Cerca:ther

'Dawn of the Axe' harkens to dustier, more archaic times - ones where subgenre delineations weren't so strict and all was mostly heavy metal. For sure, Cruel Force can still thrash with the best of them. The nine songs comprising the 39- minute album exude a wider variety of moods and dynamics, and also sees Cruel Force exploring their more epic side, with three of those songs topping six minutes.

No matter the mood or dynamic, though, energy bristles from every second of 'Dawn of the Axe'- riff, rhythm, lead, vocal, everything - and with the slightly-more-atmospheric recording style, it all gels together to create the band's strongest and most complete statement to date.

No matter how you (axe) slice it, there's no wimping out whatsoever!

It's rare for a band to be away a full decade and then come back with their best work, but such is the case with Cruel Force and 'Dawn of the Axe'. There's some strange magick brewing in the Devil's Dungeon, and they've crossed the Styx to bring you that Power Surge!

This album was recorded in 1983 in Copenhagen and earned superlative reviews all over the world.

"Tenorman Eddie "Lockjaw" Davis had already been a potent force in jazz for 35 years when he recorded this set but as it turned out his SteepleChase date (his next-to-last session) was one of the strongest of his career. Accompanied by a trio led by pianist Kenny Drew, Lockjaw really tears into these standards which are highlighted by "I Only Have Eyes for You," "There Is No Greater Love" (the alternate version was released for the first time on its CD reissue), "Four" and the title cut.

Davis was at the peak of his powers during this recording, making this SteepleChase outing one of his very best." - Scott Yanow, AllMusic "Nothing valedictory about this date. No signs of decline. It's hard to believe it was Jaw's last album as a leader. Just the thing if you didn't miss your water until your well went dry." - Cadence

David Eugene Edwards has always been larger than life. His music with innovative heavy droning folk band Wovenhand, and before that the haunting revivification of high lonesome sound antique Americana of 16 Horsepower breathed a near apocalyptic sense of urgency and power into musical archetypes long abandoned in the latter-20th Century. On his first-ever solo album under his own name, Hyacinth, David Eugene Edwards delivers a sound uniquely his own, with a vulnerability and introspection unheard from him before. Stripping back the heavy rock of his recent work with Wovenhand, Hyacinth puts the man's voice, and sparing instrumentation into the main focus. There's a somber beauty and world-weary tone throughout these songs. The album could've been considered a slight return to the more melodic sounds of 16 Horsepower's Secret South (2000) and the first, self-titled Wovenhand album (2002). But there's more going on here: a rhythmic, pulsating undercurrent reminiscent of the tape loops and rudimentary rhythms of 80s Industrial post-punk as well as 808 Drill Style beats. The overall effect is often as if we're hearing the clock ticking away our own mortality. "Hyacinth was a sort of vision," Edwards says. "A dream. I sought out of my old wooden banjo and nylon string guitar a hidden path. Secrets they had kept from me within themselves all these years and created a new Mythos to myself of philosophical and spiritual ideas or concepts." Once he'd harnessed the music within, he enlisted multi-instrumentalist and producer Ben Chisholm (The Armed, Chelsea Wolfe, Converge) to help him realize the album's recording and mix. "Overall, the album is a weaving of narratives ancient and modern, of humankind's search for understanding of this world we find ourselves in and of each other. In all its simplicity and complexity," Edwards continues. "Hyacinth is a reference to the Greek myth of Apollo. And, the word meaning a precious stone and blue larkspur flower of purple and pall."

The 2010 studio opus featuring 11 sonic nightmares from the UK's supreme exponents of blistering Metal darkness. presented on double gatefold vinyl. 'Darkly, Darkly, Venus Aversa' was the band's ninth studio album; a gothic

horror themed slay-ride of fervour and perversion. Set amidst the orchestral melodrama and lush, cinematic production, there sits stalwart a ravening beast of furious riffing, flesh ripping vocals and monstrous, unstoppable percussion.

Described by Cradle's infamous frontman Dani Filth as 'without doubt the fastest and most brutal album we've created to date.' Unafraid of ruffling a few feathers, the band have continually refused to bow

to convention or to conform to prevalent trends and fads. Yet despite this uncompromising stance, the band are still the most successful British heavy metal band since Iron Maiden, with legions of fans around the globe.

LTD ORANGE VINYL

GLOK is the electronic alter ego of Andy Bell; best-known as the guitarist in venerated shoegazers Ride, alongside stints in other famous groups, with a noteworthy solo careertoo. This October his first album proper as GLOK - 'Pattern Recognition' - is released via Ransom Note Records' sisterlabel Bytes. Although usually renowned for purveying the finest quality jangle, drone and general guitar-based magic, Bell's forayinto dance music should come as less of a surprise than immediately meets the eye. There are parallels between the genres within the sonically-deep layers, hypnotic sound and trance-like headspaces, or, as he puts it more succinctly: "GLOK is all about the push and pull between electronic and psych in my music." Although not a full-blown concept album, 'Pattern Recognition' has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl's four sides capturing different mind states across that transition. Each side has a distinct feel that's different to the last but inherently cohesive - much like the changes an individual goes through over 7 days. Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk -with just a hint of ambient, new age and contemporary classical too.

2023 Repress

Since Jesper Munk's debut album in 2013 the German singer-songwriter has made a name for himself as multi-instrumentalist , "in the paths of Jack White and Dan Auerbach," as the Rolling Stone Magazine puts it, playing music that ranges from Blues and Soul to heartfelt Pop and indulging Jazz, all this with a very unique, post-Punk
edge. His new album Taped Heart Sounds offers an evolution of Munk's sound: warm, gentle and soft vibes that go deep. "If there is a way to give you a hug in form of an album, this is how I'd attempt to do so," says Munk.

Recorded in an offbeat band room in Berlin with The Cassette Heads, the album brings together classics reaching from Blues to Rock'n Roll. Twelve songs of legendary artists who have influenced and inspired Munk since his early days, including Tom Waits, JJ Cale, Etta James, Hank Williams, Willie Dixon, Jacques Brel, and Mocky.
The entire album was recorded with a Tascam Portastudio 8-Track Cassette Recorder which brought an original and authentic sound to each song: "The technical limitations immediately liberated all other aspects of the recording," Munk says. "It shows how much of making music is just listening and without a screen to catch your eye, you really have no choice but to do so." All Songs face realness and live from these volatile moments that reveal vulnerability and musical generosity. The outcome of this analogue experiment is a very personal album, both inspiring and consoling.
Taped Heart Sounds courageously opens with Donnie & Joe Emerson's Baby; a song so iconic that it actually cannot be enhanced. However, Munk's interpretation stands out and has a presence that gives the song a life of its own - made for walking. Smoke Gets in Your Eyes, All the World Is Green, I'd Rather Go Blind, Head in the Clouds - what follows is a journey through Blues and Soul that is so vital and "now" that End of the Line may be the final track but certainly not the end of the story.
The album wouldn't be what it is without collaboration and partnership. Munk's special thanks go to his fans who helped to crowd-fund the recording. "On top of having had a real fun learning experience it all felt like a community project with real support from friends, the Cassette Heads, incredibly inspiring guests, and from Miles Deico, a wonderfully open and able engineer," so Munk about the making of the album.
Taped Heart Sounds is Jesper Munk's 4th album, following acclaimed debut album For in My Way it Lies (2013), CLAIM (2016), and Favourite Stranger (2018). Released via Billbrook Records, Hamburg-based Distributor Wordandsound's new label, the album is available for pre-order now - for purchase on vinyl and CD. The first single 'Baby' is going to be released on November 19, 2021.

Toy Tonics going New Wave Disco with Baby’s Berserk’s self-titled debut album (to be released on 29 September).

There are many shades of funk in dance music. Berlin’s Toy Tonics label brings up artists that reflect many of these different aspects in dance music. Now the label comes up with a band! A band that is inspired by 1980ies New Wave as well as the Y2K Indie dance scene. Two guys and 2 girls from Amsterdam and Montreal called Baby’s Berserk.

Baby’s Berserk is about taking the freedom to be who you want to be, about being comfortable. Having played in all-girl punk bands since the age of 14, the bands singer Lieselot is an expert on female empowerment. “Dress like a girl and act like a boy,” is a catchphrase she lives up to every day and it clearly is a message that resonates with the band’s wild fans.

In the great tradition of Roxy Music, Throbbing Gristle and Malcolm McLaren, Baby’s Berserk is not just about the edgy music, but also about a very strong own visual style. They readily blend their sounds with underground fashion. What you see is what you get and seeing Baby’s Berserk is feeling right at home. Lieselot is a visionary when it comes to stage presence. Have you always wanted to see an electronic band with a punk attitude perform wearing a mix of haute couture and Flintstone-style rags? Look no further, it’s Baby’s Berserk.

Following on the critically acclaimed singles ‘What I Mean’ (2020) and ‘Toxic Kisses’ (2022), Baby Berserk’s highly anticipated self-titled full-length is now finally about to see the light on Berlin’s Toy Tonics records. Sonically designed for gritty rock venues as well as up-to-date edgy dance clubs, Mano’s lush compositions smoothly intertwine with the highly associative lyrics written by Puggy and Lieselot. Poets and literary addicts may think they’ve just discovered the rock & roll equivalents of Sylvia Plath, Kurt Vonnegut and Allen Ginsberg. To tell you the truth: their wild guess is pretty accurate as the works by these greats lie scattered around the Baby’s Berserk studio for inspiration.
The band was born in a laboratory back in 2019. Tired of being in bands with unruly and unpredictable humans, Mano Hollestelle set out to create a group of high precision robots to create the post-punk sound he had in mind. His outdated technology of floppy disks and cassette tapes worked well to program the androids, until one day a 90s rave mixtape was mistakenly entered into his computer. House music is a feeling and the punk bots instantly got hooked on it upon hearing it for the first time. They could never be reset to factory settings again. Mano worked tirelessly with his androids, currently known by their humanoid names of Lieselot Elzinga, Puggy Beales and Eva Wijnbergen, to fulfil his evil plan to make the rockers dance and the dancers rock. Baby’s Berserk is the fiendish extension of this plot. Beware, the band’s bass driven grooves and computerized beats have been known to cast a spell upon all within earshot.

So what do the songs on ‘Baby’s Berserk’ tell you? That it’s totally fine to have lots of fun in life! To have a boyfriend as an accessory (‘Accessories’), to get inspired by Sponge Bob (‘Dancing with the Fish’) and to blend your spirits with mixers whenever the hell you feel like it (‘Rum ‘n’ Kola’).

Baby’s Berserk member Puggy Beales on ‘Limousine’: “Decant the wine from my tip jar to yours. Soon we'll be on easy street, chauffeured home from the rat race each evening. Is it everything you'd hoped it would be?”

Check not only the debut album but also the forthcoming Remix EP with remixes by Each Other, Niklas Wandt, Sam Ruffillo, Kris Baha and Nicolini.

Paolo Mosca makes intricate, multi-layered electronic music. Inspired by the early club sound pushed by the pioneers from his home region Veneto, he fuses house, trance and ambient - and moves forward. The Metaphysics EP displays the artist's passion and ingenuity, unfolding technical skill that makes clear his studio clock is set to 2023 and not 1993. On "Luciddreams" a statically charged beat and organ bass work up a groove. Accompanied by a misty pad and a slow, pensive arpeggiator, it pulses towards the break: there an acid line emerges, finds its spot in the mix, and refuels the track. "Energia" draws from a bolder, more euphoric range. Hand drums, a glittering lead and airy yet restrained chords float soaked in reverb and delay. A lean bass sequence tightly keeps the rhythm as flanged claps and subtly positioned sweeps create extra movement. The second side's opener, "Under the sea" features a formant filter lead meandering within the sweaty framework of heavily gated choir pads and a frugal bassline that eventually gets layered with an M1. Modulated vocals and strokes of additional melody ensure the stereo field again gets used to its full capacity. "Acqua" is a fitting coda. Some familiar patches are deployed over a tumbling beat that takes charge of the pace from the get-go. The palette might seem bright and blissful, but as always, the track's latticework contains enough contrast for a slight feeling of melancholy to keep simmering beneath. Mosca cited his meditation routine, how it helps him materialize ideas and thoughts, as a main drive upon finishing this record. The Metaphysics EP is a ruminative work. Comprised of four explorations in deftly manipulating energy with due attention to balance and momentum, it easily flows between genres, details darting in and out, showing the artist's understanding of composition and dance music history. It is a deep-dive selection of club-oriented cuts we are excited to release on Altered Circuits.

After his much-acclaimed Deutsche Grammophon début Arias (“This disc is quite simply a sensation”– BBC Music Magazine), Chilean-American tenor Jonathan Tetelman turns his attention to Giacomo Puccini, to mark the centenary of the composer’s death in 2024. For Tetelman, Puccini is one of the greatest of all composers of Italian opera: “I listen, study and enjoy his music daily. There is always something to learn from him, and my mind is forever open to him. Without Giacomo Puccini, opera wouldn’t be the same. Grazie, Maestro!”. Celebrating the very best of Puccini , the album is released to mark the 100th anniversary of the death of one the world’s most popular opera composers.The album consists of well-known tenor arias such as Nessun dorma, E lucevan le stelle, Donna non vidi mai and Che gelida manina, popular ensembles from "Madame Butterfly", "La bohème" and "Il tabarro" as well as rarities such as Torna ai felici from "Le Villi" and Parigi nè la città dei desideri from "La Rondine".

It’s been a few years since Captain Mustache took a ride with Kompakt – 2021, to be exact, when he released the “Everything” single, and subsequently made an appearance on that year’s entry in the Total series. But this visionary French producer has been busy, indeed fiercely productive, ever since, appearing on Helena Hauff’s Return To Disorder and John Digweed’s Bedrock, collaborating with Dave Clarke, Popof, The Advent, Paris The Black Fu, Keith Tucker from AUX88... and two beautifully eloquent albums, Tourbillon Nocturne and Indigo Memories. But with The Super Album, Captain Mustache returns to Kompakt with his most sublime collection yet. On The Super Album, the Captain soundtracks an imagined “whole day for party people.” He welcomes friends old and new on board: opening with the poetic club banger of “About Love”, with guest appearance from Speakwave (aka dynArec), The Super Album shifts gears into the lush, sunny “Shifting Basslines”, where Captain Mustache’s pulsing electro-disco is the perfect fit for a third collaboration with electroclash pioneers Chicks on Speed. After the deep techno pulsations of “Laser Me” and the glitzy pop shine of “Gimme Ya Mustache”, more guests arrive: Arnaud Rebotini of Black Strobe on the slinky “I Love Watching U”, and then a spoken cameo from the truly legendary French disco diva Amanda Lear on “Mustache Of The Universe”, a glitzy glitterball of a song that’s shrouded in ghostly synths. All those tracks appear on the 12” version of The Super Album – download the digital version and you get six more slices of Mustache magic. Here, the narrative turns more insular, more dancefloor focused – the party people have moved through the daytime and they’re in their element, diving deep into the night-time economy. The album spirals, beautifully, into stark electro, driving techno, with great moments of beauty and melancholy – see the pointillist arpeggios of “Everything” (which features Play Paul), the disco stomp of “Acapulco Citron”, and a breath-taking double-bill of stripped back psychedelic electro on “Pulsions Organiques”, and the layered, luscious, swooning “Clair-Obscur”. From there, it’s an astral glide into the Dopplereffekt-ish “Galaxian Symbiosis” before Foremost Poets join Captain Mustache to wave the night goodbye with the brittle, brilliant “Floorwax”. It’s a day in the life, but all in service to the pleasures of nightlife; the dancefloor is The Super Album’s beacon, your body the pliable material moulded into evocative new shapes by this dense, hypnotic, brilliantly pop album.

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«

Originally released on Polydor Records in August 1981, it remains a very special and discrete record and has gone on to achieve a cult status separate from the rest of their august catalogue.

Formed at London's Guildhall School of Music and Drama by way of Paris and the Isle Of Wight, Level 42 marked the union of four talented friends – Mark King, Mike Lindup, and brothers Phil and Roland 'Boon' Gould – complete with Wally Badarou, their very own studio-based synthesiser whizz-kid. From building a fervent following through the nascent Britfunk scene, they signed to Polydor and went on to make a series of fascinating albums.

The sheer invention, melody and imagination of this four-piece was astounding, aided by their secret weapon, French-Belizean Badarou, whom the band had met playing sessions for M, Robin Scott's art-disco ensemble. Although Level 42 had recorded – and made waves – for indie label Elite, they signed to Polydor and released this album, with three of their original calling cards, Starchild, Turn It On and the mighty, UK Top 40 breaching Love Games.

By the mid 80s Level 42 had become arena-filling superstars, with their commercial pop-funk with everyman lyrics that delighted fans not just in Europe, but also in America, too. Hear the roots of that on this frequently surprising, always entertaining debut album. Think of this album as the missing link between Talking Heads and Herbie Hancock.

Out of print on LP for a number of years, this re-issue faithfully replicates the original 1981 Polydor UK release with insert and is pressed onto high quality 180g vinyl.

With his surprising first solo album Edmund November, Edmund Lauret (Nordmann, Kosmo Sound, The Milk Factory) returns to his British roots and the music he grew up with. He also debuts as a singer. "I had been making solo songs for a while, but that process was accelerated during the corona period," he says. "I think there has always been a singer inside of me and now it has come out."

The idyllic setting of the southern English countryside where Edmund and his band recorded the album undoubtedly had an impact on the organic, vintage British character of the music.

The songs are open and expansive like the landscapes around the recording studio. The titles and lyrics also have an elusive character; Lauret prefers to leave them to the imagination of the listener.

What is also striking is that Edmund November is clearly influenced by music from the sixties and seventies, the songs Edmund grew up with. As a young guitarist, Edmund was enthralled by Jimi Hendrix, Donovan, early Pink Floyd and The Beatles.

His influences showed him how to master the balance between harmony and melody. This is how Lauret has always worked with his bands for the past fifteen years, and in that sense his solo work is no different.

Edmund November floats between psychedelic folk and melancholy pop. The songs were recorded live with minimal editing, which only adds to the liveliness of the record. Ten songs take the listener on a dreamy musical trip that showcases Edmund's singer-songwriter qualities.

ENG The new Will Toledo from Austria? - LAUNDROMAT CHICKS is the music project of TOBIAS HAMMERMÜLLER, who just turned 18 and still goes to school. He recorded most of the songs from his debut on Siluh Records by himself. Live he performs them with his band featuring Lena Pöttinger (drums), Theresa Strohmer (guitar, vocals) and Felix Schnabl (bass). Felix Schnabel, on the other hand, has his own garage punk project called SALAMIRECORDER, with Tobias playing bass. Musically, the whole thing sounds like an exquisite jingle-jangle indie/twee-pop sound. It almost seems like a lost album from early influential labels like Flying Nun, Cherry Red, Postcard Records. The songs from "Trouble" were mostly written at home, in the bedroom, in front of the TV and at his favorite spot at the movies. The basic mood of the songs is mostly melancholic, though that you can still cook or dance to, or listen to on the bus when you're on your way to going out with your friends. Tobias Hammermüller took inspiration from the indie rock sound of the 2010s (Snail Mail, Chastity Belt, The Babies, Best Coast, The Drums) and from many new wave hits (Aztec Camera, Psychedelic Furs, Echo and the Bunnymen, Prefab Sprout). The lines of text are largely based on quotes from films. He is particularly fond of the old strips by Éric Rohmer and Wim Wenders, and from New Hollywood/Nouvelle Vague movies, because they often deal with identity crises and escapism, just like his songs.

The Colombian band Frente Cumbiero from Bogota has been successfully mixing traditional cumbia rhythms with more contemporary music trends for a number of years, creating an unusual end product. At the Javeriana Universidad of Bogota, in 2010, there was a productive meeting between the four-piece band and some local musicians with Mad Professor. After three work-intensive days, the recordings were in the can.

Out on a limited sold out double Lp, and a sold out 7” inches box set, we're so honored to repress 2 songs from this masterpiece on a single 45 vinyl.


Made with Love and cut it loud for your ear pleasure.

Edition of 600 copies, coming in a black paper sleeve with sticker.

Pressed on high quality Black and Yellow vinyl wax (40 gr.).

Classic Jazz Album from 1978.
Featuring an all-star line-up.
First ever vinyl reissue since 1986.
Released for the first time in the UK & North America.
180g BLACK vinyl limited to 500 copies (w/obi strip).

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings.

Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen.

Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others.

Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano.

Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector!

Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. Carole King has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting.

Love Makes The World was officially released in 2001 and features a variety of well-known musicians, including Babyface, Steven Tyler, Céline Dion, Wynton Marsalis and k.d. lang. The album was produced by Humberto Gatica (Céline Dion, Michael Jackson, Barbra Streisand), Babyface, and King herself. The tracklisting includes “You Can Do Anything” and “The Reason”.

Love Makes The World is available as a limited edition of 1500 individually numbered copies on translucent pink coloured vinyl and includes a 4-page booklet.

The Perfect Storm is a 2000 disaster drama film directed by Wolfgang Petersen. The film is an adaptation to the non-fiction book of the same name written by Sebastian Junger. It stars George Clooney, Mark Wahlberg, John C. Reilly, and Diane Lane amongst others. The story follows a commercial fishing vessel that was lost at sea after being caught in 'The Perfect Storm' of 1991.

The soundtrack was composed by Academy Award-winning composer James Horner, who is known for scoring Titanic (1997) and Avatar (2009). The score revolves around a rolling, six-note motif to evoke the waves of the North Atlantic Ocean. The soundtrack also features the song "Yours Forever", performed by John Mellencamp.

The Perfect Storm is available as a limited edition of 1000 individually numbered copies on red & black marbled vinyl and includes an insert.

The Esbjörn Svensson Trio, e.s.t. for short, are still
celebrated today as one of the most important and
influential European jazz bands of the last 20
years.
 In 1999, the three Swedes achieved their
international breakthrough with ‘From Gagarin’s
Point Of View’. A star rose in the musical sky and a
unique world career followed. But sometimes stars
shine for much longer than one thinks. On ‘e.s.t.
Live 95’ there are recordings that prove that this
was also true for the Esbjörn Svensson Trio.
 The band, founded in 1993, found their very
specific sound early on but it was not initially
noticed outside its home country. In 1995, when
the trio’s namesake still wore long hair and a
headband, these recordings were made at various
locations in Sweden. And whoever hears how the
trio played back then is left breathless.
 Much of what distinguishes e.s.t. was already
strongly pronounced here: the coherence and
powerful grip of the playing; the catchy themes that
immediately jump out at the listener and yet do not
become clichéd; the fusion of the music of role
models like Thelonious Monk and Keith Jarrett into
a style of their own, always infected by the forward
thrust of rock. Magical moments were saved for
eternity by these recordings.
 Now this e.s.t. early work is available on double
vinyl.

Right in the heart of our sacred season, we are dropping a gem from the one and only BCee. A veteran of the scene and introduced to us by fellow legend Utah Jazz, BCee has become an integral part of SUNANDBASS over the last decade. From his joyful interviews in 2022, to our joint nights with Spearhead Records in London, BCee embodies the true meaning of SUNANDBASS and therefore will play the closing set this year!


His new EP "Shelter" is the culmination of BCee's long standing relationship to SUNANDBASS. BCee captures the Sardinian smells, the warm sun on your skin, the distant echoes of music dancing over the San Teodoro coastline, transforming it into this four track EP that instantly makes us feel at home.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

In 1995 the self-titled full-length debut of Die Anarchistische Abendunterhaltung (DAAU) was released. The band consisted of four young, 'classically derailed' musicians who played their own compositions with acoustic instruments such as violin, cello, clarinet and accordion. Their work contained influences from Roma music, Eastern European folk, klezmer and jazz, but was performed with the energy, rebellious spirit and Sturm und Drang of a bona fide punk band. DAAU was part of the fertile Antwerp scene, which also produced dEUS, Zita Swoon and Kiss My Jazz, and soon signed an international record deal with Sony Classical.

The group's influential first record, which has been out of print for a while, is now finally being released again and is available on vinyl for the very first time.

In those early days, DAAU consisted of four young, classically trained musicians who tackled their instrumental compositions with a true punk spirit. 'If we'd had guitars, bass or drums at that time, we would probably have been just another rock band', says accordionist Roel Van Camp, who, together with his schoolmates Buni Lenski on violin, the latter's brother Simon on cello and Han Stubbe on clarinet made up the Antwerp quartet. 'With our acoustic instruments we tried to create our own version of the music we loved listening to, from sixties rock and prog to new wave.'

The quartet, which initially played in streets and cafes, appealed to a diverse audience and sometimes joked that they were a classically trained unit that had 'gone off the rails'. 'As befits teenagers, we wanted to shake things up', Stubbe remembers, 'even though we always kept cherishing our classical backgrounds.' Van Camp: 'Our education was never supposed to feel like a straitjacket. We were free-spirited enough to ignore the laws and regulations of the music academy and to create our own sound. Our compositions were open to influences from Roma music, Eastern European folk, klezmer and jazz'. 'That eclecticism was a direct result of the zeitgeist', Han Stubbe adds. 'We loved different styles and happily mixed them together'.

The monniker Die Anarchistische Abendunterhaltung was derived from Steppenwolf, a novel by German writer Hermann Hesse about a character who was outside society. 'In the book, the narrator talks of a theatre', Van Camp explains. 'And at the entrance there is a warning sign sign that says: if you go in here, you are guaranteed to lose your mind. That was an apt description of the way our music worked'.

Almost all tracks on DAAU's first album were 'Drieslagstelsels' (or 'three-course rotations'). The term referred to an agricultural method of the early Middle Ages, but also to the fact that each song of the group consisted of three major movements. Van Camp: 'The titles of those pieces referred to our method of writing. We piled up a huge bunch of ideas, because we wanted to tell more than just one story. With each composition, we took the listener for a ride'.

Reissue, Transparent Orange Vinyl, limitiert auf 500 Exemplare. Die Tygers of Pan Tang waren eine der führenden NWOBH-Bands als ihr Debütalbum "Wildcat" 1980 die britischen Charts erklomm. Nach drei weiteren Alben für MCA nahmen sie dieses Album 1987 für Zebra Records auf. "Burning In The Shade" ist wohl das melodischste Album ihres Katalogs und wurde von Jon Deverill (Gesang), Steve Lamb (Gitarre), Brian Dick (Drums) und den Gsten Steve Thompson und Phil Caffrey aufgenommen.

When you're doing business, you always need a Plan B. Most of the songs of this album were written during the Covid 19 Lockdown time.

And because of that, we thought about releasing a digital album. The plan was to do this album with my band "The Goosebumps Bros".

This would be the first joint album that I produced with my band and the first digital only album. But things changed again, and there will also be a CD and vinyl release of the album. And this is another reason why we called it Plan B.

Our first plan was changed due to the circumstances of life / business. So now we're definitely running with the name Plan B You know, sometimes Plan B is even better than the first plan, and this is definitely the case with this album. The songs for Plan B are written and composed by myself and The Goosebumps Bros.. Songs of soul, blues, roots and life. Songs that will strengthen your faith. Our goal is to make you smile. Hope you will enjoy listening to our Plan B. I am very happy with this Plan B.

His jaw- dropping, natural sounding, and unschooled skill on acoustic guitar, matched with an authentic 'Belfast Blues' voice, drew comparisons to John Martyn and Rory Gallagher, with nods to Van Morrison and Foy Vance. In addition to being an acoustic guitar star, Dom is equally adept on electric guitar, showcasing his talents with his power trio.

Dom has won a handful of European and UK Blues Music Awards. His sophomore studio album, 'A Savage Life' received rave reviews with Rock and Blues Muse declaring, "Dom Martin is the next rising star in the global roots scene.

Jump aboard now before he passes you by." Blues in Britain declared that Dom was "A rare talent of such sheer genius," and Classic Rock effused, "The Belfast guitarist is a sprawling talent."

His latest effort,' Buried in the Hail 'was co- produced by Grammy nominated producers Chris O'Brien & Graham Murphy. The album takes the listener on a very personal journey. "Unhinged" is all anger and fury, sparks and smoke and flames, from screaming amps. Taking a positive turn is "Daylight I Will Find", a song about life's challenges and how through self- love, one can find the answers. The sole cover on the album is a broken down, heartbroken version of "Crazy".

After forty years of marriage, Buddy and Julie Miller have learned to welcome a song however it arrives, questioning only where the song is taking them rather than where it originated - There's no process, no assembly-line procedure, just an openness to those bursts of inspiration and those hours of refinement, which means their fourth album together, In the Throes, sounds lively and diverse, eccentric and slightly askew: a deeply soulful collision of mournful gospel, dusty country, cosmic blues, lusty rockabilly, ecstatic r&b, and anything else that crosses their minds

Early on, his prodigious technique and wide-ranging style garnered comparisons with the great Oscar Peterson. But there has always been another side to Alexander's playing. Usually, jazz grabs the upper hand, but on occasion he digs deep into his Jamaican roots.

The 1974 We've Only Just Begun recording signals the beginning of Jamaican pianist Monty Alexander's fruitful relationship with MPS, lasting over a decade and encompassing some dozen albums. On many he partners with no one else than fellow Jamaican and one of the fathers of ska, guitarist Ernest Ranglin.

Among others, this Best Of includes tracks from Monty's MPS classics like RASS!, Here Comes The Sun, Montreux Alexander - The Monty Alexander Trio Live At Montreux, We've Only Just Begun, Monty Strikes Again, Cobilimbo, or the untitled Monty Alexander & Ernest Ranglin.

In Flight, BNL's eighteenth studio album, retains the dry wit and keen observation we expect from vocalist/ guitarist Ed Robertson, bassist Jim Creeggan, keyboardist/guitarist Kevin Hearn and drummer Tyler Stewart, but adds a strong sense of maturing and lessons learned.

There is also a sense of joy (which is exemplified in the first single, "Lovin' Life) and appreciation. On the new single, "One Night", BNL honor "...the magical connection that happens between a whole audience and a band." Songwriter Robertson, says, "When it goes right - which it almost always does - for that 'One Night', it's a very intense connection."

In addition to the eight songs written/ co- written by Ed Robertson, the album features four songs from Kevin Hearn, (two of which are love letters to Toronto - "See the Tower" and "The Peace Lady") and two from Jim Creeggan (including "Wake Up", a co-write with the Arkells' Max Kerman). Produced by Grammy and Award-Winning producer Eric Ratz, In Flight is ready for takeoff.

. The genre-defying Welsh group define their vision with a breath-taking new album, Islet’s ‘Soft Fascination’ is an ecstatic experience in music, an explosion of emotion subsumed in sound. The album is filled with high energy cadence and meditations on collective joy, a balancing act underpinned with glorious melodies and Emma Daman Thomas’ evocative vocals that swirl in the symphonic surf. Self-produced, and with instruments recorded live with few overdubs, the effect is direct, it veers from the upfront and immediate to the spacious and challenging. The first half is intentionally fast, intense, almost relentless. The second half is more spacious, as the album unravels and becomes more hazy. There is excitement and fascination and a willingness to show a lack of restraint in realising it, traversing hailstorms, hedgerows, broken promises and poisoned prayers; constantly breathing real life all in. Featuring standout singles: the pulsating ‘Euphoria’, the liberating flow of energy on ‘River Body’ and the recurring conundrum of choice of ‘Hat Person’, ‘Soft Fascination’ is an album of rare beauty. “A bewildering psychotropic storm” The Line Of Best Fit. // “Free-flowing experimental pop.”

She Spread Sorrow is the work of Italian industrialist Alice Kundalini. In her sparse and grimly atmospheric applications of noise, tone, and electronic sequencing, She Spread Sorrow expresses a volatile emotional core that speaks to abuse and repression with an unblinking candidness.

Orchid Seeds was originally published as part of the instantly out of print On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency, an imprint founded in 2003 and dedicated to post-industrial research, recombinant noise, surrealist demolition, existential vacancy and then some.

Kundalini’s signature whispered vocals once again beckons her audience closer on Orchid Seeds. Kundalini states that the album, “is about 5 different women of my family. Each track is about one of them with their difficult story and strengths. My family is totally destroyed now, no relation between anyone, but in the past there was a strong tradition of women with interesting personalities.” This sibilant allegorical history comes into focus amidst a claustrophobic and cinematic pall of dark ambient blight and death industrial torpor.

After being sold out for almost a year, the classic album ’New Flesh’ by Swedish synth-wizards Priest at last gets a long awaited reissue! Here’s a short description that was stated during it’s original
release in 2017: ”New Flesh is inhaling smog from the 80s and blowing smoke rings into a neon lit future. Believing in spiritual awakening through technology, Priest makes you transcend safely to
reach the ultimate goal - the merging with machines. Album producer Simon Söderberg (Alpha/ ex Ghost member) have worked with the band to perfect their sound. There is modern touch with a retro vibe over the entire album. "New Flesh" containes a total of ten tracks that that brings 2017 back to the 80s.”

Completing the Shadow Rhythms series, Western Lore presents an 8 track various artist EP featuring Response, Denham Audio, Elkie, Eusebeia, Bluematter, Pod, Wrecked Lightship & Low End Activist.

There’s an eclectic mix of junglism on offer here, from deep end esoteric to traditional tearout, flowing toward more ‘outsider’ techno, dubstep & bass music influences on plate 2.

Legendary 2010’s indie band Crocodiles’ guitarist Charles Rowell’s new synthpop-meets-gothic rock project. Think Nick Cave crooning over Martin Rev’s minimal electronics or The Lords of the New Church-era Stiv Bators jamming with Wayne Hussey and Douglas Pearce.

After relocating from New York to France, Charles Rowell began stuffing his suitcase with various synths and samplers while taking cheap bus rides to bordering countries.

While living out of a hotel in north east Paris, he played his demos for Third Coming Records who quickly released the Bad Trip EP in 2020. Concerts became more frequent after the pandemic, with the release of Spellwound and a few have become infamous with guitars smashed to pieces, broken glasses, unruly audience front flipping onto the stage.

With Paris providing the background and a scene of friends such as avant-garde drag artist Tuna Mess and industrial techno veteran Poison Point who pushed his creativity even further, Crush Of Souls constant spirit is that it remains unpredictable and thrives on collaboration.
This is even more true with his upcoming album (A)Void Love.

Written over a period of intense insomnia that coincided with a run of shows playing guitar for Australian legend Harry Howard, Crush Of Soul’s main man Charles Rowell finally found rest after writing and recording the last song entitled World of Fear. Six months prior he had quit his job as a chef, traveled east to Prague for inspiration and returned ragged and sleepless.
Rowell’s insistence on keeping the instrumentation simple and clean came from an arduous two years of literal blood, sweat and tears. Every bit of drama, eastern excursion and sleep psychosis can be found within the walls of (A)Void Love.

Acoustic guitars and dramatic synths provide a cold wilderness for the various rhythms to inhabit; touches of minimal electronics, cold wave and synth pop can be found while the song writing remains classic for lovers of Echo & the Bunnymen and Nick Cave & the Bad Seeds.

There’s always been a thread of synth-punk, death rock and DIY noise running through all of Charles’ projects (Crocodiles, ISSUE, Flowers of Evil), however Crush Of Souls pushes harder and further into the darkness with the new album ‘(A)Void Love’.

“La Settima Donna” (1978), also known as “The Last House On The Beach”, is a disturbing thriller directed by Franco Prosperi and set in a secluded cottage overlooking the Tyrrhenian sea, starring Florinda Bolkan, in the role of Sister Cristina, governess of five female students on a short vacation, rehearsing their Shakesperean end-of-year play. The unfortunate inhabitants of the house became soon hostages of three vicious criminals looking for a hiding place after a bank robbery, but the psychological and sexual violence ends when the nun abandons her vows. And the victims decide to get justice. Roberto Pregadio's brilliant music is not surprisingly, functional and almost disconnected from the bloody images: there is no overwhelming sense of disturbance for the listener.

The soundtrack of “La Settima Donna” was published only once, in cd format, attached to the rare dvd of the film, gaining new life on vinyl thanks to Musica Per Immagini. Some of the eleven tracks of the score are characterised by an easy listening mood and united by a psychedelic feel, in harmony with the progressive atmospheres found in albums such as “A Saucerful Of Secrets” (1968) and “Meddle” (1971) by Pink Floyd. However, the English band is not the only reference for the jazz pianist, who quotes a piece by Bryan Ferry, entrusting it to the voice of Ray Lovelock, one of the three kidnappers. After that, the Sicilian composer remodels an international hit by Donna Summer, background of the sequence in which the nun is forced to strip naked in front of her tormentors.

Morning Glory

Every twenty four hours is a chance to begin again and it is a renewed commitment to be involved in the cycle of nature - to play by rules set forth by something greater than ourselves that constantly resonates in the ears of those who are at peace. At the edge of each one of these beginnings, there is a brief moment that belongs to only "it". A special portion of time that directly connects to the circular motion of Space and Time. It is truth before reality. Realness before rationality. Self before consciousness.

We can feel it when we first see light and the recognize an indication that the new day has begun. It is honoring what makes all this possible.


Axis Expressionist Series.

A collection of vinyl and limited digital releases, curated by Millsart, an alias of Jeff Mills, of his most eclectic and transcendent compositions that derive from his Every Dog Has Its Day project as well as new unreleased works.

Vernacular creations that fall off from the "other side" of the Electronic Music tree, this project is designed for the experienced Techno music listener, and its goal is to reflect upon the pure artistry of the craft of storytelling. A realization between music and life.

Whereas "dancing" is the goal of Dance Music, the goal of this music is about "reflecting on the complexity and simplification of life". Soundtracks for people in their evolutionary process.

A month after the release of his debut album as Tambores En Benirras, 2021’s fabulous Orbe Dotodo, Graham Newby’s life changed forever. After years living with a visual impairment, his sight had deteriorated so much that he was declared “registered blind”. For a man who had spent decades dividing his time between travelling, DJing, running clubs and lengthy sessions in his own studio, it was a genuinely life-changing moment.

It was against this backdrop, and the need to alter his working methods, that Ondas Horizontales, the second Tambores En Benirras album took shape. Inspired by a mixture of daydreaming, visualisation, immersion in other people’s music (escapism that provided mood enhancement, rather than a specific set of ideas) and long periods spent soaking up the sun in Ibiza, the album is the most vividly detailed, sonically colourful, and sun-soaked collection that Newby has released to date.

Newby’s declining sight forced him to stop spending long spells staring at a screen and undoubtedly slowed down the production process. Yet it also allowed him to reconnect with his emotions, appreciate the storytelling and mood-shifting potential of music, and mine mind’s eye memories of places and spaces that have meant much to him over the years.

The results are undeniably stunning. Designed with horizontal listening in mind, the set distils a range of musical and real-life inspirations –or, as he puts it, “ambient soundtracks, cosmic journeys, Balearic rhythms and poolside sessions” – into ten mesmerising and magical tracks; an undulating, slow-motion journey that’s as breath-taking as it is beguiling.

Newby sets the tone with ‘Mi Sueno Vibe En Reverb’, a swelling, slow-burn ambient masterpiece that tiptoes between hope and melancholia, before flitting between imaginary sunset soundtracks (‘Estrellas En Mastella’, where lilting pedal steel sounds, bubbling electronics and shuffling breakbeats catch the ear), kaleidoscopic sun-up beats (the gorgeous warmth of ‘Generadora De Reyos’), enveloping beatless soundscapes (‘Templos Del Sol’, a drowsy drift in becalmed waters under the heat of the mid-afternoon sun), and dubby, loved-up lusciousness (‘Mokono’).

As the album progresses, bobbing and weaving on an ocean of vibrant chords, pulsing melodies and heart-stopping melodies, there’s no sign of Newby’s inspiration waving. ‘Alma Hablando’ channels the spirit of mid-80s ‘worldbeat’ and douses it in layers of Balearic bliss, while ‘Extrensor Entragado’ recalls the head-nodding haziness of his best Gripper productions of old while combining them with the musical equivalent of a humid summer breeze. Then there’s the mood-enhancing joy of the album’s superb title track –a mission statement of sorts – and the life-affirming post trip-hop/Balearic fusion of ‘Un Placer Celestial (Reprise)’, where the influence of his old friend Aim is clearly evident.

A serious sonic step-up from its predecessor and a future Balearic classic in its’ own right, Ondas Horizontales marks the start of a new musical and personal journey for its creator. It is, in his words, not the end of an era, but the start of a new one.

Helium Robots aka Ewan Willmott comes up with new exciting music for the first release of new label Unsure. On “Miniatures” the Robots offer deep rich House Music in the tradition of their releases for Running Back and Misfit Melodies, with huge bass lines (“Flam”) and synths that are as uplifting as melancholic (“Pure Lost”). But they also explore new horizons: “Sweetie” touches the glorious days of English IDM, its abstract slow motion beats and meandering percussive patterns are sparse and stripped down, yet there’s the lush harmonies that make Sweetie strangely sweet indeed. And “Rouse” is the most beautiful electronica: hypnotic grooves and shimmering melodies, tender and full of light.