Search:the me in you

- 2023 Edition - Pressed on Clear Red Wax - LP housed in an expanded Stoughton tip-on gatefold jacket - Includes fold-out poster, sticker and insert, along with a download card for full album, non-album single B-side "The Cowboy Song" and an unedited October 1978 BBC audio interview with John Lydon // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought. The album was never officially released in the USA back in the day, its sound considered too un-commercial by major-labels for an American release. First Issue has been lovingly reproduced from the original UK 1978 release and this special reissue also comes with a clutch of post-punk era treasures. The 2023 LP edition includes an expanded gatefold jacket, an archive replica fold-out poster, a PiL sticker, insert, and Download Card for the album, the archival BBC interview, and "The Cowboy Song." All of which were approved and coordinated with John Lydon and his personal management.

The next album release on Goldie's fast-rising, boutique label Fallen Tree 1Hundred, The Day Out of Time by The Degrees is the Acid Jazz/Soul and Trip Hop long-player from drum and bass man of the moment Break, alsongside singer songwriter isha Campbell, heavily inspired by their home town of Bristol.

The album follows a year of lead-in singles nicely supported by Mary Anne Hobbs, Huey Morgan on BBC Radio 6Music, Mi-Soul, Solar and playlisted on the legendary Jazz FM.

Apparel Music Review:

Perhaps it's nostalgia for that wonderful time when making music was more challenging, at times laborious, and the more tiring was the process that led to the creation the more the final product acquired value, but this album brings you back to those times, without sounding outdated.

We know how much work goes into a record of this kind and, even if today's music world runs fast, presenting hundreds of thousands of releases a day, it is important to remember that records can still be timeless. Well, this is the first thing I thought while listening to this LP for the first time: it is timeless. It sounding ageless is perhaps ascribable to the fact that it recalls that famous sound coming from South-West England in the late 90s/early 00 but, having that musical wave had such an impact and therefore created a sonic standard, it can easily be revived and revisited in a current key without sounding obsolete. In addition, this album is full of different influences coming from R&B, Soul, Hip-Hop which, over the years, have grown and developed to become the daily bread of many listeners who have refined their taste with time, and can now perfectly incorporate the multiple sound stimuli coming from it, as 'The Day Out Of Time' satisfies every type of taste

For over 30 years Richard Adams has been quietly documenting his own particular corner of the English countryside both with Hood, the post-rock band he formed with his brother in 1991, and since 2007 with The Declining Winter. Recorded over a five year period and inspired by rustic English alternatives such as Talk Talk and Robert Wyatt, The Declining Winter’s latest work ‘Really Early, Really Late’ is a collection of beautiful songs, immersed in a richer sonic spectrum incorporating strings, horns and lush electronic textures, alongside Adams’ own unique guitar tones and characteristic dubby bass. Though it retains the homespun scratchiness of previous The Declining Winter records, ‘Really Early, Really Late’ is also their most ornate. A remotely collaborative effort, the record is scattered with decorative embellishments from violinist Sarah Kemp (Brave Timbers), cellist Peter Hollo (Tangents), and guitarist Ben Holton (epic45), among many others. Adams’ distorted whisper of a voice has never been more exposed leading to a brutally emotive and intensely personal song-suite, both raw and beautiful in equal measure. The storybook curiosity of Mark Hollis’ work is a particular influence. Like Hollis, this music is imbued with magical realism: beholden to nature, it hints at the mysteries lurking in mundane local landscapes and the more remote Yorkshire moors and valleys. A record to hold close to your heart, ‘Really Early, Really Late’ sees Adams and his collaborators emerge from the shadows with their most complete work to date. Home Assembly are proud to present the album on lush crystal clear, double vinyl, bundled with a CD housed in an oversized vinyl-style sleeve.

Darling West decamped for a tiny island on Norway’s west coast to begin writing what was to become Cosmos, their fifth studio album. For the first time, the band’s core – married couple Mari and Tor Egil Kreken – have included band members Thomas Gallatin and Christer Slaaen in the songwriting and production process. As a larger united, Darling West has really evolved. Cosmos is indeed the sound of expansion. West coast, cosmic folk, americana… Call it what you will – there are even hints of afro blues on here – but where the band once fit firmly in the folk/americana category, you might as well just call it pop these days. Cosmos was recorded and produced in its entirety by Darling West. Vocal guests on the album include Matthew Logan Vasquez (Delta Spirit) and Jarle Bernhoft, while David Wallumrød, Lars Horntveth and Torjus Vierli all excel on keys. Finally, the one and only Rob Moose (Paul Simon, Bon Iver, Sufjan Stevens, Phoebe Bridgers) provides strings on “Till Night Turns to Day” and “Old Man”. The listener is also awarded plenty of what we’ve come to love from Darling West: Mari Kreken’s gorgeous voice and Tor Egil Kreken’s incredibly versatile playing (guitar, bass, banjo, etc.) playing. The sum of these parts makes up a magical record, with songs and melodies that will stay on your mind for the unforeseeable future. While many struggled to keep their heads up during the pandemic, the band did their best to contribute positively, and came out on the other side with a growing, dedicated fanbase, due to their incredibly popular “Family Sessions” on Youtube. A recurring concept where they featured a host of friends and other artists, thus creating a community – or family – which is still going strong. The music on Cosmos searches outward, while the lyrics look inward. The resulting record includes elements of pop, while it pushes the envelope for what Norwegian americana can sound like. Cosmos is also about loving yourself, and there are of course a handful of love songs about shaky relationships – as we’ve come to expect from Darling West. The band continues to develop their unique musicianship and Cosmos is indeed another masterstroke from the band.

Both broadening and defying the sounds of their first two 7” releases, Delivery continue their claim for the title of hardest and fastest working band in town on their debut full length LP ‘Forever Giving Handshakes’. Collecting songs written over the Melbourne five-piece’s two year lifespan and following on from the band’s bedroom project origins of ‘Yes We Do’ and the expanded one-two punch of ‘Personal Effects/The Topic’, ‘Forever Giving Handshakes’ captures Delivery at full force for the first time, leaning into the fully-realised live sound they’ve been quite actively working on since their first show in March 2021. Here the band collate a 12-track garage-punk opus, their five distinct voices simultaneously pulling songs in different directions while an undeniable chemistry reveals a combined hive mind ascending on a clear group mission… to rock. If you didn’t have the Delivery phenomenon yet, you’re about to. Marking the beginning of a victory lap for Delivery, the album rounds out a sprint of unrelenting live shows, impressive support slots and two stellar 7”s, all within a tidy 18 months. ‘Forever Giving Handshakes’ is a statement from Delivery and one of the strongest Australian punk debut albums of the past decade.

Three-time Grammy Award nominee, songwriter, actor and model Natalie Imbruglia released Male back in 2015 as her fifth studio album. The album is a collection of famous songs by male artists, including Cat Stevens, Damien Rice, Tom Petty, Pete Townsend, and Zac Brown amongst others. The album is produced by Billy Mann, who has also worked with Pink, John Legend, Celine Dion, Martina McBride, and Sting.

The album features the single "Instant Crush", which was her first single in six years and was originally recorded by Daft Punk and Julian Casablancas (The Strokes).

Male is available as a limited edition of 1500 individually numbered copies on translucent magenta coloured vinyl and includes a 4-page booklet.

The return of the classic Demonstration Tapes double LP on vinyl from the one and only Dolly Mixture. Originally self released in 1984 - this 27 track set collects the band's demos from 1979 to 1983 of perfectly executed pop, indie pop and '60s girl group gems. The sound is raw but the charm and pure-pop songcraft manages to shine through.

Dolly Mixture should have been massive - so just sit back and enjoy these charming songs that have aged like a fine wine. Original copies sell for silly money and even the Germs of Youth reissue sells for over £100. This reissue comes with a brand new sleeve design.

Tape

Did you know that miracles happen every day? We don't always see it that way We look at the state of the world and think, "It'll be a miracle if we make it out alive." But miracles are what humans do. We're Earth's most inventive and unpredictable species, when we're allowed to be. Also the most destructive. Miracle-Level is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, Miracle-Level is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg, Manitoba. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.

Standout track Disco currently sits at 88 million plays on Spotify. Surf Curse has over 8 million monthly listeners on Spofity. Departing from the overblown visceral sound of previous Surf Curse records, 2019’s Heaven Surrounds You is a bold step towards HIFI for the Los Angeles DIY scene veterans. The polished orchestral production and driving cinematic moments would feel at home in any of the cult films that inspired the album’s coming-of-age stories. Lyrically, the record finds the duo returning to themes of love, loss and mystery veiled beneath more symbolism and mysticism creating their most emotionally poignant record to date. One ingredient the band doesn’t change is the earworm guitar melodies and massive hooks that have always fueled their famously raucous live shows

Running Back welcomes Firas Waez and his studio character 9th House for a flock of heartfelt and intuitive house tracks. Centered around uplifting chords and joyous melodies, upbeat drums and shuffling hi-hats, it feels like being in a circle dance, watching flowers turning into fruits or caterpillars into butterflies.

Made with the tools of today, but with a burdening love for the ancient magic and positivity of this music. The results being highly contagious. Whether its any of the 9th House’s solo works like Reuben or the collaboration with Matrefakt, it’s impossible to hold still. But as no one can live off love alone, there is also an odd one out. The eponym Midas swaps vintage techniques and the love potion of its counterparts for sharp and exact peak-time magic that makes endorphins rush and cheeks blush. Whichever you finally pick of the five tracks, any of them are an amulet against bad times. A Midas’ touch indeed! Happy house painting artwork courtesy of Luciano Calderon via ruttkoswki;68.

Rising from the ashes of the recently defunct Shiva Burlesque, the trio of Grant Lee Philips, Paul Kimble and Joey Peters went on to record four studio albums.
This premiere created a mellow and political charged album that beautifully fuses many genres into a mellow Americana release, showcasing Grant Lee Phillips evocative voice and paved the way for what was to come. Warm yet angsty, it wields melancholy like a double- barreled shotgun whose bullet rockets through the soul.
This newly remastered version is pressed on 180g coloured vinyl and is presented in a gatefold sleeve

DIE MITGLIEDER VON CRAZY HORSE KÜNDIGEN "ALL ROADS LEAD HOME" AN, EINE MUSIKALISCHE REISE FÜR DIE HEUTIGE ZEIT

Mitwirkende: Ralph Molina, Billy Talbot, Nils Lofgren
& Neil Young

ALL ROADS LEAD HOME ist ein Album, das gleichermaßen aus purer Inspiration und der veränderten gesellschaftlichen Situation heraus
entstanden ist: Während der Pandemie nahmen Molina, Talbot und Lofgren in regelmäßigen Abständen neue Songs auf, jeweils mit anderen Musikern und an wechselnden Orten - so, wie es die
pandemischen Bedingungen zuließen. Anders als sonst, konnten sie nicht im Trio mit Neil Young arbeiten, was Herausforderung und Chance zugleich war, denn so mussten die Musiker zwangsläufig
schauen, wohin die neuen individuellen Konfigurationen führen würden. Sie führten, wie so vieles in der Zeit, zunächst einmal: nach Hause.

Dort, wo sich für uns alle das soziale Leben der Zeit abspielte. Die drei Crazy-Horse-Mitglieder nahmen jeweils drei Songs getrennt voneinander und mit unterschiedlichen Musikern auf. Und schauten dann, wie sie all das zu einem wundersamen Konsens unvergesslicher Musik zusammenfügen konnten. Das Kunststück gelang. Ein Album wie dieses hat man von der Band noch nie gehört.

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

LORI finds Iron & Wine’s Sam Beam drawing from the songbook of noted singer-songwriter and multiple Grammy winner Lori McKenna. Recorded at the famed Sam Phillips Studios (Memphis, TN) with producer Matt Ross-Spang, Beam takes on four of his favorite McKenna tracks with help from Sima Cunningham and Macie Stewart, known collectively for their work in the indie-art-pop band Finom (formerly known as Ohmme.) Beam came to McKenna’s music a few years ago on the suggestion of a friend. As the lock down dragged on, Beam found himself, like so many, turning to music for comfort. McKenna’s catalog of work was never far from reach. Taken by her heart-on-your-sleeve confessional style storytelling, Beam admits it’s a trait that draws him to McKenna and something not often found in his own songwriting. As a well-known interpreter of other artists’ songs, when the time came for him to shake off the pandemic cobwebs and record, McKenna’s songs were as fresh and familiar to Beam as his own. Traveling to Memphis in March of 2021, Beam invited Cunningham and Stewart to join him in the studio. During the three days of recording, Ross-Spang was a logical choice to take the helm as he had handled Iron & Wine’s 2019 collaboration with Calexico, the twice Grammy nominated Years to Burn, and had also worked on two of McKenna’s own records. Having enjoyed successful solo careers outside of Finom, Cunningham and Stewart bring their own touches to LORI and helped Beam find even further depths to McKenna’s songwriting. Together the trio sonically re-interpreted her plaintive odes into a tapestry of sounds effortlessly blending their signature singing styles and breathing fresh life into the lyrics

The new album! One of reggae's emerging masters of Reggae / Dancehall & Dubwise production, Alborosie has honed his craft through the creaton of six studio albums (five for Greensleeves). Along the way, he has become the biggest selling European roots reggae artist. His latest album, "Freedom & Fyah" demonstrates his production skill and depth of feel with strong contemporary and authentic reggae jams. All tracks are produced by Alborosie, with most of the songs mixed by the high renown James "Bonzai" Caruso. Featured guests include Ky-Mani Marley on the ballad and first single/video "Life To Me" and Protoje, who have been just voted as best international artist by the Riddim magazine readers, on the track "Strolling" and reggae legends, the Roots Radics band with Flabba Holt on the track "Everything" feat. Pupa Avril. Stand out tracks include "Poser" (which has chalked up already over 1 million YouTube views) and "Rocky Road" which is up to 500K views. "Freedom & Fyah" is availlable as CD-digipak with additional 12-page booklet with printed lyrics and also as LP-vinyl edition.

MC/Lyricist Raw Poetic (aka Jason Moore) announces Space Beyond The Solar System, his new album out December 9th on 22nd Century Sound, and presents its lead single, “A Mile In My Head,” featuring legendary saxophonist Archie Shepp. Although Space Beyond The Solar System could be considered a concept album by its outcome, its inception started from a string of experiments between Moore and frequent collaborator/producer Damu the Fudgemunk. These initial sessions had no specific direction but became the catalyst for what would become a prolific wave of Raw Poetic projects; five of which have been released since 2020.

It was these initial sessions and the demos they produced that convinced Shepp—who is also Raw Poetic’s uncle—to record what would eventually become 2020’s Ocean Bridges, a collaborative album from Raw, Damu, and Shepp, praised by The FADER as “modern masterpiece at the intersection of rap and jazz.” The trio’s collaboration continues on Space Beyond The Solar System, which boasts three tracks featuring the jazz legend, including today’s “A Mile In My Head,” a sprawling and thought-provoking album stand-out.

At two hours, absorbing Space Beyond in its entirety may be overwhelming for most, especially in the present day, but Raw and Damu are very aware of this. With a total of over 40-plus years of experience between the vocalist and producer, the two of them went down memory lane taking every influence and experience in their personal histories to extract ingredients for a groundbreaking statement. Space Beyond The Solar System is their most comprehensive environment to date.

The creation of Space Beyond sparked a conversation between Raw and Damu about their creative chemistry, with Raw likening their direction to a “space beyond the solar system.” His comment was a eureka moment for the two artists, giving their wandering efforts a sense of definition that was needed. “I think we’ve been exploring music beyond our limits for a few years,” says Raw Poetic. “It’s hard to tell where we’ll land, but we are constantly pushing our way out of the norm. Hence the title, ‘Space Beyond the Solar System.’ It’s just to say, this is new territory for us. Where the sky was once the limit, now it’s just the start.”

Bastard Jargon, a pounding, physical, hot-blooded third album by South African artist Nakhane, which sounds like grit sprayed over shiny pop. Written over 18 months in Lisbon, Ghent, Oxfordshire, London and Hastings, “It’s an existential sex album,” says the artist. “Almost every song on it has some kind of wink towards sex. It’s not necessarily a seductive, come to me, bedroom eyes kind of sex - it’s much more inquisitive, psychological sex. When I wrote ‘You Will Not Die’ it was at the end of my relationship with Christianity, and then when I wrote ‘Bastard Jargon’ I’d moved to London and I threw myself into just wanting to feel good.”
To realise this lustful vision, Nakhane recruited Nile Rodgers as executive producer, having first met the Chic legend at the BBC doing Later With Jools Holland. Rodgers plays on the second track ‘Tell Me Your Politik’, and co-produced 5 others.

Born in Milan to a Cameroonese father and a Polish/Lithuanian mother, Nathan Dawidowicz moved at the age of 6 to Jerusalem. He was spending his childhood in a Jewish ultra-orthodox environment playing the piano and dreaming of being a Fashion designer and musician. After waking up from the reality he was raised in, he moved to Venice and started to explore the "outside world" of the mental barriers of religion. Music and fashion were his medicine, and he quickly became addicted to musical textures and vinyl. His love for music brought him quickly to Berlin, where he currently lives and loves.

Sanctuary Of Ideas is a very personal and optimistic journey by Nathan Dawidowicz. His first solo album is a spiritual path, as cosmic and adventurous as Nathan`s trajectory, with beautiful twists and psychedelic twirls into Dawidowicz personal rabbit hole. A record full of memories and positive affirmations, filled with Jazzy yet psychedelic Cosmic and Krautrock elements. A fusion of inspiration - and a perfect reflection of Dawidowicz heritage.

Idea`s Eve is a stargate to our ancestral power. The source of our inspiration is connected to our past - to the spirits of our ancient memories. Dawidowicz leaves a lot of space to breathe in this magical opener. Enchanting melodies and bubbling sounds surround the listener while his voice keeps repeating a mantra of an ancient love spell. A track where you feel your DNA spiraling up the ladder of evolution. Yet so natural and healing.

Full Moon Dance is the spiritual continuation of the first track. A swirl of magical melodies, yet jazzy but truly cosmic walking up the ladder to another dimension, where warm moon rays and fluffy clouds surround love. The synth lines represent the playful and smooth moon rays reflected on a rhythmical heart-beating ground where tears can be joyfully spent to honor the emotions we usually oppress.

To close the EP, Nathan Dawidowicz worked a half a year to finalize the last track in full detail. 23 Minutes and 18 Seconds long is the Capricorn Rising Over Jerusalemite Temple. This story is where the listener is brought to a higher level of consciousness. Against the rules of our consumerist world, Nathan Dawidowicz focuses on a dramaturgy full of patience for our own lifetime. Acidic lines come and go, powerful synth solos trigger unknown brain parts, and an epic melody accompanies the listener and lets dark emotions melt in a brass-filled part where a voice tells us that time is on our side. The song ends with an epic twist and promises a new start, where our most lovely memories stay in a vortex of light. Beam me up Nathan.

Cairo, late 2013. In a city in turmoil, where the curfew had just been lifted after a second coup d'état, where the walls were still covered in dreams and revolt, where even the clubs of the city-centre echoed with anti-Islamist and anti-army slogans, I was deeply touched by the voice of Abdullah Miniawy at the 100Copies music studio, a stone's throw from Tahrir Square. A singer, writer, poet, poetry-slammer and student from the El-Fayoum oasis, this spokesman for Egyptian youth was shaking up the music scene and social networks with his hypnotic voice and unique blend of electro, sufism and jazz music, both punk and psychedelic, secular and avant-garde. Three months later, Abdullah's first on-stage revelations took place at the La Voix est Libre festival in Cairo with the "Jimi Hendrix of oud", Mehdi Haddab, followed by his first meeting with composer and saxophonist Peter Corser at the D-CAF festival (Downtown Contemporary Art Festival), created in the aftermath of the revolution by leading figure in theater Ahmed El-Attar. After three years of administrative battles, while censorship was making a comeback in Egyptian artistic circles, Abdullah finally arrived in Paris where he recorded an initial version of Purple Feathers with Peter Corser, which was broadcast on Soundcloud.

In 2017, gripped from the very first seconds by these soaring vocal and instrumental performances, Erik Truffaz accepted our invitation to become involved with Peter's hypnotic loops and Abdullah's electric vocals, and was soon joined by the visceral strings of cellist Karsten Hochapfel. Five years later, Le Cri du Caire is still turning heads, and often moving audiences to tears. Both free and spiritual, sensitive and elusive, their music elevates the soul to giddy heights and flies towards what may well be one of the shortest paths from zero to infinity.

After the experience of Camizole, Dominique Grimaud began a new (and different) adventure in 1979 with Monique Alba. Alongside Gilbert Artman (Urban Sax), Guigou Chenevier (Etron Fou Leloublan), Jean-Pierre Grasset (Verto) and Cyril Lefebvre (Maajun), Vidéo-Aventures is composed of instrumentals capable of reconciliating Captain Beefheart, Henry Cow, Suicide and... John Barry. All with the backing of Rock In Opposition, which enabled this Musiques pour garçons et filles to become known worldwide.

“Let us enter your hearts”: is the request made by Vidéo-Aventures, and how can we refuse? Especially as Musiques pour garçons et filles, recorded by Dominique Grimaud and Monique Alba fifty years ago along with handpicked colleagues, is as fresh as ever.

1979: having improvised a huge amount (and how!) with Camizole, Grimaud tried his hand at composition and studio recording with Alba. Their first instrument was the AKS synthetiser, with which the duo recorded the instrumental tracks that were then offered to their comrades Guigou Chenevier (Etron Fou Leloublan), Gilbert Artman (Lard Free, Urban Sax), Jean-Pierre Grasset (Verto) and Cyril Lefebvre (Maajun).

At the end of the year, they all came into the studio for a week to record the eight tracks of this mini- album that Chris Cutler would issue a few months later on his label, Recommended. In France it was the beginning of the agitation around Rock In Opposition, to such a point that Musiques pour Garçons et Filles would rise to second place in the NME independent Charts. And this is hardly surprising...

For these instrumental miniatures (here with the bonus of rare archives, some of which are previously unpublished) are uncontrollable: electronics augmented by lap-steel guitar (“Tina”), cunning pop (“Zazou sur la piste”), mechanic sound (“Une vie modern”), street piano (« French Kiss »), disturbing atmospheres (“La ballade des cardiaques”) or something like a TV theme tune capable of adjusting all the colours (“Telstar”)... With such promising ingredients, why stop Vidéo-Aventures from entering?

Nach dem Erfolg des offiziellen Anno 1800-Vinylsoundtracks feiern Black Screen Records und Ubisoft Mainz die populäre Aufbausimulation mit "The Four Season": Der opulente zweite Soundtrack entführt in die lebendigen musikalischen Welten der vier Erweiterungssets des Spiels und erscheint pünktlich zum 25jährigen Jubiläum der Traditionsmarke am 31.03.2023, natürlich auf audiophilem 180g Doppelvinyl. Alle neuen Musikstücke werden zur gleichen Zeit auf Spotify verfügbar sein. Das Album wird erneut in wunderschönem Klappcover mit Artworks von Ubisoft Mainz ausgeliefert und kommt mit kostenlosem Download-Code für den digitalen Soundtrack, inklusive 8 Bonustracks. Musikalisch dokumentiert die Doppel-LP nicht nur die enorme inhaltliche Abwechslung der vier Anno 1800-"Seasons", sondern auch die stilistische Bandbreite der Komponisten Steffen Brinkmann, Jochen Flach, Armin Haas, Alexander Röder, Tilman Sillescu und Matthias Wolf (Dynamedion). Die Stücke erzählen von versunkenen Schätzen und reichen Ernten, von Expeditionen in die Arktis und ins gefährliche Land der Löwen, von der Eroberung des Reichs der Lüfte oder dem überwältigenden Ausblick von den majestätischen Dächern der Stadt. Kurzum: Die Welt von Anno 1800 und der facettenreichen Spielerweiterungen wird als akustische Reise erlebbar gemacht. Anno 1800 ist eine von Ubisoft Mainz entwickelte und von Ubisoft veröffentlichte Aufbausimulation, in der Spieler die industrielle Revolution anführen, Metropolen errichten und mit Diplomatie, Handel oder Krieg um die Vorherrschaft wetteifern. Das erfolgreiche PC-Strategiespiel begeistert mehr als 2,5 Millionen Spieler auf der ganzen Welt mit einer Kombination aus bewährten Spielelementen, innovativen Neuerungen und dynamischem Spielverlauf in einer der spannendsten Epochen der Menschheitsgeschichte.

After almost two years of work, we're glad to invite you to a new journey through the fog of time and enjoy the upcoming reissue of the great Ambient/Folk record from 1984. A well-known to collectors but extremely rare record by Jon Iverson a multi-instrumentalist from Palo Alto and his college friend, mandolinist Tom Walters. They shared a love for singer/songwriter fare and gigged around campus playing covers of Neil Young, CSN, and Loggins/Messina in the late '70s.
"First Collection" was recorded during the Spring of 1984 in a small garage that had been converted to a one-room apartment in the seaside community of Los Osos, California.
With an instrumentation of 12-string guitar, piano, mandolin, analog synthesizers, and sampler, the duo has recorded nine bright, weightless, and diverse compositions where electronic experiments mix with ethnic rhythms, sweeping through inspired folk reminiscent of the work of William Ackerman, John Fahey, Master Wilburn Burchette, and Robbie Basho, to homemade pastoral space folk exuding sophisticated, pale, lunar sonic moods that somehow might remind of the work of Roedelius from the early 80s.
Equipment used for tracking included a rented 1/2" 8-track Otari MX5050 analog tape machine and assorted mics. With only a few thousand albums pressed, First Collection has become a collectable in some circles.
Now, almost forty years later, First Collection has been remixed and remastered from the original 1/2" tapes for this release.

Australian vocalist-guitarist Daevid Allen was a part of the highly experimental Canterbury scene, alongside the likes of drummers Robert Wyatt and Pip Pyle, before he relocated to Paris in the late ‘60s, formed Gong and made music that had a rare blend of on the fly creativity and off the wall humour. However, Banana Moon was a solo effort by Allen that saw him reunite with the aforementioned British kindred spirits as well as bassist Archie Legget and vocalist Maggie Bell, among others. The nine songs on the record run from interludes of just under a minute to epic suites that exceed ten, making it clear that Allen, as his work with Gong suggested, gave full vent to his imagination whether he was writing songs with a quasi-Beatles pop appeal or engaging in unrestrained sonic flights of fancy. With lyrical curveballs being thrown on every track, none more so than ‘Fred The Fish And The Chip On His Shoulder’, the music has a wry charm to match the performance skills of the band. This re-mastered version of Banana Moon brings Allen’s uncommon musical vision back in to view and serves as a reminder of the feverish and fearless energy that spurred on an artist whose work has lost none of its seductive shock value.

Under the moniker She Drew The Gun, songwriter Louisa Roach began by playing solo gigs around Liverpool, she quickly caught the attention of The Coral’s James Skelly who she began working with at Skeleton Key Records, recruiting band members along the way. At first glance Roach’s fuzzy psych-pop may suggest that the Wirral born songwriter is another ‘Cosmic Scouser’ but then you’re drawn into the spirit of rebellion, songs that rally against injustice and food banks and celebrate outsiderdom. Roach was late to music, releasing her first LP ‘Memories of the future’ after a decade of motherhood and studying at college.

The second LP ‘ Revolution of Mind’, released October 2018, again produced by James Skelly, continued the fine work laid out on her 2016 debut. Announced in the top 10 albums of 2018 by BBCRadio6 Music, the record was one of the runaway indie successes of the year. In 2019 the band completed a sold out UK tour and played a string of UK festivals including main stage performances at Glastonbury and Blue Dot among others. In 2020 the band played virtual gigs to help raise money for Greenpeace and the Music Venue Trust among others and look forward to a proper return to live music.

There's no denying the power of the drum. It's primal, it cuts across borders and most importantly, it makes you want to move. Ghetto Kumbé don't just understand that_they celebrate it, and it's why the tambor was at the heart of the Bogotá-based trio's 2020 self-titled debut album. Rooted in mysticism and the Afro-Caribbean rhythms they'd grown up with all their lives, the critically acclaimed LP thrillingly updated the traditional Latin template, folding in elements of modern hip-hop, house and bass music while also delivering a transportive Afro-futurist vision. On Clubbing Remixes, that vision has been further amplified, as Ghetto Kumbé_who were already one of Colombia's most prominent alternative acts_have now gone fully global; enlisting an all-star roster of artists from four different continents, they've put together a fresh version of their debut album that's been specifically geared to the world's diverse slate of dancefloors. As the title implies, the new LP is meant for the club, which is why Ghetto Kumbé have turned to Latin music heavyweights like Trooko_a multiple Grammy winner whose resume includes work with Lin-Manuel Miranda and Residente_and Monte (a.k.a. Bomba Estéreo founder Simón Mejía), along with top-shelf DJs like Nickodemus and Uproot Andy, two NYC artists who've spent decades championing Afro-Latin rhythms. True to the LP's global spirit, the record also includes reworks from batida maestro DJ Firmeza, fellow Afro-Portuguese outfit Studio Bros and Parisian house groovers Les Enfants Sauvages, plus genre-blurring remixes from sonically adventurous Colombians Montoya (himself another ZZK artist) and Cero39. Even the artwork on Clubbing Remixes is a remix, as Ghetto Kumbé have tapped Uganda's Denzel Muhumuza to transform the cover of their debut album into a new, explicitly Afro-futuristic illustration. Depicting a strong Black face and glowing neon fauna beneath a sparkling moonlit sky, the fantastical image speaks to both the ritual magic and Afro-indebted heritage of Ghetto Kumbé's music, and thanks to Clubbing Remixes, the group's passionate, drum-fueled sounds will soon be blasting out of sound systems around the globe.

‘Sinking Ships’ is the much anticipated seventh studio album from the acclaimed Alberta Cross. A gorgeous 10-track collection of modern indie-rock including an irresistible cover of Sharon Van Etten’s ‘Every Time The Sun Comes Up’.

The album is at times expansive & subtly anthemic, beautifully mellow, folk-tinged and awash with a layered, maximalist sound that variously recalls The War On Drugs, Bon Iver & Phosphorescent. At all times, lead singer Petter Ericson Stakee’s un-mistakable high-vocals, which have at times been compared to Jim James & Neil Young, soar through the music – particularly on album stand-outs ‘Mercy’ & ‘Glow in The Dark’.

The album was written mostly at the legendary The Wool Hall in Frome Somerset with Petter’s long term producer and collaborator, Luke Potashnick - who recently bought and renovated The Wool Hall (legendary in part due to Van Morrisson and Tears for Fears recording albums there).

French electronic producer Blutch is back with another supremely trippy EP “Condate” on home label Astropolis Records, featuring a remix from Azo.

This Brittany native has a broad, borderless sound that mixes up electronica, breakbeat, house and IDM with stirring emotional undercurrents that range from nostalgia to melancholy. Last year he served up his superb ‘Terre Promise’ album on the label, and once again, it combined a raft of different sounds on one majestic record. He again shows off his ability to layer captivating melodies over compelling rhythms on this fresh new EP which extends his LP released last year with a more dancefloor suite. "Condate" is the original name of the city of Rennes in Brittany, France, where he lives. A city he loves passionately. The tracks featured in this EP are mainly taken from his live act "Terre Promise". The cover artwork also comes from the audiovisual live act: a motion design work made by Romain Navier, mixing landscapes from Brittany and hallucinated 3D creations, dressing Blutch's stage with a fabulous work around the album's theme. These tracks represent the more festive part of the live show, just as Blutch's love for Rennes is also linked to its festive character.

First single ‘Condate’ is a physical cut driven by a slick breakbeat. Melodic rain falls down the face of the track as booming bass roots you to the dance floor, and once again, the whole track is doused in heavenly synth work and subtle waves of euphoria.

‘Condate’ is a perfectly impactful EP, both physically and emotionally. The EP drops on the 24th March (vinyl/digital).

Cruachan, irische Folk Metal-Pioniere mit einer 30-jährigen Erfolgskarriere, die sie auf die größten Metal-Festivals der Welt führte, veröffentlichen ihr neues Album auf Schwedens Despotz Records und heimsen direkt erste Lobeshymnen ein.

- 'From the uplifting excitement and energy of track one, The Living, this album grabs your heart and mind then drags them on a fantastic journey through haunting and foreboding stories put to sublimely beautiful folk and aggressive metal, constantly interweaving until we reach... The Dead.' - Jon Campling / Actor (Harry Potter, Final Fantasy)

- 'Now they return to find themselves as part of a folk metal scene that has rocketed in popularity to finally achieve the success that their influence on the genre merits.' - Terrorizer (UK)

Cruachan, irische Folk Metal-Pioniere mit einer 30-jährigen Erfolgskarriere, die sie auf die größten Metal-Festivals der Welt führte, veröffentlichen ihr neues Album auf Schwedens Despotz Records und heimsen direkt erste Lobeshymnen ein.

- 'From the uplifting excitement and energy of track one, The Living, this album grabs your heart and mind then drags them on a fantastic journey through haunting and foreboding stories put to sublimely beautiful folk and aggressive metal, constantly interweaving until we reach... The Dead.' - Jon Campling / Actor (Harry Potter, Final Fantasy)

- 'Now they return to find themselves as part of a folk metal scene that has rocketed in popularity to finally achieve the success that their influence on the genre merits.' - Terrorizer (UK)

Growing up in South Korea was difficult for the young Sun-Mi Hong, intent on a musical path but experiencing restrictions and negativity. Drumming became a refuge, a place to escape to. It took over her life and became an obsession for her. The sound and energy was a huge inspiration and helped channel the emotions she was feeling. Surrounded by negativity, criticism of her chosen path and pressure to follow a more secure, traditional career, her persistence and resilience prevailed and she made the move, a little over 10 years ago, to study in Amsterdam, an undertaking full of risk, facing a new culture with barriers in spoken and musical language. Step forward a decade and Sun-Mi has built a formidable reputation in her city, in the Netherlands and beyond, and is fast cementing her position as one of the leading up-and-coming talents on the European scene. Sun-Mi’s new record with her long-running quintet, balances meticulously crafted compositions with investigations into the great unknown of improvised music. Each record she’s released with the quintet up until this point, (First, Second and now Third Page: Resonance), chronicles her life as an artist and her unique path to her goal. Drifting between expressions of warmth and appreciation contrasted with moments of pure passion and catharsis, this is an album that cannot be ignored – it demands your attention and your focussed listening unlike anything else you are likely to hear.

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

Limousine has returned to this experimental ground where simplicity of composition, haunting loops and a sense of release are combined, but now voices come to dress their tracks and propel the vehicle into a new dimension.

Vocals in Limousine: a revolution for a quartet whose concept was precisely to do without them, so much so that they have often defined themselves as a band for singers who don't exist. From then on, the mission was to find that these singers, or singers, exist.

A cast that alternates iconoclastic figures and young hopefuls for a certified Grand Tourism trip: Malik Djoudi, Amber Burgoyne, Lucas Santtana, Victor Solf and Akhenaton take part in this new adventure. Rappers, singers or vocalists, these five performers slip naturally into Limousine's saps, as if each of the tracks had been specially cut for them.

Tropical stroll for the Brazilian Lucas Santtana, hip hop aside with AKH, soulful and intimate nocturne with the revelation from Brighton Amber Burgoyne or melancholic wandering with Malik Djoudi, Limousine purposely gathers a beautiful international French style.

For the rest, the quartet keeps its iconoclastic line and confirms its ability to create weightless themes.

In the end, Hula Hoop is an authentic Limousine album, whose elegance it perpetuates while constituting its expanded version.

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year "Thee First Will To And Testament Ov Psychick TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings ov a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways. Out of print for 23 years, this is the ultimate edition for Psychick Youth - meticulously remastered, with the track order finally arranged into what was the original show. Available as ltd white vinyl 2LP w/ inserts, classic black 2LP w/ inserts and CD in glossy digipak with 12-page booklet.

Die Rede ist natürlich von RAGE, die zunächst als AVENGER gestartet sind, bevor es dann zur Umbenennung kam. Nun werden die Alben der Jahre 2001 bis 2003 der Herner Metal-Legende mit Bonus-CDs mit etlichen Demoversionen (inkl. bisher unveröffentlichten Titeln) auf Doppel-CDs neu veröffentlicht. Besonders interessant dürfte hier für die Fans das Album „Welcome To The Other Side“ sein, das endlich als neu gemasterte Version (auch als Doppel-Vinyl) vorliegt.
Ein absolutes Muss für alle RAGE-Heads!

Writing for AllMusic, critic Stephen Cook wrote "Another fine Webster release on Verve that sees the tenor great once again backed by the deluxe Oscar Peterson Trio... to reassure Peterson fans worried about scant solo time for their hero, the pianist lays down a healthy number of extended runs, unobtrusively shadowing Webster's vaporous tone and supple phrasing along the way. Not only a definite first-disc choice for Webster newcomers, but one of the jazz legend's all-time great records."1

The sound of the classic period of Psychic TV - featuring Peter Christopherson and Geff Rushton (John Balance) of COIL, this full show is interspersed with recordings of the Pagan marriage between Genesis and Paula P-Orridge conducted by Sveinbjörn Beinteinsson Allsherjargodi. Psychic TV at their most esoteric, their most ritual, and often most extreme, a perfect accompaniment to the legendary 'Dreams Less Sweet' album of the same year. "Thee First Will To And Testament Ov Psychic TV. All our works remain interconnected, interfaced, and intentional. Thee Process is thee Product". These recordings of a live disconcert by Psychic TV in Reykjavik, Iceland that took place November 1983 organised by HÖH and GRAMM Records, to whom, eternal and infernal thanks all ways.

Gwendydd aus Sofia, Bulgarien, erobern die Extrem-Metalszene im Sturm. Die Female-Fronted-Band ist eine der sich am schnellsten entwickelnden Bands in der Szene. Die Band hat bereits ein Album veröffentlicht, das in Fachzeitschriften wie dem Rock Hard oder dem Metal Hammer auf großes Interesse gestoßen ist. Gwendydds zweites Album "Censored" ist der nächste Meilenstein in der Geschichte der Band und ein echter und brutaler Soundtrack verschiedener Realitäten, Hoffnungen und Träumen. Da sich die Welt nach langer Zeit wieder zu öffnen beginnt, wird die Band als Support-Act mit Dark Tranquillity und Ensiferum auf Tour gehen.

LIMITED EDITION CASSETTE
Formed in 1976, the Damned were Britain's first punk rock band.
By 1979 they had managed to disintegrate and re-assemble, way before it was fashionable.
By then punk rock and its neater sibling, new wave, were regularly producing real hits in the UK and the Damned were no exception, with three hit singles drawn from the “Machine Gun Etiquette” LP released that year.

Amniote editions readies the DCX capsule with two beat oriented releases focused on tripped out atmospheric sounds.

Moloch Horridus debuts with four beautiful cuts of electro belters spanning from straight-in-your-face-no-bullshit stompers to more meditative moods.

DCX-4: Moloch Horridus - Self Guard EP
12” & digital
All tracks written & produced by Tred

Parietal Eye returns in collaboration with Cantil for two versions of Final Destination - explorations of sizzling hi-tek sci-fi soundscapes and turbo-driven drum programming.

DCX-6: Parietal Eye & Cantil - Final Destination
Mesh print & digital
All tracks written & produced by Yuri & Internazionale

The artwork is designed and imagined by Amniote household art director and co-founder Rose Marie Johansen.

Death Cab For Cutie haben es geschafft mit ihrer dritten Platte einen Klassiker des "Quiet Rock" zu veröffentlichen. "Transatlanticism" ist all das, was wir zur Zeit an Rockmusik lieben. Seitdem das Klavier bei Rockmusik wieder mitmachen darf. Große Melodiebögen, die erst nach dem dritten Mal ihre Schönheit offenbaren, leuchtende Ernsthaftigkeit. Eine herrliche Platte. "Transatlanticism" beginnt mit dem Satz : "So this is the new year!" Jedes Mal wenn man diese Platte auflegt ist Neujahr, 4 Minuten nach 00:00 Uhr. Die Band hat die Option, uns durch das ganze Jahr zu begleiten. Mit ihrer Schönheit, Melodie, Vielschichtigkeit... Death Cab for Cutie haben sich 1997 in Bellingham/Washington gegründet. Der Sänger Benjamin Gibbard, dessen Stimme vielen durch sein Wirken bei der Sub Pop-Band Postal Service bekannt sein dürfte, wird von seiner Band - Christopher Walla (Gitarre), Nicholas Harmer ( Bass) und Michael Schorr (Schlagzeug) - durch dieses Album getragen. Wenn Sie schon mal ein wenig verliebt waren, dann hören Sie auf das Titelstück. Das epische 7:55 min lange "Transatlanticism". Und er singt:" I need you so much closer! So come on!"