Search:the s man

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

Rough Trade Shops präsentiert mit "Behind The Counter with Ian Rankin" den zweiten Teil einer Reihe, in der Künstler eingeladen werden, die Musik zusammenzustellen, die sie am meisten beeinflusst hat. Der schottische Autor und Musikfanatiker Ian Rankin folgt auf den Komponisten Max Richter, der 2017 die erste Ausgabe kuratierte. Als langjähriger Vinylenthusiast gehören in Rankins Auswahl auch Songs, die als Titel seiner Bestsellerromane dienten, wie etwa Jackie Levens "Another Man's Rain" (aus dem "Another Man's Grave" wurde) und "The Hanging Garden" von The Cure. Beide Doppelformate enthalten je 23 Tracks mit Begleittexten.

- "Ich treibe mich immer noch in Plattenläden herum und lege Vinyl auf, und ich erstelle immer noch Playlisten, für den Fall, dass sich die Gelegenheit ergibt, hinter der Ladentheke zu arbeiten", sagt Rankin. "Hier ist ein Teil dessen, was Sie hören würden, wenn Sie die Tür aufstoßen und in mein Kaufhaus kämen, Tracks, die ich mir immer wieder gerne anhöre."

"Between Two Fires is an album by English singer Paul Young. It was originally released in 1986 and peaked at #4 on the UK Albums Chart. The album, featuring a combination of cover versions with original songs written by Young and Ian Kewley, went on to achieve Platinum certification. It features the singles ""Wonderland"", ""Why Does A Man Have To Be Strong"", and ""Some People"" amongst others. In 2007, an expanded edition of the album was released on CD. This vinyl release of Between Two Fires presents this expanded edition for the very first time available on vinyl, including 7 bonus tracks containing 12"" mixes and B-sides. Between Two Fires (Expanded Edition) is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on flaming coloured vinyl and includes an insert with lyrics. "

Facsimile edition of the British export edition of this US compilation LP - Replica laminated cover and ‘flip-back” cover.

Julia Fehenberger, Oliver da Coll Wrage, Manuel da Coll - und schon wird FEH draus - und der TripHop der 1990er wird unangestrengt und elegant in die 2020er Jahre katapultiert. Die Drei, die schon seit Jahren befreundet sind, starten im Dezember 2021 ihr Projekt FEH. Sehr schnell ist klar, dass es da neben der Liebe zum TripHop auch das Bedürfnis gibt, den Wahnsinn der letzten zwei Jahre wenigstens musikalisch zu verarbeiten und ihm damit ein Stück weit auf die Schliche zu kommen. Erste Songskizzen entstehen und werden als Memo direkt ins Telefon gesungen und in die Runde geschickt. Man glaubt es kaum, aber genau so war es. Diese Arbeitsweise führt, auch für die Drei vollkommen überraschend, ziemlich schnell zu homogenen und einzigartigen Resultaten. Man taucht ein in die TripHopSzene der 90er, schemenhaft tauchen Portishead, Massive Attacke, Tricky oder auch Moloko auf. Was man aber eindeutig hört, ist diese Band FEH, die all diese Einflüsse zu ihrem eigenen Sound macht. Es könnte eine Bandreise und eine Reflektion der eigenen Jugend sein, eine Reminiszenz an diese Zeiten aber auch ein erwachsener Aufbruch in einen neuen Sound. Ganz ehrlich, ist total egal, klingt einfach supergut.

At long last! Finally on vinyl! Can Fifteen Great Christmas Songs be collected together on one lovely 12-inch vinyl disc featuring bands and artists from the Damaged Goods archives? …you betcha bottom dollar they can! Each song has been recorded with the Christmas spirit in full flow and we’d guess the odd mince pie was consumed along the way as well. The full-on Christmas feeling that is flowing through these wonderful tracks is a joy to behold and we implore you to not just read these sleeve notes but to go crimble-crumble-crazy and actually buy this record and treasure it, not only this year but for many years to come. We are very proud to have put this album together as Christmas is our favourite time of the year. We love the feeling at special Christmas gigs - the over-inflated people and prices of things and the way everyone just has to go out and drink as much as they possibly can in the name of the good old lord Jesus. We did this for you, and only for you because we really, really care and want to share the joy that only Damaged Goods Records can bring you at this special time of the year. So enjoy some great music from the likes of Will Billy Childish, Miss Holly Golightly, Helen Love, Goldblade & Poly Styrene, The Courettes and so many more and remember, this LP is not just for Christmas it’s for LIFE! Ian Damaged, National Elf

This 20th Anniversary Limited Edition 8LP Super Deluxe Collectors Boxset celebrates the critically-acclaimed album ‘How To Dismantle An Atomic Bomb’ – which won all eight Grammy Awards for which it was nominated, including ‘Album of the Year’. The original album - now remastered for the first time – includes the global hit singles ‘Vertigo’ (winner of three Grammy Awards), ‘City Of Blinding Lights’ and ‘Sometimes You Can’t Make It On Your Own’. This unique boxset also includes the shadow album, ‘How To Re-Assemble An Atomic Bomb’, featuring new, unreleased songs recently rediscovered in the archive of the original HTDAAB album sessions.

For Talia Hoit from Colorado, who has been classically trained to play the piano since the age of five, her early musical education has definitely paid off. Now she writes original songs, performs on vocals and keyboards, and composes orchestra scores for symphonic metal. For many years, she has also had a passion for writing songs outside of any formal band situation, and is now working with talented producers and musicians to bring her most personal and intimate songs to life to share with the world. For five years, Talia was the keyboardist and a songwriter for the band AnaDies. Presently she is the lead singer, orchestrator and co-songwriter in the symphonic metal band Beyond Forgiveness and the keyboardist for the metal band Ob Nixilis. As a solo artist, she recorded two original home studio albums for personal purposes, Fate’s Too Small (2007) and A Little Longer (2012), which had a limited physical CD release only, mostly just for friends and family. Back in 2019, she recorded the single Angel (produced by Jarek Musil), which just recently received a new master, and after the experience of working with a professional producer she decided to pursue her solo project, to professionally produce and commercially release as many of the personal songs she had written over the years as possible. In 2023, she released two more singles: Abandon and Whispers in the Storm. Her extensive experience in the music industry and understanding of classical music are quite audibly reflected in these works, which show a high level of quality and expertise. Talia’s music is definitely a treat for symphonic metal fans and heavy music lovers, showing influences of bands such as Within Temptation, Nightwish, Evanescence, and Visions Of Atlantis.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

Released to celebrate the 70th Anniversary of these sessions and the 75th Anniversary of Prestige Records, “Miles ’54” brings together 20 tracks recorded by the saxophone legend in 1954, across 4LPs.

Including cuts from the albums “Miles Davis with Sonny Rollins,” “Miles Davis Quintet,” “Miles Davis All Star Sextet,” and “Miles Davis Quartet” the album features Sonny Rollins, Charles Mingus, Horace Silver, Art Blakey, Thelonious Monk and more. Included are new liner notes by GRAMMY® Award-winning music historian Ashley Kahn and session notes by Dan Morgenstern, with mastering by Paul Blakemore.

MC5 (Motor City Five), the legendary Detroit band. Their first single (included here) was released in 1967. In 1968 they played the infamous Democratic Convention that turned into a police riot, and they went on to be the "Official White Panther Party Band". Their manager John Sinclair became a hippie martyr, after being jailed for 10 years for 2 joints, inspiring John Lennon"s "10 For 2" song. Thrown off their first label Electra, they signed to Atlantic for 2 more albums but only achieved underground success. Now greatly revered as one of the seminal rock"n"roll bands and a huge inspiration for punk. Thunder Express documents their last and first studio works: - six tracks recorded in France at Studio Castle Herouville for a TV show in 1972; plus four tracks from their debut singles from "67 & "68. The title track is not available elsewhere. In 2024 MC5"s guitarist Wayne Kramer, drummer Dennis Thompson and manager John Sinclair all passed away, marking the end of the MC5 era.

Born in Recife, Brazil, and currently residing in Lisbon, Sam Nóbrega is a singer-songwriter, multi-instrumentalist, arranger, and producer.Influenced by the Brazilian melodies his parents sang and listened to at home and on the radio, and driven by his love for Brazilian folk songs, street culture, and genres and movements like samba funk, forró, Ijexá, Manguebeat, and Bossa Nova, Sam embarked on a journey of musical self-discovery. In 2017, he took the stage with his first shows presenting his original music, performing at the Misturada festival in Florianópolis, southern Brazil, and at renowned venues in his hometown. However, it was in 2019 that Sam Nóbrega unveiled his debut single, "A Vida Vai e Volta," showcasing his instrumental prowess in a live video on top of a building. Subsequent releases like "Ruas Desertas," an independent release during the pandemic, demonstrated Sam's versatility.

His debut album "Ponta de Dois Lados," produced by Sam and Pedro Diniz, is slated for release by the British label Freestyle Records late November 2024. It is a rich sonic tapestry of Brazilian culture, blending traditional and popular elements with an indie and contemporary touch, creating an intriguing fusion of old and new sounds. Influences from João Donato, Marcos Valle, Milton Nascimento, Jorge Ben, Gilberto Gil, Novos Baianos, to the Manguebeat, Tropicalismo, and Vanguarda Paulista movements.

Phonica AM proudly introduces the latest release from upcoming Irish-born producer and DJ, Rhythms Of Prescott. For fans of Pepe Bradock and Derrick Carter, this record is a must-have.

The A-side kicks off with 'Beat Heat', a driving filter house monster underpinned by dubbed-out percussion, playful vocal interjections, and infectious disco stabs. Following up is 'RGRT', which delves into a deeper vibe with slick jazz samples and a pulsating filtered bass line. The B-side brings 'The Instigator', a tension-filled mind melter perfect for early morning trippiness, featuring Rhythms Of Prescott's masterful sample manipulation and unique wonkiness.

This release showcases Rhythms Of Prescott's raw approach and jackin' sample manipulation to rock any dancefloor.

“Music is my forever cove,” writes Portland, Oregon’s Luke Wyland of the ideas that give shape to Kuma Cove, his latest album under his own name. Though named after a real place on the Oregon coast, Kuma Cove casts its gaze far beyond the sightseer’s line of vision. Recorded live in the studio and blurring obvious lines between computer-based composition and electro-acoustic instrumentation, it is an album about flow, borders, transitory states, and shelter. Composed of discontinuous ripples and repetitions (“I’m forever searching for a better descriptor than looping, which feels too simple and flattened by overuse,” Wyland says), shaped into richly emotive arcs, and informed by his experience as a person who stutters, it is also an album about identity, self-expression, and the energies that sluice through and across what we perceive as linear time—like floodwaters seeking an exit, like streams running into the sea.

Artist’s Statement:
I made this record while spending significant time in the woods by the Sandy River in Corbett, Oregon,
where I've had my studio for the last five years. It is a diary of spontaneous live recordings edited to highlight the moments of clarity that emerge from long-form improvisations. These compositions express a slowing internal rhythm. An unwinding. A somatic recalibration as I enter middle age. A newly empowered vulnerability.

Here are the internalized cadences of my stutter, flowing freely from my fingers. The musicality of my disfluency is revealed in its frictions, elongations, and foreshortenings. Disruptions in linear time, where the bubbling cadences of my stutter find unexpected pathways, reveal the elasticity of the present moment. This is my idiosyncratic language, shaped and inspired by my disability. Subliminally mirroring internal processes, neural firings, cognitive entanglements...

The title, Kuma Cove, refers to a beloved cove on the coast of Oregon my wife and I return to yearly. There has always been something so magnetic about coves. The way they cradle one from the overwhelming enormity of the ocean beyond, muting a primordial fear. I experience these improvisations as ecosystems I'm able to inhabit for stretches of time, embodying the particular rhythms and sensorial textures within each. Music is my forever cove. Everything you hear is created live in Ableton on a setup I've been honing for 15 years. I celebrate MIDI and computer music as an extension of self and strive to make it as expressive as any analog instrument. I was a visual artist for the first half of my life and quickly adapted those skills to composing and producing on a computer. The transition felt natural within the landscape of DAW's interfaces, especially as a synesthete. Ableton and its community of Max creators continue to surprise me with its expansiveness.

I'm forever searching for a better descriptor than looping, which feels too simple and flattened by overuse. I envision sonic loops as tangled masses of time, three-dimensional knots spinning on tilted axes, or overlapping wreaths refracting out a myriad of colors. My practice is continually refocusing my ear to what is revealed in the repetitions, searching for the fingerprint of each. I find it incredible how technology lets us manipulate time like this. Nothing on this record is quantized or locked to a universal bpm. Experiencing numerous tempos at once feels important. Recordings as mirrors. Freedom from expected (conversational) flow as we hold time for each other.
-Luke Wyland, August 2024

Artist Bio:
Luke Wyland is an interdisciplinary artist, composer, and performer based in Portland, OR (USA). Wyland has been releasing critically acclaimed records for the past 20 years in the groups AU and Methods Body, as LWW, and under his own name, working with such labels as New Amsterdam, Beacon Sound, Balmat, The Leaf Label, and Aagoo Records. As a person who stutters, Wyland’s approach to music is informed by his idiosyncratic relationship with language. Wyland believes deeply in the cathartic power of live performance as a means for collective healing. Through an interdisciplinary art practice that focuses on improvisation, somatic embodiment, bespoke tuning systems, the cadences of disfluent speech, and time manipulation technologies, he’s collaborated with choreographers, high-school choirs, filmmakers, sound designers, and renowned musicians such as John Niekrasz, Holland Andrews, Colin Stetson, and Abraham Gomez-Delgado. He’s also the co-creator of the “It’s A Fucking Miracle” dance class with Tahni Holt.
Wyland has toured nationally and internationally and performed at the Whitney Museum, Ecstatic Music Festival, Issue Project Room, PICA’s Time-Based Arts Festival, End of the Road Festival, and Les Nuits Botanique, among others.

Gavin Vanaelst runs the space Aboli Bibelot in Antwerp where exhibitions and musical performances can happen side to side with dealings in centuries-old furniture and unique pieces of folk art or volkskunst. Gavin makes music under the aliases DJ Charme, Kassett and So Sorry. This is the first album under his birth name. Takeaway Loops cycles back to the days when Gavin was working as a courier for .

is a food delivery company. Their couriers - ehm, brand ambassadors, as the company prefers to call them - dressed in bright orange, they race their bikes around the city. They deliver meals and groceries for all sorts. Thanks to them, the privileged can stay tucked in their private spaces. Interaction between the two groups - the privileged and the brand ambassadors - is mostly kept to the bare minimum. And sparse communications are often driven by annoyances - “my Coke is warm because you kept it too close to the French Fries.” And on the streets the general public dis-approaches the brand ambassadors with pity. We tell our peers: “That’s not a good job,” and “stay away from the Sharing Economy.” Because, you know, in our capitalistic dollhouse we all stand our grounds and play our parts wholeheartedly.

During his shifts for , Gavin recorded location sounds on his phone at fast food restaurants while waiting on the orders he had to pick up and deliver. Later in his home studio Gavin added piano and electronics to this source material. The result: a gloomy soundtrack for a shadow world. Seven songs in evening blue with a bright orange glare.

A few years ago, our favorite Belgian publishing house Het Balanseer released Seizoenarbeid by Heike Geissler (available in English trough Semiotext(e)). Geissler writes about her job at Amazon in Leipzig. Because her writing and freelance work did not pay the bills any longer, she was forced towards this underprivileged shadow-world of unwanted jobs. Seizoenarbeid shed a light on freedom in an unfree world. A monument of ‘we are all in this, but not together’. Takeaway Loops gives us a similar peak in a world that is at the same time so visible, but then also very veiled for many. A world that we prefer to use, yet that most of us prefer not to see - a world that we don’t like to enter.

Last year at Harbourland subway station in Kobe i was mesmerized by its sound design, created by Hiroshi Yoshimura. For each part of the subway station he composed a short phrase. While walking trough the station, a full composition grows in your head. The looping melodies guide you trough a microworld. Trough a blue world of commuters, of the homeless, of the lonely, of the fast paced, of the tourist. Gavin creates a similar effect with Takeaway Loops. The tonality somehow corresponds to Yoshimura’s work. Yet instead of being guided trough a building, we are now taken to the after dark. You feel the concrete evening heat of the city. You hear the rain. Stiff fingers during cold winters’ nights. You are alone on the bike, cruising. Your maps app telling you where to go. You just left the fake leather bench of the well-lit pastiche interior of a fast food restaurant.

Next order, number ECN44! Please wait outside, sir?

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

High Hopes - New album from the Mole.
High Hopes is 17 songs across 40 minutes on one slice of wax that, as advertised, sounds nothing like last month’s Ep, High Dreams. Here, rather than the long form dance form, is a continuation of the beat tape pacing from the last album, a collection of moments posing as ideas posing as a narrative stuffed with oddities and surprises that reward the close listen.
What’s heard on High Hopes is the Mole’s exploration of a love letter, from one person to a family, from the northern Pacific to the southern Atlantic, from a boy to a painted bird. Vancouver Island to Manantiales. The songs range from ambient sound bath and hip hop sludge, up to micro boogie and almost House before tumbling back down and forth again. Bubbling synths, MPCs swung out, samples chopped and chewed, bass and violins from Rick and Sophie, field recordings of birds and frogs and beaches, friends and family and fiestas. Did we mention the love ?! This album has got it all! Original collages from Antonio Carrau envelope this wax: jacket, sleeve and cookie. Antonio’s work is typified by playful combinations and bold statements about living in a embrace of analog and digital health. His co lages marry the corporeal world with an updated, digitalized age of reproduction, inducing feelings of gratitude for the simple everyday scenes we sometimes lose touch with when we forget to slow down. Good living, like breathing, requires inhaling as well as exhaling.
We can’t always produce content, make art, we must also pause, and listen. And enjoy. The Mole is joined by friends and colleagues on several songs included on High Hopes. Rick May plays bass on both Que Rico and album stand out GoinF4er. Sophie Trudeau (Godspeed You Black Emperor) plays and arranges violins on GoinF4er and Danuel Tate (Cobblestone Jazz) and Julz Chaz (Wagon Repair) both play Vibes and Emaxx throughout the album. Working with these incredible talents not only enriched this album, but fulfilled a long standing goal of the Mole’s; to work again with the musicians from whom he learned so much. People who helped inform the shape of Mole to come.
The Mole who was As High As The Sky. The Mole has been ‘recognized’ by the ‘global underground’ since his critically celebrated premiere album, As High As The Sky, but his earlier Eps (Wagon Repair, Philpot, Musique Risquee) got the attention of Top DJs, clubs, and festivals around the world first. His sound remains unique, fresh and deep: enjoying plays in a wide variety of spaces and places.
High Hopes is the Mole’s 5th solo album and his 2nd album for Circus Company (The River Widens) who have also proudly released two eps of Mole magic (Little Sunshine, High Dreams).
*Isn’t that too much time for one record? Short answer - No. Long answer - depends on the material. Due to the many quiet passages in the album, the groove spacing can be modulated and the needle can slow it’s progress towards the center/end resulting in longer sides with continued high gain and low distortion.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

"In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further. Meanwhile the Queen's family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war. All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night's Watch, is all that stands between the realms of men and icy horrors beyond. Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy, atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time. Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert."

On November 8th, 2Tone Records/Chrysalis Catalogue will release a 40th Anniversary Half-Speed Mastered Edition of The Special AKA 'In The Studio' album. This release has been liaised and approved by the band's founder and main songwriter Jerry Dammers. Formed in Coventry in the mid-1970s, The Specialswas the idea of musician Jerry Dammers, who brought together an eclectic array of individuals to fulfill his vision of a multi-racial band, fusing the energy of punk with the legendary but, at the time, often overlooked, sound of Jamaican ska. The band rose to prominence along with the 2Tone movement, which included two No. 1 singles, Too Much too Young and 1981's Ghost Town, which theme still resonates today before Terry Hall, Lynval Golding and Neville Staple left to form the Fun Boy Three and Roddy Byers left to tour with his band the Tearjerkers. The remaining members, Dammers, Bradbury and Panter, recruited guitarist John Shipley from The Swinging Cats, ex-Bodysnatcher Rhoda Dakar and lead vocalist Stan Campbell,reverting the original band name of The Special AKA and set to work on a new album. Released in 1984, 'In the Studio' was a brave mix of bold and challenging music, with a strong political, social and moral conscience. The album made it into the Top 40, and while it might not have been a huge commercial success, it was, and still is, an astonishingly unique work: a haunting, claustrophobic mix of lounge, soul, reggae, jazz and Arabic rhythms, with uncompromising subject matter. It featured two classic singles: the joyous, yet serious rallying anthem for the then imprisoned South African ANC leader, 'Free Nelson Mandela', and 'What I Like Most About You Is Your Girlfriend'. As time has gone by, the status of 'In The Studio'has grown, and today it is rightly viewed as a genuine lost classic. Like the previous two Specials 40th Anniversary vinyl editions, this has been newly remastered and cut at half-speed by Miles Showell at Abbey Road Studios, London. Format: Wide spine sleeve, 2LP 180gm Black Vinyl cut at 45rpm with insert inside and OBI.

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

Jan Anderzén - living in Tampere, Finland - is a collage artist making music, quilts, drawings, mosaics, videos and other things. From him, among a few others, sprang the The River of Finland. A stream that shook the European underground for infinity, back from the years 2005 and up. Jan is/was involved in acts like Kemialliset Ystävät, Avarus, Tomutonttu and The Anaksimandros. When in the past some of that River of Finland tasted like a fermented ocean of mycelia - today it tastes different, like sparkling water.

Halki pilvien - transl. Trough the clouds - brings exactly what one expects from the clouds. It is a collection of soft and gentle movements, as playful as a ‘Jan Anderzén type of music’ is always. A collection of patterns that solidify for just a brief moment in time, before sublimating in the back of the mind. This album is in constant motion.

Push play. A warped piano and cartoonish SFX’s might foretell a hyperreal approach to music. Yet while the champion of hyperrealism, Noah Creshevsky, describes his music as being written in a language we already understand (realism) yet in an exaggerated manner (hyper) - I have to add that things on this album do not sound exaggerated at all. Moreover, i have the feeling that somehow on this work, Jan is trying to underwhelm us. In the best possible way. Because clouds float trough and dissolve. Thus instead of hyperrealism, is Jan maybe speaking to us in a certain Serenerealism? Or Mildrealism?

What Jan’s music does have in common with Creshevsky’s is the no rush part. Listening to Halki pilvien makes time non-directional. The music seems to be designed to be played over and over again. This music has no direct impact like one can experience at a punk show, or at a classical music concert. This music is not that one gigantic raincloud covering the world dark. Quite the opposite, it is a pattern of clouds and clearings, floating over the lands. Trough this music a shadow play appears. This music is durable.

And it is when the sounds are at its faintest, that Jan touches the core: in the smallest detail, we find the fullest musical information.

In Game of Thrones Season 5, nine noble families fight for control of the mythical land of Westeros. Political and sexual intrigue is pervasive. Robert Baratheon, King of Westeros, asks his old friend Eddard, Lord Stark, to serve as Hand of the King, or highest official. Secretly warned that the previous Hand was assassinated, Eddard accepts in order to investigate further.

Meanwhile the Queen’s family, the Lannisters, may be hatching a plot to take power. Across the sea, the last members of the previous and deposed ruling family, the Targaryens, are also scheming to regain the throne. The friction between the houses Stark, Lannister, Baratheon and Targaryen and with the remaining great houses Greyjoy, Tully, Arryn,Tyrell and Martell leads to a full-scale war.

All while a very ancient evil awakens in the farthest north. Amidst the war and political confusion, a neglected military order of misfits, the Night’s Watch, is all that stands between the realms of men and icy horrors beyond.

Game of Thrones has always featured excellent music. The opening theme is practically iconic at this point, having been played and covered so many times. Composer Ramin Djawadi’s heavy,
atmospheric tunes have always helped set the mood, no matter what tone the show is going for at any given time.

Game of Thrones Season 5 (Music From The HBO® Series) is available as a limited edition of 750 numbered copies on translucent red coloured vinyl and includes an insert.

"Good Lovelies are proud to reissue their holiday classic EVERGREEN just in time for the upcoming holiday season. Originally released in 2019, this fifth anniversary limited edition of 500 has been pressed on beautiful peppermint green vinyl.

Caroline Brooks, Kerri Ough and Susan Passmore are a trio of songwriters, multi-instrumentalists, and gorgeous harmonizers known for their nostalgic sound during the holidays that crosses between folk-roots, old-time swing, soul and bluegrass. ""Evergreen"" includes three original songs that the band have added to the Christmas canon alongside their versions of songs like ""Little Saint Nick"", ""Christmas (Baby Please Come Home)"" and ""(Everybody’s Waiting For) The Man with the Bag"" to really get you in the mood for the season ahead.

The band’s annual Christmas tour hits the road again this December, bringing classic holiday songs, timeless winter selections, and original Good Lovelies material to the stage. A Good Lovelies holiday show is a guaranteed good time for the whole family.

“...while most festive albums are best experienced during the correct season, when it comes to the amazing talents of the Good Lovelies, the rule book can be tossed out.” - GREAT DARK WONDER -

“Some of the most gorgeous Christmas harmonies you’ll ever hear on an album jammed full of warmth and good cheer. Featuring a mix of fun favorites, lesser-heard gems and three truly fine originals, the trio strikes the perfect blend of smiles and sentiment...” - BOB MERSEREAU

Good Lovelies first came together in 2006 and have since recorded thirteen albums, including two Christmas collections. They have toured extensively across North America, Europe, the UK, and Australia, and have earned such accolades as a JUNO Award, a SOCAN #1 Single award, and four Canadian Folk Music Awards. Their latest album “We Will Never Be the Same” is in stores now."

RTJ3, the third outing by the firebrand rap duo of Killer Mike and El-P, features a cadre of talented guest performers, including Zach de la Rocha, Danny Brown, Tunde Adebimpe of TV On The Radio, Kamasi Washington, and more. The album is "essentially the Run the Jewels manifesto, an outpouring of rage and defiance that never loses sight of the objectives: rallying the troops, holding all accountable, and toppling oppression." (Pitchfork)

Released on Christmas Day 2016, the album charted in 11 countries, with its breakout hit from the album, "Legend Has It", being featured in the Super Bowl advertisement for the global blockbuster feature film "Black Panther". Embraced by fans and critics alike, it's received praise for its near-perfect execution as well as its sharp, visceral observations, blistering beats and superb guest artists, cementing RTJ as one of the most important artists of its era.

Multi-talented artist Poppy Ajudha will be announcing her sophomore album, titled ‘Poppy’, which will be released 22nd November 2024. This follows Poppy’s triumphant return to releasing music this year with the release of 'My Future', following a two year hiatus. ‘Poppy’ was created alongside Mike Malchicoff (Kanye West/King Princess) with contributions from the likes of producers Maestro (Rihanna), Fred Ball (Alicia Keys/Raye/Mariah Carey), Grades, (Kali Uchis, Dua Lipa, Britney Spears), and Travis Sayles (Ariana Grande).

Poppy says: “I can’t believe I’m writing this, but my sophomore album is finally coming out! After numerous trips back and forth from London to LA, millions of revisions to perfect each song and a lot of moving the track listing around, I’ve made an album I’m so in love with, with people who I felt truly seen by, who I respected and found a natural synergy with. I really put everything into this album, it is a reflection of my growth over the last 2 years, an outward pouring of my raw vulnerability, the inner workings of my chaotic brain and the deep desire I have to challenge myself with everything I do. I’m really proud of what we made, and I hope that when you hear it, it means something to you too.
Thank so much to all the special people who contributed to the making of this project, the producers, engineers, musicians, visual creatives, the friends who listened to me while I processed my life in order to write it down, I wouldn’t have been able to manifest this dream without you.”

Alongside the announcement of her upcoming album, Poppy has also released new single ‘Lean On Me’, a bold pop banger about the importance of community and showing support for each other even during challenging moments. ‘Lean On Me’ was written by Poppy with production from Wesley Singerman (Kendrick Lamar/Anderson Paak).

On ‘Lean On Me’, Poppy says: “We realise true friendship in the moments we are most vulnerable with each other. When I wrote ‘Lean On Me’ I was going through a breakup and struggling to make sense of my world. My friend who was experiencing their own kind of grieving found the time to give me the advice I needed, and the next day I wrote this song about the power of friendship, community, unconditional love and showing up for each other through our hardest times.”

Wicked: The Soundtrack features performances by the stars of Universal Pictures’ new cinematic event, Wicked, with music and lyrics by legendary Grammy and Oscar® winning composer and lyricist Stephen Schwartz. The soundtrack includes songs performed by Emmy, Grammy, and Tony winning powerhouse and Oscar® nominee Cynthia Erivo (Harriet, Broadway’s The Color Purple) as Elphaba and Grammy-winning, multi-platinum recording artist and global superstar Ariana Grande as Glinda. In addition, the soundtrack features the musical talents of Oscar® winner Michelle Yeoh as Shiz University’s regal headmistress Madame Morrible; Olivier Award winner and Emmy nominee Jonathan Bailey (Bridgerton, Fellow Travelers) as Fiyero, a roguish and carefree prince; and pop culture icon Jeff Goldblum as the legendary Wizard of Oz. Based on one of the most beloved and enduring musicals on stage for the past two decades, the spectacular, generation-defining film adaptation of Wicked is destined to be the most talked-about film of the holiday season. The official soundtrack track list includes iconic Wicked songs “Defying Gravity,” “Popular,” “Dancing Through Life” and more, performed as you’ve never heard them before! Wicked, in theaters November 22, 2024, is the first chapter of a two-part immersive, cultural celebration. Wicked Part Two is scheduled to arrive in theaters next year, on November 21, 2025.

Crankers of amp, torturers of fuzzbox and denizens of small-hours salvation, Thee Alcoholics dished out a rancorous and righteous debut in their decent `Feedback' - one that filtered gnarled riffage and motorik malevolence through a uniquely debauched prism in pursuit of some extremely ill-advised audial dystopia. Thee Alcoholics may have started life as the home-birthed brainchild of Rhys Llewellyn (Hey Colossus/Acidliner/Drmcnt) yet an evolution since has proven the ultimate form of this beastly creation to be the live arena. In assembling cohorts to turn these visceral jams into something to shake rafters and rattle pint-glasses, new frontiers of ornery intensity have made themselves manifest, and such is the form of the monstrous Bear Bites Horse Sessions, a live-in-the-studio document recorded with Wayne Adams at Bear Bites Horse studio in Haggerston, London, chronicling a band breathing life into a Stoogian paradigm, and doing so apparently whilst barely breaking a sweat. Taking essential elixirs of in-the-red mania, hypnotic repetition and deathless swagger, these twelve jams walk a crooked path that neighbours the nihilistic vortex of Loop, the saturnine lurch of The Fall and the deadpan derangement of The Heads but remains possessed of a maverick charisma and mischief all its own. Lovers of lysergic heaviosity and the sound of a Marshall 4x12 violently spluttering its last will find much to satisfy here, but moreover Bear Bites Horse Sessions is a testimony to sonic punishment as a gateway to new horizons, audial excess as a path to wisdom, and answers, right or wrong, being found in the bottom of a glass.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

Oscar Smit (DJ Oscar) has been a fan and collector of, especially the latest, Christmas music
since the 1980s. As a connoisseur, he is invited almost annually by the national Dutch radio.
As a journalist, he writes for the Christmas blog Christmas A Go Go and music magazine
OOR.
“Nowadays, there are many young acts active in the Dutch underground scene that I find
original and good. I enjoy their concerts, which usually take place in small clubs. Being a
huge fan of Christmas music, I got the idea to ask a couple of my favorite young artists to
record a contemporary Christmas song. They could do this with complete freedom. Dutch
electro-garage duo De Delegatie chose to cover a song by Daniel Lohues (singer of Skik) and
Herman Finkers from 2009. The choice of the Haarlem electro-wave band Dorpsstraat 3
goes even further back. In 1976, Dutch ‘volks’singer Andre Hazes had his very first hit with
this Christmas song. The Amsterdam punky female trio Earwurms recorded a contemporary
and adapted version of ‘Jingle Bells’. Schlager punk trio Yodel Queen also includes two
women. They provide an impression of a flexitarian at the Christmas dinner. Both girl bands
are appearing on vinyl for the first time. XA4 is Xavier Boot. He has already released an
album on Philip Glass’s label and treats us here to minimal Christmas music. In contrast,
there is the maximal danceable dark-electro from the Amsterdammer Raderkraft. He has
already released a few records and is quite well-known abroad. On this record, Stippenlift,
a one-man project from Amsterdam, has the most experience with Christmas music. Every
year, he writes a new Dutch-language track, usually sad or melancholic in tone. This very
danceable song sounds optimistic for his standards. Truus de Groot is a category of her
own. She has been making music since the early eighties, in bands like Nasmak or Plus
Instruments. She is still active and proves that you can still make urgent music after such a
long time. She is an example for many young musicians. Her song is a variant of the music
from the timeless Charlie Brown Christmas film.” — Oscar Smit.

"Can machines sing? With his Synthetic album cycle, Rich Aucoin answers that question with a resounding, exuberant ""yes."" The four-part project sweeps listeners through a gallery tour of synthesis history, giving voice to a chorus of specimens from the past century of electronic sound. On Season 3, Aucoin deepens his dive into the variegated genealogy of dance music, charting a joyful course through the many flavors of rave euphoria.

From March 2020 through February 2024, Aucoin recorded Synthetic: Season 3 during a series of visits to the National Music Centre in Calgary and the Vintage Synthesizer Museum in Los Angeles. Among these collections, he found historic synthesizers ranging from the ubiquitous to the esoteric, each with its own voice just waiting to be jolted to life. During these sessions, Aucoin took the opportunity to air out some of synth history's most iconic instruments.

From the mass-produced to the bespoke, each synthesizer on Synthetic: Season 3 sends a transmission from its makers' own historical vision of the future. The instruments' tactile interfaces -- from fields of patch jacks to 50-year-old optical discs to rows and rows of voltage dials -- all lend embodied dimension to the practice of shaping sound from raw electricity. Each of them carries a story about what might have tumbled into being from the moment of their creation. In awakening these machines, Aucoin cross-pollinates a choir of futures into an ecstatic, reverential present."

Flat Duo Jets: White Trees 2024 Remaster Fronted by the late Dex Romweber. The duo’s fourth album was the first album of all original material. Produced by Caleb Southern, White Trees is a Jets’ masterpiece that proved that Romweber could diversify his band’s material without losing his recklessness and urgency.

Dex passed away earlier this year on February 16th and this reissue is dedicated to his memory and legacy. Jack White from the White Stripes has called Dex and the Flat Duo Jets a major influence when starting out. White declared that seeing the Jets for the first time “opened up a whole new inspiration for me about the guitar.” And he was downright effusive in the 2006 cult-classic Romweber documentary ""Two Headed Cow"", calling Romweber “a huge influence on my music… one of the best-kept secrets of the rock & roll underground.” In 2009, White recorded a seven-inch with Romweber, and in 2011 he reissued the Jets’ long-out-of-print 1991 album Go Go Harlem Baby on his Third Man Records imprint.

“[White Trees] by North Carolina’s Jets is a tarnished neo-rockabilly gem. Dexter Romweber’s battered honk is the perfect voice to wrap around these twisted tales about Charlie Dick (Patsy Cline’s hubby), UFOs, and dining with Van Gogh. It’s as if the ”Eraserhead” soundtrack were recorded at Sun Studios and sent to Weekly World News for editing.”- Entertainment Weekly Arguably the busy Duo’s most accomplished set, ‘93s handily diversified White Trees jumbled stylistically antiquated originals in a cohesively dignified manner. -Beermelodies"

We are excited to present you with the soundtrack from the Netflix film Rustin, composed by the renowned saxophonist, conductor, and jazz composer Branford Marsalis. Branford is a highly respected figure in the jazz world, with an impressive list of accolades including three Grammy Awards, one Tony Award, and one Emmy. He is also a member of the illustrious Marsalis family, a dynasty of jazz musicians.

If Katsuhiro Otomo’s Akira were a utopia instead of its opposite, this EP could be a possible sound track. Using the ingredients of classic house as a platform (pianos anyone?), Nick Nikolov‘s imagination as a producer for his new new NKLV project is far too vivid to stay on the beaten track.

The sound design and nerdy attention of IDM and ambient (Clusters) connects with the brazen boogie approach of the French touch, micro-sampling manifestos have to stand up to the weirder moments of signature sounds like Basement Jaxx or KiNK‘s musical side (Heartbeat). Not too far off from his peer‘s early approach, the Bulgarian‘s take is emotionally charged, play- and powerful.

For instance, Speak to Me and No More hit their respective topical nails on the head and the EPs title track Inbetween is sultry serotonin soul. If you are looking for plain and pure euphoria in between all the hardships, happiness is just around the bend.

7A Records is proud to present our deluxe reissue of Robert Gordon's Rock Billy Boogie album. It has been remastered and expanded with four bonus tracks, features extensive liner notes and is pressed on 180g Pink Vinyl. Robert Gordon entered New York City's Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon-twelve years Presley's junior-was high atop many lists. Gordon's vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York's vibrant punk scene. In late 1978, Gordon was signed to Presley's longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon's 1980 cover of John Beveridge and Peter Oakman's "A Picture of You," a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: "Lonesome Train (On a Lonesome Track)," "Summertime Blues," and "Red Cadillac and a Black Moustache."

The Hippo Sound System is a collective formed in 2018 by Bristol UK’s notorious ‘samba junglist’ DJ Hiphoppapotamus. "Origins" is their long-awaited debut album!

Touring the festival scene across the UK and Europe their explosive live performances have earned them a well trusted reputation for blowing up dancefloors, moving feet and uplifting souls! Their tracks have been featured on BBC Radio 1, BBC Radio 1Xtra, BBC Radio 6 by Jeremiah Asiamiah, Don Letts and Craig Charles. Don Letts also included their track “Into The Jungle” on his “Best of 2020” round up. Fusing their favourite elements of world music and sound system culture, they explore new possibilities between musical cultures, fusing ancestral rhythms with modern dance music.

Percussive rhythms and heavy bass drive this vibe train as this Hippo and his percussionist/production partner, Munki, draw influence from all over, Including Afro/Latin/world music, Jazz, Hip Hop, House, Breaks, Dub, Drum and Bass & Jungle for their productions. The result? A uniquely high energy and psychedelic global bass sound – complete with the flair of live musicians and the exciting builds and drops of bass music! Passionate about collaboration with both their recordings and performances, they often call upon guest features from artists such as K.O.G, Franz Von, Simo Lagnawi (Electric Jalaba), MC Spyda, Dr Syntax and many more.

With almost no tempo untouched from 70-180BPM, they’re an extremely eclectic and versatile band that can customise sets for most stages and occasions.