Search:tea

Belgian drummer Kobe Gregoir has lived and worked in the Netherlands for over a decade, where he studied jazz and teaches at The Hague Conservatory. In his work he pays tribute to the 1950s and 1960s when jazz had its heyday.

High-level reissue of one of the legendary and world-renowned bands that emerged in Australia, essential for any lover and collector of Australian Rock and Punk Rock / High Energy. "Spaceman In a Satin Suit' was released in 1994 and it is one of the best and most mature works in Celibate Rifles' discography, and now for the first time on vinyl since its initial release. This great LP reflects the simple spirit of the Rifles' rock'n'roll with catchy choruses and signature guitars, with another part that they began to play with after this album, a more experimental and introspective side. The 14 songs of the Celibate Rifles introduce you with an electric storm, oppressively dense, hard and heavy, which then become faster, sharper and stronger, where they overflow Punk, which remains their hallmark, with sharp guitars, wounded and full of fury, until they reach a kind of breaking point towards a more experimental part, together generating an interesting sonic boom (The Ramones team up with Blue Oyster Cult in a particularly gloomy alley). Lovelock's lyrics exude more optimism than on previous LPs and this peaks with 'Big World', a declaration of love to his beloved planet Earth. There is also room for his usual biting social commentary. On the album we also find a tribute to one of its musical influences, 'Let's Do It Again' by Sonic's Rendezvous Band (with the participation of Fred 'Sonic' Smith, ex-MC5).

Diese Band war Mitte der 1980er Jahre, als Independent Project Records zum ersten Mal Kontakt mit den Brüdern Mark und Clive Ives aufnahm, den bemerkenswert produktiven Vertretern exquisiter
elektronischer Musik unter dem Namen Woo, die Ende des Jahrzehnts Kultstücke wie Whichever Way You Are Going, You Are Going Wrong und It's Cosy Inside zum ersten Mal in den USA veröffentlichten. Fast vierzig Jahre später sind die Brüder bemerkenswert produktiv, und Independent Project Records befindet sich im vierten Jahr seiner Wiederbelebung. Zeit, die Kräfte wieder zu bündeln.


Das neue Team-up von Woo und IPR ist mehr als nur eine einfache Wiederveröffentlichung, sondern debütiert mit einer besonderen Auswahl von zwei Werken, Robot X und Xylophonics: Die Alben
wurden 2016 bzw. 2017 erstmals digital auf ihrer Bandcamp-Seite veröffentlicht und wurden nun neu gestaltet, erweitert und als Begleitstücke neu konzipiert. Robot X und Xylophonics nebeneinander zu hören, ist eine faszinierende und immer wieder überraschende Reise in die experimentelle retro-futuristische Electronica.

Robot X und Xylophonics erzählen gemeinsam eine Geschichte retro-futuristischer Visionen aus verschiedenen Blickwinkeln: Beide sind stolz auf ihre Experimente und kombinieren eine Flut musikalischer Einflüsse, um etwas zu bieten, das auf bemerkenswerte Weise vielschichtig und gleichzeitig minimalistisch ist. Die unvorhersehbaren Instrumentalstücke, die sie entfesseln, laden den
Hörer dazu ein, seine eigenen Fantasien mit dem, was er hört, zu verbinden, egal ob diese Fantasien der Vergangenheit, der Gegenwart oder, was wahrscheinlicher ist, einer roboterhaften Zukunft angehören.

Diese exquisiten Artefakte, die zum ersten Mal auf Vinyl und CD als Doppel-CD-Sets in der einzigartigen Letterpress-Verpackung von IPR-Labelgründer Bruce Licher mit einem handgefertigten Booklet mit Briefmarke veröffentlicht werden, sind ein Muss für jeden ernsthaften Sammler von fesselnder zeitgenössischer Musik.

Diese Band war Mitte der 1980er Jahre, als Independent Project Records zum ersten Mal Kontakt mit den Brüdern Mark und Clive Ives aufnahm, den bemerkenswert produktiven Vertretern exquisiter
elektronischer Musik unter dem Namen Woo, die Ende des Jahrzehnts Kultstücke wie Whichever Way You Are Going, You Are Going Wrong und It's Cosy Inside zum ersten Mal in den USA veröffentlichten. Fast vierzig Jahre später sind die Brüder bemerkenswert produktiv, und Independent Project Records befindet sich im vierten Jahr seiner Wiederbelebung. Zeit, die Kräfte wieder zu bündeln.


Das neue Team-up von Woo und IPR ist mehr als nur eine einfache Wiederveröffentlichung, sondern debütiert mit einer besonderen Auswahl von zwei Werken, Robot X und Xylophonics: Die Alben
wurden 2016 bzw. 2017 erstmals digital auf ihrer Bandcamp-Seite veröffentlicht und wurden nun neu gestaltet, erweitert und als Begleitstücke neu konzipiert. Robot X und Xylophonics nebeneinander zu hören, ist eine faszinierende und immer wieder überraschende Reise in die experimentelle retro-futuristische Electronica.

Robot X und Xylophonics erzählen gemeinsam eine Geschichte retro-futuristischer Visionen aus verschiedenen Blickwinkeln: Beide sind stolz auf ihre Experimente und kombinieren eine Flut musikalischer Einflüsse, um etwas zu bieten, das auf bemerkenswerte Weise vielschichtig und gleichzeitig minimalistisch ist. Die unvorhersehbaren Instrumentalstücke, die sie entfesseln, laden den
Hörer dazu ein, seine eigenen Fantasien mit dem, was er hört, zu verbinden, egal ob diese Fantasien der Vergangenheit, der Gegenwart oder, was wahrscheinlicher ist, einer roboterhaften Zukunft angehören.

Diese exquisiten Artefakte, die zum ersten Mal auf Vinyl und CD als Doppel-CD-Sets in der einzigartigen Letterpress-Verpackung von IPR-Labelgründer Bruce Licher mit einem handgefertigten Booklet mit Briefmarke veröffentlicht werden, sind ein Muss für jeden ernsthaften Sammler von fesselnder zeitgenössischer Musik.

2024 Repress

A guy walks into a bar and asks: What have you put in my tea?
CCCP Edits continues to dive deep into the wonderful world of Russian interpretations in electronic music. Get your tea ready!

DJ Beeno takes his first solo outing on 2DR and as he always does, he knocks it out the park. DJ Beeno is the master of taking obscure or different vocals, that most people look past, and turning them into banging tracks. That is exactly what he done with In The Name Of Love and Bright Lights on the A side.
Then for the flip, he took a slightly different approach. For Wishing On A Star, he took a well known vocal and added something different and give it the Beeno spin. Rounding out the record is an amazing remix of a Nefti track, Raw Power. DJ Beeno takes the original version and turns it on its head with a more underground sound, that he is synonymous with.
The original version appears on the Strictly NuSKool Volume 1 album, a free download available from Strictly NuSKool Blog and are so grateful to the SNSB team for working with us on making this remix official.

"Rationalizing our place amongst the Stars is a referendum. A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most, but a lifelong mandate to others. As nature's allowance of time just isn't favorable to an average human lifespan of a 100 years, this task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository.

Neo Tantric Parts is about high premium thought processes about simplicity and oneness. Diagnostic in the way it blends time, rhythm and harmony together as a proposal to consider placement in this moment of time". - Millsart



Footnote translations:

"Rationalizing our place amongst the Stars is a referendum".

The human lineage only diverged from our most recent common ancestor about 5 million years ago; less than half of 1% of that time, and modern Homo sapiens is only between 200,000 and 50,000 years old, depending on your definition. Such vast spans of time are hard for us to comprehend.

"A mandate in the scale of a space-time continuum, which is a task that might seem infinitely cavernous to most,but a lifelong mandate to others".

The singularity had no dimensions and space and so it stands to reason that it had no dimension in time. In other words, there was no time so there was no such thing as "before". By that reasoning, time itself is the same age as the universe, which is about 13.8 billion years

"As nature's allowance of time just isn't favorable to an average human lifespan of a 85 years"

The world average age of death is a few years lower at 68.9 years for men and 73.9 years for women. Within the European Union, these are 77.7 and 83.3 years respectively.

"This task must be inherited and handed down in the method of an acoustical trust. Rhythm considered as a safe depository".

A legal arrangement or understanding by which a person or organization looks after money or property for somebody else until that person is old enough to control it.

2024 repress!

The dynamic NZ brother duo known from Mule Musiq, Rhythm Section and their own In Dust We Trust impresses with a superb collaborative EP of highly emotional music!

‘Emotional Intelligence’ fills the A-side seeing them team up saxophonist and fellow kiwi jazz legend Nathan Haines and South London’s own Dave Koor aka. Modified Man.
On the flip-side they join forces with Chicago’s Lee Pearson Jnr (he's known for his writing for Larry Heard), K. LaDawn on vocals and rising star Joe Armon-Jones on keys.

A blissful experience throughout and another demonstration of "Chaos In The CBD’s" with maturing, amazing production skills!

Hope, you enjoy.

This project unites artists from two labels, Chinese based bie Records
and Latin America based Shika Shika, separated by very contrasting
cultures and thousands of kilometers but united by shared values and a
shared musical vision
Driven by values of creativity, borderless music and fairness for artists, both
labels showcase artists that unite electronica with ambient and folk music,
purposefully existing outside of the globalized, copy- paste of the mainstream
music industry.
A mix of intrigue and mutual respect led to the birth of this compilation, with the
two labels teaming up to match together a group of their artists to remix each
other. The result is a widely imaginative, fresh and diverse selection of tracks
featuring some of the prominent producers such as DaYe, Lim Giong; Hualun, Sun
Dawei and Rainsoft from bie records and DJ Raff, Terror:Cactus, Numa Gama,
Barrio Lindo and El Buho from Shika Shika.
The compilation is a testament to music's power to transcend language and
cultural background as artists from hugely different contexts unite to explore and
build on each other's creative visions.

FRN Dancehall might have emerged in Jamaica, but over the last few decades the popular genre's tendrils have stretched out across the globe. In Kampala, Ratigan Era is adding a distinct Ugandan twist to dancehall, fusing it with East African humor and hyper-melodic afrobeats elements imported from Ghana and Nigeria. The versatile MC grew up listening to Jamaican music like Vybz Kartel, Busy Signal and Mavado - in his hometown of Kawempe there was almost no way to avoid it - and it blurred into the background, blending with local church music, US hip-hop and radio pop. He developed this diverse range of influences into a completely unique Afro-dancehall flow that simmers between Luganda, patois, Spanish and English, reflecting the melting pot of cultures and dialects that characterizes contemporary Africa. Ratigan broke out with a memorable feature on Pallaso's Ugandan hit 'Nsaba', a track that echoed throughout the country booming from nightclubs, motorcycle loudspeakers or from convenience stores. Now he's assembled his first album "Era", a furiously inventive interweaving of rubbery vocals and memorable chants backed by futuristic beats from Hakuna Kulala's most boundary-pushing producers. Congolese producer Chrisman takes the reins on 'Gorilla Attack', providing a downtempo groove that echoes recent Jamaican chop deployments from breakthrough artists like Skillibeng and Skeng. For his part, Ratigan ducks and dives between Chrisman's gqom-inspired low end womps and corrosive synths, commanding attention with his smart, dextrous flow and tongue-twisting lyrics.The Modern Institute and Golden Teacher's Richard McMaster handles 'Top Strike Force' leaving space in his wiry, minimal beats for Ratigan to flit between anthemic repetitions and ice-cold AutoTuned wails. On stand-out track 'Badman Style', Ratigan's guttural patois is measured against a dizzy trap-dancehall hybrid beat from HHY & The Kampala Unit's Jonathan Uliel Saldanha, aka Lithium Beats, while on the surreal 'Drop it Down', Japanese mad scientist Scotch Rolex brings out Ratigan's cheeky sense of humor with toytown bleeps and laser zaps. MC Yallah collaborator Debmaster appears on 'Gan Dem', meeting Ratigan's double-time raps with soundsystem destroying rolling subs, and veteran US noisemaker Kush Aurora sprinkles magic dust on 'Cool and Deadly', galvanizing the link between global bass mutations, Jamaica and East Africa.And despite the grab-bag of producers and inspirations, "Ratigan" is a strikingly coherent listening experience that accurately snapshots Kampala's colorful froth of sounds and phrases. Ratigan's outsized personality is welcoming and captivating, providing the sights, sounds and smells of the city with a frenetic rhythm that's as intimate and local as it is far-reaching. It might just be the future we so desperately need.

Following the success of the 'Tokyo Glow' compilation, Wewantsounds once again teams up with Japanese Tokyo-based DJ Notoya to dig the rich Electric Bird catalogue and come with a versatile selection of sunny Jazz-Funk gems recorded between 1978 and 1987 for the label. A tasty selection featuring Yasuaki Shimizu, Toshiyuki Honda and Mikio Masuda, together with a few American musicians such as Ronnie Foster and Bobby Lyle. Most tracks make their vinyl debut outside of Japan and the album has been designed by Optigram/Manuel Sepulveda and is annotated by DJ Notoya. Audio newly remastered in Tokyo by King Records....

The title track "Who You Are" has become a dance floor favourite making appearances during Templé's DJ sets opening for the likes of Rick Wilhite, Osunlande, Trus’me, Rahaan, Alkalino, Late Nite Tuff Guy, Hidden Spheres and Harvey Sutherland.

It's the kind of track that can get the party started, keep it going or close it out with its tough verses, 303 acid line, drum machine build up and poppy chorus. It’s so versatile that it’ll never leave your record bag. Staying with side A, the EP's charm is further amplified by Prins Thomas's magical remix of the title track.

This luminary of the electronic music scene adds his Nordic touch in only the way that he knows how. Delicately weaving his disco sensibilities into the fabric of the original track, making the chorus the break down, turning the original track on its head. This one will get you in the feels.

Flipping the record over to the B-side, we encounter "Wait For Love." It's a powerhouse of a track, driven by a rolling acid bass line and a saxophone solo that lands right in the sweet spot, ensuring the party never stops.

The vocals soaked in effects and skilfully sliced and diced, guides the listener's focus making it the perfect tune for those late night dance floor occasions. Then there's "The Tetrah" - a departure from the rest of the EP. It's a deeper and more intricate piece featuring the soulful interplay of saxophone and trumpet throughout. These two instruments seem to tease and tantalise each other, never quite aligning until the final drop. It's a near 9-minute journey and each moment holds your attention.

Toki Fuko – Hues Of Movement After his notable debut on
Submersive’s VA Osmotic Particles in 2021, Toki Fuko makes a
captivating return with his first solo release on the label. ‘Hues of
Movement’ comprises three original tracks and two remixes by Anthony Linell and Artefakt, embodying Submersive’s ethos of a deep, hypnotic journey into organic yet dancefloor-ready Techno. In the three original tracks, Toki Fuko once again mesmerizes with his evolving soundscapes. Electrical pulses are enhanced with expansive reverbs and woven into groovy drum sequences. The tracks gradually evolve, reminiscent of a drop of ink dispersing in water, inviting listeners to immerse themselves in the sound and lose control as they become one with the music. Anthony Linell, who performed at Submersive’s inaugural party in Paris in 2017, offers a Train remix that seamlessly bridges his signature style with Toki Fuko’s sound. The track emerges like a living entity, combining dub-influenced meditative atmospheres with ecstatic elements, growing into a full-length auditory experience.
Artefakt rounds off the release with their ‘Warble’ remix, taking listeners into depths where light cannot penetrate. The Dutch duo presents a darker take, subtly manipulating elements and maintaining high tension, keeping the end of this sonic adventure tantalizingly out of sight. Accompanying the EP is artwork by Swiss-Moroccan artist Zineb Mezzour, offering a fresh interpretation of the concepts of surface and water that Submersive explores in each release. Known for her intricate work on paper and ceramics that evoke a microscopic, organic, and spiritual world, Zineb has performed a unique visual for this vinyl. She began by drawing invisible shapes in water, then brought them to life by adding ink that transformed into unpredictable fractal shapes. This artistic process was captured to create both the cover and the video teaser for the EP.

Kaleida are the transatlantic duo whose darkly mystic soundworld finds glimmers of hope in the disquiet. Span- ning an ocean, the pair have nurtured a long-distance partnership that withstands the shifting patterns of life. They first formed in 2013 when a friend introduced them over email. Christina Wood was working in the Indone- sian forest while recording demos in her bedroom each night, and Cicely Goulder had been composing for film productions in London. Despite the miles between them, they found an instant musical chemistry.
Kaleida first came to international renown in 2014, when their single “Think” went viral overnight and was featured in the soundtrack for the cult Keanu Reeves film, John Wick. Their debut album Tear The Roots arrived in 2017 and crystallised the pair’s moody pop aesthetic, which merges Wood’s sylph-like, operatic vocals with Goulder’s neo-Noir electronica. The record earned the duo their sec- ond spot in a film soundtrack, this time for Atomic Blonde with a tender take on Nena’s 1980s anti-war classic “99 Luftballons”. It was followed in 2020 by the pair’s second album Odyssey dubbed “a consummate work of electronic artistry.” Their new album In Arms is a record that leans into a near transcendent spiritualism, where their minimalist production conceals a raw, celestial power. With a departure from their previously insular way of working, they invited other musicians into the production process, most notably producer Johan Hugo (Self Esteem, M.I.A, Skepta).

Zuerst war da Howlin 'Wolf, dann Jimi Hendrix, jetzt hat die Welt Lord Bishop!" - und dieser legt mit "Tear Down The Empire" sein bislang bestes Werk vor. Für die Produktion hat sich Lord Bishop Rocks gleich zwei schwergewichtige Stromgitarrenexperten ins Boot geholt: Gemeinsam mit dem Godfather of Grunge Jack Endino (Nirvana, Soundgarden u.a.) und dem deutschen Producer-Geheimtipp Andy Schmidt (u.a. Disillusion) ist ein Album entstanden, das den Blues-, Punk- und Hardrock- Spirit der amerikanisch-deutschen Band in einen zeitlosen, rohen und energiegeladenen Sound übersetzt, vor dem Frontmann Lord Bishops sprühendes Charisma so gut zur Geltung kommt, wie noch nie zuvor. In knapp drei Jahrzehnten mit tausenden Performances rund um den Globus ist Lord Bishop Rocks zu einer Institution geworden. In den Adern des 2 Meter Riesen aus der Bronx fließt purer Rock'n'Roll. Genau wie sein Äußeres ist Lord Bishops Auftritt auf der Bühne groß, kraftvoll, unnachahmlich, entschlossen und einfach unvergesslich. "Wow, it was like watching Jimi Hendrix on steroids. Great and powerful live show and a one of kind performer" (Lemmy Kilmister / Motörhead); "Blues is his soul, and I heard the ghosts of Howlin Wolf when he sang. Lord Bishop is an authentic bloke" (Eric Burdon / The Animals);"If James Brown and Jimi Hendrix had a love child, he would be Lord Bishop. Truly outstanding, great songs, cool guitar and funky riffs. It was a pleasure to have him support my tour" (Ian Paice / Schlagzeuger von Deep Purple). Seine Karriere begann Lord Bishop mit einem Umzug ins wilde Nachwende- Ostdeutschland. Straight ahead aus der amerikanischen Heimat ins Ungewisse, das Durchbeißen gegen alle widrigen Umstände war ihm ohnehin buchstäblich in die Wiege gelegt. In Dresden begann er seine musikalische Mission, den handgemachten Rock um die Welt und ins nächste Jahrtausend zu tragen.

B.O.L.T. Warhead was one of the pioneers in the Norwegian hip hop scene. They grew out of the A-Team crew, and took their music in a rougher and more militant direction. The peace signs and positivity of the A-Team was replaced by black military pants and doomsday poetry. The Re-Enforcement was the only album released by B.O.L.T. Warhead, and it is considered a classic in britcore circles nevertheless, with the CD and the tape going for more than 100 EUR. Now it is available on vinyl for the first time.

Original released in 1979

Passion and perspective permeate the sound of this legendary record! Ryusei Tomoyose, a famous tenor saxophonist from Okinawa, pours his whole life into this, the only leader's work.



Ryusei Tomoyose is a tenor saxophonist from Okinawa. At the end of the 1960s, he studied under Sadao Watanabe in Tokyo, and after returning home, he devoted himself to nurturing young musicians and became a leader in the Okinawa jazz world. This work, recorded in 1979, is Tomoyose's first and only leader work. The title "Dana" is an exclamation in the Okinawan dialect that has the meanings of "ah" and "finally." Tomoyose was 43 years old at the time of recording, and had already had a career spanning more than 20 years. He is captivated by the vivid and lustrous tenor saxophone in songs such as the vibrant "Movement," the dignified exoticism of "Kirisame," and the motif of the sandy beaches of Yoron Island in "Merabi Samba." It is a valuable record of Okinawan jazz and a masterpiece that shows the depth of Japanese jazz.

Mit der um sieben Bonusstücke ergänzten Neuauflage von "Passive With Desire" (2016) kommen zu den neun Originaltiteln des Albums die beiden Songs der Single "Sunday Light" (2017) sowie die fünf Aufnahmen der limitierten Kassette "Part Time Punks Sessions" (2018) hinzu. Letztere erschienen ebenfalls bei Dais, das Debüt kam via Team Love Records in die Läden. Hinter Choir Boy verbirgt sich ein synthielastiges und 80er-dominiertes Dream-Pop-Projekt von Adam Klopp (Gesang, Synthesizer, Piano, Gitarre, Perkussion, Elektronik). Der verbrachte zwar seine Kindheit und Jugend in der Glaubensgemeinschaft der Mormonen in Salt Lake City, aber mit zunehmendem Alter auch immer mehr Zeit in der DIY-Punk-Szene. Schließlich gelang es Klopp, die Sekte zu verlassen. Die Stücke für sein Debüt skizzierte er als Single-Demo-Tracks, doch die finalen Aufnahmen fanden im Studio mit Begleitung - Katrina Marie Rick Peterson (Gesang), Bret Meisenbach (Gitarre), Jacob Hall (Drums), Kyle Hooper (Keys), Chaz Costello (Bass), Alyssa Pyper (Violine) - statt. Flankiert wird die CD durch ein informatives 12-seitiges Booklet.

Heltah Skeltah was a favorite in the underground for their powerful voices, imposing rhymes, and explosive chemistry, but after Sean Price found great success as a solo artist, many thought that their time as a group had passed. This 2008 LP proved otherwise, as the synergy between the iconic duo of Ruck and Rock sounded better than ever.

Stop. Breathe. Reload. And dive into "El Paso, Elsewhere: The Album". Black Screen Records, Lost In Cult Records and Strange Scaffold are teaming up to bring the original songs of RJ Lake and LAKE SAVAGE to life on glorious vinyl. "El Paso, Elsewhere: The Album" takes aim at the key songs that punctuate the game's dark and introspective journey through haunted hallways - with heavy doses of hip-hop, electronica and Trace-Wave coalescing into a pellucid vision of influences and a deeply entrenched sense of identity, akin to the works of seminal hip-hop artists such as Kendrick Lamar and Open Mike Eagle. All tied together within the beautiful gold foil cover artwork by Bri Neumann. RJ Lake shared some of their thoughts going into the creation of this album: "Months before the first thing I ever started working on with Nelson Dog Airport Game (that's not the actual title, but it might as well be) even came out, he asked me if I knew anyone who could make a horror game. I knew a guy. A few months in, we did a touch-base about the music and mutually agreed that none of it at that point was totally working. It was good (look, I'm not going to put myself down here; even back in 2020, it kicked ass) but it wasn't RIGHT. He gave me a bunch of reference materials and kept pointing to them and saying: 'Okay, but these? These are RIGHT. These have the juice we want.' The thing every single song he showed me had in common, was that every one of them had vocals. After some back and forth, we both agreed: 'El Paso, Elsewhere' had to be a rap record as much as it had to be a game. So, three and a half years later, here we are. This is probably the most lavishly mixed thing I've ever made, full of weird, intricate beats, layered vocals from both myself and Nelson, lyrics that go everywhere from bleak to so-party-that-you'll-die to totally ridiculous, loads and loads of genre switch-ups, and absolutely zero subtlety. For 'El Paso, Elsewhere', I made a full score, but that's not what this is. This vinyl is a fucking album and it's sequenced like one. Play it loud!" Alongside the LP, explore what happens after the events of "El Paso, Elsewhere" within the diaries of James Savage - an exclusive in-world archive of the thoughts and feelings directly from the heart and soul of our protagonist within the liner notes. As well as a 5-page excerpt from the "El Paso, Elsewhere" original script and never before seen concept art by Demente Animation Studio.

Modern Baseball was formed in 2011 by friends and guitarists Jacob Ewald and Brendan Lukens, who were soon joined by Ian Farmer on bass and Sean Huber on drums. The band self-released their first EP The Nameless Ranger in 2011 while still in high school. Shortly after the members relocated to Philadelphia to attend college and quickly gained a strong following in the Philadelphia music community, teaming up with locals Marietta to release the Couples Therapy split in the spring of 2012. Modern Baseball released their debut full-length Sports later that year on Lame-O Records, which they self-recorded and produced. After spending the summer of 2013 touring heavily across the US, the band headed into Studio A in Philadelphia to self-record You're Going to Miss It All. Mixed by Jonathan Low at Minor Street Recordings, mastered by Will Yip and released through Run For Cover Records, You're Going to Miss It All features 12 tracks that showcase the band's signature witty indie-pop.

Stalwarts of the underground rock scene in Sweden for the better part of two decades, Långfinger is set to release their fourth album “Pendulum”. An album that is as much of a retrospective as it covers new methods of noise as the band reemerges for the first time since 2015’s LP “Crossyears”. “Pendulum” delivers direct, intense and playful rock music in an immersive long play format which might not make sense in the grown-up digital age, but for Långfinger, rock n roll is not about growing up, or making sense for that matter. It’s about the exploration and continuum of all things related to their sound that was, is and will be.

As the beats echo through time, Isolate proudly marks its fifth anniversary with a resounding celebration of creativity. Five years of great music, unforgettable events, and unwavering support from our dedicated community have brought us to this momentous occasion.
With gratitude for the boundless talents of our artists, the steadfast support from our community, and the dedication of our team, Isolate reflects on this joyful journey. Building on the anticipation we shared earlier this year, we are excited to unveil the grand finale—a remix compilation that breathes new life into some of our most cherished tracks.
This compilation isn't just a retrospective; it's a heartfelt exploration of Isolate's history. From melodic transformations to rhythmic reinterpretations, this remix compilation stands as a tribute to the nuanced fusion of emotions and relationships intricately woven into the fabric of our musical community.
Isolate's fifth anniversary transcends being a mere marker of our past; it stands as a promise for the future. It's a strong affirmation of our dedicated commitment to supporting emerging talent, offering a platform for them to share their distinctive musical stories. In this celebration, we see not just where we've been, but where we're heading—a future that echoes with the distinct voices of those yet to be discovered.
Stay curious, join the rhythm, and come celebrate with us

Nachpressung in tief rotem Vinyl! Ein zentrales Album für die heutige Zeit: hell, frei, unnachgiebig, optimistisch. Brain Worms ist das bisher vollste und makelloseste Album von RVG. Auf "Brain Worms" wird deutlich, dass die Band in bester Form ist. Der Album-Opener 'Common Ground' gibt den Ton an für das, was kommen wird; ein glänzendes, mitreißendes, schlagkräftiges Album mit allen geliebten RVG-Merkmalen. Vagers Stimme ist ungefiltert und souverän wie immer, wenn sie ihre cleveren, nicht ganz ironischen Texte vorträgt. Hier fühlen sich diese Texte jedoch viel weniger resigniert und sehnsüchtig an, sondern viel mehr trotzig und fröhlich. Tambourine" ist der einzige Covid-Song, den Vager schrieb, als sie "versuchte, keine Covid-Songs zu schreiben", und es ist ein schmerzhaft ehrliches Porträt der Trauer inmitten der Isolation. Brain Worms" erzählt die nur allzu bekannte Geschichte eines Menschen, der in den Kaninchenbau des Internets fällt und Trost in Verschwörungen findet. Nothing Really Changes" ist ein Keyboarder-lastiges New-Wave-Ding, während das abschließende "Tropic of Cancer" mit Vagers selbstbewusstem neuen Manifest glänzt: Ich weiß, wie ich bin, und ich weiß, wie ich werde. Wenn du denkst, ich bin seltsam, hast du noch nichts gesehen. Bloxham, Nolte und Wallace erwecken Vagers Songwriting mit Bravour zum Leben. Aufgenommen in den Londoner Snap Studios mit James Trevascus (Nick Cave & Warren Ellis, PJ Harvey), strotzen alle zehn Tracks vor üppigen Klängen, klaren Absichten und der Magie einer Akustikgitarre, die einst Kate Bush gehörte und die ihr von Tears for Fears geschenkt wurde (die, so die Legende, "Everybody Wants to Rule the World" darauf geschrieben hat). Die vier Bandmitglieder - Leadsänger und Gitarrist Vager, Gitarrist Reuben Bloxham, Schlagzeuger Marc Nolte und Bassist Isabele Wallace - sind so selbstbewusst wie noch nie bei RVG. Sie haben ihre Einflüsse hinter sich gelassen, sich selbst vorangetrieben und neue Dinge ausprobiert. Und sie haben ein Album gemacht, das sie nach allem, was sie sagen, als ihr bestes bezeichnen können. Brain Worms" fühlt sich an wie die Antithese zu dem, was eine Post-Pandemic-Platte leicht sein könnte. Für eine Band, die bereits Musik über das Zurückgezogensein schrieb, "wir waren deprimiert und gingen auf unseren ersten beiden Alben nicht nach draußen", gab die erzwungene Isolation und die Zeit zum Nachdenken Vager Raum, über alles zu schreiben, was sie wollte. Und es stellte sich heraus, dass sie bereit war, über Akzeptanz zu schreiben. "Wenn wir nur ein weiteres Album machen könnten, wäre es dieses", sagt Vager. Rolling Stone: "Eine Visitenkarte für Außenseiter... dynamischer und vitaler Post-Punk" The Guardian: "Eine der vitalsten Bands der australischen Szene von heute.

Beltran and Harvy Valencia team up for their label debut on Hot Creations, unveiling a slick collaboration alongside solo cuts on their three-track ‘Origins’ EP.

Bursting onto the scene as standout talents, Brazilian Beltran and Colombian Harvy Valencia are quickly becoming globally recognised figures in their own right. With releases between them on esteemed labels such as Cuttin’ Headz, Solid Grooves, and Revival New York, the two now forge a new path as they unite for the first time on Hot Creations. Unleashing a trio of vibrant and impactful productions, headed up by their debut collaboration, the pair unveil a collection of cutting-edge sounds across their latest EP, 'Origins'.

Opening with playful bass grooves and crisp, organic drums, title cut ‘Origins (3AM Tusi Mix)’ welcomes a rolling masterclass from the duo. On the B-side, Beltran takes the lead with ‘Tira A Roupa (Putaria Mix)’, delivering punchy beats, funky riffs and crisp percussion, crafting a flawless laid-back groover. To close, Harvy Valencia delivers a powerful dancefloor experience with ‘Brut’, showcasing vibrant vocals, infectious beats and playful phone rings. showcases a deeper, sultry vibe with alluring male vocals at the core.

Carpool have long since achieved and outgrown their initial goal of playing that city’s 200 capacity Bug Jar venue, their hometown is still embedded in their DNA. This record is a wonderful homage to where they’re from – and also serves as a warning to the rest of the world what Rochester has already known for years. Recorded with Jay Zubricky (Every Time I Die, Pentimento and Marigold, among others)My Life In Subtitles is an album with a cohesive thematic and musical narrative. “The way I like to listen to music is to put on an album and listen to it start to finish. I like albums that take me on a journey and that show me what those songwriters were feeling while making you feel the same way,” said Colasanto.

Chaka Khan had lit the world on fire as the frontwoman for Rufus, tearing up the charts with hits like “Tell Me Something Good” and “You Got The Love,” picking up several Grammy awards on the way. She set out on her solo career with this collection in 1978, leading the way with the hit “I’m Every Woman,” which propelled the release to be certified platinum in the US and earn her another Grammy® nomination for best R&B vocal performance.

In November of 2023, she will be inducted into the Rock and Roll Hall of Fame at the end of a year that marked her 50th in the business. In 2024, we will launch a campaign to reissue her solo records, some physically, some digitally only, starting with the self-titled Chaka, which will feature a new remix of “I’m Every Woman” by DJ Rashida featuring Sheila E., liner notes from Emmy-winning journalist Kelley Carter, and bonus tracks from the original sessions.

After the success of the 1st vinyl edition of Techno Club 25 years anniversary, Talla 2XLC and his ZYX team proudly present the 2nd vinyl edition including 12 trance classics in their full extended DJ friendly glory. Imagine on the same colored vinyl (gold and black) outstanding productions and remixes by Talla 2XLC, Terry Bones, DJ Kalpa, Paul van Dyk feat Plumb, John O’Callaghan, Chakra, Alex M.O.R.P.H., Lange & Sarah Howells, Aly & Fila, CRW, DJ Jamx & De Leon aka Dumonde, Markus Schulz and Tony-H. Finally has arrived the ultimate vinyl set of 12 eternal trance classics selected with love by Talla 2XLC and his Techno Club team. Add in your basket and purchase now this very limited edition colored vinyl set!

This is a repress of Tycho's second release with Ghostly International to celebrate the 10 year anniversary of this masterpiece, while Ghostly International celebrates its 25th year anniversary. For nearly a decade, Tycho has been known as the musical alias of Scott Hansen, but with the release of Awake - his second LP for Ghostly International - the solo project evolved into a three-piece band. Relating closer to post-rock than ambient soundscapes, the record is situated in the present, sounding more like Hansen than drawing from his influences. This is, in many ways, the first true Tycho record. Following 2011's Dive LP, the San Francisco-based designer toured extensively, and with a full band on stage, his sound coalesced into a percussive, organic whole. Zac Brown (guitars, bass) rejoined Scott on the road for this tour, but it was the particular addition of Rory O'Connor's live drumming that ultimately sent Hansen back to the studio with a more precise vision. "After the tour, I decided that I wanted to capture the more energetic, driven sound of the live show on the next album," Hansen recalls. Bringing musicians into Tycho's creative process was a step towards expanding his own songwriting and advancing the project beyond its current sound. In a cabin near Tahoe last winter, Zac and Scott began fleshing out the structure of the new record, but it wasn't until they set up shop in the hills of Santa Cruz with Rory that it all fell into place. "It crystallized the vision of how the drums would come to the forefront on this record," says Hansen. The sound was much more stripped-down and concise with more organic instruments in the fold. Songs like "Montana" and "Awake" are a departure from Tycho's previous material - unique to the group effort poured into the songs on the new record - while "See" and "Dye" echo ideas from previous works, bridging a middle ground between the old and new. Working with Count Eldridge, who also engineered Dive, the team could fixate on the pulses that Tycho might previously layer under synthesizers and exhume them with distinct bass and guitar patterns. Also known for his design work as ISO50, Hansen's visual and sonic efforts have dovetailed throughout the course of his career. "This is the first time in my life I've dropped everything to focus on one artistic pursuit," notes Hansen. Previous Tycho releases came to fruition when an amalgam of songs were nearing completion, but Awake is where music becomes the focus and true expression becomes the result.

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with "Salt", her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut "Dust" in 2020, "Salt" takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. "Salt" features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl and the renowned artist DM Stith.

The "Dust" has settled. After having recorded her solo debut of that name, in 2020 the world came to a grinding halt, leaving Marla Hansen left to her own devices in her adopted home of Berlin. For Hansen, who previously had lent her talent to many creative minds such as The National, Sufjan Stevens, The Hidden Cameras, Jay-Z and Ravi Coltrane, the collaborative aspect of writing and producing music had always played a crucial part in finding her own path as a solo artist.

"I started to explore synthesizers and electronic production myself," she remembers of the time when meeting other musicians in person was out of the question. "I am proud that I accomplished many of the electronic elements of the new album by myself, and otherwise laid the groundwork for the final electronic structures through my own experiments. I always wanted to record a 'big' record, one that has a lot of power and sound, and this one is 'bigger' than anything I have done so far."

"Salt" is big, indeed. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. If This Mortal Coil/The Hope Blister were ever to record another album, these songs should be high up on the shortlist of tunes to pick. "The One Time" - a duet with Hansen's long-time friend DM Stith - gently meanders between a Philip Glass-inspired piece for chamber orchestra and a vocal ensemble performing on Top Of The Pops. In this range of styles and approaches, Hansen's vision is more present than ever.

For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling."

But what are songs actually about? "The themes revolve around a feeling of being trapped. Having to stay inside during the pandemic, with all the silence and stillness coming with it. Simultaneously, I was caught up in a professional situation that was not working for me, yet it required a lot of energy and time. I was thinking a lot about how to break old habits and patterns. Patterns in my life, patterns I saw my friends and loved-ones stuck in. There are a lot of ways that people can be trapped, and breaking out of that requires a lot of courage and energy - on all levels. The title 'Salt' seemed to fit, ocean themes showed up naturally in some of the songs, and I thought often about the quote: 'The cure for anything is salt water: sweat, tears or the sea.' Maybe I was just dreaming of the ocean, since it was inaccessible for the first time! But I wanted a cure for this feeling of being trapped, in a time of uncertainty and anxiety, salt as a remedy seemed to have some truth in it: sweat, tears or the sea."

Perseverance and the urge for freedom prevailed in the end. "Salt" is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

Over atmospheric instrumentation expanded by cinematic structure and pacing, Pearlty presents Knifeplay somewhere between dream-pop influenced shoegaze and lofty slowcore, never fully committing to one or the other in its insistence on creating an immersive, organic world. Originally released in 2019, Knifeplay’s vivid debut Pearlty documents songwriter Tj Strohmer’s expressions of early adulthood in what he describes as “the journey from innocence to experience.” Written during a time of immense inspiration, Strohmer was able to peel himself away from detached nihilism, uncovering the physicality and therapeutic powers of songwriting. Newly emboldened by this discovery and the talented community surrounding him, Strohmer channeled this revelation into his work, taking Knifeplay from a bedroom experiment that merely wrote songs to a more substantial project with a purpose. Pearlty’s various climactic passages, like those heard on the impressionist album opener “Tears”, envelop listeners in textured walls of distorted guitar and noisy breakdowns, a distinct hallmark of shoegaze – but Knifeplay’s compositions go far beyond such conventions. Also featured are downtempo compositions – such as the tribute track “Angel” – that call on a range of influences, from grunge to lofi pop, all the way back to slowcore. Layers of Strohmer’s falsetto lilt adorn the songs with another dimension of sentimentality, while rounding out the sonic vastness of the group’s emotionally enrapturing style, lending impressive depth to the band’s debut full-length.

The vinyl is pressed in pink.

Ltd. Pink Coloured 180g Vinyl ( )

Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Barbed Wire Halo’ by Annie Anxiety and ‘Neu Smell’ by Flux of Pink Indians.

They follow records from the likes of Captain Sensible, Omega Tribe, Honey Bane, Jane Gregory, Lack of Knowledge, Sleeping Dogs, Rudimentary Peni and Zounds. First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.

New York City musical maverick and performance artist Annie Anxiety, aka Little Annie aka Annie Bandez, began her illustrious career (including work with Adrian Sherwood, Coil, Current 93, and Lee ‘Scratch’ Perry) with Crass. They released her first solo single, 1981’s ‘Barbed Wire Halo’ alongside ‘Cyanide Tears’, an extraordinarily prescient piece of jagged electronics, samples, and skeletal rhythms, led by Annie’s nightmarish vocals.

She tells us; “When creating this single with Penny I hadn’t heard the word ‘avant-guard’ nor could I spell it – I only got explained ‘concretism’ via an interview I did in Berlin regarding some of my work three years ago – My father was a printer so I grew up with sound of printing press and subway train beats and always heard melodies and cross rhythms within those beats – I was just making dance music / disco tunes to my mind and Pen heard those same tunes I was hearing – my first recording, in retrospect I guess, was pretty ‘out there’ at its release, but to us it was dance floor for a club yet to be invented- one day”.

Penny Rimbaud expands; “Annie Anxiety is a total enigma, a passionate voice in the wilderness of consensual reason. Dada in instinct, Monroe in affection, Rambo in inflection, Annie rams it home with divine thunder. An instigator and innovator, she’s the bonkers angel of Yonkers, NYC. With no time to spare, Annie takes to the road with complete conviction, overtaking Kerouac halfway down 5th Avenue. Catch her if you can”.

Over atmospheric instrumentation expanded by cinematic structure and pacing, Pearlty presents Knifeplay somewhere between dream-pop influenced shoegaze and lofty slowcore, never fully committing to one or the other in its insistence on creating an immersive, organic world. Originally released in 2019, Knifeplay’s vivid debut Pearlty documents songwriter Tj Strohmer’s expressions of early adulthood in what he describes as “the journey from innocence to experience.” Written during a time of immense inspiration, Strohmer was able to peel himself away from detached nihilism, uncovering the physicality and therapeutic powers of songwriting. Newly emboldened by this discovery and the talented community surrounding him, Strohmer channeled this revelation into his work, taking Knifeplay from a bedroom experiment that merely wrote songs to a more substantial project with a purpose. Pearlty’s various climactic passages, like those heard on the impressionist album opener “Tears”, envelop listeners in textured walls of distorted guitar and noisy breakdowns, a distinct hallmark of shoegaze – but Knifeplay’s compositions go far beyond such conventions. Also featured are downtempo compositions – such as the tribute track “Angel” – that call on a range of influences, from grunge to lofi pop, all the way back to slowcore. Layers of Strohmer’s falsetto lilt adorn the songs with another dimension of sentimentality, while rounding out the sonic vastness of the group’s emotionally enrapturing style, lending impressive depth to the band’s debut full-length.

"Pearlty" by Knifeplay includes the following tracks: "Feel U", "Mirage", "Held My Hand", "Lemonhead" and more.

"Widowmaker's second and final album Stand by for Pain was written, rehearsed, recorded, mixed, and mastered in only 30 days. Speaking of the fast turnaround for the album, frontman Dee Snider (of Twisted Sister fame) said: ""I'm crazy about this record. We did this thing in 30 days and we did it how we wanted to do it. No worrying about how fast the 'hook' comes in a song."" Prior to release of Stand by for Pain, two tracks, ""Long Gone"" and ""Ready to Fall"", were released to radio as a promo. For the first time ever, Stand by for Pain is available on vinyl as a limited edition of 750 individually numbered copies on gold coloured vinyl. The vinyl package includes an insert. "

Stand By For Pain by Widowmaker, released 15 March 2024, includes the following tracks: "Protect and Serve", "Circles", "Just Business", "Bad Rain" and more.

This version of Stand By For Pain comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc.

Debut 7” from Dave Guy. Member of The Roots, El Michels Affair, Menahan Street Band, The Dap Kings, The Budos Band. Produced by Homer Steinweiss & Nick Movshon.

Big Crown Records is proud to present the debut offering from the newest artist to join the label, the man on trumpet, Dave Guy. Dave is a long time friend, collaborator, and contributor to a boatload of songs on the label and far beyond it.

A member of The Roots, The Dap Kings, and The Budos Band, he has lent his talents to the music of everyone from Amy Winehouse & Lizzo to Lee Fields & Charles Bradley. Now Dave steps to the front of the stage with a debut record that could have only come from a seasoned veteran. Teaming up in the studio with fellow long time collaborators Homer Steinweiss & Nick Movshon, who handle the production as well as play on the recordings, the set of songs on this 7" are telling of what's to come.

Side A, "Footwork" is a Latin inspired tune that gets you up from the intro drum fill and is sure to soundtrack many a dancefloor from Soho to Harlem and far beyond the city that inspired it. Dave's trumpet lines are infectious, something about his playing walks the line of jazz and vocal arrangement. The choruses are moving, the verses are gorgeous, the backing band couldn't be sharper as they push the tune down the tracks making this an instant classic. Side B, "Morning Glory" is drenched in swag. The trumpet line repeats to great effect over the walking beat and the arrangement takes you through all the changes while staying entirely in the groove. It is easy to draw comparisons to 70s soundtrack music a la Marvin Gaye's Trouble Man but Dave's music is clearly contemporary pulling the best influences from the past and pushing them forward.