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Jerome Reuters Musikprojekt ROME verbindet mehr mit der Ukraine als der gelegentliche Gastauftritt. Seit 2015 bereist der Luxemburger Singer-Songwriter auf seinen Europatourneen das Land regelmäßig für Konzerte. So auch im Februar 2022, als Reuter nur wenige Tage vor der großen russischen Invasion noch Soloauftritte in Kyiv und Odessa trotz drastischer Reisewarnungen absolvierte.

Doch Reuter - ein von seiner Kreativität Getriebener, der schon immer eigenwillig seinen Weg ging - schwor sogar darüber hinaus, in absehbarer Zeit mit der kompletten Band zurückzukehren. Einige Monate später, nachdem er mehrere Online-Wohltätigkeitsshows zur Unterstützung der Ukraine gespielt hatte, kam er zunächst für einen Soloauftritt zurück und war damit der erste ausländische Künstler, der seit Beginn des Krieges ein komplettes Konzert auf ukrainischem Boden absolvierte. Dieser Auftritt im Juli 2022 wurde genutzt, um Spenden für eine Flüchtlingsunterkunft in Lwiw zu sammeln. Auf den Tag genau ein Jahr nach Reuters letztem Auftritt in Kyiv, löste er dann sein Versprechen ein und spielte zum ersten Jahrestag des Kriegsbeginns zwei mittlerweile geschichtsträchtige Full-Band-Shows mit ROME in Lwiw und Kyiw.

Reuters Unterstützung für den Freiheitskampf der Ukraine ist für jeden, der das bisherige Schaffen von ROME kennt, keine Überraschung. Seit fast zwei Jahrzehnten besingt Reuter die europäische Solidarität und Kultur, und so ist es nur eine logische Konsequenz, dass er nun mit "Gates of Europe" eine konzeptionelle Arbeit über den anhaltenden Krieg in Europa veröffentlicht.

Das Album beginnt mit einem Paukenschlag - einer unheilvollen und bedrohlichen Collage der Klänge des 24. Februar 2022, der ersten Stunde des Einmarsches - und führt mit minutiös geschliffenen Kleinoden fast chronologisch durch das erste Kriegsjahr. Auf "Gates of Europe" werden traditionelles Songwriter-Handwerk mit raffinierter Poesie und ungewöhnlichen Arrangements zu einem Gesamtkunstwerk verschmolzen. Die 14 Lieder sind packende Momentaufnahmen der inneren Befindlichkeit des Landes, das sich dem Sturm wider Erwarten entschlossen entgegenstellt. Und so ist "Gates of Europe" vor allem eines: Bekenntnis zu einem freien Europa aus der Feder eines Mannes, der mit tausend Fäden an vergangene Jahrhunderte gespannt zu sein scheint und doch in seinem Werk die zeitlose Zeit anvisiert.

Dieses Album scheint in vielerlei Hinsicht der Höhepunkt aller bisherigen Arbeiten Reuters zu sein, so als ob die letzten zwei Jahrzehnte nur der Übungsplatz für diesen Moment in der europäischen Geschichte waren. In mehr als 50 offiziellen Veröffentlichungen, darunter etwa 20 Studioalben, Live-Sessions und verschiedene andere offizielle Veröffentlichungen, hat es ROME geschafft, eine ganz eigene künstlerische Welt zu schaffen und sich eine starke und treue Anhängerschaft in Europa und der ganzen Welt aufzubauen.

Das Engagement für die Ukraine ist für den überzeugten Europäer Reuter eine Selbstverständlichkeit und doch in seiner Kompromisslosigkeit vorbildlich.

To Life!

- Schwarzes, 180 Gramm schweres 12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Opulentes Gatefold Cover
- Gatefold im Inside-Out Druckverfahren bedruckt
- 20-seitiges Vinylbooklet aus speziellem, rauem Papier
- Alle Grafiken in einem der Bildwelten würdigen Großformat (ca. 30 x 30cm)
- Mehrfarbig bedruckte Innenhülle
- Innenhülle aus speziellem, rauem Papier
- Mehrfarbig bedruckte Vinyletiketten
- Zertifikat von Jérôme Reuter handnummeriert und signiert
- Limitiert auf 500 Exemplare

Jerome Reuters Musikprojekt ROME verbindet mehr mit der Ukraine als der gelegentliche Gastauftritt. Seit 2015 bereist der Luxemburger Singer-Songwriter auf seinen Europatourneen das Land regelmäßig für Konzerte. So auch im Februar 2022, als Reuter nur wenige Tage vor der großen russischen Invasion noch Soloauftritte in Kyiv und Odessa trotz drastischer Reisewarnungen absolvierte.

Doch Reuter - ein von seiner Kreativität Getriebener, der schon immer eigenwillig seinen Weg ging - schwor sogar darüber hinaus, in absehbarer Zeit mit der kompletten Band zurückzukehren. Einige Monate später, nachdem er mehrere Online-Wohltätigkeitsshows zur Unterstützung der Ukraine gespielt hatte, kam er zunächst für einen Soloauftritt zurück und war damit der erste ausländische Künstler, der seit Beginn des Krieges ein komplettes Konzert auf ukrainischem Boden absolvierte. Dieser Auftritt im Juli 2022 wurde genutzt, um Spenden für eine Flüchtlingsunterkunft in Lwiw zu sammeln. Auf den Tag genau ein Jahr nach Reuters letztem Auftritt in Kyiv, löste er dann sein Versprechen ein und spielte zum ersten Jahrestag des Kriegsbeginns zwei mittlerweile geschichtsträchtige Full-Band-Shows mit ROME in Lwiw und Kyiw.

Reuters Unterstützung für den Freiheitskampf der Ukraine ist für jeden, der das bisherige Schaffen von ROME kennt, keine Überraschung. Seit fast zwei Jahrzehnten besingt Reuter die europäische Solidarität und Kultur, und so ist es nur eine logische Konsequenz, dass er nun mit "Gates of Europe" eine konzeptionelle Arbeit über den anhaltenden Krieg in Europa veröffentlicht.

Das Album beginnt mit einem Paukenschlag - einer unheilvollen und bedrohlichen Collage der Klänge des 24. Februar 2022, der ersten Stunde des Einmarsches - und führt mit minutiös geschliffenen Kleinoden fast chronologisch durch das erste Kriegsjahr. Auf "Gates of Europe" werden traditionelles Songwriter-Handwerk mit raffinierter Poesie und ungewöhnlichen Arrangements zu einem Gesamtkunstwerk verschmolzen. Die 14 Lieder sind packende Momentaufnahmen der inneren Befindlichkeit des Landes, das sich dem Sturm wider Erwarten entschlossen entgegenstellt. Und so ist "Gates of Europe" vor allem eines: Bekenntnis zu einem freien Europa aus der Feder eines Mannes, der mit tausend Fäden an vergangene Jahrhunderte gespannt zu sein scheint und doch in seinem Werk die zeitlose Zeit anvisiert.

Dieses Album scheint in vielerlei Hinsicht der Höhepunkt aller bisherigen Arbeiten Reuters zu sein, so als ob die letzten zwei Jahrzehnte nur der Übungsplatz für diesen Moment in der europäischen Geschichte waren. In mehr als 50 offiziellen Veröffentlichungen, darunter etwa 20 Studioalben, Live-Sessions und verschiedene andere offizielle Veröffentlichungen, hat es ROME geschafft, eine ganz eigene künstlerische Welt zu schaffen und sich eine starke und treue Anhängerschaft in Europa und der ganzen Welt aufzubauen.

Das Engagement für die Ukraine ist für den überzeugten Europäer Reuter eine Selbstverständlichkeit und doch in seiner Kompromisslosigkeit vorbildlich.

To Life!

- Schwarzes, 180 Gramm schweres 12" Vinyl
- Extra audiophiler Tonträger von hoher Qualität - deutsche Pressung!
- Opulentes Gatefold Cover
- Gatefold im Inside-Out Druckverfahren bedruckt
- 20-seitiges Vinylbooklet aus speziellem, rauem Papier
- Alle Grafiken in einem der Bildwelten würdigen Großformat (ca. 30 x 30cm)
- Mehrfarbig bedruckte Innenhülle
- Innenhülle aus speziellem, rauem Papier
- Mehrfarbig bedruckte Vinyletiketten
- Zertifikat von Jérôme Reuter handnummeriert und signiert
- Limitiert auf 500 Exemplare

"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

Sam Records and Saga present:

A never-before released Billy Harper 1975 live recordings.

First official release with the full permission and cooperation of the Billy Harper & INA (Institut National de l’Audiovisuel).

Billy Harper Quintet – Antibes ‘75

Two days after recording the first album ever issued on the Black Saint label, Billy Harper and his quintet were onstage at the Antibes Juan-Les-Pins jazz festival. Though Black Saint is a phenomenal album and is rightfully considered as one of the finest jazz releases of the period, Antibes ’75 shows that Billy and his men gathered momentum to push the boundaries of their studio effort even further.

That night, surrounded by stars, pine woods and a captivated audience, the quintet delivered a powerful and inspired performance. Never had Harper’s signature tunes “Cry of Hunger” and “Croquet Ballet” reached such a soulful expression, and we only wish that this moment of truth would have lasted a little longer.

We are honored to present to you this concert for the first time on record, a 180g LP including a 6-page insert with previously unseen photos by Gérard Rouy and Thierry Trombert and an essay by Bernard Loupias.

Virgil Jones (Trumpet)
Billy Harper (Tenor saxophone)
Joe Bonner (Piano, arranger)
David Friesen (Double Bass)
Malcolm Pinson (Drums)

In 2023, Kurt Vile is making numbers count. Just last month, Matador Records presented the iconic Philadelphia songwriter with a (vegan) cheesesteak trophy to commemorate the 100-millionth stream of "Pretty Pimpin" on Spotify. Today, though, we"d like to draw your attention to another significant KV digit: The 10th anniversary of his fifth full-length and first 2xLP, "Wakin on a Pretty Daze" (2013). To celebrate this milestone, we"ve brought the record back as a blue + yellow vinyl split available via KV and Matador webstores. This limited pressing will also include a reproduction of the "make your own cover" ESPO sticker sheet that accompanied the original 2013 special-edition. A yellow vinyl version of the record will be made available everywhere. Where previous albums alternated between gorgeous fingerpicking and heavy guitar workouts, "Wakin" blended the two into dreamy and expansive songs that frequently stretched well out beyond the five-minute mark. Back then we said: "It"s a record that would have sounded great 30 years ago, sounds great today, and will still sound great 30 years from now." Ten years down the line, we"re still confident that "Wakin" will deliver the goods - yesterday, today, and in 2043. The reissue serves as the latest entry in Matador Records" Revisionist History series, our ongoing campaign to jog the record-buying (and streaming!) public"s memory about our many catalog items now poised to celebrate a significant anniversary. Matador will mark these anniversaries with new reissues and re-pressings. So far, the Revisionist History class of 2023 has highlighted Bettie Serveert"s Palomine and Lucy Dacus"s Historian.

"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

Next Pressing on White Vinyl, single LP w/ printed inner sleeve + lyric insert and Download card. The Armed return with their first new album in over three years and Sargent House debut, ULTRAPOP. The album reaches the same extremities of sonic expression as the furthest depths of metal, noise, and otherwise "heavy" counterculture music subgenres but finds its foundation firmly in pop music and pop culture. As is always The Armed's mission, it seeks only to create the most intense experience possible, a magnification of all culture, beauty, and things. The band goes on to explain, "crafting vital art means presenting the audience with new and intriguing tensions-sonically, visually, conceptually. Over time and through use, those tensions become less novel and effective-and they become expectations. The concept of "subgenre" becomes almost the antithesis of vitality in art-itself a fetishization of expectation. ULTRAPOP seeks, in earnest, to create a truly new listener experience. It is an open rebellion against the culture of expectation in "heavy" music. It is a joyous, genderless, post-nihilist, anti-punk, razor-focused take on creating the most intense listener experience possible. It's the harshest, most beautiful, most hideous thing we could make." ULTRAPOP follows their recent contribution to the Cyberpunk 2077 soundtrack "Night City Aliens" and 2018's critically acclaimed album Only Love, which landed on 'Album of the Year' lists from The Atlantic, Pitchfork, Rolling Stone, Vice, Stereogum, and many more. The album was co-produced by the band's own Dan Greene in collaboration with Ben Chisholm (Chelsea Wolfe) and features contributions from Mark Lanegan, Troy Van Leeuwen (Queens of the Stone Age, A Perfect Circle), Ben Koller (Converge, Killer Be Killed, Mutoid Man) and many more. Kurt Ballou (Converge, High on Fire, Russian Circles) remains at the helm as executive producer.

In 2023, Kurt Vile is making numbers count. Just last month, Matador Records presented the iconic Philadelphia songwriter with a (vegan) cheesesteak trophy to commemorate the 100-millionth stream of "Pretty Pimpin" on Spotify. Today, though, we"d like to draw your attention to another significant KV digit: The 10th anniversary of his fifth full-length and first 2xLP, "Wakin on a Pretty Daze" (2013). To celebrate this milestone, we"ve brought the record back as a blue + yellow vinyl split available via KV and Matador webstores. This limited pressing will also include a reproduction of the "make your own cover" ESPO sticker sheet that accompanied the original 2013 special-edition. A yellow vinyl version of the record will be made available everywhere. Where previous albums alternated between gorgeous fingerpicking and heavy guitar workouts, "Wakin" blended the two into dreamy and expansive songs that frequently stretched well out beyond the five-minute mark. Back then we said: "It"s a record that would have sounded great 30 years ago, sounds great today, and will still sound great 30 years from now." Ten years down the line, we"re still confident that "Wakin" will deliver the goods - yesterday, today, and in 2043. The reissue serves as the latest entry in Matador Records" Revisionist History series, our ongoing campaign to jog the record-buying (and streaming!) public"s memory about our many catalog items now poised to celebrate a significant anniversary. Matador will mark these anniversaries with new reissues and re-pressings. So far, the Revisionist History class of 2023 has highlighted Bettie Serveert"s Palomine and Lucy Dacus"s Historian.

Wild und kompromisslos - KNIFE liefern den schärfsten Speed Metal!

Deutschlands aufstrebende Extreme Metal Band KNIFE veröffentlicht am 25. August 2023 ihr neues Album und Napalm Records Debüt Heaven Into Dust. Darauf liefert das Marburger Quartett modernen Speed Metal mit einschlägigen Punk Elementen und Black Metal, der an den frühen Sound des Genres erinnert. Die 2019 gegründete Band trotze der Pandemie und sicherte sich bereits mit ihrem Debütalbum Knife (2021) einen festen Platz in der Metal Szene. Der deutsche Metal Hammer etwa bewertete das Album mit 6 von 7 Punkten und prophezeite: „KNIFE könnten dank ihrer Energie und der Fähigkeit, schlüssige Songs zu komponieren, richtig groß werden.“ Jetzt liefern die Musiker einen messerscharfen Nachfolger!

Mit Heaven Into Dust haben KNIFE ihre Messer gewetzt und sind bereit diesen Sommer auf Festivals wie dem Wacken Open Air und dem Rock Hard Festival auch mit ihrer Live-Performance zu überzeugen!

2nd Grade, Dear Nora, Frankie Cosmos, Tony Molina, Big Star, Paul McCartney. This is Diners’ 7th full length album, produced by Mo Troper (Lame-O Records). On Domino, Diners has replaced their gentle pop sound with a more bombastic rock and roll approach while maintaining their upbeat positive world view. Diners teamed up with power pop prince Mo Troper and Grammy nominated engineer Jack Shirley to deliver her best record yet. For the last ten years, LA-based Blue Broderick has been making daydreamy guitar pop as Diners, outlining her optimistic worldview within the simple catchiness and charming style of ‘60s luminaries like Harry Nilsson and Brian Wilson. On “Domino,” her energetic new album, she’s taken a turn toward overdriven, uptempo power pop, applying her affirming lyricism to an unabashed rock record. With production help from Portland songwriter Mo Troper, “Domino” places her breezy melodies alongside stomping Big Star guitars and hazy fuzz bass, lending a new urgency to her anthems. “This is the rock record that I always wanted to make,” Broderick says. “I know that any time I turn it on, it’s what I set out to do

Twice Removed From Yesterday: 50th Anniversary
Deluxe Edition
Twice Removed From Yesterday is Robin Trower's first solo album after
leaving Procol Harum in 1971 and hooking up with Frankie Miller in the
band Jude
Featuring ex-Stone The Crows bassist/ vocalist James Dewar and Reg Isidore on
drums, it was originally released in March 1973 and heralded the beginning of this
legendary power trio, paving the way for Robin to be the deserved guitar hero that
he is. A mix of hard bluesy rock, the album contains nuggets of genius
throughout, none more so than on the title track, I Can't Wait Much Longer, and
Daydream amongst others.This new deluxe version is housed in a gatefold sleeve
and is remastered for 2023. It features 3 unreleased versions of album tracks, the
B side of the "Man Of The World" single (Take A Fast Train) and 4 BBC John Peel
sessions.

Clear Vinyl. They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion.Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's `Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.

DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.

DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.

Obwohl Wasser auf den ersten Blick geschmeidig und veränderlich wirkt, kann es plötzlich hart und wild werden. Daher ist Wasser das perfekte Element für "Aion", das dritte Album der deutschen Psychedelic Doom Erneuerer BEES MADE HONEY IN THE VEIN TREE. Lyrisch erscheint Wasser auf "Aion" sowohl als Lebensspender als auch aufgrund seiner dunklen und bedrohlichen Seite. Musikalisch liefern BEES MADE HONEY dynamische, weitläufige Kompositionen, die von schwebender Ruhe bis hin zu wütenden Ausbrüchen reichen. Die konstante Gezeitenbewegung der musikalischen Ebbe und Flut übersetzt sich in spacige Gitarren, tropfende Basslinien und flüssige Drum-Fills, gekrönt von hallenden Clean-Gesängen. Der Albumtitel leitet sich vom griechischen Wort ???? (ai?n) ab, das übersetzt "Ewigkeit" bedeutet und im englischen Wort "aeon" für "Zeitalter" steht. BEES MADE HONEY IN THE VEIN TREE werden 2014 in Stuttgart gegründet. Da sich alle vier Mitglieder seit ihrer Kindheit kennen und einen akademischen Hintergrund haben, definiert die Band von Anfang an klare Ziele: An erster Stelle steht die Klangvision, krachende Doom-Metal-Riffs mit den sphärischen Klängen von Post- und Psychedelic-Rock zu kontrastieren. BEES MADE HONEY legen ihr musikalisches Konzept bereits mit dem Debütalbum "Medicine" im Jahr 2017 fest, das die solide Grundlage für ihren sich ständig weiterentwickelnden Sound bildet. Das zweite Album "Grandmother" (2019) erweitert den Soundhorizont durch tiefer gestimmte Gitarren, verdichtete Effekte, schnellere Passagen und einen härteren Gesangsstil. Die Schwaben treten außerdem im In- und Ausland vor einem stetig wachsenden Publikum auf, was zur Aufnahme und Veröffentlichung von "Harvestmen (live)" im Jahr 2022 führt. Setzt die Segel und gleitet mit BEES MADE HONEY IN THE VEIN TREE über die Zeitmeere von "Aion" auf der Suche nach der Schönheit der Ewigkeit.

Obwohl Wasser auf den ersten Blick geschmeidig und veränderlich wirkt, kann es plötzlich hart und wild werden. Daher ist Wasser das perfekte Element für "Aion", das dritte Album der deutschen Psychedelic Doom Erneuerer BEES MADE HONEY IN THE VEIN TREE. Lyrisch erscheint Wasser auf "Aion" sowohl als Lebensspender als auch aufgrund seiner dunklen und bedrohlichen Seite. Musikalisch liefern BEES MADE HONEY dynamische, weitläufige Kompositionen, die von schwebender Ruhe bis hin zu wütenden Ausbrüchen reichen. Die konstante Gezeitenbewegung der musikalischen Ebbe und Flut übersetzt sich in spacige Gitarren, tropfende Basslinien und flüssige Drum-Fills, gekrönt von hallenden Clean-Gesängen. Der Albumtitel leitet sich vom griechischen Wort ???? (ai?n) ab, das übersetzt "Ewigkeit" bedeutet und im englischen Wort "aeon" für "Zeitalter" steht. BEES MADE HONEY IN THE VEIN TREE werden 2014 in Stuttgart gegründet. Da sich alle vier Mitglieder seit ihrer Kindheit kennen und einen akademischen Hintergrund haben, definiert die Band von Anfang an klare Ziele: An erster Stelle steht die Klangvision, krachende Doom-Metal-Riffs mit den sphärischen Klängen von Post- und Psychedelic-Rock zu kontrastieren. BEES MADE HONEY legen ihr musikalisches Konzept bereits mit dem Debütalbum "Medicine" im Jahr 2017 fest, das die solide Grundlage für ihren sich ständig weiterentwickelnden Sound bildet. Das zweite Album "Grandmother" (2019) erweitert den Soundhorizont durch tiefer gestimmte Gitarren, verdichtete Effekte, schnellere Passagen und einen härteren Gesangsstil. Die Schwaben treten außerdem im In- und Ausland vor einem stetig wachsenden Publikum auf, was zur Aufnahme und Veröffentlichung von "Harvestmen (live)" im Jahr 2022 führt. Setzt die Segel und gleitet mit BEES MADE HONEY IN THE VEIN TREE über die Zeitmeere von "Aion" auf der Suche nach der Schönheit der Ewigkeit.

Mit 13 Tracks ist "War Eternal" das Arch Enemy-Album schlechthin. Es ist sowohl eine nostalgische Verbeugung vor der Vergangenheit der Band ("Never Forgive, Never Forget", "No More Regrets") als auch ein beeindruckendes Beispiel dafür, was in der Zukunft möglich ist ("Down to Nothing", "Time is Black"). Aber wenn es einen herausragenden Track gibt - eine Speerspitze - dann ist es der Titeltrack. "War Eternal", das der Welt auf Youtube vorgestellt wurde, marschiert trotzig gegen das Alltägliche an, zwei erhobene Fäuste gegen die Zwänge der Gesellschaft und den Käfig, den sie uns allen verzweifelt überzustülpen versucht. Hier beweist White-Gluz, dass sie die nächste Generation der Großen ist, während Amott und der Rest von Arch Enemy spielen, als wäre "War Eternal" ihr letzter Song. "Es gibt eine Menge Details auf diesem Album, die mich als Songwriter und Gitarrist begeistern", grinst Amott. Ich persönlich habe mich auf "War Eternal" als Spieler noch mehr angestrengt und habe das Gefühl, dass ich dieses Mal eine andere Ebene erreicht habe, was sehr lohnend ist. Das Album ist endlich wieder in den folgenden Formaten erhältlich: - Schweres 180g Vinyl in Schwarz und Transparent-Magenta, inklusive 2-seitigem Einleger - Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 24-seitigen Booklet kommt

Mit 13 Tracks ist "War Eternal" das Arch Enemy-Album schlechthin. Es ist sowohl eine nostalgische Verbeugung vor der Vergangenheit der Band ("Never Forgive, Never Forget", "No More Regrets") als auch ein beeindruckendes Beispiel dafür, was in der Zukunft möglich ist ("Down to Nothing", "Time is Black"). Aber wenn es einen herausragenden Track gibt - eine Speerspitze - dann ist es der Titeltrack. "War Eternal", das der Welt auf Youtube vorgestellt wurde, marschiert trotzig gegen das Alltägliche an, zwei erhobene Fäuste gegen die Zwänge der Gesellschaft und den Käfig, den sie uns allen verzweifelt überzustülpen versucht. Hier beweist White-Gluz, dass sie die nächste Generation der Großen ist, während Amott und der Rest von Arch Enemy spielen, als wäre "War Eternal" ihr letzter Song. "Es gibt eine Menge Details auf diesem Album, die mich als Songwriter und Gitarrist begeistern", grinst Amott. Ich persönlich habe mich auf "War Eternal" als Spieler noch mehr angestrengt und habe das Gefühl, dass ich dieses Mal eine andere Ebene erreicht habe, was sehr lohnend ist. Das Album ist endlich wieder in den folgenden Formaten erhältlich: - Schweres 180g Vinyl in Schwarz und Transparent-Magenta, inklusive 2-seitigem Einleger - Special Edition CD, die in einem "PocketPac" (umweltfreundliche Verpackung) und einem 24-seitigen Booklet kommt

Am 29. September 2023 erscheint mit „Portugal“ ein neues Album der Band „Die Zöllner“.


„Mama Unser“ ist die mittlerweile dritte Vorab-Single in Vinyl Version. Das akustische Erlebnis hat eine optische Entsprechung. Der renommierte Maler Jörg Menge konnte für das Artwork der nun vollendeten Vinyl-Trilogie gewonnen werden. Die auf jeweils 300 Stück limitierten Kunstwerke versprechen einen hohen Sammlerwert. Der Text von „Mama Unser“ stammt vom Poeten Henry-Martin Klemt und ist eine intensive Anbetung der weiblichen Göttlichkeit. „Die Zöllner“ kommen außergewöhnlich rauh daher, die Musik des Songs ist in einer Bandsession entstanden.


Der psychedelische Bläsersatz wurde von Trompeter David „Skip Reinhart und Saxophonist Frank Fritsch arrangiert. Auf der B-Seite der Single befindet sich der Titel „Neue Wege“, den Dirk Zöllner mit seinen Kindern Rubini (Sängerin und Musical-Darstellerin) und Egon (The Voice Kids Gewinner 2021) eingesungen hat. Eine deutsche Popnummer mit Hitpotential.

"Der Tod ist seit meiner Kindheit ein hautnaher und persönlicher Teil meines Lebens. Als ich mit dem Schreiben von Ghost at the Gallows begann, war das Gespenst des Todes so präsent wie eh und je. Dieses Album navigiert durch eine Welt, in der Geister real sind und uns in Form von Trauer, Trauma und Verlust heimsuchen. Trotz des Themas sind die Songs nicht nur düstere Klagelieder. Die Musik ist vielfältig und dynamisch und reicht von schwermütigen, von Southern Rock getönten Akustikpassagen bis hin zu aggressiven Speed-Metal-Attacken... und allem, was dazwischen liegt. Und wie bei jedem Eintrag im Spirit Adrift-Katalog geht es in den Texten darum, das Gute im Schlechten, die Stärke in der Schwäche und die Hoffnung in der Dunkelheit zu finden. Erst als ich die Platte beendet hatte, wurde mir klar, dass alle Phasen der Trauer auf diesem Album vertreten sind. Vielleicht waren diese Lieder mein unbewusster Versuch, meinen eigenen Trauerprozess zu erleichtern. So oder so, dieses Album hilft mir, und ich hoffe, es hilft auch allen anderen, die es brauchen." - Nate Garrett

Trombone Shorty is back with his first album in 5 years and the eagerly awaited follow-up to his 2017 Blue Note debut Parking Lot Symphony, which the esteemed New Orleans music magazine OffBeat said continued his tradition of “stunningly good musicianship, crowd-pleasing good material, and just plain good fun.” The new album captures the explosive energy of his legendary live shows, and combines classic New Orleans sounds (funk, gospel, street rhythms, Mardi Gras Indian chants, and second lines) with modern lyrics, melody, and beats to create something fresh and unique. The album features special guests including vocalist Lauren Daigle & guitarist Gary Clark Jr.

Vom Sinn in der Musik – Joep Beving präsentiert sein neues Soloklavieralbum Hermetism
“Eine leise Revolte gegen den Wahnsinn”
Joep Beving
Auf der Suche nach Schönheit erkundet Joep Beving antike Philosophie und seine Liebe zu Paris
Joep Beving, Himmelsstürmer in der Welt des Streamings zeitgenössischer Klassik, kehrt mit Hermetism
solo ans Klavier zurück. Das vierte Album des niederländischen Komponisten und Pianisten erscheint am
8. April 2022 bei Deutsche Grammophon. Antike Philosophie inspirierte Beving in seiner Aufnahme: »Ich
hoffe, dass die Musik tröstet und Gemeinschaft stiftet«, sagt er, denn obwohl Beving aus einem Gefühl der
Melancholie schöpft, möchte er Hoffnung wecken mit den zwölf Stücken, die er hier auf seinem geliebten
Schimmel-Klavier spielt.
Nach dem viralen Erfolg seines Debüts im Jahr 2015 erscheint Beving heute längst als Nummer eins auf
Streamingplattformen. Über eine halbe Milliarde Mal wurden seine Stücke bislang gestreamt und weltweit
sind auch seine Konzerte ausverkauft. Mit Hermetism versucht er den Hörer auf einer tiefen Ebene zu
erreichen. »In all dem Wahnsinn der letzten Zeit war das Album das, wohin ich zurückgekehrt bin«, sagt
er. »So ist Hermetism auch meine eigene Medizin gegen die Pandemie.«

Gerade erst Grammy-nominiert als “Best New Artist” haben Tank And The Bangas ihr drittes Studioalbum aufgenommen. Zu dem vor R&B-, Hip-Hop-, Jazz-, Funk- und Soul-Grooves aus allen Nähten platzenden
Album luden sie diesmal Gäste wie Questlove, Lalah Hathaway, Big Freedia, Jacob Collier, Trombone Shorty, Jamison Ross und Wayne Brady ein.

Die in New Orleans ansässige Band mit der energiegeladenen Frontfrau Tarriona “Tank” Ball wurde 2017 durch den NPR Tiny Desk Contest auf YouTube berühmt (sensationelle 12,5 Millionen Aufrufe). „Red Balloon“ entstand jetzt in Folge der pandemiebedingten Unterbrechung des anstrengenden Tour-Pensums der Band. Die Pause gab den Musikern Raum zum Atmen und die Chance für ein kreatives Kräftesammeln. Das Werk zeigt die Band auf einem neuen künstlerischen Level, produziert wurde es von der Band selbst
und aufgenommen in New Orleans und Los Angeles.

Charlie Hunter’s 1995 Blue Note debut Bing Bing Bing! was a groove-heavy tour-de-force that announced the arrival of a virtuosic new guitarist on the scene. Hunter’s unique concept on his 8-string guitar allowed him to lay down a bass line and play chords as well as a melodic line at the same time, producing music that was at once impressive and irrepressible. With his powerful trio featuring tenor saxophonist Dave Ellis and drummer Jay Lane plus contributions from trombonist Jeff Cressman, Ben Goldberg, pedal steel guitarist David Phillips, and percussionist Scott Roberts, Hunter delivered a 10-song set of propulsive originals including “Greasy Granny” and “Fistful of Haggis” plus an unforgettable cover of Nirvana’s “Come As You Are.” Hunter would go on to record six more excellent albums for Blue Note, and also gain notice for playing on D’Angelo’s 2000 neo-soul masterpiece Voodoo.

NRG is one of old skool raves original masters, and he once again shows the world why he is so highly regarded with this epic new EP. Three tracks ranging in style, with I Like It leading the way on a cheerful tip, while The Trouble and Its All Gone Wrong lean deeper and darker. Another classic in the making? Time will tell, but the high level of production and the excellent execution makes this one of the standout new NRG Eps...

Der renommierte Troubadour aus Illinois erweitert seine musikalische DNA mit Covers Vol. 2, die tiefgreifendste persönliche Musikreise, die er je unternahm. Zuhörer werden mit mitreißenden Interpretationen von Klassikern von Billy Joel (Vienna), Bruce Springsteen (Streets Of Philadelphia), James Taylor (Fire And Rain) und Peter Gabriel (In Your Eyes) sowie Indie-Perlen von Radiohead (Weird Fishes), JP Saxe (A Little Bit Yours) und Manchester Orchestra (Sleeper 1972) verwöhnt. Ebenfalls enthalten sind einige unerwartete Darbietungen wie Jeremy Zucker (Scared), Del Amitiri (Tell Her This) und Go West (King Of Wishful Thinking). William Fitzsimmons: 'Leute, die meinen Katalog kennen, wären wahrscheinlich überrascht zu erfahren, dass ich tatsächlich ein ziemlich großer Fan von Popmusik bin. Von der Brillanz der Beatles und den Beach Boys bis hin zu den moderneren Stilrichtungen von Harry Styles, Beyoncé und Taylor Swift – ich genieße eine eingängige Melodie genauso wie jeder andere.'

High Roller Records, reissue 2023, black vinyl, ltd 250, gatefold, 16 page booklet

High Roller Records, reissue 2023, transparent deep purple vinyl, ltd 250, gatefold, 16 page booklet

Sean Huber, best known as the drummer of the beloved & defunct band Modern Baseball, has been releasing music with his band Steady Hands since 2013.

Back for the first time since 2018 with new album “Cheap Fiction,” Huber pays homage to all of the deities you’d expect someone with a New Jersey birth certificate and a dog named Bruce to wor- ship, with rollicking saxophone and piano over tales of hard- on-their-luck neighborhoods, and stadium-rock-ready guitar zaps over odes to the misrepresented people of Florida.

He grapples with lapsed religion like so many with Irish names have done before him. And he fits in real nicely with the mod- ern heroes of Philadelphia’s punk scene, blending the best of heartland rock and straight-up punk with his own penchant for the tropical. Huber’s lyrics tell stories of a very real world where people in power use it for evil, the people who need help don’t get it, but the person at home makes life beautiful despite it all, and

3 Elements was a trio of UK producers who self-released 'Somewhere Else' in 1996. Their small discography shines amongst peers such as B12, Stasis and Nuron in '90s electronica. One of the members, Andy Jaggers, has continued to release on Touchin' Bass (Andrea Parker), For Those That Knoe (Derek Car, Carl Finlow) and his own label Pyramid Transmissions. Tevatron released 'Nu-Tronik' in 1998 on legendary Belgian label Re-load Records (Acid Kirk, Cold/Isar Logi Arnarsson) and has continued to release on Metrohm. Eternal electronics selected by A Colourful Storm. Edition of 250 with hand-stamped reverse-card sleeve.

This compilation takes us on a journey to the Colombian coast where the passion for African music burns bright.It's impossible to understand this love affair without first looking to San Basilio de Palenque - the first free town in colonial Latin America, established in 1691 as a place of refuge and autonomy for black slaves. It's a place where pride in African heritage and culture could be kept alive, just 50 km away from Cartagena de Indias.

The Afro Caribbeans' connection to their roots gave rise to the "picós" - artisanal, high-powered sound systems akin to those found in Jamaica. These music aficionados have a keen ear for African melodies, leading to a vibrant collector's scene that brought Afro sounds to the streets of Barranquilla, Cartagena, and Santa Marta. This compilation showcases the best of Kenyan Benga music - a unique style with a distinct guitar-picking method that draws from traditional instruments like the nyatiti and orutu. Learn everything about the history and stories behind these African tracks, from the carefully guarded "exclusives" to the piconema - the practice of renaming songs in Spanish based on their lyrics or the reaction of the dancefloor.

The project has been led by Spanish vinyl collector Joan Pujol aka Golfo De Guinea surrounded by a team of passionate music lovers including Don Alirio, a musicologist from Barranquilla who offered a coastal perspective, and George Ouma, a Kenyan DJ, collector, and Benga advocate who helped with track selection and securing rights. The result is a compilation that captures the joy and energy of sub-Saharan polyrhythm, bringing together a vibrant mix of genres that are sure to move your feet. So sit back, turn up the volume, and let yourself be transported to the vibrant streets of the Colombian coast and the shores of Lake Victoria.

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.” In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

Originating with HoneyLuv, made in collaboration with Tuskegee co-founder Seth Troxler, and featuring portions of Paul Johnson’s classic 1998 track ‘So Much’, ’Sex & The City' is HoneyLuv’s homage to one of house music’s greats and an encapsulation of Tuskegee Music’s ethos of honouring the genre’s Black & Hispanic origins. Detroit house legend Marc Kinchen’s interpretations of the track imbues Sex & The City with all the beloved MK touches, from the inimitable drum patterns to the instant-earworm melody.

The release marks the return of the label founded by Seth Troxler & The Martinez Brothers in 2014. In addition to music from its label heads, Tuskegee Music featured artists including Omar-S, Jamal Moss, K' Alexi Shelby, D-Knox and William Djoko before going into hiatus in 2019. The label’s upcoming schedule will continue to focus on its remit of supporting BIPOC artists, through the elevation of new talent and collaborations with some of house & techno’s most important and influential figures.

Starship Troopers is a cult-classic science fiction action film directed by Paul Verhoeven. Set in the 23rd century, the film follows the story of teenager Johnny Rico and his friends as they serve in the military under the Earth world government who are at an interstellar war with an alien species known as the Arachnids. This 2-LP deluxe edition marks the first-ever vinyl release for Basil Poledouris’ score for the film, and features newly commissioned album art evocative of 1960’s pulp science-fiction paperback books. The package comes with a fold-out poster of the cover art, and exclusive new liner notes from Director Paul Verhoeven and musician/daughter of composer Zoë Poledouris. US Import.

Reissue

The Staples Jr. Singers were part of a vanguard of soul gospel artists in the 1970s that broke from tradition to testify with the groove. They found their inspiration in the secular music they heard on the radio, and wrote songs that were nothing but stone cold soul.

Das Album Bob Marley mit dem Titel ”Africa Unite” ist das Ergebnis von den besten afrikanischen Künstlern, um die größten Hits von Bob Marley neu zu interpretieren. Auf dem Album sind Künstler wie Davido, Rema, Sarkodie, Ayra Starr, Tiwa Savage, Fireboy DML, Oxlade & Tems zu hören, die jeweils einen Klassiker von Bob Marley neu interpretieren. Dieses verbindende Projekt symbolisiert den Einfluss, den Bob Marley auf das moderne Afrika hatte. Africa Unite für die Welt!

Ab dem 04.08 als CD und auf roten und schwarzem Vinyl verfügbar.

Miles Kane returns with a blistering new album One Man Band, out August 4th on Modern Sky Records. Miles returns to his guitar hero best on One Man Band as he focuses on big hooks and even bigger anthems. Sharp, infectious, urgent and packed to the brim with singalong moments, it’s Miles on the top of his game. A deeply personal record, Miles returned to Liverpool to work on the album. The album’s first offering is the exuberant indie banger ‘Troubled Son’. A raw, pop-driven indie, made for festival stages. “It’s about the struggle we all have in life,” Miles said of the track. “Sometimes we have our shit together and sometimes we don’t. This is me acknowledging my faults and my fears and showing the journey I’m taking as I try to figure it all out.

A reissue of Jorge Ben's Solta o Pavao, originally released in 1975. Jorge Ben is one of Brazilian music's iconic and best-loved figures. Born Jorge Duilio Lima Menezes in Rio in 1942, he took the stage name, Jorge Ben, in deference to his mother's Ethiopian roots, and later used Jorge Ben Jorge for further distinction. Playing tambourine and singing in a church choir from an early age, Ben began playing in Carnival blocos and was performing in nightclubs as a teen. Signed to Philips in 1963, his "Mas Que Nada" became an instant international sensation that has never waned, despite being sung entirely in Portuguese. Beginning in samba, Ben's openminded approach saw him embrace aspects of bossa nova, the "Jovem Guarda" rock movement of the mid-1960s and the experimental Tropicalia form, the broad palette and diverse influences yielding a number of adventurous and abstruse albums during the 1970s, of which Solta o Pavao is one of the most rated by connoisseurs, though somewhat overlooked in general; its title translates roughly to "Unleash the Peacock" and apparently concerns the outward expression of inner beauty. Against a backdrop of lushly produced samba rock with shades of MPB, highlights include opener "Zagueiro", in which Ben salutes football center-backs in typically playful and poetic language; closing number "Jesualda" is a heady ballad of a chance encounter leading to a girl's social climbing and "Para Ouvir No Radio (Luciana)" a love song with striking flute and string arrangements; Dadi Flavi's bubbling bass and occasional string synths help keep the sound non-standard.

Ultimate synth lounge collection of last century modern tunes by David Microwave Javelosa from 1998, limited edition on pink vinyl! Space age, lounge electronica, chip tune, game sounds.

After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop / The Soundcarriers) have re-joined forces to introduce Co-Pilot. Each the other’s wing person, they’re plotting an escape through Manchester’s claustrophobic grey skies with the pencil case colour of a hand-sewn multi-coloured primary school patchwork quilt. “We are both the creators in charge of navigating Co-Pilot’s overall sound which changes from track to track,” Leonore hints at what to expect. “There are about 6 different genres on one album, it's a pick n mix record!”


Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al’s city centre Dookstereo studio. The former Mill allowed the pair to relax, laugh and create without constraint. Armed with their original demos and vocal recordings from Al’s flat, they’d nip by the offie to pick up some Dutch courage before setting to work: building arrangements from a drum beat and basic chord pattern, the pair were so in tune they rarely spoke, allowing only the music to lead the way. “We’d communicate through nods of agreement or grimaces of dismay,” Leonore recalls. “Using the instruments with Al in production mode, we let the sound dictate the process whilst being drunk enough to follow it.”
The sound of life coming full circle after honing their separate crafts, Leonore had previously played keys and vocals in Jim Noir’s live band before moving on to front International Teachers of Pop for two critically lauded albums of joyous dancefloor filling bangers - their self-titled debut (2019) and Pop Gossip (2020). During that time Al would further expand Jim Noir’s universe with AM Jazz, which was celebrated as the no.1 album in Piccadilly Records’ ‘End of Year Review’ (2020), followed by the Deep View Blue E.P. (2021) cementing his status as one of Manchester’s finest songwriters.
As Leonore added her vocal magic to Al’s early demos of what would eventually become Co-Pilot’s ‘Spring Beach’ and a crooked original version of closing track ‘Corner House’, the vibe was prophetic “like the ending of Grease as Danny and Sandy take flight through the clouds”, letting their imaginations fly. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. “From messing about with sounds during rehearsals in the very beginning it was always clear we liked the combination of sounds we made,” Leonore recalls.
Powered by a ‘try anything’ approach, Co-Pilot blends the musical DNA of what you’ve come to expect from each of the pair’s previous flight paths. “Whatever is switched on or nearby gets used. There's no 'correct' for us. If it sounds good, record it,” Al tells. United through typically turbulent wonky pop and lurking samples, whether culled from 70s TV themes or recreations of past and found sounds (see Al’s 60s tropicalia guitar on ‘Brick’, or the innocent ‘Swim to Sweden’ which opens with an ice cream van jingle Al recorded from his bedroom window) their process offers up a bucket load of Easter eggs. The album even features snippets from dearly departed pal Batfinks whilst ‘Motosaka’ is perhaps the most expensive 2-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto’s ‘Thousand Knives’. Its synth squelches and Tom Tom Club funk also received the blessing of Haroumi Hosono, Godfather of Japanese Electronica, who agreed to being sampled in an original version of the song. “We just kept listening back and hitting gold,” Al recalls. “I was thinking ‘yeah, not sure what this is but I like it! We were buzzing with what we had made.”
But the sound wouldn’t come without self-imposed instrumental challenges. Thanks to an old mellotron sample on ‘Move To It,’ the moog riff and nautical accordion breaks on ‘Swim To Sweden’ and the 6/8 and 7/8 jaunt of ‘Brick’, time signatures were lovingly skewed to create Co-Pilot’s unique mood. “It was a bastard getting the drums right,” Leonore reveals, “but I like the wonkiness”. Levelling up through the lyrics, the words of smoky and evocative ‘She Walks In Beauty’ are based on a Lord Byron poem, with the sentiment of remembering Leonore’s late grandparents. “I wanted to see how much I could get away with just singing on one note, and how I could harmonically change everything else around it vocally,” she says. Elsewhere ‘Can You See’ was written from the perspective of a concerned sister to a brother which tells of keeping someone safe. “The lyrics are quite metaphorical about day-to-day happenings, people loved and lost. Others are rhythmic nonsense! It’s up to the listener to figure out what’s true.”
It’s clear from Al’s productive production techniques and Leonore’s knack for vocals and lyricism, Co-Pilot’s course is engineered by two aeronautically adept sonic storytellers. “We share a pretty similar sense of humour,” Al tells, “It is funny listening to this quite serious album but knowing we were giggling as we recorded it all. It’s been great to have another brain to bounce off.” Their destination might be unknown, but the clouds are about to part for a sound that is light years ahead. “You'll like at least one song,” Leonore suggests, “and hopefully them all.”

During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes 3 bonus tracks and a replica of the original insert." The 4th Allman Brothers album, originally released in 1972. 180 gram virgin vinyl, deluxe gatefold sleeve.

Letta Mbulu was lucky when she emigrated from South Africa, where blacks were troubled and ridiculed by the Apartheid system. She was lucky to rescue a recording deal with A&M records, and even the label's founder, Herb Albert, produced the record, Johnny Mandel did the orchestrations, and Quincy Jones wrote the liner notes. However, it wasn't only luck - Letta Mbulu's talents as a singer are such that they couldn't be overheard. Her husband, Caiphus Semenya, also from South Africa and a musician, helped her throughout. There's Music in the Air from 1976 features songs varying in tempos and moods and languages, and there's a mellow aura of purity and peace, almost innocence, that captures the listener.

THE LEGENDARY 1980 ALBUM REMASTERED FROM THE ORIGINAL TAPES.
• 2LP SET WITH 12” X 12” BOOKLET.
• INLCUDES THE PREVIOUSLY UNRELEASED ‘COMS 1-3 RDX SUITE’ (TAKEN FROM THE ‘COMMERCIAL
ALBUM’ MULTITRACK TAPES).
• PRODUCED WITH THE RESIDENTS AND THE CRYPTIC CORPORATION.
• THE SEVENTH IN A SERIES OF VINYL RE-ISSUES OF THE RESIDENTS’ CLASSIC 70S ALBUMS.
Formed in the early 1970s, The Residents have now been charting a unique path through the
musical landscape for 50 years. In celebration of that remarkable and unlikely anniversary, we
present an expanded vinyl edition of the classic 1980 LP ‘Commercial Album’.
Following almost a decade spent attempting to redefine what pop music could be, but with zero
hit singles to show for it, The Residents finally caved and produced their own pop music album as
the 80s dawned. But rather than have each song repeat the same minute of music three times as
per the traditional pop format, The Residents produced no less than 40 one-minute pop
masterpieces, and invited the listener to do the repeating bit themselves if they felt the need.
The resulting ‘Commercial Album’ both showcased the incredible depth of the group’s musical
palette and proved definitively that they could easily be as big as The Beatles if they wanted to.
Probably bigger, actually.
Featuring a breathless collage of toe-tappers, memorable melodies, instrumental experiments
and guest performers (Fred Frith, Chris Cutler and XTC’s Andy Partridge among them), the
record has since acquired legendary status among both fans and confused onlookers alike.
Alongside the original album, this 2LP edition presents the ‘COMS 1-3 RDX Suite’ – a brand new
interpretation of (almost) the entire album, produced by the group using the original multi-track
tapes – and a brand new sleevenote essay shedding new light on the album’s production.
‘Commercial Album’ is the latest in The Residents’ extensive ongoing pREServed series – expect
more throughout 2023 and 2024. Possibly even 2025 too, the way things are going.

Destructive, mischievous, and politically incorrect are just some of the words to describe L.A.'s Angry Samoans. And with their second album Back From Samoa, they remain to have that inability to care about who's toes they step on; as long as they continue to blast out their aggressions, it's all good. The results are pretty tasteless and without shame with songs like "They Saved Hitler's Cock" and the cuss ridden "Ballad of Jerry Curlan." Then there's the hit-you-from-behind "Lights Out," "Steak Knife," and "You Stupid Jerk," each clocking in under a minute. With this amount of nihilism, "Back From Samoa" can instigate the trouble-maker out of anyone. And give additional credit to the Samoans for being this blunt, PC activists will be screaming for the doors upon hearing this. - AllMusic

Rozi Plain’s 2019 ‘What A Boost’ is reissued on eco vinyl via Memphis Industries. The reissue is timely, following on from the breakthrough success of her 2023 album, ‘Prize’. ‘What A Boost’ was self-produced with the help of a long list of musical friends including Kate Stables, Jamie Whitby Coles, Neil Smith (all This Is The Kit), Chris Cohen, Joel Wästberg (Sir Was) and Sam Amidon.

Released in April 2015 on Lost Map, and featuring contributions from Hot Chip’s Alexis Taylor, among others, her last album, ‘Friend’, was a deeply meaningful and wonderfully measured ode to memory, place, companionship and music’s remarkable power as an emotional salve.

The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

Mike Cooper wrote his final songwriter record, a suite of gloaming glam-rock anthems performed with a spiritual jazz trio, while living on the Costa Tropical of Granada, Spain, an era when he was considering retiring from music altogether. A chance encounter and a last-ditch record deal convinced him to make one last album, which he recorded in 1974 at Pathway Studios in London, with “The Greatest Rock and Roll Band in the World,” featuring the inventive South African jazz rhythm section of Louis Moholo and Harry Miller with UK saxophonist Mike Osborne. This first-ever reissue includes a bonus CD of Milan Live Acoustic 2018, a previously unreleased solo set that represents Cooper’s return, after forty-four years pursuing free improvisation and electronics, to a new, deconstructed approach to singing, steel guitar, and songcraft. The deluxe LP+CD edition also features a six-panel insert with additional artwork and an essay by the artist about both records. The deluxe 2xCD gatefold edition features an eight-panel version of the same insert. In the wake of his magisterial triptych of early 1970s avant-folk-rock records Trout Steel (1970), Places I Know (1971), and The Machine Gun Co. (1972) the British songwriter, guitarist, and fledgling improviser Mike Cooper retreated to the Costa Tropical of Granada, Spain. With no prospects for touring or recording again, his fiery band the Machine Gun Co. had disintegrated. Cooper sets the scene in his liner notes of the first-ever reissue of his unjustly forgotten next album Life and Death in Paradise (1974): No one came running with offers of fame and riches, and we fell apart, and I left the country and headed for the beach, disillusioned and a bit disorientated musically. I went to Almuñécar in Andalusia, a place I had been going since 1969, because a painter friend from Reading, Rowland Fade who made the collage in the gatefold of my earlier album Trout Steel had moved there in 1968. It was in this synthetic coastal “paradise,” unmoored and adrift, considering retiring from music altogether, that he began tentatively writing new songs. A chance encounter with producer Tony Hall, who offered Cooper a last-ditch record deal on Hall’s nascent Fresh Air label, convinced him to make one last album with the stipulation that he could assemble what he called “The Greatest Rock and Roll Band in the World.” I told Tony that I would do it if I could hire some of my South African jazz musician friends that I had used on my Pye/Dawn albums and some friends from Reading that I still knew and admired. I called up Harry Miller, Louis Moholo, and Mike Osborne, who were in fact a trio at the time … and several local Reading heroes, including the singer-songwriter Terry Clarke. The result, recorded live with minimal overdubbing at Pathway Studios in London, was Life and Death in Paradise, an utterly singular suite of gloaming glam-rock anthems performed with a spiritual jazz trio comprising the inventive South African jazz rhythm section of Moholo and Miller with UK saxophonist Osborne. Unlike anything else in Cooper’s extensive catalog. Fresh Air fizzled, and Life and Death became Cooper’s final record as a songwriter, having pushed the form as far as he could. Drifting north from Spain back to the UK, he fell into the scene of the London Musicians Collective (LMC) including Paul Burwell, David Toop, and saxophonist Lol Coxhill, Cooper’s bandmate in the Recedents and fully embraced free improvisation. He was still, however, interested in singing and lyrics, so, influenced by Tom Phillips, William Burroughs, and Brion Gysin, he began experimenting with text collage and cut-up techniques, arriving at his own hybrid compositional strategy for improvisatory songs. The previously unreleased solo set Milan Live Acoustic 2018 represents Cooper’s return, after more than four decades pursuing free improvisation and electronics, to a new, deconstructed approach to singing, lap steel guitar, and songcraft. Presented here together with Life and Death in Paradise, the two records provide fascinating bookends to Mike Cooper’s long, mercurial, and pioneering practice as a songmaker.

2023 Repress

King Tubby's and Channel One were two of the great studios that produced so many of the great reggae rhythms in Kingston.Jamaica find themselves here for one night only battling for the trophy.
So who would be better placed to compare the Dub Soundclash from the two great studios then Bunny Lee himself.
Throwing rhythms over at Channel One who had enlisted the great DJ Jah Stitch to return the fire.
So sit back and enjoy two great institutions of the Reggae sound ,battling it out for sumpremacy.
The winner...we will leave that decision up to the listener.
But in this Dub Soundclash there is no loser...
All killer..No filler...Enjoy

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Paula Carolinas musikalischer Freiheitsschrei: In ihrer zweiten EP "Heiß/Kalt" verbindet Paula Carolina kühle Gesellschaftskritik mit der Hitze ihrer elektrisierenden Songs. All das entlädt sich in einem bunten Gewitter aus Fragen und Antworten, die viele Menschen mit ihrer rotzigen Energie mitreißen.

Wildfire was a household name in Tropical Island music circles due to their excellent albums and performances throughout Trinidad, Tobago, the Caribbean & US Virgin Islands and French Guadeloupe. In 1962 they started off as ‘The Sparks’ (a well-respected Calypso outfit who released a bunch of successful singles) but with the release of their hit single ‘Come On Down’ from 1975, they exploded into Wildfire.

Wildfire had a very fruitful career and released four top full-length albums and a vast amount of singles before calling it quits. Led by bandleader Oliver Chapman (bass & guitar player, vocalist, arranger, producer and co-writer for the majority of the bands’ songs) and comprised out of high talented musicians, Wildfire was out there with the big boys in the niche they carved out for themselves.

On the album we are presenting you today (Time Is The Answer from 1980) you’ll find the perfect mix of funk, soul and disco, basically the popular sounds of the day, and all tracks are originals. The album is FUNKY and the production quality can rival with any of their peers and records produced/recorded in the US. The performance of Wildfire on this album is beyond excellent. This release was also the first time the group took control over production and getting their album out in the world. Also included is the hit single ‘Say A Little Prayer For The Children’ which is just one of those songs that will be stuck in your head forever.

Besides virtuoso Oliver Chapman: the talent that was featured on ‘Time Is The Answer’ is exceptional. Anstey Hamilton carries around a rich noticeable tenor voice. Arthur Byron who also did vocals on the album, has a beautiful rasping tone that can knock you out anytime he gets into his act. Fitzroy Isaac on keyboards and Donald Leid on drums are the guys that were responsible for keeping the groove tight. Clifford Wilson like Oliver had been with band since the start. He is calm in his approach, he played the bass guitar and sung background vocals, he also chipped in with Oliver whenever they wrote songs together. Finally we have Cyllan Charles, who was known as the Wildfire voice. Cyllan had been doing most of the lead vocals since he joined the group in 1972, he was the most experienced of all the members, and can really take you to higher heights anytime he gets into doing his thing both on stage and on wax.

“Time is the Answer" by Wildfire is a scarce and increasingly sought-after LP. Filled with hit-bound songs it comes as no surprise that the album has now become a much-wanted item due to its addictive and original-sounding nature. This is a must-have for any self-respecting record digger!

Von dunklen Kellern mit viel Exzess, aber wenig Publikum, den Träumen vom Berühmt werden, unerschütterlicher Hoffnung und den Liedern darüber -zu einer der erfolgreichsten und einflussreichsten deutschen Bands der 90er. Zu Chart-Platzierungen in den USA, mehr als 4 Millionen verkauften Tonträgern, zahlreichen Auszeichnungen, ausverkauften Tourneen und mit dem Erfolg von "NOW", dem ersten Studioalbum nach 13 Jahren, auch dem klaren Beweis, dass sie noch immer zu den größten Bands des Landes gehören -haben sie doch auch nie vergessen, wie alles anfing. Weil sich eben alles und doch so wenig ändert, die schweren Zeiten immer wiederkommen, die Hoffnung auf bessere sich aber schon so oft bewahrheitet hat. Um sich auch in den aktuellen Zeiten diesen Optimismus zu bewahren, haben sie ihn die Form gebracht, die sie am besten beherrschen, und treffen wieder mal genau den richtigen Nerv mit ihrem neuen Album "HOPE", welches am 28.07.2023 erscheint.Wenn die Welt sagt: "Gib auf", flüstert die Hoffnung: "Versuche es noch einmal. "Genau das ist es, was Fury In The Slaughterhouse bei ihrem neuen Album angetrieben hat Songs zu schreiben, die nicht bloß systemrelevant sind, sondern Dinge entscheidend verändern. Denn wie kann etwas nicht relevant sein, was so viel Kraft und Trost spendet, Menschen verbindet, sie an gute Zeiten erinnert und sie auf weitere mindestens ebenso gute einstimmt? "Es heißt, wer singt, hat keine Angst, und wer keine Angst hat, glaubt an das Gute und hofft auf eine bessere Welt -und deswegen möchten wir mit 'HOPE' daran erinnern und Hoffnung bringen", fasst Christof zusammen und muss etwas schmunzeln, denn natürlich mutet der Titel etwas klischeehaft an. Aber wer jemals die Energie eines Konzerts gespürt hat, diese bedingungslose Liebe und die Zuversicht, der weiß: Wenn etwas die Welt verändern kann, dann Musik!HOPE, das sind 11 neue Songs von Fury In The Slaughterhouse in unterschiedlichen Konfigurationen. HOPE ist als limitierte Fan Box, schwarze Vinyl, sowie CD im Digisleeve erhältlich

After 1979 and 1980 albums by Peter Green were by turns bluesy and funky, White Sky from 1981 emphasizes rock. Maybe this is because all the songs are written by his older brother Mike Green, who sings on the title track. Drummer Reg Isidore of the Robin Trower Band joins Green on this album. White Sky was produced by Peter Green and Geoff Robinson.

'Keepsakes', hackedepicciottos 5. Studio-Album, ist nicht nur eine wunderschöne Ode an die Freundschaft, sondern zugleich auch ein Manifest stetig wachsenden Beziehung des in Berlin ansässigen Avantgarde-Duos aus Axel Hacke (Einstürzende Neubauten) und Künstlerin Danielle De Picciotto (nicht zuletzt die Mitbegründerin der Love Parade). Obwohl diese nun schon zwei Dekaden währt, zeigen sie sich in einer goldenen Zeit der Kreativität und Verbundenheit.

After a 9 year hiatus, Jim Lockey & The Solemn Sun return to Xtra Mile Recordings with their brand new album 'Colour' -to be released on 28th July 2022. Available on PINK vinyl, CD and digitally. The 4 piece from Cheltenham, have poured their heart and soul in to this album, the follow up to 2012's album 'Death'. Focused on prominent occurrences in Lockey’s life after ‘Death’ the album discusses the thoughts and feelings he’s most at war with. Dealing with the premature end of a marriage, rediscovering himself as an individual and finding ways through are themes that bubble under the surface throughout; with notions of all punctuating each song Written during the breakdown of the relationship, this album became a method of healing. Like the chaotic process of grieving it’s an agitated reflection that shifts back and forth - from losing everything, rediscovery and finding the resolve to move forward.

* Debut LP from NYC Garage Rockers * Produced by Nick Zinner from Yeah Yeah Yeahs! Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene. Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show. One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world.

Sister Rosetta Tharpe is often referred to as "the godmother of rock and roll" for her pioneering guitar technique, use of distortion/reverb, and a 1963 UK tour with Muddy Waters that has been cited as a huge influence by Eric Clapton, Keith Richards, and Jeff Beck. Though she reached more widespread notoriety across the world in the '50s and '60s thanks to the folk/blues revival and her beloved status among UK blues and rock musicians, it's her early recordings from the late '30s and early-mid '40s that are the most brilliant, visceral, and emotional of her career. This excellent collection compiles 18 of those amazing gospel and R&B sides into one place. Essential.

3 Inches Of Blood aus Kanada legten bereits 1999 los und konnten 2002 ihr Debüt, noch bei einem kleinen Label, vorlegen. Die führte zu einem Deal mit Roadrunner Records, für die man zwei Alben aufnahm, gefolgt von einer Zusammenarbeit mit dem ebenso renommierten Label Century Media, bei dem 2009 das sensationelle „Here Waits Thy
Doom“ veröffentlicht wurde.

Das Album stieg nicht nur in die US-Charts ein, sondern wies mit „Preacher´s Daughter“ sogar einen waschechten Szenehit auf. Das bewusst leicht verpixelte Coverartwork wirkt auch heute noch etwas bizarr und führt vielleicht auf eine falsche Fährte – ebenso wie der Name der Band, der durchaus auch mit einem wesentlich moderneren Stil assoziiert werden könnte. Als ungewöhnlich könnte man auch die Wahl des Produzenten bezeichnen, denn Jack Endino war in den
Neunzigern das Aushängeschild der Grungeszene in und um
Seattle. Aber auch hier gibt es Entwarnung, denn der trockene,
druckvolle Sound schreit nur zwei Worte: Heavy Metal!

2009 war das Medium Vinyl eher ein Fall für die Sammler und so wurde die gesamte Spieldauer des Albums einfach auf eine LP gepresst, was klanglich alles andere als optimal war.

Dieses große Manko konnte Golden Core jetzt endlich aus der Welt schaffen! „Here Waits Thy Doom“ erscheint nicht nur als Doppel-LP im Gatefold, sondern weist auch noch zwei Bonustracks auf. Das Audiomaterial wurde extra für das Medium Vinyl angefertigt und geht klanglich mehr in die Tiefe als die CD.

With the Underground Collection , rediscover all the gems of the Underground Electro. One volume dedicated to House and one to Techno on two nice double vinyls. All tracks in their long original edit remastered. Featuring : Carl Cox - laurent garnier - Louie Vega - Robert Zrmani - Dj GregOry - Kings Of Tomorrow - Julien Jabre - Dj Deep - Oxia - Vitalic - Kerri Chandler - Coeo...

[n] B7. Alain Goraguer – Les Hommes [La Grande Co-Existence]

Dr. Lonnie Smith’s 1969 album Turning Point featured the organ virtuoso with a dynamic band featuring Lee Morgan on trumpet, Julian Priester on trombone, Bennie Maupin on tenor saxophone, Melvin Sparks on guitar, and the funky drummer Leo Morris (aka Idris Muhammad). Highlights include covers of “See Saw” and “Eleanor Rigby” plus soulful originals.

This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal

Taken from the album ‘Strata Records – The Sound of Detroit – Reimagined by Jazzanova’, BBE Music, DJ Amir and 180 Proof records present the 3rd single from this monumental project. This release features remixes by Japanese Club Jazz pioneers Kyoto Jazz Massive, and Genre Blending New Yorkers, musclecars. Kyoto Jazz Massive were enlisted to remix the Jazzanova reimagining of Sam Sanders’s iconic song Face at my Window. Their mix adds an intimate Jazz Club feel to vocalist Sean Haefeli’s recording, which highlights the dynamics of Sean’s voice. The subtle tempo increase maintains the feel of the original and adds a punch to the brass section, making the track an entirely new experience. musclecars add that traditional New York / Chicago House vibe to Jazzanova’s reimagining of Kenny Cox’s ‘Beyond the dream’, and the result is a skippy afro/latin dancefloor filler which can go on forever. musclecars demonstrate their genre blending superpowers on this mix which adds a garage swing to a jazz record, definitely going to be a jam for the dancefloors in 2023. Both remixes showcase the importance of DJ Amir's unearthing of these strata gems, and Jazzanova’s reimagining, how they have breathed new life into one of Detroit’s hidden gems - Strata Records. They will definitely on board new audiences to the treasure trove that is Strata, and the iconic stories surrounding the often overlooked record label.

Second album from Elias Mazian.

While his debut album Vrij Van Dromen hinted at the work of a bedroom producer, Elias Mazian never was the person to hide. After becoming a resident DJ at the now gone club Trouw ten years ago, he spent many nights playing records at clubs, and today he is as visible during the day as selector and host on FM radio. With this follow-up record he does one more step out of obscurity: moving from low to high fidelity, into more sincerity.

The songs on Alleen Bij Mij comfortably sit next to the songs he shares with friends on Private Hearts, Mazian's radio show dedicated to pop melodies. Like classic sixties records, the LP clocks just above thirty minutes, while also sharing their harmonic approach. Additional influences can be traced back to seventies krautrock, Dutch disco dub from the eighties and the storytelling of mid-2000's Dutch rap. Channeling these sounds into his own after hour tales, Elias Mazian created the perfect album for late bike rides and night trains alike.

Seconded by his good friend and multi-instrumentalist Anton Pieete and the all-knowing engineer Eelco Bakker, the album is produced and mixed for Mazian's melodies to shine. Combining observations from daily life with the big themes of pop music, this mixture results in eight songs ready for radio play.

Reissue, in vinyl format only, of the last Androcell album released in 2014.

300 copies pressed in double 180 grams black vinyl, remastered for this special release.