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Satan Takes A Holiday gingen zusammen mit Johan Gustafson (The Hives, Randy) und Alexander Idfalk ins Studio, um das Feuer hinter ihrer Mischung aus Rock'n'Roll, 60er Garage und zeitgenössischem Dark-Pop neu zu entfachen. 'Satanismus' ist das bislang dringlichste Album der schwedischen Alternative-Rocker, die sich in ihrer reinsten Form präsentieren und einen verdammt guten Soundtrack abliefern, bei dem Künstler wie Emmon, (Patrik) Von Arfve, Andreas Hourdakis und David Park kräftig mitmischen.

- Formate: Digipack CD / Limitierte LP-Auflage auf phosphorierendem Vinyl im Gatefold

Die Stimmung ist Jazz. Die Ikone ist Rickie Lee Jones. Die Stimme wird einfach immer besser. Rickie Lee Jones' neuestes Album Pieces of Treasure (BMG Modern) ist ein Wiedersehen mit ihrem lebenslangen Freund, dem legendären Produzenten Russ Titelman, der Jones' Star-Alben mitproduziert hat, ihr Debüt Rickie Lee Jones
von 1980 und das bahnbrechende Pirates. Großartiger Jazz imitiert nie das, was bereits gemacht wurde. Im Laufe ihrer Karriere hat die mit einem Grammy ausgezeichnete Singer-Songwriterin eine außerordentlich breite Palette von Songs interpretiert, oft auf ein und
demselben Album (David Bowie lobte öffentlich ihre Interpretation von "Rebel Rebel"). Sie hat gefeierte Alben mit Jazz-Bezug aufgenommen, darunter "Girl at Her Volcano" und "Pop Pop", aber bis jetzt hatte sie dem American Songbook noch nie ein ganzes Album gewidmet.

Pieces of Treasure - der Titel ist eine Anspielung auf Pirates - wurde fünf Tage lang im Sear Sound in New York City aufgenommen und von einem Quartett bestehend aus Rob Mounsey am Klavier, dem Gitarristen Russell Malone, dem Bassisten David Wong und dem
Schlagzeuger Mark McLean begleitet. Es ist ein elegantes, einfaches und gefühlsbetontes Werk, das aus Jones' eigenem Leben und ihren Erfahrungen stammt.

"Manchester band The Lottery Winners have announced their forthcoming new album ‘Anxiety Replacement Therapy’, out on 28th April on Modern Sky Recordings, which will feature collaborations with Boy George, Frank Turner, and Shaun Ryder.
A mammoth step forward, ‘Anxiety Replacement Therapy’ is on one level a set of 10 absolute anthems (and three interludes from a mystery narrator). These are mass singalongs in waiting from a band who’ve specialised in bringing people together over their previous two albums. "

Oui Oui, Si Si, Ja Ja, Da Da" wurde erstmals 2012 veröffentlicht und ist das zehnte Studioalbum von Madness nach dem triumphalen Comeback-Album The Liberty Of Norton Folgate von 2009. Die Band hat verschiedene Titel für das Album in Erwägung gezogen, bevor sie sich zusammen mit dem legendären Künstler Peter Blake, der das einzigartige Coverdesign entworfen hat, auf den Namen einigte. Das Album, das eine Vielzahl von Pop-Perlen und majestätischen Dub-Cuts enthält, war das siebte Album der Band, das die Top Ten der
britischen Albumcharts erreichte, und bewies einmal mehr, dass Madness auch nach über 30 Jahren immer noch in Bestform sind. Diese Neuauflage enthält 7 Bonustracks, die nicht auf der Original-LP erschienen sind, und ist auf schwerem Doppelvinyl gepresst und in einer Gatefold-Verpackung präsentiert. Außerdem enthält sie
brandneue Linernotes mit Interviews mit den Bandmitgliedern Mike Barson, Chrissyboy Foreman und Daniel 'Woody' Woodgate.

Demon Records presents a new collection of 24 UK garage anthems, brought together on vinyl for the first time, exploring the very best of the UK garage scene and packed full of classic floor-fillers.

Across the two 140g vinyl, highlights include tracks such as - Craig David ‘Fill Me In’, The Streets ‘Has It Come To This?’, Artful Dodger and Romina Johnson ‘Moving Too Fast’, Shanks & Bigfoot ‘Sweet Like Chocolate’, T2 ‘Heartbroken’ plus 19 other massive tracks.

• Pressed on two 140g vinyl, housed in printed inner sleeves.

• An essential collection for any UK garage fan!

Legendary 7X GRAMMY and Emmy Award-winning artist/producer Dr. Dre celebrates the 30th anniversary of his magnum opus, The Chronic by announcing the album will be re-released. The Chronic, which is not currently available on streaming services, will again be available to fans on all major DSPs .

Steve Berman, Vice Chairman of Interscope Geffen A&M, said: “Dr. Dre is without a doubt one of the most iconic and groundbreaking artists in the modern era. He has also used his platform to fuel some very impactful philanthropic efforts that will ensure his legacy is felt for generations to come. Dre’s solo career all started with the The Chronic, one of the most celebrated recordings of all time.

First released on December 15, 1992, The Chronic peaked at No. 3 on the Billboard 200 and has spent 97 weeks on the chart since its release. The album also spawned three top 40 hits on the Hot 100, including top ten records with "Nuthin' But a “G” Thang" (No. 2) featuring Snoop Dogg and "F— Wit Dre Day" (No. 8). The Chronic topped the Top R&B/Hip-Hop Albums chart for eight weeks, while "Nuthin’ But a "G" Thang" hit No. 1 for two weeks on Hot R&B/Hip-Hop Songs. Last June, Rolling Stone placed The Chronic on its 500 Greatest Albums of All-Time List, boasting how the album "redefined the West Coast Hip Hop sound." Pitchfork also holds the seminal album in high standing, saying The Chronic lives on as a “timeless show of strength” and “gave shape to L.A.’s present and future.” Videos from The Chronic are also available on Dr. Dre’s official YouTube channel.

Last year, Dr. Dre dazzled during the Super Bowl LVI Halftime Show in Los Angeles. His enormous set was star-studded, as Dre performed alongside some of music's biggest stars, including Snoop Dogg, Kendrick Lamar, Mary J. Blige, Eminem, and 50 Cent. Dre commanded the stage – just a few miles from his birthplace of Compton – with a groundbreaking setlist anchored by hits such as "The Next Episode" and the 2Pac-led "California Love." The historic performance earned Dr. Dre his first-ever Emmy for Outstanding Variety Special (Live). The Hollywood Reporter called the halftime show "thrilling and nostalgic," while Billboard credited Dre for his "seismic impact" on music.

New York painter and musician exploratory industrialist Tor Lundvall initially envisioned his 14th album, Beautiful Illusions, as an entirely instrumental affair, "inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass." Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring "the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance." Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall's mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: "Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been."

Nas King's Disease II Album Following the Grammy Award winning album, King’s Disease, the king returns to his throne with the second coming, King’s Disease II. The star-studded project offers tacit game on life, love, and loss, uplifting through action and lived experience in a way only Nas can. This is a body of work for the fans, for the day 1’s that contributed to the legacy. Alongside the decorated production savant, Hit-Boy, Nas remains rooted in lyrical prophetism while proving that he constantly reinvents the wheel. The sequel to last year’s King’s Disease features Ms. Lauryn Hill, Eminem, EPMD, Hit-Boy, Charlie Wilson, YG and more.

Matt Duncan is one of the biggest artists you have not heard of yet. This particular album, "Soft Times" has almost 20 MILLION STREAMS on Spotify alone. You might not know Matt Duncan, but you have definitely heard his music. His music has been on "The Vampire Diaries," "Private Practice," and HBO's "Bored To Death." Most recently Matt was a featured performer in the Tony Award winning Broadway musical, "Hedwig and The Angry Inch." The album art was created by Robert Beatty, who has recently done art for Tame Impala, Flaming Lips, and more! Matt Duncan creates music that would have fit in perfectly on your Dad's AM Radio in the 1970's. Touches of Blue Eyed Soul await you on this LP. This album showcases the strength of Matt's arranging. Strings, horns, layered vocals all make this perfect mix of Motown and Bacharach. There is a track for any ear on this LP.

Also available from Matt Duncan: Beacon LP. Album has 20M Streams on Spotify. Artist was part of Tony Award Winning Cast of Hedwig & The Angry Inch. Artist has tracks featured on HBO, Showtime, ABC, and MTV networks.

Through the 24 pieces, rare and unpublished, carefully selected for this double LP, BEATITUDE agnès b. MUSIQUE and Kwaidan Records offer a retro-futuristic sound journey through this musical period so rich, so diverse and so innovative. And, in order to properly celebrate the launch of this long-awaited volume 3, the 1st DES YOUNG GENS MÖDERNES festival will be organized in November 2020 at La Station - Gare des mines, with an intergenerational line up highlighting the musical lineage and the influence that this cold wave scene continues to exert on many emerging artists.

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Beautiful, soulful jazz record by Jimetta Rose and The Voices of Creation, a Los Angeles-based community choir, a mainstay of the local scene. Highly recommended!!

The Voices of Creation are a community-based choir led by vocalist, songwriter, arranger, producer and mainstay of the Los Angeles scene Jimetta Rose. Made up of a multigenerational group of mainly non-professional singers backed by some of the city’s finest musicians,their music marries hip strains of gospel with layers of jazz, soul and funk. While aspects of their music might recall Kamasi Washington, The Staple Singers or Sly Stone, Jimetta’s unique vision has resulted in new spiritually-charged forms of music whose whole-hearted embrace of love, joy and peace act as sonic healing balms for the soul.

For Jimetta - whose resume includes collaborations with Miguel Atwood Ferguson, Georgia Anne Muldrow, Sa-Ra Creative Partners, Angel Bat Dawid, Shafiq Husayn, MED and Blu - the very act of creation was part of a healing process: “I was very low at the time and I wrote most of the songs going through hardship. But I found comfort in the songs and a way to adjust my mindset to where things got better. So I thought ‘if this music works for me, maybe it will work for other people’ I believe that every person has their own voice and their own note and that we can use our voices to heal ourselves. That’s the intention behind creating the project.”

After putting out a call on social media for people interested in joining her choir she was met with a sea of replies. Members were chosen in less-than conventional fashion: “I recruited people based on their interest in healing themselves and others, not necessarily on their musical experience or being seasoned performers” she says. Among those accepted into the ever-evolving collective, which was begun initially as a community choir, were the likes of Sly Stone’s daughter Novena Carmel, better known as a radio DJ for KCRW’s flagship breakfast show. Jimetta’s upbringing in the Pentecostal church, where she was a youth choir director, fed into her otherwise intuitive teachings of her songs and arrangements to the inexperienced members with help from the group’s seasoned organ player/co-musical director Jack Maeby.

Produced by Mario Caldato Jr. (Beastie Boys, Seu Jorge) and his wife Samantha Caldato the results show the incredible sense of togetherness and communal spirit that the group had built up over time in the rehearsal sessions. The six tracks of their debut album, a mixture of originals and rearranged covers, are performed in a wide-eyed mix of styles that reflect Jimetta’s vision for borderless music: “It’s new black classical music,” she explains. “It’s all the hodgepodge of being an African American but also with creativity and vision for the future. It has a taste of what is to come and what we can do. What we have gone through and who we are now.”

The group’s propensity for warm and buoyant sonics finds representation on album opener Let The Sunshine In, a sparkling rework of the Sons and Daughters of Lite’s deep jazz classic. Their version finds the group’s dynamic group harmonies offset with Allakoi Peete’s nimble afro-percussive touches and plenty of soul- drenched keys courtesy of pianist Quran Shaheed and organ player Jack Maeby. A similarly uplifting take on Rahsaan Roland Kirk’s choral jazz classic Spirits Up Above follows, with Maeby’s groove-laden organ lines inspiring some gorgeous group harmonies as well as prime solo turns from the likes of Kellye Hawkins, Zavier Wise, Tamara Blue, and Khalila Gardner.

Another Sons and Daughters of Lite cover follows as Jimetta leads the choir in the groove-drenched ode to self-affirmation Operation Feed Yourself. Written as a series of mantras for everyday living, the Jimetta-penned composition How Good It Is harnesses the full transformative power of music to generate a stirring and joyful ode to positivity - it’s chanted declarations bringing out some of the group’s most deeply-felt and affecting vocal performances over some superlative piano and organ accompaniment with a surprise feature vocal from Novena Carmel.

Jimetta’s talent for re-imagining songs in her own light is highlighted in Answer The Call, her vivid re-telling of Funkadelic’s Cosmic Slop: “When I listened to the original song, the Mom in the story was really going through it. I thought of how I could turn this into a song that can encompass the glorification of all mothers and I thought of the Egyptian cosmic goddess Nut. To that mother we’re all the seeds planted in the garden. Answering the call in your life is literally that. Finding out exactly what you’re here for through your heart.”

The album finishes with the standout original gospel number Ain’t Life Grand. Over swaying organs and clapped percussion Jimetta’s lyrical mantras serve to emphasise the good feelings that come to those with a grateful heart. Good feeling is an apt descriptor for the mood of the album as a whole. Its shining positivity provides a welcome ray of light in an increasingly dark world. “It’s a shortcut if you will to the better feelings” Jimetta says. “The hope that we need to keep pressing forward. We are saturated and inundated with images of chaos and destruction, death and hatred. There’s so much we can witness. So, I want to make sure that there is a representation sonically of the other parts that are still there to witness so that we can continue to build those things. So that the systems we support actually reflect what we want to experience. So it’s like: “Don’t give up and Let The Sunshine Into You” and then find out what your purpose is and answer the call.”

Limited Edition COLOR green lime Vinyl – 75 units Hand numbered

Orlando Voorn is a Dutch DJ and electronic music producer. As a solo artist he has released work since the early 80s under a large amount of aliases containing Balance, Frequency, Baruka, Basic Bastard, Fix, Dope Dog, Boy, Stalker and The Nighttripper. He also produced tracks with Blake Baxter under the name Ghetto Brothers and with Jeff Porter as Designer Loops.
Voorn won the Dutch DMC DJ Championships in 1986 which meant the beginning of a large number of released tracks. As a professional DJ he released his first club tracks under the record label Lower East Side Records. Together with Detroit techno music pioneers Juan Atkins, Derrick May and Blake Baxter he produced tracks under various labels. Voorn's music is characterized by its variety of styles such as Techno, Drum n bass, Ambient, Hip hop and Electro. By many people Orlando Voorn is considered the first one to establish a connection (in music) between Detroit and Amsterdam.

3 capital letters, 2 cities, 2 boys, 1 project. Bordeaux, Berlin. Guillaume Laidain, Andrew Claristidge. Songs for concrete / Electronic.

An apartment building, floors, songs. In the stairwell, a meeting: sound artist, radio interference manipulator and musician-producer-arranger. The bass escapes from the cellar and vibrates along the corridors. A door opens, oscillations swirl, clash, and blur the tracks. A voice rises. Concrete architecture. Bodies armed for expression. In the distance, the echo of a rave party …

Remixes by The Hacker, Arnaud Rebotini and Pablo Bozzi.

We’re still harvesting the fruits of those past days in seclusion, the cabin fever induced creative outbursts, ideas that would probably have never surfaced without these enforced trips to our inner minds. Lockdown transcendence.

“Don’t Cry” by Italo-Brazilian DJ producer Stephan Barnem and Futuristant is another impressive testament of those days. Secluded in Stephan’s studio in Northern Italy, the duo subconsciously conjured the spirits of one of their mutual favorite bands, Depeche Mode and created a fierce, boombappy Neo New Wave smasher contrived to send rays of hope into the darkest corners of this mad world. We had to add a gratuitous beatless version to the EP that amplifies the cinematic depth and healing potency of this song.

If “Don’t Cry” echoes the dark brooding euphoria of Depeche Mode’s “Music For The Masses” era, the flipside cut “Elysium” harks back to the synthwave happy days of their debut “Speak & Spell”. It’s a wonderfully careless track that’s bringing a dearly needed breeze of fresh air to today’s discerning dancefloors.

Boys don’t cry for me Argentina. Save your tears for another day.

Wir ernten immer noch die Früchte jener vergangenen Tage in Abgeschiedenheit, der vom Lagerkoller verursachten kreativen Ausbrüche, Ideen, die ohne diese erzwungenen Reisen in unser Inneres wahrscheinlich nie entstanden wären. Lockdown-Transzendenz.

„Don’t Cry“ des italo-brasilianischen DJ-Produzenten Stephan Barnem und Futuristant ist ein weiteres beeindruckendes Zeugnis jener Tage. In der Abgeschiedenheit von Stephans Studio in Norditalien, beschwor das Duo unbewusst die Geister einer ihrer gemeinsamen Lieblingsbands, Depeche Mode, herauf und schuf einen wilden, boombappigen Neo-New-Wave-Smasher, der Licht in die dunkelsten Ecken dieser verrückten Welt senden wird. Wir mussten der EP eine Beatless-Version von “Don’t Cry” hinzufügen, die die filmische Tiefe und heilende Kraft dieses Songs noch verstärkt.

Wenn „Don’t Cry“ die dunkle, grüblerische Euphorie von Depeche Modes „Music For The Masses“-Ära widerspiegelt, erinnert der Flipside-Cut „Elysium“ an die Happy Synthwave-Tage ihres Debüts „Speak & Spell“. Es ist ein wunderbar sorgloser Track, der den dringend benötigten frischen Wind auf die anspruchsvollen Tanzflächen von heute bringt.

Boys don’t cry for me Argentina. Save your tears for another day.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Trey Gruber's posthumous debut double LP Herculean House of Cards. A compilation of early demos, studio demos, and live recordings. A tortured songwriter and struggling addict who jolted the tired Chicago DIY scene with his own brand of primal despair, Trey Gruber and his band Parent were on track to join the ranks of Twin Peaks, Mild High Club, and Whitney. His death in 2017 at the age of 26 brought it all to a halt. In his final years Trey wrote and recorded hundreds of previously unheard demos, dandelions in the cracked concrete of 21st century disconnect, an alphabet's worth of which have been compiled by his family and friends for his only album: Herculean House Of Cards. The 26-song 2xLP covers years of material, from home tape recordings, sessions at Mathew Roberts (Mild High Club) & Paul Cherry's home studio, to a studio session with Charles Glanders (Whitney) at Chicago's Foxhall Studios, along with audio taken at The Hideout during his last live performance, among others. Though Gruber was an unrelenting perfectionist who was constantly self-deprecating about his best demos, Herculean House of Cards is a wholly comprehensive and accurate reflection of his infectious charisma and raw songwriting. He had a charmingly distinct way with words but also could be disarmingly vulnerable. Like he was in life, Gruber never shied away from being open with his struggles with alcoholism and addiction. On the vivid opener "Eisenhower to the West Side," he sings in painstaking detail of, "A jail-skin cell, a junkies fight/Corner-boys full of grace/And Jesus Christ full of spite." He told then-future bandmate flautist Rebecca Ridge, "It's not some Lou Reed glorification of drugs _ `makes me feel like a man'_ I talk about the disconnect and the ugliness. They're sad pop songs." But even with the pain and the darkness in his lyrics, Gruber's songs had an unmistakable sense of hope and catharsis.

Blue Hawaii was Elvis’ 8th film, and on its release in 1961 became one of that year’s most
successful titles at the box office. It remained one of the singer’s all-time favourite movies,
and began a love affair with the island, which had become America’s 50th state in 1959.
Blue Hawaii was the usual Elvis mix of exotic locations, beautiful girls and lots of songs. The
soundtrack of Blue Hawaii did not disappoint – the sleeve boasting “14 Great Songs”. The
title track was a perfect introduction, while the Hawaiian setting meant that space was found
for the atmospheric Hawaiian Sunset and Island Of Love (Kauai). Room was also found for
two other island-related songs - Aloha Oe and Hawaiian Wedding Song, both of which had
been hits for Bing Crosby back in the 1930s. But where Blue Hawaii really scored for fans
was the inclusion of the boisterous Rock-A-Hula Baby and a song which would go on to
become one of the singer’s best-loved ballads – Can’t Help Falling In Love. Based in part on
an 18th Century French melody, for many years this became Elvis’ in-concert finale.

On Giver Taker, the gorgeous debut album by Anjimile, death and life are always entwined, wrapping around each other in a dance of reverence, reciprocity, and, ultimately, rebirth. Giver Taker is confident, intentional and introspective. Anjimile Chithambo (they/them, he/him) wrote much of the album while in treatment for drug and alcohol abuse, as well as while in the process of living more fully as a nonbinary trans person. Loss hovers over the album, whose songs grieve for lost friends ("Giver Taker") and family members ("1978") along with lost selves ("Maker," "Baby No More," "In Your Eyes.") But here, grief yields an opening: a chance for new growth. Each song on the album is its own micro-journey, adding up to a transformative epic cycle created in collaboration with bandmate Justine Bowe of Photocomfort and New-York based artist/producer Gabe Goodman. "1978" and "Maker" both begin as Sufjan Stevens-esque pastoral ballads with Chithambo's mesmerizing voice foregrounded against minimal instrumentation and swell into the realm of the majestic through the addition of warm, steady instrumentation (informed by the mix of 80's pop and African music Chithambo's Malawi-born parents played around the house) and harmonies by Bowe. "In Your Eyes" starts out hushed and builds to a crescendo via a mighty chorus inspired by none other than the Lion King. The allusion is fitting: each song encapsulates a heroic voyage, walked alone until accompanied by kindred souls. The choirs present throughout are equally deliberate. Chithambo grew up as a choir boy himself, and several songs (notably "Maker") grasp not only towards reconciliation between his trans identity and his parents' strong religious beliefs, but towards reclaiming his trans identity as an essential part of his own spirituality.

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

Clear Vinyl

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

Die lang erwartete offizielle Veröffentlichung von "Thy Kingdom Come"! "Thy Kingdom Come", das ursprünglich am 30. Juni 1998 auf Dr. Dre's Aftermath Entertainment veröffentlicht werden sollte, ist das fünfte Studioalbum von King Tee. Zur gleichen Zeit Aufgenommen wie die Multi-Platin-Alben Dr. Dre - "2001" und Eminem - "The Slim Shady LP", enthält "Thy Kingdom Come" Gastauftritte von Dr. Dre, MC Ren (N.W.A.), DJ Quik, Too $hort, NBA-Legende Shaquille O'Neal, Ice-T, Kool G Rap, Dawn Robinson (En Vogue, Lucy Pearl) - um nur einige zu nennen. Für die Produktion des Albums zeichnen sich Dr. Dre (Eminem, 50 Cent, Snoop Dogg, Xzibit), Mike Dean (Kanye West, Beyoncé, The Weeknd, Jay-Z), DJ Quik (2Pac, Snoop Dogg), Bud'da (Aaliyah, Ice Cube) und Dr. Dre's Aftermath-Produzenten DJ Battlecat, Stu B Doo, Chris "The Glove" Taylor und Fredwreck sowie Ant Banks, Step One und SLJ verantwortlich. Das Album wurde von Dr. Dre gemischt und überwacht. Remastert in hochauflösendem 24-bit 44.1 kHz Audio im Jahr 2022.

Die lang erwartete offizielle Veröffentlichung von "Thy Kingdom Come"! "Thy Kingdom Come", das ursprünglich am 30. Juni 1998 auf Dr. Dre's Aftermath Entertainment veröffentlicht werden sollte, ist das fünfte Studioalbum von King Tee. Zur gleichen Zeit Aufgenommen wie die Multi-Platin-Alben Dr. Dre - "2001" und Eminem - "The Slim Shady LP", enthält "Thy Kingdom Come" Gastauftritte von Dr. Dre, MC Ren (N.W.A.), DJ Quik, Too $hort, NBA-Legende Shaquille O'Neal, Ice-T, Kool G Rap, Dawn Robinson (En Vogue, Lucy Pearl) - um nur einige zu nennen. Für die Produktion des Albums zeichnen sich Dr. Dre (Eminem, 50 Cent, Snoop Dogg, Xzibit), Mike Dean (Kanye West, Beyoncé, The Weeknd, Jay-Z), DJ Quik (2Pac, Snoop Dogg), Bud'da (Aaliyah, Ice Cube) und Dr. Dre's Aftermath-Produzenten DJ Battlecat, Stu B Doo, Chris "The Glove" Taylor und Fredwreck sowie Ant Banks, Step One und SLJ verantwortlich. Das Album wurde von Dr. Dre gemischt und überwacht. Remastert in hochauflösendem 24-bit 44.1 kHz Audio im Jahr 2022.

Die neuseeländische Musikerin und Produzentin Princess Chelsea präsentiert ihr kommendes "nervous breakdown album" "Everything Is Going To Be Alright", das im pastoralen Aotearoa Neuseeland aufgenommen wurde und eine Art Trostspender ist. Es sind keine traurigen Lieder, sondern die beiden Eröffnungs- und Schlusstracks erzählen von Chelseas Genesung und sind als kathartischer Hörgenuss für alle gedacht, die es brauchen könnten. "If you feel you want to die / trust me darling / it just takes time", singt sie in "Time". In der Zwischenzeit zeigen Chelseas sorgfältig geschichtete Gesangsmelodien über Mellotron-Flöten und Harfe, verwoben mit Live-Cello und Violine, ihre Fähigkeiten als Arrangeurin und Produzentin. Princess Chelseas cineastischer, verträumter Pop hat sich in elf Jahren, fünf Alben, einer EP und elf Singles weiterentwickelt. Ihre Vortragsweise und ihr Songwriting zeichnen sich dadurch aus, dass sie eine fast naive Ernsthaftigkeit mit zynischem, augenzwinkerndem Witz und akustischen Funken überlagert. Ihr Grunge-Girlgroup-Song "I Love My Boyfriend" aus dem Jahr 2018 und ihr von Nancy & Lee inspiriertes "Cigarette Duet" aus dem Jahr 2011 haben ihren Bekanntheitsgrad durch den Einfluss einer neuen TikTok-Generation in das öffentliche Bewusstsein gerückt. Für dieses Album wurden Chelseas Instrumentalarrangements von ihrer Live-Band inspiriert, die die Schlafzimmerdemoaufnahmen mit einem überraschenden Sound interpretiert hat. Es klingt anders, als man vielleicht erwarten würde. "The Forest" wurde live in einem Take mit Chelsea und der gesamten Band im beliebten neuseeländischen "The Lab" aufgenommen und zeigt dynamische Gitarrenwände und eine leidenschaftliche Gesangsperformance. Es ist eine markante Abweichung von ihrem bisherigen Schaffen und stellt eine weitere Einführung in das dar, was sie seit der Veröffentlichung der verträumten und doch düsteren Single "Everything is Going To Be Alright" im Februar als ihr "Gitarrenalbum" bezeichnet hat. Chelseas Fähigkeiten als Arrangeurin und Produzentin kommen auf dem Album voll zur Geltung, aber oft in Form von komplizierten Gitarrenarrangements, die an The Cars und die Breeders ("Forever is a Charm") und an klassische neuseeländische Flying Nun-Bands der 80er und 90er Jahre ("Love is More") erinnern. Obwohl das Album eine deutliche musikalische Entwicklung darstellt, sind ihre Markenzeichen immer noch da - klassische 80er Jahre Synths (Yamaha DX7, Roland D-50), vielschichtige Melodien, orchestrale Instrumente, verträumter Gesang, verdrehter Pop, der oft Vergleiche mit Julee Cruise oder Enya gezogen hat.

Der ursprüngliche King of Reggae, Desmond Dekker, brachte den Sound Jamaikas durch eine Reihe internationaler Hits in die ganze Welt, wobei seine Musik zwischen 1967 und 1975 nicht weniger als sieben Mal die britischen Pop-Charts zierte. Zu dieser unglaublichen
Reihe von Hits gehörten '007', 'It Mek', 'Pickney Gal', You Can Get It If You Really Want", Sing A Little Song" und die erste in Jamaika produzierte Aufnahme, die die britische 7"-Single-Liste anführte, Israelites".
Alle diese unverzichtbaren Aufnahmen sind auf der "The Essential
Artist Collection" enthalten, die auch das Beste aus seinem übrigen Schaffen umfasst, wobei fast jeder Titel ein großer jamaikanischer Bestseller ist.

Die Sammlung ist sowohl als Doppel-Vinyl-LP mit 28 Titeln als auch als 2CD-Set mit 50 Titeln erhältlich. Die Sammlung ist die neueste in Trojan Records' neuer, stilvoll gestalteter "Essential Artist"-Serie, die die populärsten und einflussreichsten Aufnahmen von von einigen der berühmtesten jamaikanischen Interpreten enthält. Und wie diese hervorragende Zusammenstellung beweist, waren nur wenige Reggae-Künstler waren einflussreicher und gefeierter als der legendäre Desmond Dekker.

The makossa man is back after a hiatus of 18 years with timeless cover versions from Simoncino, F.T.G, Groove Boys Project & Carlos Nilmmns ! Limited edition, for DJ use only.

When we established Balmat in 2021, neither of us could have imagined that within two years, we’d be putting out an album by one of our musical heroes: Mike Paradinas, aka µ-Ziq. The British producer has been an inspiration to label co-founders Albert Salinas and Philip Sherburne since the 1990s. In fact, his album-length remix project The Auteurs Vs µ-Ziq was one of the very first pieces of electronic music that Philip bought, way back in 1994. To have the opportunity to release his music now feels like a real full-circle moment.

Paradinas, of course, needs no introduction. Under a slew of aliases, chief among them µ-Ziq, the British artist revolutionized leftfield electronic music in the 1990s—coincidentally, this year marks the 30th anniversary of his debut album, Tango N’ Vectif, for his friend and sometime collaborator Aphex Twin’s Rephlex label—and his label Planet Mu has built up a formidable catalog of visionary, forwardlooking records, mapping virtually every corner of the electronic spectrum. With 1977, he turns the clock backward in a sense, and not just with the album’s title: Rooted in classic ambient and electronic sounds, these 15 tracks evoke the anything-goes spirit of the early ’90s, before the tools and tropes had calcified into cut-and-dried styles.

There’s no shortage of familiar sounds on 1977. There are echoes of raves and chillout rooms and transmissions from the fringes of techno; there are detuned synths and glistening reverb tails and, above all, gauzy vox pads, the eerie glue that holds it all together. The title, he says, is meant to invoke a general sense of nostalgia, bookmarking a year in his boyhood when he became more selfaware. More than anything, 1977 sounds like µ-Ziq distilled: Stripped of his signature breakbeats and customary chaos, Paradinas’ first-ever strictly (well, mostly) ambient album presents the essence of his music in a whole new light.

Along the way Paradinas touches on dark-ambient drones (“Marmite”), horror-film themes (“Belt & Carpet”), jungle breaks (“Mesolithic Jungle”), and even house music (“Houzz 13”), which marks the first bona fide dance-floor moment on Balmat to date). Yet the album never—to our ears, anyway— feels expressly retro. Rather, Paradinas plucks timeless sounds out of the ether and gives them a gentle tap, spinning them into unexpected new orbits. At times, 1977 feels like an experience of extended déjà vu: When we first listened to it, we had the sense that we already knew this music. It was as though we had heard it years ago, perhaps on a battered cassette tape lent to us by a friend, and been searching for it ever since. We hope you feel the same.

Those djs who are always looking for tracks no one else is playing are going to be superhappy with this 45.
100% dance floor dynamite!
It does not get any better than this.

This genre-bending album takes the listener on a sonic journey through moments of gritty hip hop as well as lush soul/R&B soundscapes, also providing a glimpse into modern jazz.

World Champion Battle DJ, Rhettmatic, reminds you why he’s one of the most respected DJs in the world with his masterful scratches throughout the album. In a time where musicians are scrambling to copy whatever the latest trend in music is, more than ever.

JRawls’ signature Jazz-Hop sound meshed with Rhettmatic’s West Coast bounce creates an undeniably hypnotic & original sound that is all their own.
Tracklist RawlsMatic Intro
Play Your Position
Excalibur
State My Case
Doty X & The Sen
Stay Good
Role Reversal
Brazil
Straight Shot Of Whiskey
Everyday Sh-t
The Brink
The Sun
Xanadu

Key Selling Points
-The powerful duo, Rawlsmatic, consists of respected hip hop producer-DJ’s, Rhettmatic (Member of the World Famous BeatJunkies, Cypress Junkies) & J Rawls (Produced for Black Star, Slum Village, Beastie Boys, & more).
-Their debut collaborative album "Role Reversal" via Chavez Sound features Craig G, Blu, Ras Kass, Illa J & Frank Nitt, John Robinson, Wordsworth, Sadat X & El da Sensei, Trek Life & Supastition, Ann One, Cyrus Baty & B-Jazz.

Halestorm’s ‘The Strange Case of Halestorm’ album is repressed on a single clear LP and is a one-time pressing.
This vinyl release is a part of Atlantic Records' 75th Anniversary vinyl collection.

Let's get it straight: "This is" is THE album by Ghia. It catches the band at its peak and features 10 songs, including not only their impeccable hit, "What's Your Voodoo?" but a full arsenal of yet unheard, timeless, and soulful music without equal. The songs on the album, which were recorded between 1988 and 1991, could be considered forerunners of the downtempo genre, with one foot in the late 1980s street soul direction but sparkling with touches of synth pop and contemporary jazz-funk. Genre limitations aside, all that Ghia ever wanted to do was create music-good music-and you will hear this in the depth of the compositions.
The album starts with "Keep Your House In Disorder," which has yet again become another classic song from the band's catalog since it was featured as the B-side of the "What's Your Voodoo?" reissue. The song is about a relationship in which the woman has trouble adapting to her boyfriend's turn in life. He tells her to "keep your house in disorder," meaning don't take things too seriously, don't stand still, and you will do better to take the sideroads in life.

"This Is" continues with the downtempo numbers "Crystal Silence" and "Close to You." Both are deep, one-of-a-kind, and previously unissued street soul ballads. On these two tracks, you can still hear the band's roots in jazz-funk. Hence, as a follower of the band's output may have yet recognized, instrumentals of these two tracks can be found on their first LP, "Curaçao Blue." In fact, "Close to You" was one of the band's first compositions. Earlier recordings of the song exist with different singers and different vocals, but it wasn't perfect until Lisa laid down the final version and a choir was added. It's difficult for us to recall any late-80s soul tune as beautiful and intriguing as this one. The final section, which begins with "so much baby we can say," sounds ahead of its time, reminiscent of mid-90s contemporary R&B.

Next up is "Eskimo," an equally brilliant and soulful downtempo composition, but with more focus on synth sounds than the previous tracks. Once more, it showcases the creative lyricism of the song writers, Boberg and Simon, imagining a train ride during a rainy and cold night: "feeling like an Eskimo in an igloo in New York."

Eskimo leads to the aforementioned classic, "What's Your Voodoo?" Originally released in 1991 on the small Mikado label, it was reissued on our label in 2019. We already called this "one of the most wonderful and mystic slow motion synth pop tunes ever recorded"-and we still mean it! Let's face it: this was done before British bands like Massive Attack, Tricky, and Portishead laid the foundation of trip-hop. Dare we call Ghia's music "proto trip-hop"? As a special bonus, the digital version of the LP features a previously unreleased mix of the song, which includes added samples; this should clarify how close Ghia actually was to the sound of the mid-'90s.

"Angel On Your Shoulder" and "L O M E" are two more completely unissued and great tracks from the band's shelved works. Being a bit more uptempo than the rest of the album, they fall between contemporary soul/R&B and synthesized pop music. And of course, another downtempo hit needed to be featured on the album: "You Won't Sleep on My Pillow." It was the original A-side of their single release in 1991, and since then it has been featured on various compilations.

The album concludes with a really strong ballad entitled "I Haven't Got The Power." Here we hear only pianist and keyboardist Lutz Boberg with Lisa Ohm, without further instrumentation. Basically recorded in a live session, this showcases once more the talent and ingenuity within the Ghia project.

Whether you agree or not, "This is" may easily be considered one of the best German late 80s/early 90s soul pop and downtempo albums ever recorded. Cautiously, it may even be submitted as the missing link between mid/late 80s soul by bands such as Sade, and later trip-hop groups like Massive Attack. Let us celebrate Ghia and their music, which had been shelved for more than 30 years but has now finally been released on The Outer Edge.

A1 - French artist aka Dylan Dylan hits first on the record with energetic groove, breaks and deep synths - that's how we do it!

A2 - HATT.D is a Belgian music maker. A truly moving track with a soothing bass and both broken and straight rhythms. The tune may conjure up images of tropical flora and fauna.

A3 - Dawn Again, a faraway Australian artist, hits with the charming track “I’m Like a Bird" - a minimalistic style house tune with catchy rhythms.

B1 - Manhood is a collaboration of two Russian artists, Denis Kazakov and Lachetto.
The boys wrap us in delicate breaks with cosmic sounds, as if to remind us that we are not alone in this universe.

B2 - German musician Palmate continues the vibe with his dreamy and slightly lo-fi deep house "departure," which sounds like you're going home with happy recollections after a fantastic time with old friends.

B3 - The conclusion of this story will be presented to us by Dj Bigspin, a musician originally from France who now lives in Copenhagen.

He reminds us with his melancholic deep acid hous

‘When There’s Love Around’ is GRAMMY Awardwinning artist Kiefer’s second album for Stones Throw.

For the first time, Kiefer is joined by a full band, including Sam Wilkes, Carlos Niño, DJ Harrison (Butcher Brown) and many more. Release to be supported with extensive global PR / radio campaigns and national and international touring.

For fans of Kamaal Williams, Kamasi Washington, Blue Lab Beats, Sam Wilkes, Moses Boyd, Yussef Dayes.
Kiefer is one of LA jazz’s most exciting new artists, with a broad international fanbase. Previous press and radio highlights include 6
Music, Radio 1 / 1Xtra, Radio 2, Pitchfork, Mojo, FACT, Mixmag, Drowned in Sound. Double vinyl cut at 45rpm for top audiophile
quality. Bonus track ‘thinking of you’ exclusive to vinyl release. (Not available on digital format.) Available to independent retailers on blue and yellow coloured vinyl. Headline European tour in February 2022.