Suche:tri al trip

2024 Repress

All in that stark contrast between ethereal spaciousness and steely, martial rhythms out the industrial spectrum, 'Far Field' takes us on a voyage across the board, from breaks-heavy machine stunts to washed-out tapestries, via EBM-laced detours and junglistic maneuvers. Investigating the nexus zone between dance functionality and limitless escapology, it extrapolates both artists' blends to further immersive, hypnotic effect. Taking over the A side, .VRIL gets the ball rolling with 'Lost Together', which sets the tone on a low-slung, nostalgia-drenched note; combining the syncopated swagger of downtempo techno with ambient-oid stasis and static-filled opacity. Like watching an all-metal sun sinking past the blazing skyline. Revving up the engines, 'Fnord' feat. RAeYN conjures up a way more muscular arsenal of big-room-ready wares, from aggro snare salvos to anthemic synth kinetics, through that replicant-hunting kinda vibe. One to have the Saturn rings go hula hoop, with all woofers and brains in the vicinity melting in XTC. Shutting the A side off, 'We Believe' returns to a lighter, more vaporous mindset but sure implements that signature heavy swing of .VRIL, flush with textured kicks and FX-soaked arps. True monster prog swell. Flip it over and there's HVL dishing out a textbook example of his vortical electronic furls with the title-track, 'Far Field' - an oneiric drift that slowly rises from its heavy-lidded slumber, ascending towards bleepin' n bloopin' experimental effervescence as bars fly by. A number bound to hack your body and mind into two distinct facets, and while one dances its way frantically across the ever buzzing space/time continuum, the other shall reach a state of healing calm and transcending ubiquity. Smoothly shuttling us off to the upper layers of the ionosphere, 'Lancet Mxi' clenches it on a trippy note, taxiing us midway zero-G UK bass territories and eerie ambient abstraction. HVL's total, widescreen vision at its most unhindered, all set at expanding your mind to yet uncharted horizons of sound and closing the gap between two distant, estranged galaxies. A fractured headspace to both dance and dream to. *Dressed in a fine piece of artwork courtesy of Daniel M. Diaz, 'RYCL021' comes pressed on 180g audiophile black vinyl for optimal playing and listening experience.

The origins of Oreo Jones forthcoming third studio album, to be released September 20th, 2024, started in 2019 while on an extended trip to Antananarivo, Madagascar supported by an Andy Warhol Foundation grant. The myriad sights and sounds of this journey greatly inform the sonic tapestry of this new album.Jones teamed up with indie producer Ben Lumsdaine (Durand Jones/Wishy/Varsity/Barrie) to build songs from the ground up sending demos back and forth from across the country. Jones also recruited composer and vocalist Hanna Benn to add heavenly harmonies sprinkled throughout the album. The result is a sound that is intentional and immediate, earthly and ethereal. Each song is a chapter in a narrative crafted with purpose.Emotionally, the album emerges from a place of much needed rest and peace. During the recording process, Jones' uncle passed away unexpectedly. Over the past few years, he has found himself processing grief and loss within his immediate family of elders. Nephew is an ode to celebrate the ancestors who shaped the artist he is today.

"Redrawing pop music’s borders in the early 21st century, London trio Sugababes occupy an important
place in the history of British music. Formed in London in 1998, the group seamlessly combined
mainstream pop with cutting-edge R&B, soul and dance music – and they added to this intoxicating mix
on 2002’s Angels With Dirty Faces, an album which brought avant-garde electronic music to the masses.
This landmark second album from Sugababes includes the era-defining ‘Freak Like Me’, which, helmed
by underground producer Richard X, rode a sample of Tubeway Army’s ‘Are “Friends” Electric?’ all the
way to the top of the UK charts in the spring of 2002. Led by the guiding hand of the Xenomania
production team, ‘Round Round’ repeated the trick, paving the way for Angels With Dirty Faces to clean
up that summer, going triple-platinum and scoring Sugababes the 2003 BRIT Award for Best British
Dance Act.


"

Phoebe Rings is a dream-pop band offering a unique blend of introspective yearning with celestial danceable grooves. Their self-titled debut EP, a hopeful collection of musings, out on Carpark Records, is a testament to the distinctive musical style of Auckland jazz-school-trained pianist and songwriter Crystal Choi. Across six tracks, the EP is a love letter to some of the band’s influences: Studio Ghibli films, Zelda and Stardew soundtracks, Bossa Nova, Stereolab, and 90’s Korean ballads.

In 2020, the band played their first gig in a ‘funny side room’ during a festival at Auckland Town Hall. Choi’s songwriting was brought to life with Alex Freer on drums, Simeon Kavanagh-Vincent on guitar and synths, and Benjamin Locke on bass. Choi says she knew the tracks had to be recorded after the band played the songs better than she could ever imagine. And so, remotely through the COVID-19 lockdowns, the band started recording the EP.

“Daisy” is the vibrant leading single, with the shimmery refrain “Ooh-wee-a-waa” and the uplifting mantra: “When you’re next to me, the world’s full of daisies.” The swirling synths fizz on the skin like warm sun, promising growth and new starts. “Cheshire” is an Alice in Wonderland-inspired trip through the rabbit hole, pacing in anticipation. “Like a Cheshire cat, it grins and disappears in moments when you accept yourself,” explains Choi. Locke and Choi finished the lyrics one evening, huddled in the corner of a local underground music venue, with references to Murakami’s book Dance Dance Dance.

Choi grew up in Seoul, developing a palette for K-pop and retro sounds. The city-pop influence of “January Blues” shines through, with Choi crediting one of her favourite songs from the ’80s: “연극이 끝난 후 After Play”. The track explores her disconnect with the summer break. “In the Northern Hemisphere, January is winter,” says Choi. “I missed that a lot, and I don’t vibe with the beach.”

“Spissky,” chimes in with Choi’s lilting vocals reminiscent of childhood lullabies, inspired by a lonely-looking castle she saw on tour with Princess Chelsea in Slovakia. While “Ocean” leans into its mumble-core roots, taking a leaf from the Cocteau Twins. There’s an external shift in the EP, with “Lazy Universe” being the most energetic track, evolving with the band’s chaotic sci-fi experimentation. Asking, “Are you still waiting for a kiss?” Choi is self-critical and urgently speaks up from being passive.

The members of Phoebe Rings are cemented in the musical ecosystem, balancing other projects and full-time work. Yet Sundays will always be carved out for Phoebe Rings to dream up imaginative, world-building tunes — often with a Nintendo game soundtrack in the background as inspiration.

Releasing in the autumn of 2024 Andy Smith's curation of the 3rd volume in his Reach Up – Disco Wonderland series brings us more carefully selected music from the Discosphere. With tracks from artists as far ranging as Buscrates, Trailer Limon and Rena Scott included in this 16 track killer compilation Andy has also included excellent edits and remixes from such stellar names as Full Intention, Yam Who and Skratch Bastid. Indeed, the CD and digital versions of the release also include a fully continuous Skratch Bastid mix of all 16 tracks. Reach Up-Disco Wonderland vol. 3 was curated during the lockdown periods of the pandemic after a series of virtual 'nights out' viewing DJs such as Skratch Bastid, The Nextmen, Chris Wheatley and others performing sets on the Twitch platform. Andy is now playing out in the real world with some of the DJs he 'met' online so now the time is right to drop this compilation on BBE Music. Andy Smith's pedigree in sourcing and mixing tracks from across eras and genres goes back to his debut compilation release The Document in 1998, he was the explorer and provider of samples and breaks for the first two Portishead albums and played as the band's international tour DJ. His compilation track record of some fifteen plus releases since 1998 has covered New Orleans Funk, Northern Soul, Reggae, the mixed genre follow ups to the The Document and, of course, the now three volumes of the Reach Up-Disco Wonderland series on BBE Music. Pressed as a triple vinyl LP, along with the aforementioned double CD and digital versions, not only is Reach Up-Disco Wonderland vol. 3 a delight for the DJ consul and the dance floor, but also an audiophile's dream on vinyl with all tracks mastered at the renowned and Grammy nominated Carvery Studios.

Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio:
Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

Dafne Phono Vocalists:
Apollo: Renato Grieco (Italian)
Cupid: Arnou Argun (Abkhaz)
Dafne: Agnes | xaye (!Xoon)
Ovid: Olivia O’Dwyer (Latin)
Venus: Don Eugenio Darias (Silbo Gomero)
Abkhaz Chorus: Liana Ebzhnou, Murman Guaramia, Fatima Kharzalia, and Gunda Osia
Chatino Chorus: Felix Daniel Peña Mendes, José Vasquez Canseco, Catalina Candelario Matias, and Claudia Garcia Baltazar
!Xoon Chorus: Franco Tsame, John Djujui Klosi Barase, and Charity Tsame
Clarinet: Steve Kado

*Full colour artwork coming soon, this is a digitally generated mock-up. Comes in a risograph sleeve featuring liner notes and original Saturn artwork. *

Recorded at the Choreographers’ Workshop in New York, 1963, Waaghals Records presents two songs from Sun Ra’s Continuation sessions on vinyl for the first time. Known for its lo-fi recording quality coupled with heavy use of echo and reverberation, the material recorded at the Choreographers’ Workshop holds a special place within the Sun Ra catalogue. This unique blend of avant-garde jazz and bold production methods is described as “low-budget musique concrete” by Sun Ra biographer John F. Szwed.

Taken from the 1970 Saturn album Continuation, side a features the complete unedited version of New Planet. A bouncy Ra track that somehow ends up in a sound-bath of low, throbbing frequencies and echoes. The b side, Meteor Shower, remained unreleased until 2014, making its first official appearance on vinyl here. The opening trumpet salvo warms us up for a micro trip through the vast cosmos, with more echoed percussion and a beautifully bowed bass solo. It is no surprise that in recent years this particular piece has been sampled, most recently by RP BOO and Armand Hammer.

Tape transfers and audio restoration by Michael D. Anderson and Irwin Chusid of the Sun Ra Archive.

In Cornish slang it is said that things get done ‘dreckly’; that is, not now, not necessarily tomorrow, but, at some indefinite point...in the future...soon...

Fitting then that when Bristol’s Langkamer decamped to their de facto home-from-home in the picturesque south-west seaside town of Falmouth to record their third album in as many years (with an EP thrown in there too) - there was no particular need to rush things: “The process was much slower and more considered for Langzamer.”, drummer/vocalist Josh Jarman explains: “The first two albums felt pretty urgent, and each was finished in about 6 months, but this one feels a lot more deliberate. It’s taken us two years to get this done.”

Equally fitting too that Langzamer kicks off proceedings with ‘Heart of Tin’: the first bars are languidly lugubrious, so deliciously plucked-out and scuzzed-up that they linger in the air like passing smoke, magically, slowing time down to their own assured and steady will. And in so much time, that also feels like no time at all, comes an opening line of such stark, disarming confessionalism as might be found in the David Berman/Silver Jews songbook: “Do you want the good news or the bad news first? // They’re both bad news, but the bad is worse” It’s Langkamer in a nutshell: embattled, heart-on-sleeve Slacker Rock slaked with twinges of fret-sliding Americana, yet deeply embedded in the folk mythologies, colloquialisms and experiences of the band’s West Country roots.

Throughout Langzamer, confronting the listener again and again is this conflict between the band’s breezy, melodic charm, and the threat of something more sinister lurking in the undergrowth. While those more familiar with Langkamer’s oeuvre to date will have already come to know and love their often self-deprecating yet witty lyricism, the songs on Langzamer take this trademark ebullient gloominess to more challenging plains: “Principally this is an album about grief, and everything that entails...” explains Jarman. “in a sense death brought these songs to life.”

This thread is felt no more so than on ‘Salvation XL’. Inspired by a “particularly bad batch of food poisoning I had in Morocco”, Jarman explains, and beginning with the memorable opening line, “Jesus came to me a Burger King in Marrakech”, the band wind their way through the ‘big topics’: death and God.

“This trip was shortly after a few of my friends had passed away, and I think a lot of my thoughts and actions at that time were being influenced by my grief without me realising it.”, he explains, “Whenever I dwell on grief, and how death has given my life a new context, I come back to that. The ongoing battle between agnosticism and atheism. I wasn’t raised in a very strict religious home, but I come from a long line of methodists, and it’s interesting to think about the way theism and religion have shaped my life without me knowing it. I think that’s being channelled on this album a lot. The uncertainty that comes with disbelief.”

Our collective mortal frailties are also felt on lead single ‘Richard E Grant’. With a trademark bittersweetness, a track that begins as an appreciation of the actor’s humorous social media presence unfolds as a study on “finding healthy coping strategies to deal with loss.”. Elsewhere, ‘At The Lake’ - to the tune of mournful, folk-like balladry - explores binge-drinking culture and the troubled association between unhealthy behaviour and creativity. The listener is left in no mind as to the meaning behind the references to James Joyce and Janis Jopin as “souvenirs stolen from the dark”.

With themes as weighty as these strewn across the album’s 10 tracks, It seemed like a particularly astute move then for the band to personally approach Ben Woods, founder of the Golden Dregs, to assist on production duties. Not only would the delicate intimacies of Woods’ main project - see 2023’s On Grace & Dignity for reference - add an appropriate moodiness, but Woods was also born and raised in Cornwall, where the album was recorded; amidst “eating pasties” and breaks by the sea, Woods and the band transformed the vaults underneath iconic Falmouth venue The Cornish Bank into a makeshift studio for a weeks’ worth of recording. Occasionally friends would drop by to lighten the load; Zander Sharp tracking violin on ’Double Island’ and ‘Flight’; Josh Law and Ben Sadler of Breakfast Records labelmates Getdown Services, both of whom contribute to the soul-stirring ‘mountain’ chorus on ‘Aberfan’.

When compared to the brightness of 2023’s The Noon and Midnight Manual, Woods’ influence on the record seems indisputable. On the aforementioned ‘At The Lake’, for instance, which features backing vocals from Woods. Or, most acutely, on the piano strains of harrowing closer ‘Bluff’, a track with such chilling, spectral severity as to effect the band’s most heartbreaking effort to date. While it’s particularly sombre note on which end proceedings, it's also an appropriate one: Langzamer bravely stands tall as their most restrained, matured, and sincere collection to date. And almost by virtue of its impeccable honesty, those moments of sunshine-joy that creep through the cracks feel that much more golden.

Círculo Cerrado presents its second album “Circular Economy”, 4 tracks that span a wide range of textures with the common denominator of atemporality.

A1. Rindeau, the Argentinian illustrator and music artist from Strain Collective, presents “Machine soul”, intelligently crafted with the best combination of electro-techno and EBM.

A2. Galdar’s breed Aniano materializes another mind-blowing track with “Encadenado a la Realidad”, a house tune with funk overtones and psychedelic undertones.

B1. Javier Carballo and Aniano aka HDZ brings a darker engine “ La Furnia ”, trailblazingfrom breaks, IDM to acid house for full voltage.

B2. Frenchman Tom Joyce, owner of Sounds Benefit label, captures in “ Good Game“ a hypnotic and minimalistic track with hints of tripping on top of 909 drums.

After four tape editions on Seil Records, Sofie Birch's 2019 debut record "Planetes" is finally available on vinyl featuring new artwork and a beautiful analog remastering.

Sofie creates dream-like, elegant ambient music with an emphasis on exploration and wonder. Her distinctive organic and melodic sound is shaped by improvising with analog synthesizers, acoustic instruments, and field recordings. Repetitiveness is clinically avoided with harmonic progressions that resolve all tension brilliantly. Planetes was described as a beautiful sound universe where the atmospheric sound surfaces and textures gently and elegantly take the listener to new places all the time by Danish experimental music media Passive Aggressive.

For this record's 5th anniversary, apart from the regular vinyl edition, there are two special editions. The first one comes in translucent blue vinyl and includes a limited edition K7 inspired by 70’s yoga tapes. It contains a 20-minute guided meditation on one side and two beautiful unreleased tracks on the other. The second special edition comes in yellow vinyl and includes an inner sleeve with stickers so that you can create your own cover/ constellation for the record.

Sofie's own words about the release:

“It's a dream coming true to see my debut release Planetes coming out on vinyl for its 5th anniversary! Planetes means “a wanderer” in Greek, and I love how this word describes the wandering of celestial bodies, and how we humans wander through life both on a physical and spiritual plane. Wandering is being alive. Wandering is moving, and everything is always moving and changing. Shifting and transforming. The music was created with recordings from a pilgrim trip in Italy with my mom on a little cassette recorder and the music evolved from synth improvisations and the discovery of trusting sound as it is and creating music from immediacy rather than concept.”

Bologna born Italo Disco legend Celso Valli’s ‘Tantra’ project had one aim; to push the boundaries of disco! Released in 1979 in the vein of Cerrone and Giorgio Moroder, ‘Hills of Katmandu’ is a unique, progressive slice of classic Italo Disco. The pulsating ‘Moroder-on-steroids bassline’, menacing female vocal and warbling synths take you on a trippy disco journey. The track became a huge dancefloor anthem at legendary clubs such as The Loft and The Saint in New York and Baia Degli Angeli in Rimini.

Originally available on vinyl in 1982 on San Francisco’s “Hot Classics” DJ Service”, Patrick Cowley’s “Original Underground Mix” is a work of pure genius that unleashes his skills on the synths and somehow manages to surpass the original.

High Fashion Music have enrolled Ben Liebrand to restore all the original remix-tapes, managing to re-edit and adjust each and every nuance to perfection, taking away any and all flaws which appeared in the original and it’s acetates, so that it is now steady preserving the original Hi NRG sound. This is the first time this restored and upgraded version has been released.

On the flip-side, there is the original 16’20 minutes version of the Jurgen Koppers mix, an extended re-edit of the original Celso Valli version, which appeared first on Disconet in 1979, and in the following year on the US (Importe/12) release of the “Tantra – the Double Album” longplayer.

Vom Opener bis zum letzten Track vermittelt Soul-Crooner Joseph Malik dem Hörer, dass er sich auf einer musikalischen Entdeckungsreise durch äußerst originelle Soundlandschaften befindet und dass PROXIMA EBONY den Beginn einer neuen Ära der Zusammenarbeit mit internationalen Musikern markiert. Zu diesen zählen Hip-Hop/Rap-Künstler*innen wie Antoine Green aka Capitol A, Kameelah Waheed und DJ Nasty P und Top-Musiker wie Shuya Okino (Kyoto Jazz Massive), Chris Franck (Smoke City, Zeep) und die renommierte Jazzharfenistin Alina Bzhezhinka, die alle einen Trip durch vielfältige Genres mit Einflüssen von Afro-Futurismus über Dirty Soul und Punk Funk bis zu 1970'/80'er Disco und Acid Techno unternehmen.

Tokyo-based emerging label INFODUMP Recordings, led by Takuro Hasumi, who captivated audiences with the unique and left-field “Fafrotskies vol.1” released in 2023, has eagerly released a new work titled “Fafrotskies vol.2”! The EP features three tracks that subtly color the dance floor:

“High Fidelity” (A1): A mid-tempo, synth-driven, minimalistic, and romantically imaginative time-warp house track at BPM 113.
“Sparta” (B1): A tribal left-field house track with added electronic and experimental elements, clocking in at BPM 122.
“S.I.M” (B2): An industrial, cut-up loop awakening trip with a stoic parallel groove, flying low at BPM 123.
Each track contributes to the EP’s unique and cool vibe, making it a great addition to any dance floor!
(Text by COMPUMA)


“Hard to pick a favourite here! Love all 3 tracks but the trippy and slower A1. High Fidelity really resonated with me! great ep.”
Axel Boman (Studio Barnhus)

'Celebration Of ignorance' is the third full length studio album of Tripped.

A nasty collection of heavy kickdrums including a collab with the RABBeAT & Doormouse + A remix of a legendary Celsius track.

ALBUM NOTES:
While humanity seems to get more stupid over time, (blame social media brainwashing & misinformation)
It is tough to deal with life and everything that comes on our path in general.
The intention of this album as always, is my creative outlet.
I do hope however that it can help you to place some emotions and let go of some frustrations.

This one is for the real people. People who dance like no one is watching with nothing but a smile, the dreamers, the eccentrics and outcasts who care about the world and aspire to be better every day.

Ignore the fakes and forget the digital word for a while & listen to some gabber kickdrums.

Austrian electronic music producer Peter Kalcic, better known as B.Visible, is set to release his third studio album titled "Life is my Hobby" on October 10th through his own imprint, Data Snacks.
This new album sees B.Visible continuing to blend genres, drawing inspiration from the trip-hop sounds of the 90s, the R&B of the 80s, and mellow house music. True to his signature style, he maintains a balanced mix of acoustic drum sounds, electric pianos, and shimmering synths.
Unlike his previous works, the creation process for "Life is my Hobby" extended beyond the traditional studio setting. Much of the album was crafted in his newly moved apartment and various cafes in Vienna's 5th district. His collaboration partners were close to home, literally-Anda Reverie and Silvia Ponce Marti, his upstairs and downstairs neighbors, respectively, feature as vocalists on the album.
Silvia Ponce Marti's contribution for instance is featured on the track "Ella," which addresses the sensitive issue of the hyper-sexualization of the female body in today's society. She also created a stunning mixed media video for the song, which can be viewed here.
Anda Reverie appears on the track "Bad Karma," portraying an alien questioning the moral implications of humanity's destruction. The music video for this song brings the scenario to life with dreamy environments and unsettling projections.
B.Visible describes the album's creation as guided by causality, resulting in a less experimental and more accessible sound-his closest encounter with pop music to date. Asked about the title he keeps quite. The listener is encouraged to form their own opinion from the impressions.


BIO (EN)
Viennese producer B.Visible is always pushing his craft forward, with each concept being an evolution. His music is mutating organically as each project brings novelty, but always while blending sharp electronic components with dusty acoustic layers. That duality exists in every aspect of his creative journey, with DJ sets revolving around second-hand records and modern-day productions, but also his live project offering a whole new dimension and generosity to the audience. B.Visible melts the barrier between analog and digital in a such distinctive and elegant way that it feels natural.

" The Brand New Heavies revisit their seminal 1994 album Brother Sister for its 30 year anniversary. Replete with groove-driven, horn-splashed, hand-clapping funk, Brother Sister saw the band dig deep into their jazz grooves, with N'Dea Davenport in full flight as diva/lead vocalist.

" Featuring some of their best loved songs including the chart hits 'Midnight at the Oasis', 'Dream on Dreamer', and 'Spend Some Time', Brother Sister debuted in the UK charts at #4 and went onto be a hit worldwide, the band rightly claiming their crown as Acid Jazz heavyweights, delivering knock-out punch after punch on this album.

" Freshly remastered, the 2LP vinyl - 18 tracks edition features three bonus tracks, and is pressed onto one black and one white vinyl, and will be signed by Andrew and Simon from the band.

Brand new LIVE ALBUM for the Californian super band featuring Brant Bjork, Nick Oliveri and Ryan Güt. An incredible double vinyl gatefold album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon

Magenta coloured vinyl, limited to 350 copies. Brand new LIVE ALBUM for the Californian super band featuring Brant Bjork, Nick Oliveri and Ryan Güt. An incredible double vinyl gatefold album with all the band's hits and two amazing Kyuss covers. Recorded live at Altroquando Treviso Italy by Matteo Pillon

ANTON NEWCOMBE and DOT ALLISON just announcedthat they will be releasing an album together under the moniker All Seeing Dolls. ''Parallel' will be out in February 2025. Upfront they share the single 'That's Amazing Grace' (backed with "Siren's Echo iron Lung") and make available this 2-track 10" as a limited teaser. Anton Newcombe is the founder, the sole constant and the creative mastermind at the centre of one of music's most fascinating bands; Brian Jonestown Massacre. He's a frontman, songwriter, composer, studio owner, multi-instrumentalist, producer, engineer, father and force of nature. There have been 21 BJM albums over the last 30 years, each embarking on their own mind-expanding adventure and exploring the outer realms of rock'n'roll; psychedelic rock, country-blues, snarling rock'n'roll, blissed-out noise-pop and more. Newcombe has established himself as a once-in-a-lifetime talent, a revolutionary force in modern music and an underground hero. Dot Allison released her debut solo album Afterglow in 1999. Over the years she has strived to keep the listener on a journey - and herself too. She revolts against what she has done before, to evolve and not just occupy the same space. That journey has taken her from Afterglow's broad church (trip-hop, Tim Buckley-esque ballads, dance tracks, chilled psychedelia) to the sultry synth-pop of We Are Science (2002), the lush, baroque Exaltation Of Larks (2007) and the eclectic, rootsy drama of Room 7½ (2009). After a hiatus to raise her family she returned with the graceful acoustic folk record Heart-Shaped Scars (2021) and the haunting, barely there beauty of Consciousology (2023). The range of guest stars on Allison's records is equally broad: where else would you find a cast list that includes Kevin Shields, Hal David, Paul Weller, Pete Doherty and Darren Emerson. Likewise, Allison's own guest roles with the likes of Massive Attack, Scott Walker, Slam, Philip Shepard, The Babyshambles & Pete Doherty, underlining the huge respect her peers hold her in.

Mit neuem Album „In These Dying Times“ meldet sich Suzan Köcher eindrucksvoll aus der Pause zurück.
Psychedelischer Pop trifft auf eingängige Melodien und Texte, die sich auch mit ernsteren Themen befassen (Schmerzhaftes Erwachsenwerden bei „Seventeen“ und Weltschmerz allgemein bei „Living In A Bad Place“).
Alles in allem hat sich das Warten gelohnt oder wie Klaus Fiehe bereits in seiner Sendung auf WDR 1Live schwärmte „Das Beste, was sie je geschrieben hat“.
Im Herbst außerdem auf Tour!