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- Limited edition, 180g heavy, weisses Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Die Geschichte Von Lambchop Ist Die Der Steten Veränderung Und Weiterentwicklung. Was Vor Fast 30 Jahren Im Keller Von Kurt Wagner Begann Und Von Ihm Selbst Scherzhaft Als most Fucked-up Country Band In Nashville' Bezeichnet Wurde, Hat Sich Inzwischen Nicht Nur Als Eine Der Dienstältesten Sondern Auch Innovativsten Bands Der Us Amerikanischen Musikszene Etabliert. Seit Jeher Verbinden Lambchop Unterschiedlichste Genres Wie Folk & Country, Mit Soul Und Urban Electronica Zu Einem Ganz Eigenen, Unnachahmlichen Sound. Kein Lambchop-album Klingt Wie Das Andere, Aber Jedes Klingt Immer Unverwechselbar Nach Lambchop. Nach Ihrem Wegweisenden Album - flotus (2016) Hat Die Band Aus Nashville Jetzt Ein Neues Album Für Den 22.03.2019 Angekündigt. Für this (is What I Wanted To Tell You)' Arbeitete Kurt Wagner Mit Matthew Mccaughan (bon Iver, Hiss Golden Messenger) Zusammen, Der Ihn Auch Als Teil Des Lambchop Live Ensembles Im April Auf Tour Begleiten Wird.

Im Sommer 2017 Machte Sich Wagner Auf, Über Die Blue Ridge Mountains In Richtung North Carolina, Zum Geburtstag Seines Langjährigen Freundes Und Chef Des Merge Labels: Mac Mccaughan. Dort Traf Er Auf Seinen Jüngeren Bruder Matt Mccaughan, Der Das Letzte Jahrzehnt Als Schlagzeuger Für Bon Iver Und Hiss Golden Messenger Verbrachte. Matt Und Kurt Kannten Sich Schon Viele Jahre, Aber Erst An Diesem Abend Beschlossen Sie Zusammen An Musik Zu Arbeiten. Wagner Schickte Mac Neue Songideen Und Mccaughan Schickte Wagner Synthesizer-stücke Zur Inspiration. Schließlich Gingen Beide Gemeinsam In Nashville Ins Studio, Pedal Steel Und Piano Und Der Harmonika Von Nashvilles Legende Charlie Mccoy, Die Diesen Schwarz-weißen Skizzen Leben Einhauchte.

Das Ergebnis Ist "this (is What I Wanted To Tell You)", Ein Album, Ergreifend Ehrlich, Atemberaubend, Wunderschön Und Überraschend. Aber Lambchop Sind Nicht Immer Nur Für Eine Überraschung Gut, Sondern Überraschen Immer Wieder Mit Verdammt Guten Songs. Wenn Kurt Wagner Etwas Zu Sagen Hat, Hören Wir Natürlich Hin, Das Sollten Sich Alle Zu Herzen Nehmen. Diese Platte Muss Man Einfach Hören!

Heute Gibt Es Die Erste Single Aus Dem Album: the December-ish You' Eine Verblüffende Mischung Aus Bewährt Emotionalen Slide-guitar Und Pianoflächen Alter Lambchop-schule Und Effektiven Pvc Pop Beats, Claps Und Samples, Über Die Kurt Wagner Die Melancholischste friday Night Fever' Ballade Der Dekade Croont.

Amazing 1976 album where jazz meets world music !

An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community’s musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms , while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

Black Vinyl

Docile Recordings continues with part two of a five cat series. Docile #29, the pepper ep, was produced, arranged, and crafted on vinyl by Andy Garcia at Archer Record Press in Detroit Michigan U.S.A.. Docile Recordings believes vinyl is the best medium to convey our message. Our message is our sound, a sound that is unique in its’ path and loyal to its’ character. Our mission is redefinition and the redirection of minimal techno.

Side A starts with an ol’ timey 4/4 tec- spiritual of crunch confusion rocking and clapping faithfully until the rapture of synth begets a righteous clarity of beat. A2 is a calm to topsy-turvy scurry through digital tweaks and stutters that form a havoc funk requiring a reprimand. B1 opens with the ringing energy of a pest highly motivated to infect a sickly synth, glitching yip, and rolling cymbal into the bloodstream of a dirty grind. B2 is a gentle vibe that is simple, clean, and fresh as a cool breeze that carries the rhythms of birds speaking in tandem.

Over two years in the making, and it’s finally here. Amsterdam based, brand new old-school label “Betonska” kicks off with this highly diverse release for the selector, collector, radio host and club DJ.

Crisp instrumentation, tight retro drum computer programming and propulsive danceable bass lines are what you will find here. The Amsterdam based label will be focusing on previously unreleased and tough-to-find material from the 80s and 90s – all re-mastered, officially licensed and in collaboration with the original artist. In addition to the original material an occasional modern twist will be given by contemporary artists who cherish that signature sound.

The first release is an alternative issue of Flo Sullivan’s “Higher” release, originally recorded in 1984 in the world famous Amazon Studios in Liverpool and released in 1985. On the A-side both the 12” and the 7” version of the hard-to-get, firm synth-pop track “Higher” will be pressed on a loud 45rpm vinyl. The 12” version is the (bass-)heavier one, while the 7” version sounds more “organic” with an extended intro and an added horns part. The tracks on the A-side have been pressed before and are made available now again for the wider public, giving those tracks the recognition and attention they deserve.

The B-side focuses on previously unreleased original downtempo material by the same artist but released under her real name: Gayna Rose Madder. This, accompanied by a refreshing club-ready remix of one of those tracks by Vienna’s top-notch selector, producer and Neubau label owner: Heap.

Neither of the two original tracks “Over” and “Element” have ever been released on vinyl before, up until now. “Over” was written and recorded in 1983 in Splash Sound Studios in Liverpool. A beautiful melancholic synth-pop track, which was meant to be released, but unfortunately never saw the light of day. At the time it was recorded Gayna left her band “Shiny Two Shiny” and therefore needed a new deal from a different company for her solo releases. But by the time she found the right one, many newer songs needed release. Much later, in 2005, Gayna decided to self-release “Over” on a compilation CD to sell copies online.

“Element” is a spoken-word poem accompanied by a fire-crackling tribal kind of rhythm. It was written for a musical play and recorded in Sparks Studio Liverpool in 2004 and has never officially been released before. (For a short period it was available on a self-released CD on Gayna’s website; a compilation of the songs written for one of her musicals).

And last but not least, the icing on the cake is Heap’s remix of “Element”. He translated this spoken word poem into a refreshing 90s-style and danceable club-track to complete the diversity of Betonska’s first release. A chugging acid bass, breakbeat rhythms, crisp claps and sharp snares and a screeching lead synth to get you screaming on the dance floor.

Regarded as one of the greats from Detroit, Rick Wade has crafted an incredible discography of tracks blurring the lines somewhere between deep house and techno with a sound and style brilliantly his own. His outstanding 'Timeless EP' from 2017 returns to Elypsia Recordings with an onslaught of remixes delivered by a diverse and unstoppable roster of modern musical mavericks - each respectfully twisting the original magic of Rick's original productions and creating a fresh take in their own style.

The Way I Am' comes in the shape of Tresilo aka Oliver Way (of Detroit Grand Pubahs), Esteban Adame and Ben Long (of Space DJz) and is an absolute belter of a prime-time stormer. Dominated by gigantic synth melodies, the track weaves around percussive alterations with hi-hats, sharp claps and energetic rides paired perfectly with the catchy musical wiggles and kicks. The familiar vocal sample from the original sneaks into play with perfect placement - offering a reminder of Rick Wade's awesome original.

Rick's previously unreleased track, 'Academy' receives the first of two remixes from Seattle house hero Pezzner. The 'CR2' Remix takes the groove into subterranean territories with a heads down bouncer of a track, fully embracing Pezzner's more house-focused approach. A percolating bassline keeps the cut moving ahead while soft, divine pads offer a classy sonic texture suitable for wide-eyed ravers and urban headphone listeners alike.

Detroit's Vintage Future joins the remix roster with his take on 'Planet Deep,' one of the standout cuts from the original EP. The track is absolutely saturated with Detroit soul. Deep, machine driven textures and gorgeous otherworldly melodies rest alongside a truly infectious groove. The famed keyboardist for Model 500's live gig, Vintage Future knows clearly how to craft an incredible groove with his keys, and the sounds from this impeccable remix are tip top.

The second remix of 'Academy' from Pezzner continues his remix focus in a deeper house mindset, with Pezzner delivering even softer sounds, and more intense pad dynamics. This retouch includes the addition of some gorgeous orchestral stabs and organ textures which gives the remix a soulful touch - made to focus on a slightly more melodic approach than the previous Pezzner rework.

Historic Recordings Vol.2

Rare recordings of legendary blues guitarist Eric Clapton.

Features performances with The Yardbirds, Jimmy Page and Sonny Boy Williamson.

FANTASTIC 140 GRAM VINYL.
LIMITED EDITION
Full servicing to all relevant media
Extensive print & internet advertising

Historic Recordings Vol.1

Rare recordings of legendary blues guitarist Eric Clapton.

Features performances with The Yardbirds, Jimmy Page and Sonny Boy Williamson.

FANTASTIC 140 GRAM VINYL.
LIMITED EDITION
Full servicing to all relevant media
Extensive print & internet advertising

Support by: Anja Schneider, Karotte, Steve Lawler, Nic Fanciulli, Darin Epsilom, Claptone, Damian Lazarus, Magit Cacoon, Robbie Akbal, Paco Osuna, Chris Fortier, Noah Pred, Mihai Popoviciu, Pathaan, Spektre, Niconè, Click + Click, James Flavour, Gary Beck, can "Khan"Oral...
For the 10th release on LOK Recordings, we prepared something truly exquisite. Welcome Skiclub Toggenburg and Roman Flügel aboard!
SCT provided two energetic house tracks full of driving basslines, vocal fun and analog synths. In addition to the originals “Cocolocobye” and “Zmorge mit Pascal” we added a smashing remix by Roman Flügel.

Craig Charles has been a soul & funk fan since his teenage years in Liverpool, going to see local heroes The Real Thing live, and wearing out his shoe leather dancing in the city's many underground clubs. Craig has been sharing that passion for the music via his 6Music and BBC Radio 2 shows and DJ nights for nearly 20 years. His brand new 'Trunk Of Funk' compilation series, blends up-tempo club classics, with fresh music from the cream of the crop from the contemporary soul and funk scene, and will be Craigs very first vinyl release - a beautiful, double vinyl gatefold LP and he's certainly excited about it, stating; "I can't wait to bring you big beats, bass lines and booga-bloomin-loo! Presenting The Craig Charles Trunk Of Funk Volume 1 as my first ever vinyl release has put a proper wiggle in my walk!" This collection of 21st century disco, soul, funk & afro grooves from includes tracks from contemporary heroes of the scene such as Monophonics, Amp Fiddler and The James Taylor Quartet, it's also peppered with some old school classics and rare grooves from legends such as Roy Ayers, PP Arnold, Miriam Makeba and Patrice Rushen. Craig has personally selected and sequenced this collection to take the listener of a musical journey, the closest thing to having Craig visit and personally DJ for you in the comfort of your own home! It also includes two 'Trunk Of Funk Edits' that are 100% exclusive to this compilation and not available anywhere else.

Worldwide Award winners First Word Records are pleased to welcome back Souleance; a duo that have been releasing music with us for a decade now, and triumphantly returning to the fold with some brand new music for 2020.

This vinyl / digital EP, 'Les Mouches', is their first release for First Word since the acclaimed beat-tape 'French Cassette' from early last year.

Expanding on the original Normand-Parisian super-duo of Fulgeance and Soulist, the Souleance crew now includes Vincent Choquet on synths and Guillaume Rossel on drums as part of their live outfit. Whilst sonically their style remains unchanged, the formation into a full band sees the Souleance sound become bigger, more realised and more formidable than ever.

The title track 'Les Mouches' sets off the EP in a playful disco manner - a chugging bassline, assorted synthesisers, disco claps and a four-to-the-floor drum track, inspired by the likes of Larry Levan and Candido. Meaning "flies", Les Mouches was a legendary Manhattan club that existed around the era of Studio 54, and was infamously a hangout spot for Imelda Marcos. The club itself was named after a play by Jean-Paul Sartre.

Next up is the single 'Aquarelle' (meaning watercolours), which contains more layers than a Bob Ross painting. With its various elements splayed across its aural canvas, sprinkled with some subtle scratches, it's four minutes of funk presented in Souleance's inimitable way.

'The Bounce' follows and enters a more soulful side of the dance, dropping the tempo a touch and inviting in a huge bassline, squelchy keys and intermittent vocal hooks.

'Mont Maudit' takes more of a latin jazz direction with big drums and cymbals rocking throughout, whilst an infectious piano hook cruises throughout, and an ethereal gospel choir switches up the proceedings mid-way.

Things get deeper still with the epic broken beat-esque 'Maneuevers'. Crunchy rhodes dominate this slightly tweaked-out rhythm, a delectable piece of heads-down nujazz fused with Souleance's unmistakable funk once again.

'L'Opuleance' closes out this EP with some more traditional Souleance fare - the tempo a little more head-nod, this one is comprised of some deliciously wobbly bass, chopped samples and hefty breaks.

This EP is essentially a set of grooves marinated in nostalgia whilst managing to sound entirely current. Analogue synths, live bass, sleek cuts and intoxicating drums. This is another round of sure-shot dancefloor fire from our favourite French family.

Previous support has come from OkayPlayer, Bill Brewster, BBC 6 Music's Gilles Peterson, Tom Ravenscroft & Huey Morgan, and various DJs on Worldwide FM, NTS & Le Mellotron,

Claptrap label boss returns with a four-track release ‘Big Pharma’.
Following on from this years releases by Longhair and Dr Valentines Claptrap are back with Vanity Project’s new release ‘Big Pharma’. Vanity Project has been managing Claptrap with his partner in crime Dr Valentines since their first 12" release in 2017 and dropped his first full release, a self titled EP in 2018. Since then he’s been DJing & performing live shows around the UK and has most recently dropped the City Elastic EP on London’s Midnight People.
Big Pharma features four spaced out original house cuts ready for the dance floor. A1, 'Letters and Numbers’ opens the EP with a driving groove, tight drums and rubbery synths. A2 the title track ‘Big Pharma’ brings a hint of acid alongside a deeper thumping house groove. B1 Grow Slow, kicks off the second side with a mellow down tempo sizzler, prime for those outdoor coastal parties. The final track Index brings the EP to a close with swirling euphoric synth lines and a dance floor moving stomp.

>>>>Cryovac Recordings is a loose collective of collaborators bound by a strong personal view of the techno sound. The outfit assembled to create this installment of Cryovac are diverse in approach and unified in spirit. They are the maintainers of their style, and leaders of their movements. Cryovac is based in Detroit and is a platform brought to life by the efforts of a vinyl community of craftsmen and artists. Cryovac endures to shine light on a path less traveled .

>>>> The E.P. starts with Jason Garcia’s “down like”a crispy 4/4 slide back rocker groove intermittently intersected by urgent synth, earsplitting climaxes, and compulsive samples that form rhythm. Body Mechanic follows up with a couple swigs of old school tec- funk surrounded by a dreaming synth lost in the memories of the fat boys. Flip to the backside where Garcia & Kretsch deliver “LA80s” a theme that is story told with dramatic synth, driving kick and bass, and triumphant rises and falls tying and dying together. Isaac Prieto’s “Searching” takes us out with a smooth minimal animal that shifts an easy melody and turns sleekly through a gauntlet of hi-hat , clap, and twisted sharp detunes.

MEET THE CHOIR THAT HOUSE BUILT

The late great Frankie Knuckles once called house music: “church for people that have fallen from grace.” Anyone who has been caught up in the rapture of a true house classic can testify to its power to unify and uplift.

HGC is an electrifying House meets Gospel experience that never fails to get audiences clapping, dancing and singing along. HGC shows bring together a group of outstanding singers, a full house band and DJ, creating an effortless live fusion of the biggest house and gospel tunes that never fail to raise the roof!

House Gospel Choir’s magic is their ear for production, thanks to the songwriters, producers, vocal arrangers and selectors who make up the collective. The choir have been bubbling away in studios across London, working with a roll call of iconic dance music producers, from global house icons Todd Terry, DJ Spen, Grammy Award winner Alex Metric, to Toddla T and UK gospel icon Nicky Brown. Their monthly public Mass Choir open rehearsal, at Rich Mix in East London, has featured guest appearances from house and techno icon The Black Madonna, and electro pop singer Georgia.

The current House Gospel Choir has grown to over 150 members of all religions and backgrounds. They take us to church, literally and metaphorically and remind us, whatever spiritual inclination we may have, of the sonic swells in our ribcage that truly great harmonies can inspire.

We Are One has become the choirs mantra, Founder & Creative Director Natalie Maddix explains “We can’t all speak at the same time and have our voices heard, but we can sing together as one voice and be understood”.

“The choir have a really unique energy. Beyond the uplifting vibes of Gospel Music…they’re like family” Annie Mac

“I’m so crazy about them” – THE BLACK MADONNA

In demand 7 inch sees a limited edition in translucent yellow vinyl.

Regarding the album: "This has not been off the decks since I first got it and have been hammering it to death on the show. One of the ESSENTIAL albums of 2011. Perfect in every sense and totally irresistable" Craig Charles (BBC 6Music) Two cover versions taken from the essential album GITANO REAL. I Believe in Miracles is an overwhelming take on the Jackson Sisters classic in a rumba funk fashion. Party stomper!! And on the other side, a longer trip departing from McFadden and Whitehead's seminal Ain't Non Stoping Us Now and touching the revered latin disco version of Charanga 76, only to end up as a fabulous clap-driven rumba stormer. Two very necessary sun-soaked tunes for any self-respecting dj on neat black vinyl. And yes, it's a limited edition!

Returning home after the acclaimed Holding EP and the highly regarded Clap! Clap! Remix, Lurka continues with his journey into sonic bat country. Partials kicks off with Lurka's typical intrigue, pads swell with distant spectres of percussion build into the most saturated kick of the year slapping you in the face like wet rag, while an architecture of syncopated hats and bit crunching snares lock the angles a shower of haunting bells falls. Dancehall for witching hour. Mach steps in with an equally holo-deck soundscape. Drums swing in awkward alliance with dry wooden blocks and woozy binary language. Both tracks united in their skewed viewpoint and distinctive awkward funk.

Moods & Grooves proudly introduces another new face, this time from the Detroit scene. DJ Eternal Student (aka Marvin Prather) steps up to the plate with his melodic track Hear Me Though and a deep groove entitled Transpose Deep.

Hear Me Though combines a funktastic bass line with some heavy breathing drums, strumming synths, xylophone like keys, and a sexy vox to create a wonderful head bobbing groove all on its own. Hot remixes of Here Me Though come courtesy of Domenique Xander (Berlin) and Deepset. Domenique puts a nice wash over it with panned and echo'd claps, drums, and very dreamy pads to create a stellar remix. Deepset ( a partnership between Brian Neal and Avalon Kalin) provide an up-tempo deep groove with a banging kick and swinging vocal chops to accompany the original vox of the track. A new bass line and funky congas produce a warm and lush version of the original. The synergy these producers had is incredible, all vibing from Marvin’s original version.

Transpose Deep is a climber. It starts off very unassuming with a solid 4 on the floor kick that morphs into solid synthy pads, and a funky bass line before it breaks into a full sprint of these elements, a bass that growls at you, and hats that swing hard.