Search:tu

Noodles Groove chronicle has releases going back to the 90's and is recongised as one of UK garage music most influential producers, his recent works is a collaboration with follower producer Dubchild. The duo also work under the alias"nu agenda"creating their own style of hybrid house, and have support from various stations such as Rinse fm, 1xtra, SWU, NTS, Mode, Worldwide radio and Reprezent. Lets now get to "selector selection vol.1" out on DPR recordings label owned by Noodles Groove chronicles we have three tracks "helikopter" "your turn" "my thing" all individual but weighty. The volume series is all about what you may have missed or slighty over looked.Talior made so you'll never miss a good track and it's been selected for your listening pleasure.

Deux Filles was not, in fact, two girls despite what the group name and its elaborate hoax of a backstory suggest. No, they were not Gemini Forque and Claudine Coule, French women who met as teenagers under tragic circumstances and became fast friends, recording two albums together before disappearing into the ether. In reality, Deux Filles was Simon Fisher Turner and Colin Lloyd Tucker, a UK duo who first worked together in an early incarnation of The The.

Straddling the line between experimental and pop, Turner was an actor and teen singing star who later composed soundtracks for the iconic queer filmmaker Derek Jarman while Tucker’s career began as an engineer for the famed UK library music studio, De Wolfe, before forming experimental wave group The Gadgets. In Deux Filles, the duo found an outlet for their least commercial tendencies, combining lo-fi proto-dream-pop instrumentals with samples, tape experiments, ambient textures, and drum machines. Even in the vibrant, seemingly endless well of UK DIY, Deux Filles stand out.

Silence & Wisdom – the duo’s 1982 debut – is a series of musical vignettes, like the score of an unrealized arthouse film. Blending processed guitars, sheets of synthesizers, echoey pianos, and washed-out vocal snippets to surprisingly varied effect, the album is recommended for fans of Durutti Column and Virginia Astley’s From Gardens Where We Feel Secure.

Heaven and earth are in motion with the debut album from composer and saxophonistGisle Røen Johansen (b. 1968) an active voice on the Norwegian jazz scene since the mid-nineties. Known for his expressive tone in groups like Element and Jazzmob, Kveldsragg is the first release under his own name.

The album features top players from the nordic jazz currents including members fromBushman’s Revenge and Element; Even Hermansen on guitars, Rune Nergaard on Electric Bass and Ingebrigt Håker Flaten on Acoustic Bass and ECM signed Gard Nilssen on drums. With special guests Bob Hoffnar on pedal steel, wordless vocals byMona Julsrud and vocals, lyrics by Harald Tusberg Jr.

The melodic tour-de-force of Kveldsragg that occupies the whole first side showcases Johansen’s post-bop background, in a multi-layered harmonical approach. While the B-side Morrasol is a new dawn, the album finishes with the haunting and beautiful voice of Harald Tusberg Jr. who’s lyrical tribute to the deciesed fellow musician Jon Klettewill leave you mesmerized.

Born in Juazeiro, Bahia, Brazil on June 10, 1931 (and 87 years .old at this writing), singer/song writer Joao Gilberto is a living legend of bossa nova. While Antonio Carlos Jobim set the standard for the creation of bossa nova in the mid-’50s (with songs like “The Girl from Ipanema” and “Desafinado”), it was Gilberto who brilliantly reimagined (and, arguably, defined) the genre. The first bossa nova song, titled “Bim-Bom”, was written as Gilberto watched passing
laundresses on the banks of the Sao Francisco River balance loads of clothes on their heads. In 1956 he went to Rio de Janeiro and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto’s new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management. In 1959 Gilberto presented his first LP, Chega de Saudade. The title song turned into a hit, launching Gilberto’s career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and 1950s, all performed in Gilberto’s distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.
By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, Getz/Gilberto. Chega de Saudade was issued in the United States as The Warm World of Jo o Gilberto.

Leaving Records presents Under the Lilac Sky, the debut LP by Arushi Jain, an India-born, US-residing composer, modular synthesist, vocalist, technologist, and engineer. At six songs spanning 48 minutes of ambient synth ragas intended to be heard during the sunset hours, Under the Lilac Sky invites the listener to transport themselves through intentional listening. Jain states, “You know that moment when the sun is bidding farewell to the sky, and the colors turn into beautiful hues of purple and pink and everything in between? That is the moment that this album will shine the most. The deeper you listen, the more shades you’ll see.”

Jain’s work focuses on reinterpreting traditional Indian classical music through the lens of electronic instrumentation. She re-contextualizes ancient sounds in a modern framework, carrying the torch of electronic luminaries such as Suzanne Ciani and Terry Riley while pursuing personal explorations of her musical heritage and upbringing. Under the Lilac Sky is a cinematic statement of intent, an album that reverently nods to Jain’s musical history while presenting a bold sonic point of view. Jain states, “This album is the coming together of two distinct cultures of Hindustani classical and modular synthesizers representing the two parts of me that evolved into one whole in between my time in India and California”

Voice is emphasized as an essential element of the album, not just for the lyrics or the melodies but also as a source of texture. It is most recognizable when Jain sings aalaaps or sargam of the different ragas the songs are composed in, however her voice is deeply embedded in other, sometimes quieter layers of the record. Jain, who spent her childhood studying indian classical as a vocalist says, “At any given point, there is at least one layer in the record that carries my voice. The human voice is powerful and unique to every individual. My voice is unique to me, so I decided it should be present at all times even if it’s unrecognizable.”

Another core theme of Under the Lilac Sky is the time of day, and the role it plays in influencing how one interacts with the music. “Intrinsic to Indian classical music is the concept of Time and Seasonality. For each raga, there is a specific time of the day when it is meant to be heard for it to shine in it’s authenticity. It harkens to the question of when the environment around you is most in tune with your own sound and breath, and how it supports you in realizing your vision of the moment. This album is meant to be an ode to those timely rituals, and is best heard while you take a moment to do what you love.”

Jain’s exploratory musical ethos finds a like-minded home within Leaving Records’ “All Genre” philosophy. Jain is acutely aware of her role as a composer and modular synthesist reinterpreting a historical art form. “For Indian classical music, this is atypical. The music I compose is inspired by a centuries old tradition, yet aestheticized in a novel way, using the tools and technical innovations of analog synth movements. My art is crafted using machines that I’ve slowly fallen in love with and made my own.”

AM006 is by Berlin's ML, titled 'Life always breaks your heart'. Two 30-minute pieces were written, constructed, collaged and fixed together by himself. It's an important story, so there's a copy from ML below and also ours was written by Bokeh Version Industrial to do it justice.

Hallucinated Brazilian poetry read by text to voice engines, supernatural thrillers ripped from Youtube, the clang of cutlery and distant canteen conversation, that noise wire fencing makes when you rake it with a stick, crickets chirping over odd dance emotions, a sample you think your recognise but can’t name…..

The trivial is cosmically important, the cosmically important is trivial. ‘It’s about the product’ - all of life’s a sample. You contain universes.

Alice in Wonderland, late night sessions with kosmische guitar legends, ethnographic chants from an unknown land, “There’s no monopoly of knowledge / there’s no monopoly of power”: forecasts from global political trends, China will be important they say, someone’s whistling a tune that doesn’t exist, I’m thinking of times long before I was born . . .

Growing naturally like a beautiful montage from his field recordings (a rich library of personal psychoacoustic details) and his 150 Session on NTS, ML's Life Always Breaks Your Heart is mixtape-concrète:

Gamelan of the soul, Bio-Curry-Wurst in Kreuzberg, zither overlays the booms of the squatter’s homegrade grenades…

Mark Leckey vs. Alvin Curran, Gustav Flaubert vs Cabaret Voltaire, free association flashbacks with the timestamps mixed up, with added bass guitar, OP-1, Ableton, distinguishing the ‘real’ instruments becomes unimportant….they’re absorbed by memory foam….

No country, no flag – outernational without a cause!

There is no purpose, there is only reverie.

ML -

"A useless ruin, things are falling apart, even in our deepest, we long for harmony. A hypothetical path, for obscure reasons, fades into transparency. The mediocrity of Western culture, sicken by P.R., life offers a chance, a place for enthusiasm. The texture of the world, them can read it in your eyes. In the heart of schizo-culture, distance, suddenly shortened, forms characters as symbols. Deafen by mass media, embittered by unsettled chemistry, the willing body, forever in transition. The pre-invented existence, owned by language, creates a passage towards chaos. Paragraphs of currents, amplify the feelings, while silence leaks into the new luxury of time. Gentrification of sentiments, beneath our palms, all these memoirs. A modern consciousness, stretching over years in narcissistic differentiation. In touch with another human spirit, blowing backwards, beneath dark waters. We put our hands on your body, onto a new landscape, employed by metaphysical mutations. At the edge of the cosmos, prairies and mountains hide the truth in tactical silence. Apparently so, a number of months ago, above our head, a landscape of journals. Mystical content, statistically insignificant. A new patio, them crawled through the walls."

CircoLoco Records is proud to announce CircoLoco Records & NEZ Present CLR 002, now on vinyl with cover art designed by TOILETPAPER.

The second release from the collaborative record label project between CircoLoco and Rockstar Games, CircoLoco Records & NEZ Present CLR 002 features three genre-blending tracks from the Chicago-born, LA-based artist and producer, with guests including Detroit master Moodymann, Three 6 Mafia’s Gangsta Boo, and longtime collaborator ScHoolboy Q:

NEZ – “You Wanna?”
NEZ and ScHoolboy Q – “Let’s Get It”
NEZ, Moodymann, and Gangsta Boo – “Freaks”

CircoLoco Records & NEZ Present CLR 002 takes NEZ’s blend of house, hip-hop, R&B, and electro elements are taken to new heights, adding to his illustrious catalog including heavy-hitting house anthems with Felix da Housecat, Theophilus London, 8AE and others, alongside his production work with Rio on tracks like ScHoolboy Q’s “Man of the Year” and A$AP Rocky’s “Lord Pretty Flacko Jodye 2.”

The tracks have made appearances in sets from BBC Radio 1’s Pete Tong and has support from the scene with artists such as Paul Woolford, Myd, Black Coffee, Jamie Jones, Marco Carlo, Joris Voorn, Tim Sweeney, Luke Solomon, and more.

The EP is also featured in Rockstar Games’ Grand Theft Auto Online, with appearances on in-game radio and as a media collectable within the dynamic world of Los Santos. “Freaks” made its debut appearance in the teaser trailer for Los Santos Tuners.

Having established himself as one of the most sought-after young jazz guitarists in London, Jamie Leeming has steadily carved out his own musical niche, during his extensive work for the likes of Alfa Mist, Tom Misch and Jas Kayser. His debut EP ‘Heartsong’ gained support from Jazz London Radio as one of the “Best Jazz Releases of 2015” and his follow-up collaborative album ‘Flow’ (with pianist Maria Chiara Argirò) received critical acclaim for The Guardian’s “Jazz Album of the Month”. Leeming now unveils his debut solo long-player ‘Resynthesis’ via Alfa Mist’s Sekito imprint.

Jamie’scuriosity has always been a key part of his ever-evolving relationship with music. Whether that be as a teenager and being captivated by the cover of Miles Davis’ Bitches Brew in a local HMV, or his fascination with how we experience memories. ‘Resynthesis’ sees the guitarist creatively hitting his stride and exploring new sonic territories as he takes on the role of producer.

‘Resynthesis’ was created with the help of a handful of close friends, regular collaborators and some of the tightest young players around, many of whom met at an improvised music night hosted by Hugo Piper (who also plays on Resynthesis) called Champion Sounds. It was at one of these nights that the basis for ‘Champion’ was formed, plucked from a twenty second snippet recorded on a phone of one of the legendary jams, which has in turn been reimagined on ‘Resynthesis’ by some of the musicians that were present on the night itself. In addition to the trio instrumentation, Quinn Oulton and Nathaniel Facey lend their skills on saxophone. The album is tied together by artwork from painter and musician Kaya Thomas-Dyke, which includes reference to a number of the memories the album is inspired by.

Chicago-meets-Philly when Vic Spencer and Small Professor connect on Mudslide, the incredible new album from this pairing of raw talents. Coalmine Records is proud to share this project with the world, and it marks Small Pro’s third collaborative release on the label after he previously linked with Guilty Simpson and the late Sean Price. For the producer, it was an exciting new opportunity to team up with an emcee who’s gruff-voiced, hilarious, and can out-rap anyone on the planet. “Plus, my past Coalmine projects have their own neo/prog-boom-bap vibe, and ‘Mudslide’ continues that particular sonic blueprint,” Small Pro said. And for fans of that sound, you’re not going to find a better example of that sound than this album. It’s just as experimental as it is steeped in the traditions of rap thanks to Vic’s boundary-pushing rhymes and Small Pro’s immensely satisfying instrumentals. Tracks like “Lil Jon’s Weed Stash,” “Ew McNasty’s Revenge,” and “Selfcare Welfare” marry psychedelic vibes with grounded and clever lyricism. Another immediate standout is the lead focus track “Pitfall Music,” which features a mean-mugging guest verse from Flee Lord with cuts supplied by acclaimed turntablist, DJ Revolution.

BAR08 is a Various Artists EP with Italian art-aud / secret rave mastermind Kreggo, the debut of Rotterdam talent Pim and Proper, a label debut by German bass wizard Panda Lassow, Teslasonic returns with another mindbending monster, Teeta; the third italian on this sampler with a big electro bass tune and last but not least the mysterious Stoornis 2 with heavy electronic violence.

The good thing about techno is that you can reach the most diverse states. The possibilities are almost endless, the machines multifaceted and the imagination knows no boundaries. Just this joy
of experimenting with melodies and equipment is one of the specialties of Berk Offset aka Echowolf, which he brings to bear again in his latest release on Snork Enterprises "Dreieinigkeit".

Weird rhythms and twisted sounds develop in the end to a harmonic overall state.

The three new tracks, which all run under the title "Zustand" (the German word for “state” or “condition”) only with different numbering, are complemented by a brilliant rework by Headless
Horsemann. In full honor of his name, he enhances the wonderfully weird techno tunes with a mysterious ambient style that not only sounds but also feels like a mighty acoustic shadow.

US talent Serge Devant makes a welcome return to Crosstown Rebels in July with the three-track Hush Hush EP. Damian Lazarus’ flagship label is familiar territory for the NYC talent, where he’s made several acclaimed appearances since 2015.

Flashback feat. Forrest gets the show underway, as soft kicks live beside pulsing synth tones and Forrest’s echoing vocals throughout. There’s a soothing feel to the piece, making it well-built for both sunrise and sunset moments, whilst still retaining enough oomph to make it perfect dancefloor material. Hot Circuit comes next, taking the form of an out-and-out club-cut packed full of low-slung, Ibiza-ready groove, whilst Hush Hush continues in a similarly punchy vein to round off the EP on a techy note.

Serge Devant has an esteemed reputation in today’s dance music industry, from playing at DC-10 to his music turning the heads of Jamie Jones and Damian Lazarus, his talent speaks for itself. Emerald City, Knee Deep In Sound and Circus Recordings are just a few of the labels he’s released on, whilst performances for international brands such as Day Zero, Music On, Get Lost and Paradise prove his standing as a globally-revered DJ and producer.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Taken from Dilla's 2001 BBE Music debut solo album Welcome 2 Detroit, 'Big Booty Express' gets the remix treatment from German duo Âme, Parisian Pépé Bradock and London's Coda Deep. Alongside the OG version these new productions add up to a six track exploration of Dilla's tribute to Detroit's melding of the Motor City's Black music heritage with Kraftwerk's experimental Euroelectro. Contributing two mixes to the EP, Parisian producer Pépé Bradock AKA Julien Auger first forays into music were after learning guitar as a 14 year old and playing with various Jazz-Funk bands. At this time he also started DJing with Hip-Hop bands and turning his hand to producing their tracks. As the 90s progressed he also discovered Techno and House music. His musical influences range from Jazz to Dub Reggae and he has remixed for Blaze, Cassius and Alex Gopher among others. Also providing a remix of Big Booty Express is the German production duo of Frank Wiedemann and Kristian Beyer who work together under the name of Âme. After first meeting in Kristian's record shop in their home town of Karlsruhe and bonding over a shared love of Chicago House and Detroit Techno the pair started working together and producing records for Sonar Kollektiv in 2003. The final two remixes on the Big Booty Express EP and only included on the digital package come from the Londoner Coda Deep. Influenced by avant-garde Electronica, Nu Wave and African Tribal sounds, he is a DJ and producer playing deep and melodic Tech and Techno and will also be known to music fans for his 2019 BBE release 'The Running of the Bulls'. This EP of remixes sits very well alongside the catalogue of J Dilla releases on BBE Music and adds to the rich heritage of innovative beat making and music production that we can associate with Dilla and those he worked with.

Gazelle Twin, Lali Puna, This Mortal Coil, Slow Walkers, Atlas Sound, Bowery Electric, Broadcast Press Release: Snakeskin is an album of visionary electronic dream pop, shapeshifting above ambient and industrial undercurrents. It is moody, unsettling, luminous – the culmination of a decade of collaboration and friendship between Lebanese producer/musician/ engineer Fadi Tabbal and singer-songwriter Julia Sabra from Beirut-based indie trio Postcards. The duo began working on Snakeskin in the aftermath of the August 2020 Beirut port explosion, which killed at least 218 people, injured 7,000, and left over 300,000 people homeless. Indeed, Julia's home was destroyed by the explosion and her partner and bandmate Pascal badly injured. The first song that they wrote together afterwards was 'Roots', which closes out the album and was composed for the Ruptured-curated series The Drone Sessions in the fall of 2020. Snakeskin utilizes tape loops, synthesizers, vocals, and drum machines, combining Julia’s pop-inspired melodies and choral roots (an echo from her religious upbringing) with Fadi’s affinity for minimalism and musique concrète. The album seamlessly incorporates the melancholy electro-pop of 'All The Birds', the quiet menace of 'In Our Garden' (long-lost treasures, ancient lies / another buried paradise), and the beat-driven 'Signs'. The title track sums up their frame of mind, beginning as a lullaby and evolving into a glittering tapestry of distortion and feedback. As the artists write, Snakeskin is a product of "the disappearance of life as we know it, and with it the decay of nature and living creatures. There is no rebirth, no renewal. It’s about what it means to feel at home in such a place." Some tracks were also inspired by events happening in the surrounding region, such as the invasion of Armenia by Azerbaijan and the Palestinian uprising of May 2021 in Sheikh Jarrah - both events shedding light on relationships to home and land across the wider region. That such compelling art can emerge from unceasing tragedy may be the ultimate testament to human resilience and the pursuit of freedom and justice. "The moon speaks in tongues we can't discern / A plastic dove hangs from a cypress branch / Haven't you heard? / Nothing grows here anymore / The air is burnt / Nothing grows..." Highlights: – This is the second volume in the Corrosion Series, a collaborative effort by Beacon Sound and Ruptured, and the sixth collaboration between the two labels. – Fadi used samples of Julia's voice on his fifth solo album Subject to Potential Errors and Distortions (2020, Beacon Sound/Ruptured) – The Tunefork Studios team, led by Fadi, administered the Beirut Musician's Fund after the port explosion, as covered by Pitchfork, NME, and the Financial Times. – Julia's band Postcards released their third full-length album After The Fire, Before The End on Berlin label T3 Records in 2021 and are currently touring Europe. Credits: All music composed, performed and produced by Julia Sabra and Fadi Tabbal between November 2020 and December 2022. Lyrics by Julia Sabra. Drum samples by Pascal Semerdjian. Recorded by Fadi Tabbal, mixed by Sary Moussa and Fadi Tabbal at Tunefork Studios, Beirut. Cover photo by Lujain Jo. Design by Josette 'ZOoz' Khalil. Mastered by Rashad Becker. Bios: Julia Sabra is a Lebanese musician, songwriter and composer. She co-founded acclaimed Lebanese dream-pop outfit Postcards in 2013 and is the band’s multi-instrumentalist, lead singer and lyricist. Postcards have released two EPs (2013, 2015) and three albums (2018, 2020, 2021) and have been regularly touring Europe and the Middle East since 2015. She has been the manager of Tunefork Studios since 2017. Lebanese musician, producer, and sound engineer Fadi Tabbal’s work consist of minimalist pieces ranging from ambient and electronic to drone and contemporary classical. He has released six solo albums and has collaborated with various musicians, artists and filmmakers through the years. Often referred to as “the hardest-working person in Lebanon’s alternative music scene”, Tabbal established Tunefork Studios, a collective of producers, engineers and musicians, which has helped shape Beirut's contemporary music scene since 2006.

2022 sees Turin Brakes release their ninth studio album - Wide-Eyed Nowhere. Of Wide-Eyed Nowhere the band say "We surprised ourselves with what came out; a sweeter, groovier set of songs in no hurry to be anything but themselves. The South London 4-Piece comprising Olly Knights, Gale Paridjanian, Rob Allum and Eddie Myer recorded this new set of songs at Twin Palms - Olly"s garden studio - over the summer of 2021, choosing to let time infuse into the music and mature in a way it couldn"t in a pressurised commercial studio setting. "Friends would visit, kids would add a voice or two, bees would buzz and we"d get to sit in the South London sun while the music poured out of the speakers and floated across the lawn. Sometimes we decided it"s okay to just let it happen naturally, not to try too hard - just get out of the way let the songs take shape, and that maybe you don"t have to be in a bad place to make the deeper cuts." Turin Brakes released Mercury Prize shortlisted the Optimist Lp in March 2001 (achieving gold status in the UK), followed up by 2003"s Ether Song which featured the top 5 hit single Pain Killer (Summer Rain). The band has since moved on to rack up seven top 40 singles, seven top 40 albums and over a million record sales worldwide.

2022 sees Turin Brakes release their ninth studio album - Wide-Eyed Nowhere. Of Wide-Eyed Nowhere the band say "We surprised ourselves with what came out; a sweeter, groovier set of songs in no hurry to be anything but themselves. The South London 4-Piece comprising Olly Knights, Gale Paridjanian, Rob Allum and Eddie Myer recorded this new set of songs at Twin Palms - Olly"s garden studio - over the summer of 2021, choosing to let time infuse into the music and mature in a way it couldn"t in a pressurised commercial studio setting. "Friends would visit, kids would add a voice or two, bees would buzz and we"d get to sit in the South London sun while the music poured out of the speakers and floated across the lawn. Sometimes we decided it"s okay to just let it happen naturally, not to try too hard - just get out of the way let the songs take shape, and that maybe you don"t have to be in a bad place to make the deeper cuts." Turin Brakes released Mercury Prize shortlisted the Optimist Lp in March 2001 (achieving gold status in the UK), followed up by 2003"s Ether Song which featured the top 5 hit single Pain Killer (Summer Rain). The band has since moved on to rack up seven top 40 singles, seven top 40 albums and over a million record sales worldwide.

From the folk punk roots of Carry Me, through the anthemic One Way, Fifteen Years and Top 20 hits Hope Street, Just The One and Beautiful Day - more recent tracks such as Truth Is, The Cholera Well and The Recruiting Sgt show the Levellers' mix of scathing political comment and positive DIY attitude to life hasn't dissipated over the years.

Most exciting of all, there are brand new recordings of the Levellers collaborating with contemporary artists re-working some of their classic material. Imelda May is the Queen of all time on Beautiful Day, while Bellowhead and the legendary Billy Bragg help out on Just The One and Hope Street respectively.

Finally, lifelong Levellers fan Frank Turner joined the band in the studio - breathing new life into Julie - bringing us back full circle for another generation of the disenfranchised to discover the Levellers for the first time.

Repress!

Note - Sleeve says contains a bonus CD, these represses do not have a bonus CD, they have a download card.

Fire Records will be reissuing the first 3 albums by the Lemonheads, Hate Your Friends (1987), Creator (1988) and Lick (1989), featuring copious bonus tracks and many never-before released rarities and live recordings on the download card. Together, these seminal albums showcase the band's early punk rock roots and trace the Lemonheads’ transformation towards becoming one of the most successful and influential bands in indie rock. Before the 90s. Before the internet. Before Nevermind. Back when something called “independent music” first began reaching a wider audience, through college radio, word-of-mouth, and that small “underground” record store you seem to find in every town…there was a band from Boston called Lemonheads. High school friends Ben Deily and Evan Dando, Lemonheads’ primary songwriters, co-guitarists and co-vocalists, first recorded together on 4-track cassette in the spring of 1985; by the end of the decade they—together with bass player Jesse Peretz, sometimes-guitarist Corey Brennan, and successive drummers Doug Trachten and John P. Strohm—had created a body of recordings which would see them on MTV’s fledgling “120 Minutes,” beating out the Grateful Dead on college radio charts, and entering the consciousness of a generation of music fans. Cited as influences by artists as varied as Billie Joe Armstrong and Ryan Adams, these fledgling Lemonheads recordings—part rock, part pop, part unique hybrid of the 80s punk styles beloved by the band members—mark the start of the trajectory that would eventually lead to “mainstream” success and stardom for a later version of the band. But they also represent a distinct, never-repeated phase of the band’s history: one that is finally receiving the attention it deserves. Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton. The difficulties of writing and creating a new full-length album every year (Hate Your Friends and Creator were released in 1987 and 1988, respectively) are clearly in evidence on Lick. While the newest material (“Mallo Cup,” “A Circle of One,” “7 Powers,” “Anyway”) hints at promising new song writing directions for both Deily and Dando, there’s an almost valedictory sense of the past in the inclusion of versions of “Glad I Don’t Know” and “I Am a Rabbit” (from the band’s first-ever, self-released EP), and the now-classic track “Ever,” a previously-unreleased tune from the original 1986 Hate Your Friends sessions. At moments, Lick almost sounds like an elegy for itself—or an elegy for a band that has reached the end of the beginning. Also audible in the heterogeneous songs are the tensions of line-up changes—and inchoate, growing frustrations. After various band break-ups or threatened break ups (such as Dando’s brief departure to play bass for Boston band the Blake Babies), the Lemonheads convened to record new material for Lick now featured Dando on drums, Peretz on bass, Deily on guitar (and “piano,” according to the album credits) along with the addition of long-time band friend—and former member of TAANG! labelmates Bullet LaVolta—Corey Loog Brennan on lead guitar. And yet the frenzied, quasi-ironic hammer-ons of Corey’s axe provide some of Lick’s most entertaining moments—like the unaccountably-translated-into-Italian paen to 70s detective Ironside, “Cazzo Di Ferro.” (The song’s music was originally composed by Brennan for his Italian punk band, Superfetazione.) After the album’s completion, Deily opted out of the subsequent European tour, before leaving the band permanently. Jesse Peretz stayed on to record their Atlantic records debut Lovey, but left after the supporting tour in '91. Since then, Dando has been the Lemonheads' sole permanent member. BONUS TRACKS: Features bonus tracks including several never-before-released live tracks from a 1987 radio session, live tracks and an interview from the 1989 European tour, and the 4 tracks of the Lemonheads self-released debut EP, Laughing all the way to the cleaners.

2LP + 7'' 2022 Repress

This limited edition set contains the original LP plus a 10 track bonus LP and a bonus 7” with 2 previously unreleased tracks.
Remastered and pressed on colour vinyl with a reworked sleeve by original designer Andy Royston.
Including the singles Boy Meets Girl, So What; Should The Bible Be Banned; Keep An Open Mind Or Else & This Nelson Rockerfeller.
Originally released in 1989. The Enraged Will Inherit the Earth is a musical molotov cocktail that’s a mixture of power chords and virile, virtuous lyrics.
The songwriting is tightly forged and their knack for producing raw pop is at its finest here. The Enraged Will Inherit The Earth is a powerful weapon that didn’t get enough of a user base to make its intended impact. If the question was ever proposed, “can art be a weapon?” I think this album answers with a bold and resounding “yes.”

(incl. Franco Cinelli & Dorian Paic remixes)


The first record from keepitgoing. is finally here, a panorama from Switzerland all the way to Chile in our world with no borders. An EP from Camilo Gil & ONE+1 with 2 originals backed up by two contrasting interpretations from Dorian Paic and Franco Cinelli, is how we kick off our labels musical journey in our vinyl only series.

The opening original track "Can Soleietes" offers a minimal, dubby twist with sweeping chords and atmospheric pad work with hints of skippy percussion layered throughout. On the second original "Opera House" this is where things begin to turn around a darker, acidic corner consisting of rolling acid baselines and spooky pad-work. It features various chords and stabs working in the background, while the prominent acid bass moves around creating some dark, trippy vibes on the listener.

Franco Cinelli reworks "Can Soleietes" perfectly with a minimalist approach to the track, offering a more mellow and groovy interpretation of the original. One that will get you lost in the cosmos with an immediate listen. The second remix from Dorian Paic is a more stripped back affair than it's original. It is another minimalist one that represents his sound truly, as a classy remixer for the EP alongside fellow family member Franco.

Join us as we begin our journey from every corner of the world, all connected without any borders between us. Like this, anyone can express themselves freely, and really create the way they want to without any judgement or limitations. We are a forever growing family who share the goal of loving and living music together.

Morgan Geist and Kelley Polar present their debut album as Au Suisse which features contributions from Dan Snaith (a.k.a. Caribou / Daphni). A streamlined mixture of funk, synthpop and disco for fans of Hot Chip.

Born from the collective mind of producer Morgan Geist (Storm Queen, Metro Area) and songwriter/multi-instrumentalist Kelley Polar, AU SUISSE is a new project that promises to stake a milestone in both its members' already storied careers. Crafting immersive soundscapes using a patchwork of electro, synthpop, funk and disco, AU SUISSE's self-titled debut album evokes both a post-rave comedown on a tropical beach and a weekend alone icy chalet, ruminating on life and love. Guest players include friends and labelmates Dan Snaith (Caribou) and Jeremy Greenspan (Junior Boys).

Having met in college in the early '90s and continued to forge a close friendship throughout the years, AU SUISSE is the first time Geist and Polar have set out to gel their creative relationship into its own musical project. But this is no bashed-together collection of random tunes — this is a band, through and through, and Geist and Polar's shared expertise give the album its own indelible identity.

Ltd weiße 140G Vinyl mit bedruckter Innenhülle und Artwork/Design von Trevor JacksonMorgan Geist and Kelley Polar present their debut album as Au Suisse which features contributions from Dan Snaith (a.k.a. Caribou / Daphni). A streamlined mixture of funk, synthpop and disco for fans of Hot Chip.



Born from the collective mind of producer Morgan Geist (Storm Queen, Metro Area) and songwriter/multi-instrumentalist Kelley Polar, AU SUISSE is a new project that promises to stake a milestone in both its members' already storied careers. Crafting immersive soundscapes using a patchwork of electro, synthpop, funk and disco, AU SUISSE's self-titled debut album evokes both a post-rave comedown on a tropical beach and a weekend alone icy chalet, ruminating on life and love. Guest players include friends and labelmates Dan Snaith (Caribou) and Jeremy Greenspan (Junior Boys).



Having met in college in the early '90s and continued to forge a close friendship throughout the years, AU SUISSE is the first time Geist and Polar have set out to gel their creative relationship into its own musical project. But this is no bashed-together collection of random tunes — this is a band, through and through, and Geist and Polar's shared expertise give the album its own indelible identity.

Saib is the prolific producer and guitarist whose insatiable desire to create comes from his childhood: passionate about Bossa Nova, Japanese Anime Soundtracks, Jazz as well as old school Hip-Hop, he draws his inspiration from composers and musicians such as Yoko Kanno, Joe Pass and Nujabes. Bathing in the cosmopolitan culture of Casablanca, a melting pot at the crossroads of the two African and European continents. This diversity is a constant in his music, where groove and melody are skillfully mixed in a style inspired by the classic hip-hop productions of the 90s. Hip Hop beats form the backbone of Saib’s musical palette, as his style skips from Jazz flavors to lounge experiments and to upbeat four on the floor grooves ... and sometimes within a single track.

Saib’s hyper-productivity has allowed him to release, over the last five years, seven albums and more than a dozen EPs and singles, including releases on labels such as Chillhop Music, Cold Busted, Majestic Casual and Blue Note Records. Saib’s tracks are a regular fixture on Editorial Playlists including Spotify’s “Jazz Vibes” (2 million Likes) and “lofi beats” and have accumulated more than 500 million plays on streaming platforms.

Saib’s new LP, “Unwind” maintains the stupendous head-nodding grooviness that listeners have come to love from the young producer with a healthy added dose of Tropical and Lounge/Bossa-jazz influence. Album and single artwork done by star-Moroccan photographer Ismail Zaidy (IG: @l4artiste) who has seen his work featured in GQ Middle East, Art Basel, BASE Milano, Vogue Arabia, and has done partnerships with The Sims and Adobe. LP design work done by Jakarta label mainstay, Robert Winter. “Unwind” also includes features by Rotterdam’s ØDYSSEE and legendary Hip-Hop MC Masta Ace. Jakarta is ecstatic to share such a career-defining work, arriving digitally and physically September 16th, 2022.

The albums 1st single, “Mushroom Samba” arrives Wednesday, June 29th along with the vinyl pre-order announcement. The track is deliciously groovy, and is a perfect example of the kind of sunny, jubilant grooves to be encountered on the LP. Saib takes the lofi-expertise he’s become known for since his 2015 debut and brings a freshness to the beat-genre. The song is perfect for the onset of summer and will have you humming along to the brass refrain by the songs end.

2nd single, “Pennywise,” will be released July 13 and features legendary Hip-Hop MC Masta Ace on the album’s only vocal track. The track is a surefire splash of hip-hop that’s both nostalgic and forward-moving. Ace sounds as fresh as ever, flowing over a head-bobbing beat with lush, tropical guitar inflections. While the beat brings to mind sandy shores and sun rays, Ace’s two verses invoke skyscrapers and boomboxes, making “Pennywise” a perfect track for your summer hip-hop fix.

Saib’s 3rd single is the stunning, swirling, and utterly smooth “Cosmic Dust” with Rotterdam producer ØDYSSEE arriving August 10. Keeping with the tropical essence, the track comes and goes like waves on a beach. Soft sounds flow like water before the drums and bass wash in, building to a saxophone and piano heavy crescendo. Like the tide, the beat recedes and the track ends as gently as it began, leaving you wanting to hear it all again.

Single 4, the moody “Suave” arrives August 24 and is bossa nova at its core. What starts off with a familiar Brazilian groove quickly takes a hip-hop turn, with a smooth bass drop and crisp drums layered over bossa nova keystrokes. Warm / timeless saxophone punctuate the track, providing a mellow break between basslines and closing out the end. “Suave” is a sunny and soul-soothing fusion of bossa nova, jazz, and hip-hop, perfect for closing out the summer with.

“Unwind” is a project steeped in the beats that keep you moving and grooving but with a sonic and visual aesthetic palette that goes deeper and groovier than the surface level lo-fi artists that have proliferated in the last 5 years. Ranging from FloFilz and eevee imbued vibrations to Jonwayne-styled beats, Saib brings forth a sonic spa session that invokes a state of calm that leaves you an uplifting and energetic plateau. Dig it.

Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group's first full-length release as a trio, as well as their first collection of totally original material, and it couldn't have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the '50s and '60s, of course, but there's a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers_singers Thomas Gatling, George Marage, and Dennis Bailey_released their debut LP, He's On Time, to rave reviews in 2019, with Pop Matters hailing the album's "musical transcendence" and AllMusic praising it as "dreamlike and joyous." The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz.

Black Truffle is pleased to announce a major archival discovery from the wildest outer fringes of the FMP universe, the Bergisch-Brandenburgisches Quartett’s Live ’82. The Bergisch-Brandenburgisches Quartett (BBQ) was formed in 1980 in Rostock, East Germany, when three of the most radical and riotous members of the West German free music scene—reedist/accordionist Rüdiger Carl, percussionist Sven-Åke Johansson and Hans Reichel on violin and his modified ‘strange guitars’ — first played as a quartet with East German saxophonist Ernst-Ludwig Petrowsky. A rare example of a working band with members from both sides of the wall, during its lifetime the BBQ left only one recorded document, a studio LP on Amiga, the pop and jazz sublabel of the GDR state-run Deutsche Schallplatten Berlin. Neither pure fire music nor orthodox free improvisation, the four members of the BBQ shared an all-embracing aesthetic where quotes and jokes sat comfortably alongside radical extended techniques and sonic experiments. Beautifully recorded at the 1982 Moers festival, the music presented here is a kaleidoscopic demonstration of what Johansson has called the BBQ’s ‘free postmodernism’. Beginning with a fractured landscape of clarinet flourishes from Petrowsky, Johansson’s spacious drums accents, banjo-esque plucks from Reichel’s handmade guitar and the groans and squawks of Carl on cuica, the music lurches between flowing melodicism and stunted locked grooves, settling after a few minutes into a lyrical clarinet and bass clarinet duet accompanied by shimmering guitar chords and some inexplicable percussive rotations. When Petrowksy starts to unfurl long, flowing flute lines accompanied by hand percussion, the music suddenly recalls Don Cherry’s global fusions, but this turn to the folkish quickly takes on a more European character when Carl and Johansson pick up accordions for the first of several comical but oddly moving duets. The more frantic second half of the set takes in a raucous digression into honking R&B, an Ayler-meets-Schlager romp with almost rockish chordal accompaniment from Reichel and an outrageous free jazz blowout with Carl on accordion, not to mention episodes of Johansson’s signature improvised Sprachgesang and antics with his expanded percussion set up, including items such as shoe stretchers and the Berlin yellow pages, which more than once cause the audience to burst into laughter. Arriving in a beautifully designed sleeve with copious archival photographs and flyers from Johansson’s collection and extensive new liner notes from Francis Plagne, Live ’82 is a major historical document that remains both musically challenging and immensely entertaining forty years on.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the

R.M.F.C. returns in 2022 with a brand new
single from the much-anticipated,
forthcoming LP, due early 2023.
“Access” is a short, sharp, straight to the
point piece that combines an anarcho
marching beat and Devo-style guitar riff
that leads into the driving rhythm section
R.M.F.C. is known and loved for. With the
permanent addition of 12-string guitar to
the band; it’s fuller, thicker and janglier
than ever before, but still retains the
R.M.F.C. sound. Formerly based in Ulladulla, and now
relocated to Sydney, R.M.F.C. is the baby of 21
year-old Buz Clatworthy, who writes and
performs all the groups recorded output
himself from his home studio (still based in
Ulladulla). Following up in the footsteps of
2020’s “Reader” 7”, R.M.F.C.’s sound has
grown as quickly as Buz has. Giant strides
forward since the first cassette, “Hive”, was
released in 2018 - and “Access” is only
further proof of this.
On the flip side we have a phenomenal cover
originally by The Lillettes, a UK based post
punk band that wrote this great tune “Air
Conditioning” in 1981.
These two ripping tracks complete the brand new R.M.F.C. 7”. “Access” is out
NOW via Anti Fade Records - stay tuned for the LP early next year!

Das neue Album "SPARK" stellt WHITNEY als zeitgemäßes Syndikat des klassischen Pops vor, dessen Dutzend fantasievoller und liebenswerter Tracks bezaubernde Melodien um Dilla-Beats im Paisley-Stil und üppige Electronic-Elemente wickeln. So überraschend es auch klingen mag - "SPARK" ist für WHITNEY weniger eine radikale Neuerfindung als vielmehr eine ehrliche Abrechnung damit, wie es sich anfühlt, wenn man aus der Vergangenheit in die Gegenwart aufbricht, wenn man die nächsten Schritte im Leben und in der Karriere auf einmal und ganz ohne Entschuldigung macht. "SPARK" behält dabei jedoch die Wärme und Leichtigkeit von WHITNEYs früheren Werken bei. Diese Songs glühen mit der Neuheit des Hier und Jetzt. Die Anfänge von "SPARK" gehen auf den Überraschungserfolg von WHITNEYs Debütalbum "Light Upon the Lake" aus dem Jahr 2016 zurück. Die sanft verzerrten Psych-Folk-Träume fanden schneller ein breites Publikum, als die beiden je erwartet hatten. Nach Jahren des ununterbrochenen Tourens fühlten sie sich gezwungen, denselben Sound auch für ihren Zweitling "Forever Turned Around" (2019) zu verwenden. Je weiter die Aufnahmesessions voranschritten, desto mühsamer wurden diese, da Julien und Max daran arbeiteten, Versionen von sich selbst zu sein, die sie nicht mehr waren; um Songs in einer Form zu schreiben, die einfach nicht mehr passte. Es fühlte sich nicht mehr wie ihre Musik an, sondern lediglich wie ein Überbleibsel ihrer anfänglichen Begeisterung. Sie hatten kaum genug Material oder Energie, um fertig zu werden. Max und Julien wussten, dass eine drastische Veränderung notwendig war, aber sie hätten nie gedacht, dass Lockdowns im Zuge der Pandemie dies erleichtern würden. Wochen nachdem Julien nach dem Ende einer jahrelangen Beziehung nach Portland gezogen war, um einen klaren Kopf zu bekommen, folgte ihm Max in der Hoffnung, mit seinem besten Freund und Co-Autor dem langen Winter in Chicago zu entkommen. Vier Tage später wurden die Flüge gestrichen. Anstehende Tourneen wurden abgesagt. In den nächsten 14 Monaten arbeitete die Band mit einem Eifer und einer Entschlossenheit, die an ihre Anfänge erinnerten, bevor der Erfolg die Erwartungen bestimmte. Aufgenommen in Texas mit den Produzenten Brad Cook und John Congleton ist "SPARK" ein inspirierendes Zeugnis für Durchhaltevermögen und Erneuerung geworden, für beste Freunde, die einander genug vertrauen, um sich gegenseitig auf die andere Seite zu tragen.

Das neue Album "SPARK" stellt WHITNEY als zeitgemäßes Syndikat des klassischen Pops vor, dessen Dutzend fantasievoller und liebenswerter Tracks bezaubernde Melodien um Dilla-Beats im Paisley-Stil und üppige Electronic-Elemente wickeln. So überraschend es auch klingen mag - "SPARK" ist für WHITNEY weniger eine radikale Neuerfindung als vielmehr eine ehrliche Abrechnung damit, wie es sich anfühlt, wenn man aus der Vergangenheit in die Gegenwart aufbricht, wenn man die nächsten Schritte im Leben und in der Karriere auf einmal und ganz ohne Entschuldigung macht. "SPARK" behält dabei jedoch die Wärme und Leichtigkeit von WHITNEYs früheren Werken bei. Diese Songs glühen mit der Neuheit des Hier und Jetzt. Die Anfänge von "SPARK" gehen auf den Überraschungserfolg von WHITNEYs Debütalbum "Light Upon the Lake" aus dem Jahr 2016 zurück. Die sanft verzerrten Psych-Folk-Träume fanden schneller ein breites Publikum, als die beiden je erwartet hatten. Nach Jahren des ununterbrochenen Tourens fühlten sie sich gezwungen, denselben Sound auch für ihren Zweitling "Forever Turned Around" (2019) zu verwenden. Je weiter die Aufnahmesessions voranschritten, desto mühsamer wurden diese, da Julien und Max daran arbeiteten, Versionen von sich selbst zu sein, die sie nicht mehr waren; um Songs in einer Form zu schreiben, die einfach nicht mehr passte. Es fühlte sich nicht mehr wie ihre Musik an, sondern lediglich wie ein Überbleibsel ihrer anfänglichen Begeisterung. Sie hatten kaum genug Material oder Energie, um fertig zu werden. Max und Julien wussten, dass eine drastische Veränderung notwendig war, aber sie hätten nie gedacht, dass Lockdowns im Zuge der Pandemie dies erleichtern würden. Wochen nachdem Julien nach dem Ende einer jahrelangen Beziehung nach Portland gezogen war, um einen klaren Kopf zu bekommen, folgte ihm Max in der Hoffnung, mit seinem besten Freund und Co-Autor dem langen Winter in Chicago zu entkommen. Vier Tage später wurden die Flüge gestrichen. Anstehende Tourneen wurden abgesagt. In den nächsten 14 Monaten arbeitete die Band mit einem Eifer und einer Entschlossenheit, die an ihre Anfänge erinnerten, bevor der Erfolg die Erwartungen bestimmte. Aufgenommen in Texas mit den Produzenten Brad Cook und John Congleton ist "SPARK" ein inspirierendes Zeugnis für Durchhaltevermögen und Erneuerung geworden, für beste Freunde, die einander genug vertrauen, um sich gegenseitig auf die andere Seite zu tragen.

Das neue Album "SPARK" stellt WHITNEY als zeitgemäßes Syndikat des klassischen Pops vor, dessen Dutzend fantasievoller und liebenswerter Tracks bezaubernde Melodien um Dilla-Beats im Paisley-Stil und üppige Electronic-Elemente wickeln. So überraschend es auch klingen mag - "SPARK" ist für WHITNEY weniger eine radikale Neuerfindung als vielmehr eine ehrliche Abrechnung damit, wie es sich anfühlt, wenn man aus der Vergangenheit in die Gegenwart aufbricht, wenn man die nächsten Schritte im Leben und in der Karriere auf einmal und ganz ohne Entschuldigung macht. "SPARK" behält dabei jedoch die Wärme und Leichtigkeit von WHITNEYs früheren Werken bei. Diese Songs glühen mit der Neuheit des Hier und Jetzt. Die Anfänge von "SPARK" gehen auf den Überraschungserfolg von WHITNEYs Debütalbum "Light Upon the Lake" aus dem Jahr 2016 zurück. Die sanft verzerrten Psych-Folk-Träume fanden schneller ein breites Publikum, als die beiden je erwartet hatten. Nach Jahren des ununterbrochenen Tourens fühlten sie sich gezwungen, denselben Sound auch für ihren Zweitling "Forever Turned Around" (2019) zu verwenden. Je weiter die Aufnahmesessions voranschritten, desto mühsamer wurden diese, da Julien und Max daran arbeiteten, Versionen von sich selbst zu sein, die sie nicht mehr waren; um Songs in einer Form zu schreiben, die einfach nicht mehr passte. Es fühlte sich nicht mehr wie ihre Musik an, sondern lediglich wie ein Überbleibsel ihrer anfänglichen Begeisterung. Sie hatten kaum genug Material oder Energie, um fertig zu werden. Max und Julien wussten, dass eine drastische Veränderung notwendig war, aber sie hätten nie gedacht, dass Lockdowns im Zuge der Pandemie dies erleichtern würden. Wochen nachdem Julien nach dem Ende einer jahrelangen Beziehung nach Portland gezogen war, um einen klaren Kopf zu bekommen, folgte ihm Max in der Hoffnung, mit seinem besten Freund und Co-Autor dem langen Winter in Chicago zu entkommen. Vier Tage später wurden die Flüge gestrichen. Anstehende Tourneen wurden abgesagt. In den nächsten 14 Monaten arbeitete die Band mit einem Eifer und einer Entschlossenheit, die an ihre Anfänge erinnerten, bevor der Erfolg die Erwartungen bestimmte. Aufgenommen in Texas mit den Produzenten Brad Cook und John Congleton ist "SPARK" ein inspirierendes Zeugnis für Durchhaltevermögen und Erneuerung geworden, für beste Freunde, die einander genug vertrauen, um sich gegenseitig auf die andere Seite zu tragen.

Das 11 Tracks umfassende neunte Studio-Album der
legendären britischen Pop-Band Suede um den
charismatischen Sänger Brett Anderson, wurde von dem
langjährigen Suede-Mitarbeiter Ed Buller produziert, die
Gruppe ging "zurück zu den Grundlagen" und arbeitete in
einem Aufnahmestudio im Londoner Stadtteil Kings Cross
daran. Anlässlich der Ankündigung des Albums hat die
Band den Titelsong "She Still Leads Me On"
veröffentlicht. "Autofiction" ist der Nachfolger des 2018er
Albums "Blue Hour" und erscheint auf CD, LP und streng
limitiertem Box Set incl. LP, CD, Signed Setlist, Stencils,
Poster und Postkarten.

Middle Eastern psych-rock collective Al-Qasar"s debut album is an explosive mix of heavy Arabian grooves, global psychedelia and North African trance music. The band calls it "Arabian fuzz." Brazenly electric yet deeply connected to their roots, guests include Lee Ranaldo (Sonic Youth), Jello Biafra (Dead Kennedys) and Alsarah (Alsarah & The Nubatones). Mixed by Alain Johannes (Queens of the Stone Age, PJ Harvey). Al-Qasar was born in the Barbès neighbourhood of Paris," explains band leader Thomas Attar Bellier. "I"ve lived in Los Angeles, Paris, New York, Lisbon... I wanted to start a project that was in tune with the daily life of people living in these international cities, something diverse, radically colourful, with a fresh, contemporary outlook on what societies really look like today". The musicians came together from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. In the same time frame, Attar Bellier collaborated with the likes of Emel Mathlouthi and Dina El Wedidi, two of the most exciting names in contemporary Arab music. Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. It is relentless and insistent, like a psychedelic celebration on the dancefloor, bristling with the kind of deep energy that makes Al-Qasar sound like the world"s most dangerous wedding band. During those years spent behind the control board, Attar Bellier made some good friends in the US, and they"ve been eager to help out on the project. Alain Johannes (Queens of the Stone Age, PJ Harvey) mixed the record, and Grammy-winner Dave Collins mastered it. The Dead Kennedys" Jello Biafra was a natural addition to "Ya Malak," his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record"s social critique while showcasing the first-ever English recording of Negm"s work. Jello Biafra is not the only punk hero to appear on Who Are We? Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, "Awtar Al Sharq" and "Awal." The sweeping drones embrace the Moroccan bendir groove to magical results. "Lee sent me upwards of eighteen guitar tracks," says Attar Bellier in amazement. "It was enough for an entire EP, and all so good. The hard part was deciding what not to use. Lee"s vibe just fit perfectly with what I was trying to do with the track." Who Are We? is an exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock"n"roll. It is modern folklore, a reflection of the cross-cultural societies we"ve become.

"Let The Lights On" ist die erste Single aus dem mit Spannung erwarteten zweiten Album der Nordlondoner Band Sorry. Das Album folgt auf das von allen Seiten gefeierte Debüt „925" und erscheint am 07.10.2022.

"Let The Lights On" wurde von Charlie Andrew produziert und wird von einem von MILTON & FLASHA gedrehten Video begleitet. Über den Song sagen Sorry: "Es ist ein lustiges Liebeslied für den Club. Ein bittersüßer Track für uns. Er handelt davon, dass man ehrlich sein und Dinge direkt sagen will, obwohl einen das am Ende auch ruinieren kann. Wenn du ein Licht hast, lass es nicht ausgehen... manchmal muss man Dinge zurücklassen, aber es ist schwer, das zu tun. Wir haben versucht, es ein bisschen ironisch zu machen, indem wir die Dinge sehr klar und direkt sagen. Es ist der letzte Song, den wir für das Album geschrieben haben, und er entstand, als wir versuchten, etwas Schwungvolleres für das Album zu finden. Er begann als tanzbarer Song mit treibendem Bass und Schlagzeug und wurde poppiger, als wir ihn mit der Band spielten und aufnahmen."

Recorded live in 10 days, with minimal overdubs, Shuttered Dreams is a blast of uncompromising truth reminding us to stay awake when the vultures are circling. The album was mixed by Sean Genockey (Shame, Richard Ashcroft, The Who, Black Crowes).

Margate in March 2021 was a time to test your resolve. If the wind howling round the closed down shops and cafes didn’t send you spinning out of control the out of season coastal melancholy could drag you down as surely as any dead eye mermaid. Add in a murderous virus and a frozen gig scene and it was a time to stay frosty and fight off the demons. Dan had some experience to draw on.

“Instead of baking banana bread or knitting, I decided to upgrade my home studio but after a couple of months of writing it was obvious that the songs needed to breathe as much as I did. They’re all about real people and raw feelings and I felt they wouldn’t get justice by being turned into zeroes and ones so early in life “.

It was decided to record the masters live with his new band featuring Dom Hall (drums), Henry Gabbott (bass) and Freya Warsi (vocals) and engineer friend, Harry Armstrong. Armed only with a Vox Marauder, a skeleton recording studio, and a pad of lyrics, Dan moved in with The Tenants to The Tom Thumb Theatre which like everywhere was closed for business but had just received Arts Council recovery funding and was offering residencies for artists.

“Musically I wanted to try to work within a strict palette of sound, using the same acoustic and electric guitars for every song, and Henry’s Wurlitzer and Mellotron to flesh things out a bit.” Dan explains, “We played all of the songs live, sometimes up to sixty or seventy times until we were happy with a take, we might then add a bit of extra electric, percussion or backing vocals, but what you hear on the record is pretty much what was happening in the room. That makes me feel proud, as all the records I love listening to were made in that way.”

You listening to INEX013, the new VA of the German based label inhale Exhale records. it's an atmospheric Ride thru
deep jazzy Sounds and Samples, but very danceable as well. We have old inex artists like Das Carma and new ones like
Bajazo. Stay tuned for good Music.

For Fans Of: The Flying Stars Of Brooklyn NY, Durand Jones & The Indications, Como Mamas, Eli Paperboy Reed, Naomi Shelton & The Gospel Queens. Things are looking up for The Harlem Gospel Travelers, who return here with a new album, a new lineup, and a new lease on life. Produced by Eli Paperboy Reed, Look Up! marks the group’s first full-length release as a trio, as well as their first collection of totally original material, and it couldn’t have come at a more vital moment. The music still draws deeply on the gospel quartet tradition of the ’50s and ’60s, of course, but there’s a distinctly modern edge to the record, an unmistakable reflection of the tumultuous past few years of pandemic anxiety, political chaos, and social unrest. The songs are bold and resilient, facing down doubt and despair with faith and perseverance, and the performances are explosive and ecstatic, fueled by dazzling vocal arrangements punctuated with gritty bursts of guitar and crunchy rhythm breaks. Born out of an non-profit music education program led by Reed, The Harlem Gospel Travelers singers Thomas Gatling, George Marage, and Dennis Bailey released their debut LP, He’s On Time, to rave reviews in 2019, with Pop Matters hailing the album’s “musical transcendence” and AllMusic praising it as “dreamlike and joyous.” The record charted on Billboard, earned the Travelers high profile fans like Elton John (who invited them to appear on his Rocket Hour radio show on Apple Music), and landed them festival slots everywhere from Pilgrimage to Telluride Jazz. Tracks: 1. Look Up! 2. Hold On (Joy Is Coming) 3. God's in Control 4. Help Me To Understand 5. Nothing but His Love 6. Fight On! 7. Hold Your Head Up 8. That's the Reason 9. Let Me Tell You 10. God Will Take Care of You 11. I'm Grateful

Global techno titan Josh Wink returns to his own Ovum Recordings for big new single 'Balls Back', which comes with a remix from Marco Faraone. Philly-born DJ, legendary producer and the man behind many of techno's most iconic cuts, Josh Wink remains as prominent now as he did a quarter of a century ago. That is because of the constant sense of innovation in all he does, as well as his rare understanding of dance floor dynamics and mastery of his studio. Says Josh of his latest track, “Every time I play this people rush over asking 'what is this track that says “get your balls back”?' Its reaction after playing has been amazing and reassuring that it hits hard, works on the floor, and sticks in people's heads.“ He's not wrong: the powerful 'Balls Back' is a spatial, acid-tinged techno stormer that builds and builds until it ultimately explodes in signature Josh Wink fashion. The 303s are saturated in deep processing along with heavy 909 percussion and a ‘slap-you-in-your-face’ vocal sample that will lead to dance floor devastation. The dub version is a raw, stripped down and faster-paced bass jacker that turns up the heat, and a Balls Tool is also included for dexterous DJ deployment. Italian Marco Faraone is a fellow techno heavyweight and one of the scene’s most versatile producers. He has brought his always impactful sounds to labels like Drumcode, Rekids and Etruria Beat. His remix is typically robust: vast, rolling drums power it along while glitchy percussion peels off the groove and the percussion gets ever more wild and heavy. It's a real main room monster. This is no-nonsense techno that perfectly marries form and function into a dynamite package.

Limited Edition Nora Steiner und Madlaina Pollina malen das Bild einer Welt, die wir schon lange nicht mehr so eindrücklich und reflektiert wahrgenommen haben. Aufbruch, Licht und Schatten und die Bedrängnis der Gegenwart, ausgedrückt in bezauberndem Indie-Folk-Pop, der Zähne zeigt und enorme Dynamik entwickelt. Mal erinnert ihr zweistimmiger Gesang an First Aid Kit, ihre kompositorische Zugänglichkeit lässt an den perlenden Pop von Boy denken, dann wieder geleitet uns das Duo an düstere Abgründe, wie sie auch Emily Jane White beschreibt. Allerdings sind dies nur ungefähre Orientierungspunkte. Dass die beiden aus der Schweiz kommen, ist grundlegend für deren Debütalbum "Cheers", denn "Cheers" heißt nicht nur Prost, "Cheers" kann ein Anfang und ein Ende sein, eine Begrüßung und auch ein Abschied. Dabei spielen Steiner & Madlaina gekonnt mit Ambivalenzen. Mal fließen ihre Songs lieblich daher, dann türmen sich die Instrumente walzenartig auf. Durch die analogen Sounds und teils surfigen Gitarrenklänge gewinnt "Cheers" an Wärme und transportiert einen unterschwelligen 60er-Jahre-Charme. Im Zentrum des Ganzen stehen aber immer die Stimmen von Steiner & Madlaina, die so perfekt harmonieren, dass man die Vertrautheit und langjährige Freundschaft der beiden herauszuhören meint.