quête:the high

Billy & The Loins reunite for a tribute 7” to founding Loins member Chris Broderick. Billy recorded the first two Singing Loins LPs with Chris Broderick and Arf' Alan in his bathroom at May Road, Rochester in 1991 and 1993. The lads then decided to record an LP of folk variations of Billy’s own tunes, called At The Bridge. The Singing Loins then went their own way recording many LPs. Fast forward to late 2021 and the singer Chris was diagnosed with blood cancer. Before his passing in January 2022, he let Arf (and later Loin Rob), know that he wished them to carry on the group. That said Billy proposed a memorial 45 (and an LP to follow). The tracks: ‘The Song of the Medway’ is about their hometowns of Rochester, Chatham, Strood and Gillingham, all on the banks of the River Medway. Chatham's ancient Dockyard was where Nelson’s Victory was built. The Broken and the Lost of the Old Long Bar celebrates a drinking hole on Chatham High Street (which once boasted more pubs and brothels in a single mile than anywhere in the world). Especially written by Billy for this return of The Singing Loins, the songs are at once brand new and ancient. TRACKLISTING 1 - Song of The Medway 2 - The Broken and the Lost of the Old Long Bar

Temples is a tempting invitation into another world, full of light and movement. From the second the synth comes in this track has got us deep in its pocket. Shotter manages something that is hard to achieve - he has us floating completely, yet steadily carried by tip-toeing metallic rhythm elements and the relentless swells of bright synths. The game changer in the second half is a new, gritty bass quality, which couldn't roll in any more fiercely. At its fullest the track has us in an uncompromising trance, a relentless movement that we don't ever want to escape from. Breaking back down to pleasantly gentle hi-hat reverb-tails and inducing synth patterns Temples lets us down easy, with the unspoken promise to return.

Ueno claims the room to itself completely and immediately. The rise and fall of melodic synth lines lead us through a labyrinth at first, leaving plenty of space for imagination. Before we notice playful call-and-response rhythms are teasing our ears, until the track surrenders itself to an ever-growing wave of synth patterns and their behind-the-beat-delay. It climaxes into a haunting silence with tenuous high-pitched sounds and a clear outer space feel. Finally, all elements lock into a comforting groove, driving us forward, not too fast, not too slow - exactly right.

The track starts off with a blissfully nostalgic vintage-feel - slightly muffled, like the humbling quality you get from an old Technics playing your favourite LP. But don't be fooled, Cube March is bold. And unexpected. Stomping rhythms take over quickly and full-blown gritty synth-stabs cut the air effortlessly, like blades. An unapologetic and careless pumping bass line makes us want to move with every cell in our body. Shotter demonstrates his fearlessness in experimenting with heavy contrasts and elements from different genres here. A break with tastefully placed repetitive rhythm elements is complemented by the constant ebb and flow of melody lines. Both in volume and presence they fluctuate, one handing over the spotlight to the other seamlessly, keeping us hooked until the very end.

This remix lures you away from reality in a matter of seconds, with Definition's signature heavy hitting bass dominating. He expertly weaves shimmery fills into buoyant synth lines and brings us a skilful mix of dark minimal techno, breaks and infectious monster synth lines. Every so often, he adds a new layer, increasing the depth of the track, before letting it all crumble in a breakdown where time stops and tension grows, as we impatiently await the next rise to carry us away. The lengthy build-ups give this remix the energy to fill any room, easily. It is subtle, yet propulsive, too - a lane that Definition seems to manage regularly.

Popa Chubby stands before a sold-out crowd in Paris at l'Olympia - The
theatre where Hendrix, Miles, The Beatles and so many greatsplayed - He
tells the audience : "Je T'aime Mes Amis" !"I love you my friends" and in
that moment it's like the pandemicnever happened.Popa has not stopped
working
He followed the 2020 release celebrating his 30thanniversary ("It's A Mighty Hard
Road") with an introspective outing reflecting his timeat home : "Tinfoil Hat". The
year that has followed has lead to more upbeat themes andtimes. This is strongly
reflected on his latest recording, "Emotional Gangster", out worldwide on
Dixiefrog records on March 2022.And indeed the emotions run high on this
recording. 11 tracks featuring The Chubbfatha on many instruments and doing all
the mixing and recording duties. "Thisrecord definitely reflects happier times and
good solid dose of classic blues !" Says Popafrom his studio full of guitars in the
Hudson Valley. "I specifically included covered like"Hoochie Coochie Man" and
"Dust My Broom" to show respect for the Fathers. WillieDixon has always been my
idol you know".But the real gems here come in Popa's original compositions.
"Equal Opportunity"is a light-hearted sing along that celebrates the feminine at a
time when it is seriouslyneeded. And songs like "Fly Away" and both French and
English versions of "Why YouWanna Make War?" are big standouts !There is more
than an ample amount of pure guitar bliss on this record and slideguitar on tracks
like "Tonight I'm Gonna Be The Man" add flavor to a savory mix ! For an added
bonus Harmonica Wizard Jason Ricci joins Popa on the Blues Rockanthem "New
Way Of Walking" and the swing shuffle "Best For Last".Popa has been given many
accolades in a 30 years career. He shuns recognitionand has little use for awards
as he says it just gets in the way of the music. This has notstopped his last 3
outings from reaching the Billboard Blues Charts. He has also beengiven the
prestigious Red Rooster Award by Willie Dixon's family and been nominatedfor a
Grammy and a W.C. Handy Award.With "Emotional Gansgster Popa puts his heart
on the line and makes a play tosteal yours !

International Anthem proudly presents Step on Step, a double LP collection of newly unearthed solo home recordings created by enigmatic producer, arranger, and composer Charles Stepney in the basement of his home on the Southside of Chicago during the years before his untimely death in 1976. Stepney’s signature “baroque soul” sound is known to many as it’s heard in his prismatic orchestral arrangements for Rotary Connection, Minnie Riperton, Howlin Wolf, Terry Callier, Earth, Wind & Fire, and many more. His sound has been used by countless samplers in the hip-hop world including Kanye West, The Fugees, and MF Doom. But in comparison to the post-mortem renown of his sound, or the artists he supported while he was alive, Stepney is a greatly underappreciated figure… a genius relegated to the shadows.

Step on Step is Stepney’s eponymous debut album, featuring 23 bare-bones, demo-style home recordings, most of which are Stepney originals that were never again recorded by him or any other artist. Highlights from those original works include “Denim Groove,” which hears Stepney on piano and congas alongside his first instrument (the vibraphone), and “Look B4U Leap,” one of several kinetic lo-fi dance numbers that feature Stepney having fun with an early-gen Moog synthesizer. It also features prototypical, seedling-style demos of Stepney compositions for Earth, Wind & Fire, including “That’s The Way of The World,” “Imagination,” and “On Your Face,” as well as the original version of “Black Gold,” which would eventually be recorded by Rotary Connection (as “I Am The Black Gold of The Sun”).

A collection of home recordings Charles Stepney -- the late composer/producer who worked with Earth Wind & Fire, Deniece Williams, Rotary Connection, Minnie Ripperton, Muddy Waters, Howlin Wolf, Terry Callier, and more, and was sampled by Kanye West, Madlib, MF Doom, A Tribe Called Quest, The Fugees, and more -- called Step On Step is coming out September 9 via International Anthem.

‘Amorpha’, a side-long shower of synthetic bells and bass, as
patterns interlock and repeat and the beat within the bar lines
shifts constantly, forms a new, latest miniature of infinity. You flip
it, and ‘Geomancy’ resets you, starting anew, with heavy drift and
drone leading into a space of shorter broken lines and Middle
Eastern tonalities, that roll back into ether again - new spaces, but
mysteriously consonant with the vibe.
 ‘Bajascillators’ arrives almost five years since their last official fulllength, 2017’s ‘Bajas Fresh’. In the eight years prior to ‘Bajas
Fresh’, Bitchin Bajas issued seven albums, plus cassettes, EPs,
singles… wave after wave of analogue synth tones and zones
extending into a stratospheric arc. Each release its own
headspace, shape and timbre, each one sliding naturally into their
implacable, eternal gene pool.
 Following the flow, always, the Bajas went ever-deeper-and-higher
on these records, whether making soundtracks or collaborating
with Bonnie ‘Prince’ Billy, using only fortune cookie fortunes as a
libretto. Plus engagement, with a steady stream of shows and
tours around the world; live re-airings and expansions of the space
captured in their records as they continued to grow and flow - all
the way through, really, to the present moment.
 Plus, there have been releases since 2017 - a split 12”, a 7”
single, digital track release and two ‘Cuts’ cassettes, plus the allcovers cassette release ‘Switched On Ra’. But the overall number
of releases, plus the five years between long players, implies a
potential distance between phases, a new line in the sand. The
sound of Bajascillators bear this out. How couldn’t it? Compared to
2017, this is a different world.
 Mastered directly from half-inch analogue tape, ‘Bajascillators’
floats transparently from the speakers, its expansive grooves
gathering resonance and building momentum over the four sides,
from genesis to re-conclusion, cascading ecstatically. The elastic
magic of time at its brightest. As the world keeps turning, so too do
Bitchin Bajas, in the same unknowable way. You can’t explain it -
just keep turning.

From the first bass note within the driving drum beat you can tell
something is different about the new record from Nikki Lane - Produced
by Joshua Homme (Queens of the Stone Age), Denim & Diamonds has
the Highway Queen embracing a more rock-oriented sound while still
maintaining the heartfelt outlaw country sound she has developed across
her previous three releases
Denim & Diamonds still has the flare of which Nikki has come to be known. Her
stylized, story-telling lyrics are all there as well as her catchy country hooks. The
backbeat feels like a gutsy strut while the lead guitar feels like a revved up engine
shifting gears. Denim & Diamonds comes out firing, spit shining the cowboy
boots and tossing on a jean jacket.Denim & Diamonds still has the fuck-off flare
of which Nikki has come to be known. Her stylized, story-telling lyrics are all there
as well as her catchy country hooks. The outlaw country sound is now balanced
out with a gritty guitar and a machine gun snare that echoes the sound of 70's
rock. Nikki Lane has made a record that sounds new and old. Familiar and
surprising. She embraces where she has come from, ("First High", "Born Tough")
the lessons learned along the way, ("Good Enough", "Try Harder") all while doing
things her way, ("Denim & Diamonds", "Black Widow").
CONFIRMED. The Independent - interview / CelebMix - interview / The Line of
Best Fit - 9 songs feature / The Line of Best Fit - album review / MOJO - album
review / Classic Rock - album review / Off The Beat and Track - Podcast
interview / Maximum Volume Music - news story / The New Cue -
'Recommender' / NME - news story

THE MARCH VIOLETS came out of Leeds in the early 80"s, label-mates of Sisters of Mercy. Releasing six singles, they were a constant presence in the UK indie charts, hitting the top two spots with Snakedance, Deep and Walk Into The Sun. They never got around to recording an album - their only "80"s long-players, Natural History in the UK and Electric Shades in the USA, were compilations. Eventually they signed to a major label and were groomed for a USA breakthrough, performing in the 1987 Some Kind of Wonderful movie. However they were asked to make too many compromises and split up. Their early eighties career was thankfully well-documented by the BBC, who broadcast six sessions between 1982-86 - three for John Peel, and one each with Kid Jensen, Janice Long and Richard Skinner. Chronicling their development with lead singers Simon Denbigh, Rosie Garland and Cleo Murray and backed by bassist Lawrence Elliot and guitarist Tom Ashton, these sessions include nine unreleased songs and alternative versions of their indie hits. Here is the unheard history of The March Violets.

This is a limited edition pressing of 500, 140-gram, black vinyl records in deluxe tip-on “old style” jackets. Exquisitely printed on textured, water color paper. Digital download included. Be Earth Now comprises forty minutes of potent poetic recitation by Joanna Macy and Anita Barrows from their seminal translation of Rainer Maria Rilke’s The Book of Hours. Channeled in a spiritual fervor in 1899, The Books of Hours remains a profound and highly prescient body of work. Rilke’s poems illuminate paths of embodied mysticism, passionately express ecological grief, and reveal the exquisite expanses of the human heart. The Book of Hours, and now Be Earth Now, offer a poetic map for navigating the heartbreak, rage, and soaring love that so many of us feel in these ecologically urgent and socially emergent times. Rilke’s poems surge with passion and pain for a world that was already teetering toward peril at the turn of the last century, due to the rapid industrialization of Europe, and humankind’s increasing alienation from nature. This work flowed through Rilke in a torrent with sometimes as many as five or six poems arriving in a single day, each self-complete and with no need for later revision. While truly mystical poetry, Rilke’s musings on spirituality overtly critique fundamentalism and organized religion. Instead, Rilke extolls what he finds sacred in the mundane and conjures a sense of wonder for both the more-than-human-world and simply for existence itself. So, who better to give voice to these mystic treasures than Joanna Macy and Anita Barrows? Not only because of their enchanted translations, but also because these women are unquestionably two of our righteous elders. Macy and Barrows have worked diligently for many decades, through art, activism, education, psychology, and spiritual practice, to bring some balance back to this world. The same world that Rilke pleaded with his God to sustain for “just a few more hours,” so that we might have time to mend our relationship with the natural world, to cherish and connect with what is good and real, and to possibly even learn to “be earth now.” A1 Anita Barrows Recites Selections from Rainer Maria Rilke's 'The Book of Hours' B1 Joanna Macy Recites Selections from Rainer Maria Rilke's 'The Book of Hours'

Three years after Reno Wurzbacher’s entry into the series, Cook Strummer now offers up his own Berlin Gets Physical, a collection of all-new and exclusive tracks.

Berlin-based, Belgium-born Strummer has been a Get Physical associate for several years. He has dropped various singles including the standout 'Rising' which also featured on the Words Don't Come Easy series, and always crafts the perfect mix of rhythm and melody with plenty of hints of his homeland's famous cold wave sound. He often uses his own voice, drum machines, synths and guitars in his music, and since his debut album in 2018 on LOK Recordings, he has had high profile support from the likes of Laurent Garnier, Adam Port and Ame. This summer, he dropped 'Atmosphere' on Obsolet Records which proved another successful outing and now Berlin Gets Physical finds him digging deep into the famous city's freshest and most essential house sounds across 15 well-sequenced tracks.

His own new offering 'For Berlin' kicks off with a dark and edgy vibe, gothic vocals and tense drums. Glitchy hits and blurting synths add to the prickly atmosphere and immediately lock you in while Los Cabra & Manuel Sahagun's 'Italian Groove' then takes off on waves of serrated dark disco synths and Freudenthal feat. Nowhere People continue that macho disco vibe with the rugged chug and cosmic rays of 'Cipher.'

The twinkling 'Bad Karma' by Marvin Jam & Le Mythe then allows you to catch your breath with a slower, more spacious dub disco sound and the twanging bass riffs and exotic effects of Daniel Jaeger & Valenti's 'Quarantine Cowboys' rebuilds the atmosphere with some innovative house blues. The mid-section brings brain-frying synth work on 'Out Of The Blue', bubbling dub house and disco courtesy of dramasquad's sprawling 'ziggy' and percussive deep house looseness from 'Abayomi.'

After KEENE's rubbery and rolling Afro sounds comes more cosmic house richness from Dan Buri and Max Joni & MUKKIMIAU, the driving tech of Red Pig Flower & Lulla and heady sounds of Mike Book. There is a raw house heaviness to FreedomB's 'State of Shock' and things shut down with Electronic Elephant's tightly coiled minimal drum funk on 'Ask Yourself'.

This on point collection is an authentic snapshot of the contemporary underground sound of the Berlin.

Following up on the Rock Sound and Kerrang! Radio supported album
'Amorphous', Icon For Hire introduced 'The Reckoning', with the bruising
single 'Ready For Combat'
Described by Rock Sound as "a bold and belligerent piece of hard rock chaos", the
track, alongside its high-powered music video, perfectly depict the harder-edged
sound and aesthetic of the upcoming album, in the band's own words; "grittier,
louder, larger". Talking about the album Icon For Hire say; "'The Reckoning' isn't
just about exploring all the dark and heavy pieces of ourselves, it's about
embracing and accepting those pieces, and using them as weapons against the
gatekeepers that hold us back, even when those gatekeepers are our own selfimposed limitations." Featuring collaborations with Keith Wallen of Breaking
Benjamin and mixing by Joe Rickard of In Flames and Red, the album boasts
Ariel's fiercest vocals to date, and Shawn's signature in-your-face guitar style.
Since forming in 2007, Icon For Hire - composed of singer Ariel Bloomer and
guitarist Shawn Jump - have quietly amassed a legion of fans. With 250 millions
global streams to date and nearly 1 million followers across social platforms,
Icon For Hire are no longer the sleeping giants of the modern rock scene. Having
sold over 120,000 albums to date through their completely independent set up,
they are one of the most successful direct to fans stories. Continuing to build
their legacy on their own terms, unapologetically forcing all to take note that they
aren't going anywhere any time soon, with 'The Reckoning' Icon For Hire are
embracing their self funded freedom.
Featuring collaborations with Keith Wallen (Breaking Benjamin) & mixed by Joe
Rickard (previously of In Flames & Red).
144M YouTube streams / 410K subscribers.
725K+ followers across social channels.

Uruguayan music that sheds light on a new path, guarded by candombe & hip hop. An hypnotic, contemporary and ancestral record. To listen from beggining to end, in a trance. Include contributions of Hugo Fattoruso y Ruben Rada. Txt: Martín Buscaglia . DESCRIPTION Sankofa is the debut album by Avr (Alvaro Silva), a work that takes form through the research and fusion of Candombe and other Afro rhythms from Río de la Plata region with Hip Hop and Black American Music. Avr, the great-grandson of Juan Julio Arrascaeta (one of the first afrodescendant poets to be published in Latin America) writes throughout the album, using several "africanisms" and lost words that date back from colonial and slavery times, giving the lyrics a connection with his great-grandfather's work, introducing himself as a skilfull MC who travels through past, present and future while using several Candombe rhythms in his flow. Highlighting several personalities from the Afrouruguayan culture and from across the American continent, it also presents itself as a valuable work for those interested in researching cultural figures of Black America, especially, Uruguayan. Under the production of Felipe Fuentes, an album knitted with tons of messages, some direct, some to be discovered, came to life. Sankofa means "to look back, to go forward" which is exactly from the beggining what this musical journey is, from a very heavy and dense, ancestral, drum presence, to complex harmonic compositions and arrangments, a work that counts with important contributions of some of the main afrouruguayan artists. A musical "Guiso" (South American stew) Sankofa is the vision of the world of a young black male, his way of feeling and interpreting the past, present and future; and how to transform it in order to generate something new.

Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
After leaving Fairport Convention in late 1969, Sandy Denny formed Fotheringay
with husband Trevor Lucas. After one UK Top 20 LP in summer 1970, the band
split while recording a follow up, leaving Denny free to make her first solo album.
A beguiling mixture of covers and originals, The North Star Grass Man And The
Ravens is one of THE essential British folk-rock albums. From the dreamlike Late
November to the plaintive Next Time Around to her reading of the traditional
standard Blackwaterside, the album is a near perfect capture of the talent on the
scene at that juncture: including Richard Thompson's unmistakable guitar playing,
John Wood's production and Harry Robinson's string arrangements. Released in
September 1971, its reputation has understandably grown exponentially over the
years. Out of print on LP for a number of years, this re-issue faithfully replicates
the original 1971 Island Records UK release with gatefold sleeve and is pressed
onto high quality 180g vinyl

Garden Gaia is a part of Pantha du Prince’s ongoing exploration into the theme of ‘humans as nature’, a theme previously explored on his records Elements of Light (recorded with The Bell Laboratory) and 2020’s Conference of Trees.

Pantha du Prince on Garden Gaia: “There are scientists who say that we humans are ocean that’s been folded together. My music is about raising consciousness, about describing the reality of life and the lost paradise through the means of music. It’s about entering a free space and developing a maximum degree of openness and sensitivity to our bodies – to our mental states and the atmosphere that surrounds us. It’s about mindfulness and a high level of awareness towards what’s happening around and within us. I’ve poured all of these experiences into Garden Gaia as music. And that’s to be taken in the literal sense of ‘pouring,’ since we belong to a flowing process on this planet. A tree also flows into the air, just as it’s connected to other trees beneath the ground through currents of communication. Our lungs flow into our bodies. And as embryos, we were flowing beings. The question is: to what extent can we adult humans continue to flow?”

3xLP + 7" SINGLE, DOWNLOADCODE, ART PRINT, MAG/ZINE Like Sun Ra's Arkestra and John Coltrane are to jazz, the Mystic Revelation of Rastafari are to reggae - the ultimate expression of roots music and Rastafarian ideology in reggae music, music functioning at a high level of spiritual consciousness combined with an equally avant-garde and forward-looking approach to sound. The group's stunning, unique and groundbreaking 1973 album 'Grounation', a mighty conceptual triplealbum (the first ever reggae triple!) is, similar to Marvin Gaye's 'What's Goin' On', a definitive allencompassing cultural statement of its time and place. A sprawling album of raw and unique cultural expression that combined Rastafari consciousness with deep spiritual jazz music - an absolute and essential classic of Reggae music. The Mystic Revelation of Rastafari group came into existence at the start of 1970s, the union of two artists (and groups) of equal repute - Count Ossie and his African Drums and saxophonist Cedric 'Im' Brooks' and his group, The Mystics. Both Ossie and Brooks were alumni from the great Studio One Records.

Their third studio album Driver (CD is Available from Epitaph). Lead track “Sober” examines how people’s perception of each other change and deteriorate over time, especially in the wake of a relationship gone sour. On Driver, co-produced by Stevie Knipe and Kyle Pulley (Shamir, Diet Cig, Kississippi), Knipe delves into the emotional space just beyond a coming-of-age, where the bills start to pile up and memories of college dorms are closer than those of high school parking lots. Ultimately seeking the answer to the age-old question posed by every twenty-something; what now? Over the course of 10 tracks, Knipe sets out to soundtrack the queer rom-com they’ve been dreaming of since 2015. Driver incorporates an expert weaving of sonic textures ranging from synths and shakers to ‘00s-inspired guitar tones which convey a loving attention to detail. Lyrically, Knipe radiates an unmistakable honesty mixed with a level of wit and a sense of humor producing intimate yet relatable indie pop songs. Adult Mom began as the solo project of Stevie Knipe at Purchase College. Adult Mom now falls between the playful spectrum of solo project and collaborative band with beloved friends and musicians Olivia Battell and Allegra Eidinger. Since forming in 2012, Adult Mom has released ­ve EPs and two full-length albums; Momentary Lapse of Happily (2015), and Soft Spots (2017). Knipe writes clever and intimate indie pop songs that o‑er a glimpse into the journey of a gender-weird queer navigating through heartache, trauma and subsequent growth.

Tracklist: 1. Passenger 2. Wisconsin 3. Breathing 4. Berlin 5. Sober 6. Dancing 7. Adam 8. Regret It 9. Checking Up 10. Frost

Blue Vinyl
If emptiness is heaviness is Godliness, Birds of Prey’s third full-length LP is an immaculate conception from on high. The record luxuriates in the spaces between. What’s left out says as much as what made it in. Deep, droning, and dub wise, “Vanishing Point” cascades in elegance. Its reference points call towards the sample manipulation of American tape music and the downward gaze of amniotic British bass music. It charts its own path nonetheless, building its own space for drifting off to. Unlike many peers operating in similar realms, Birds of Prey are a proper band, a foursome: Grant Aaron, Clay Wilson, Eric Holmes, and Camille Altay. Each are artists in their own right with a distinct practice. In Birds of Prey, their collaborations in studio take on a greater shape, whittled and edited into cosmic formlessness. Although borne of improvisation, you may never know that in the listening. “Vanishing Point” is a tight, coherent work, the sound of a cadre of talented musicians locked in flow. Rippling tones become glacial melodies. Cavernous drums emerge barely from the ether. Rhythms interlock, interpolate. Patterns repeat and dissolve whence they came. There is untold potency in simplicity, and Birds of Prey make it known.

Sorcha Richardson's debut album 'First Prize Bravery' was the
culmination of her experiences throughout young adulthood, a time
during which she ventured from home in Dublin to New York, Los Angeles
and then back again
After spending time alone over the last two years to focus on creating a body of
work. The result is her second album, 'Smiling Like An Idiot', which she says,
focuses on what her life looked like over the course of those eighteen months."It
mostly tracks one specific relationship," she says. "It's about falling in love with a
person and a place, which in this case is Dublin, and how those two are
interlinked." Thematically it highlights a pursuit of happiness and the full- blown
intensity of new love, but gaining something so life-affirming comes with the fear
that it could just as easily be swept away. 'Smiling Like An Idiot artfully articulates
those moments in life that you don't want to have to go through, but it emerges
with the optimism that - somehow - things will work out for the best in time.
LP Tracks: Archie / Shark Eyes / Spotlight Television / Stalemate / Purgatory /
525 / Good Intentions / Hard to Fake It / Holiday / Jackpot / Smiling Like An Idiot

TV Blonde is a veritable triple threat—singer, songwriter, producer. Bear witness to the LA native's infectious bedroom soul masterpiece entitled Ghost In My Mirror. Whether your tastes call for harmonics, punchy rhythms, or both - best believe this LP has them in spades. Smoky vocals deliver deep vulnerable expressions, while rolling dreamscapes stain these fluttering reverb laden tracks. The LA native transfixes us with infectious groove after infectious groove. The icy heat of Fuck It Up’s plucked harmonics bleed into warm synth lines with biting vocals. With snares shuffling seismically atop a pastiche funk ground, Fool’s driving percussion pulsates towards a breakdown that emanates a quiet, slick cool. Idyllic soundscapes are in no short supply either and are tenderly crafted; A pillowy bassline sitting beneath crisp high-mids on Where is My Baby adds depth, with liquid synthwork drizzled atop the break. Plucked strings slide underneath grounded musings on Come Back Again, slowly taking the album’s built-up energy and distilling it into slowed down concentrate. While maintaining an aged realism, TV Blonde weaves dreamlike aural tools into inviting and entrancing cuts on Ghost In My Mirror. Soulful and beat-driven tunes lie ahead on this 11-track scape - savor the journey.

TRACKLIST: 1. Ghost 2. Fuck It Up (featuring Palmer Eldritch) 3. Pick Up Your Phone 4. Fool 5. Where Is My Baby 6. My Love Is The End 7. Before The Lie (Prelude) 8. Why Do I Lie 9. Searching For 10. I Feel Ugly Today 11. A Song For My Little Woeful Sinner 12. Don't Break My Chest

“Electrified by a diet of James Brown, the Stones and Deep Purple, WITCH were the stadium-filling kings of 70' Zamrock." ****MOJO. Archival reissue of the private-press, first issue of the album that launched Zamrock movement in 1972. Completely different recordings of the songs from the better-known Zambia Music Parlour album. Originally pressed in a run of just a few hundred copies and sold by the band at their live shows, this is the first ever reissue of this garage-rock masterpiece.

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

‘Land of Dreams’, Mark Owen’s first solo record in over nine years.

Mark Owen is one of Britain's most celebrated music stars. As part of pop group Take That, he has won eight BRIT Awards, scored 12 UK No.1 singles, eight UK No.1 albums, sold over 45 million records and played live to millions of fans around the world. He released his first solo album, Green Man, after Take That first split in 1996 and, since then, he has released a further four solo albums. His last, 2013’s The Art Of Doing Nothing, was his highest charting album to date.

Mark’s distinctive vocals drive the first single, You Only Want Me, layered over upbeat instrumentation and a rousing chorus with the end result a punchy, singalong pop track. The track was written by Mark and Will Bloomfield (The Vaccines, Freya Ridings, Tom Grennan, Holly Humberstone) and was produced by Jennifer Decilveo (Miley Cyrus, Marina, Anne-Marie, Demi Lovato).

Whether original or discovered, songs have always come into my life out
of need - I think every song in this record is about a beginning hidden in
an ending, hidden reclamations of ways I've disappointed myself
The record opens with Backup Plan… because I think being absolutely and freely
myself was always stupidly my back up plan. If I couldn't succeed at being the
person I was pretending to be, if I couldn't want the things I'd been pretending to
want, only then would I give myself permission to just be me. Then came Thérèse
and Mermaid Bar - Thérèse is about a misunderstood girl trapped in a painting
and Mermaid Bar is about a girl who tries to end her life by jumping into the
Hudson River and instead becomes a mermaid. Bloomed Into Blue was originally
a poem I had written with a friend in high school called the B-Word Muse. It was a
tribute to Ariel, to Eddie Sedgwick, Marie Thérèse, and so many more… Women
who were always the subject of art and not the creator. Worthy of being spoken
about but not worthy of being listened to. This record reckons with childhood in
Sweet Tooth and Driver, with regret in Luna Moth, Crazy Kid and Sticky Little
Words, with anger in South Elroy, Restless Moon and Over.Above all this record
wants to be about rebirth and acceptance.I'm crawling back to myself. Thank you
for watching- Maya Hawke
LP Translucent Orange Vinyl Tracks: Backup Plan / Bloomed Into Blue / Hiatus /
Sweet Tooth / Crazy Kid (featuring Will Graefe) / Luna Moth / South Elroy /
Thérèse / Sticky Little Words / Over / Restless Moon / Driver / Mermaid Bar

For the first time, super drummer Steve Gadd reunites with his friends
from the "Gadd Gang" days, Eddie Gomez and Ronnie Cuber for a
production with the multiple Grammy Award-winning WDR Big Band
Under the direction of Michael Abene, a deeply grooving album was created,
centered around Steve Gadd and his friends. They are joined by Bobby Sparks II
and Simon Oslender as special guest musicians. The recordings took place in
Studio 4 of the WDR in January and February 2022. Classics from the Gadd Gang
repertoire can be found on Center Stage: "I Can't Turn You Loose," "Che Ore So',"
"Them Changes," "Way Back Home," "Lucky 13," "Honky Tonk/I Can't Stop Loving
You" and "My Little Brother."
A perfect mixture of groovy songs and an excellent ensemble around Steve Gadd
guarantee highest entertainment value.

Diplo (Life And Death Remixes)' EP sees DJ Tennis tap an all-star lineup of artists from his Life And Death label roster to remix tracks from Diplo's acclaimed new self-titled album showcasing the synergy and close relationship of Diplo and DJ Tennis and their respective imprints Higher Ground and Life And Death. From the suave and expansive sounds of DJ Tennis and Carlita's remix of 'Don't Be Afraid' the mesmerizing and complex drum patterns of Red Axes' rendition of 'Right 2 Left' to the complete reimagination of BEÃTFÓØT & Ashee's 'Forget About Me (Nite Version)' as well as remixes from Danny Daze and Sebra Cruz. DJ Tennis has curated an impressive collection of remixes from Life And Death artists bringing the energy from all directions.

A retrospective double LP compilation of the work of dutch producer Aad De Mooy. Specifically focusing on the first half of the 90's with his aliases as Interface, Time Warp and Paradise 3001 on ESP Records. This compilation attempts to encapsulate and expose the masterful prowess of Aad's work as a producer with a focus on maximum dancefloor efficiency. This double LP consists of 10 tracks ranging from downtempo acidic breaky chuggers to full on floor activators channeling tribal and early progressive trance inducing elements perfectly arranged in highly effective compositions. Can't go wrong – all killer no filler is all one can say about Aad's meticulous productions. Compiled by Castro & Nemo and re-mastered for vinyl at manmade mastering.

Known for her time as vocalist in Fairport Convention and respected
globally , Sandy Denny left a beguiling, ever-evolving body of work - Kate
Bush was to namecheck her in song, and Denny's influence can be heard
in generations of singer-songwriters
From its David Bailey cover photo inwards, 1972's Sandy is arguably the definitive
Sandy Denny album. Recorded at John Wood's Sound Techniques studio, and
produced by Trevor Lucas, it adds some special guests into its mix – 'Sneaky'
Pete Kleinow from The Flying Burrito Brothers enhances It'll Take A Long Time
with his unmistakable pedal steel playing, and New Orleans legend Allan
Toussaint adds a brass arrangement to For Nobody To Hear. But it is Denny's
album. Often, it is impossible not be stopped in your tracks by that beautiful, long
gone yet so-full-of-life voice, especially on two of her career-bests – The Lady and
Listen, Listen. Out of print on LP for a number of years, this re- issue faithfully
replicates the original 1972 Island Records UK release with gatefold sleeve and is
pressed onto high quality 180g vinyl.

Lungfish's third full-length LP, released in 1994. Produced by Ian MacKaye.

This album was remastered and reissued both 12" LP and CD in September 2010.

This LP pressing is on Green Vinyl.

Erstmals im September 1996 veröffentlicht, erreichte das Debütalbum der Liverpooler Alternative Rockband Space Platz 5 in den britischen Albumcharts, und erhielt Kritikerlob für seinen einzigartigen Sound, humorvolle Texte und die Einbeziehung von unterschiedliche Musikstilen, zu denen natürlich auch eine Prise Brit Pop gehörte. Zu den Highlights zählten die Hitsingles 'Female Of The Species', 'Neighbourhood', 'Me and You' Versus The World" und 'Dark Clouds' Demon Records bringt nun eine Neuauflage des Albums gepresst auf Purple Vinyl. Die bedruckten Inner Sleeves halten die Songtexte bereit.

Tom Galley begann das Projekt Phenomena in den 80er Jahren und auf den ersten 3 Ausgaben gab es große Namen der Hardrock Szene (unter anderem Glenn Hughes, Cozy Powell, Don Airey, Neil Murray, Brian May, Mel Galley, John Wetton) zu bestaunen.

Auch bei dem vierten Phenomena Album (welches im Jahre 2006 erschien) hatte Galley wieder illustre Namen wie Tony Martin (u. a. BLACK SABBATH), Keith Murrell (MAMA´S BOYS) und Glenn Hughes (u. a. DEEP PURPLE), die AOR der besten Klasse abliefern!

Today Chicago-based percussionist, composer and producer Makaya McCraven announces the details of his new album In These Times, which is set for release on September 23rd via International Anthem / Nonesuch / XL Recordings. The first offering from the new album is a song tiled "Seventh String," which encapsulates the various musical dimensions present on McCraven's new album, a career-defining body of work that is a remarkable new peak for the already-soaring McCraven. In These Times is a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven's personal experience as a product of a multinational, working class musician community. It's the recording that he's been trying to create for 7+ years, as it's been consistently in process in the background while he's put forth a prolific run of releases including: In The Moment (2015), Highly Rare (2017), Where We Come From (2018), Universal Beings (2018), We're New Again (2020), Universal Beings E&F Sides (2020), and Deciphering the Message (2021). With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators - including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill - the music was recorded in five different studios and four live performance spaces while McCraven engaged in extensive post-production work at home. Featuring orchestral, large ensemble arrangements interwoven with the signature "organic beat music" sound that's become his signature, the album is an evolution and a milestone for McCraven, the producer. But moreover, it's the strongest and clearest statement we've yet to hear from McCraven, the composer. Profiled in the New York Times, Vice, Pitchfork, Rolling Stone, the Guardian, and NPR, among other publications, Makaya and the music he makes today is what Passion of Weiss explains, "is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as 'jazz.' He's found the threads connecting the past with the present, and is either wrapping them with new colors and textures, or he's plucking them gleefully like the strings of a grand instrument." McCraven, who has been aptly called a "cultural synthesizer" and "beat scientist," has a unique gift for collapsing space, destroying borders and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st century folk music. In These Times encompasses his artistic ethos, his experiences, identity and lineage, while pushing his music to new heights.

Ghent based psych jazz collective Compro Oro, are set to release new album 'Buy The Dip' on the 2nd September via the groove-obsessed Sdban Ultra label. Having received critical acclaim for their 2020 album 'Simurg' - a collaboration with Murat Ertel, co-founder and frontman of Istanbul's cult psychedelic folk band BaBa ZuLa and his singer partner Esma Ertel - the band's fifth album is less ethno- and more techno-logy, both on a musical and conceptual level.

With tastemaker fans including BBC 6 Music's Gilles Peterson and Stuart Maconie alongside Jazz FM's Jez Nelson, the band's spontaneous quest for psychedelic sounds and jazz grooves has not stopped expanding since their formation in 2014.

After imaginative musical trips to Havana, Mogadishu and Istanbul for previous releases, Compro Oro went looking for sounds and inspirations from other corners of the globe for 'Buy The Dip'. Synthesizers and electronic effects spice up Compro Oro's distinctive musical marriage of vibraphones, electric guitars, jazzfunk rhythms, exotic percussions and dubby bass patterns. Band leader and composer Wim Segers created these new compositions often on piano or vibes in a more analogue way, leaving enough room for his band mates to colour each track when fine tuning the song.

Segers was inspired by the world of crypto markets and the specific concept of 'buying the dip': bitcoin diggers who play the markets at specific 'low' moments to gain higher profits when prices go up again. Are we all reduced to consuming creatures, seeking for nothing more than the thrill of pointless spending and endless profits? It's a fairly philosophical question - especially for an instrumental album - but it's key for the punchy and eclectic sounds on 'Ben Hur' and 'Bitcoins'.

Apart from those synths and fx, a fair bunch of neo-noir western vibes sprout up on this album as well - think detuned piano's, flamenco-like guitars, rattling snare drums, and imminent whistles. Add to that some laid back sunny pop sounds ('Kayak'), off-hook and swaying Turkish psychedelica ('Karsilama') and even some haunted, kraut-ish vocal parts ('Dungeon'), it's evident Compro Oro has a musical voice without any equal in Belgium and beyond.

Compro Oro released their first album 'Transatlantic' in 2015, an ode to jazz vibraphonist Cal Tjader, an icon of the 1950's Latin jazz movement. The release received critical acclaim back home, lauded in the press as a drunken mix of Buena Vista Social Club and guitarist Marc Ribot's, Cubanos Postizos. Subsequent live shows have been called a celebration for the hips, the ear and the soul.

2017 saw the release of 'Bombarda', a bold EP that sailed South and East of Cuba, incorporating different ethnic rhythms and melodies in elaborate jams. No palm trees and cocktails in Havana this time, but instead dingy basements and LSD in West African cities. The critically acclaimed 'Suburban Exotica' followed in 2019 with 'Simurg', released in 2020, earning the band global success.

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all."

Ali Farka Touré trekked the world, bringing his beloved Malian music to the masses. Dubbed "the African John Lee Hooker," one could hear strong connections between the two; both employed a bluesy style of play with gritty textures that elicit calm and fury in equal measure. While the influence of Black blues music prevailed, Touré created a West African blend of 'desert blues' that garnered Grammy awards and widespread reverence. Though he transcended in 2006, Ali's musical legacy lives on through his son, Vieux aka "the Hendrix of the Sahara," an accomplished guitarist and champion of Malian music in his own right. On Ali, his collaborative album with Khruangbin, Vieux pays homage to his father by recreating some of his most resonant work, putting new twists on it while maintaining the original's integrity. The result is a rightful ode to a legend. Ali isn't just a greatest hits compilation. It's a lullaby, a remembrance of Ali's life through known highlights and B-sides from his catalog. It is a testament to what happens when creativity is approached through open arms and open hearts. "To me, music is magic, it is spontaneous, it is the energy between people," Vieux says. "I think Khruangbin understands this very well." The genesis of the album dates back to 2019, when Khruangbin, coming off their breakthrough album Con Todo el Mundo, was beginning to playto bigger crowds. The record was finished in 2021, as a global pandemic shuttered businesses and forced us to take stock of what Earth was becoming. Indirectly, Ali captures this as a moment of peace within a raging storm, a conversation between past and present without allegiance to suffering. Now, given Khruangbin's reach as a unit with legions of fans (including the likes of Jay-Z and Paul McCartney), they're poised to bring Malian music to broader groups of listeners. Ali is a masterful work in which the love surrounding it is just as vital as the music itself, driving it to unforeseen places; Vieux and Khruangbin are spreading the good word to a completely new generation. "I hope it takes them somewhere new, or puts them in a place they haven't felt or heard," Lee says. "It is about the love of new friendship and making something beautiful together," Vieux continues. "It is about pouring your love into something old to make it new again. In the end and in a word it is love, that's all."

M-High makes his LOCUS debut with his four-track EP, ‘Enchant Me’.

With Amsterdam’s house scene continuing to flourish, M-High has seen his stock surge in recent months. Still young in the game, his releases and remixes via labels such as META, Moxy Muzik and Politics Of Dancing have seen him flying high alongside his fellow compatriots while also evolving from a label regular to A&R duties at PIV alongside founder Prunk. Having featured for the label’s New Year’s Day party in London, the Dutchman touches down on LOCUS for the first time with four fresh productions via his ‘Enchant Me’ EP.

Title cut ‘Enchant Me’ is a slick and classy effort fusing rich chords and skipping drums with zipping acid lines, while ‘Do You Even Groove’ pairs things back as rolling drums and sweeping electronics zig-zag through sparse textures. Next, ‘Endless Whispers’ combines sharp organ stabs with breezy pads and warm basslines, with the low-end heavy ‘Faded Senses’ closing the show and offering up yet more late-night dancefloor grooves.

Black vinyl LP with DL.

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…especially to listeners who know the band only from their better-known major label recordings of the 1990s. The roots of Hate Your Friends begin with the genesis of the band itself: when high school friends Ben Deily and Evan Dando—inspired by a shared love of the 70’s absurdist comedy troupe the Firesign Theatre, literature, and punk rock—began playing their own songs together in 1985. Dando and Deily first started out as a two-piece ensemble: swapping back and forth between a shared Guild guitar (and a crappy amp) and vocal mic, and pounding a drum kit “borrowed” from the high school jazz band. With the addition of classmate and friend Jesse Peretz on bass, the two-man outfit quickly became a power trio. With a handful of original songs, a passionate love for their favourite bands—from Husker-Du, the Replacements, Black Flag and the Germs, to the Saints, Wire and ‘77 UK punk—and a tiny recording budget, the Lemonheads set about their first studio session within days of their high school graduation in June of 1986. During that summer, a significant amount of what would become the band’s debut album was recorded in Brookline, Massachusetts, with Deily and Dando sharing vocal, guitar and drumming duties. Above and beyond bass, Jesse proved pivotal as the band’s manager, booker and tireless promoter—helping arrange for the Lemonheads self-released debut EP, Laughing all the way to the cleaners, later that summer, and shortly thereafter helping establish the relationship with Curtis Casella of TAANG! records that paved the way to full-length LP Hate Your Friends. Finally, with the addition of full-time (and fairly short-lived) drummer Doug Trachten, the last songs of Hate Your Friends were recorded in the winter of 1986-7. BONUS TRACKS: This Fire Records re-issue features bonus tracks including 12 never-before-released live tracks from a 1987 radio session, rare tracks from the early compilation Crawling From Within, and additional tracks not included on the original release of Hate Your Friends (“Buried Alive” and “Gotta Stop”).

Sa Pa's 3rd ep following releases on Marcel Dettman's MDR and last year's release on Australian label, Rosa.

This builds on highly acclaimed album releases for the likes of Mana and Forum as well as a collaborative piece with Felix K, Marcell Dettman and Simon Hoffman for A-Ton under the moniker Rauch.

This record builds on Sa Pa's reputation for lush dub techno soundscapes and can be played either as a whole as one complete piece or broken down into it's constituent parts. It also includes a locked groove edit created with Scott Monteith (Deadbeat) who also helped with post-production.

The record was cut and mastered at Dubplate & Mastering by Helmut Erler.

Part profits from the record will go to homeless charity Caring in Bristol.

** FANTASTIC VOCAL JAZZ 2-SIDER - ONE OF THE FINEST OUT THERE **

It was high time for a re-release of Dianne Elliott's monstrous double-sider. We here at TRAMP are very proud to be responsible for this re-issue and we hope that everybody who learns about it is as pleased as we are. For those who are interested in learning more about this incredible 45rpm single we strongly recommend to check out MOVEMENTS Vol.11.

It’s common knowledge that KOMPAKT’s TOTAL series serves as our yearbook, a musical wrap up of the past 12 months. Therefore it doesn’t come as a surprise that this year’s edition is informed by another pandemic year, where dancefloors were still mostly deserted and the devastating developments in Eastern Europe. Kompakt’s A&R team still kept on foot on the imaginary dancefloor, while scouting different realms apart from the big room euphoria. Anyway, brain dance has always been a key ingredient to our catalogue.

The Voigt brothers are opening this years vinyl edition in an unusually romantic fashion. ‘Why’ combines a bubbly FM bassline with lush washes of looped guitars. High off the (presumably high) heels of her recent album ‘Jesus Was An Alien’ she delivers a spanking new excursion into her sonic world, ‘The Hill’. Our Mexican friend Rebolledo makes his first ever solo appearance on TOTAL with his trademark hypnotic desert sound. Jürgen Paape is calling a spade a spade with ‘Le Monde À Changé’ – The world has changed indeed. Our prodigal son, Matias Aguayo, returns to the mothership with ‘Cinco Y Rojo’. An exercise in Chicago-esque groove theory paired with a cheeky visitor from Denmark. Spot the reference and win a pair of hooves. It’s hard to find a quality party around Cologne without Jonathan Kaspar on its bill. Rightly so, as he continues to hone his craft as an impeccable DJ and producer. Michael gives the tremendously talented Danish singer songwriter eee gee a proper Mayer treatment and Kompakt founding member Jörg Burger closes off the festivities with a groovy midtempo chugger that reminisces ‘Blue Lines’ era Massive Attack as much as the late Andy Weatheralls low slung psychedelia.

Es ist allgemein bekannt, dass die TOTAL Reihe eine jährliche Positionsbestimmung des Kölner Labels KOMPAKT darstellt und der Jahrbuch-hafte Charakter war ja auch immer beabsichtigt. So wundert es wenig, dass man TOTAL 22 die Irrungen und Wirrungen des zweiten pandemischen Jahres 2022 deutlich anhört. Die A&R Abteilung des Labels hatte zwar – trotz geschlossener Clubs – weiter mindestens einen Fuss auf dem imaginären Tanzboden, aber man spürt, dass es ein eher verhaltener Jahrgang geworden ist. Dance Tracks brauchen einen entsprechenden Resonanzraum – und der war zumindest bis zur Deadline dieser Platte kaum gegeben. Aber Kopfdisco gehörte schon immer zum kompakten Repertoire. Letztlich entsteht in diesem vom Big Room los gekoppelten Bereich meist die interessanteste Musik.

Die Gebrüder Voigt eröffnen TOTAL 22 auf einer unerwartet romantischen Note. Quirlige FM Bässe schmiegen sich an verhuschte Gitarrenloops, so dass es eine wahre Freude ist. Perel hat gerade ihr fulminantes Album “Jesus Was An Alien” abgeliefert und spurtet bereits mit Siebenmeilenstiefeln (oder vielleicht auch Pumps?) zum nächsten Ziel: ‘The Hills’. Unser mexikanischer Freund Rebolledo ist erstmals solo auf einer TOTAL zu finden und beschwört mit ‘The Sharper Image’ seinen hypnotischen Prärie Sound herauf. Jürgen Paape nennt das Kind direkt beim Namen: Le monde a changé… Die Welt hat sich verändert – ein Kommentar zum Zeitgeschehen, der keiner Erklärung bedarf. Nach längerer Abstinenz hat Matias Aguayo wieder am Mutterschiff angedockt. ‘Cinco Y Rojo’ ist ein Lehrstück in Sachen Chicago-esquen Grooves, kombiniert mit einem frechen Besucher aus dem Dänemark der 80er. Findet die Referenz und gewinnt ein paar nagelneuer Hufen. Es ist derzeit schwer eine qualitativ hochwertige Party im Rheinland zu finden, auf der Jonathan Kaspar nicht spielt. Zurecht, denn er schärft seine Skills als DJ und Produzent wie ein Sushi Chef sein Messer. Michael Mayer dreht die überaus talentierte Singer Songwriterin eee gee auf links und überlässt seinem Weggefährten Jörg Burger das letzte Wort. "Crawling Up That Hill’ ist ein slicker Midtempo Groover, der in seiner behutsamen Psychedelik irgendwo zwischen Massive Attack in der ‘Blue Lines’ Epoche und Andy Weatherall changiert.