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American singer, actor, dancer, and civil rights activist Eartha Kitt was
celebrated for her highly distinctive singing style
Her recordings of "C'est Si Bon" and the Christmas novelty song "Santa Baby"became instant classics and are presented here along with many other hits.

Limited edition audiophile pressing on 180gram premium vinyl.
Eartha Kitt epitomized the idea of the sex-kitten chanteuse, rising to fame with a nightclub act centred on her slinky stage presence and her throaty purr of a voice. As much as she enjoyed vamping it up, she also projected the image of an exotic international sophisticate. She brought a definite zest to her torch songs and Orson Welles once called her "the most exciting woman in the world".

Eartha Kitt , lead vocals on all tracks,

plus: Henri René Orchestra,
Maurice Levine Orchestra,
Shorty Rogers Orchestra,
Anton Coppola Orchestra.
New York, 1953-59

Ramrock on the cutting edge

Should 'The Great Encyclopaedia of Musical Genres' be at a loss for a word to describe the music of Ghent-based Ramkot, they wouldn't have to look far. 'Ramrock'; done. It's how the solidly carefree rocking Ghent triumvirate themselves describe the music with which they have been selling clubs, concert halls and festivals spicy maws since 2018. With two EPs to their credit, 'Ramkot' (2019) and 'What Exactly Are You Looking For' (2021), and a giglist that you can only be in awe of, the laureates of De Nieuwe Lichting 2021 thought it was high time to stamp their awe-inspiring sound on a first album.

Le nouveau Ramkot est arrivé: with 'In Between Borderlines', Ramkot delivers a debut full of particularly solid, yet danceable, 'ram rock' and bangs its way through the wall of sound to a - no doubt - very exciting future.

'In Between Borderlines' is the apotheosis of two years of rock hard work. Idea. Elaborating. Polishing. And there's the diamond. Ramkot is not the band to sit still and wait for the time to put their music on tape. The time is always ripe.

For 'In Between Borderlines', Ramkot dove into the studio for a year - at different times - where they canned eight songs, all with the familiar Ramkot signature: hard and cutting, melodic and danceable and now and then gleefully deviating from the usual path.

The two advance singles 'Exactly What You Wanted' and 'I Can't Slow Down' already beautifully indicated the tenor of 'In Between Borderlines': the back straight and firmly in line, ready to continue on the successful and - above all - very eager momentum. And did the music hit its mark? Absolutely. Studio Brussels, Willy and KINK were immediately on board. With a spot in De Afrekening, Catch Of The Day (Studio Brussel) and Daily Drop (KINK) as a result.

It is sometimes said that three is a magic number. It is. A three-piece band reduces music to its essence and cuts harder live than a Japanese chef's knife. Whereas during the recording process Ramkot was tempted to also get to work with synths, live they invariably opt for the more pared-down versions of their songs that - just like on the album - grab the audience by the neck and show them every corner of the room. And it is this playing live that has certainly not hurt the band in recent years. On the contrary, it made Ramkot more natural, tightened the reins and gave the band an even more distinctive look. 'In Between Borderlines' is brimming with the pleasure of playing, the desire and eagerness to go flat out until 'everything is broken'.

Ramkot never gets stuck. On 'In Between Borderlines' this manifests itself in multi-layered songs with tentacles in solid riffs, occasionally borrowing from other genres. Does a song have a ragtime feel to it? Or is there a hint of 'despacito'? The band is not afraid to blend some exotic influences with abrasive guitars and sulky drums. Extra flavour makes the dish more interesting. And as for 'In Between Borderlines', the starter, main course and dessert are immediately on the table. It may be finished in one sitting.

Ramrock on the cutting edge

Should 'The Great Encyclopaedia of Musical Genres' be at a loss for a word to describe the music of Ghent-based Ramkot, they wouldn't have to look far. 'Ramrock'; done. It's how the solidly carefree rocking Ghent triumvirate themselves describe the music with which they have been selling clubs, concert halls and festivals spicy maws since 2018. With two EPs to their credit, 'Ramkot' (2019) and 'What Exactly Are You Looking For' (2021), and a giglist that you can only be in awe of, the laureates of De Nieuwe Lichting 2021 thought it was high time to stamp their awe-inspiring sound on a first album.

Le nouveau Ramkot est arrivé: with 'In Between Borderlines', Ramkot delivers a debut full of particularly solid, yet danceable, 'ram rock' and bangs its way through the wall of sound to a - no doubt - very exciting future.

'In Between Borderlines' is the apotheosis of two years of rock hard work. Idea. Elaborating. Polishing. And there's the diamond. Ramkot is not the band to sit still and wait for the time to put their music on tape. The time is always ripe.

For 'In Between Borderlines', Ramkot dove into the studio for a year - at different times - where they canned eight songs, all with the familiar Ramkot signature: hard and cutting, melodic and danceable and now and then gleefully deviating from the usual path.

The two advance singles 'Exactly What You Wanted' and 'I Can't Slow Down' already beautifully indicated the tenor of 'In Between Borderlines': the back straight and firmly in line, ready to continue on the successful and - above all - very eager momentum. And did the music hit its mark? Absolutely. Studio Brussels, Willy and KINK were immediately on board. With a spot in De Afrekening, Catch Of The Day (Studio Brussel) and Daily Drop (KINK) as a result.

It is sometimes said that three is a magic number. It is. A three-piece band reduces music to its essence and cuts harder live than a Japanese chef's knife. Whereas during the recording process Ramkot was tempted to also get to work with synths, live they invariably opt for the more pared-down versions of their songs that - just like on the album - grab the audience by the neck and show them every corner of the room. And it is this playing live that has certainly not hurt the band in recent years. On the contrary, it made Ramkot more natural, tightened the reins and gave the band an even more distinctive look. 'In Between Borderlines' is brimming with the pleasure of playing, the desire and eagerness to go flat out until 'everything is broken'.

Ramkot never gets stuck. On 'In Between Borderlines' this manifests itself in multi-layered songs with tentacles in solid riffs, occasionally borrowing from other genres. Does a song have a ragtime feel to it? Or is there a hint of 'despacito'? The band is not afraid to blend some exotic influences with abrasive guitars and sulky drums. Extra flavour makes the dish more interesting. And as for 'In Between Borderlines', the starter, main course and dessert are immediately on the table. It may be finished in one sitting.

Ramrock on the cutting edge

Should 'The Great Encyclopaedia of Musical Genres' be at a loss for a word to describe the music of Ghent-based Ramkot, they wouldn't have to look far. 'Ramrock'; done. It's how the solidly carefree rocking Ghent triumvirate themselves describe the music with which they have been selling clubs, concert halls and festivals spicy maws since 2018. With two EPs to their credit, 'Ramkot' (2019) and 'What Exactly Are You Looking For' (2021), and a giglist that you can only be in awe of, the laureates of De Nieuwe Lichting 2021 thought it was high time to stamp their awe-inspiring sound on a first album.

Le nouveau Ramkot est arrivé: with 'In Between Borderlines', Ramkot delivers a debut full of particularly solid, yet danceable, 'ram rock' and bangs its way through the wall of sound to a - no doubt - very exciting future.

'In Between Borderlines' is the apotheosis of two years of rock hard work. Idea. Elaborating. Polishing. And there's the diamond. Ramkot is not the band to sit still and wait for the time to put their music on tape. The time is always ripe.

For 'In Between Borderlines', Ramkot dove into the studio for a year - at different times - where they canned eight songs, all with the familiar Ramkot signature: hard and cutting, melodic and danceable and now and then gleefully deviating from the usual path.

The two advance singles 'Exactly What You Wanted' and 'I Can't Slow Down' already beautifully indicated the tenor of 'In Between Borderlines': the back straight and firmly in line, ready to continue on the successful and - above all - very eager momentum. And did the music hit its mark? Absolutely. Studio Brussels, Willy and KINK were immediately on board. With a spot in De Afrekening, Catch Of The Day (Studio Brussel) and Daily Drop (KINK) as a result.

It is sometimes said that three is a magic number. It is. A three-piece band reduces music to its essence and cuts harder live than a Japanese chef's knife. Whereas during the recording process Ramkot was tempted to also get to work with synths, live they invariably opt for the more pared-down versions of their songs that - just like on the album - grab the audience by the neck and show them every corner of the room. And it is this playing live that has certainly not hurt the band in recent years. On the contrary, it made Ramkot more natural, tightened the reins and gave the band an even more distinctive look. 'In Between Borderlines' is brimming with the pleasure of playing, the desire and eagerness to go flat out until 'everything is broken'.

Ramkot never gets stuck. On 'In Between Borderlines' this manifests itself in multi-layered songs with tentacles in solid riffs, occasionally borrowing from other genres. Does a song have a ragtime feel to it? Or is there a hint of 'despacito'? The band is not afraid to blend some exotic influences with abrasive guitars and sulky drums. Extra flavour makes the dish more interesting. And as for 'In Between Borderlines', the starter, main course and dessert are immediately on the table. It may be finished in one sitting.

"Web of Lies / Death Won’t Even Satisfy is the vinyl debut from this hardcore band from New Jersey, and it is a full-bore scorcher. Ammo plays ferocious US-style hardcore with a lunging, unhinged style that reminds me of groups like early Agnostic Front, Void, and Eye for an Eye-era Corrosion of Conformity… not so much in style, but in the way Ammo sounds like they’re maniacs who might materialize out of your home speakers in order to slash your throat. It’s a rare enough feat to capture this sort of wild energy on tape, but Ammo fuses this crazy energy with memorable songwriting, with tracks like “Black Site,” “Slam Slam Slam,” and “Ethnostate” hitting even harder because they’re so damn catchy. Sounding fast and crazy is Ammo’s forte, but their secret weapon is their ability to play at mid tempo, like on the crushing NYHC-style mosh part in “Known Unknown” and the singalong during the breakdown to the epic “All You Do (Is Want Me to Die).” I love music that expands hardcore’s boundaries, but Ammo isn’t that… they distill hardcore its essence, their sound ground down to the sharpness of a knife’s edge. This is not a record to sleep on."

Svart Records unleashes a heady brew of nocturnal Post-Punk atmosphere and avant-garde Metal from Swedish Goth-tinged Doom Rock band Shaam Larein. The new album, “Sticka en kniv i världen” literally meaning: “stick a knife into the world”, is a ravishing, cut-throat statement of Shaam Larein’s heavy intent, that casts a new shadow of stunning darkness. Formed in 2018, Shaam Larein released their debut album “Sculpture” in 2020 to raptured underground praise, earning them an instant booking to the prestigious Roskilde Festival and planting them on the radar of cult artists such as Chelsea Wolfe. Now signed to Finland’s Svart Records, whose reputation has been forged on bringing new heavy rock artists such as Messa, Green Lung and Beastmilk from the underground into the limelight, Shaam Larein is soon to be hot on the tongues of the cult grapevine. Named after their auteur-like visionary singer Shaam Lerein, who was brought up on Russian classical art and the cinema of Tarkovsky, composes and visualizes their dark materials, cementing Sticka En Kniv I Världen” as an utterly unique take on bat-winged heavy rock. With a devout appreciation of the mystic powers inherent in heavy music, Shaam Larein will ignite memories of Swedish Metal artists such as In Solitude, who swayed towards the eclectic and gothic atmospheres Shaam’s music touches on in their later days. With artist friends from back home in Uppsala, Pelle Åhman making the Album cover and his brother Gottfrid Åhman, both of In Solitude fame, making four videos for Shaam Larein, the links weave closer, but it is to artists like Chelsea Wolfe, Ruth Rundle & Marissa Nadler that you can imagine fans drawing parallels and opening their heart to the enigmatic sound of “Sticka En Kniv I Världen”. Shaam describes her music as “a touch of aggression mixed with passion” and “Sticka En Kniv I Världen” for her is about finding the light through a sea of darkness “accepting the melancholy and seeing the beauty of what lies underneath our mysterious sound”. For a world of heavy rock hungry for a new wave of something dark and mysterious, Shaam Larein has it all in unparalleled dosage, just waiting to be discovered. “Sticka En Kniv I Världen” is released on December 9th by Svart Records.

Svart Records unleashes a heady brew of nocturnal Post-Punk atmosphere and avant-garde Metal from Swedish Goth-tinged Doom Rock band Shaam Larein. The new album, “Sticka en kniv i världen” literally meaning: “stick a knife into the world”, is a ravishing, cut-throat statement of Shaam Larein’s heavy intent, that casts a new shadow of stunning darkness. Formed in 2018, Shaam Larein released their debut album “Sculpture” in 2020 to raptured underground praise, earning them an instant booking to the prestigious Roskilde Festival and planting them on the radar of cult artists such as Chelsea Wolfe. Now signed to Finland’s Svart Records, whose reputation has been forged on bringing new heavy rock artists such as Messa, Green Lung and Beastmilk from the underground into the limelight, Shaam Larein is soon to be hot on the tongues of the cult grapevine. Named after their auteur-like visionary singer Shaam Lerein, who was brought up on Russian classical art and the cinema of Tarkovsky, composes and visualizes their dark materials, cementing Sticka En Kniv I Världen” as an utterly unique take on bat-winged heavy rock. With a devout appreciation of the mystic powers inherent in heavy music, Shaam Larein will ignite memories of Swedish Metal artists such as In Solitude, who swayed towards the eclectic and gothic atmospheres Shaam’s music touches on in their later days. With artist friends from back home in Uppsala, Pelle Åhman making the Album cover and his brother Gottfrid Åhman, both of In Solitude fame, making four videos for Shaam Larein, the links weave closer, but it is to artists like Chelsea Wolfe, Ruth Rundle & Marissa Nadler that you can imagine fans drawing parallels and opening their heart to the enigmatic sound of “Sticka En Kniv I Världen”. Shaam describes her music as “a touch of aggression mixed with passion” and “Sticka En Kniv I Världen” for her is about finding the light through a sea of darkness “accepting the melancholy and seeing the beauty of what lies underneath our mysterious sound”. For a world of heavy rock hungry for a new wave of something dark and mysterious, Shaam Larein has it all in unparalleled dosage, just waiting to be discovered. “Sticka En Kniv I Världen” is released on December 9th by Svart Records.

a+w LXII Acid Vatican – Holy See 12″ limited edition of 500 copies

BODYXVIII delivers his debut release on Southern Lights in the form of the “Fields” EP, straddling the fringes of ambient, experimental and linear techno. The A-side features the pulsating waves of “An Ocean of Signals” and the hypnotic and undulating atmosphere of “Swiss Army Knife in The Wet Grass”. The B-side features “Umbra”, carrying an understated energy and tension and closing with the menacing ambience of “Clearing (Clandestine I)”.

After featuring on the Various Part 2 release in 2020, Keppel returns to Well Street this summer with a full EP of textural perfection. Joining club-focused percussion, dubbed out landscapes and serious sub pressure. Limited pressing!

Prima Queen's love story is one which cinema could only aspire to
An instant connection that was nearly missed. A divide of 4,000 miles and an
Atlantic Ocean. An almost-marriage. A tour supporting The Big Moon, Dream Wife
and Wet Leg, and six- figure streams. The magic of their ethereal, guitar- driven
sound is built not on romantic love, but something immeasurably stronger:
female friendship.

Including wanted vinyl tracks by Paul Kalkbrenner, Tori Amos, The Knife, Trentemøller, Yeah Yeah Yeahs, Goose, Zombie Nation and Bomfunk MC's.

Tape

Subterranean hip hop group Grand Mantis is a collaborative effort by lyricist/Producer Yikes The Zero, vocal baritone Osevere, DJ Skipmode, and guitarist Thaddeus Cole-Pepper. Dark distorted psychedelic strings, turntable wizardry, and sinister flows woven by two very distinct wordsmiths. The debut album "Fangs" lies somewhere in between a vivid hypnotic soundscape and a loud rebellious unapologetic warning of things to come.

Kuedo wird sein neues Album, „Infinite Window“, am 29. Juli 2022 auf Brainfeeder veröffentlichen. Das Ende Juli erscheinende neue Album ist das erste seit „Slow Knife“, das 2016 bei unseren Freund*innen von Planet Mu erschien.

Mit einer Mischung aus Synthesizer-geladenen Avantgarde-Kompositionen und donnerndem Drum-Programming, verdankt das Album modernen R&B-Ikonen wie Frank Ocean und The Weeknd ebenso viel wie legendären Komponist*innen wie David Axelrod, Tangerine Dream und dem jüngst verstorbenen Vangelis oder zeitgenössischen Breakbeat-Aficionados wie Sully und Jlin.
Kuedo (englisch ausgesprochen: Q-dough) ist bekannt für seine Kompositions- und Sounddesign-Arbeiten für Unternehmen wie u.a. Fendi, Bvlgari, Iris Van Herpen oder Nike. Die Veröffentlichung seines kommenden Albums folgt auf eine Zusammenarbeit mit Brainfeeder-Chef Flying Lotus im Jahr 2017 für den Soundtrack von „Blade Runner: Black Out 2022“ (unter der Regie von „Cowboy Bepbop“-Regisseur Shinichiro Watanabe), wobei Kuedo auch die Filme „Eurasia (Questions On Happiness)“ und „The Sprawl (Propaganda About Propaganda)“ von Metahaven vertonte. Die Vorstellung von „Zeit“ - der Blick nach vorn und zurück - zieht sich wie ein roter Faden durch das Album und den Aufnahmeprozess. Die Entstehung von „Infinite Window“ begann Anfang 2021, als Kuedo sich hinsetzte, um ein komplettes Album für Brainfeeder zu komponieren. Die fertige Platte ber ist eine akribisch zusammengestellte Collage aus neuen Kompositionen und verschiedenen Demos und Tonaufnahmen, von denen einige fast zehn Jahre zurückliegen.

Die limitierte Auflage der gelben Vinyl-LP enthält Artwork von den aufstrebenden visuellen Künstler*innen Monja & Vincent und ein Cover-Design von Raf Rennie (Acronym, Prada, Nike).

The Cult has reveled in a storied career. From the pre-millennial iconic Love album bursting with idealism and the full on blast of 2001’s Beyond Good & Evil to the recent biting truth of Hidden City, the band has lived their art. How the future unfolds will be decided in part by current cultures response and the group’s response. One thing is for sure, The Cult will respond. It’s what they do. The Cult’s next endeavor Under The Midnight Sun is out October 7, 2022.

THE LONG-AWAITED FULL-LENGTH RETURN OF THE US DEATH METAL PIONEERS FOR A NEW BOUT OF SUPREME SICKNESS
Since first bursting onto the death metal scene with the now genre classic Severed Survival' back in 1989 & following up with the equally revered 'Mental Funeral' album, the influential US quartet has carved an unwavering legacy over three decades as masters & purveyors of the vile sides of the extreme metal spectrum. And now, Autopsy marks its reinvigorated return, presenting the first new full-length studio opus since 2014's 'Tourniquets, Hacksaws & Graves' with Morbidity Triumphant'; a savage offering of brutal death, showing the US legends still have an unbridled hunger for the sadistic, never reluctant to step beyond the threshold of decency.'Morbidity Triumphant', the band's eighth album, is truly a dark delight for seasoned & new listeners alike, with a raw organic sound perfectly encapsulating what makes Autopsy so distinguishable among its peers, for what could easily be considered one of its strongest offerings to date.

“There are no rules to art,” says a definitive Tommy Genesis. “There are no rules to creation, and there are so many exemptions to every rule. I feel so confident about this project that it could literally drop at any time.”

While this assertion accurately describes her own creations, and flexes to the undeniable strength of her upcoming album, Goldilocks X, it’s also an apt assessment of Tommy’s overall identity. Tommy is the exemption to the rule. She is the epitome of standing out by not fitting in. A DIY Superwoman delivered from the millennial heavens and justly labeled Genesis. An army knife of man artist, producing across a spectrum of modalities. Genesis’ inaugural offering, World Vision, arrived to mostly cult (and some critical) acclaim. mComplex acknowledged how “effortless” and “vicious” she came across on tracks like “Angelina”, and the self-produced, ABRA featuring, “Hair Like Water Wavy Like the Sea” showcased a raw, trance-like poetic prowess. As Tommy stated plain and simple, she was just trying to execute her vision. She shot into the music sphere claiming to make songs about “pussy and darkness”, and listeners were ready. It’s not so much that Genesis created the “fetish rap” moniker or genre, moreso she
acknowledged and diagnosed it. “At the time when I called it fetish rap, I didn’t take credit for it because I kind of liked that it was on some subtle shit,” she admits.

A companion album to Jamaican dub singer Horace Andy's 'Midnight Rocker', 'Midnight Scorchers' is an artful sequel to the hugely acclaimed album featuring dancehall reimaginations from Adrian Sherwood, practically the modern messiah of dub. Sherwood was already doing masterful work on the original album, using live studio instrumentation to make Andy's voice mor vibrant and powerful - leading to multiple five star reviews. 'Midnight scorchers' takes a soundsystem approach to the proceedings, adding MC features, new tracks and stripped back re-imaginings of the tracks into the more traditional reggae style of dub that Andy would've ended up recording if not for the masterful production that Sherwood brought to the table. Housed on a limited transparent orange disc and stunning artwork, this is a huge dub release and not one to miss out on.

'Arrival', das Debütalbum des Schwedenduos Aasthma der für ihre Erfolge im Technobereich bekannten Produzenten Pär Grindvik & Peder Mannerfelt, ist ein Hifi-Wirbelsturm mit schillernder Klangwelt, in der Top-40-Balladen und Breakbeat-Walzen fröhlich mit Trap-Bangern, neonglänzendem EDM und fauchendem Dancehall kokettieren. Vocalfeatures kommen von HTRK-Sängerin Jonnine Standish, der schwedischen Rapperin Silvana Imam, Shout Out Louds-Frontmann Adam Olenius, Equiknoxx-Mitbegründer Gavsbourg und dem glitzernden Pop-Crooner Casey MQ. Abgemischt von Aasthma zusammen mit Johannes Berglund (FKA Twigs, The Knife, Fever Ray), kombiniert 'Arrival' Technicolor-Maximalismus mit dem Glanz des skandinavischen Pop.