Billy Bultheel's debut solo album is an ambitious distillation of the composer's sprawling litany of influences and his unique approach to site-specific composition. A compilation of pieces created between 2016 and 2023, the album is a forceful testament to Bultheel's expansive performance practice and collaborations with cutting-edge visual artists like Anne Imhof and James Richards.
ALTERNATE COVER[27,52 €]
Honour's debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Alàáfíà is a meditation on themes of life, death and love that pulls inspiration from the unexpected poetic profundity of casual conversations, field recordings, literature, ephemera, or personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language_substantiating a mythos proposed by Fred Moten that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal. Alàáfíà delineates a gothic landscape cut by overdriven beats, swooping orchestral blasts, choral bursts and ear- splitting fuzz, where the fleshly and spiritual realms commune. Dedicated to Honour's late grandmother, the title track began to take form after their last embrace and remains steeped in her influence and spirit_a tape-saturated composition that starts in Lagos and ends in London's smoke-stained cityscape, the song's dream-like quality developed out of the artist's grief and PTSD coping with this loss. Beneath the stretched guitar drones and stuttering loops, their grandmother's shared faith bubbles to the surface. "When Angels Speak of Love," borrows its title from two works by Sun Ra and bell hooks, respectively. Sculpting echoes of praise music into disorienting spirals perforated with syrupy DJ Screw-inspired breaks and sharp splinters of melancholic guitar, "When Angels Speak of Love" engages a conceptual dialogue with the spirits of both late thinkers, folding them into Honour's pantheon of ancestral guides. The album's ninth track, "Giz Aard ($uckets)," is a dirge of regimented drums which anchor this somber melody as it whirls into a blizzard of heartache, uncertain if its consequence will be death or eternal joy. The album's sole lyrical offering, "Pistol Poem (Lead Belly)," begins with a darkly humorous bar, "He went thru hell and back/ came back/ 2 get the strap," that swells into a haunting allegory based on the life of Philip "Hot Sauce" Champion. A modern take on the Blues, Honour's lyrics reify the artist's status as a student of both literature and popular culture, crossbreeding the artist's clever wordplay with additional references to Richard Pryor, Robert Johnson, Kelly Rowland & Bryon Gysin. Setting core principles of hip-hop, R&B, jazz and gospel music to atemporal soundscapes and compositions, Honour crafts a record that marinates in its own knotty contradictions. The ghosts that sit on the artist's shoulders have never been more tangible than with this emotive debut.
As Inagaki himself said, "I did black funk" by fusing the explosiveness of jazz rock that he had cultivated up until then with the tenacity and elasticity of black music, his musicality has leapt to another dimension. Combined with the ingenious arrangements of master Hiromasa Suzuki, the groove is polished, glossy, and shining mysteriously. All the songs are worth listening to, such as the dynamism and speed of "Painted Paradise" the coexistence of funkiness and mellowness of "Breeze" and the low-centered and sharp cover of Cool & the Gang's "Funky Stuff". It is now a definitive masterpiece that is in demand all over the world.
text by Yusuke Ogawa (UNIVERSOUNDS/DEEP JAZZ REALITY)
It’s time. Miami’s son, Nick León, is set to release his highly anticipated album “A Tropical Entropy” en su casa, TraTraTrax. After two #1 tracks of the year, “Xtasis” and “Bikini,” Nick expands his "Arquitectronica" sonic universe to an exploration of decay, disillusionment, and psychedelia.
Inspired by Joan Didion’s novel ‘Miami’ and his unique energy, as well as altered states of consciousness—both chemically induced and sleep-deprived—the album reflects León’s personal experience of witnessing life and love fall apart against the backdrop of a crumbling society. The album is a manifesto from start to finish featuring stellar collaborations with Ela Minus, Casey MQ, Erika de Casier, Xander Amahd, Jonny from Space, Esty & Mediopicky, and Lavurn.
You'll find hazy tracks for the body and the mind; tracks to dedicate and feel deeply; tracks for heartbreak and tracks with the promise of future love. You will find themes of memory, sleep deprivation, decaying wildlife, and the suburban still life of Florida. “A Tropical Entropy” captures the haunting feeling of watching life unfold like a broken video recording—frozen in the orange hue of a never-ending sunset, signalling the final days of an apocalypse. In the meantime, León and TraTra will continue to establish their influence on the global circuit and their mission to keep releasing edgy music that connects la mente con el qlo.
clear vinyl[22,48 €]
Originally released in September 2024 we continue the re-release of Clark’s recent catalogue with the chance to get some limited vinyl versions of ‘In Camera’. Since his first composition credit in 2016 with The Last Panthers (Warp) Clark has built a reputation for expanding film and TV scores into intricate, exhilarating soundworlds of their own. Here Clark has expanded his score for Naqqash Khalid’s award-winning debut feature ‘In Camera’ stretching out the film’s surreal ‘modern fairy tale’ atmosphere with reversed vocals and gauzy synthpop-esque chords. Of the recording process Clark says: “Using my vocals but abstracted in a way that totally matched the film was the most unique challenge. I was going to just include the cues but got far too into recording new stuff that fitted the tone and emotion of the film. The record has a very distinct colour/ feel. It’s drenched in muted joy/ dark euphoria”. This includes a gnarly cover of the Carpenters’ ‘Superstar’ that burns closer to the frazzled Sonic Youth version.
„Fresh Outta 'P' University“ ist das vierte Soloalbum von BOOTSY COLLINS aus dem Jahr 1997, das seinen unverkennbaren P-Funk-Sound zelebriert. Das Album ist eine funkige Reise durch humorvolle Texte und groovige Basslines, allesamt geprägt von Bootsys einzigartigem Stil. Das Album festigte Bootsys Ruf als eine der wichtigsten Figuren des Funk, und seine kreative Energie ist in jedem Song spürbar. „Fresh Outta 'P' University“ ist ein Muss für jeden Funk-Liebhaber, der sich von guten Vibes und tanzbaren Rhythmen mitreißen lassen möchte.Nachdem es 20 Jahre lang vergriffen war, ist dieses essenzielle Funk-Meisterwerk nun als Wiederveröffentlichung auf 2x180g-LP und CD erhältlich, bereit, die Party einmal mehr zu starten.
If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona's John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene. And those two releases also already set the mark for John Talabot’s unparalleled music: raw, loopy, heavy on the kick drum, sample based, moderate on the tempo, distorted on the drums and light years away from the clean and ever revolving house sound of today. This unique style which also blends influences from afro beat, Detroit techno, Chicago house and cosmic disco, but also northern soul or the energy of Flamenco, immediately turned some heads around. James Murphy, Âme and Aeroplane started including Talabot music in their sets like it was the most natural thing. However - and this is quite rare - he not only gained legions of fans in the house and disco community, but also amongst the leftfield pop and indie rock followers. NME and Resident Advisor both had “Breakthrough“ features on John Talabot and he can be proud of a “Best New Music“ dubbing on
Pitchfork. (Being rather elusive on showing his face in magazines or the web it also came to some funny rumors that John Talabot was the alter ego of a well-known techno producer from Detroit).
At the same time he drew the attention of like-minded artists like James Holden and Luke Abott from Border Community, Blondes or Delorean, which lead to a bunch of fertile collaborations: Luke Abbott and Blondes remixed Talabot’s “Sunshine“ single , John Talabot remixed a track by Delorean and vice versa Delorean’s Ekhi contributed vocals to the track “Journeys “ on John’s album). Another example is the Young Turks Label (home of Jamie XX, Holy Fuck, El Guincho or SBTRKT ) on which he released the “Families“ EP in 2010. It was praised beyond limits. Pitchfork for
instance hailed: “… where pop and house influences sweetly buffer up against one another to provide an unyielding sense of elation“ and even brought Talabot a comparison with artists like Four Tet or Caribou.
While staying true to his sound, John Talabot has nevertheless shown a constant evolution as a producer since his first release. He has traced a solid musical path that has turned him into one of the big references of European House and has made him also a highly in demand Remixer (for the likes of The XX, Francesco Tristano’s “Aufgang” project, Shit Robot on DFA, Thaiti 80, Joakim or Teengirl Fantasy to name just a few ).
A progression that now crystallizes in “ƒin”, his first full-length album for Permanent Vacation. A record, in which the Barcelona mastermind sets aside the danceable immediacy to expand his stylistic palette more than ever. For that purpose, Talabot melts all the elements that have constructed his distinctive sound until now and makes them emerge from a new perspective, in which the construction of complex song structures, intricate rhythms and superpositions of ever-evolving melodies and atmospheres pick up the baton of the “a kick-drum and a sampler” philosophy of his initial productions. The result brings us 11 tracks (we should call them songs really!) dominated by dark ambiances, gaseous textures and bittersweet moods that, above all, reveal a kind of vivacity that’s really hard to find in contemporary electronics. “Fin” is far from being a track collection. From the majestic opener “Depak Ine“ to it’s solemn ending with
“So Will Be Now“ , one of the two tracks that features Talabot’s soul and label mate Pional, each song traces an overall dialogue with the rest, culminating a highly emotional journey through Talabot’s always compelling and unique musical vision.
François and Sylvain Rabbath have turned six years of touring into a joint album that patiently and intensely distills a variety of musical flavors gathered from around the world.
Since the early 1960s, François Rabbath's double bass has resonated through enough landmark recordings to fill several shelves in a record collection. As an arranger, composer, and musician, his imprint on music goes far beyond his collaborations with Barbara, Paco Ibáñez, Charles Aznavour, or Édith Piaf. Aspiring double bassists owe him a groundbreaking method for learning the instrument. Born into a lush musical universe that quickly became his own, his son Sylvain first accompanied him on his travels before settling at the piano and sharing stages around the world at his side.
Those years of accumulating visas in their passports were put to good use by father and son. The continents, countries, and cities they passed through became a rich source of inspiration for composing Amall, the album by the Rabbath Electric Orchestra.
Long hours spent in the air or on the road, watching passing landscapes that never stayed the same, were transformed into compositions imbued with the atmospheres of the places they crossed or visited. Inspiration sometimes struck with force, like a green oasis appearing in a desert of stone—unexpectedly, as glowing red rocks suddenly dominated an otherwise open landscape with an endless horizon, while the mind wandered into a state between meditation and introspection.
Born from these travels, the pieces took on their final colors once brought into the studio, refined, and finally arranged to welcome the guitars of Keziah Jones and Matthieu Chedid, the piano of Laurent de Wilde, the bass of Victor Wooten, the saxophone of Raphaël Imbert, and the percussion of Minino Garay. Enhanced by the scale of the jazz-soul orchestrations, by the richness of arrangements bursting from strings, brass, rhythms, or keyboards, the epic breath of vast plains became ingrained. The urban tension of funk, echoing their movements, found its place—alongside more electric expressions or the ambience of a darkened room.
Melancholic and melodious, expressive and edgy, the bowed double bass—played in the high register where few dare to go—emerged as the musical guide. One that draws a path between Seville and Minneapolis, connects François Rabbath's native Syria to France, and bridges South America to Europe. It sets the tone to follow—the emotion that will carry the piece, and if not filled with light, will carry it there nonetheless.
Musical visions packed in luggage, transported in cargo holds, or imprinted in their minds just long enough to cover the distances to the next stop—father and son deepened their bond, beyond family and art. And their hands have never held each other more tightly.
François et Sylvain Rabbath ont fait fructifier six ans de tournées pour un album commun distillant patiemment et intensément la variété de parfums musicaux récoltés autour du monde.
Depuis le début des 60’s, la contrebasse de François Rabbath résonne dans assez de références pour combler plusieurs étagères d’une collection de disques. Arrangeur, compositeur, musicien, l'empreinte laissée dans la musique va bien au-delà de ses collaborations avec Barbara, Paco Ibanez, Charles Aznavour, ou Edith Piaf. C’est à lui que les
apprentis contrebassistes doivent une méthode novatrice pour apprendre l’instrument.
Né dans un univers musical luxuriant qui est vite devenu aussi le sien, c’est d’abord dans ses voyages que son fils Sylvain l’a accompagné, avant de s’installer au piano, et parcourir les scènes du monde à ses côtés. Ces années où les visas se sont entassés sur leurs passeports, père et fils les ont mises à profit. Continents, pays, et villes qui se sont succédés sont devenues un gisement pour composer Amall, l’album du Rabbath Electric Orchestra.
Les longs moments passés dans les airs ou sur la route à contempler un paysage qui défile sans pour autant rester le même, se sont convertis en compositions habitées par les ambiances de ces endroits traversés ou visités. Là où l’inspiration s’est imposée parfois brutalement, sous
la forme d’un oasis de verdure surgissant au milieu d’un désert de pierres. Au hasard d’imposantes roches rougeoyantes s’invitant dans un paysage jusqu’alors dégagé sur un horizon sans fin, quand l’esprit se laisse aller à un mélange de méditation et d'introspection.
Nés de ces pérégrinations, les titres ont pris leurs couleurs définitives une fois ramenés en studio, peaufinés puis, enfin, pensés pour y inviter les guitares de Keziah Jones et de Matthieu Chedid, le piano de Laurent de Wilde, la basse de Victor Wooten, le saxophone de Raphaël Imbert, les percussions de Minino Garay. Sublimé par la dimension des orchestrations jazz-soul, par la richesse des arrangements jaillissant des cordes, des cuivres, des rythmiques ou des claviers, le souffle épique des plaines immenses s’est imprimé.
La nervosité citadine du funk rythmant les déplacements a trouvé sa place, non loin d’une expression plus électrique ou d’une atmosphère de salle obscure.
Mélancolique et mélodieuse, expressive et nerveuse, la contrebasse jouée à l’archet, dans les notes hautes du manche où peu s’aventurent, s’est érigée en guide musical. Celui qui trace le chemin entre Séville et Minneapolis, relie la Syrie natale de François Rabbath à la France,
réduit la distance entre l’Amérique du Sud et l’Europe. Donne la note à suivre, l’émotion qui traversera le morceau qui, s’il n’est pas habité par la lumière, le portera néanmoins jusque là.
Visions musicales mises dans le coffre, transportées en soute ou imprimées dans l’esprit le temps de couvrir les distances qui les mèneront aux prochaines, c’est côte à côte que père et fils ont prolongé leur lien par delà des seules limites familiales et artistiques. Et leurs mains ne se sont jamais serrées aussi fort.
credits
If you're a serious music fan but not a native Kiwi, your first awareness of New Zealand's fab music scene may have come from the debut of The Chills' mesmerising Kaleidoscope World collection of early singles. Within a few years, a great number of NZ acts saw music released by various UK and US labels . . . generally to great praise and enthusiasm. That this occurred without any of these acts having to move abroad to further their chances was nearly as delightful a feat as the music itself. The exception to this was Dead Famous People, radical in a snap decision after a five-song 12" for Flying Nun, Lost Persons Area, to change hemispheres and make a go for it in London. It started well. Three London recordings were added to three from their Flying Nun EP and put out by Billy Bragg's Utility label - about as perfect a mini-album as there's ever been. Response was positive, more songs recorded, the group did a John Peel session and played out often, but the vaguely impoverished group began to fall apart. Singer and primary writer Dons Savage - determined to make it - had a near-miss at becoming Saint Etienne's singer on an early take of their 'Kiss And Make Up' cover, and there was a fine performance from her on The Chills' 'Heavenly Pop Hit' . . . but dismay had set in. Upon learning of her mum's passing back home, Dons returned to NZ and was quiet for decades. Most of their London recordings were later released later in minuscule quantities by very small labels, but these saw scant press or attention and enjoyed next-to-no sales. Their moment had passed, and the band has suffered the strange fate of being the least-known of the truly brilliant acts associated with Flying Nun. Listening to these `lost' songs, it seems unfathomable that they could have fallen by the wayside. No NZ songwriter comes as close to equalling Martin Phillipps' pop brilliance as Dons. Her superbly sweet vocals, delicious harmonies and sophisticated arrangements aside, the songs dealt perceptively with universal follies of youth and yearning in tandem with a then-unusual twist of lyrics dealing matter-of-factly with her sexuality at a time when `women's music' was seen as exclusionary (segregated into its own bin in shops, if it existed there at all), and the riot grrrl movement was years away, later breaking through due to its radical stance. Dons is a pioneer in myriad ways, the irony of her transcendent brilliance failing to propel a greater career may rest in the fact that she leapt to the head of the class too quickly for people to grasp it; a fate that's befallen so many musical geniuses acknowledged today but less in their time - something rather tragically acknowledged in old pal Martin Phillipps' song with The Chills, 'A Song For Randy Newman, Etc.' None of these thirteen songs fails to deliver something both immediate and unique. And we're proud to debut 'Vampirella"', a magical fantasy song of longing and intrigue - surely one of the most perfect tunes to ever sit around unreleased for decades! Dons is again busy conjuring new songs; in the meantime we're delighted to unveil these obscure gems from the past.
Running with Scissors is a cathartic heart ache and, ultimately, a therapeutic exploration of what it means to be alive—to love, to grieve, to regret, and to grow. It pulses with rawness and authenticity, sincerity and honesty, offering both solace and strength to anyone navigating their own emotional journey.
Running with Scissors is the third full-length album from Canadian trio Afternoon Bike Ride. Residing in Montreal, the group is made up of Lia (vocals, guitar, programming), David (vocals, guitar, drums, programming), and Éloi (vocals, keys, drums, programming). Since their formation in 2019, the band has released numerous projects where indie rock blends with acoustic pop, ambient field recordings, and lofi folk.
With each track on the new album, the three artists explore the rollercoaster ride of life’s most profound lessons—falling in and out of love, embracing grief, and navigating the complex spectrum of human emotion. The album feels like a series of journal entries, capturing moments of vulnerability, self-discovery, and personal growth. A lot has changed since their formation in 2019 but their hearts are still in the right place. Lead singer and songwriter Lia reflects on the bittersweet realization that life is an ongoing journey and we’ll never have all the answers, but we can still find meaning through love, meaningful connection, and the lessons that shape us. If life is one big lesson, then according to Lia, "I guess these songs are some classes I've taken."
The twelve song soundscape blends raw, emotional acoustic elements with subtle electronic layers and indie rock grunge, creating a textured blend that feels as vast and intimate as the album’s themes. It’s an immersive record that shifts perspectives, from the micro to the macro, zooming out to explore the universe and zooming in on the personal experiences that define our lives. Throughout the album, ABR explores the beauty of feeling deeply while embracing both the intensity of emotion and the struggles of finding purpose. "I'm finding my way through this world now," says Lia, "with the comfort of knowing I'll never know it all.”
D Stone debuts on Heist Recordings with a record that shows us why he's one of the hottest talents in house music right now
Chloe Caillet is in on it. Cinthie is in on it. SG lewis and Demi Riquísimo are in on it too. So are Folamour, Barry Can't Swim and, of course, Dam Swindle. In on what exactly?
In on the fact that D Stone might be the most exciting young producer and DJ you will find in the house scene right now. Oh, and he's also a great guy who says Heist was his dream label to release on. When we found out we were fans of on each other, it was only logical that we signed his 'Time Selection' EP; A 5-track record that shows us how cool and catchy underground house music can be if it's done well.
D Stone, born Daan Steenhuizen has had a meteoric rise in the scene in the past years and has only just finished his study at the Conservatory, where Lars was one of his mentors. His vinyl debut was on Cecille in 2023 with that absolute anthem 'Total unison'. He then released on Cinthie's 803 Crystal Grooves in 2024 and has a busy 2025 with releases on Chloe Caillet's label Smiile, Semi Delicious, a release planned for Barry Can't Swim's fresh label 'Earth's only paradise' and now, Heist. He's been touring relentlessly in between, already playing legendary places like Ibiza's Pikes, Amsterdam's Shelter and with big shows planned at Warehouse project and in Australia, you can just feel all the right things happening for him.
The 'Time Selection' EP kicks off with 'Yes I Am', an upbeat house track with plenty of hints of the old school, playful vocal chops and above all, some lovely piano work. It's stripped back, but full of energy, with driving 909 percussion, retro flutes and a rolling bass line. It's as much a pallet cleanser in a set as it is a teasing mid-set highlight.
'Move Over' features the vocals of ELY and sees D Stone dive deeper into vintage house territory, with a classic bassline and percussion that stays true to the core of the classic drum machines, hinting as much towards the electro-pop sound of New Order and the futurism of early Mr. Fingers releases. The vocal is daring and cute at the same time, and does a great job tapping into the nostalgia of the pop-house cross-over songs of the early 90s.
'Time Selection' is arguably the heaviest cut of the record, much in style of his breakthrough track 'Total Unison'. This track is built around a strong piano theme, supported by driving 909 drums, strings and cleverly placed disco bleeps to keep the track accessible and uplifting. Add to that a big breakdown, and you'll understand why we've been reaching for this track peak set for the past months.
On the flip, we've got 'One Thing', a subtle and introverted track built around a bumpy disco bassline with a hook that's silly on first listen but will end up being the one thing you'll keep humming for the rest of the day. In short, it's a banger in disguise.
The last track of the EP is 'Everything from the Organ', a track where D Stone is not afraid to show his love for throwback ravey elements. There's organ licks, horns and chopped vocals that propel you straight to the front-left of whichever dancefloor D Stone is reigning at that moment.
Don't sleep on the Heist debut of one of Amsterdam's biggest talents, cause this one will go like hot cakes! As always, enjoy the music and play it loud!
Yours, Maarten & Lars
Mit der neuen Single ,Die 10 Gebote der Jungpianiere" auf der A-Seite und dem Klassiker ,Skandal im Sperrbezirk" auf der B-Seite bringen sie Punk-, NDW- und Rock-Attitüde zurück in die Jetztzeit. Mit ,Die 10 Gebote der Jungpianiere" präsentieren PIA UNITED nicht nur einen Song, sondern gleich ein Manifest für ihre stetig wachsende Fan-Community. Im Mittelpunkt steht die charismatische Frontfrau Frollein Höhne, die gemeinsam mit ihren drei erfahrenen Mitstreitern General, Sir Herle und Costja Chaos musikalisch und textlich klare Kante zeigt: Freude am Anderssein, rebellischer Humor und Zusammenhalt beschreiben das Lebensgefühl der Pianiere. Der B-Seiten-Hit ,Skandal im Sperrbezirk" (feat. Jogi von HARTHOLZ) taucht die NDW-Legende der Spider Murphy Gang in ein neues Licht - visuell und soundtechnisch frisch aufgeladen. 2 Track 7" in schwarzem Vinyl Auflage: 300 Stück, handnummeriert Inside out print, + Post- und Mitgliedskarte
Blue House Rockin’ is the result of a unique collaboration between Soul Sugar and Dub Shepherds — two projects united by a shared love for roots reggae, vintage studio gear, and warm analog sound.
The album was recorded live over two intense days at Blue House Studio by Christophe “French kiss” Adam, using ribbon and tube microphones from the ’50s and ’60s from the ’50s and ’60s, a Hammond organ, upright piano, Fender bass and Gibson guitars, classic amps and preamps, along with drums, syndrums and percussion. The sessions were transferred to a 24-track tape machine, and final mixes were crafted the old-school way by the Dub Shepherds at their own Bat Records Studio, using analog consoles and hardware vintage effects.
The tracklist brings together deep cuts, timeless classics, and original compositions. Curtis Mayfield’s Give Me Your Love and Aaron Frazer’s My God Has a Telephone (Colemine Records) — two soul gems, one vintage, one modern — are reimagined in reggae style, both featuring the great Jolly Joseph on lead vocals, working wonders with his falsetto. He also shines on Hold My Hand, a sweet and mellow original composition with lovers rock flair, written on the spot during the session.
Other standout moments include the soulful fire of UK singer Shniece McMenamin, who lights up Family Affair (Mary J. Blige / Dr. Dre) — flipped into a fiery hip-hop-meets-reggae version packed with energy and attitude.
Instrumentals like Disco Jack, Choice of Music, and Drum Song — all originally composed by Jamaican organ legend Jackie Mittoo — bring Guillaume “Booker G” Metenier’s Hammond work to the front. The playful exchange between organ, guitar, and a rock-solid rhythm section is elevated by swirling spring reverb, dub echoes, and filter sweeps.
The album’s explosive title track — Blue House Rock — was composed and recorded on the spot at the end of the session. A raw, greasy groove that sounds like The Meters jamming at Studio One or a lost instrumental from a Beastie Boys B-side.
Blue House Rockin’ is a vibrant blend of soulful roots reggae and funk, wrapped in the deep, dusty tones of analog tape. A joyful and authentic studio experience, captured live — and played loud.
Strut Records proudly presents the official reissue of Hidden Fire Volumes 1 & 2, the final album released by Sun Ra on his El Saturn label in 1988.
Captured live over three nights at the Knitting Factory in New York City, these performances mark the closing chapter of a 33-year odyssey of radical, independent music-making. Originally issued in tiny quantities with minimal packaging and cryptic artwork—often featuring hand-written labels or Ra’s own handmade designs—Hidden Fire was among the most elusive entries in Sun Ra’s vast discography.
Musically, these recordings stand apart from Ra’s other '80s compositions. Here, Hidden Fire plunges into darker, more dissonant territory. Ra performs exclusively on the Yamaha DX7 synthesiser, pushing its digital sound palette into alien dimensions. The Arkestra lineup is uniquely configured, featuring a rare and heavy string section with three violins, including the legendary Billy Bang, and the singular space vocalist Art Jenkins, whose eerie textures and vocalisations had not been heard so prominently since the early 1960s Choreographers Workshop sessions. The music is raw, unsettled, and often overwhelming.
“Retrospect / This World Is Not My Home” opens with a palindromic riff that evokes Ellington before unraveling into a stark sermon from Ra, warning of death’s dominion over Earth-bound minds. “Hidden Fire Improvisation” is a furious explosion of tone science, with Marshall Allen, Billy Bang, and John Gilmore delivering fire-breathing solos over relentless drumming and Ra’s cascading synth clusters. “Hidden Fire Blues” offers a warped, electrified version of Ra’s familiar blues feature, led by Bruce Edwards on guitar and Rollo Radford on electric bass, transformed through the haze of DX7 textures. “My Brothers The Wind And Sun #9” evokes the experimental weight of The Heliocentric Worlds with its crashing percussion, pulsing synth-vocal duets, and string- driven chaos that seems to spiral into oblivion.
Even the quieter moments—such as “Hidden Fire II,” a duet between Ra and Art Jenkins—feel thick with unease and shadowy beauty. These performances represent a Sun Ra less concerned with cosmic joy or outer-space swing, and more focused on conjuring portals to the unknown.
Remastered from original sources and presented with archival photos, new liner notes by Paul Griffiths, and restored artwork inspired by the original Saturn editions, this reissue offers a definitive window into the last creative surge of one of music’s most visionary figures across two Vinyl LP’s.
Impressed is proud to present Cousin Tony's Brand New Firebird's fourth album - Rosewater Crocodile, in partnership with our friends at Double Drummer. Cousin Tony's Brand New Firebird is one of Melbourne's most loved bands of the past decade. Lachy Rose's inspiring and moving songs, and the band's joyous live performances make for lifelong memories. Known for their soaring live sets, euphoric horns, and Lachy Rose’s soul-stirring vocals, Cousin Tony’s Brand New Firebird have carved out a reputation as one of Australia’s most emotionally resonant and joy-filled live acts. Their last hometown show saw over 1300 fans pack out The Northcote Theatre. To celebrate the release of their highly anticipated fourth album, Rosewater Crocodile, the beloved Melbourne five-piece will hit the road in 2025 for a national run of shows that promises to be nothing short of unforgettable. Expect brand new tracks, fan favourites, and all the heart, energy and connection you’ve come to love. As Upside Adelaide put it: “These songs soar live — harmonies, synth and sax in perfect unison.”
Die 8. "Peace Chant"-Ausgabe legt den Fokus ein weiteres Mal auf deutsche Produktionen. Mit dabei ist Seltenes (Fences), Unveröffentlichtes (Music Community), aber auch die ein oder andere €10 Platte. Alleine die Tatsache, dass eine Original-LP selten/teuer ist, macht sie für die Tramp Records Crew nicht interessant. Es geht ihnen primär um die Musik. Und wenn sie ein Song überzeugt, kommt er in die engere Auswahl. In der Tat ist es so, dass viele etablierte Reissue-Labels zu oft Platten oder Songs ignorieren und nur deswegen nicht wiederveröffentlichen, weil sie in der Sammlerszene nicht gesucht sind. Tobias Kirmayer und seine Mitstreiter haben es sich auf die Fahne geschrieben, gegen diesen Missstand vorzugehen. Ein gutes Beispiel hierfür wäre "Sabanone", ein Titel von Büdi Siebert's Formation mit dem herrlichen Namen HerrGottSax. Die Original-LP kostet um die €15. Sämtliche Titel erscheinen zum ersten Mal auf CD und LP. Formate: * Deluxe-CD mit 24-seitigem Booklet mit ausführlichen Linernotes und unveröffentlichten Fotos * Schwarzes Bio-Vinyl im Gatefold mit ausführlichen Linernotes, unveröffentlichten Fotos und Download-Code
BLUE & YELLOW GALAXY SWIRL VINYL[26,01 €]
Mit ihrem vierten Album voller Eigenkompositionen lädt die eigenwillige Singer-Songwriterin Kendra Morris dazu ein, in die DIY-Kaleidoskopwelt von Next einzutauchen. Morris' neuestes Album für Karma Chief verzichtet auf vielschichtige Produktionen und glatte Sounds und präsentiert Kendra von ihrer authentischsten Seite, mit einem kreativen Prozess, der lebendig, schön und chaotisch ist und von Herzblut und der unvollkommenen Perfektion des Augenblicks getragen wird. Als Konzeptalbum in umgekehrter Reihenfolge verbindet ,Next" Kendras Figuren mit einem Vintage-Brettspiel im Stil von Milton Bradleys besten Retro-Würfelspielen. Begeben Sie sich auf die Reise von Block zu Block durch Next, und dieses Universum offenbart sich Ihnen. Sie können hören, wie die Klangpalette mit Morris' Einflüssen und Inspirationen mitschwingt. Jahrzehntelange New Yorker Klänge und Stimmen verschmelzen an den Nahtstellen dieser Tracks - eine Welt, in der das Brill Building und Warhols Factory im selben Block florieren, während Blondie und die Frightnrs rockige Sounds erkunden. Doo-Wop und Boom-Bap untermalen den Cut-and-Paste-Stil eines UHF-Senders, während Morris, eine Künstlerin, die sich hinter der Kamera genauso wohlfühlt wie vor dem Mikrofon, das Tempo vorgibt. Kendra Morris und Karma Chief Records laden Sie ein, mit Next mitzuspielen, einer akustischen Reise, auf der Würfeln für Spannung und Abenteuer steht. Es ist Next, komplett mit 10 Tracks und stundenlangem Spaß für die ganze Familie. Einige Teile müssen zusammengebaut werden. Plattenspieler, CD-/Kassettenplayer oder Streaming-Dienst sind separat erhältlich.
Mit ihrem vierten Album voller Eigenkompositionen lädt die eigenwillige Singer-Songwriterin Kendra Morris dazu ein, in die DIY-Kaleidoskopwelt von Next einzutauchen. Morris' neuestes Album für Karma Chief verzichtet auf vielschichtige Produktionen und glatte Sounds und präsentiert Kendra von ihrer authentischsten Seite, mit einem kreativen Prozess, der lebendig, schön und chaotisch ist und von Herzblut und der unvollkommenen Perfektion des Augenblicks getragen wird. Als Konzeptalbum in umgekehrter Reihenfolge verbindet ,Next" Kendras Figuren mit einem Vintage-Brettspiel im Stil von Milton Bradleys besten Retro-Würfelspielen. Begeben Sie sich auf die Reise von Block zu Block durch Next, und dieses Universum offenbart sich Ihnen. Sie können hören, wie die Klangpalette mit Morris' Einflüssen und Inspirationen mitschwingt. Jahrzehntelange New Yorker Klänge und Stimmen verschmelzen an den Nahtstellen dieser Tracks - eine Welt, in der das Brill Building und Warhols Factory im selben Block florieren, während Blondie und die Frightnrs rockige Sounds erkunden. Doo-Wop und Boom-Bap untermalen den Cut-and-Paste-Stil eines UHF-Senders, während Morris, eine Künstlerin, die sich hinter der Kamera genauso wohlfühlt wie vor dem Mikrofon, das Tempo vorgibt. Kendra Morris und Karma Chief Records laden Sie ein, mit Next mitzuspielen, einer akustischen Reise, auf der Würfeln für Spannung und Abenteuer steht. Es ist Next, komplett mit 10 Tracks und stundenlangem Spaß für die ganze Familie. Einige Teile müssen zusammengebaut werden. Plattenspieler, CD-/Kassettenplayer oder Streaming-Dienst sind separat erhältlich.
Will Johnson und die verbleibenden Mitglieder der beliebten Band Magnolia Electric Co. haben sich für neue Aufnahmen als Magnolia & Johnson Electric Co. zusammengetan. Im September werden Magnolia & Johnson Electric Co. ihrem verstorbenen Kollegen Jason Molina Tribut zollen und vom 18. bis 21. September 2025 vier Konzerte in Texas geben. Will Johnson ist der texanische Songwriter von Centro-matic, South San Gabriel und derzeitiges Mitglied der 400 Unit mit Jason Isbell. Johnson veröffentlichte im April 2025 sein zehntes Soloalbum "Diamond City" und war Teil des 2009 erschienenen Gemeinschaftsalbums "Molina and Johnson", für das eine Tournee aufgrund von Molinas Alkoholproblemen abgesagt werden musste. Die vier Konzerte folgen den ausgetretenen Pfaden von Molina und Magnolia während ihrer sieben Jahre als Magnolia Electric Co. und markieren den 20. Jahrestag einer Texas-Tournee, die 2005 zur Unterstützung der Alben "What Comes After the Blues" und "Trials and Errors" stattfand. Magnolia & Johnson Electric Co. (mit Will Johnson und Mike Brenner, Jason Evans Groth, Michael Kapinus, Mark Rice und Pete Schreiner) trafen sich Anfang des Jahres in Texas, um neue Studioversionen der Songs von Molina und Johnson aufzunehmen, angelehnt an die 2018er Zusammenarbeit "Goshen Electric Company" von Magnolia und Oaks erinnern. Die Sessions wurden von Johnsons langjährigem Kollegen Britton Beisenherz aufgenommen und gemischt und von Magnolia-Mastering-Ingenieur Matthew Barnhart gemastert. Das Cover ziert ein ikonisches Artwork von Will Schaff, dessen Kunstwerke mittlerweile untrennbar mit Jason Molinas Songwriting verbunden sind.
