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Introducing Elli Acula's latest pounder "BFF"! Packed with high-octane energy, vibrant contrasts, and explosive changes - this track got heavily road tested and sets dance floors ablaze. Kicking off with a hard-hitting and relentless kick drum that lays the groundwork for what's to come. As you delve deeper, you'll meet mesmerizing glitchy vocal cuts that add an ethereal dimension to it. But it doesn't end here - a nasty synth line with shuffling stabs and a captivating melody keep you hooked. The sheer contrast and dynamic shifts offer some serious shakes and a heavy dose of breakbeats in the B-part. Get your slice! Welcome to "Vape Nation" by trans-disciplinary artist Claus, a track referencing the rich heritage of big room and minimal techno. This peak time tool is based on a screaming lead melody and a subtle acid baseline, creating thrilling tension and discharge on point. The lead phrase radiates an ecstatic bitter sweetness and deploys the minimalist power of hypnosis to its full extent. "Vape Nation" seems to mediate the utopian moments of techno futures through their endless repetition - time for some contemplations on the dance floors! "Tek Tek Tek"by FJAAK is a rhythmic 4-stepper that explores dynamic beat changes and percussion-driven elements. At its core, it features a heavy, punchy kick drum that sets the tone to make a warehouse shake. The track's smacking synth line adds a unique texture, while short vocal snippets follow the song's title, creating a sense of intrigue and anticipation. "Tek Tek Tek" invites listeners to immerse themselves in its minimal & groovy world, where the rhythmic focus meets the dance floor.

Action Pact were a punk rock band from Stanwell, an isolated village right under the flight-path of London Heathrow Airport, inspiring this album title-song.àFormed in 1981 by guitarist Wild Planet, bassist & lyricist Dr. Phibes, and the then 15-year-olds drummer Joe Fungus and singer George Cheex, still school-kids when their Heathrow Touchdown EP was released in October 1981. BBC Radio 1 DJ John Peel played the single many times and booked them for their first session, recorded February 1982.àSigned to Jungle's Fall Out Records imprint, Action Pact"s label debut Suicide Bag EP went to the top of the British punk chart in July 1982.àFive more singles entered the indie charts including Yet Another Dole Queue Song, and a reworked London Bouncers, along with two albums, 'Mercury Theatre - On The Air' and 'Survival of the Fattest'.àA second John Peel session in '82 and a David Jensen BBC session in '83 were also recorded and broadcast - all collected together here for the first time.

Foundation Music is proud to present ‘The Flowers EP’ by Foremost Poets aka Johnny Dangerous. Back in the news after being featured on the Grammy winning Alien Superstar from Beyonce’s latest album - but for those that know - he has never gone away as he is always on someone’s dance floor.

Foremost Poets productions and his vocals are simply devastating and label head, Ross Allen, has been a fan since he first heard the Nu Groove classic ‘Reason’s to Be Dismal’ on the reworked Richard Long Edition. It was a record that blew him away then and now, recently played by Pete Tong on Radio One, with Sven Vath including it on his anniversary compilation too. Ross signed this record when he hooked up with Johnny in New York 3 years, but wanted to wait until the time was right. That time is now.

‘Flowers In the Attic’ is no normal dance record, clocking in at thirteen minutes. It’s an epic Johnny D production, falling into that place where funk and house come together in the most magical, danceable way. It’s long but enticing, taking you through different phases and surprises you as it sucks you in, twists you up, and pulls you out.

‘Escape From Dubai’ is almost trance like but with that New York lean that keeps it very much on the right side of the Foundation Music fence. Full of funk, it has a deepness that builds and swells into an epic journey that takes you to another dimension.

The broken beat of ‘Don’t Shut Your Eyes’ closes out and is another piece of New York/ New Jersey up-tempo funk, syncopated and grooving with a repetitive hook, that goes deep via its Hammond organ solo and jazzy vocal.

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

The funk fans have been waiting for this one. Finally available on vinyl, Grant Green’s near perfect slice of jazz funk and soul, Live at Club Mozambique, remastered and rendered back in the Motor City. Grant Green’s band had been playing a series of live dates at Detroit’s Club Mozambique, (before it became a fabled Male dance club) when this session was recorded live on two cold January nights in 1971. Powerhouse drummer Idris Muhammad and soulful tenor star Houston Person were brought in to supplement Green’s current band featuring Ronnie Foster on organ and Clarence Thomas on Soprano and Tenor Sax and Blue Note producer Francis Wolff recorded. This treasure was never released, though, and (conjectures aside) remained in the Blue Notes vaults for 35 years before a 2006 CD release. Sounding incredibly fresh and live, you’d be hard-pressed to find a more real stamping of Grant Green at the top of his game. The lp blends extremely hypnotic and wild funk such as their opening cover of a local funk hit “Jan Jan” by the Fabulous Counts next to laidback renditions of early 70’s soul favorites “Walk on By”, “Patches” and “One More Chance” by the Jackson 5. It perfectly captures the magic of hearing a legendary band effortlessly doing their thing in a small club while the audience unwinds after a long work day. Green pulls it all together with his melodic genius and perfect delivery. Great artists make it seem so easy. No pretensions here, just a great band burning up the stage with unmistakable chemistry on what might be the ultimate jazz funk time capsule. Maybe you can’t go back in time, but if you close your eyes and light a cigarette, you might be convinced you’re sitting in a wood-paneled club on Detroit’s Westside enjoying Grant Green and his band tear it up. Grant Green - Guitar Ronnie Foster - Organ Idris Muhammad - Drums Clarence Thomas - Soprano Sax, Tenor Sax Houston Person - Tenor Sax Recorded live at Club Mozambique - Detroit, MI 1971 by Francis Wolff

Recorded between 2010-2012, Closed Sessions Vol. 2 is a snapshot of a begotten time in Hip-Hop music and blog culture. The album features an eclectic class of artists such as Action Bronson, DJ Babu, Vic Mensa, The Cool Kids, Rockie Fresh, Freddie Gibbs, and others coming to the legendary SoundScape Studios and participating in the Closed Sessions program. Every song was followed by a documentary on MTV2 Sucker Free.

CS Vol. 2 was originally released August 23, 2012 and has been offline since 2015, the album has been re-mastered and is being released on vinyl for the 1st time ever. Limited to 500 copies.

The initial cassette-only releases of Tashi Dorji turned lots of heads, including Six Organs of Admittance and Hermit Hut - now over a decade later, this release makes its full-album debut on vinyl. "It really was a formative time for me because it felt like everything opened, as far as the possibilities of what music-making meant. Like improvisation walked in and then there was a volcanic eruption" - Tashi Dorji "The self-titled session was recorded at a nice studio at the local university here in Asheville. I had some friends that were studying music there and had access to studio time. This session focused more on extended/prepared guitar ideas. My interest in percussive elements of sounds, timbre, harmonics, and dynamics plays a lot in this recording." - Tashi Dorji

Die Veröffentlichung von TIME FADES AWAY zum 50. Jahrestag ist eine wahrhafte Würdigung einer Zeit, die die Musik für immer geprägt hat. 1973 schrieb Young Songs, die bis heute Bestand haben, und änderte kühn die Art und Weise, wie er sie persönlich präsentierte. Das ist ein Markenzeichen von ihm, das immer noch Bestand hat. Zum 50. Anniversary wird das Album am 3. November als Clear 1LP wieder veröffentlicht.

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid. Love And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in the inky blackness. Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively, Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion. Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noise- based productions; the result is a new entity, the underground pop star that exists only in darkened dreams. Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key. Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in space, floating and obscure. On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and co- production is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or just another layer of mystery behind the enigma? Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in obscurity, leaving everything unanswered but open.

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

The Debut album from Finnish band Graven Sin is a modern classic of godly, Doom-laden Heavy Metal. Veil of The Gods is etched in granite via Svart Records on November 2023 Pristine new Finnish band Graven Sin stomp proudly on the shoulders of giants with their ravishing debut album, Veil of The Gods. Immaculate Heavy Metal, expertly delivered with stunning finesse and elegant Doom perfection, Veil of The Gods is a classic in the making. Rarely has a new band sounded so timeless, serving up a godly platter of first-class Heavy Metal, that Graven Sin seem chiselled in granite to sit side by side at a table with the greats from the very get go. From the galloping charge of opening barn-stormer Morrigan, with jaw dropping solo guitars courtesy of riff master Ville Pystynen, the epic and anthemic She Who Rules Niflheim with soaring vocals from Greek vocalist Nicholas Leptos to the formidable double bass canter of Ville Markkanen’s drums on songs like Beyond Mesopotamia, Graven Sin knows the true riddle of steel. Throughout Veil of The Gods’ eleven cast-iron tracks, we can trace veins of recent Finnish greats such as Sentenced, Amorphis, Reverend Bizarre or their nordic counterparts Grand Magus from Sweden, but there is much more at play here. Graven Sin offers up heavy, doom laden orthodox Heavy Metal in the true, chugging, monumental sense of the term. The knowledge and prowess of Heavy Metal craft on display in Veil of The Gods is second to none, from the Maidenesque command of melody to the swarthy Manowar rhythms, herculean Deep Purple keys and Messiah like Candlemass-rich voice of astonishing vocalist Leptos, these are songs to be inscribed into stone tablets. Where pitch dark mythical themes and occult leanings of the lyrics bring to mind the Heavy Metal running through Black Metal bands like Dissection, the song arrangements swing from gallop to thundering, head-banging mid-sections with such magnificence, you would think you were in the hands of a band with decades of heritage behind their backs. A “where have you been all my life moment” awaits Heavy Metal fans of all shades when Graven Sin hits the speakers, delivering a sound that cuts glass and steel. A refreshing tour–de-force through everything Heavy Metal is loved for, not shrinking from the dark but embracing it with gusto and fierce bravado. Veil of The Gods shows us that real metal lives forever, if crafted with true spirit and belief. Hear the cry of the seer of doom, by heeding Morrigan’s call now: Ville Pystynen - guitar, bass Nicholas Leptos - vocals Ville Markkanen - drums

Following the release of the shoegaze masterpiece Delaware in 1992, and the intricate experimentations on National Coma in 1993, Drop Nineteens disbanded. They had a great run. Shared stages with Radiohead, Hole, Blur, PJ Harvey. Went from being teenaged kids in Boston to mid twenty somethings with an MTV video under their belt. So when Drop Nineteens ceased to be, Greg Ackell felt content, music was a closed chapter. That was until 2021. For the first time in nearly 30 years, Ackell felt compelled to pick up a guitar. He immediately called up Steve Zimmeran, the band's bassist and fellow guitarist, and the two got writing. It felt effortless for Ackell, like he never stopped writing music. "We were off to the races," he says. "But also the question came up: what does a Drop Nineteens song sound like today? Enter Hard Light, the band's stunning third record. It's the band's proverbial follow up to Delaware, a modern Drop Nineteens record that is completely singular in its sound and vision. The first task making Hard Light, was of course, getting the rest of the band back together. Drop Nineteens is an inherently collaborative project. Ackell's primarily the lyrics writer, and he collaborates with Zimmerman, Paula Kelley, Motohiro Yasue, and Peter Koeplin to create the sonic world. The record came together over the course of a year, recording at a patchwork of studios all around the country. Making music together felt natural, fluid, exciting. The guitar reverb is expansive as ever. Ackell and Kelley's vocals are crystalline. "Scapa Flow," is triumphant. An excellent example of what a modern day Drop Nineteens song sounds like. The guitars glide like clouds on a blue sky day, drums shuffle in the background, searching. Ackell and Kelley's vocals are cool toned and dreamy, bound up in a haze of reverb. It's unquestionably lovely. You could say the same for the whole of the record. Hard Light is so lovely. A portrait of a band 30 years later, as talented and as dedicated to their craft as ever.

Shrouded in darkness for over a decade, ever since the disturbing events that lead to the band's inception, B R I Q U E V I L L E have been bewitchingaudiences with a hypnotizing dirge that evokes the heaviest elements of doom metal and post-rock before mixing them with eerie field recordings, found sounds and haunting traditional instrumentation. On November 3rd, 2023, as winter takes back the night, B R I Q U E V I L L E will unveil `IV' - their latest exploration into the darkest depths of the soul. The Belgian collective's pulsating, repetitive rhythms and penetrating, guttural guitar work return alongside a more prominent vocal presence with ethereal melodies and brooding lyricism further exploring the deeper, richer sonic palette first heard on 2020's `Quelle.' Drawing from members of different local scenes, B R I Q U E V I L L E first assembled with the ambition of improvising around a single, droned note. Having latched onto something raw and powerful, the band suddenly found themselves confronted by a stranger telling tales of a hatred years in the making. Floored by such a fateful meeting, B R I Q U E V I L L E have anonymised themselves behind sweeping black robes and occult golden masks ever since; unifying the collective as one sound, a singular faceless force hellbent on converting audiences around the world. With `IV' however, B R I Q U E V I L L E are beginning to lift the veil. Alongside the aural despair that the band have been handcrafting ever since their eponymous debut full-length in 2014, `IV' is imbued with an intriguing duplicity. Within the mournful melancholy and grinding, icy orchestration is the faintest glimmer of hope as the collective explores the idea of creativity free from the confinement of morals, expectations and time. `IV' sees subtle, tonal shifts and brief periods of warmth and richness now intersperse the band's fearsome outbursts of unrivalled heaviness in a new, intoxicating transformation of their formidable sound. DO be careful though, B R I Q U E V I L L E may be stepping out of the shadows, but they can easily drag us back. FFO Sleep, Bong, ISIS, Pelican, Mogwai, Sunn O))), Godspeed You! Black Emperor, Amenra Ltd Single Coloured XX Edition Vinyl, sleeve w/ gold foil embossing!

Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.

Australian rock band Tonight Alive burst onto the scene in 2008 as teenagers, blending power pop and rock, quickly finding success with their debut album, ‘What Are You Scared Of?’, and becoming a crowd favourite at festivals like the Vans Warped Tour and Bamboozle.  ‘Underworld’ is the band’s final and most organic album yet, a raw and real insight to a band reconnecting with their authentic selves.  One of the songs that emerged from the sessions is ‘Temple’, the song that launched the new era of the band and one written when lead vocalist Jenna McDougall was experiencing severe depression and fatigue - the lyrics penned when she was totally entrapped in being sick in her mind, body and soul. The rawness of the song became an anthem at BBC Radio 1 (debuting as the Rockest Record Of The Week).  The album takes the listener on an emotional journey of the underworld we all have within us, dissecting our internal darkness and discovering peace. Songs like ‘Disappear’ featuring guest vocals from Lynn Gunn (PVRIS) and ‘My Underworld’, a stirring duet with Corey Taylor (Slipknot / Stone Sour) showcase the diversity of the band’s sound and triumphantly scream to the world that Tonight Alive will always live on.  For fans of PVRIS, All Time Low, You Me At Six, Pierce The Veil, Paramore.

GREEN AND WHITE MARBLE VINYL.

The Beths occupy a warm, energetic sonic space between joyful hooks, sun-soaked harmonies, and acerbic lyrics. Their debut album Future Me Hates Me, forthcoming on Carpark Records, delivers an astonishment of roadtrip-ready pleasures, each song hitting your ears with an exhilarating endorphin rush like the first time you heard Slanted and Enchanted or 'Cannonball.'

Front and center on these ten infectious tracks is lead singer and primary songwriter Elizabeth Stokes. Stokes has previously worked in other genres within Auckland's rich and varied music scene, recently playing in a folk outfit, but it was in exploring the angst-ridden sounds of her youth that she found her place. 'Fronting this kind of band was a new experience for me,' says Stokes. 'I never thought I had the right voice for it.'

From the irresistible title track to future singles 'Happy Unhappy' and 'You Wouldn't Like Me,' Stokes commands a vocal range that spans from the brash confidence of Joan Jett to the disarming vulnerability of Jenny Lewis. Further honeying Future Me Hates Me's dark lyrics that explore complex topics like being newly alone and the self-defeating anticipation of impending regret, ecstatic vocal harmonies bubble up like in the greatest pop and R+B of the '60s, while inverting the trope of the 'sad dude singer accompanied by a homogenous girl-sound.'

All four members of The Beths studied jazz at university, resulting in a toolkit of deft instrumental chops and tricked-out arrangements that operate on a level rarely found in guitar-pop. Beths guitarist and studio guru Jonathan Pearce (whose other acts as producer include recent Captured Tracks signing Wax Chattels) brings it all home with an approach that's equal parts seasoned perfectionist and D.I.Y.

'There's a lot of sad sincerity in the lyrics,' she continues, 'that relies on the music having a light heart and sense of humor to keep it from being too earnest.' Channeling their stew of personal-canon heroes while drawing inspiration from contemporaries like Alvvays and Courtney Barnett, The Beths serve up deeply emotional lyrics packaged within heavenly sounds that delight in probing the limits of the pop form. 'That's another New Zealand thing,' Stokes concludes with a laugh. 'We're putting our hearts on our sleeves—and then apologizing for it.'

The latest album release by acclaimed Norwegian band Erlend Apneseth Trio is made in collaboration with renowned experimental composer and vocalist Maja Ratkje. Their impromptu concert together in 2022 was a glorious kick-off for a five-day festival and was luckily put on tape. After reworking and reimagining the recorded material with their steady collaborator Jorgen Træen, the result is a refreshing take on improvisations-turned-compositions. Featuring innovative soundscapes with archival material and an engaging transitory state. Listening to the album is akin to being on a voyage of discovery, in and out of the dream state. From the very beginning, the listener is met by ancient voices on tape, surrounded by distorted and dispersed sounds. Like stars on a moonless night, the sounds fall in and out of perceptibility, most twinkling, some falling. You suddenly wake up on a speeding train. As it enters a tunnel, ghostly voices sing a lullaby. The music gradually unfolds from mesmerizing melancholia to a ritualistic blowout. The music always takes the route of the unexpected and reaches momentums which shows why this is one of Norway's most unique constellations. Orbiting sounds gather around and assemble themselves into scenes, forming uncanny rooms collectively dreamed up by the artists. The album's first track Tre Vegar follows an enthralling pathway layered with field recordings and intensified by noise, suddenly plunging into a delightful stream of chords fleeting in mid-air. The variety of sounds that make up this glorious and aptly named 'Collage' is astounding. Elemental sounds range from the howling wind and soft-bright ringing of sheep-bells to the timeless trickling of a small stream of water. Strings of many timbres soar over animated croaks and quacks, assembling into a swampy symphony. The well-balanced diversity of acoustic and electric sounds has become the band's trademark. It is ever-present, complementing and creating new improvisatory trails to follow. Erlend Apneseth: Hardanger fiddle Stephan Meidell: baritone acoustic guitar, live sampling, modular synth Oyvind Hegg-Lunde: acoustic & electronic drums, percussion, timpani Maja S. K. Ratkje: voice, electronics

It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

It’s been a little over ten years since Hailu Mergia re- emerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the

New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival.

Finally, we have a recorded document of the keyboard player’s powerful DC-based trio—which practices each weekend in his basement—featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA’s expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities.

Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like “Tizita” or “Anchihoye Lene”) upside down and inside out until they emerge as molten new works, often spontaneously. Mergia’s original compositions (like “Yegle Nesh”) shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments—often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age.

Pioneer Works Swing (Live) brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents.

Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he’s been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

Patrice Bart Williams, also known as Patrice, is a singer,composer, producer and director from Germany and Sierra Leone. His career took off in 1999 with the release of the Lions EP. In 20 years, he has released a dozen albums. His music is a blend of reggae, soul, punk, folk and hip-hop. Over the years,
he has established his own unique style. He settled in Jamaica in 2020 and decided to build a studio in the
middle of the forest. This atypical location became a meeting place for artists and inspired Patrice to explore new territory. The "Super Sundays", live concerts held on the studio rooftop, were attended
by artists such as Richie Spice and Jesse Royal. In 2022, Patrice unveiled the Super Album, an unplugged best of where he reinterpreted his greatest hits including 'Soulstorm', 'Hippies With Guns', and 'Burning Bridges'.
Patrice returns in 2023 with a new album entitled '9', marked by rebirth and the symbolism of the colour blue. This album is the result of seven years' work, a veritable introspection into the depths of his emotions. "I was born on the 9th, the day my grandfather passed away. The notion of rebirth has always been present in my life, from my very first day. For my ninth studio album, I took the time to withdraw, to rebuild myself. The last seven years have been devoted to self-discovery, and it's this inner journey that has given life to this album." - Patrice

The Avengers remains one of the great institutions of British television, a landmark series and the epitome of the swinging 60s.

This debut release on vinyl features highlights of music from the Tara King era series of The Avengers by composer Howard Blake,

taken from the CD release (2011). Following on from Johnny Dankworth and Laurie Johnson (whose classic theme opens this release),

Blake delivered his own distinctive musical style to the hippest show on TV. He was awarded the OBE in 1994,

after a music career covering everything from choral works and ballet to film and TV. His music for the Christmas perennial

The Snowman, with its magical Walking in the Air theme has become a seasonal standard.

Katie Meluas Debütalbum "Call Off The Search" machte sie sofort zu einem außergewöhnlichen neuen Talent. Das Album, welches dieses Jahr sein 20-jähriges Jubiläum feiert, zeigt ihren einzigartigen Gesangsstil, der Jazz-, Blues- und Folk-Einflüsse mit zeitgenössischer Pop-Sensibilität vermischt. Das Album wurde von Mike Batt mitgeschrieben und produziert, der eine zentrale Rolle bei der Entwicklung des prächtigen und anspruchsvollen Klangs des Albums spielte. Das zentrale Thema von "Call Off The Search" ist die Liebe und die Selbstfindung, ausgedrückt durch eine Sammlung von gefühlvollen und introspektiven Songs, darunter die Leadsingle "The Closest Thing to Crazy", die mit ihrer gefühlvollen Performance und der fesselnden Melodie das Publikum weltweit sofort in ihren Bann zog. Von Kritikern und Zuhörern wurde das Album für seinen reifen und gefühlvollen Sound gelobt, vor allem wenn man bedenkt, dass Katie Melua zum Zeitpunkt der Veröffentlichung erst 19 Jahre alt war. Call Off The Search" fand bei einem breiten Publikum Anklang, wurde ein kommerzieller Erfolg und zu einem der meistverkauften Alben des Jahres 2003.

Diese Neuauflage zum 20-jährigen Jubiläum wurde in den Metropolis Studios in London neu gemastert und enthält B-Seiten sowie sieben bisher unveröffentlichte und unverfälschte Demos, die Katie und Mike Batt 2002 aufgenommen haben. Die von Pete Paphides verfassten Liner Notes enthalten Beiträge aus einem neuen Interview mit Katie.

Off World presents the final album in its trilogy of surreal and spacious leftfield electronics. "A stellar project headed by Sandro Perri, one of the most singular producers in contemporary music" (Boomkat), this third volume is another distinctive collection of tracks constructed from semi-improvised ensemble recordings made over the past decade with a varied cast of coconspirators. Drew Brown, Matthew Cooper, Susumu Mukai and Andrew Zukerman join Perri again on a variety of synths and machines, along with violinist Jesse Zubot (Tanya Tagaq, Fond Of Tigers). Perri also continues to add organ and piano to the mix, while Volume 3 notably features first-time Off World contributors Nicole Rampersaud on trumpet and Martin Arnold on guitar, both mainstays of Toronto's vibrant improv and out-music scenes. The Quietus calls Off World "genuinely explorative_the musical equivalent of a Dali-esque landscape" which through all sorts of genre-defying twists and turns, at times evokes "offkilter, late Miles Davis ambience". Off World 3 doubles down on that jazz-adjacent trope in certain respects, while holding fast to Pitchfork's dictum that Perri "cultivates his own genreless brand of futurism." Marked by longer tracks than previous collections, three of the album's five songs clock in around the 10-minute mark, where overtly improvised instrumental playing wends its way across alternately bubbling and woozy electronic beds. "Impulse Controller" is a languidly skewed rhumba where ambling melodic undercurrents and dubby electronic pointillism provide a dulcet promenade for Rampersaud's Miles-esque trumpet excursions. "Ludic Loop" see-saws along in a slow synthy two-step, punctuated by Perri's restrained piano chords and Arnold's fried electric guitar. "Empasse" is perhaps most reminiscent of earlier Off World collections, though again slowed and stretched, with oozing synth bass ostinatos counterposed by ambient layers of viola and violin filigree from Zubot. These three centerpiece longform tracks each highlight one of the album's instrumental improvisers, and taken together, make for the most scintillating sedate and ruminant album in the trilogy. Off World 3 sounds as sui generis as ever, but in wrapping up the series, Perri sprinkles the project's emblematic alien surrealism with decidedly anthropic elements and temporalities. This final volume in the trilogy could also be seen as a re-statement of Perri's politico-aesthetic mission, as aptly celebrated by Pitchfork and its glowing 8.0+ reviews of Perri's 2018/2019 solo albums In Another Life and Soft Landing (released between Off World 2 and the present volume): a uniquely purposeful, subtly detailed cannon of songs "busy, vibrant, and bursting with life, but that aren't ever in a rush to get anywhere."

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

LOVE + POP is a snapshot of a moment in not-so-far-away time; something fast, loud, moody and a little dangerous. It is, in some ways, classic Current Joys: full of wild ambition, sneaky hooks, and songs that move from concept to completion with prolific speed. But LOVE + POP also explodes myriad expectations with aggressive, deconstructed production, house music influence, and a guest appearance from Lil Yachty. It is not so much a twist as it is a unique multiverse identity for Current Joys, as Nick Rattigan's set out to "capture this sonic moment and harken back to the way I first released music." The story of LOVE + POP begins with one of those house parties: the kind that bulldozes your home and, in its aftermath, leaves a wreckage that finds you flattened but also ready to be new. In that mess and mayhem, Rattigan watched Everybody's Everything, the documentary of Lil Peep, and recorded a cover of "walk away as the door slams". But the itch wasn't scratched, and what began as a moment of homage morphed into something bigger, deeper and more fundamental, a point where the seemingly haphazard - in his home, in Peep's process - opened Rattigan up to an entire creative space and a new approach to bending or even detonating genre. Crucially, all of this was recorded at home, in what Rattigan calls a "tribute to the process of creating" in a DIY space. And what began as a singular passion project unexpectedly grew into a uniquely collaborative record for Current Joys. "I've set out to make collaborative records before," Rattigan explains, "but they often end up totally me, with just a couple exceptions. But then this record gave me the opportunity to be extremely collaborative, to let other people write instrumental tracks, sending links around for people to mess with and weigh in on. I sat down to do credits and realized here were all these people and styles and they all came together and worked." LOVE + POP's cover art is an airbrush/spraypaint rendition of the Wild Heart album cover, which is itself a photo of Rattigan's grandparents kissing. It is sacred in some ways and shredded in others. This idea - the aggressive reimagining of something timeless into a present, finite style - is LOVE + POP.

"Spirit Power - The Best Of Johnny Marr" ist eine großartige Sammlung an Songs, die seine musikalische Bandbreite der ersten zehn Jahre von Johnny Marrs produktiver Solokarriere beleuchtet. Spirit Power enthält auch zwei brandneue Songs, die Johnny Marr zusammen mit seinem Co-Produzenten James Doviak produziert hat.

An Meilensteinen mangelt es Johnny Marr (The Smiths, Electronic, The The, Modest Mouse) in seinem bewegten Musikleben nicht - der Inspiration Award bei den Ivor Novellos, eine Oscar-Nominierung für seine Arbeit mit Hans Zimmer bei Inception, ein NME Godlike Genius Award zeugen von seinem Erfolg. Aber es ist das vergangene Jahrzehnt aufregender kreativer Begegnungen, die auf einen entscheidenden Moment für Johnny Marr im Jahr 2023 hinweisen - zehn Jahre inspiriertes Songwriting als Frontmann einer Band zu feiern.

Spirit Power wurde von Johnny Marr persönlich kuratiert und umfasst Songs aus vier britischen Top-Ten-Soloalben (The Messenger von 2013, Playland von 2014, Call The Comet von 2018, das Doppelalbum Fever Dreams Pts 1-4 von 2022), Non-Album-Single-Veröffentlichungen w, zwei brandneue Songs sowie eine Coverversion von Depeche Modes 'I Feel You', die zum Record Store Day 2015 veröffentlicht wurde. Die Deluxe-CD-Edition von Spirit Power wird fünf bisher ungehörte Demos und Raritäten enthalten: "Hi Hello" (Demo), "Somewhere" (Demo), "The Answer" (Crazy Face Version), "The Messenger" (Demo) und "Speak Out Reach Out" (Crazy Face Version).

Cher celebrates 25 years of "Believe" : On November 3, the Grammy Award-winning masterpiece will be released in a new, expanded " BELIEVE (Deluxe Edition) " that adds a whopping 13 remastered remixes to the mega-seller's original track listing (11 million worldwide!). The deluxe edition will be released in 3LP/2CD/Download & stream formats via Warner Records. "Believe" was an album full of dancefloor perennials - a fact that the assembled remixes in the new mastering underline once again.

"Tee's Radio One Instrumental? & "Ray Roc's Latin Soul Instrumental" from "Dov'e l'Amore?" are included here in one package for the first time, for example, along with remixes of the empowerment anthem "Strong Enough," "All or Nothing," "Dov'è l'amore" and the title track "Believe," a worldwide smash hit that sold over 10 million copies and reached #1 in 23 countries, including Germany, where it now has 5x gold status.

Cher is one of the most successful artists in history, selling over 100 million records during her unparalleled career. To date, she is the only artist:in to record a #1 single on the Billboard charts in six consecutive decades.

"Spirit Power - The Best Of Johnny Marr" ist eine großartige Sammlung an Songs, die seine musikalische Bandbreite der ersten zehn Jahre von Johnny Marrs produktiver Solokarriere beleuchtet. Spirit Power enthält auch zwei brandneue Songs, die Johnny Marr zusammen mit seinem Co-Produzenten James Doviak produziert hat.

An Meilensteinen mangelt es Johnny Marr (The Smiths, Electronic, The The, Modest Mouse) in seinem bewegten Musikleben nicht - der Inspiration Award bei den Ivor Novellos, eine Oscar-Nominierung für seine Arbeit mit Hans Zimmer bei Inception, ein NME Godlike Genius Award zeugen von seinem Erfolg. Aber es ist das vergangene Jahrzehnt aufregender kreativer Begegnungen, die auf einen entscheidenden Moment für Johnny Marr im Jahr 2023 hinweisen - zehn Jahre inspiriertes Songwriting als Frontmann einer Band zu feiern.

Spirit Power wurde von Johnny Marr persönlich kuratiert und umfasst Songs aus vier britischen Top-Ten-Soloalben (The Messenger von 2013, Playland von 2014, Call The Comet von 2018, das Doppelalbum Fever Dreams Pts 1-4 von 2022), Non-Album-Single-Veröffentlichungen w, zwei brandneue Songs sowie eine Coverversion von Depeche Modes 'I Feel You', die zum Record Store Day 2015 veröffentlicht wurde. Die Deluxe-CD-Edition von Spirit Power wird fünf bisher ungehörte Demos und Raritäten enthalten: "Hi Hello" (Demo), "Somewhere" (Demo), "The Answer" (Crazy Face Version), "The Messenger" (Demo) und "Speak Out Reach Out" (Crazy Face Version).

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2021/2022.

Archie Shepp’s Black Ballads first came out in 1992 and celebrates its 30th anniversary in 2022. This 2LP features eleven great jazz ballads including classics such as “Embraceable You” and “Georgia On My Mind” by the tenor saxophonist. Shepp is supported by pianist Horace Parlan, bassist Wayne Dockery and drummer Steve McRaven.

To celebrate the legacy of Wim Wigt’s Timeless Records 45th Anniversary, Music On Vinyl is releasing the 45th anniversary Jazz Series. Each release includes the Timeless Records insert showing the first 8th albums on limited coloured vinyl.

Black Ballads is available on vinyl for the very first time as a limited edition of
500 individually numbered copies on translucent magenta coloured vinyl. The package comes with an insert with upcoming titles from The Timeless Records
45th Anniversary Jazz Series.

"El Caos Reina" by Oxygeno is the new chapter of our label. This EP is made up of four raw, mental and introspective tracks where the creator tells us the story of a difficult and uncertain time.

Side A opens with "Veneno En Los Labios", an exercise with heavy drums, wrapped by a crunchy bass and a tense and nostalgic atmosphere. This track is followed by "Condenados", a more experimental, dark and anxious piece, where you can feel the terror of the situation.

On the B-side we first find "Grito Al Vacio", the most energetic track, with a strong kick and bassline, cutting percussions and a pad that appears as a desperate scream. In the last track but not least, "As De Corazones", is the hypnotic piece of the album but keeping the forcefulness of the rest.

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Featuring BJ The Chicago Kid, Raheem Devaughn, Karriem Riggins, & Al Skratch, Skyzoo's latest album "All The Brilliant Things" is a masterful work of art that showcases the Brooklyn rapper's lyrical
prowess and storytelling ability. The album is a 14-track journey that delves into Skyzoo's personal life experiences, reflecting on his upbringing, love life, and the everyday struggles faced by Black people in America. "All The Brilliant Things" is a testament to Skyzoo's growth as an artist and his ability to create timeless music that resonates with listeners. His lyrics are poignant and thought-provoking, tackling themes of love, loss, and perseverance. The album is a must-listen for any hip-hop fan, showcasing the best of what the genre has to offer. The album has over 400 million impressions on Tiktok, being featured on thousands of tiktok videos across the world

Cooltempo Records launches the first in a series of compilations and reissues starting with brit-soul
icon Kenny Thomas. Containing the biggest hits, fan favourites, and previously unreleased material.
Twice Brit-Award nominated Kenny Thomas is one of the UK's most successful Soul singers of his
generation, having had two Top 10 albums and numerous Top 40 singles over his illustrious thirty-year
career. His debut album Voices, released in 1991, sold over a million copies worldwide, going double
platinum in the UK alone and features the top 5 hit 'Thinking About Your Love'. Most recently, Kenny
appeared on the Top of the Pops BBC series to discuss his hits, having performed on the show no
less than 9 times. During lockdown, Take That's Gary Barlow invited him to sing for his Crooner
Sessions with the video garnering over 4 million views. Kenny is set to embark on a UK theatre tour in
support of the Best Of throughout November and December. The Best Of Kenny Thomas features his
'90s chart hits along with rare mixes and two previously unreleased tracks. The legendary UK radio
presenter Tony Blackburn has contributed a foreword to this stylish package.

Collignon is a three-piece band with Yves Lennertz on guitar (and bass), Gino Bombrini on drums (and percussion) and Jori Collignon on the keyboards (and taking care of the production). The three friends have been making music together for some time, collaborating in different groups and settings, Jori and Gino as part of the band SKIP&DIE, Gino as a producer for Yves’ former group, YĪN YĪN.

After a decade of touring the world, Jori settled in the quiet and dusty village of Lagoinha, Portugal, where he built a studio complete with a guesthouse, a small piece of land, and a few chickens. From here, Jori worked with a global range of artists from La Reunion, Colombia, Argentina, Mozambique, Angola, Brazil, Cape Verde, Guiné-Bissau, and beyond. All these experiences led to the creation of his first album, suitably named ‘Lagoinha’.

Shortly after its release, Gino and Jori jumped on the tourbus again, and later, Yves joined them to complete the band. They initially started developing new material live on stage, allowing for improvisation and exploration. After finalizing these new songs in the studio, the result is an explosive and high-energy mix of sounds that has surprised audiences all over Europe during the past summer.

Other Half’s debut album, Big Twenty, is 14 songs of caustic post-hardcore exploring the unpleasant places people go to—and the nastiness they are capable of—in search of identity, community and belonging. The recurring characters that inhabit Big Twenty navigate changing social scenes and trends as they near the end of their twenties, teasing themselves with the past and spiralling in an unhealthy cycle of going out and coming down. The album’s narrative is semi-fictitious, reimagining first-hand experiences watching friends lose themselves to nostalgia, drugs and depression, whilst simultaneously celebrating the warmth of belonging, wherever it is found. Meeting in 2012 through a love of the UK DIY scene and their time split between previous outfits—including Maths, Ducking Punches and Manbearpig—Cal Hudson (guitar, vocals), Alfie Adams (drums) and Sophie Porter (bass, vocals) began writing songs together in Adams’ basement bedroom. From the indie rock cynicism of Archers of Loaf and Arab Strap, to the dischord and energy of bands like Hot Snakes and Unwound, the band have spent the past few years weaving their individual influences together and now deal in a confident, unique brand of scathing storytelling and abrasive punk.

Heading to a new millennium, people in the 80s and 90s were looking for brighter days to come and Techno was the music of this utopic future, themed by rushed beats made by electronic instruments that resembled a new era of technology, endless excess and possibilities.

40 years later the world is more complicated and dystopian than ever as we face crises everywhere. Mental issues are a natural consequence of the troubled environments we live in and more people around the world suffer from them. At the same time, we haven't lost the appeal for euphoric and fast dancing, either to leave our problems behind or face them head-on on the sweaty dance floor.

This EP is dedicated to some of the feelings associated with the tribulations of mental issues. What seems like a dark take still points out that we are not alone, as music unites us being the source for help and change. Mental States 777_31 offers four sick cuts perfect for insane clubs - fast and furious like an attack, rushed and energetic embracing positivity in the darkness.

All vinyl comes w/ printed inner sleeve + download card. Genre: Metal. Limited edition Transparent vinyl available exclusively to indie stores. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s final EP An Anthology of Dead Ends was originally recorded in 2002, serving as a swan song sending off one of heavy music’s most inventive groups.

Now, the band’s final EP is set to be re-issued on Sargent House over 20 years after its original release. Their monstrous concoction of metal, noise, indie rock guitar trickery, and depth is on full display.

This is a last will and testament to the group's drive and intent, cementing their legacy as one of the untouchable greats, already having influenced many a group. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time.

Their final show was June 15, 2002, the same day as the original release of An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup.

Over 20 years since they played their final show, Botch are reuniting for select dates across the US throughout the end of 2023. Botch continue their first live performances in over 20 years throughout the end of 2023.