenommen wurde überwiegend in Stuttgart, wo Schwarz als Teil einer Studiogemeinschaft Räume betreibt (Hotel Chelsea Love Connection). Das Mastering erfolgte durch Enyang Urbiks. Das Artwork entstand in Kooperation von Levin Stadler (Levin goes Lightly) und Dan Trautwein, letzterer zeigte sich auch für die Videoproduktion verantwortlich. Karies sind Benjamin Schröter, Max Nosek und Paul Schwarz, nachdem Jan Rumpela (Gitarre) auf unbestimmte Zeit eine Pause eingelegt hat. Paul Schwarz, der 2018 am Schlagzeug für Livegigs aushalf, prägte mehr und mehr durch seine Rolle als Engineer und Produzent das neue Material und trug so maßgeblich zum neuen Album bei. Karies gründeten sich 2012. Nach der ersten EP 2013, kam 2014 das von Max Rieger produzierte Album ,Seid umschlungen, Millionen' via This Charming Man Records, das seitdem als Label fungiert. Es folgten Touren und Supportgigs (Beatsteaks, Tocotronic, Sleaford Mods). 2016 erschien das zweite Album, ,Es geht sich aus' ("Postpunk war selten derart einsam, schön und perfekt zugleich." - Ox). Seit 2016 sind Karies Teil des Rosters der Bookingagentur Powerline-Agency. 2018 veröffentlichen Karies ihr drittes Album, Alice abermals von Max Rieger produziert.

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Essential reissue of the 3rd and final BL'AST! studio album from 1989.

Sonically enhanced with an aggressive remaster from Brad Boatright.

Visceral, brash re-design via a gatefold jacket! TAKE THE RIDE FOR LIFE! Black Vinyl - NON RETURNABLE.

Jewel case CD with fold out poster cover insert and a clear tray card.

In June of 1988 the mighty BL'AST! went into the studio with Black Flag’s live sound engineer GOAT : Dave Rat (RATSOUND). The result was the album: Take The Manic Ride. It was released by SST in 1989.

After the dust had settled the band was somewhat dissatisfied with the production of the album and regret ended up eternally haunting the band. The massive intensity of the songs completely outmatched what the recording ultimately captured. The master tapes were destroyed and were never to be recovered. Through some incredibly magical surgery a new heavy as fuck version of the album has been produced.

CRIM, formed in 2011, is arguably the biggest punk band in Catalonia (Spain). These extremely talented musicians have achieved serious local fame, playing to thousands over and over again, and writing powerful songs that are in many ways driving a very much flourishing scene in Northern Spain. Crim's popularity outside the Catalonian region has been growing rapidly, as that same sense of authenticity trickles down into the music itself, and their "no compromise" approach to writing and performing powerful and catchy tunes is in many ways universal - and for fans, easily identifiable and inviting, regardless of what language they speak. Anyone has who is seen this band live or heard their albums can attest to the power and drive that fuels this impressively talented group of free thinking musicians. Their music delivers tenfold, showing people across the world that CRIM are a band worth paying attention to! This LP version is Aside/Bside Evergreen & Brown with lots of gold splatter vinyl! FFO Cock Sparrer, Leatherface, Social Distortion

It's hard not to see the hype around BRUIT= as the next big thing in post-rock. While their 2018 EP Monolith provided a promising indication of their son- ic ambition, it was their debut LP The Machine is Burning and Now Everyone Knows It Could Happen Again which really set off the trig- ger. Receiving rave reviews around the globe and selling out the first vinyl pressing of 3.000 copies within less than a year, BRUIT= have no need to prove themselves beyond what they have already achieved so far. Consisting of three musical meditations, Apologie du Temps Perdu Eng. apology for time wasted sees BRUIT= cut down on their massive sound in favour of a more subtle contem- plation. In contrast with their recent streaming single «Parasite (The Boycott Manifesto)» with its direct message for Spotify CEO Daniel Ek and his listeners, the band have seemingly forgone their activist agenda paring back the grand thematic gestures and poignant spoken-word excerpts. Instead, BRUIT= let the music do the talking, reaching an activism which is more visceral, but all the more personal. "This ambient EP is conceived as a comma between our first album and the next one," explains bass player & violinist Cle'ment Libes about the purpose of this record. "It is an invitation to lose time, a parenthesis in the frantic race of our society." Existing somewhere between the grand genius of soundtrack composers like Hans Zim- mer and Ramin Djawadi, and the experimental prowess of fringe pop artists like Radio- head and Darkside, Apologie du Temps Perdu reveals the hidden power of film scores. We all know that moment in which we cease to be conscious of the musical accompani- ment and we become truly absorbed in the story. The music becomes part of scenery, and in this moment we lose track of time. Talking of his own work Ramin Djawadi (Game of Thrones, Westworld) notes: "If you were to turn the picture off, there is a story there and a connection to the characters and the plots." In the same way, through the sweeping strings of «La Sagesse de Nos Ai"eux», the ethereal tape loops of «Re^veur Lucide» and the undu- lating synths of «Les Temps Perdus», worlds are created to get lost in, and we experience the full power of music with our eyes and ears open. RIYL Hans Zimmer, Nils Frahm, Godspeed You! Black Emperor, Balmorhea, Max Richter, Olafur Arnalds, A Silver Mount Zion, Boards Of Canada

By now a regular and esteemed presence among the Discrepant sprawling household via releases with projects such as Alförjs or Jibóia, Mestre André "resurrects" his O Morto alias (bad pun somewhat intended) after 2016 'The Forest, The People And The Spirits'. With a diaristic approach where field recordings function as remnants of his surrounding reality and subsequent memories to be processed and recontextualized into an expressionist whole, O Morto expands that previous Discrepant release sonic palette unto uncharted cartographies. 

Based on a number of field recordings taken during a life-changing trip to Morocco that felt like a fever dream, 'Dans La Gorge D'un Monstre' reenacts that hazy and hallucinatory mindframe through five tracks where no vivid recollection persists, tainted by the extrasensory feeling of not being quite there. A sonic fiction that goes from the processed cymbals and pummelling drums of 'The Gorge' with Andrés' mates in Jibóia, through moroccan Gimbri player Ayoub El Ayady and Khalid Boulhaman’s rattling Krakebs on 'Lila' and the slowed down Eccojams vibes of 'Out of the Atlas' to the dreamy aquatic soundscapes and arpeggios of the appropriately titled ‘Princesas Batráquio'. Comprising the whole of the B side, 'A Desert of Rain' is a slow evolving wonder where gong-like tones drift beneath scrambled transmissions of unknown origin, eventually giving way to synapse inducing drone motifs and scraps of realities collapsing among themselves - fire into water, a jetstream into steps, maybe none of this. 

Along with the LP, the release comes with a companion piece tape titled 'Iffrits Habitent', a more impressionistic and unadulterated account of the same travel that could well be this side of the mirror. Then again, maybe he never made it from the other side. Who's to know?

Killer funk compilation full of highlights from the music archives of Josef Weinberger Ltd. in London, pulled from the most famous library albums on labels like JW (Josef Weinberger/ Theme Music), IA (Impress) or PM (Programme Music). First selection of 16 lost tracks by Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale or Vick Flick, oscillating between jazz-funk, soul music, proto techno and eastern-tinged disco, with open drum breaks, fat bass lines and plenty of horns/ wah wah/ organs/ vibes/ flutes/ electronic effects. Recorded from the master tapes, restored and mastered 2016 for 6-Page-Digipack-CD and limited vinyl LP, comparable to the best works of KPM, De Wolfe or Bosworth.

At last, these two glorious rare groove classics are legally back on 7'. For the first time they are longer than the original 7' with all the essence of the full length 12' versions. Unlike bootlegs, these come from the original tape sources Roy Ayers first produced with all his finesse for his Uno Melodic label in 1980. Sylvia Striplin sang in Eighties Ladies and Aquarian Dream, but she's best remembered for these two songs from her one album Give Me Your Love'.

Along with The Mills Brothers, the Ink Spots blazed the way for
black music groups, creating a path for many to follow. They
proved tremendously influential, with Bill Kenny's lead tenor
inspiring such as Sonny Til (The Orioles), Curtis Mayfield (The
Impressions), Frankie Lymon (The Teenagers) and scores of
others, while Hoppy Jones's trademark talking bass role inspired
an equal number of followers.

Milky Clear Vinyl
Mariybus Debüt-Album 'SLAYBAE' erscheint am 10. März 2023 über das All Fe*male Label 365XX. Mal sweet wie ein Lollipop, mal heiß und evil - wenn Mariybu ihre vielseitige Stimme über die verzerrten Bässe legt, bedeutet das absolutes Feuer. Das Boss Babe aus Hamburg produziert sich nicht nur komplett selbst, sie überzeugt auch mit sassy Lyrics über (queeren) Sex, Dating und den Hot Girl-Shit. Sexy, zuckersüß oder in absoluter Abrisslaune - Mariybu weiß mit ihren unterschiedlichen Attitüden zu spielen und zählt Deutschlandweit zudem zu den experimentierfreudigsten Artists mit HipHop-Wurzeln.

After a first mini-album Dr Bolivard which took the form of a funky and electronic tragi-comic self-psychotherapy, a series of interviews with creators on YouTube (Jacques, Myd, L'impératrice...) where he played a zany psychiatrist character asking existential questions, Bolivard is back with a new mini-album which will be released on January 27th 2023: M. Bolivard.

Composed between 2020 and 2022, he gives his impressions of a turbulent period: pandemic, confinements, American and French elections, global warming, war in Ukraine, worsening mental health... Bolivard keeps his black humour and his taste for nonsense while adding a good dose of satire. On the agenda: social anxiety, radicalisation of opinions, narcissism, psychopathy...

Musically, French pop and funk are always mixed with electronic music. Bolivard sings, raps, slams, speaks, above all to tell stories that are more or less crazy, often funny, sometimes disturbing, definitely creative.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

China's leading post rock band Wang Wen are releasing their 12th album on March 10th, the follow-up to much acclaimed 2021's "100.000 Whys" "Wang Wen's new album Painful Clown & Ninja Tiger is named after the traditional Chinese method of chronology year name (DEDF & DEDD).The two years just passed by. The sexagenarian cycle of the Chinese calendar is like the FE- against-FD polyrhythm in music. Two separate paths that travel six times through the Heavenly Stems and five times through the Earthly Branches and then reunite. However, this is just a superficial interpretation. The reality is the dark side has been approaching and countless miserable accidents occurred in front of us. All the savage and dictatorship come back, repeating itself over and over again in a dead loop in the history, which becomes less distant and fuzzy nowadays. They are not just "years","people" or "places" that we read in books. They jump out suddenly in front of us, turning into vivid and bare details that we are confronted with every day. To put it simply: this album was composed and recorded in those two years, and it records the life experience of the band in those two years, hence the name. For fans of RADIOHEAD, MONO, 1099, RADARE, CONDOR GRUPPE, GODSPEED YOU! BLACK EMPEROR, CASPIAN, IF THESE TREES COULD TALK Limited (130 copies ww) Single Colour (Transparent Orange) Edition!

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.