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Limitierte Neuauflage auf goldfarbenem Vinyl samt Bonus-7" zur Feier des 10. Jubiläums dieses grossartigen Albums von Deutschlands bestem Funk-Ensemble. Elf filmreife Deep-Funk-Instrumentals, gefeierte B-Boy-Breaks und Dancefloor-Killer-Vocals von The Mighty Mocambos und ihren Featuregästen. Mit von der Partie sind Filmkomponist Peter Thomas, HipHop-Pate Afrika Bambaataa, die Rap-Legenden Charlie Funk aka Afrika Islam (Rocksteady Crew) und Donald D (von Ice-Ts Rhyme Syndicate), desweiteren Nichola Richards, Shawn Lee, DeRobert (vom Nashville-Label GED Soul), die Zulu Nation MCs Deejay Snoop und DJ Hektek sowie Orgel-Genie Guillaume Metenier.

Kills Birds gehen mit einer Intensität an ihre Songs heran, die so greifbar ist wie keine andere junge amerikanische Rockband. Angeführt von Nina Ljeti, einer bosnisch-kanadischen Filmemacherin, die die Los Angeles Times als "L.A.s elektrisierendste neue Rocksängerin" bezeichnete, gehören zur Band noch Jacob Loeb (git), Fielder Thomas (bass) und Griffin Kisner (drums). Kills Birds' Gigs sind emotional und kathartisch. Fing das Debütalbum "Kills Birds" (2019) noch das Versprechen ihres Grunge-inspirierten Sounds und Ljetis unerschrockener Texte ein, trieb der Nachfolger "Married" (2021) ihre musikalische Chemie auf neue Höhen. Ihre unerbittlichen Songs führen zu elektrisierenden Liveshows, die ihnen jede Menge Lob einbringen. Kim Gordon nennt sie "hot as fuck".

Legendary songwriter Guy Clark’s iconic album, Dublin Blues, shines in a new light with this remixed and remastered reissue. The album was remixed by Miles Wilkinson, its original co-producer and engineer, at Compass Sound Studio in Nashville (formerly Glaser Sound Studio, aka “Hillbilly Central”). It includes liner notes written by Wilkinson and Clark’s former touring partner, the acclaimed singer-songwriter Darrell Scott. Featuring Sam Bush, Travis Clark, Donivan Cowart, Rodney Crowell, Ramblin’ Jack Elliott, Nanci Griffith, Emmylou Harris, Jelly Roll Johnson, Kenny Malone, Kathy Mattea, Suzi Ragsdale, Darrell Scott, Verlon Thompson, Jonathan Yudkin.

Danish drummer Daniel Sommer completes his internationally acclaimed Nordic Trilogy (featured in Stereogum, Downbeat Magazine, Bandcamp"s Best of Jazz and more...) with the release of Lost Threads on March 21st, 2025, via April Records. Following As Time Passes and Sounds & Sequences, the highly anticipated third chapter features Finnish pianist Artturi Rönkä and Swedish bassist Thommy Andersson. Together, the trio embarks on a deeply introspective exploration of time, space, and their shared Nordic spirit of improvisation. Described by Sommer as "a process-oriented project prioritizing musical risk and flow," the Nordic Trilogy has sought to illuminate Nordic approaches to composition and improvisation across generational and stylistic divides. With Lost Threads, this vision culminates in a collection of music that embraces vulnerability, spontaneity, and togetherness. "Most of the music emerged as Daniel and I improvised in my living room in Helsinki," Rönkä recalls. "Later, when Thommy joined us for a couple of concerts and recording sessions... his highly personal way of playing the bass inspired Daniel and me to try to develop the music in further, unexpected directions." The result is a dynamic and emotionally resonant album, recorded live in a Helsinki studio with all three musicians in the same room, without headphones or edits whatsoever. The title track and Den ensommes dans pulse with energetic groove and rhythm, while pieces like Meditation, Silent Steps, and Forgotten Song float with a haunting, rubato lyricism. With influences ranging from Nordic folk, Western Classical music and the jazz tradition, Lost Threads continues the trilogy"s history of blurring the boundaries between composition and improvisation. The trio"s collective sound-anchored by Rönkä"s nuanced piano, Andersson"s deeply personal bass tones, and Sommer"s textural drumming-creates a sonic landscape both timeless and contemporary. As the trilogy closes, Lost Threads invites listeners into a contemplative space where silence and sound intertwine, offering a balm for the modern world"s relentless pace. True to the spirit of the Nordic Trilogy, it stands as both a conclusion and a testament to the boundless possibilities of collective improvisation.

The Forlorn Divide by Accuser is back on vinyl, and it’s more intense than ever! Released by the German thrash metal legends, this 2016 album marked a triumphant return to their raw, relentless roots. Known for their blistering riffs, sharp precision, and aggressive vocals, Accuser captures the gritty essence of thrash metal with a modern edge, making this release essential for any fan of the genre. The Forlorn Divide dives deep into themes of alienation, societal decay, and inner turmoil, resonating with listeners through both its lyrical content and powerful instrumentation. The album’s standout tracks, including "Lust for Vengeance" and "Impending Doom," showcase Accuser’s refined songwriting and fierce musicianship, driving their iconic sound forward. With founding member Frank Thoms leading on guitar and vocals, supported by Dennis Rybakowski on guitar, Frank Kimpel on bass, and Olli Fechner on drums, Accuser creates a wall of sound that’s as intricate as it is unyielding. This reissue offers a chance to own a vital piece of thrash metal history perfect for collectors and metalheads everywhere.

The Forlorn Divide by Accuser is back on vinyl, and it’s more intense than ever! Released by the German thrash metal legends, this 2016 album marked a triumphant return to their raw, relentless roots. Known for their blistering riffs, sharp precision, and aggressive vocals, Accuser captures the gritty essence of thrash metal with a modern edge, making this release essential for any fan of the genre. The Forlorn Divide dives deep into themes of alienation, societal decay, and inner turmoil, resonating with listeners through both its lyrical content and powerful instrumentation. The album’s standout tracks, including "Lust for Vengeance" and "Impending Doom," showcase Accuser’s refined songwriting and fierce musicianship, driving their iconic sound forward. With founding member Frank Thoms leading on guitar and vocals, supported by Dennis Rybakowski on guitar, Frank Kimpel on bass, and Olli Fechner on drums, Accuser creates a wall of sound that’s as intricate as it is unyielding. This reissue offers a chance to own a vital piece of thrash metal history perfect for collectors and metalheads everywhere.

NOW Music is pleased to announce NOW Presents…Classic Soul, a stunning 5LP boxset of 85 of the greatest 60s & 70s Soul tracks ever... Out September 22nd!



LP1 opens with ‘I Say A Little Prayer’ from the “Queen of Soul”- Aretha Franklin, the peerless ‘Walk On By’ from Dionne Warwick and followed by massive hits from Marvin Gaye with the #1 ‘I Heard It Through The Grapevine’ and Stevie Wonder’s ‘I Was Made To Love Her’, plus classic tracks from The Temptations and Otis Redding. Flip to the other side for legendary groups – The Supremes, The Ronettes, The Marvelettes, The Velvelettes and Martha Reeves & The Vandellas.



LP2 begins with the powerhouse vocals of Tina Turner (with Ike) on ‘River Deep, Mountain High’. Top tracks from the Jackson 5 & the Four Tops give way to a run of Northern Soul classics from Frankie Valli & The Four Seasons with ‘The Night’, ‘Tainted Love’ from Gloria Jones, Frank Wilson’s legendary ‘Do I Love You’, and ‘Green Onions’ from Booker T. & The M.G.'s. Side 2 begins with the superb vocals of Ben E. King with ‘Stand By Me’ and Percy Sledge with ‘When A Man Loves A Woman’. Another Otis Redding classic alongside the genius of both James Brown and Nina Simone brings this LP to a close.



The A-Side of LP3 kicks off with the signature smash from Aretha Franklin ‘Respect’ before the first UK #1 for the Motown label from The Supremes with ‘Baby Love’, and there’s still room for Smokey Robinson & The Miracles, The Drifters, and another #1 from Freda Payne. Side B begins with one of the most iconic and funky baselines ever on ‘Papa Was A Rollin’ Stone’ from The Temptations and the classic grooves ‘Move On Up’ from Curtis Mayfield, Isaac Hayes’ ‘Theme from “Shaft”’, the emphatic ‘War’ from Edwin Starr and the cool sophistication of ‘California Soul’ from Marlena Shaw lead to the closing track ‘Could It Be I’m Falling In Love’ from The Spinners.



LP4 begins with a run of beloved tracks from iconic artists opening with the politically charged masterpiece ‘What’s Going On’ from Marvin Gaye, followed by Al Green, Bill Withers and Billy Paul, plus The Stylistics and The Delfonics to add to the selection of celebrated groups on this release. The second side begins with the exceptional ‘Killing Me Softly With His Song’ from Roberta Flack, before the stunning vocals of Minnie Riperton’s ‘Lovin’ You’ and Deniece Williams, The Three Degrees and Gladys Knight. The Jackson 5 bring this disc to a close with their timeless ballad ‘I’ll Be There’.



LP5 contains a run of 1970s favourites beginning with ‘Ain’t No Mountain High Enough’ from Diana Ross and ‘You're The First, The Last, My Everything’ from Barry White. ‘Fantasy’ from Earth, Wind & Fire, ‘Summer Breeze, Pt. 1’ from The Isley Brothers and ‘Love Train’ from The O’Jays all feature before the Commodores kick off the final side with ‘Three Times A Lady’. Rose Royce, Peaches & Herb and a second selection from Gladys Knight & The Pips feature along with George Benson, before the “Prince of Soul” Marvin Gaye brings this essential collection home with ‘Let’s Get It On’.



85 tracks across 5 stunning LPs, NOW Presents Classic Soul... Out September 22nd!

Madronas’ debut LP Erogenous Biome is an amorphous, murky, cathartic offering. A duet of modular synthesizer and winds that’s equal parts doom and ecstasy, it’s the sound of a majestic butterfly emerging from it’s slimy chrysalis just in time to catch the sun setting on the end of days, a bewitching, heavy ceremony, a power-wash of both mind and spirit.

Tracked in one continuous take at Brooklyn’s Heavy Meadow studio, individual tracks were gleaned from the purge and eschew predictable structures, making for a dense, fluid suite of improvisation, like dancing smoke ribbons in the dark. The duo's chosen sound sources are seemingly opposite - Ry Fyan’s modular’s coming from electronic oscillators, Isaiah Barr’s saxophone and various flutes originating with the breath - but the visceral, imprecise, alive quality to the sound of both lends the record a thrilling combination of rapturous harmony and gritty, intense friction.

Opening the session in ritualistic, foreboding fashion, Voluntary lurches to life with rattles and wandering, bassy arpeggios before a suona’s cry signals the seance has officially begun. Ostraca Loam spits explosive modular rhythms and eerie shrieks for the flute to float above, while Detritus Harp smudges mechanical whirring, pensive horn and wind chimes for an untethered drift. Petrified Microdot swells with menacing sci-fi sequences and breathtaking sax runs until they both run out of breath, and Negative Lingam starts out in a panic of breathy riffing before exhaling into one of the most sublime passages on the record. Rhythmic pounding and undulating flutes punctuate Lenticular Shroud, before The Preparation Of The Novel sets the winds aside for a synthesized dual fit for electric dreams. The title track dominates the B-side, it's shimmering levity slowly unfurling to reveal itself as a kind of post-apocalyptic devotional music, deep space drifting grounded by earthly flutes, and Vale Of Cashmere offers an ascetic, contemplative closure, sparse flute and chiming rhythms organic or electronic - by this time it’s hard to know, it doesn’t matter either way.

Erogenous Biome is a world of it’s own, and one Impatience is honored to offer a window into.

RIYL - Senyawa, witchcraft, Colin Stetson , Civilistjavel, Mars (the planet), Finis Africae, raga, Stephen O’Malley, modular synthesizer, Anthony Braxton, Shabaka.

Madronas is Ry Fyan and Isaiah Barr. Fyan is a painter and tattoo artist, this is his first release. Barr is a prolific instigator of the downtown New York scene, producing and playing saxophone in jazz circles with his group Onyx Collective, as a player and/or producer on records by Nick Hakim, David Byrne and Wiki, performing live with William Parker and as part of his projects Universal Space Jam and Cafe Dewanee.

Erogenous Biome was recorded and mastered by Griffin Jennings at Heavy Meadow, Brooklyn.

Vinyl was cut by Beau Thomas at Ten Eight Seven Mastering, Berlin.

Artwork is by Ry Fyan, typography and layout by Nicolas Turek.

Diese Sonderveröffentlichung feiert den 20. Jahrestag von The Grind Date. Die LP ist als Splatter-Vinyl
in limitierter Auflage erhältlich und enthält neben dem Originalalbum 4 Instrumentalversionen der Haupttitel. Die 2CD enthält außerdem 2 brandneue Titel, die während derselben Sessions wie The Grind Date
aufgenommen wurden. Diese noch nie zuvor veröffentlichten Titel mit den Titeln „Respect“ und „Bigger“
ergänzen dieses bereits bekannte Album perfekt.
De La Soul ist eine einflussreiche Hip-Hop-Gruppe, die Ende der 1980er Jahre gegründet wurde. Das
Trio, bestehend aus den Mitgliedern Kelvin Mercer (Posdnuos), David Jude Jolicoeur (Trugoy the Dove)
und Vincent Mason (Maseo), ist für seinen einzigartigen Sound und seine innovative Herangehensweise an
Hip-Hop bekannt. Ihnen wird oft zugeschrieben, dass sie mit ihrem eklektischen Stil, ihrer Verwendung
von Sampling und ihren positiven Botschaften die Landschaft des Genres mitgestaltet haben.
„The Grind Date“ ist das sechste Studioalbum von De La Soul und wurde 2004 veröffentlicht. Das Album markierte eine bedeutende Rückkehr der Gruppe nach einer Pause seit ihrem letzten Album im Jahr
2001. „The Grind Date“ zeigt De La Souls charakteristische Mischung aus cleveren Texten, innovativer
Produktion und einer Mischung aus verspielten und introspektiven Themen. Das Album enthält eine Fülle
spannender Gastauftritte von Künstlern, darunter MF Doom, Ghostface Killah, Flava Flav und Sean Paul.

In the spring of 1983, members of Genesis reconvened at their studio, named The Farm in Chiddingfold, Surrey, to start work on a new studio album, their first since Abacab (1981). Genesis became their first album written, recorded, and mixed in its entirety at the studio room; previously they had to write in an adjoining space. Having the group work in their own space without the additional pressure of booking studio time and fees resulted in a more relaxed environment. They were joined by engineer Hugh Padgham, who had also worked on Abacab,

AllMusic writes: "Moments of Genesis are as spooky and arty as those on Abacab — in particular, there's the tortured howl of "Mama," uncannily reminiscent of Phil Collins' Face Value, and the two-part 'Second Home by the Sea' — but this eponymous 1983 album is indeed a rebirth, as so many self-titled albums delivered in the thick of a band's career often are. ... Anybody who paid attention to 'Misunderstanding' and 'No Reply at All' could tell that this was a good pop band, primarily thanks to the rapidly escalating confidence of Phil Collins, but Genesis illustrates just how good they could be, by balancing such sleek, pulsating pop tunes as 'That's All' with a newfound touch for aching ballads, as on 'Taking It All Too Hard.'" AllMusic reviewer Stephen Thomas Erlewine gives the album 4.5 Stars.

For fans who appreciate the evolution of the band's music over the years, owning this album is important as it represents a distinctive phase in their career.

This is the definitive deluxe 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of the classic Genesis. A classic for all true Genesis fans!

'It begins with a shoebox of mysterious provenance, full of recordings from the Vendée department on France’s western seaboard: songs of love and war, life and death, played out on land and sea. Songs passed down and sung by ordinary men and women, gracefully delivered with the poetic economy which unites the folk song of all peoples.

Next it takes a group of contemporary musicians to make selections from this treasure trove and sing these old songs anew; to sing them for their beauty, of course, and to reclaim the people’s tradition from those who would seek to exploit it for nefarious political ends. Who better for this task than Tartine de Clous, a singing trio from Vendée’s neighbouring department of Charente-Maritime, who burst into national and international consciousness with their debut album "Sans Folklore" in 2015? The result of their shoebox rummagings, the new album "Compter les dents", recorded in 2019 and finally seeing the light of day, is bound to delight old fans and win them many new ones.

Time makes many’s the alteration, and "Compter les dents" finds 'les garçons' - Geoffroy Dudouit, Thomas Georget and Guillaume Maupin - in a different state of being from their debut release. The trio, friends since youth, have certainly matured between albums, as one would expect; consequently the newer performances are more considered and poised, unfolding with a patient confidence. A relaxed domesticity prevails, something to do with the fact that the album was entirely recorded chez les amis, in contrast to the first album, which was mostly recorded at live performances in bars and night-spots across France.

Lending gravitas to the grain of their voices we mark a deepened richness, doubtless born of the various vicissitudes of daily existence which these gentlemen - and we too as citizens of this turmoiled globe - have weathered in the intervening years. Not too dissimilar, in fact,
from some of the vicissitudes detailed in those old Vendée songs. Plus 'ça change', right?

There’s a greater complexity and subtlety to their unique three-part harmonising, too. Their voices mesh in even stronger - almost telepathic - 'fraternité' than ever before: now commanding and mighty as a full-rigged counter-vessel, now gentle and lulling as a mother’s
cradle-croon, or as the whisper in a lover’s ear.

Three legendary figures of French traditional music, now sadly departed, preside as tutelary spirits over Compter les dents. They are: the late Claude Flagel, musician and ethnomusicologist; and the late Jean-Loup Baly of the well-known 1970s band Mélusine. Most of the album was recorded by Claude in the Brussels home he shared with his late wife Lou Flagel. The album is dedicated to the memory of Jean-Loup, Claude and Lou.

For the first time there are several guest instrumentalists working their magic to expand the Tartine de Clous sound. Jean-Loup plays a characterful accordéon on the song ‘La Veuve'. The other guests are: Maurice Artus (voice), Robert Thébaut (violin), Quentin Manfroy (piccolo, contrabassoon), Marceau Portron (cigar box guitar). Their contributions add even more conviviality to that which the trio of singers already share, a sensation which will doubtless be shared by those who happen to find a place in their lives for "Compter les dents".'

Liner notes by Alasdair Roberts.

Bei Stepptanz denkt der Musikfreund natürlich zunächst an Gene Kelly und Fred Astaire. Auch wenn nicht mehr so populär wie in der ersten Hälfte des 20. Jahrhunderts, findet der Tapdance nach wie vor in den Shows am Broadway statt. Die perkussive Ausdrucksform mit den schnellen rhythmischen Beinbewegungen ist die Spezialität des Wiener Musiker Thomas Marek, der zu den gefragten Tapdancern in Europa zählt. Der 52jährige Choreograf und Schlagzeuger hat diese Tradition schon vor einigen Jahren aufgegriffen und zeigt seine expressive Tanzkunst in vielen Theatershows. Gemeinsam mit dem Pianisten Patrick Bebelaar und dem Bassisten Jan Roder hat Marek jetzt Tapdance, Perkussion und Schlagzeug im Rahmen einer LP-Aufnahme integriert, die sowohl ausgewählte Jazzstandards, als auch ausdrucksstarke Improvisationen beinhaltet. "Footprints" heißt die im Frühjahr 2024 in Wien aufgenommene Musik, die wir nun im Rahmen unserer Vinyl-Edition als LP präsentieren. Altbekannte Standards wie "Tea For Two" und "Softly As In The Morning Sunrise" sind ebenso zu hören, wie emotional geprägte Balladen von Bebelaar und rhythmisch vielschichtige Improvisationen von Thomas Marek. Entstanden ist mit "Footprints" ein musikalisches Kaleidoskop mit Elementen von Swing bis Free, das von drei erstklassigen Musikern eingespielte wurde. Pianist Bebelaar, hat viele Jahre mit dem Trompeter Herbert Joos und dem französischen Tubisten Michel Godard zusammengearbeitet und ist zudem ein ausdrucksstarker Komponist. Bassist Jan Roder ist fester Bestandteil der Jazzszene Berlin und Bandleader Thomas Marek ist sowohl als Drummer, wie als Tapdancer auf dieser LP zu hören.

"Daft Punk brought me here, he brought me Daft Punk"

Just knowing that this slice of hyper-rare disco dynamite was crafted by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a little bit more about Thomas and Daft Punk's background. But this is so much more than a Daft Punk family curio.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers.

The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skating with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is deceptively complex, with layers of fantastic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable.

The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the title hints at, totally hypnotic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong?

The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnotic repetitive refrain. Both songs being, of course, timeless pieces of Euro genius.

Who's Who really is a fantastic late-70s-early 80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the starting point for the restoration, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover still ended up looking too good! Don’t hate us.

"Irma Thomas, born Irma Lee and widely celebrated as the Soul Queen of New Orleans, is a Grammy-nominated artist who recorded her first single in 1959. Her second solo album, released in 1966, features the song ""Anyone Who Knows What Love Is (Will Understand),"" co-written by Randy Newman and country music star Jeannie Seely. The single peaked at #52 at the Billboard Top 100 chart and this iconic track has been featured in multiple episodes of the acclaimed science fiction television series Black Mirror. "

The Smile veröffentlichen heute zwei neue Remixe für Tracks ihres dritten Albums "Cutouts". "Don"t Get Me Started" im Remix von James Holden und "Instant Palm" als Robert Stillman Remix sind ab sofort digital verfügbar. Für beide Tracks hat der Künstler Weirdcore, der bereits für alle Songs von "Cutouts" Videos kreiert hatte, einen "recycled video mix" erstellt. Die Remixe gibt es als limitierte 12". Das Sleeve-Design von Stanley Donwood kommt in Anlehnung an die ikonische Housebag-Serie von XL Recordings. James Holden und Robert Stillman arbeiten beiden regelmäßig sowohl mit Thom Yorke als auch mit The Smile zusammen. Robert begleitet die Band auf der Bühne, um bei ihren Live-Auftritten Saxofon und Keyboards zu spielen. Zudem steuerte er Saxofon zu allen drei Platten von The Smile sowie zu Thom Yorkes "Confidenza" Soundtrack bei. James hat bereits einen Remix zu Radioheads "Reckoner" veröffentlicht und war als Support auf den Touren von Atoms For Peace und bei Thoms Soloshows zum Album "Tomorrow"s Modern Boxes" dabei.

That’s the Price of Loving Me marks Dean Wareham’s (Galaxie 500, Luna, Dean & Britta, ) evocative return, rekindling his partnership with producer Kramer for the first time since Galaxie 500's This Is Our Music in 1990.

Recorded in six days in Los Angeles, the album is steeped in lush, haunting soundscapes, driven by Wareham's signature reverb-soaked guitars and melancholic, dreamlike vocals. Britta Phillips joins on bass and harmonies, while Gabe Noel’s cello adds depth and tension. “Two takes yield more treasure than twenty,” notes longtime friend Matt Fishbeck, as Kramer's insistence on spontaneity infuses the project with raw immediacy.

Thematically, Wareham delves into the poetry of memory, set against a backdrop of wistful nostalgia and existential reflection. "Songs are in dialogue with other songs" Fishbeck writes. The lead single, “We’re Not Finished Yet,” is a playful, introspective meditation where Wareham drops his own name while relishing the tactile joy of the guitar. “You Were the Ones I Had to Betray” unfolds like a somber narrative, underpinned by Noel’s cello and crowned with a haunting bass harmonica by Kramer, encapsulating the emotional ambivalence of friendship and loyalty.

“That’s the Price of Loving Me” pulses with conga rhythms and Kramer’s vintage Moog, capturing Wareham’s musings on the life of a performer and the sacrifices it demands. Fishbeck describes “The Mystery Guest” as "an acrostic poem" and concludes by saying "We're not finished yet." 'Loving Me' also includes two covers, Mayo Thompson's 'Dear Betty Baby' and Nico's 'Reich der Träume.' The latter highlights his love for blending history and homage, sung entirely in German for a chillingly authentic touch.

Dean returns with his fourth solo album and his first album for Carpark Records. Inspired by the past yet resonant in its present-day relevance, the album’s sonic palette is reminiscent of Galaxie 500’s dream-pop roots, tempered with the matured introspection of Wareham’s later works. “Dean traffics in memory,” writes Fishbeck, reflecting on the record’s seamless blend of intimate recollections and catchy hooks. The result is a cohesive work encapsulating the duality of Wareham’s career: haunted by the past, yet steadfastly pushing forward. As Fishbeck poignantly puts it, “Imagination is nothing but the working over of what is remembered.”

»Re:Polyism« is a track-by-track reinterpretation of Friedrich »Fritz« Brückner’s 2022 debut solo album as Modus Pitch, »Polyism,« through artists affiliated with Altin Village & Mine and/or former collaborators of the prolific Leipzig-based musician and producer. Each track from »Polyism« has been remixed or reworked by different artists such as Modeselektor, Angel Bat Dawid, Maya Shenfield or Mouse on Mars member and HJirok producer Andi Toma, but the album—mastered by Tim Roth a.k.a. Sin Maldita and released as a strictly limited vinyl LP with reimagined artwork by Carmen Orschinski—follows the original record’s tracklist. This makes »Re:Polyism« a veritable musical prism, refracting the creativity inherent to Brückner’s genre-transcending original works through other people’s artistic lenses to create an even more colourful end result.

First off are the Gebrüder Teichmann with their take on opener »Drive,« carefully adding more depth and uncanny sounds to the jazzy, drum-focused piece. Unsurprisingly, Modeselektor go a lot further with their remix »Rainbow,« turning the two-minute track into a dubstep-adjacent banger with infectious synth work that is twice as long and comes with a mind-melting breakdown. With their take on »Hilltop Jacuzzi,« Peaking Lights turn the blissful original into a piece that calls to mind experiments at the intersection of dub, ambient, and industrial music in the mid-1990s. Cloud Management radically transform the eerie »Compound Eye Dialogue« into a rhythmically charged mid-tempo post-krautrock epic, while the Seekers International’s »Jelly Roll Dub« of »Gelée Royale« uses the original’s lush textures to turn up the intensity even further.

On the flipside, Andi Thoma gives the intricate synth pop/breakcore fusion of »Suspender« a similarly dubwise treatment before venturing into gqom territory, pulling it out of the leftfield and straight onto the dancefloor—peak-time use only. Maya Shenfeld then brings her trademark modular synth work to »Outer Veil,« accentuating the focus on Hendrik Otremba’s uncanny spoken word performance even further. This sets the mood perfectly for vocal experimentalist Agnese Menguzzato working her singular magic. Under her hands and with her voice, the multi-layered ambient soundscapes of »Lava Fans« become even larger-than-life-like than before. When Angel Bat Dawid takes the menacing drones of »Iridescent Path« as a template for a trap-inspired beat over which she lets loose on the clarinet, that serves as both the ultimate counterpoint and perfect coda to »Re:Polyism.«

These nine reinterpretations of the highly diverse source material underline Brückner’s singular approach to music-making while also emphasising their makers’ idiosyncratic talents. This makes »Re:Polyism« more than simply a remix album—it’s a polylogue between visionary minds.