-Only available on vinyl.
The third record in a set of Soul In The Horn's very first 45 pressing featuring tracks from Rockwilder and KingPros.
Rockwilder "Love In Need" unveils a stunning mid-tempo house rendition of a classic tune by the esteemed hip-hop super producer, Rockwilder. This transformative piece takes the original track and infuses it with the soulful rhythms and melodic textures characteristic of mid-tempo house music.
King Pros "You Had to Know" - Hard-hitting soulful mid-tempo rework of one of the most revered voices in Black American Music.
Michel Moers, the legendary Telex artist, makes a grand return with "As Is," his second solo album, released 33 years after his debut. This 2024 album features a unique blend of thoughtful electronic music and surrealism, marking a significant evolution in Moers' artistic journey. "As Is" includes collaborations with Claudia Brücken and Belgian singer Daan Stuyven, adding depth and variety to its sound. The album, reminiscent of diary entries and influenced by Erik Satie, was recorded largely in transit. It revisits and updates Moers’ classics, reflecting on modern individualism. Moers' involvement in remastering Telex's catalogue has sharpened his auditory skills, enriching this album. "As Is" is not just a comeback but a testament to Moers’ enduring creativity and relevance in the contemporary music scene
Arguably one of the best punk albums of the 70s, The Boys self-titled debut (produced by Dangerfield & Steel) is a cult UK classic. The album is filled with the pop punk gems, the kind of immediate salvos that would elevate Buzzcocks into the charts. In the intervening years, the history of punk rock has been written and re-written and a whole heap of bands have been sidelined. The Boys’ debut album, re-mastered here still sounds as fresh and immediate as it did back then and it also includes two classic punk rock singles in ‘I Don’t Care’ and ‘First Time’ (the latter, along with The Undertones "Teenage Kicks", the ultimate punk anthem of teenage romance and adolescent angst). Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’.
Following the red hot Detroit Swindle release this month, Freerange continue to bring fresh talent to the fore with the introduction of Nils Penner to the label. Although not exactly a newcomer (having produced the mighty Presence Of Another Man alongside Muder on his own Wazi Wazi Music as well as several remixes and appearances on Baalsaal and Moodmusic) it's fair to say he's been flying under the radar and we think it's about time that all changed.
It seems like ages since we last had Roberto Rodriguez on the label with his excellent Be Somebody back in 2008, so we're plenty happy to welcome him back for a long overdue follow up. Roberto clearly hasn't just been sitting on his arse the last 4 years however, having established the Serenades label which released his own LP Dawn last year, as well as putting out the killer Thinking Of You release on Fina plus numerous remixes for rock solid labels such as Let's Play House, On The Prowl, Moodmusic and 2020 Vision. Those familiar with Roberto's productions and credentials will know he has a fine ear for disco and 90's house born out of years collecting records and DJing in the best clubs in his native Helsinki.
Kicking off with Dance Like Nobody's Watching, we see Roberto tread confidently into pure, unadulterated retro house territory with NJ organ stabs, swinging 909 drum groove and choice vocal hits.
Oxymoron keeps things a little deeper with tracky filtering chords and driving drums resulting in a garage-influenced feel with bucket loads of raw attitude.
Finally we have The Black Madonna on board for a remix of the title track. The Chicago producer impressed us recently with her brilliant disco-infused tracks on Stripped & Chewed and Home Taping labels and thought her the perfect choice to contribute to the release. Here she delivers a lesson in stripped back Chicago warehouse vibes keeping everything to a bare minimum for maximum club bump. Kick, claps and piano stabs form the basic groove as she confidently develops the arrangement slowly and surely.
Time for one of Freerange's longest standing regular producers to return to the label for his first EP in three years. The Stepping Tones EP is absolutely classic Shur-I-Kan from start to finish with two original tracks plus a remix from the very excellent Berlin newcomers Kim Brown.
The title track opens with a big, bold, bouncing bassline and driving groove but as we hear the arrangement unfold the layers of keys build and drop bringing the trademark Shur-I-Kan musicality and energy to the track. In our opinion this is one of his strongest tracks yet and we're pretty sure this will be a firm favorite this summer, set to be heard everywhere from Croatian boat parties to Dalston basements and beyond.
Up next we have Kim Brown with their remix of Stepping Tones and what a job! The Berlin duo have made a big impact the last couple of years with their incredibly deep and beautiful Spring Theory and People's Republic releases on Just Another Beat. Completely sublime downbeat deep house is the key here, owing as much to ambient and orchestral music as to the rough and raw lo-slung club beats we're hearing from labels such as Dial and Smallville. Their remix brings rugged drums, dubby keys and lush strings to the fore with the addition of a twisted, filtering vocal enhancing the warm glowing sunrise vibe which emanates from this track.
Conundrum closes the EP with another deep, jazzy and cinematic Shur-I-Kan masterpiece and once again he layers up the textures and harmonic elements slowly and expertly, introducing the little hooks over time until before you know it you're bathed in a warm shower of lushness with tingles running down your spine.
Seems like something's going on across the pond at the moment with seemingly blossoming, or at least rejuvenated scenes in the United States and Canada. Our last handful of releases on Freerange have included artists from Montreal, Tujuana, Pittsburgh and Chicago and we're about to add Los Angeles to the list with this new one from Justin Jay and Ulf Bonde. The young producers have been steadily building steam with a number of fine releases the last couple of years
and we welcome them to Freerange for their debut EP entitled Indecision. The title track sets the mood with a low-slung, super-deep house groove complete
with an intimate vocal and a charming simplicity which contributes to the powerful end result. Elements come into focus then disappear in a fog of reverb whilst playful guitar picks add a live jammed feel to the loping groove giving things a Bob Moses/Francis Harris kind of vibe. Next up is Justin's own Dub version which steers a similar course but focuses on
a more floor-friendly arrangement and minimal vocals.
Flipping over we have Giegling and White regular Edward taking the reigns and working his magic on an incredible, epic remix of Indecision. Those who follow his every move as we do here at Freerange might have some idea of what to expect.
The result is a glorious, almost ten minute long fusion of ambient, dub techno and deep, sub-aquatic house to lose your marbles to. It's fairly pointless trying to describe the delicate twists, turns and subtle details that make up this piece, suffice to say, it's the kind of track that makes you feel warm and fuzzy inside.
Closing the digital release we have a bonus track in the form of I See You. Once again, Justin and Ulf have created a heady mix of delicate vocals, dubby atmospherics and a crisp beats which drive the groove along perfectly.
Red D is back for a follow up to his brilliant Chez EP which dropped last year and this time he's going for the jugular! The man responsible for
some of the finest house music of the last decade as FCL (with San Soda) and FCL vs VFB (with Motor City Drum Ensemble) knows a thing or two about
what makes the dancefloor lose its s**t, with tracks such as Let's Go Seven, It's You and Can We Try all testament to this.
When he's not DJing at the likes of Panorama Bar or hosting his own stage at Tomorrowland, Red D can be found running his own mighty fine We Play House label from his Ghent HQ.
Moan The Mania opens this release in suitably back to the raw fashion! A minimal drum machine groove and clipped bassline lay the foundations of this tribute to all things jacking with a sprinkling of porno groans to help you on your way. This is sleazy machine funk at it's very best. Next up we have a remix from Eli Escobar, the native New Yorker who has recently been making major waves following the release of his LP Happiness on Classic.
As someone who has remixed the likes of Lana Del Rey, Kim Ann Foxman, Honey Dijon and Holy Ghost we knew he'd be the man to take Red D's baton and run with it.
Keeping the overall vibe of the original intact
Eli cranks the energy further with additional in your face percussion parts and a couple of perfectly placed build ups. Flipping over we have Chase The Cat which takes a similarly stripped-back and minimal approach as Moan The Mania but goes heavier on the 707 beats. Finally we have Dusk Or Dawn closing the release with a deeper mood.
Simple FM synth stabs and glassy chimes provide a tender and naive-sounding counterpoint to the basic beats.
Red D proving once again that limiting your tools and not over-complicating things can often have so much more impact when it comes to house music.
Simbad makes a welcome return to Freerange following last year’s brilliant Take My Hand EP featuring South African vocalist Brian Temba. Now based predominantly in Cape Town, the French Londoner producer and DJ is one of the most prolific artists in the scene having notched up countless EP’s, remixes and production work for labels like Apron, G.A.M.M. Faces, Hyperdub, Atjazz, BBE & Brownswood. His association with Gilles Peterson and Worldwide runs deep, hosting regular shows on WWFM as well as traversing the globe delivering his unique and eclectic sets from Africa
to Asia and beyond.
Peaceful Revolution is one of those special house tracks which transcends boundaries, encapsulating an outernational sound in a way that Simbad excels in. Featuring South African upcoming producer Zito Mowa & vocalist Lwandile Zulu who brings a raw and impassioned energy to the deep and soulful mood, this tune was recorded in support of the troubled events from the past few months (Black Lives Matter movement).
Next up we have a track entitled Let Go which could quite easily be the lead track of the EP if they weren’t all as good as each other! This is late night emotive house music at its most sublime. Drop this at the right time and watch the floor come together in collective bliss.
Flip over for SMBD’s Shaolin Dub remix of Peaceful Revolution which pushes the original to the outer limits of the audio spectrum. Sub-sonic low end rumbles sitting in contrast to the ghost like whispers, glitches and industrial noises that pierce the ethereal pads.
Closing out this special release we find the unassumingly titled Soulful Jam, a low-slung groove which sees Simbad going heavy on fizzing analogue synths with a serene synth solo takin centre stage amongst the lush chords.
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"Multi-platinum singer, songwriter and TV personality Alesha Dixon celebrates her debut album Fired Up with a special edition yellow vinyl release. Strictly limited to just 500 copies, the record features UK hit singles “Lipstick” and “Knockdown”.
Alesha shot to fame as founding member of Brit nominated R&B girl group Mis-Teeq, garnering 2 multi-platinum albums and 7 top 10 singles, before embarking on a highly successful solo career. She is currently a judge on the highest rated show on British television, Britain’s Got Talent. Formats; Pink LP, Yellow LP."
"Multi-platinum singer, songwriter and TV personality Alesha Dixon celebrates her debut album Fired Up with a special edition yellow vinyl release. Strictly limited to just 500 copies, the record features UK hit singles “Lipstick” and “Knockdown”.
Alesha shot to fame as founding member of Brit nominated R&B girl group Mis-Teeq, garnering 2 multi-platinum albums and 7 top 10 singles, before embarking on a highly successful solo career. She is currently a judge on the highest rated show on British television, Britain’s Got Talent. Formats; Pink LP, Yellow LP."
Clock DVA is one of the pivotal groups of industrial music. Founded more than forty years ago, the instrumental outfit has seen a contemporary partnership of electronic experimentation forged between Adi Newton and Maurizio Martinucci since 2010. It is their source material that proves fertile ground for two remixes, remixes by two heavyweights of electronic music. Atom™ delivers his re-imagining of “De-Konstructor.” A lone string is met by snapping snares as an alluring, yet cold, melody unfolds. Newton’s raspy throaty words rise, a stark prescient poetry countered by angular acid-twisted keys before samples buckle and loop. The second stalwart of electronics drafted in is Scanner for his reframing of “Rayonist Refraction #1.” A ghostly female voice haunts a backdrop of electrical fizz and voluminous cracks of shuddering thunder. Guitar strings tremble in this eerie landscape with a smattering of spoken text bringing solace to this hostile environment. Music for an all to immediate reality.
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The Baby Seals debut album, "Chaos," is a sonic exploration that blends heavy guitars, a pop edge, and a punk rock garage spirit with a heavy attack. The band, comprised of Amy "Amos" Devine on drums and backing vocals, Kate Shore on bass and backing vocals, and Kerry Devine on guitar and lead vocals, delivers a raw and energetic collection that captures the essence of their live performances. Recorded in March 2023 in Thaxted, just outside of Essex, "Chaos" embodies the DIY ethos that has defined The Baby Seals' approach to music. Working with engineer Joe in a secluded outhouse surrounded by fields, the band laid down the tracks live over a day, capturing the unfiltered essence of their sound. Joe's extensive collection of homemade pedals added a unique touch to the recording, while Benny T's mixing expertise brought the album to its final form. The decision to minimise post-production sets "Chaos" apart from previous recordings, reflecting the band's commitment to authenticity and a desire to showcase their growth and maturity. On Chaos Kerry says: “Chaos is the next phase in life for us lasses in the band - babies and mid-life responsibilities. The album definitely is about how we feel and experience the world around us in our 30s and 40s. Someone who heard the album recently said it's like the The Baby Seals have grown up and I liked that because that's what I feel likes happened to me in the last two years… The album definitely has Themes: inclusivity, gender inequality, the mental load, the motherload, power, body positivity, challenging taboos, liberation. The importance of what to take seriously and what not to take seriously. Title track, Chaos is one of the songs on the album which I'd written after a series of events including watching an interview with the late writer Benjamin Zephaniah who said the only way to liberation for all was to tear big governments down and to believe in your community. The cover photo by Jeff Pitcher sums us up and hopefully gives you a feeling of what the album sounds like. Album design was created by Igor Prato Luna, he just seemed to understand what we are about. He referenced loads of wonderful album cover, poster and flyer artwork from the 60s - 90s, and even some fabulous sci-fi artwork from the 1920s and those incredible 1950s sci-fi pulp book covers. Nothing was referenced too heavily, though, and Igor definitely made it his own
10 Years Anniversary compilation LP. Ten years ago, on 21 April 2014, Russian enclave of the Baltic Kaliningrad-based trio Blind Seagull started off its adventure in the soon to be known as Sovietwave aka Russian post-punk underground. Tean years later they have accomplished to release nine full-length albums on all sorts of limited edition formats such as LPs, CDs, tapes with most of them being sold out for years. It was time to bring many of these tracks back to life, picking up the best among them and reissuing for the global post punk/darkwave niche. Fifteen cuts previously released by labels like Detriti, Sierpien, Pine Hill through which the band led by Denis Zarubin has shaped its own brand of icy coldwave, one pretty classic and extremely fresh and contemporary at once. On top of these we have one more track exclusive to this release which is a eurodance-oriented remix for their minor hit Animals Die in the Scaffolding. Think of a bunch of goth kids screwing around at the local carnival and you'll get the vibe! Decade Of Effort is due on April 21, 2024 on white vinyl LP limited to 300 with fairy-tale artwork by the band enhanced by the magical lettering of young Spanish artist Sara Fornés.
Inspiriert durch Duas eigene Selbstfindung, Radical Optimism ist ein Album, das die pure Freude und das Glück widerspiegelt, Klarheit in Situationen zu haben, die einst unmöglich zu bewältigen schienen. Die schweren Abschiede und verletzlichen Anfänge, die zuvor drohten, deine Seele zu belasten, werden zu Meilensteinen, wenn du dich für Optimismus entscheidest und beginnst, dich mit Anmut durch das Chaos zu bewegen. Durchdrungen von der Energie von Duas Heimatstadt London, verkörpert das Album die Unverfälschtheit, Ehrlichkeit, das Selbstbewusstsein und die Freiheit des Britpop der 90er Jahre. Radical Optimism entführt den Hörer in eine verträumte Popwelt, die reich an Musikalität, lyrisch kompromisslos und klanglich befreiend ist. Dua arbeitete während des gesamten Projekts mit einem Team von Kollaborateuren zusammen, darunter Caroline Ailin, Danny L. Harle, Tobias Jesso Jr. und Kevin Parker.
Entdecke das neue Akustik-Album »Cape Forestier« von Angus & Julia Stone. Mit 12 frischen Tracks bietet das Geschwister-Duo aus Australien eine vielseitige Mischung aus sanften Melodien und packenden Texten. Das Album ist perfekt für alle, die die intime Atmosphäre und eindringliche Klanglandschaft lieben und schätzen.
Über das Album sagen die beiden: »Cape Forestier, unser neuestes Album, nimmt einen ganz besonderen Platz in unseren Herzen ein. Es ist ein Kapitel, in dem sich ständig entfaltenden Buch über unseren gemeinsamen Weg. Es erinnert stilistisch an unsere früheren Alben; es gibt eine echte akustische Rohheit im Sound. Aber das Songwriting und die Performances sind natürlich an die Menschen gebunden, die wir heute sind, mit all den Zweigen der Erfahrung, die darin hängen. Wir könnten nicht aufgeregter sein, diese Musik mit euch zu teilen. Es war eine unglaubliche Erfahrung, diese Songs gemeinsam zu schreiben und aufzunehmen.»
Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.
Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).
Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.
Mammoth Penguins are a 3-piece indie powerhouse, showcasing the songwriting and vocal talents of Emma Kupa (Standard Fare) backed up by the noisiest rhythm section in indie pop. May 2024 sees the release of their fourth album Here on Fika Recordings. After 2019’s big, bold and confident There’s No Fight We Can’t Both Win, and the initial shock of the global pandemic cancelling a trip to SXSW in 2020, the band returned to the studio in the summer of 2021 to start recording. The new record leans into a raw pop-punk power-trio sound more than ever, with a deep growl in layered guitars and bursts of percussion and harmony. The songs and artwork explore themes about finding a place for yourself and familiarity with people and places. Although it turns back towards a classic three-piece sound, the band weren’t restricted by that palette, adding finishing touches of percussion, extra guitars and backing vocals in short bursts in a garden shed, and also bringing in gorgeous strings to sweeten the title track. The sound builds on the band’s first album, Hide and Seek, which was released with the much-loved and sorely missed Fortuna POP! in 2015. The follow-up LP John Doe in 2017 was an ambitious concept album, exploring the feelings of loss and anger at a man who fakes his own death only to return years later, expanding well beyond the 3-piece rock‘n’roll template, with washes of strings, synths and samples. The ‘Penguins have been smashing it at some high-profile support slots in the lead up to this album release, including at Allo Darlin’s joyous reunion at Islington Assembly Hall (Oct 2023) and Muncie Girls last ever London show (Dec 2023). They play the Leicester Indiepop all-dayer and Wales Goes Pop in March, before heading out on tour in support of the new album in May. Those big singalong choruses need your voice shouting back from the crowd with joy and defiance. Mammoth Penguins are Emma Kupa (guitar, vocals), Mark Boxall (bass, vocals) and Tom Barden (drums, vocals). Reminiscent of the pop melodies of The Beths, the indie dissonance of Land of Talk, and the guitar forward slacker rock of Weezer, Mammoth Penguins marry heart-ache indiepop with spiky guitars and Emma’s frank confessional songwriting. “wonderfully awkward indie pop with a literate flair, sounding a lot like a Weezer record or even a more feminine Wedding Present” Clash // “eminently relatable earworms” Brooklyn Vegan // “one of the finest examples of simple and true indie rock around” All Music // “her characterful voice still carrying masses of charm and the messier, grungey approach bringing a strength all of its own, aided by a clutch of cheerful hooks and riffs that contrast nicely with lyrics dealing mostly with heartbreak and misery” Drowned In Sound
Kee Avil's music is both adventurous and intimate, intellectually challenging and emotionally resonant. The Montréal guitarist and producer's 2022 debut LP Crease garnered plaudits from outlets like The Wire, The Quietus, Mojo and Foxy Digitalis, picking up a Canadian Juno Award nomination and Bandcamp Album Of The Day and Albums Of The Year along the way. Its intricate construction, unnerving atmospheres, and knife-edge take on avant-pop prompted comparisons to early PJ Harvey, This Heat, and Gazelle Twin. A remix EP with work by claire rousay, Ami Dang, Cecile Believe, and Pelada brought collaborative perspectives to four Crease tracks, offering new pathways within those songs. With Spine, Kee Avil strips back her heavily textured compositions, opening up a much rawer sound. She calls it folk—and while traditionalists might scoff, this is urgent music that reflects the precarity of modern life, as well as the jarring mixture of electronic and real-world interactions that have become the fabric of our day-to-day experiences. There's a hypnotic post-punk somnambulance to it all, using the repetition and fracturing of melodic phrases interwoven with delicate electronics to create curious and persistent hooks. While not a concept album, themes of time's passage, remembrance, and decay crop up across multiple tracks. Each track intentionally only has four elements—guitar, electronics, and two other instruments, with Kee's voice and guitar pushed to the front. Within this minimalist framework, the juxtaposition of beauty and discomfort that is key to the Kee Avil sound stands out in skin-prickling relief. "We're shaped by many versions of ourselves," says Avil. "I was looking back at these versions of myself and what could have been, what didn't end up being and what did end up being, and going back like that through time. Seeing the future, the past." Spine was written in Kee Avil's home studio after a lapse in writing while touring Crease and working on other projects. She is a well-known and respected member of the Montréal experimental scene, and formerly ran Concrete Sound Studio with Zach Scholes, who continues to work with her as a producer on Spine. Compared to the three years that went into making her debut, Spine emerged in a matter of months—a process that may also be a factor in its intensity and sharpness: "This record was much harder, like it was really discovering everything from scratch." In her desire to not simply replicate or extend the sound of Crease, she felt she had to rip up the rule book, write in a different way, and pare back songs against her usual instincts. Sometimes, when we work against our ingrained habits, we get to the core of who we really are. Spine is an exercise in that process. Without over-intellectualizing or being didactic, it hits immediately and emotionally, especially if you are a person who has spent much time in the process of self-examination. Kee's voice hisses, whispers, and chants; her guitar bends and rings; electronics skitter and crackle; violin creaks like a door in the wind. There is something so evocative about the atmospheres she creates that it's easy to overlay one's own feelings onto her work, but to do that wholly would be to overlook one of the most important things about Spine: Kee Avil's clear and thoughtful vision. This isn't just the next step forward in her artistic trajectory; it's a stunner of a record that stands on its own, a bracing and thrilling listen that has much to reveal about the contradictions inherent in being human. — jj skolnik.
Rico Puestel always has a surprise in store: #technohasleftthebuilding ain't finished yet! We've come a long way baby... The original recording sessions has been more extensive than previously known of, based on the incentive question: If Techno has left the building, what is actually left of it?
In the aftermath of it all, Rico Puestel bounces back to the true-bred heart of Techno and its traits that really made him fall in love with it in the first place. He initially kept these additional and special tracks to himself throughout the first album part, but the time has come to deliver them subsequently now.
Literally point by point, Rico Puestel designes a mesmerizing trip into the greater depths of early club nights, thinking of a world without any trials and tribulations of smartphones or the internet - just dancing and loosing oneself in the magic of the the 4/4-impulse and a tapestry of sound woven around our being.
In times, when people felt as a unit-of-one movement on the dancefloor, with Techno being its undeniable soundtrack and moment of truth, diversity was no issue, so #technohasleftthebuilding's aftermath also dives into the realms of Trance and beyond, because way back: Techno was just Techno and it's all about the music in the end.
Starting with a warning from a dystopian point in time, this further album part is an admonition and a refined view back from outside the building...
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Seit der Veröffentlichung des ersten Terminal Nation-Albums "Holocene Extinction" im Jahr 2020 haben sich die Spaltungen in den USA nur noch vergrößert, die Fronten verhärtet und Kompromisse sind keine Option mehr. Das brandheiße neue Album "Echoes Of The Devil's Den" der Band verkörpert diese kochende Wut und erscheint einmal mehr am Vorabend eines wiederkehrenden Albtraum-Wahlzyklus mit fossilen Relikten aus dem 20 Jahrhundert.
Die Esenz von Terminal Nation besteht im Kern aus unverschämt heavy Midtempo-Riffing und Bulldozer-Breakdowns, die auf ein neues Niveau extremer Brutalität gebracht wurden - über denen Stan Liszewskis giftige Stimme die brodelnde Wut einer Bevölkerung ausstrahlt, die mit ihrer Geduld am Ende ist.
Doch jenseits dieses Unterbaus hat sich Terminal Nation's Songwriting beträchtlich weiterentwickelt, was sich in Songs wie 'Embers of Humanity' zeigt, der ein episches Heavy Metal-Flair in seine Balladen einbaut und sich zu einem Stadion-Banger steigert. Auf der Single 'Merchants of Bloodshed' streut die Band hymnischen, fast schon radiotauglichen Clean-Gesang von Jesse Leach (Killswitch Engage) ein - nur einer von vielen Gastauftritten auf dem Album.
Textlich predigt die Band in "Echoes of the Devil's Den" sowohl mit der vernichtenden Gesellschaftskritik, für die sie bekannt ist, als auch mit einer eher intimen, reflektierenden Erzählung, die sich auf einige massive persönliche Umwälzungen bezieht, die sie in den vorangegangenen Jahren durchgemacht hat. Geschmiedet in den Feuern einer schwelenden Frustration, greift Terminal Nation's "Echoes of the Devil's Den" mit der Kraft eines ausbrechenden Vulkans an und verbrennt die Falschheit unseres Zeitalters zu Asche!
Additional Vocals auf "Written by The Victor" by Todd Jones of Nails
Additional Vocals auf "Merchants of Bloodshed" by Jesse Leach of Killswitch Engage
Additional Vocals auf "Cemetery of Imposters" by K. Kennedy of Sex Prisoner
Additional Vocals auf "Spikes Under the Bridge" by Zak Vargas of Elysia
Additional Vocals auf "Release the Serpents" by Dwid Hellion of Integrity
Additional Drums auf "Written by the Victor" and "Dying Alive" by Juan Cebreros
Seit der Veröffentlichung des ersten Terminal Nation-Albums "Holocene Extinction" im Jahr 2020 haben sich die Spaltungen in den USA nur noch vergrößert, die Fronten verhärtet und Kompromisse sind keine Option mehr. Das brandheiße neue Album "Echoes Of The Devil's Den" der Band verkörpert diese kochende Wut und erscheint einmal mehr am Vorabend eines wiederkehrenden Albtraum-Wahlzyklus mit fossilen Relikten aus dem 20 Jahrhundert.
Die Esenz von Terminal Nation besteht im Kern aus unverschämt heavy Midtempo-Riffing und Bulldozer-Breakdowns, die auf ein neues Niveau extremer Brutalität gebracht wurden - über denen Stan Liszewskis giftige Stimme die brodelnde Wut einer Bevölkerung ausstrahlt, die mit ihrer Geduld am Ende ist.
Doch jenseits dieses Unterbaus hat sich Terminal Nation's Songwriting beträchtlich weiterentwickelt, was sich in Songs wie 'Embers of Humanity' zeigt, der ein episches Heavy Metal-Flair in seine Balladen einbaut und sich zu einem Stadion-Banger steigert. Auf der Single 'Merchants of Bloodshed' streut die Band hymnischen, fast schon radiotauglichen Clean-Gesang von Jesse Leach (Killswitch Engage) ein - nur einer von vielen Gastauftritten auf dem Album.
Textlich predigt die Band in "Echoes of the Devil's Den" sowohl mit der vernichtenden Gesellschaftskritik, für die sie bekannt ist, als auch mit einer eher intimen, reflektierenden Erzählung, die sich auf einige massive persönliche Umwälzungen bezieht, die sie in den vorangegangenen Jahren durchgemacht hat. Geschmiedet in den Feuern einer schwelenden Frustration, greift Terminal Nation's "Echoes of the Devil's Den" mit der Kraft eines ausbrechenden Vulkans an und verbrennt die Falschheit unseres Zeitalters zu Asche!
Additional Vocals auf "Written by The Victor" by Todd Jones of Nails
Additional Vocals auf "Merchants of Bloodshed" by Jesse Leach of Killswitch Engage
Additional Vocals auf "Cemetery of Imposters" by K. Kennedy of Sex Prisoner
Additional Vocals auf "Spikes Under the Bridge" by Zak Vargas of Elysia
Additional Vocals auf "Release the Serpents" by Dwid Hellion of Integrity
Additional Drums auf "Written by the Victor" and "Dying Alive" by Juan Cebreros
The AT-LP140XP fully manual professional DJ turntable features a high-torque direct-drive motor and anti-resonant, mass-damped, die-cast aluminium platter to ensure stable, on-axis rotation at 33-1/3, 45, and 78 RPM. It is equipped with an S-shaped tonearm with height adjustment, adjustable tracking force (counterweight) and adjustable dynamic anti-skate control.
Audio-Technica has been a leader in phono cartridge design for more than 50 years, and that expertise shows in the durable, high-output AT-XP3 DJ cartridge with 0.6 mil conical bonded stylus included with the turntable. It comes pre-mounted to an AT-HS6 universal ½"-mount headshell.
Designed to connect to components with a dedicated phono input, the turntable comes with a detachable dual RCA output cable which supplies a strong 5.5 mV phono output.
Additional professional features include a start/stop button; forward and reverse play; selectable high-accuracy quartz-controlled pitch lock and pitch change slider control with +/-8%, +/-16%, and +/-24% adjustment ranges; a stroboscopic platter with speed indicator; a retractable plug-type stylus target light; and a removable hinged dust cover.
Experience high-fidelity audio and professional DJ performance
Direct-drive, high-torque servo motor with speed stabilization
Fully manual operation
Adjustable dynamic anti-skate control
Selectable 33/45/78 RPM speeds
Professional anti-resonance, mass-damped, die-cast aluminium platter with felt mat
AT-HS6 universal ½"-mount headshell and AT-XP3 DJ cartridge with 0.6 mil conical bonded stylus
Balanced S-shaped tonearm with hydraulically damped lift control, height adjustment, and lockable rest
Dedicated phono-level output (5.5 mV)
Stroboscopic platter with speed indicator
Forward/reverse operation and variable pitch control with quartz speed lock
Retractable plug-type target light for easier cueing in low light
Damped base construction for reduced low-frequency feedback coloration
Includes: detachable RCA output cable (dual RCA male to dual RCA male), power cable, 45 RPM adapter, counterweight, felt mat, and removable hinged dust cover
Turntable
Bauart 3-speed, fully manual operation
Motor High-torque DC motor
Antriebsart Direct drive
Geschwindigkeiten 33-1/3 RPM, 45 RPM, 78 RPM
Plattenteller Die-cast aluminium
Das elektronische Musik-Trio Keys N Krates legt mit IN:TENSION sein drittes Studioalbum vor, ein prägnantes Werk, auf dem die Band aus Toronto ihre lebenslangen Einflüsse und ihre vielseitigen
produktionsfähigkeiten zu einem leidenschaftlichen Projekt voller Talente verschmilzt. IN:TENSION enthält Tracks mit R&B-Superstar Ciara, der Sängerin Lion Babe sowie den aufstrebenden Sängern Taite Imogen, Dana Williams und dem verstorbenen, großartigen Sänger Aaron Carl.
Seit ihrer Gründung vor über einem Jahrzehnt haben Keys N Krates ihren eigenen Weg in der Musik gefunden, indem sie die Bereiche Hip-Hop,
Elektronik und mehr miteinander verschmolzen haben. Die Gruppe - bestehend aus dem Schlagzeuger Adam Tune, dem Keyboarder David Matisse
und dem Turntablist Greg Dawson - hat sich durch ihre Instrumentierung auf der Bühne und ihre energiegeladenen Sets einen ehrwürdigen Ruf als
einer der führenden Live-Elektronik-Acts unserer Zeit erarbeitet.
In the annals of German techno history of the early 90s, Mannheim's Milk Club was always something like the dirty little brother between Berlin's Tresor and Frankfurt's Omen - not as cocky as the two big siblings, but secretly all the more clever. Less pretentious than the Äppelwoi metropolis, less dirty than the capital and, despite squaring the circle, less straightforward than both together. Instead, they delight with breakdancers of almost Wigan Casino-like elegance. Very British, even in the musical mix of house, techno and breakbeats, breakbeats, breakbeats. A club like a kind of mother raising the nightclubbers with her milk.
Devi g. pay tribute to this club with their MILK EP. on Pudel Produkte.
Devi g. are Dirk Mantei aka Dman (DJ and former manager of the Milk Club) and Oliver Bradford (one half of Thee Church Ov Acid House and resident DJ at the equally legendary Brückenkopf parties in Mainz). Pudel Produkte because, well, Golden Pudel Club - Legend binding.
A four-part promenade mix is on offer that has it all. It contains house, techno and, yes, breakbeats, breakbeats, breakbeats.
out of Stock
Last delivered 2 years ago available to reorder, subject to availability
Double 180g coloured marbled vinyl (Disc 1: translucent sun yellow with red; Disc 2: purple with violet & white) housed in a gatefold cover. Double EP 7" on randomly coloured eco vinyl with four new tracks written for "Risk Of Rain Returns". Carefully designed, beautifully remastered and loaded with new ways to play - "Risk of Rain" is back and better than ever! Dive into the iconic roguelike full of unique loot combinations, enhanced with new Survivors, overhauled multiplayer, fan favourite content from Risk of Rain 2 and more! Ten years to the day, after "Risk of Rain" was released into the world to become a true classic, the game is revived on November 8, 2023 as "Risk of Rain Returns" to reconnect with its fans and be discovered by those who didn't realise what they were missing. Time to give the iconic game soundtrack an update as well, isn't it? Creator Chris Christodoulou gives an insight on his work as well as the extensive and luxurious new vinyl release that come with some remarkable extras: "Can you believe it's been ten years already? It seems like yesterday that I was sitting in my small bedroom/studio in front of an aching computer writing the music for 'Risk of Rain'. And here we are, ten years later, returning to it to, adding to its musical compendium. What an unexcepted, magnificent journey! With this very special release we're celebrating both, the 10-year anniversary of 'Risk of Rain' and the release of 'Risk of Rain Returns'! This modular album contains the entire Risk of Rain soundtrack remastered and the four new tracks written for 'Risk of Rain Returns' (with contributions from special guest musicians Damjan Mravunac & Maria Papageorgiou).
For as long as they've been a band, teen suicide's catalog has been as alluring as it has been elusive. Now the first time, two of the band's most sought after early EPs, dc snuff film and waste yrself, will be available together across all formats via Run For Cover Records this winter. These 18 tracks have been remastered to provide the best sound quality possible while still retaining the noisy, lo-fi sound that is an integral part of the teen suicide's essence. This collection will feature brand new artwork, including never-before seen photos & a lyric sheet for both EPs in one volume.
SticklerPhonics explores a world of brass 'n' skin on debut album Technicolor Ghost Parade featurin drummer Scott Amendola, trombonist Danny Lubin-Laden and tenor saxophonist Raffi Garabedian. The trio revels "in a situation where there's no bass and no chords," Amendola says. "Our sound is ever evolving and there's a feeling we can go anywhere." Technicolor Ghost Parade plunges into the unmediated terrain that opens up in the absence of the usual guidelines, the trio revels "in a situation where there's no bass and no chords." The band is a volatile combo that draws on a vast continuum of jazz practices, from traditional jazz polyphony and ambient soundscapes to funk and free jazz. The trio can generate fierce grooves and render through-composed pieces with the textural acuity of a chamber ensemble. The canny use of electronics expands their sonic palette to the horizon.
Eine umfangreiche Textsammlung aus dem Nachlass der Stereo-Total-Musikerin, mit Auszügen aus ihrem unvollendeten Roman "Für immer 16". Françoise Cactus bereicherte über Jahrzehnte unser Leben mit ihrer Musik, ihren Texten und ihrer ganz íeigenen Art. Über 20 Alben hat sie als Sängerin und Schlagzeugerin mit ihren Bands Stereo Total und Lolitas veröffentlicht. Das Buch "Oh Oh Mythomanie" enthält Auszüge ihres nicht vollendeten Romans "Für immer 16" und zahlreiche kurze Texte, viele davon bislang unveríöffentlicht. Die Texte laden ein, ihre Wahlheimat Berlin neu zu erkunden, Lieblingskneipen mit ihr zu besuchen oder gemeinsam mit dem Rauchen aufzuhören. Daneben finden sich Liebeserklärungen an inspirierende Personen von Juliette Greco bis Rimbaud, Rezepte und ein Entwurf für eine Kurznovellensammlung. All diese Texte zeigen den verblüffenden Erfindungsreichtum dieser Ausnahme-Anti-Diva, die mit ihrer sprachlichen Phantasie die Welt umgekrempelt hat. Ungeheuerlich, hysterisch und glamourös Kuratiert wird das anlässlich des 60. Geburtstags von Françoise Cactus erscheinende "Oh Oh Mythomanie" von Brezel Göring.
London-based Kouslin's Le Chatroom imprint presents LCR003; a percussion-heavy release of four tracks from close friends and affiliates.
Taking inspiration from rhythms around the world and the uproar within the new-gen UK Funky scene, Le Chatroom once again exhibit their ethos of eclecticism that has found them in the record bags of the likes of Ben UFO and Call Super.
Big Brothers' frontman Amor Satyr (also of Parisian collective Boukan Records), channels heavy baile funk on 'Hohohoi', with razor-sharp low-end separation and haunting harmonies.
Soreab (Baroque Sunburst/BeatMachine) serves up a hearty cut of low-slung, tribal drum funk with a groove synonymous of Hessle Audio sets.
Having recently featured on an R&S Records compilation, plus a release on More Time Records, rising artist DJ Tess presents her new “Mala Femmina” alias and offers up a triplet-based 4x4 groove with relentless icy blows and rotating polyrhythms.
Livity Sound's Cando close out with a remix of Soreab's 'Cave Walk'. Racing away with dancefloor panic, the intricacies of the remix shine through via its claustrophobic and pristine mixdown.
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
Blushing's unique brand of dreampop-infused indie rock hearkens back to the halcyon days of college radio. With a diverse array of influences including Elastica, Curve, Veruca Salt, Lush, The Breeders, and Smashing Pumpkins, Blushing manages a deftly executed eclecticism that recalls the best elements of alt rock's past while retaining a vitality and immediacy that tethers them firmly to the present. On their recently completed third LP, Sugarcoat, Blushing's dynamism is on full display, flitting effortlessly from spacey psychedelia to twee pop jangle with finesse and panache. Sugarcoat is a dense, reverb-laden exploration of alt rock's 40+ year history that conjures up concord from chaos. This album is where the band get to explore their love for expanding genres, from Post-punk (Seafoam), Psych-gaze (Slyce), Grunge pop (Silver Teeth), Indie Pop (Tamagotchi), Slowcore (Sugarcoat) and beyond. A huge highlight when making the album was the ability to collaborate with Jeff Schroeder on the track "Seafoam". The band had the opportunity to meet with him a few times over the years and asked him to see if he would be interested in lending lead guitar on the track as they were nearing the end of recording. He agreed right away and wrote a perfect accompanying lead while out on tour with the Smashing Pumpkins. The contribution elevated the song and the band are so grateful to have his influence captured on the album.
Sonic Behavior by Driftmachine & Ammer is an album exploring the origins of sound, noise, and various music genres. Alongside lyrical declarations of love for noise ("Song To Noise"), the album delves into sonic reflections on how beauty and emotion emerge from mundane vibrations in the air ("The Siren Is A Simple Device"). For the first time, the analog sound researchers of Driftmachine (Andreas Gerth, Florian Zimmer) incorporate spoken language and noise into their sound research. They have collaborated with word and sound artist Andreas Ammer, renowned for his radio plays with Acid Pauli, aka Console ("Spaceman 85"), or FM Einheit ("Radio Inferno," "Symphony of Sirens").
In "The Siren Is A Simple Device," the words are spoken by 81-year-old musician and poet legend Ted Milton (Blurt, Loopspool). Despite its simplicity and obvious ability to produce high volumes, the siren has led a marginal existence as a musical instrument. Yet, it is capable of evoking the most intense emotional states in the listener in the shortest possible time, like almost no other sound-producing mechanism. "Sonic Behavior" capitalizes on this fact. The familiar hypnotic sounds of Driftmachine are accompanied by a siren organ inspired by the revolutionary Russian futurist Arsenij Avranov and built by Andreas Ammer, while the lyrics talk about the simple physical reasons behind the sound chaos that has just been unleashed: A siren ... chops the air into sound.
The core of the album is "Song To Noise," an electro-acoustic mini-symphony about the beauties of noise and all its producers, which is based on a poem by the British poet Deryn Rees-Jones and spoken by the poet herself and Alexander Hacke (Einstürzende Neubauten, Hackedepicciotto). Driftmachine & Ammer develop a soundtrack that is as powerful as it is loud and danceable (which is why the LP also includes a textless version of the composition).
"Sonic Sculpture" is the zenith of the work: a text/music track spoken by Ted Milton, which creates the possibility of a sound sculpture that encompasses the universe: What if one could imagine the infernal sound that encompasses all conceivable harmonies at the same time? A piano does when you throw it down an earthly staircase (the epitome of music is a piano falling down the stairs) through silent space to the next theoretically life-filled, Earth-like planet, Proxima Centauri B. The radio makes it possible. Driftmachine & Ammer tried it. The result will be heard there in 4.24 light-years. On planet Earth, the time has come on May 2, 2024. On this day, Sonic Behavior will be released, a conceptual album by Driftmachine & Ammer exploring sound, its creation, and its power.
Karate Boogaloo aus Melbourne, Australien präsentieren mit Stolz "Hold Your Horses", ihre fesselnde neue Langspielplatte mit originalen Instrumentalstücken. Henry Jenkins, Hudson Whitlock, Callum Riley und Darvid Thor sind das Herzstück von Melbournes aufkeimender Instrumental-Soul-Bewegung und machen seit ihrer Schulzeit gemeinsam Musik. Die vier Freunde lernten sich in der Highschool kennen und haben die großen Instrumental-Bands wie Booker T & The MG's und The Meters genau studiert. "Hold Your Horses" ist Karate Boogaloos eigene Interpretation von instrumentalem Funk. Eine echte Reise vom Anfang bis zum Ende, bei der jedes Stück nahtlos in das nächste übergeht und eine Welt mit kinematischen Momenten, skurrilen Melodien und unheimlichen Dissonanzen erschafft, und von unbestreitbarem Super Heavyfunk untermauert wird. Alle Songs für "Hold Your Horses" wurden gemeinsam im Studio geschrieben, ohne dass eines der Mitglieder vorgefertigtes Material einbrachte. Es ist ein Prozess, der speziell darauf ausgelegt ist, die Stärken der Band und ihre Beziehung zueinander zu maximieren. Um das Erlebnis noch zu verstärken, erzeugt das LP-Cover (entworfen von dem in Melbourne lebenden visuellen Künstler Drez) ein interaktives optisches Kunsterlebnis, wenn die Innenhülle aus dem Umschlag entfernt wird. Karate Boogaloo ist ein Quartett, das mehr ist als die Summe seiner Teile; und die Teile allein sind sehr, sehr gut.
"With a career spanning more than eight decades, The Isley Brothers have one of the longest, most influential and most diverse careers in popular music. The group began in 1954 as an American family music group originally from Cincinnati, Ohio, which began as a vocal trio consisting of brothers O'Kelly Isley Jr., Rudolph Isley and Ronald Isley. The Isley Brothers have sold over 18 million records in the United States alone. Go For Your Guns is the fifteenth album by The Isley Brothers. Originally released in mid-April 1977, the album peaked a month later at No. 1 on Billboard's Top Soul chart, and at No. 6 on the Billboard 200. The album Includes ""Footsteps In The Dark"" as sampled by hip hop artist Ice Cube for his hit ""It Was A Good Day"". The song peaked at No. 7 on the Billboard Hot R&B/Hip-Hop Songs chart and No. 25 on the 1993 Billboard Hot R&B/Hip-Hop Songs chart.
Go For Your Guns is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl. The album is housed in a gatefold sleeve and includes an insert. "
Go For Your Guns by The Isley Brothers, released 3 May 2024, includes the following tracks: "Tell Me When You Need It Again (Part 1 & 2)", "Voyage To Atlantis ", "Go For Your Guns" and more.
This version of Go For Your Guns comes as a 1xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).
