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Kalevala’s classic third album “Abraham’s Blue Refrain”, came out with the band’s revamped, more international name “Kalevala Orchestra”. The album was recorded in the spring of 1977 and produced by Tommi Liuhala together with the band, with lyrics by Jim Pembroke of Wigwam, who also plays the piano in the title track. The overall sweeping tone of this progressive and monumental record is dark and sombre with a spiritual weight to it. The songs themes and lyrics, sung in English which is rare for a Finnish band of the day, are on a grand scale imbued with deep sentiment and sacred intention. According to Lido, the album’s title track: “… actually describes my relationship to spirituality, and the song “Silver Fish” is also a self-portrait: “I’m a Pisces in the horoscope and I made this song to describe myself.” “Marketbox Street” and “Highland Temple” are Prog rock bangers that illuminate slightly different corners of the world taking the listener through far off valleys of feeling and meaning. With roaring hammond organ and crunching guitars that heap on the fuzz and then take flight into intricate but highly emotional solos from one beat to the next and back, Kalevala Orchestra mean business. “Abraham’s Blue Refrain” won’t let the keen listener down for one second and is altogether much more soul-searching and grandiose than their more obviously rocking “Boogie Jungle” album and remains an underrated cult favourite for that reason. Heavyweight Class-A Prog from Finland, sung in English with lyrics by one of the genre’s originators, Jim Pembrooke, with beautifully soaring guitar and piano, “Abraham’s Blue Refrain” is an unmissable thrill. On a par with bands like Camel, Bo Hansson and countrymates Haikara and Elonkorjuu, Kalevala’s music is an overdose of sentiment and spiritual emotion hammered out through epic Prog for those who know or soon will.

Big Crown Records is proud to present another strong 7" offering from the legendary Sunny & The Sunliners. Pulling two very in demand tunes from Sunny's Keyloc Records catalog and making one unstoppable reissue 45 that will put these tunes back in the mix around the globe. Since we released the first Mr Brown Eyed Soul compilation in 2017 the price of Sunny's records have skyrocketed. We are sure a lot of people will be happy to be able to get their hands on these tunes and it will be great to see them getting spins in a whole world of new circles. The A side, "If I Could See You Now" is a classic dance floor burner from Mr Brown Eyed Soul. From the first note of the organ intro those in the know will be grinning ear to ear, as soon as the beat drops and Sunny starts singing anyone who never heard this tune before will be hooked. "Give Me Time" is a bit of a sleeper in Sunny's catalog. Not one of the flagship tunes that everyone knows but absolutely worthy of reissue and becoming one of the classics alongside "Should I Take You Home", "Smile Now, Cry Later", etc. The band is as sharp as the man himself on this one, running through the beautiful arrangement while Sunny pleads for time to get over his lost love.

This release will have you dancing and crying at the same time. On his debut album, Paris-based producer and founder of the "raw poetry" aesthetic Loyce Demellier - AKA DJ Physical - takes us on a fast-paced journey through techno, electro, breaks and more. Whilst the music's indisputable home is the club, Physical teases out moments of playfulness and sentimentality amongst hard-hitting electronics.

"Silver Lake" LP resides on the colder, more industrial side of Demellier's sonic spectrum, following on from his latest release on London imprint 10 PILLS MATE which saw him depart from the more lofi quality of his previous releases in favour of a raw, club-focused sound. On the A-side, Demellier situates the release within the context of old warehouse raves, with euphoric acid melodies and a 140BPM propulsion ("Uranium"): and high-pitched synth stabs that ascend from darkness ("Gold Mines").

The B-side maintains the pace, but this time it's about electro and breaks. On "Overshoot", reverberating cymbals add another layer of depth to Amen break interludes whilst "Lawbreaker" harnesses a cheekier tone, offering respite from the previous tracks' venom. This air of playfulness sticks around on "Lunatic State" helped by MPC drum claps and a ludic electro melody, before fellow Parisian Ika Sile steps up for "Early Sprinter" and "Bootybounce": the former offering a slicker take on acid techno and the latter: rave music at its absolute with piano stabs and sleazy vocal chops. Silver Lake LP drops 22nd July 2022 via Lost Palms

Spring Snow is a compilation of eight leading experimental artists from different cultures and musical backgrounds who were asked to freely reflect on the word, nostalgia.

The word, nostalgia, in particular comes from the Greek nostos (homecoming) and algos (pain), which are reflected on both sides of the record.

Li Yilei's SHI, meaning 'time' in Japanese, sets the stage with its free-form synth notes and traverse rhythms. The listener is then presented with a memory of an orchestra, conducted by Lucy Liyou, leading to euphoric moments from Sawako and Gonima.

The latter half explores the melancholic and sometimes painful side of nostalgia and youth. Forest Management opens the journey with a late-night rumination, which seems to loop endlessly. Jiyoung Wi, from South Korea, reflects on her birth and upbringing, and leverages her own voice to narrate the story.

Things take a deeper turn with Gaël Segalen's The Bed of Wewa, which paints a rougher picture with its noisy soundscapes, pounding synth notes, and synthetic voices. The trip concludes with Evicshen's rumbling and noisy track, titled Inguinal.

Born in march 2000, ANGELUS APATRIDA became in few years one of the most important Spanish thrash metal bands. Many demos and band members passed through the history of ANGELUS APATRIDA but it was in January 2003 that the band decided to write pounding thrash metal , mostly influenced by like Pantera, Megadeth, Overkill, Anthrax or Annihilator. ANGELUS APATRIDA released their 7th, self-titled album in 2021 and conquered the top of the official album charts in Spain (#1) and it also marked the band’s first ever chart entries in Germany (#49) and Switzerland (#41) . The band ’s classic album’ Clockwork’ , ’The Call’ and ‘ Hidden Revolution’ have been much sought after in vinyl format and reached ridiculously high prices online. Listenable is now happy to reissue those albums in limited edition coloured vinyls with brand new vinyl mastering and meet the huge demand ! . First come First served !

“20 Centuries Gone” is a collection of two new original songs and six cover songs that span the timeline of SPIRIT ADRIFT’s most foundational influences. Featuring artwork by Brian Mercer (Lamb of God, High on Fire, Mastodon), and mixed by Zeuss (Overkill, Crowbar, Municipal Waste), this release is a powerful journey through the past, present, and future of classic metal’s most exciting new band. SPIRIT ADRIFT mastermind Nate Garrett comments: “I always thought it would be a cool experience to record some songs by bands that are foundational to the DNA of SPIRIT ADRIFT. These choices are obvious and on the nose to me, but maybe unexpected to the fans. That made the whole thing a lot of fun. A band like Lynyrd Skynyrd might not be the first thing you think of when considering SPIRIT ADRIFT’s influences, so the task for me became figuring out how to honor these great songs, but in the distinct SPIRIT ADRIFT style. To make the whole thing even more special, I channeled these influences and wrote a couple of new songs to kick things off. There’s a lyric in ‘Sorcerer’s Fate’ that mentions ‘past and future both aligned,’ and that became the concept here. The whole thing is presented in reverse chronological order. That way, you get a sense of where SPIRIT ADRIFT is headed, but you’re also taken on a journey back in time through our most fundamental influences. Hope y’all enjoy it!” “20 Centuries Gone” is available as: LP, Standard CD Jewelcase and Digital Album

pink vinyl

Sciama's debut 12" for Auxiliary comes after four hugely successful cassette album releases over the past few years. Myriad collates four impressive beat-heavy tracks from Michael, spanning multiple genres and tempos.

Forced Inward starts proceedings by setting an ominous tone, before erupting into bass tones and soft percussive kicks. The beauty is revealed once the melodies take centre stage. Observe takes things on a more schizoid trip, with its anxious percussion and moody synth tones swelling against the frenetic pulsing kicks. The Lost Pleiad sees Sciama back in contemplative nature, while steadily raising the tempo and energy before Indignation seals off the EP with more brooding textural synth and bass-stabs.

Myriad is an EP you will not want to miss, and ticks all the boxes for what Auxiliary is about as a label.

Nothing goes quite like you plan it, and the same could be said for oso oso’s fourth full-length, sore thumb. The album is an unexpected and unintentional return-to-form; a capsule of early 2021 when oso’s Jade Lilitri (he/him; vocals/guitar/bass/drums) and his late cousin Tavish Maloney (he/him) holed themselves up at producer Billy Mannino’s (Bigger Better Sun) Two Worlds Recordings. For a solid month, the three of them practically lived at the studio, crafting this entire album together in between nerf gun fights and psychedelic trips. The idea was to spend that month writing and demoing, then take a month off to decide where and who to work with to bring it to life––but everything happens for a reason. Less than a month later, when Tavish suddenly passed away, Jade knew immediately that he was not going to be touching these songs. Almost nothing has changed since; aside from a brilliant mix by Mike Sappone, sore thumb was nearly complete the day the two cousins left the studio. Every quirk, and every conceptual song born out of a month spent stoned with your cousin recording whatever came to mind; sore thumb exists as a living memorial for Maloney. It's a celebration of life and chaos and art, a glimpse into a moment that will never happen again. One month in Long Island, preserved for eternity.

Deep Purple’s “Bombay Calling – Live in `95“, will be released in a remastered Limited Numbered 3 LP Gatefold Vinyl as well as a Limited Numbered 2 CD Digipak, both versions including the Live-DVD! This live take had only been available on bootleg-quality DVD so far. “Bombay Calling” was recorded in early 1995 and is one of the first shows Deep Purple played with Steve Morse showcasing his virtuosic guitar skills and some of the new material would later make it onto the widely celebrated studio album “Purpendicular”. Astonishingly, the long thought lost master tapes for this unforgettable show in Mumbai were found lying around in an old cardboard box in November 1999. A true gem for any fan, they offer rare insight into the extraordinary talents of this phenomenal rock band. The Indian press gave the concert rave reviews, with many claiming it to be the best rock show ever staged in India.

Chart-topping, multi-platinum rap superstar YoungBoy Never Broke Again’s huge album, SINCERELY, KENTRELL is available on Vinyl.

SINCERELY, KENTRELL serves as a testament to YoungBoy’s remarkable talent and versatility, showcasing the Baton Rouge, LA-native’s true heart and soul over 21 featureless tracks. The album sees YoungBoy joined in the studio by a number of longtime collaborators and rising new producers, including Dubba-AA, Mike Laury, TnTXD & Dmac, Smashdavid (Big Sean, Chris Brown, Khalid, Bad Bunny), MikeWillMadeIt (Kendrick Lamar, Rae Sremmurd, Eminem, Beyonce), and TayTayMadeIt (Roddy Ricch, Swae Lee, Jack Harlow).

With 76 total RIAA certifications and over 72.5M certified units under his belt thus far, YoungBoy Never Broke Again is without question among the landmark hip-hop artists of this or any era. 2020 and 2021 have both seen him become America’s #1 most video on demand streamed artist of any genre. His second studio Album, Top, is officially platinum certified after an explosive debut at #1 on the SoundScan/Billboard 200 upon its September 2020 release. YoungBoy was also last year’s #3 most audio on demand streamed artist industrywide and is currently #5 for 2021 thus far and it serves as a testament to his remarkable talent and versatility, showcasing the Baton Rouge, LA-native’s true heart & soul.

Properly transcendent deep-dream jazz fantasy from prolific trumpet virtuoso Arve Henriksen (Supersilent) and Norwegian pianist Kjetil Husebø, together shaping an album that’s much, much more than the not so inconsiderable sum of its parts. Like a fever-dream comedown, it takes us from insanely rich sounding 4th world topographies to fizzing, electric ambience and fluttering prepared piano, perfectly soundtracking the humid un-reality we’re living through. read on / listen

Jdotbalance is a Chicanx producer from Texas currently based in Chicago. They run the GUD4U newsletter, party and mix series and have been featured for mixes on DAISYCHAIN, BIZAAR BAZAAR, PAPI JUICE, JEROME, RUMORS, and NEW WORLD DYSORDER. Here they are with a backboard smashing vinyl debut dunk full of a futuristic mix of sexy, raucous club and fast techno propulsions that showcases just how varied the energy palette of North American club music is.

“Let’s” opens up the A side with a fast techno kick and panned static flickers. Wonky pings wander left and right. This track is a true traveler…start to finish this will have the dancefloor wishing this condensed fantasy epic, inexhaustibly traversing moods and instruments, would swallow up the club and continue the stomping ride down down down the devil’s gut. A2 has a different boom but the same amount of bump. Claps dance around the 2s and 4s, showing you how to move to Jdot’s vision of gyrating, high-energy club music. A vocal sample swells like a siren. The kick moves in triplets. The peak is psycho. The track comes down just in time to pick its energy back up with big bass melodies that take it to a sonar underwater close.

Flip to the B side. “Wilin’” brings the club kicks and undulating melody that floats on top together in rhythm. Interesting rhythmic changes make you rethink your body. One can hear shimmers of the UK wobbling in to snuggle up with the ever-evolving contemporary US club landscape. “Whippit” closes out the whole shabang with a spinning, up-tempo jaunt that packs a dense punch, all bringing home the point that Jdotbalance is not messing around. CAUTION! HIGHLY FLAMMABLE TRACKS!

May saw the release of Matthias Vogt's extraordinary new album: Pianissimo. A sound journey based on piano compositions, enriched with guitar sounds, drum and percussion parts, electronic influences and snippets of interviews with environmental activists.
Music that is very unique and cannot be directly assigned to any genre.
Two club mixes of Pianissimo tracks were created, which are now released on Flaneurecordings: The Losoul mix of "The Mind Traveller" is a twisted dub that is cleverly teasing original elements again and again and finally boils up in a break. Peter Kremeier aka Losoul, producer legend from Frankfurt's Playhouse environment is himself a traveler in electronic music and takes us here on his very own internalized trip.
Flaneur boss DJ Jauche takes on "Shimmering Sea" and works close to the original, but refines the track masterfully for the deep dancefloors. A sound that works great for open airs as well as clubs. Very soulful, crisp and stylistically confident.

The second studio album by singer JoJo, The High Road was released in 2006 by Da Family Entertainment and Blackground Records. Featuring production from heavyweight producers such as Swizz Beatz and Scott Storch, the album debuted at number three on the Billboard 200. With many music critics lauding the album for its confidence and showcasing of JoJo's impressive vocal abilites, the album serves as a nautral progression for her artistry and establishes itself as a classic for fans.

Yellow Vinyl

How do you follow Volume One? With even more epic goodness, on glorious yellow vinyl, thats how! We open with a Liquid remix of Cru-l-t’s I Can’t Forget. Liquid has an amazing rave sound that has lasted 30 plus years & probably will last another 30 years to come. The Knitebreed manager, Paul Bradley, then gets remixed by a name long associated with KF & KFA, Dj Deluxe. The breaks come hard & fast in traditional Deluxe style, & he doesn’t let up! Then we have a coming together that can only be described as genius. TNO remixes Ant To Be‘s Just Anthem. TNO takes one of Ants “lightest” tracks & makes it his own with his distinct sound of darker hardcore. Wrapping up Vol. 2 is someone who really sits in the early rave style camp, Sub Fundation, with his remix of TNO’s Who Are U, taking a darker 93 style track & making it all things rave.

Black Truffle is thrilled to continue its program of archival releases from Arnold Dreyblatt with a recently unearthed concert recording from Dreyblatt and Paul Panhuysen’s "Duo Geloso". While isolated examples of Dreyblatt’s collaboration with the legendary Dutch multi-media artist appeared on the CD reissue of Propellers in Love and Black Truffle’s wide-ranging archival Second Selection, this is the first release to document the variety and playfulness of the concerts that Duo Geloso performed throughout Europe in 1987-88. Both working across sonic and visual forms, fascinated by numerical relationship and the infinite complexity of string harmonics, Dreyblatt and Panhuysen had a natural affinity for each other’s work, strengthened through Dreyblatt’s many visits to Het Apollohuis, the important experimental art space Panhuysen helped to found in Eindhoven. However, as René van Peer suggests in the liner notes enclosed within this release, Dreyblatt and Panhuysen took very different approaches to these shared interests; the wonderful energy of these Duo Geloso performances results from the meeting of Dreyblatt’s more austere, compositional process with Panhuysen’s spontaneity.

Recorded at a concert at Het Apollohuis in December 1987 (a series of beautiful photographs of which adorn the LP’s packaging), each of the six pieces presented here is distinctive in terms of instrumentation and performance approach. Using electric guitar and bass tuned by Dreyblatt and played using E-Bow and Panhuysen’s motorised plectrums, the opening ‘Razorburg’ moves slowly through a long series of held notes with a madly insistent tremolo that crosses Dick Dale with a mechanised take on the layered guitars of Günter Schickert. The same pair of instruments returns on ‘Duo for Guitars’, where the mechanised attacks dissolve into a harmonic wash, reminiscent of the machine guitar work of fellow Het Apollohuis alumni Remko Scha. On ‘Love Call’, the guitars and bass are accompanied by Panhuysen’s distant warbled vocals, familiar to Maciunas Ensemble listeners. On the remarkable ‘Synsonic Batterie’, Panhuysen begins proceedings with a solo barrage of electronic percussion on the Synsonics Drum Machine (a simple drum synthesiser produced by the toy manufacturer Mattell), joined eventually by Dreyblatt performing his signature percussive natural harmonics on pedal steel guitar. When Panhuysen adds his bird whistle to the mix, the performance becomes the perfect exemplar of the Duo Geloso’s unique mix of studious close listening and subtle absurdity.

Presented in a gatefold sleeve with archival photos and illuminating liner notes from René van Peer.

Are you still here? Or are you still there? Berlin-based/Italian warehouse-rave warrior, Younger Than Me, and Italo-American romantic goth-wave prince, Curses are THERE. They're there where it's at!

It was the bond of bold friendship that brought these guys together - and of course a shared history of subgenre juxtaposition and meshing. Both grew up on Punk, Rap, and of course the early days of Techno. »Still There« is their first EP together and thus of course their first for Live At Robert Johnson. It's a venture into the euphoric, psychedelic power of early Trance and Breaks mixed with the attitude and energy of EBM and Electro.

Starting with the moody slow beats of the title tune »Still There«, Y2C takes you on a journey to a faraway chill-out room in some dark yet warm and cozy cellar. Or is this place to be found in synth heaven? It could well be if you listen to those dreamy melodies. Melodies as beguiling as the song of the Sirens that seduced good old Ulysses.

Y2C pick up on that dreamy vibe but throw in that slight and subtle Trance-factor, taking up speed with »Romantic Squat«, dragging you into their very own romantic squat.

Next up is »Love Your Enemy« - oh yes, shouldn't we all? Icey claps with lots of reverb and a bass line draw you onto the dry ice flooded aluminum floor and there's no way back - especially when that strange break with that crazy sound makes you stop for a second and think, why did I stop dancing? Get back on the floor y'all!

The last track »Lullapaluza« is indeed some kind of a lollapalooza ride, a very special ride. And no, it does not lull you to sleep because the beat created by Y2C here is a demanding one, a special which gets you going all over its eight and a half minutes. It's sheer bliss, you gotta believe it.

This is not a one-off novelty EP, it's a kinetic collaboration. Y2C is a force of nature, a force of RAVE/WAVE energy, with many more to come, a force to reckon with.

2099 is the debut EP of the talented Figi who is on a mission to bring Boogie back to the 21st century. The EP is a clash of time. Taking sounds from the 70's/80's on a trip through space, traveling through wormholes, ending up with bass-driven disco tracks with a strong eighties feel inspired by proto-house. '2099' is recorded using sessions of musicians playing the ideas of the young producer. The entire album has been recorded in separate takes: layer by layer. And as a special guest you'll find San Proper on both vocals and guitar.

Welcome to Is A Feeling, a brand new label presumably from Triform who is also known as Scott Featherstone, and Beyond A Void, and Lemongrass. He has a kick for digging deep into his archives to turn out old but still godlier tackle and we guess that Underground Grooves Vol 01 is another such project. This 2" packs plenty of irresistible heat with the lively and low slung drums of 'Take Control', silvery tech edges of 'Skipron' and best of all, the raw, jacked up house of 'Remember Me.' All three are timeless and very useful tunes.

UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

Super db is a 4-piece band from London, whose sound is a distinctive mix of Pop, Disco, Funk, Rock and Jazz. The band's name plays on the positive, upbeat nature of their music, as well as encompassing the initials of each band member.

The lineup is composed of twin brothers J-M Sutcliffe (guitars & vocals) and J-P Sutcliffe (drums, vocals, keys & percussion), joined by Lorenzo Bassignani (bass) and Matt Dibble (keys, vocals, sax & clarinet). All four members are recognized as some of the UK's top musicians, most of them multi-instrumentalists offering more than one musical contribution to their band recordings, including rotating lead vocalists.

Following on from two very well-received singles in 2020, "Kool Funk" and "Open Line to Me", which were heavily supported by the BBC and taste making media around UK and Europe; Super db released another single "Wait For Me" on 7th May 2021 working for the first time with an array of successful independent labels including Legere Recordings (GSA), Go Entertainment (Benelux), and P-Vine Records (Japan). The anticipated full album "Ecoute Ca" will follow this summer with its global release in July.

In May 2021, Super db sadly announced the untimely and sudden death of their much loved founding member, Matt Dibble. In Matt's honour, the remaining band members continue to be dedicated to sharing and promoting the music they made together and vitally shall maintain the positive vibes and lust for life that Matt always brought to the project and life in general. "Ecoute Ca" represents everything that 4 piece loved to create as a unit and its release is now as significant as ever.

."Ecoute Ca" as a record, pays homage to 70s and 80s West-coast 'Yacht-rock' music, along with a joyful synthesis of the band's varied song-writing approaches.

The sound encompasses funky bass lines, riffing guitars, smooth sax, and a unique blend of vocal harmonies offering a delicious combination of the familiar and fresh all rolled into one. "Ecoute Ca" is a collection of songs that will provide a feel good, joyful soundtrack to the most needed summer vibes the world has ever wanted for!

Hailing from Columbus, Ohio and bringing some of the Midwestern techno energy that makes scenes in nearby Cleveland, Pittsburgh and Detroit so revered, Shut Off Notice means business from the get-go. The first release on the label is a debut appearance from Rarelife, who knows exactly how to elicit the kind of nerve-shredding tension that makes a deep-in-the-night dancefloor take off. 'ALONE/alone' is a taut, hypnotic workout, which gets remixed into a trippier reverb freakout by FBK. FBK also delivers a remix of 'Endo.' which gets into the realms of Rrose-flavoured psych-out gear, and then Rarelife seals the deal with the edge of the world ambience of 'Solvent Swamp'.

Drei Vinylpremieren und zwei Neuauflagen füllen als hochwertige 180g-Pallas-Pressungen Lücken in der LP-Sammlung.

VINYL-PREMIEREN / BISLANG NUR ALS CD ERHÄLTLICH / REMASTERT / DOPPEL-LPs:
Till Brönner “That Summer” (2004): sommerliche Jazz-Vocals und Instrumentals, smoother Funk- und

Brazil-Grooves, noch immer eines seiner beliebtesten Verve-Alben
Barbara Dennerlein “Take Off” (1995): groovende Hammond-B3-Tracks in klassischer Verve- und BlueNote-Tradition, aufgenommen in New York mit All-Star-Band aus Roy Hargrove, Mitch Watkins, Dennis
Chambers u.a., internationaler Durchbruch von Deutschlands “First Lady of Jazz” Rolf Joachim Kühn Quartett ”Lifeline” (2012): mit den Gästen John Patitucci und Brian Blade, Gipfeltreffen zweier deutscher und zweier amerikanischer Jazzlegenden, ausgezeichnet mit dem Deutschen Schallplattenpreis VERGRIFFENE KLASSIKER ENDLICH WIEDER AUF LP / REMASTERT / 1-LP:

Elis Regina und Toots Thielemans ”Elis & Toots” (1969): aufgenommen in Stockholm, klingt aber so fröhlich und heiß wie direkt unter dem Zuckerhut in Rio entstanden, ein mitreißender Klassiker des BrasilJazz “Joyce Live At The Mojo Club” (1995): brasilianische Kultmusikerin gab rares Deutschland-Konzert im
legendären Hamburger Club und begeisterte das Publikum mit heißer Samba, Bossa Nova und MPB, ein Klassiker des Rare-Groove

Dream Like A Dogwood Wild Boy is Binker Golding's sophomore album under his own name and represents a sonic evolution, bringing a distinct blend of electric blues and country to his jazz core. The album is a personal and ultimately uplifting reflection on the trials and tribulations of the journey to manhood. Binker Golding is one of the leading artists of the London jazz scene, having collaborated with the likes of Moses Boyd, Zara McFarlane, Emma Jean-Thakray, Evan Parker and Sarathy Korwar. A virtuosic and busy musician, composer, arranger and educator, Golding tutors at the unrivalled Tomorrow's Warriors organisation, has conducted the Nu Civilisation Orchestra, and has released albums that stretch between free jazz, 70s fusion jazz, and experimental electronic, proving himself always unpredictably ahead of the curve.

‘Reich’s music expands from minimalist austerity to more full-bodied passages and back again. Reminiscent of his earliest work, it is very beautiful.’ – Financial Times

‘The music has tender energy, and an undercurrent of melancholy. Its droning tones sometimes seem to be pulling apart – like taffy, or like Richter’s stretching spaghetti stripes of color.’ – New York Times

Nonesuch Records releases the first recording of Steve Reich’s Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson. The composition was originally written to be performed with German visual artist Gerhard Richter and Corinna Belz’s film Moving Picture (946-3).

Reich describes Richter’s book Patterns, which served as source material for the film: “It starts with one of his abstract paintings from the ’90s. He scanned a photo of the painting into a computer and then cut the scan in half and took each half, cut that in half and two of the four quarters he reversed into mirror images. He then repeated this process of ‘divide, mirror, repeat’ from half to quarter, eighth, sixteenth, thirty-second, all the way up to 4096th. The net effect is to go from an abstract painting to a series of gradually smaller anthropomorphic ‘creatures’ (since the mirroring produces bilateral symmetry) to still smaller very fine stripes.

“Belz described the film in terms of ‘pixels’. It begins with two-‘pixel’ stripes and the music begins with a two-sixteenth note oscillating pattern. When the film moves to four ‘pixels’, the music moves to a four-sixteenth note pattern, then to eight, and sixteen,” the composer continues. “After that, I began introducing longer note values – initially eighth notes, and later to quarter notes. By the middle of the film, when the images move from 512 to 1064 pixels, the music really slows to dotted half notes. Finally, as the ‘pixel’ count begins to diminish, the music moves back into more rapid eighths and then ending with the most intense rapid sixteenth movement.”

After more than one hundred performances of Reich/Richter at The Shed in New York in 2019, it was performed in London at the Barbican by the Britten Sinfonia conducted by Colin Currie and then in Paris at the Philharmonie, where this recording was made. The Austrian ensemble Windkraft Tirol, led by Kasper de Roo, will perform Reich/Richter on September 8 at Szentrum, Silbersaal in Schwaz, and the LA Phil New Music Group, led by Brad Lubman, performs the piece, accompanied by Richter and Belz’s film, at Walt Disney Concert Hall in Los Angeles on April 1, 2023.

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in twenty-two albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. The label will put out a collection of his complete works in 2023.

Reich released a book last month, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. Booklist said in its review, ‘Iconoclastic American composer Steve Reich is singular in his own right, and when he is in conversation with other equally iconoclastic composers, conductors, sculptors, musicians, percussionists, and video artists, sparks not only fly, they sparkle. Reich and his colleagues conduct lovely give-and-takes during which they share stories, creative approaches, and viewpoints. Reich's Conversations is the best kind of eavesdropping.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them’, states the Guardian.

Pierre Boulez founded the Ensemble intercontemporain in 1976 with the support of Michel Guy (who was France’s Minister of Culture at the time) and the collaboration of Nicholas Snowman. The Ensemble’s thirty-one soloists share a passion for twentieth and twenty-first century music. Under the artistic direction of Matthias Pintscher, the musicians work in close collaboration with composers, exploring instrumental techniques and developing projects that interweave music, dance, theater, film, video and visual arts. In collaboration with IRCAM (Institut de Recherche et Coordination Acoustique/Musique), the Ensemble intercontemporain is also active in the field of synthetic sound generation. New pieces are commissioned and performed on a regular basis. Resident of the Cité de la musique – Philharmonie de Paris, the Ensemble performs and records in France and abroad, taking part in major festivals worldwide.

George Jackson, winner of the 2015 Aspen Conducting Prize, came to attention after stepping in at short notice with Orchestre de Paris, where he stepped in for Daniel Harding. Recent highlights include leading Ensemble intercontemporain at Festival Romaeuropa, the Rainy Days Festival in Luxembourg, and Festival D’Automne in Paris, as well as conducting the RTÉ National Symphony Orchestra, the orchestra of Opéra de Rouen and the world premiere of Tscho Theissing’s Genia with Theater an der Wien. His varied operatic experience includes performances at Opera North, Hamburg State Opera and Opera Holland Park, as well as conducting a new production of Hänsel und Gretel at Grange Park Opera.

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Iconic indie folk pop duo from Galaxie 500 return with a dreamy collaboration with atmospheric Japanese guitarist Kurihara.

“With its meditative tempos and enveloping guitar work by Michio Kurihara—‘it’s like this golden net,’ Naomi said of his gorgeous, versatile playing—A Sky Record offers shelter from the squall. If it has the glow of a long-delayed reunion between friends, that’s not accidental: Kurihara hasn’t traveled outside of Japan in some time, so Damon and Naomi hadn’t recorded with him in nearly ten years. When they finally made it back to Japan in November 2019 for a brief tour, they were elated to book some time with Kurihara at the aptly named studio Peace Music.

“In those long stretches of quarantime, the tracks they returned from Japan with had distinct moods but not yet any lyrics. (Kurihara works best when trying to conjure a specific feeling or natural image—after all, he did once make a solo record, Sunset Notes, on which every song was based on a different sunset he’d witnessed...) How to write about the pandemic? How to not write about the pandemic? Naomi first struck upon the appropriate tone when re-reading the journals of one of her favorite abstract painters, Charles Burchfield. She arranged this found language into the lyrics of the iridescent ‘Season Without Time,’ which also became a tribute to a friend that she and Damon had lost in the last year.

“From there, the floodgates opened. The wistful and watery ‘Midnight’ (electrified, towards the end, by the slow screams of a Kurihara solo) conjures Naomi’s nostalgia for youthful summers spent at Jones Beach, while the gentle current of ‘Sailing By’ pays homage to those ritualistic BBC Shipping Forecasts and the waltzing, quintessentially British theme song from which it takes its name.”
—Lindsay Zoladz

As Spacemoth's Maryam Qudus was hard at work in her recording studio, synthesizers piled high, she found her mind in another place, hypnotized by the questions swirling inside her: “How could I ever face this world alone?” she wondered. “How long will I be able to stay in this place that I love?” Attempting to understand her position in the universe, the relationships that hold her together, and the climate crisis unfolding around her, she realized ruminating over these concerns was paradoxically taking her away from precious experiences. No Past No Future is the reckoning point between nostalgia and nihilism: the struggle to hang on to a moment as it warps in time.

Devotion to music has driven Qudus—a performer, composer, and producer based in the Bay Area—for as long as she can remember. At age twelve, she traded chores for guitar lessons; at sixteen, she took on after school jobs to pay for voice lessons. As a first-generation Afghan-American child of working-class immigrant parents, finding a place in music has been nothing short of a challenge for Qudus.

The bulk of performance on Spacemoth songs comes from Qudus herself, who favors vintage synths like the Yamaha CS-50 and Korg Polysix alongside fluttering tape manipulations; these create cosmic, lush soundbeds, drawing comparisons to beloved projects like Broadcast and Stereolab. On songs like “Waves Come Crashing,” a whirlwind of noise leads into darker, bass-heavy instrumentation as she confronts the inevitability of death: “These fears, they have taken our years,” she laments about the anxiety of mortality. On “Pipe and Pistol,” Qudus explores the experience of being an immigrant starting over in America. The song showcases punchy rhythms, reminiscent of Devo’s post-punk dynamism: “I see your face / my powers, they raise,” she sings with potency. Identifying cyclical habits inspired “Round In Loops,” which highlights patterns we endure in our lives and minds. “Boss is waiting / we run / love is fading / we run,” Qudus commands, encouraging escapism and a break to the cycle of mundanity.

Every track flows with Qudus’ low timbered vocals, in harmony with the watery, glowing synthesizers that anchor the album. The result is a record rich in intergalactic, avant-pop, radiating in astonishment at the vast, emotional landscape humans contain within ourselves, and in wonder at the preciousness of our time on earth.

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

Here we are at the dawn of a new compilation series and we’re kicking things off with an absolute gem that features a selection of hard-to-find records (some impossible to find) and some that have been hiding in plain sight all along. They all share common qualities, being that they are beautiful, soul quenched songs that sing of love, peace and unity.

‘With Love: Volume 1’ has been compiled by Miche and presents a curated selection of rare Brazilian, gospel, modern soul and jazz-fusion fire. We have Brazilian rarities by Alcione and Quientaessencia, UFO gospel by Keith Chism & Light, the jazz-funk/AOR sounds of City Lites taken from a Radio Station album, and the anthemic feel-good emotional soul of Belita Woods to name but a few.

Tracking down artists and musicians from the past is an art form. Like a seagull swooping for treats, sometimes the prizes are easily found, and at other times, it’s the result of very late nights trolling through Facebook profiles, message boards, hitting dead ends and following red herrings, and yet still the search goes on. This compilation is a true labour of love with all the artists tracked down and licensed by Miche. It has long been an ambition of the London based musical connoisseur to compile an album, and like anything that requires craft, care, and knowledge - it takes time. There are many twists and turns in the hunt for those records that make your jaw drop.

In 2018, when just 24, Miche became a music programmer for London’s illustrious Spiritland group of venues. From this musical sanctuary, he was able to listen, learn and meet some of the best selectors from around the world. It was a musical education, and he was particularly drawn to the deep sessions by DJs such as Mark Taylor, George Arthur, Kev Beadle, Patrick Forge, Dr. Bob Jones, and Colin Curtis to name a few. He also used this time to begin running his re-issue label Discs of Fun and Love with co-owner and friend Frederika.

Sometimes the cynical knock compilations, there is certain snobbery amongst some about the original pressing, but music shouldn't just be about lucky collectors giving over large sums of money to record dealers. It's also about a bridge to the past, a celebration of the legacy of somebody’s art, and a second chance for initially overlooked work to shine. As with all the best compilations, it has been compiled with love…

The concert by Paolo Conte in the heart of the Reggia di Venaria Reale, produced by Milo Fantini and RitaAllevato (who also takes care of the artistic direction) for ConcertoSrl and broadcast in exclusive streaming on ItsART on September 30th, will relive in a special limited edition.

In fact, on 12th November "Live at Venaria Reale" (Concerto srl / Platinum srl / BMG Rights Management Italy srl) comes out in a Box Limited Edition and double Lp. An album full of precious contents: double vinyl, cd, 7 '' vinyl, which contains the unreleased El Greco and the song AMinestrina feat. Mina, a copy of the score for Via con me and an original signed and numbered print by the artist.

During the show, Conte's charm and unmistakable timbre were accompanied by an orchestral ensemble of eleven musicians fromexception: Nunzio Barbieri (Guitars), Lucio Caliendo (Oboe, Bassoon), Claudio Chiara (Alto Sax, Flute, Accordion, Keyboards), Daniele Dall'Omo (Guitars), Daniele Di Gregorio (Drums, Percussion, Marimba), Luca Enipeo ( Guitars), Francesca Gosio (Cello), Massimo Pitzianti (Accordion, Bandoneon, Baritone Sax, Piano, Keyboards), Piergiorgio Rosso (Violin), Pierre Steve Jino Touche (Double Bass), Luca Velotti (Soprano Sax, Tenor Sax, Flute, Clarinet ).

In addition to the unpublished El Greco, the tracklist also contains the most beloved songs of the singer-songwriter: "Hemingway", "Sotto lestelle del jazz", "Come Di", "Alle prese con una verde milonga", "Aguaplano", " Max "," Gambling "," Dancing "," Madeleine "," Genoa for us ","Via con me "," Reveries "," The raincoats "," Le chic et le charm ", in which finished loves, nostalgia and exotic atmospheres parade.

Brian Destiny is a seeker. Brian Destiny is truth. Brian Destiny has nothing left to sacrifice. Having spent a decade anchoring the Fat White Family on keys - co-writing the bands most popular tunes/stopping Saul Adamczewski and Lias Saoudi from stabbing each other – Nathan Saoudi AKA Brain Destiny, is finally ready to step out from the shadows and launch his own personally curated assault on the culture.

Having recently recovered from a lengthy, serious gambling addiction Brian Destiny finally wearied of betraying his talent, himself and the rest of the world and began laying down the first of what would eventually grow into a collection of EPs and a forthcoming album, the first of which Brain’s Got Talent is out this January. An outsider artist spiritually incapable of groupthink, Brian Destiny is what happens when you take an obsession with Marvin Gaye, The Ramones, Lee ‘Scratch’ Perry and an unhealthy fixation on the life and trials of Napoleon Bonaparte and smash them together at the back of a Ladbrokes in Sheffield on a never-ending Tuesday afternoon.

Brian Destiny has no time for your doom mongering. He knows too well our only salvation at this point is dedication and asks one simple, timeless question…is it gonna be love?

Brian Destiny is a seeker. Brian Destiny is truth. Brian Destiny has nothing left to sacrifice. Having spent a decade anchoring the Fat White Family on keys - co-writing the bands most popular tunes/stopping Saul Adamczewski and Lias Saoudi from stabbing each other – Nathan Saoudi AKA Brain Destiny, is finally ready to step out from the shadows and launch his own personally curated assault on the culture.

Having recently recovered from a lengthy, serious gambling addiction Brian Destiny finally wearied of betraying his talent, himself and the rest of the world and began laying down the first of what would eventually grow into a collection of EPs and a forthcoming album, the first of which Brain’s Got Talent is out this January. An outsider artist spiritually incapable of groupthink, Brian Destiny is what happens when you take an obsession with Marvin Gaye, The Ramones, Lee ‘Scratch’ Perry and an unhealthy fixation on the life and trials of Napoleon Bonaparte and smash them together at the back of a Ladbrokes in Sheffield on a never-ending Tuesday afternoon.

Brian Destiny has no time for your doom mongering. He knows too well our only salvation at this point is dedication and asks one simple, timeless question…is it gonna be love?

There's something perversely fabulous about the thought of this warped masterwork wandering into 60,000 unsuspecting British homes in 1973. Faust's second-and-a-half album hit the shops to celebrate their signing to the nascent Virgin Records, who were looking to take advantage of the zeitgeist for German music at that time. Undeterred by the fact the band's unwillingness to engage with the commercial landscape had seen them dropped from Polydor, Branson and co cooked up a suitably spectacular marketing strategy, selling the LP for 49p, the bargain price of a single. Shoppers flocked in their thousands to grab a copy, raced home and then spent the next forty five minutes checking their tracking, banging the speakers and blowing the needle, all to no avail. Do not adjust your set - This is Faust.

Back in 2016, producer Seth Applebaum released two EPs that marked the inauguration of the band Ghost Funk Orchestra. `Night Walker' and `Death Waltz' were conceived as one-man-band, reel-to-reel tape recorded experiments that would bring together elements of all the sounds that Seth most adored at the time: tape-saturated drums, gratuitous spring reverb, surfy guitar, Latin-style percussion, odd time signatures, and Spanish-language female vocals. Initially released only in the digital domain and on a short run of cassette tapes, these two EPs that defined the early era of GFO are now finally available together on a single LP via Colemine Records. The tracks have been lovingly remastered by Doug Krebs. We invite you to take a dive into the humble beginnings of a project that has continued to grow, shape shift, and accrue new and exciting sounds for its sonic palette.

‘’The band brings out instrumentation and vocal melodies that are of the same lineage as more modern indie bands like Parquet Courts and Ought. “ POST-TRASH

Hailing from Puerto La Cruz, Venezuela and Nashville, Tennessee, Rui DeMagalhaes and Mac Folger found a middle ground in skewness. Heavily influenced by kiwi pop acts like The Bats and The Clean, as well as British post-punk pioneers Swell Maps and Wire, Lawn maintains a balance of classic pop sensibilities and sharp, curious energy.
Indeed, Lawn's sound is a marriage between two different songwriting approaches that make both members step out of their comfort zones without losing their bearings. The result is a partnership that thrives in exploring how their differences make them a solid unit. DeMagalhaes and Folger are different, but never at odds.

After approaching their second full-length with a sense of ease and composure, New Orleans' Lawn found themselves embracing a sense of urgency for their follow-up work, Bigger Sprout. Written, rehearsed, and recorded under a month-long period, Bigger Sprout explores a feeling of urgency as a theme and a catalyst: urgency to get out of uncomfortable situations, urgency to take relationships more seriously, urgency to work on themselves, urgency to play shows again, urgency to record, urgency to start a family, urgency to make plans and leave old settings behind, urgency to grow up and become more in tune to your surroundings, urgency to quit old habits and pick up new ones. The EP, co-written with former drummer Hunter Keene, is a document that embodies the anxieties of change, for better or worse. This idea is juxtaposed by including a remastered version of Big Sprout, their first-ever release, as side B. Big Sprout, which was also written and recorded over a short period of time, has never been released in any physical capacity. The inclusion of these songs provides a contrast into who the members of Lawn were in their early 20s against who they are now.

Tripped has been producing hard Industrial electronic music for over 17 years. Releasing a ton of quality EPs and 12" records ranging from full force terror to slow industrial techno. Always pushing forward perfecting his unique signature sound no matter what style or BPM range.

Now after 17 years we are super excited to be able to present his first ever full length album, on PRSPCT recordings.

Unboxed by Tripped is a 3 x 12" vinyl album consisting of 13 tracks that take the listener on one giant musical journey passing all corners of the Tripped galaxy.

From experimental noisy industrial tracks like "Pain" & "909". To speeding up the pace on a track like "Fartbox" while throwing in some heavy pounding schranz on "Shinyuku Heat".

Bringing back the oldschool vibes on "Misfits" together with ISR legend Lenny Dee and than going full force hardcore/breakcore war mode on "Kapsalon".

This album just keeps the listener moving, never a dull moment, pure adrenaline & excitement.

Here at PRSPCT we gave Unboxed by Tripped a 5 star rating on Yelp. It's simply that F-ing good!

Now go buy the record or spend the rest of your life full of regret.. Trust us.. You don't want that..

Entspannte Grooves, zurückgelehnte Rhythmen von um und bei 80 bis 90 BPM sowie atmosphärische Klangflächen. Mit anderen Worten: der perfekte Chillout-Sound für jeden Tag.

Im Jahre 1993 waren die Kellys noch Straßenmusiker. Sie wurden besonders in diesem Jahr immer beliebter
und die Marktplätze voller, wenn sie gespielt haben. WOW war zwar nicht das Album, was der Familienband ihren ganz großen Durchbruch brachte, sondern das Album davor, aber es war für ihre musikalische Entwicklung sehr wichtig. Bis heute ist es eines der beliebtesten Alben unter den Fans. Mit WOW wurde allen klar wohin die musikalische Reise der Kellys gehen sollte. Alle Songs wurden selbst geschrieben und der neue Popsound entwickelte sich in den nächsten Jahren stark weiter und machte die Kellys zu Megastars. Dieser Klassiker wurde tatsächlich bisher noch nie als LP veröffentlicht und so wird es viele freuen, dass es endlich eine Vinylausgabe davon geben wird.


Diese Erstpressung wird auf 180 g Coloured Vinyl erscheinen und ist dabei streng auf 1000 Stück limitiert.

Drei Vinylpremieren und zwei Neuauflagen füllen als hochwertige 180g-Pallas-Pressungen Lücken in der LP-Sammlung.

VINYL-PREMIEREN / BISLANG NUR ALS CD ERHÄLTLICH / REMASTERT / DOPPEL-LPs:
Till Brönner “That Summer” (2004): sommerliche Jazz-Vocals und Instrumentals, smoother Funk- und

Brazil-Grooves, noch immer eines seiner beliebtesten Verve-Alben
Barbara Dennerlein “Take Off” (1995): groovende Hammond-B3-Tracks in klassischer Verve- und BlueNote-Tradition, aufgenommen in New York mit All-Star-Band aus Roy Hargrove, Mitch Watkins, Dennis
Chambers u.a., internationaler Durchbruch von Deutschlands “First Lady of Jazz” Rolf Joachim Kühn Quartett ”Lifeline” (2012): mit den Gästen John Patitucci und Brian Blade, Gipfeltreffen zweier deutscher und zweier amerikanischer Jazzlegenden, ausgezeichnet mit dem Deutschen Schallplattenpreis VERGRIFFENE KLASSIKER ENDLICH WIEDER AUF LP / REMASTERT / 1-LP:

Elis Regina und Toots Thielemans ”Elis & Toots” (1969): aufgenommen in Stockholm, klingt aber so fröhlich und heiß wie direkt unter dem Zuckerhut in Rio entstanden, ein mitreißender Klassiker des BrasilJazz “Joyce Live At The Mojo Club” (1995): brasilianische Kultmusikerin gab rares Deutschland-Konzert im
legendären Hamburger Club und begeisterte das Publikum mit heißer Samba, Bossa Nova und MPB, ein Klassiker des Rare-Groove