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"Star Wars Stories is a collection of the most famous melodies & fan favourite tracks from the recent Star Wars Universe including The Mandalorian, Solo: A Star Wars Story and Rogue One. This compilation features main themes, epic orchestral tracks and emotional songs, paying tribute to the originals John Williams, Ludwig Göransson, John Powell, Anthony Williams & Michael Giacchino. This project is a follow-up to the 2019 release Music From The Star Wars Saga – the essential collection, a compilation of music from the Star Wars films. Included are the most famous melodies & fan favourite tracks from the hugely popular tv series, paying tribute to Ludwig Göranssons’ work. This includes musical highlights from the series ranging from the infamous main theme to epic orchestral tracks & character pieces for Boba Fett & Luke Skywalker. From Solo: A Star Wars Story, this tribute to John Williams & John Powell’s 2018 album features action-loaded orchestral musical highlights from the film and themes for the beloved characters Han Solo and Chewbacca. Star Wars Stories is available as a limited edition of 1000 individually numbered copies on ""Hyperspace"" coloured vinyl. This 2LP-set is housed in a gatefold sleeve, includes an insert, and features secret inscriptions in the run-out grooves.
"

Star Wars Stories by Various Artists, released 2 May 2024, includes the following tracks: "Luke Skywalker Hallway Theme", "End Theme", "Flying With Chewie", "The Adventures Of Han" and more.

This version of Star Wars Stories comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a marble, blue & white & black disc. Another vinyl is pressed as a marble, blue & white & black disc.

2024 Repress

Mannequin Records is proud to present a full length by the Philly minimal-synth princess Void Vision.
Void Vision is a Philadelphia-based electronic project helmed by Shari Vari. It began around 2009 at a time when a wave of synth-revivalists were materializing, but the quality of the songwriting and intense vocals set the band apart from the pack. In a rare instance, Void Vision has managed to combine vintage dance elements with melodic structures, haunting melancholy, and lyrics that have a palpable soul. The songs themselves are dynamic, referencing a cross-section of the last 30 years of electronic music, while simultaneously retaining a uniqueness all their own.

The infamous Wierd Records weekly club night in New York, which showcased a variety of talented electronic and coldwave artists, served as an incubator for Void Vision in it's early stages. After a standout debut performance at the club, they immediately caught the attention of Blind Prophet Records, who consequently released their first 7" single, 'In 20 Years', which received excellent reviews.

Vari has continued performing and recording steadily over the last few years, releasing songs on compilations for various labels, including Rough Trade, and in 2012 the song 'Everything is Fine' was selected for Artforum magazine's 'Best of 2012' issue. In 2013, Void Vision toured the West Coast and later that year released a split 12" with Portland-based band, Vice Device. The first official full-length album, entitled 'Sub Rosa' is set to debut on Berlin-based Mannequin Records, followed by a European tour in 2015.

Shari Vari formed Void Vision in 2009 originally as a duo, during the explosion of the new minimal synth and cold wave scene in United States. Sharing the same scene of the Wierd Records associates like Led Er Est, Martial Canterel, Xeno & Oaklander, Automelodi, in 2010 VV released 'In Twenty Years' on Blind Prophet (Sean Ragon's Cult Of Youth record label), receiving also the attention of the Rough Trade dudes, who asked to put out a track for one of their synth wave compilations.
After other split vinyls, tapes and compilations, Mannequin approached Shari with the intention to continue what Wierd Records started, giving a proper shape to her beautiful and youthful dark electronic sound. The result is 10 hypnotic cold analog tracks dominated by the warm and fragile Shari's voice, some more 'pop orientated' some others belonging to the original 'cold wave' atmosphere.

"Sub Rosa" is an edition of 400 copies on 160 gram black vinyl and 100 copies on 160 gram white vinyl.

Bringing together over 50 of Jamaica's greatest session musicians, whose work spans from the birth of reggae in the late 1960s until today, Roots Architects is the largest gathering of Jamaican musical talent on one all-instrumental album. Never before have so many veterans, who helped create the immortal rhythms that made reggae internationally successful, been assembled to play on new material without vocals. This album aims to celebrate and pay tribute to the unsung heroes of reggae music: the rhythm builders or Roots Architects.

The project is the brainchild of Swiss keyboardist and producer Mathias Liengme. In 2013, he travelled to Kingston, Jamaica, to produce The Inspirators project, an all-star album gathering Leroy ”Horse-mouth” Wallace, Lloyd Parks, Earl ”Chinna” Smith and Sangie Davis, the four of them acting both as musicians and vocalists. This first experience in Kingston studio life paved the way to what would become the Roots Architects project. In February and March 2017 Mathias Liengme travelled for the fifth time to Kingston to record as many of reggae’s greatest living veteran musicians as he could. With the help of a few of these Architects like Robbie Lyn, Fil Callender or Dalton Browne, he managed to gather over 50 session musicians aged 60 to 85 on nine instrumental songs.

Roots Architects are legends back together in Kingston studios doing what they do best: creating in-strumental music all together!

Galaxy Vinyl-
blue + white vinyl pressed galaxy effect in a gatefold jacket with lyrics.

"Look to the East, Look to the West", das neue Album von Camera Obscura, ist eine Offenbarung. Die von Tracyanne Campbell geleitete Band hat sich wieder mit dem Produzenten Jari Haapalainen zusammengetan und ein Album geschaffen, das daran erinnert, warum die langjährigen Fans sie seit Jahrzehnten heiß und innig lieben, und das gleichzeitig ihr bisher anspruchsvollstes Werk ist. Es ist auch das am härtesten umkämpfte Album in der Karriere von Camera Obscura. Nach dem Tod von Gründungsmitglied, Keyboarder und Freund Carey Lander im Jahr 2015 (an den der vorletzte Track "Sugar Almond" gerichtet ist), ging die Band in eine längere Pause. Sie blieben in Kontakt, aber ihr Status war ungewiss. Nachdem sie eingeladen worden waren, im Rahmen von Belle & Sebastians Kreuzfahrtfestival Boaty Weekender 2019 aufzutreten, kündigten sie ihre Rückkehr an. Donna Maciocia (Keyboards und Gesang) stieß bei diesen Shows zu den Gründungsmitgliedern Kenny McKeeve (Gitarre und Gesang), Gavin Dunbar (Bass) und Lee Thomson (Schlagzeug und Perkussion) und ist seitdem Songwriting-Partnerin von Campbell. Aufgenommen im selben Raum, in dem Queen "Bohemian Rhapsody" schrieb, fühlt sich "Look to the East, Look to the West" groß an, eine Breitwand-Neuinterpretation des Camera Obscura-Sounds, bei der die Band paradoxerweise zu den Grundlagen zurückkehrte - es gibt keine Streicher- oder Bläserarrangements, der Schwerpunkt liegt auf Klavier, Synthesizern, Hammond-Orgel und Drumcomputern, und, was vielleicht am auffälligsten ist, die Gruppe hat den Hallschleier fallen lassen, der ihre früheren Alben charakterisierte. Der Hauch von Country und Soul, der Camera Obscuras barocke Interpretation von Popmusik so bittersüß macht, war noch nie so offensichtlich - die Gitarren schimmern in die Ferne, die Tasten spuken, und Campbells Stimme sucht nach dem Herzen, reflektiert über Liebe, Verlust und den Lauf der Zeit. "Look to the East, Look to the West" ist Camera Obscura in seiner besten und eindrucksvollsten Form, ein Album, das den emotionalen Kern des Hörers völlig neu ordnet und ihn gleichzeitig traurig und beschwingt zurücklässt. Der Katalog von Camera Obscura ist voll von Liedern, die Menschen als lebensverändernd bezeichnen, Lieder, die sie ihr ganzes Leben lang begleiten werden. "Look to the East, Look to the West" hat 11 davon zu bieten.

Out on May 3rd, "Anniversary" is the new studio album from critically acclaimed artist Adeem the Artist. The album was produced by Butch Walker who has produced hits for artists including Weezer, Fall Out Boy, Pink, Katy Perry, Panic! At the Disco, Dashboard Confessional, Avril Lavigne and many others. This record is the continuation of a project that they began four years ago, directing their attention both inwards & outwards simultaneously and to exact correlating values so that they might be able to unbind the inner workings of themself while imagining new tools for stitching the fabric of society together again. It mostly just made some gay people like country music again.

12-inch album, Orange coloured vinyl, 3m spined LP sleeve, white polylined inner, 2-sided insert.

METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.


Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Bone White opaque + Black Galaxy effect vinyl in dub style jacket (jacket sleeve with centre hole cut out so label shows throug
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all.

Woven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth" orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.

If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Fat White Family sind zurück. Das lang erwartete vierte Album der Kultband aus dem Süden Londons, Forgiveness Is Yours, hat sie, wie alles, was sie bisher gemacht haben, noch mehr an die Grenzen ihres kreativen Talents, hrer Gesundheit, ihres Verstandes und ihrer eigenen Existenz gebracht. Die äußeren Feinde haben sich aufgelöst - vielleicht waren sie die ganze Zeit nur Halluzinationen. Nach der Veröffentlichung von "Serfs Up!" zementierten Fat White Family ihren Ruf als archetypische britische Post-Punk-Band des 21. Jahrhunderts - und brachten eine ganze Generation von Außenseiter-Punkrock-Gruppen hervor, von Shame und Black Country über New Road bis hin zu Black Midi und Fontaines DC, ganz zu schweigen von ihrer berüchtigten Live-Show, die es irgendwie schafft, Empörung und Chaos mit Gelassenheit und Schönheit zu verbinden. Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Fat White Family sind zurück. Das lang erwartete vierte Album der Kultband aus dem Süden Londons, Forgiveness Is Yours, hat sie, wie alles, was sie bisher gemacht haben, noch mehr an die Grenzen ihres kreativen Talents, hrer Gesundheit, ihres Verstandes und ihrer eigenen Existenz gebracht. Die äußeren Feinde haben sich aufgelöst - vielleicht waren sie die ganze Zeit nur Halluzinationen. Nach der Veröffentlichung von "Serfs Up!" zementierten Fat White Family ihren Ruf als archetypische britische Post-Punk-Band des 21. Jahrhunderts - und brachten eine ganze Generation von Außenseiter-Punkrock-Gruppen hervor, von Shame und Black Country über New Road bis hin zu Black Midi und Fontaines DC, ganz zu schweigen von ihrer berüchtigten Live-Show, die es irgendwie schafft, Empörung und Chaos mit Gelassenheit und Schönheit zu verbinden. Das vierte Album Forgiveness Is Yours der Fat White Family um die Brüder Lias und Nathan Saoudi ist ein eklektisches, chaotisches und doch immer kohärentes Album, das keine Gefangenen macht.

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

'Welcome to Hotel Heaven' is a fresh start for is George van den Broek, a young man with an old soul and the voice to match. His music as Yellow Days fittingly, feels both of his era and completely other: a woozy mixture of soul, blues, psych, and groove leaking through the walls of a jazz lounge that's come unstuck in time. A self-taught multi-instrumentalist, George has never fit into one style or space. Despite George being an old soul — he hates social media, loves vinyl, and collects old cameras — Yellow Days really is a project about youth and modernity: “Hotel Heaven represents fake comfort in all its forms, this whole bullshit idea of luxury where nothing is real,” explains George. “There are so many young people who are living that kind of life. Because of the cost of living crisis, people are spending all they’ve got on a bag of white powder just to make them feel nice. Their jaws are still swinging at four o’clock in the morning, but they’re not saying anything. I wanted to write about these people and everything that is happening right now. This TikTok age where everyone wants to be famous. It’s also a big 360 of my life and career to date. I wanted to get away from everything I’d done before, wash my face and start afresh.” - Yellow Days

The Madlib Invazion Music Library Series Entry #8: Karriem Riggins’ To The Jungle. Riggins is the type of drummer whose power and finesse shakes even Malcolm Catto. If you know what that means, this is the album for you. The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Soul Jazz of the First Order from Robert Dubwise Browne with two epic takes on tunes that should be in every DJ's grab bag of goodies. Sun Goddess originally by Ramsey Lewis and written by Earth, Wind and Fire's Maurice White together with a Ruff and Tuff version of the Grover Washington Jazz Funk classic "Mister Magic" featuring Jamaican Sax Man Dean Fraser. Guitarist Browne's appearance credits include the likes of his father Dennis Brown, as well as Gregory Isaacs, Beres Hammond and Toots Hibbert.. Produced by Japanese Reggae Legend Hayassen for his label Vortex and signed up on first hearing by Jazz Room Supremo Paul Murphy. If you've got a dancefloor you need these tunes!

The Morning Papers Have Given Us the Vapours was made with the black watch bandmates and producers/engineers Rob Campanella (Brian Jonestown Massacre, The Tyde, The Warlocks) and Andy Creighton (The World Record, Parson Red Heads). Ben Eshbach, formerly of The Sugarplastic, arranged the strings. Kesha Rose guests on lead vocals on the second single, Oh Do Shut Up. And the great Lindsay Murray once again lends her beautiful backing vox to a number of tracks.

the black watch songwriter/frontman John Andrew Fredrick wrote the ten songs on this, his Los Angeles-based band's latest album, entirely unselfconsciously, with no set goal in mind other than to revel in the joy of songwriting, and, eventually, the luxury of recording his music with his more-than-accomplished band. The Morning Papers Have Given Us the Vapours, produced separately and together by Rob Campanella and Andy Creighton evinces the black watch's often stunning ability to, as Andy Gill once observed in The Independent, "find chaos in the calm, melody in the miasma."

Fredrick, who has also published four comedic novels and a book on the early films of Wes Anderson, jovially describes himself as "a recovering Anglophile--one who'll never, one hopes, fully recover." From his home studio in the Angeleno Heights district of L.A., he waxes eloquent about how being branded, as it were, as a too-ardent lover of British music, film, and literature has left him as bemused as has the tag "prolific" that is often affixed to reviews of his work.

"I just don't think it's all that interesting to note that we've made so many records. Looked at one way, it's a sort of deflection from talking about the timbre if not the quality of the individual songs. Though I know it can be intimidating for fans who've just discovered us--a sort of 'My goodness, where do I start with this band that has put out LPs since 1988?' I get it. I do. I picture someone standing at our slot at a bin at a record store becoming overwhelmed at the prospect of picking the 'wrong' title. And then walking away and not picking up anything from us!" Fredrick laughs. "What can you do indeed?"

He started his career as a songwriter as a result of an American Football injury that left him bedridden in the home he grew up in in Santa Barbara, California. The year The Beatles immortal double-album came out at Christmastime he broke his leg so badly that he had to be home-schooled for an entire year. His parents, ex-teachers themselves, refused to let him watch telly for more than an hour a day. He propped a Silvertone acoustic on top of the massive cast that screamed all the way up to his thigh from his toes, and began to write little melodies and lyrics that, doubtless, did not in the least mask his love for the Fabs, The White Album in especial.

And he read and read and read--histories of the American Revolution and Civil War, mostly, and as many Dickens novels as his mum and dad could bring him. "That year," Fredrick observes, "surely made me who I am today. Proof that intensely unfortunate-seeming events can prove most fortunate. As a sport-mad kid, it made me absolutely mental that I was exiled from the activities I loved most and the school teams I played on. What a blessing undisguised that injury was! Not that I'd like to experience anything like it ever again, mind you."

Fredrick can even recall a few of the melodies he wrote as boy ("Utterly trite, of course, completely jejune"); and in a way, The Morning Papers Have Given Us the Vapours showcases a kind of get-back-to-where-you-once-belonged sensibility. "I didn't intend, this time, to make an album per se. I write both songs and fiction in order to find out what happens, to find out what I might want to say," he notes. "Rob often asks me what a particular song is about; and I often reply that I either don't know, or would prefer that others say. Same thing goes for when people ask me where they should start with our discography. I never know what to say. Our LP from 2011, Led Zeppelin Five (remastered in 2021 for its tenth anniversary), has been our best seller, I think--but that may be because some stoned Zepheads thought their gods had perhaps put out a record they'd missed!"

Despite being deadly serious about music-making, TBW's been known to either whimsically or perversely title their albums. Examples: Jiggery-Pokery (an allusion to John Lennon assessing George Martin's productions), After the Gold Room (a pun on the Neil Young classic plus a local eastside L.A. watering hole), Sugarplum Fairy, Sugarplum Fairy (echoing Lennon's famous count-off to A Day in the Life), Fromthing Somethat (a garbled spoonerism/lyric while doing a vocal), Brilliant Failures (the 2020 release that, along with Fromthing Somethat, was named Album of the Year by venerable indie rock magazine The Big Takeover), and the aforementioned LZ5.

For the new LP, the band recruited longtime friends and allies Ben Eshbach (the Emmy-Award-winning frontman of The Sugarplastic) and Lindsay Murray (Gretchens Wheel) to compose and arrange strings and sing heaps of lovely backing vocals, respectively.

And the result? A collection of songs that Fredrick, in his quite-but-not-quite self-deprecatory way, might call another set of brilliant failures. "Every song, every LP we do, is a failure of sorts--no matter how powerful or beautiful or pleasing-to-us it turns out," John concludes. "I have often said that my aim is to write songs as good as anything on The Beatles... and I will never achieve my goal. And thus I'll have to keep at it, keep trying. And chin-chin to that!"

And now your attention's been brought to a band (or you've heard of them or heard a track or two down the years) that has been pegged by The L.A. Weekly as "a national treasure" as well as "the most criminally-neglected indie pop group imaginable."

So here's to the prospect of that ostensible neglect becoming as much of a thing of the past as John Andrew Fredrick's year-long stint in bed.

The eagerly awaited debut album from the London-based four-piece * At the forefront of the new generation of Black British guitar music with Big Joanie and Bob Vylan * Supporting Slowdive on their UK tour in February * Singles playlisted by BBC Radio 6 Music, Spotify and others Whitelands are Etienne, Jagun, Vanessa and Michael and they are ostensibly a shoegaze band ever since Etienne stumbled across Slowdive's KEXP session in his recommended videos on YouTube a few years ago. However, they come at the resurgent, Gen Z-soundtracking genre from a refreshingly different angle thanks to their mishmash of musical backgrounds. There's also the fact that their line-up is fully PoC in what is traditionally seen as a predominantly white genre. "There's an underlying narrative that it's OK for white men to be romantic, sensitive, emotional and make dreamy music and, by contrast, young Black men should be making angry music," says Vanessa. "We've all grown up with these stereotypes and therefore I think people are mystified when they see Whitelands." "I consume a lot of media," says Etienne of his wide range of influences. "Videogames, music, news, paintings, manga, animations and film are my go-to, especially anime. There is this drive to want to understand and feel the whole weight of an expression. So, the songs are based on other songs, pictures, aesthetics, 'vibes', an emotion someone else felt. Fundamentally, you are what you eat." As a result of this diet, the lyrics are stunning, dealing with everything from unbalanced relationships and vulnerability to depression, being diagnosed with ADHD and, on the new single 'Tell Me About It' (featuring vocals by Dottie from the band's Sonic Cathedral labelmates deary), trying to navigate love following that diagnosis. The album is bookended by two poetically political songs - 'Setting Sun' and 'Now Here's The Weather' - that deal with imperialism, racism and performative ignorance. "We've experienced tokenism, micro-behaviours, envy and resentment," concludes Vanessa. "So we feel we have to continually prove ourselves. We know we're making a positive impact, but I want Whitelands to really break some barriers."

There is no in-between, neither is it only black or white - it is always, also, a question about contrast.

This is the third edit release on the newly reborn Tech-nology label.

The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his Soundcloud, radioshow - a big thanks.

The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.

The edit series is a mix between techno, which was initially the start of the label, so!

The edit series is not disco in the sense that is most popular or most accepted, this is a new way!

Making a techno approach to attack the original disco track.

Tech-nology!

This output is the third and not a secret track.

Here it is black, like the techno sound behind.

There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.

But the flipside, with 2 versions, is the big room killer.

There is always white noice

There is no in-between, neither is it only black or white - it is always, also, a question about contrast.

This is the third edit release on the newly reborn Tech-nology label.

The first was played by Luca Bacchetti at Burning Man 2023 and by Michael Meyer in his Soundcloud, radioshow - a big thanks.

The second is yet to be discovered, but mostly jazz and afro with a Minimal and Chicago touch.

The edit series is a mix between techno, which was initially the start of the label, so!

The edit series is not disco in the sense that is most popular or most accepted, this is a new way!

Making a techno approach to attack the original disco track.

Tech-nology!

This output is the third and not a secret track.

Here it is black, like the techno sound behind.

There is the basic well-known one-to-one production with extra techno breaks for your dancing
pleasure.

But the flipside, with 2 versions, is the big room killer.

There is always white noice

,somewhere in the nowhere, between cows and sheep, there's a little studio:"klingt als ob man den schrank aufmacht und einem fällt alles entgegen" (fortuna ehrenfeld) "sounds shit" (new york times) "nope" (bbc6) "i fucking love it!" (brian eno) "honestly?!" (meg white) "mind opening" (hans zimmer) "well done" (idles) bonny und clyde sind in ein, ja sie hören richtig, walisisch/oberösterreichisches indie-duo reinkarniert und plötzlich riecht hier alles wie reifenabrieb nach einem vollgas-start auf der straße richtung sonnenuntergang.an den drums wird hier schnell eine new sensation offenbar.tank girl, punkbraut, madonna, blumenmädchen.mit roher gewalt und einem einzigartigen stil ballert veva mit stampfenden beats den weg zum tresor frei, während tom lässig mit dem ellenbogen durchs regal geht und die erbeuteten juwelen in form von schmutzig geschliffenen britesquen songzeilen für die ewigkeit auf den pokertisch wirft.im haldern studio hat martin, sänger und mastermind von fortuna ehrenfeld, den beiden einen derart geschmackvollen noise appeal auf die leiber genagelt wie man in hierzulande nur (viel zu) selten hört." FALSE LEFTY stellt die punkwelt auf den kopf. sie brechen nicht nur optisch, sondern auch musikalisch jedes klischee. drei saiten, drei trommeln- mehr braucht das duo FALSE LEFTY nicht. die band bricht mit perfektionismus, reduziert sich von überflüssigem, lässt das unwichtige weg und setzt auf einen minimalismus, der die hoffnung weckt, dass es doch so wenig braucht, um gute musik zu machen- eine vision, zwei menschen, drei saiten, drei trommeln. FALSE LEFTY sind eine newcomer band, bestehend aus einer schlagzeugerin, die im stehen drei trommeln spielt und einem sänger, der seine gitarre nur mit drei saiten bespannt: die frage ist nicht, was gute musik braucht, sondern was sie nicht braucht. seit der gründung der Band vor einem jahr spielten FALSE LEFTY über 40 konzerte, sowohl als headliner wie auch als support für Public Image Ltd., Fortuna Ehrenfeld, The Lathums, SONS, Kapelle Petra, Cash Savage and the last Drinks und viele andere.

Der in Brooklyn ansässige Komponist, Arrangeur, Produzent und Multiinstrumentalist Sly5thAve präsentiert "Liberation", eine 2LP mit Auswahl von Originalkompositionen und Reorchestrierungen, die die Schönheit und Gewandtheit der Jazzmusik feiern. Feat. MonoNeon, Roberto Verástegui, Robert “Sput” Searight, Nate Werth.

Liberation" ist das neue Album des Produzenten, Komponisten, Arrangeurs und Multiinstrumentalisten Sly5thAve. Sly5thAve überwand kreative Schwierigkeiten und konzentrierte sich darauf, sich selbst treu zu bleiben, und fühlte sich nach der Fertigstellung des Titeltracks "Liberation" befreit - ein Gefühl, das den Titel des Albums prägte.
Liberation" entstand aus einem Demo, das vor fünf Jahren während Sly5thAves erstem Versuch, das Album zu konzipieren, entstanden war, und ist inspiriert von geliebten Blaxploitation-Filmsoundtracks und ikonischen Künstlern wie Curtis Mayfield, Willie Hutch, Herbie Hancock, Gordon Parks & J. J Johnson.

Der Grammy-Preisträger Sylvester Uzoma Onyejiaka II alias Sly5thAve ist bekannt für seine ausgefeilten Kompositionen. Sein Sound ist geprägt von seinem Glauben an Hip-Hop und seinem tiefen Verständnis von Soul, R&B und Jazz. Er hat eine große Anhängerschaft im Underground und wurde von berühmten Musikern wie Jarobi White (A Tribe Called Quest), Dr. Dre, Questlove und The Roots sowie dem Schauspieler Martin Freeman unterstützt.
Großen Respekt hat er sich durch seine Arbeit mit einer Reihe von hochkarätigen Musikern erworben, darunter Prince (als Mitglied der New Power Generation Band), Stevie Wonder, Gladys Knight, das Dave Brubeck Quartet, Taylor Swift, Janelle Monae, Freddie Gibbs und Quantic. Sly5thAve ist als Mitglied von Ghost Note, Quantic und mit seinem eigenen Nebenprojekt IGBO auf Tournee gegangen und hat Alfa Mist auf seiner Nordamerikatournee unterstützt.

Vor allem seine orchestrale Hommage an Dr. Dre, "The Invisible Man", erntete viel Lob und Aufmerksamkeit und wurde sogar von Dr. Dre selbst bewundert.

In Season 5, the long-awaited fifth full-length by beach-pop project The Tyde, frontman Darren Rademaker unveils his vision of an ’80s-inspired Suave Nouveau, with a clutch of sweet, melancholic love songs evoking lush mustaches, mellow macho, the ghost of Jimmy Buffett, white sand beaches, flamingos swooping across a cerulean sky, speedboats cutting through the bay and pastel linen suits billowing in the breeze as the sun dips beneath the horizon. “Spanish conquistador Juan Ponce de León ‘discovered’ Florida in 1513, naming the peninsula La Florida, the flowering land. In Season 5, Rademaker reflects on his own return to the flowering land, and the artistic diaspora that caused him to quit California in 2020 in search of a New World of his own. ‘I lived in Florida from the ages of ten to twenty-five, but never really got to explore it,’ he says. ‘When I came back, I decided to really embrace the whole Florida aesthetic. I moved into an art deco home in Sarasota with pink seashell lamps. I visited Key West, like seven times. I also quit smoking weed and cigarettes, and stopped saying shit like LOL and amazeballs. It felt different. It felt good.’ “The record features the talents of many good friends, including Dan Horne, Colby Buddelmeyer, Matt Correia (Allah-Las), Clay Finch (Mapache), Albert Hickman, Derek James (The Entrance Band), Alex Knost (Tomorrow’s Tulips) and Adam MacDougall (Circles Around The Sun / Black Crowes), with artist / musician Matt Fishbeck (Holy Shit) designing the deco-inspired album artwork. “And as much as they are inspired by the past, these songs are keenly aware of an uncertain future—because there is no such thing as a time machine, and there is no going back. Ultimately, Season 5 asks the question—where do we go after the sun sets on our dreams? Where the fuck is the New New World? In Rademaker’s eyes, it no longer exists in any specific American geography—rather, all hope remains in the timeless, unending power of music, and its power to take us to the places we wish we could be. Even if they don’t exist anymore.” — Caroline Ryder

This wonderful collection of mostly overlooked gems has been remixed and remastered from the original master tapes. Finally available again after 20+ years of unavailability. The Freddie Mercury produced title-track features the iconic Queen frontman on piano and vocals and Brian May on guitar. The further Eddie Howell tracks on the album are from around the same period and feature cameo appearances from Phil Collins, Gary Moore, Ray Cooper and many others. Pressed on 180gram audiophile quality white vinyl, presented in an exclusive boxset including photos, poster, plectrum, QR code (for the Dolby Atmos version of the album) and the story behind the project.

Man From Manhattan by Eddie Howell & Freddie Mercury, released 12 April 2024, includes the following tracks: "Jezebel ", "A Long Story ", "Parachute ", "Chicago Kid " and more.

This version of Man From Manhattan comes as a 1xLP in a(n) Printed Inner Sleeve(s) packaging. This release comes with (a) Photo(s) & Poster.

The vinyl is pressed as a white disc.

Dogs Of War is the twelfth studio album by the heavy metal band Saxon, released in 1995. This one marked a period of changes for Saxon, both in their sound and lineup. Thanks to early ‘90s albums like Solid Ball Of Rock and Forever Free, Saxon convinced many skeptics that they still have plenty of quality heavy metal to offer and after a three-year recording hiatus, the band returned to glory with the massive-sounding Dogs Of War. Once past its thunderous opening title track, Dogs Of War delivered a slew of improbably memorable and distinctive numbers, including ""Big Twin Rolling (Coming Home),"" ""The Great White Buffalo"" and ""Demolition Alley."" It was also the last album with longtime guitarist Graham Oliver as a member of the classic formation, who left shortly after the album release. Dogs Of War is available is available as a limited edition of 1000 individually numbered copies on gold colored vinyl and includes an insert. This special edition contains an additional and exclusive cover print.

Dogs Of War by Saxon, released 12 April 2024, includes the following tracks: "Don't Worry ", "Hold On ", "Demolition Alley ", "Give It All Away " and more.

This version of Dogs Of War comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc.

Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

Find all the greeatest songs of the King of Rock & Roll in a nice 5LP boxset

Since their debut album in 2005, Finnish post-rock cinematic epics, Oddarrang, have been captivating audiences with their unique blend of atmospheric, melodically infused, and harmonically rich music, woven around an uncommon combination of guitars, cello, and trombone. The term "odd arrangement," from which Oddarrang takes its name, perfectly describes their effortless merging of atmospheric charm with post-rock influences, tasteful synth production, and resonant brass. In 2024, Oddarrang is set to release their fifth and self-confessed final album, an album that many consider their magnum opus.

This highly anticipated release blends all the elements from their previous works, resulting in a highly compelling musical masterpiece. The anticipation for this album is at its peak, representing the culmination of their artistic growth over the years. As a collective group, Oddarrang is a melting pot of diverse musicians, each contributing their distinct style to the musical canvas. Their evocative compositions possess a cinematic quality, conjuring a plethora of emotions and vivid imagery in the minds of their listeners. This forthcoming album stands as a true testament to Oddarrang's unwavering dedication and artistic evolution. It is a reflection of their authentic connection to the music they create, inviting audiences to embark on a transformative and emotionally charged musical journey.

"Oddarrang" includes the following tracks: "Lull", "Mishkan", "White Wall pt. 2" and more and comes on orange vinyl.

Recorded and produced by Pink Floyd engineer Andy Jackson, the audio is via analogue transfer to 96khz/24 bit by John Dent at Loud, with vinyl mastering by Geoff Pesche at Abbey Road. Formed in 1984, Fields of the Nephilim is the creation of vocalist and front man Carl McCoy. Highly influential, especially in the world of goth, but also within the metal and electronic genres, their legacy endures to this day. You can hear their influence on bands like Swans, Godspeed! You Black Emperor, Explosions In The Sky, Wolves in The Throne Room, Behemoth and more. The band"s unique sound, an apocalyptic fusion of Victorian underworld meets Sergio Leone Spaghetti Western, had an appearance to match (wide-brimmed hats, long duster coats and cowboy boots, usually black and smothered in white flour as a substitute for dust), and set them apart from their contemporaries. Elizium is one of their most beautiful albums and considered by many to be their best. As The Quietus wrote, "it was both their most accessible and their most experimental work, concluding and consolidating the Nephilim"s five-year shamanic journey. Lead-off single and opening track "For Her Light" featured a lengthy mid-section that anticipated the apocalyptic post-rock of Godspeed! You Black Emperor (unsurprisingly, it failed to chart), and the album featured some of the band"s hardest rock in the wah-overload of "Submission," as well as further incorporating dance elements - more successfully and organically than many of their peers, it must be said - on second single "Sumerland"." Louder Sound also called "Sumerland" their "greatest ever track".

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

LP - limited re-press 2024! coloured Vinyl ! Cash Savage is one of the most respected and talented songwriters in Melbourne. With her band The Last Drinks, she has forged a reputation for gritty, raw and Australiana-tinged storytelling. One of Us is the result of a "fucking awesome, but fucking hard" 2015 for Savage, using the experience to generate a broader scope for songwriting. There's exploration of dichotomies and dualities, the songcraft emboldened by aural landscapes laid bare by The Last Drinks (Joe White, Rene Mancuso, Chris Lichti, Brett Marshall, Kat Mear).

This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023

This is long overdue. I mean, looooooonnnnnng overdue. A solo album by Jim. The trap kit - so straightforward, so mysterious. What"s inside those things? Air and light - from which century? Which continent? Which planet? Depending on how and when you hit them it can be a vibration sent through a prehistoric breath, particles of Saturn"s atmosphere, the dead, wet leaves you walked through on the way to the first day of school. These are the memories of the drums on this record. Infinite and personal. Editing each other as they muscle to the front or soft shoe to the shadow. Cymbals can override/cancel everything out - wipe your memory clear or make the memory clearer. Drums are the instrument where you can feel the presence of the player the most - the full body - and sense the thoughts of the player the most. The instrument with the most choices to be made sends out the most brainwaves. A bouquet of brainwaves is on this LP. Jim oversees it all, surveys from the lost place we"re in, the void - the drumless song. We trust. We trust, Jim. His big green eyes search for the right tool (mallet, brush, etc), eyes that search you like you"re a song he wants to join, wants to see if he can add to or understand. Before humans, drums were playing - these drums. Genesis was a solo drum piece. After humans, these drums, this album. Someone - the last man - is out in a spaceship at the edge of space. He plays a single chord on a synth to set time free from its bind and then lets go. This album sets time free, lets it frolic, lets it graze, lets it remember. This is a record of thoughts, memories, surgery. A deft surgical operation you may not even realize is happening as it"s happening but you"re back on your feet when it"s over. Memories refreshed. Did you really even listen to it? -Bill Callahan, November 2023

White vinyl w/ pink splatter, limited to 500 copies. New Orleans death grind/hardcore group BRAT are the latest addition to the Prosthetic Records roster. Formed in 2021, BRAT deals out blastbeats, bass-laden breakdowns and old school death metal and New York hardcore inspired riffs. Through the melding of their influences the four-piece's sound stands out from the more sludge orientated sounds that the Crescent City is known for, catching the attention of the Los Angeles label in the process. Speaking on the singing announcement, BRAT comments: "We're thrilled to be part of a label that's put out so many quintessential metal albums of the last 25 years. It's an honor to have the opportunity to contribute to that list. Let's rock." "Upon completion of our record we felt Social Grace, the title track, really encompassed a broad snapshot stylistically of the album at large. The song is an environmental commentary on the effects of the wealthy on the state of our planet and further ties to the greater theme of our album that explores the various plights of mankind. In tandem with the single is our music video that draws inspiration from classic murder mysteries and depicts the ugly realities behind the pomp and circumstance of the aristocracy." BRAT's self described yassified look shirks more traditional metal imagery in favor of a pink-pilled Y2K aesthetic, with plenty of nods to their favorite femme pop icons. As the band sets their sights on making strides in the heavy metal and hardcore world, BRAT's end goal is to "put bimboviolence and barbiegrind on the map". Through a consistent live presence that includes touring alongside NOLA legends EYEHATEGOD, Ringworm, labelmates ACxDC, fellow grindsters in No/Mas and contemporaries in Maul and Morbid Visions, BRAT has garnered praise from the likes of Revolver, Metal Injection, Metal Sucks and many more as a new band to watch.

"One of the most famous Dutch bands ever is Shocking Blue. The band released some of their best-selling hits all around the world, including the still standing ""Venus"". It´s one of the many songs which can be found on the double LP Single Collection Part 1. This collection was originally released in 1997 and consisted of 28 of their best tracks, including ""Pickin' Tomatoes"", ""Never Marry a Railroad Man"", and ""Mighty Joe"". Also included are Robbie's powerful B-sides like ""Fireball of Love"", ""Hot Sand', ""Wild Wind"", and ""Roll Engine Roll"". Single Collection Part 1 is available as a limited edition of 1000 individually numbered copies on white coloured vinyl, housed in a gatefold sleeve. "

Single Collection Part 1 by Shocking Blue, released 22 March 2024, includes the following tracks: "Lucy Brown Is Back In Town", "Send Me A Postcard", "Long And Lonesome Road", "Venus" and more.

This version of Single Collection Part 1 comes as a 2xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a white disc. Another vinyl is pressed as a white disc.

Rancid-Sänger Tim Armstrong ist auch als Chef seines Labels Hellcat immer wieder für Überraschungen gut. Bestes Beispiel: The Interrupters. Angeführt von der sehr umtriebigen Singer-Songwriterin Aimee Allen begann die Ska-Band aus Los Angeles ihre Arbeit mit Armstrong mit einer Single für dessen populäre Tim-Timebomb-Serie. Davor veröffentlichte Allen ein recht erfolgreiches Soloalbum und war als Backgroundsängerin auf dem von Armstrong produzierten und mit einem Grammy ausgezeichneten Jimmy-Cliff-Album "Rebirth" zu hören. Auf "The Interrupters" verbinden sie und ihre Kollegen Ska, Reggae und Punk, nicht ohne jedoch auf Humor zu verzichten, wie etwa in Songs wie "White Noise" und "Liberty". Für Fans von Rancid, The Distillers, Streetlight Manifesto, Sublime, Operation Ivy, Two Tone.

One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, 'The Rhythm Master', is finally given a legitimate release.

The original title for this long playing release was initially advertised on the label of the seven inch release of 'Determination Skank' as 'The Sannic Sounds Tommy McCook', however the album was released in Kingston in 1974 in very limited quantities on a white label in a plain recycled cover rubber-stamped 'Tommy McCook Dub'. Three years later the set was released through Grounation in London, once again on a white label and without a cover, where it was known as 'Horny Dub'. It gave music lovers a fascinating opportunity to compare and contrast the work of Tommy McCook, one of the architects and builders of the Jamaican sound, with Glen Brown's role in taking and breaking it into pieces...,

Dub Store Records is the Ska, Rocksteady, Reggae, Roots and Dancehall reissue label run by the eponymous Tokyo based record store. The label aims at accurately covering the 50-plus years of Jamaican music, and pass on many rare and magnificent recordings, which are non-commercial and highly artistic. Carefully handing down the tradition of reggae music, Dub Store Records has so far issued recordings from labels and artists such as Studio One, Federal Records (Federal, Kentone, Merritone), Bunny Wailer's Solomonic, Familyman's Fam's, Jammys, King Tubby's Firehouse, Derrick Harriott, Kiddus I, Redman International, BMN and much more to come.

Patsy Cline (born Virginia Patterson Hensley; September 8, 1932 – March 5, 1963) was an American singer. She is considered one of the most influential vocalists of the 20th century and was one of the first country music artists to cross over into pop music. Cline had several major hits during her eight-year recording career, including two number-one hits on the Billboard Hot Country and Western Sides chart. Under the direction of producer Owen Bradley, her musical sound shifted and she achieved consistent success. The 1961 single "I Fall to Pieces" became her first to top the Billboard country chart. Her next single release "Crazy" would also become a major hit. During 1962 , Cline had hits with "She's Got You", "When I Get Thru with You" and "So Wrong". This Limited Edition comes on Solid White coloured vinyl.

Japanese jazz, rare groove masterpiece re-released on clear lime yellow color vinyl!

The pleasure of feeling numb all over your body with a single drum beat. Akira Ishikawa, the super funky drummer born in Japan, runs through a wonderland of grooves!

Akira Ishikawa is a super funky drummer born in Japan. His ability to freely explore and fuse jazz, rock, and African music to create a unique musicality has been highly praised in many fields. His career includes masterpieces from jazz rock to rare groove, but this work is especially beloved for its outstanding song selection and exciting musicality. "Let's Start" is a tight cover of Fela Kuti's Afro-funk, "Bongo Rock" is a dynamic song with drum breaks, and "Pick Up The Pieces" is a jazz-funk version of the Average White Band's classic song. It is full of amazing monster tunes that are hard to believe were recorded in 1975. Support from masters such as Kiyoshi Sugimoto, Hiromasa Suzuki, and Takeru Muraoka also shines.
text by Yusuke Ogawa (universounds/Deep Jazz Reality)

Since more than 40 years, Anne Gillis has discreetly unfolded her proper singular universe without any compromise. She playfully moves with determined restrictions, excavating contrasting forces; sensual and visceral, mechanical and organical, black and white, … She extends this personal expression in her visuals using self-portrait photos, handwritten text and her theatrical performances are equally aligned. Her music can be considered as musique concrète using the tape machine as compositional tool, manipulating her recorded sources, mainly consisting of extended voice and different (instrumental) sounds with addition of electronics and treatments. In both her photography and her music, Anne Gillis works fully analog.

What Do We Do Now is the fifth solo studio LP recorded by J Mascis since 1996. This is obviously not a very aggressive release schedule, but when you figure in the live albums, guest spots, and records done with his various other bands (Dinosaur Jr., The Fog, Heavy Blanket, Witch, Sweet Apple, and so on), well, to paraphrase Lou Reed, "J's week beats your year." What Do We Do Now began to come together during the waning days of the Pandemic. Utilizing his own Bisquiteen Studio, J started working on writing a series of tunes on acoustic with a different dynamic than the stuff he creates for Dino. "When I'm writing for the band," he says, "I'm always trying to think of doing things Lou and Murph would fit into. For myself, I'm thinking more about what I can do with just an acoustic guitar, even for the leads. Of course, this time, I added full drums and electric leads, although the rhythm parts are still all acoustic. Usually, I try to do the solo stuff more simply so I can play it by myself, but I really wanted to add the drums. Once that started, everything else just fell into place. So it ended up sounding a lot more like a band record. I dunno why I did that exactly, but it's just what happened." Two guest musicians are playing this time out; Western Mass local Ken Mauri (of the B52s) plays piano on several tracks. Since J himself has some experience with keys, when asked why he needed a hired gun, he says, "Ken is great, and he plays all the keys. I tried playing some keyboards on the first Fog album, but I'm really only comfortable playing the white notes, so it's kind of limiting. laughs Nowadays, I could just turn the pitch on a mini Mellotron to play different sounds, but black keys just seem hard. For whatever reason, I just like banging on the white ones. Seems like it's harder to figure out how to stretch your fingers around the other ones." Mauri has no such qualms and plays all the keys very damn well. He sounds especially great on "I Can't Find You," where he is Jack Nitzsche to J's Neil Young, creating one of the album's loveliest tunes. The other guest musician, Matthew "Doc" Dunn, is also prominent on this track. Dunn's steel guitar manages to both widen and soften the musical edges of the music, giving it a full classicist profile. Dunn is an Ontario-based polymath who J met through Matt Valentine. After J played on Doc's great 2022 Sub Pop single, "Your Feel," he figured it was time for payback. Both Dunn and Mauri add beautifully to the songs here, helping to transform them from acoustic sketches into full-blown post-core power ballads. What Do We Do Now is the finest set of solo tunes J has yet penned, and the way they're presented is just about perfect. Asked if he would be touring to support the album, J says he'll be doing some weekend dates, but he probably won't be putting a band together. And I'm sure these songs will sound great solo and acoustic, but the arrangements on this album are truly great and put a cool, different spin on Mascis' instantly Recognizable approach to making music. So, what do we do now? Not sure. But apparently, what J does is to make one of his most killer records ever. Hats off to him. - Byron Coley

Dark Horse Records is re-releasing the legendary Joe Strummer & the Mescaleros live concert at Acton Town Hall, remastered by Grammy award-winner Paul Hicks (The Beatles, The Rolling Stones, George Harrison) on double black vinyl. The concert, recorded on November 15, 2002, was a benefit for striking firefighters and was one of Joe's last performances (he died a month later).

Part of the performance was a reunion with Mick Jones, Strummer's former bandmate from The Clash, who reunited with Strummer on stage for three songs for the first time in almost twenty years. It was also the last time they were on stage together.

12 tracks originally released on the indie dance label GOMMA RECORDS between 2001 and 2010. (Gomma was the label Toy Tonics did before starting Toy Tonics.)

Along with DFA and Output records Gomma released a wild mix of electronic dance music, indie rock, undergound disco, post punk and new wave funk that was big in the 2000s. The Y2K sound!

Gomma released music by artists like Peaches, Whomadewho, The Rammellzee, James Murphy, LCD soundsystem and artists like Nick McCarthy of Franz Ferdinand.

Now it’s 2023 and its feels fresh to put a spotlight on some of these tracks again.

And so here comes a 2nd compilation part of Gomma tracks:
Nancy Whang the singer of LCD Soundsystem, WhoMadeWho (the band started their career on Gomma), Italian disco producer Bottin, UK Indie Disco hero The Deadstock 33s aka Justin Robertson, NY Disco hipsters In Flagranti, German producers Munk and many more on this compilation.

Gomma not only was a record label, but was also a home for cutting edge design, wild T-shirt styles, underground exhibitions with new artists from the Berlin scene and crazy poster and fanzine design.
Many graphic design trends of the last years were preceded by what the artists on Gomma were doing. And many record and street wear labels of today look a bit like Gomma was looking before ... copying the images that Gomma preceeded: ironic cartoons, trash aesthetics, greek symbols, ugly design ideas and lot of ironic things.
The Gomma visuals world was exposed in a couple of exhibitions around the world and at a big exhibition at #hausderkunst München before the label was closed in 2015. (when Toy Tonics took off...)