Cerca:uni

Roadrunner United war ein Projekt des berühmten
Hardrock-Labels Roadrunner Records, das 2005 zur Feier
des 25-jährigen Bestehens organisiert wurde und seinen
Höhepunkt in den "All-Star Sessions" fand, einem Album,
das für Chart-Platzierungen in Deutschland, den USA,
Großbritannien und weiteren Ländern sorgte. Vier
"Spielführer" (Joey Jordison von Slipknot, Robb
Flynn von Machine Head, Dino Cazares von Fear
Factory und Matthew K. Heafy von Trivium) wurden
auserkoren, sich mit 57 Artists aus 45 ehemaligen und
aktuellen Roadrunner-Bands einzufinden. Ein
Metal-Familientreffen der besonderen Art!
Ab dem 10. März 2023 sind sowohl das Original-Album
der "All-Star Sessions" als auch das Konzert selbst in
Vinyl wieder erhältlich.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Three years after the release of his critically acclaimed album "Salone",
Bai Kamara Jr returns with "Traveling Medicine Man", a 13-track
collection of blues songs portrayed in Bai's unique style
In a descriptive, provocative and sometimes suggestive way, the tales of love, life,
relationships, politics and innuendo are meticulously explored by the
raconteur.''Traveling Medicine Man is the continuation of my introspective journey
through my roots and my perpetual quest to make my two homes, Africa and
Europe, coexist within me. The title was inspired by my maternal grandfather
Tinka Tanner Kargbo, born in 1901 in the Northern Province of Sierra Leone. He
was educated by the Wesleyan Missionaries and later traveled with them across
the country to help provide medical care to villagers and townspeople. I was
fortunate enough to have spent some time with my grandfather when I was still a
child, and one of the things that fascinated me the most about him was his ability
to reconcile his Christian beliefs with his traditional African beliefs and
customs.'' (Bai Kamara Jr)For the making of this album Bai brought his touring
band, The Voodoo Sniffers, into the studio; these exceptional musicians
contributed to Bai's unique and evolving sound. With a percussive nature at the
heart of the arrangements this rootsy blues is spiced up with an afro vibe, making
you want to get up and dance more often than not. May your listening experience
be soothing and pleasurable with a healing effect

Following the tumultuous riots of the late 60's, youths in Washington, DC were looking for two things: positivity and an outlet to relieve tension. MUGO, aka "Music, Unity, Guidance, & Organization", offered just that. Formed by 8 high school friends during the summer of 71', this high-octane machine was driven by Manager and retired Marine Sgt. Reuben McNair Sr. His son, Reuben McNair Jr., was a leader within the group, and consequently wrote the B-side of their only public release. This cut, entitled "Space Travel", boasts a driving rhythm section as well as synthesizer overdubs likely to captivate even musically ambitious extraterrestrials. The flip, "Organize", became the group's unofficial theme song; submitting to the public a deft vocal response to rampant inner city blues.

American trumpeter Blue Mitchell, as his name suggests, had a sound rooted mostly in the blues. He was a Blue Note artists who recorded this album in 1966 and included in it is 'Portrait of Jennie' which was a ballad originally written for the movie Portrait of Jennie in 1948. Guests Jimmy Heath, Tom McIntosh and J. Russell Robinson all feature across the six tunes which mix up modal harmonies with some lyrical moments and groove-driven and subtly funky rhythms. It's a rare one to find on vinyl so do not sleep on this reissue.

The godfather of soul found himself dipping into jazz on this classic but lesser-known album, Soul On Top (Verse By Request Series). Now getting a proper reissue treatment it is sure to convert many new fans to his abilities across the six sizzling tracks from this 1969 album, which includes the classic 'It's a Man's, Man's, Man's World' and a new version of 'Papa's Got A Brand New Bag'. Brown provides the vocals to a 18-piece big band set up that was led by drummer Louis Bellson and arranged by Impulse! star Oliver Nelson. Brown always said he was a jazzman at heart and this goes some way to proving that, with saxophonist Maceo Parker adding plenty of vital swing.

Am 20. Januar 2023 erscheint das mit Spannung erwartete neue Album von Lukas Graham, ‘4 (The Pink Album)’. Ab sofort könnt ihr euer eigenes physisches Exemplar exklusiv als leuchtend pinke Limited Edition CD oder LP vorbestellen – die beide einen exklusiven zusätzlichen Track „Hard Way“ enthalten.

‘4 (The Pink Album)’ besteht aus 12 Songs von der bemerkenswerten musikalischen Reise von Lukas Graham – einem weltweiten Phänomen, das die kleine Kommune Christiania in Kopenhagen mit seiner unverwechselbaren Mischung aus Pop und Soul, einer charismatischen, ausdrucksstarken Stimme und echter Poesie berühmt gemacht hat. Auf ‘4 (The Pink Album)’ reflektiert Lukas nicht nur über sein Leben, sondern entwickelt sich auch zu dem, der er sein soll.

Die Veröffentlichung von ‘Lie’ Ende 2019 war der erste Vorbote des neuen Albums. 2020 folgte der weltweite Megahit ‘Share That Love’ feat. G-Eazy und dieses Jahr der gemeinsam mit Ryan Tedder von
One Republic geschriebene Track ‘Wish You Were Here’ feat. Khalid. Auf dem unveröffentlichten Track ‘Home Movies’ ist der vierfach GRAMMY-nominierte Countrysänger Mickey Guyton als Gast zu hören.

‘Hard Way’ erscheint exklusiv auf dem physischen Pre-order.

Eat Your Heart Out - Caitlin Henry (Gesang), Andrew Anderson (Gitarre), Will Moore (Gitarre), Dom
Cant (Bass) und Jake Cronin (Schlagzeug) - aus Newcastle, Australien, stehen in der Tradition der beeindruckenden australischen Geschichte musikalischer Ausreißer von Nick Cave und Silverchair bis hin zu
The Amity Affliction und Parkway Drive, aber sie tun dies eindeutig auf ihre eigene Art und Weise. Das
Grunge-Pastiche der Gruppe aus Emo-Energie, Punk-Power und Pop-Schmackhaftigkeit sorgte bei ihrem
Erscheinen im Jahr 2012 sofort für Begeisterung auf der ganzen Welt. Sie brachten drei von Fans geliebte
EPs heraus - Distance Between Us 2015, Carried Away 2017 und Mind Games 2017 -, bevor sie 2019
ihr richtiges Debüt in voller Länge, Florescence, veröffentlichten. Zu den vielen herausragenden Songs
gehört ”Carousel”, der 2,6 Millionen Spotify-Streams erreicht hat, Tendenz steigend. Das Hysteria Mag
schwärmte: ”Florescence ist ein Meisterwerk einer Band, die erwachsen wird und sich schnell zu einem der
besten Rockexporte Australiens entwickelt.” Dazwischen waren sie mit Bands wie Trophy Eyes, Hands Like
Houses, Knuckle Puck, Real Friends und anderen auf Tour. Ende 2020 richteten sie ihre Aufmerksamkeit
auf das, was Can’t Stay Forever werden sollte. Jedes Mitglied verbrachte fast das gesamte nächste Jahr
damit, Songs zu schreiben, wobei sie auf prägende Einflüsse wie Jimmy Eat World und Taking Back Sunday
zurückgriffen.

Deep suspension, tribal minimalism, and delicate whispers dominate the textured and meditative spaces of Zemög's universe. The imaginary and exuberant places, the waves that travels above the crystal clear water, the mist and the path to an unknown mountain. The drums resound their acoustic vibration and call our ancestors. Danieli's revisit closes the EP meditatively, a possibility to contemplate, thank, to reflect on our interior and externalize negative energy.









[d] b2 | Derin (Daniel

First time reissue of a legendary and undeservedly obscure salsa collector’s album from 1969. Led by rebel accordionist Alfredo Gutiérrez and featuring singer Lucho Pérez of Sonora Dinamita fame, “Así es… Con salsa!” is just that: raw, heavy duty NYC salsa performed through a Colombian “Costeño” tropical filter, with trombone, accordion and deep bass. Contains three hot bonus tracks in the same style and insert with liner notes. “¡Así es… Con salsa!”, by Colombia’s Alfredo Gutiérrez y Los Caporales del Magdalena, is a legendary collector’s album, yet still undeservedly obscure (and perhaps sonically surprising) for the uninitiated. It’s an experimental mash-up of seemingly disparate genres from different origins that on paper would seem to be at cross purposes. Yet at the same time the release is a masterpiece of raw pan-Latin fusion from the dawn of Colombian salsa that holds its own as a bonafide heavy duty pioneering record of the genre, despite its outsider status. Probably the most shocking musical element is Alfredo Gutiérrez’s fiery accordion, an unexpected instrument in the idiom of salsa, as it’s usually associated with the tropical music of Gutiérrez’s Caribbean home region of Sucre. Gutiérrez has always been a provocateur, never shying away from the controversial or outlandish, which has earned him the richly deserved sobriquet, “El Rebelde Del Acordeón” (The Rebel of The Accordion). Gutiérrez started Los Caporales in 1968 as a rival to Discos Fuentes supergroup Los Corraleros de Majagual, and the band had made three popular albums prior to “¡Así es… Con salsa!”, yet most of the repertoire on those records consisted of typical Colombian tropical and coastal rhythms and genres, none were purposely devoted to the newly minted genre of salsa. From the start, Gutiérrez lays down a salsa manifesto when the album kicks off with ‘Guadelupe no va’, a four-minute workout with pile-driving force that demonstrates the uncompromising power of this 14 piece orchestra. The listener is instantly hooked by the rawness of the sound, the bouncy energy, heavy brass and piano arrangements and the looseness of the improvisational sections. Gutiérrez was given the green light by Codiscos A&R head Humberto Moreno to dedicate an album to New York style salsa, giving more prominence to the voice and compositions of Lucho Pérez, an already proven expert in Cuban genres who previously had been only one among many vocalists in the band. Several tunes on the record are remakes of older compositions by Lucho Pérez from his early tenure with Discos Fuentes group La Sonora Dinamita, the new versions are much more raw and menacing, as if put through a Bronx filter. The band was made up of Codiscos’ regular stable of ace studio musicians from Medellín for the recording date. The album was both a success and also not abnormal in its mixing of salsa and costeño Colombian sounds, as there were several other similar hybrid records by other artists at the time. Both the desperation of the lyrics (about not being able to afford anything) and Lucho Pérez’ forceful delivery leave an indelible impression of street wise authenticity, which is backed up by the fact that both band members grew up poor

CRIM, formed in 2011, is arguably the biggest punk band in Catalonia (Spain). These extremely talented musicians have achieved serious local fame, playing to thousands over and over again, and writing powerful songs that are in many ways driving a very much flourishing scene in Northern Spain. Crim's popularity outside the Catalonian region has been growing rapidly, as that same sense of authenticity trickles down into the music itself, and their "no compromise" approach to writing and performing powerful and catchy tunes is in many ways universal - and for fans, easily identifiable and inviting, regardless of what language they speak. Anyone has who is seen this band live or heard their albums can attest to the power and drive that fuels this impressively talented group of free thinking musicians. Their music delivers tenfold, showing people across the world that CRIM are a band worth paying attention to! This LP version is Aside/Bside Evergreen & Brown with lots of gold splatter vinyl! FFO Cock Sparrer, Leatherface, Social Distortion

Close to five years on from their last transmission, Ulrika Spacek resurface from self-imposed exile with their third album, Compact Trauma, a collection of songs that function as a chance treatise of sorts for our current collective condition. With a title like that arriving at this point in time, it's tempting to interpret the record solely in the context of the global events of the past few years, but the roots of these ten songs arc back much further in time, charged with their own personalised internal damage. Trauma, in its myriad forms, is often hard to qualify, even harder to rationalise. When something begins to go wrong, how do you gain perspective? What is a temporary roadblock, and what is unmitigated disaster? In its first phase of life, Compact Trauma was a document of a band striving to perfect an idea while the universe around them seemed to want to shut down. And then, at an impasse of sorts and with a record halfway complete, it suddenly did. If Ulrika Spacek were a band in need of the breaks applying, it was the force of a global pandemic that made it happen. As the world stood still, Compact Trauma was filed away, unfinished and unheard by the wider world, possibly to remain that way forever. And yet, there was to be a second act. If mutability is our tragedy, it's also our hope, clearer days slowly began to emerge as the bad slipped away. The wound, as the saying goes, is the place where the light enters you. The prolonged break enforced by myriad lockdowns may have separated the group but it also afforded the five time to reflect on what had already been committed to tape.. As the lights came back on and the shutters up, they found themselves drawn back towards Compact Trauma. What they rediscovered was a record that seemed to preempt the shared grief of a global pandemic. Even if the specifics were different, the themes were uncannily similar. Addressing existential freak out, displacement, substance reliance and encroaching self-doubt, these highly personalised songs suddenly took on a wider significance, speaking in part to a bigger narrative. They could have left it alone, but in coming back to what they knew, Ulrika Spacek found their best work yet. RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound, Stereolab.

With Synthetic Hearts, Tubatsi Mpho Moloi, Msaki and Clément Petit issue an invitation to the listener and lover to journey to another place. Here, hearts, experiences, and sounds meet, shift and evolve across an inventive nine track album. Experimental, playful and complex, the project merges voices, instruments and sounds, across geographies and genres, creating sparse, yet lush atmospherics that spin on the universal themes of love. As skilled musical shapeshifters, Synthetic Hearts melds Msaki and Moloi"s folk sensibilities with electronic elements, as Petit teases out distinct textures from his cello across the record. On Synthetic Hearts, love, longing, confusion, sorrow, despondency and queries are opened up and negotiated in songs that vibrate with their naked, honest and tender vulnerability.

BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy. ‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble. Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette.

We have opened the vault to bring to you for the first time on a 2CD set Roadrunner United ‘The Concert (Live at the Nokia Theatre, New York, NY, 12/15/2005)’, featuring members of Slipknot, Anthrax, Trivium, Machine Head, Fear Factory, Sepultura & more. Roadrunner United was a project organized by the heavy metal record label Roadrunner Records to celebrate its 25th anniversary. On December 15th, 2005, in New York City, the label produced the Metal Concert to end all Metal Concerts: 39 musicians, representing 25 different Roadrunner bands, performed 25 songs from 19 different bands’ repertoire. This unique and unprecedented aggregation of musicians was no jam session. Each song was studiously rehearsed and arranged, coming together with exuberant perfection, to produce a concert that can only be called “Legend.”

Conceived as a follow-up to the Roadrunner United All-Star recording sessions, the label recruited the core team of musicians (Dino Cazares, Adam Duce, Paul Gray, Joey Jordison, Andreas Kisser and Roy Mayorga) as the backbone of the performance. Sure enough, as they fine-tuned the songs and rehearsed them tirelessly, dozens of other musicians came on board.

This 3LP set represents the gathering of a community of musicians that spans the heavy metal history of the first 25 years of Roadrunner Records: from King Diamond to Slipknot and beyond. Those who were lucky enough to be there experienced a night they will never forget. For the first time as a live concert album, this 3LP set on red, white and black coloured vinyl is a chance to relive that special night again and again.

Coming straight from the United States, soul music became an essential genre in the mid-1960s. In France, Claude François, marked by the discovery of serial hits from the legendary Tamla-Motown label of Detroit, became one of its first promoters. Proposed in their French adaptations, the pulsating rhythms and irresistible melodies from the Four Tops, the Supremes and other champions of soul music spread across France. On stage, Claude François also adopted the spectacular performances of his models from across the Atlantic and surrounded himself with the Claudettes, dancers-choristers echoing the famous Ikettes of Ike & Tina Turner. An exceptional showman and performer! Ads –London Macadam Reviews –London Macadam, R2

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

She not only popularized fado throughout South America, she reinvented it; singing material that moved far beyond the traditional tales of failed romance to explore instead the deepest crises of the soul and spirit.

Limited edition audiophile pressing on 180gram premium vinyl.
Thanks to her, an internationally unknown folk music like Portuguese fado became a medium of universal expression known throughout the world. This collection includes some of her greatest hits, including such perennial classics as
"Uma Casa Portuguesa", "Ai Mouraria", and the unforgettable "Coimbra", also known as April in Portugal.

AMÁLIA RODRIGUES, vocals, with:
Jaime Santos - Portuguese guitar, Santos Moreira - Spanish classical guitar, Domingo Camarinha - Portuguese guitar, Castro Mota - Spanish classical guitar,Raul Nery - Portuguese guitar,José Nunes - Portuguese guitar. Orchestra conducted by Frederico Valério.
Sessions recorded between 1951 and 1962 in Lisbon Paris, and London.

Brigid O'Neill's new album The Truth & Other Stories, recorded at Skinny Elephant Studios in Nashville with Neilson Hubbard in the producer's chair, cannot help but be influenced by the times which informed it, 'very few people escaped being affected by the pandemic, writers included.

Somehow the experiences of it seeped through onto our work and I feel The Truth and Other Stories is no exception in that regard.'
That said, this is not specifically an album about Covid or the pandemic, 'I was fascinated by the concept of 'truth' and intrigued by the concept of everyone having a different version of their truth....a personal viewpoint, their own narrative, their own story. The title plays a bit with shades of meaning - a 'counter positioning' if you like. The 'other stories' may challenge the truth, but 'the truth'
retains that sense of the absolute. In the songs I hope to present the realities of different characters through short stories. As I moved through the pandemic however, different stories came to light and sometimes the focus would shift.

Ultimately though, I have been living with these stories and these characters for some time now.'
Neilson Hubbard as producer was an obvious choice for O'Neill. A growing relationship with Nashville had seen her writing, playing and developing relationships with the many truly great musicians available across Music City.

"Being in Nashville with a producer like Neilson who has such an intuitive feel for that music, and with access to musicians who simply live and breathe it, seemed like a good idea. I'd met Neilson a few times through our mutual friend and musician Ben Glover, and it was quickly clear we would get along and had a similar attitude to the music production process. When choosing a music
producer, listening to their catalogue of works is crucial, but so too I think is that 'gut feeling' and knowledge that you can connect. When I sent Neilson my music, I knew he 'got it' and I knew I was in safe hands." Recent years have seen Brigid O'Neill gaining a deserved reputation as one of Ireland's finest songwriters. Reviews of her critically acclaimed latest releases
have reaffirmed that the gifted artist is one of the most versatile, unique and fearless storytellers on the island. Her genre-spanning music appeals to multiple generations, effortlessly weaving elements of folk, country and jazz into relatable tales of happiness, heartbreak and the human condition.

This is the fifth western in a row for Sergio Leone after the Dollar Trilogy
and "Once Upon a Time in The West"
"Giù la testa" (Duck, you sucker, 1971) is also the fifth collaboration between the
director and Ennio Morricone, which would be followed by "Once Upon a Time in
America" nearly 15 years later, before Leone's premature death in 1989.
Now a world famous and feted director, Leone directed "Giù la testa" an epic film
that tells of the friendship between a Mexican bandit and an Irish explosives
expert during the 1913 Mexican Revolution. With a over two hours running time,
the film has the tones of a Hollywood extravaganza, but it is only occasionally
accompanied by Morricone's music, which focuses more on the romance and
melancholy triggered by the two protagonist's memories.
This score's main theme is extremely memorable and makes this a classic
soundtrack. Thanks to the recurring "Sean- Sean" tune, and the melody sung by
Edda Dell'Orso, a theme that is universally recognized.
Limited 180gr. crystal clear vinyl edition.

Eyelids' new album, A Colossal Waste of Light, does an excellent job of
framing the quintet as one of today's most compelling purveyors of
lopsided guitar pop workouts and earworm-laden vocal melodies
It also proves that great guitar pop can still evoke favorites from a glorious past -
the penetrating moodiness of XTC's Black Sea, or R.E.M.'s Fables of the
Reconstruction, comes to mind - while refusing to waste time on idle nostalgia.
On their 4th full-length album (but 17th vinyl offering if you include previous EPs)
the Portland, OR band also rediscover the beauty of firsts. A Colossal Waste of
Light marks the first time the band wrote songs remotely (it ended up being fun &
weird to send out a very simple version of a song and see who came back first
with another part for it,John Moen looks back), their first reunion at the
Destination: Universe studio post-isolation, and their first batch of melodious new
tunes since The Accidental Falls, the band's 2020 project with poet, lyricist and
Tim Buckley collaborator Larry Beckett (an extra- ordinary pairing that allowed
Eyelids' two frontmen/ tunesmiths, Chris Slusarenko and John Moen, to find a
new, multilayered appreciation for the art of songcraft)

Miles Davis and Milt Jackson only recorded together on a few occasions, but those collaborations always produced superb music. Miles Davis and the Modern Jazz Giantsincludes one such collaborative effort - a unique 1954 quintet session that also features the great Thelonious Monk on piano.

These are the only existing studio recordings presenting Miles and Monk together.

Miles Davis, trumpet
Milt Jackson, vibes
Thelonious Monk, piano
Percy Heath, bass
Kenny Clarke, drums

Original session recorded by Rudy Van Gelder & produced by Bob Weinstock.


[b] A2. The Man I Love [take 2]
[c] A3. The Man I Love [take 1]

[e] B2. Bags Groove [take 2]
[f] B3. Bags Groove [take 1]

Performed and produced entirely without the use of MIDI and other modern production techniques, MAINE’s IV is a fiercely analogue affair, a throwback to the electronic pioneers of the past. Real synthesizers, real drums, real strings – each instrument played live. Each layer of sound deconstructed and carefully rebuilt to create new sounds, giving way to a wholly unique sonic signature that permeates each track and is undeniably MAINE. Never have 14 individual compositions been more made for each other. With IV, Michel Dupay has crafted a deeply connected and emotive experience full of melancholy and tension; it’s heavy, gothic, and dark, but on occasion manages to let a bit of light seep in, providing the listener with a brief (and much needed) emotional reprieve. It’s this juxtaposition that makes the album so engaging and such a rewarding listen. Prepare yourself – you are going to get lost in this album, and when you finally find your way out, you won’t be the same. This is an effort that demands all of your attention. Best enjoyed from the comfort of your very own sensory deprivation tank. But if you’re having trouble locating it at the moment, a darkened room and a weighted blanket will likely do just fine.

Midnight Mannequin Records is proud to present MAINE’s IV on limited edition transparent Coke bottle green 2xLP 180 gram vinyl. Includes OBI strip and liner notes by Aaron Vehling.

In the 1950s, Jamaican dancehall regulars were crazy about the haunting sounds of American Rhythm & Blues. But in the mid-1950s, Rock 'n' Roll began to replace RnB in America, and Jamaican dancehall owners like Duke Reid and Clement Dodd turned to local musicians to record their own versions of American RnB.
The trend of covering foreign hits exploded during the Ska heyday of the early 60s and continued through the Rocksteady and Reggay eras. Jamaican musicians have covered virtually every genre of music, from jazz and rock to film scores, television soundtracks, pop, classical music and more. Over the years, they have also recorded many "versions" of already existing covers. Cover of cover of cover…
Admittedly, some of these covers were futile but many were sublime as this new and eclectic collection of Ska, Rocksteady and Reggay nuggets, compiled by the very competent and very charming D.J. Héléa, brilliantly demonstrates. Attention we are here "undercover", there are no well-known covers. Some of the tracks selected are rare, others unknown or forgotten - but all are excellent and blended in an impeccable mix, in line with previous the Harlem Shuffle compilations... All Killer, No Filler!
REGGAY UNDERCOVER is an exciting musical kaleidoscope of Jamaican and Reggae music from the early 60s through to the mid 70s.
We hope you will enjoy listening to this album as much as we had composing it for you.
All aboard for REGGAY UNDERCOVER!

Nat Birchall continues apace with his “one-semble” recording projects, this album being the fourth one to feature only Nat himself playing all the instruments.

The Infinite presents seven original compositions loosely based around various mystical aspects of the universe.

The recording demonstrates Nat’s belief in the music having its own life outside of any human input, and also that it has its own laws and innate sense of balance and form, as does the universe itself. As the ancient saying goes - as above, so below.
The track Kalaparusha Arha Difda is named for the late, great tenor saxophonist who Nat considers to be one of the deepest and most Spiritual musicians that have had an influence on him.

Originally released in 1975 by RCA via its subsidiary Midland International—and recorded at the legendary Sigma Sound Studios in Philadelphia—these two tracks have never since both been released on the same single up until now, appearing once in unison on an acetate reference recording, copies of which have never sold on Discogs and are believed to be in the hands of 4 collectors worldwide.

Touch of Class effortlessly blend together the classic Motor City Sound and Philadelphia’s hard-driving disco groove in one fell swoop, records that sound like they have been produced from both the Gamble and Huff and Dozier playbooks, while retaining a unique register exclusive to the group.

Ever since Levon Vincent came and played at Red D’s We Play House night in Ghent’s infamous Decadance club back in 2012 there has been a strong mutual respect between both veterans of New York and Belgium nightlife respectively. Levon’s unique form of house and techno music always finds its way into the crates of Red D and over the years the two have shared the bill on nights ranging from Berlin’s Panorama Bar to various festivals around Europe.

Getting Levon Vincent to join his U.S. Series on We Play House Recordings was a no-brainer for Red D and a matter of honouring their mutual respect. And so here we have it: a classic Levonesque piece of dubbed out house that moves and shakes across 10 minutes of heady deepness on the A-side and an equally dubbed out Red D affair on the B-side inspired by the likes of Maurizio and Echocord. An E.P. in the vein of its authors…with attitude and determination.

The Deepshakerz unite with Aaron Pfeiffer for their Crosstown Rebels debit ‘Fire’, back by a remix from, Cameron Jack.

Italian duo Domy Berardino and Mirco Sonatore, aka The Deepshakerz, continue to evolve their take on house music after a decade in the game - releasing material on their Safe Music imprint alongside globally renowned labels including Saved, Cajual, Circus, Moon Harbour and Knee Deep In Sound. Linking up with Miami-based singer/songwriter Aaron Pfeiffer, the iconic voice of Jaden Thompson’s ‘Closer’, the trio of talents make their debut on Damian Lazarus’ Crosstown Rebels with the vibrant ‘Fire’, with fellow debutant and Abracadabra singee Cameron Jack on remix duties.
A blissful yet driving production guided by Pfeiffer’s alluring vocals, ‘Fire’ is a resonant house offering combining crisp drums with an infectious wavering lead melody, while Cameron Jack’s take strips things back and crafts a medley of organic percussion grooves around the original’s charming vocal interludes.

Great minds think alike. EPROM & Barclay Crenshaw’s remixes of Yung Skrrt’s “McDonalds” are cosmically connected. Both artists separately discovered the track via Bandcamp, and both began transmitting the frequencies through their DJ sets on different stages around the world. Once the parallel universe became perpendicular and crossed paths, they each decided to make their own interpretations and now the world is one.

Rua Sound's new sub-label SPHERES is proud to introduce its first release from Rome-based producer Noroi. The Adrastea EP is a richly imaginative work of electronic music, showcasing Noroi's uniquely melancholic and futuristic sound.

Comprised of four tracks, the EP opens with "Stay," a powerful blending of emotive breakbeat and evocative vocals. "Untitled Jungle," a collaboration with VSC, is a genre-defying jungle track that builds to a genre-appropriate fist pumping crescendo. "Chrysalis" is on a more introspective tip, where delicate layers of reverb-drenched instrumentation and the transcendent vocal delivery of Tokyo Witch creates a restorative atmosphere. The EP concludes with "Transoceanic," an energetic piece that blends percussion and atmospherics for a sound that can't be defined.

The Adrastea EP shows off Noroi's flare for innovative sound design, offering a vision of the future of electronic music. Out on March 10th on the Rua Sound Bandcamp and in online and physical stores worldwide, it is a must-listen for fans of the deep, adventurous tracks that work in your headphones as well as on the emotional end of the club sets.

This is the first in a series of releases from the SPHERES label, which named after one of Jupiter's moons. Each one features original artwork by Josje Bijl aka Yorobi, inspired by the sketches of these moons by Galileo in 1610.

All music by Noroi

Jonas Kopp pumps the drums hard on opener 'Shibu'. It is pure peak-time material, fit with siren-like synths, heavy kicks and hi-hats to get the shoulders moving. Kopp's tracks are always masterfully tailored for the dancefloor, and this is no exception; the six-and-a-half-minute ride is richly detailed with ups, downs and subtle changes. Dadub take the record deeper with 'Force Continuum Abuse'. For the first three minutes of stretched soundscape, the percussion warms up with sparse and off-kilter hits. The track's second half sees fierce breakbeats cut through the walls of reverb, and with that can Daniele Antezza and Giovanni Conti really show-off their unique talent at sound design. They blend a gift for rhythm and titanic production to engaging effect. Eomac begins the B-side with 'I Am Starting To Believe'. The track's echoing synths hang free in a spacious mid-range, intermittently making way for long chords and elusive vocal snippets. Eomac draws on the light/dark contrast and unsettling motifs that made his Monad release special, and delivers a techno epic so rich it requires repeated listens. Last but not least, Chevel; his sound is distinctive amongst the SA roster, mostly due to his acute focus on the percussive elements and intriguing take on minimalism. On 'Alicia', he works a groove out of tripping drums and metallic perc, all with a UK-influenced flair that lends itself to a wide range of DJs. Chevel's track ends what may be the most varied collection of 'Chapter V' material yet, leaving a lasting reminder of the depth and quality of artists SA have accrued.

I:Cube has made a new album. It is a very “hands on” album, as the eight tracks on show were created almost entirely by improvising with electronic hardware – synthesizers, sequencers, drum machines and effects units – and recorded in real time, with very little after-editing. It is also his first album in a decade, should you be keeping track.

During the time he spent recording it, which was in part inspired by the processes behind his ‘Cubo Live Sessions’ series, I:Cube had fun, experimented, unleashed the raw, primitive energy of his machines, and emptied his head of thought. The resultant tracks are instinctive, immersive and otherworldly, driven by the emotion of the moment rather than the formulaic structures of dance music. They are unpolished and immediate, but also immersive and sincere.

Think of it as a soundtrack to time spent alone in the studio, daydreaming in darkness and light, translating mental and physical messages in real time. It is not calculated, overblown or over-produced like much modern electronic music, but gently odd, engaging and pleasingly rough round the edges. In some ways, it is I:Cube’s most personal and emotional album to date.
Matt Annis

Superb spiritual jazz meets classical choir from 1982.

The William Penn Jazz Ensemble was formed by American composer and flutist Leslie Burrs. Throughout the 1970s, Leslie performed with several major jazz and funk artists, including Grover Washington Jr., Kool & The Gang, and most notably, with Del Jones for the now cult album Positive Vibes.

Carvings, recorded in 1982, holds a special place in Leslie's career. This album showcases Leslie's musical versatility and features clear influences of both jazz and classical music. The Ensemble's uncommon association of African American and white members at the time results in a unique fusion of cultural influences that is reflected in the music.

The musical journey is both profound and spiritual, taking listeners on an experience that is both deep and meaningful.

Sie sind die nächste Dimension der deutschen Rockmusik: Unter dem Namen UNIVERSUM25 hat sich mit Members von In Extremo, Eisbrecher, Fiddler‘s Green, Dritte Wahl und Slime eine ganz neue Formation zusammengefunden, um die apathische Menschheit mit ihrem kompromisslosen Hybridmix aus ElectroMetal und Punk-Rock aus dem Dämmerschlaf zu reißen.

Mit der packenden Coverversion des Ton Steine Scherben-Kultsongs „Der Traum ist aus“ legt die hochkarätige Allstarband nun ihre erste Single vor!

Harte Rockgitarren, atmosphärische Electronica und schonungslos offene Klartext-Lyrics, die den Finger in die Wunden eines Planeten am Rande der Selbstzerstörung legen: So klingt der dystopisch-faszinierende Soundkosmos von UNIVERSUM25. Hinter dem mysteriösen Namen verbergen sich niemand Geringere als Michael Robert Rhein (In Extremo), Rupert Keplinger (Eisbrecher, Antitype), Patrick „Pat“ Prziwara (Fiddler’s Green), Gunnar Schroeder (Dritte Wahl), Alex Schwers (Slime), sowie der renommierte Producer
Jörg Umbreit - gemeinsam hält die Formation der Welt mit ihrem wütenden Crossover aus Metal, Rock und Electronica einen Spiegel vor.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Jamaican Rare Groove From the beginning of the 60s to the end of the 80s, Jamaica had a worldwide influence with ska, rocksteady, dub and reggae, but the small Caribbean island did not escape the global trends of funk, soul and disco. This mix of influences has given birth to unique groove songs, highlighted by this Jamaican Rare Groove. Double vinyl Jamaican Rare Groove From the beginning of the 60s to the end of the 80s, Jamaica had a worldwide influence with ska, rocksteady, dub and reggae, but the small Caribbean island did not escape the global trends of funk, soul and disco. This mix of influences has given birth to unique groove songs, highlighted by this Jamaican Rare Groove.

Originally released in 1979 on Mistlur Records in Sweden, Nyanser is widely considered Thomas Almvqvist’s masterpiece.

It's almost unspeakably beautiful.

With his adventurous, virtuoso guitar technique to the fore, the album explores a unique path through world music, folk, jazz and acoustic experimentation, whilst retaining a very personal vision.

It’s aged very, very well indeed and is now rare and immensely sought-after, coveted for many years by collectors of all musical genres. This Be With re-issue, remastered from the original analogue tapes, shows off just why this deserves to be back in press.

The majority of the album is a solo exercise with Thomas playing Rhodes, flute, synthesizer and percussion as well as his idiosyncratic guitar on all tracks. Alongside Thomas in the studio were an array of young, experimental Swedish musicians in the nascent stages of their careers including the much lauded Swedish composer Ann-Sofi Söderqvist, vocalist Turid Lundqvist and perhaps the key contributor to the album, Hans Peter Andersson, whose alto, tenor and baritone saxophone contributions shift the album from into the realms of jazz, most notably on “Horisont” and “E.M.”

The whole ensemble comes together on the centrepiece of the album, the joyous aquatic harmony of “Coral Reef”, one we've been playing out for the past 5 years to dropped jaws. The album presents a very visual aesthetic, each track evoking images of landscapes and far-flung corners of the earth. Almvqvist himself considered the visual aspect of his sound very important, describing his approach as “picture music.”

Nyanser is considered one of the earliest examples of a fusion of world music, jazz and folk traditions, certainly from a Scandinavian artist. Despite its impact on release being minimal outside of those aficionados tuned into such sounds, over the years the album has become something of a "lost" cult classic and a fine example of the experimentalism going on in Scandinavian music at the time. The English translation of nyanser - ‘shades’ - is a particularly apt description of the sounds contained within.

Thomas very sadly passed away in 2008 at the age of 55. We hope this reissue will go some way to bringing his unique output to a wider audience and secure the legacy he deserves as one of Sweden’s great guitarists and musical visionaries. It sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost whilst the beautiful artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every record collection.

"Taking Over" wurde ursprünglich 1987 veröffentlicht und
war die erste Veröffentlichung von Overkill auf dem Label
Atlantic Records. Es war außerdem das erste Album von
Overkill, das es in die Billboard Top 200 schaffte. Das
Album enthält die Overkill-Klassiker "In Union We Stand"
und "Wrecking Crew". Jetzt erhältlich als limitierte pinke
und schwarze Marble Vinyl.

This EP contains unreleased music composed and produced by Alessandro Alessandroni in the 70s, taken from a dusty tape found in his vault. Afro Discoteca strikes immediately for its modernity and rich textures, sounding unbelievably contemporary.

Alessandro Alessandroni is one of those pioneers, a maestro that built the legend of Italian soundtracks and library music along with Ennio Morricone, Piero Umiliani and many others. His vault testifies how prolific had been those times, with hundreds of tapes and obscure recordings from that period. Among the many, a dusty tape bearing the hand-written label Afro Discoteca' captured the attention of Four Flies.

The music contained in the tape had never been released until now. When he listened to the tracks, Italian legendary DJ LEO MAS (one of the undisputed inventors of the Balearic sound) told us: It is surprising to listen to something that sounds

so modern... This EP is the perfect union of Afro influences and Italian taste. There's something Afro lounge here but also incredibly cinematic - it makes me think of John Carpenter's atmospheres. B1 (Afro Discoteca) reminds me of clubs I've been in Malindi in the late 70s and the closing track is absolutely spellbinding. This is wonderful.' PAOLO SCOTTI, head of Déjà vu Records and an authoritative Italian jazz expert said: Alessandroni's contribution to music is huge, he's a great musician and a great experimenter. Afro Discoteca sounds like it's been produced yesterday by a DJ of our times, an absolutely surprising EP and proof of Alessandroni's spontaneous genius!'

Repress

Palms Trax signals the arrival of his new label CWPT with ‘Petu’, a new single featuring South African vocalist, Nonku Phiri. Originally debuting in dub form during the Berlin-based DJ and producer’s set at The Music Locker as part of Grand Theft Auto Online, ‘Petu’ re-emerges here as a soulful collaboration, neatly complimented by a wide-eyed take from Masalo.

Initially written as a slow-heating instrumental to connect the various musical dots across a DJ set, Palms Trax nonetheless had a vocalist in mind throughout, a fresh voice to lend ‘Petu’ universality and energy. Introduced through mutual friend Esa, Johannesburg’s Nonku Phiri draws on her signature style influenced by vintage Afropop styles and folk traditions, delivering a smooth and vulnerable tale of desire. Triumphant brass recorded by instrumental collective Jungle By Night adds to the depth of instrumentation and feeling throughout, each element driven by Palms Trax’s ebullient percussion and an altogether celebratory energy felt across both the original and dub cuts.

Closely associated with Dutch dance music staple Rush Hour Records, Masalo subtly raises the tempo on his high-energy rework of Petu, spinning off the interconnected elements of the original into a memorable and gloriously Italo-tinged house trip.

Established in 2021, CWPT will play home to Palms Trax original productions alongside collaborations, mixtapes, new-generation artists and vital reissues. An online blog will feature interviews, reportage and charts exploring the stories past and present at the fringe of Palms Trax’s wide-reaching record collection.

On Al Hadr, Sabrina Bellaouel taps into myriad influences: from spirituality, astrology to club culture, romance, the body and self-love. Creating a balance between places, identities and sounds is a huge part of the charm of Al Hadr. As a true Libra, she’s finding a balance between honoring her roots and carving out her future.

Following two solo EPs, also on InFiné — 2020’s We Don’t Need To Be Enemies and 2021’s Libra — the French-Algerian producer and vocalist’s unique style of electronic R&B blossoms with Al Hadr, a 13-track album featuring collaborations with dance producer Basile3, experimental club DJ and writer Crystallmess, jazz musician Monomite and pop singer Bonnie Banane, among others.

Born, raised and based in Bagneux, outside the southern périphérique of Paris, Bellaouel lives between worlds. At home, her Algerian heritage and Muslim faith have fused tight familial bonds and a keen sense of history and culture; as “Berbers”, she speaks French and Arabic. In her headphones, she finds comfort in the sparse experimentalism of Radiohead and romantic tales of Jill Scott. On the hot club dance floors of Paris, driving house beats connect her to her body.

In swirling these private and public passions together on Al Hadr — which translates from Arabic as “the present time” — Bellaouel is the most vulnerable she’s ever been on record. Classic neo-soul and silken R&B blend with club electronics. Tender harmonies are sung and rhymes are spoken in English, French and Arabic, exploring love, faith and identity. Samples of drum machines are the backbone for wisps of woodwind, strings, keys and environmental ‘found sounds’, including Bellaouel’s own live recordings.

Creating a balance between places, identities and sounds is a huge part of the charm of Al Hadr. As a true Libra, she’s finding a balance between honoring her roots and carving out her future.

With her hypnotizing voice and vivid lyricism, Jackie Mendoza makes fantastical, intimate electro-pop propelled by ukulele-based dance grooves. Having grown up between her birthplace of Chula Vista, California and Tijuana, Mexico, the 29-year-old singer-songwriter and multi-instrumentalist bridges these two worlds with dynamic soundscapes that pull from Latin pop, electronic music, and indie pop. She creates a musical universe that exists beyond strict borders of genre and geography, giving her the space to traverse the vast expanse of her interiority. Mendoza first started performing in 2014 as the vocalist for Brooklyn dream pop bands Gingerlys and Lunarette. She then broke out as a solo artist with her 2016 pop hits "Islands" and "La Luz," which showcased her imagery-packed, yet deeply introspective lyrics. On LuvHz, her 2019 adventurous debut EP that was initially inspired by a painful breakup, she turned her personal experiences into songs that observe greater truths about the world around her. As a result, the project became a broader reflection on varying forms of love, in relationships with your partner, your culture, and the natural environment. Mendoza expands this approach on her debut album, Galaxia de Emociones (Galaxy of Emotions), which sees her exploring a great range of feelings, from depression, celebration, outrage, numbness, hopelessness, and thrilling love. She uses each emotion as a portal to convey the intricacies of her experience as a queer, first-generation Mexican American woman, who actively defies and criticizes machismo and the Christian culture she was surrounded by. Brought up in the suburban border town of Chula Vista, she recalls being told by her parents to not mix English with Spanish, but speaking "spanglish" quickly became inevitable. It wasn't until high school, that learning to play ukulele and singing in school musicals allowed her to authentically express herself. "This album is about finding the courage to not only face my emotions, but also sharing them by singing them out loud." Mendoza says. The project was co-written and co-produced by Mendoza and Rusty Santos (Animal Collective, Panda Bear), with a contribution from Grammy winning producer and accordionist Ulises Lozano. As Galaxia de Emociones cruises from shimmering indie pop to accordion-laced electronic norteño, Mendoza proves there is both power and tenderness in embracing the fullness of your being and not doubting your instincts that might have been discouraged by society. She says it all in the opening song, "Natural," which blooms with spacey synths and twinkling ukulele plucks. "There is no use in controlling what comes natural to you," she sings in Spanish in a spellbinding loop. With her new album, she hopes that listeners can connect with her words and look within to explore their own galaxy of emotions.

clear yellow viny

Long-running acid master Luke Vibert returns on De:tuned with a new 11 track album devoted to the iconic silver box. 'Machine Funk' characterizes Luke's unique perspective on the acid house movement. The LP portrays an idiosyncratic blend of acidic squelch and raw energy with a signature fresh and playful vibe expressed in rhythmic compositions of a particular finesse and elegance. Essential 303 business!

Ian Anderson at The Designers Republic created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Electronic music legend and head of Editions Mego, Peter Rehberg, teams up with zeitkratzer mastermind Reinhold Friedl. 3 side-long pieces melting electronic / contemporary avantgarde. Uncompromising.

When Peter "Pita" Rehberg and Reinhold Friedl first met each other, they did not like each other "at all," as Friedl emphasises with a hearty laugh. The two would however eventually bond over the years thanks to a mutual respect for each other's music. In the summer of 2021, they entered the studio together for the first time. Their joint album for Berlin's Karlrecords is a faithful document—no editing, no overdubs—of their improvisations during two recording sessions shortly before Rehberg's sudden and untimely passing on July 22nd of that year. The three pieces see Rehberg working with electronics and Friedl with his inside piano, proving that they had indeed managed to find a common ground—up to a point where it at times becomes hard to tell who plays what on this record.

Friedl ran into Rehberg in Zbigniew Karkowski's tiny Tokyo apartment in 1999 while organising the first edition of the Off-ICMC that was set to take place in the following year. "I came uninvited and slept a night at Zbigeniew's before Peter arrived and I had to move out," remembers Friedl, who ended up inviting the Mego founder to perform at the Off-ICMC even though he found it hard to relate to his music. "We had very different backgrounds: he came from industrial and I had roots in classical music and improv, a high-brow prick!" After having met several times at different concerts without ever really speaking to each other in the following years, a concert in Vienna in the late 2010s marked a turning point in their relationship (or lack thereof). Playing their sets back to back and loving every second of what the other was doing, the two finally clicked on musical level. "We met for dinner on each of the three following nights!," remembers Friedl.

The two would go on to become good friends, meeting regularly to discuss music and everything else while both were living in Vienna just a few minutes away from each other. Rehberg put out Friedl's collaboration with Eryck Abecassis, "Animal Électrique" on his Editions Mego label in 2020 and eventually they entered the studio twice for sessions that were completely improvised with no prior preparation. "Caciara," "Chiasso," and "Clamore"—named retrospectively after three Italian words for "noise"—capture the spontaneity of two artists who had always been outliers in their respective fields finding a common ground in sprawling dynamics and sonic intensity as well as enabling each other to expand their individual sound palettes. "Peter gave me cover," explains Friedl. "I had the feeling that I was able to do things I otherwise wouldn't play."

No Food Without Taste If By Hunger is the 20th compilation in Analog Africa's Limited Dance Edition series and it also happens to be a mega-rare classic from the world of Edo funk. The Good Samaritans from Benin City, Nigeria released a very small run of the original in 1982. It is an infectious album of hypnotic basslines layered up with trance-like grooves trippy psychedelic guitars that make for an utterly unique kind of funk music. Newly mastered, pressed to 180g vinyl with a silk screen printed cover, and limited to just 2000 copies, this is a rare chance to own such a landmark album.

Sharing the spotlight along with the label owner Umwelt on this brand new split EP, Zeta Reticula the Slovenian born artist delivers two tracks of high intensity with distinct energy! Melodic "The Fate Of The Ship Unknown" opens A side with a pure robotic mayhem based upon synthetic strings, rushing leads and frantic arpeggiator flights over seductive vocals. Hostile and heading at the same. Progressive "Documented Contact", coming next, signs an intricate yet groovy electro sci-fi masterpiece made of rolling bassline, moody atmosphere and pounding beats. This is Zeta Reticula at its finest!

The Lord of Darkness treats the flipside with a more aggressive sound. As its title suggests, "Hyperspace" propels the listener at light speed through the depths of the universe thanks to a dystopian machinefunk atmosphere where hammering drums fuse with cold layers in Umwelt's typical trademark. Classical electro shaker "Earth To Unknown" concludes this uncompromising 12" with a luminous structure enhanced with a deeper and soulful approach.

Sharp, underground and always dancefloor oriented, this limited release comes packed in a colorful urban picture disc designed by the great CN6 aka Nexus 6!

Tears are in the eyes of Xabiib Sharaabi, nicknamed the Somali King of Pop when he entered the stage of Berlin’s HKW. It is a mix of nostalghia, pain and joy. Like many Somalis he had been deprived overnight of both glamour and friends, the war in his homeland had sent him into exile. The glamorous discos and beachfront stages Mogadishu had once been famous for, had disappeared as the city was bombed to the ground. The King of Somali pop found himself stranded in Sweden, others like the members of Dur-Dur Band Int. ended up in London which until today has the largest Somali diaspora in Europe.

In the last decade many early recordings of Somalia’s funk, soul and disco era have been reissued. This record is not a reissue. The Berlin Session – is the first studio album of its kind since the golden days of Mogadishu came to a halt three decades ago. It is the living proof that Somali music is hot, funky and (!) well alive.

The record captures a historic reunion which took place in 2019 in Germany’s capital Berlin. London-based Dur-Dur Band Int. an eight-piece powerhouse of Somali live- music unites with three legendary Somali singers: Xabiib Sharaabi, Faduumina Hilowle and Cabdinur Allaale for a concert at Berlin’s HKW. Fueled with a restored sense of pride, the freshly reunited musicians decided to get together in a Neukölln studio for two amazing days of recording.

Female vocalist Faduumina Hilowle opens the album with an invitation to kickass: “Let’s shake off the dust, boys!” (Inta ka hurguf). Grooving with such a strong accent on the off-beat, any non-Somali listener may think of Reggae. But when you ask the musicians, they tell you: “They took it from us! It’s Dhaanto! It’s our rhythm”. Originating from the Ogaden region (now in neighbouring Ethiopia’s borders), Dhaanto dates back to the era of “clap & chant”. Some say it is an imitation of the camel’s bounce. Xabiib Sharaabi was once nick-named Somalia’s King of Pop for the body language and magnetising voice with which he incorporated the latest global musical trends - even recording two disco albums entirely in English. On the album Xabiib chooses to sing his Somali adaptation of “Lady” originally by Afrobeat pioneer Fela Kuti. Not unlike the Motown Sound of Detroit and Kingston’s Studio One: a small scene of musicians were fueling that new Somali Disco scene in Mogadishu. Cabdinur Allaale, the third vocalist on the album comes from neighbouring Djibouti. In the heydays the leader of then famous Sharaf Band was a frequent visitor, flying back and forth between Mogadishu, Hargeisa, Kismayo & Djibouti entertaining his fans on the Horn of Africa.

Dur-Dur Band Int. ‚The Berlin Session‘ brings the spirit, joy and hope of this era back: In the last decades Somalis stars have lived among us, spread all over the world, it is time to see them step into the limelight again.

Nicolas Sheikholeslami:
In 2015 Berlin-based Nicolas Sheikholeslami became fascinated by Somali music and ended up compiling a mixtape to share his passion. He did not know that his tape Au Revoir, Mogadishu Vol. 1 - Songs From Before The War would spark a massive international interest for Somali music. Soon later Nicolas co-compiled Sweet As Broken Dates: Lost Somali Tapes from the Horn of Africa for Ostinato records which got a Grammy-nomination in 2017. Berlin’s venue HKW took notice and asked him to set up a show with a selection of Somali artists from the golden era. This lead to this remarkable reunion. A studio was booked and within 2 days this album was recorded. The Berlin Session captures this emotional moment. In 2021/22 Nicolas Sheikholeslami finally sat down and mixed the recorded material. This record is the living proof that Somali music is hot, funky and well alive.

“Mt. Hadamard National Park” is the Hallow Ground debut by composer, programmer, and instrument designer Matthias Puech. Informed by mathematical and artistic approaches that aim to both contemplate on and control complexity, the eponymous five-part composition explores natural and mystical forces through what he calls “audio-naturalist noise”. The composition is complemented by two further pieces that follow similar concepts: “Suspension” emulates the chemical phenomenon of the same name, while “Imperceptible Life” hinges on the musical possibilities of stridulation. Over the course of the entire album, Puech’s singular take on electro-acoustic and electronic music creates unique sonic spaces as much as it pays its dues to the unpredictability of the world that we inhabit. Jacques Hadamard was a pioneer among physicists and mathematicians who, in the early 20th century, were puzzled by processes that are deterministic but hard to predict. The sounds, arranged in sweeping and tense dynamics, serve as multiple agents within a complex system. The synthetic flora and fauna created through the use of the composer-performer’s instruments feels uncannily familiar or even disturbingly hostile at times... This process is mirrored in aquatic yet tangible sounds as well as dynamics that slowly converge towards density before the composition ends on a quiet note. The 14-minute-long “Imperceptible Life” is based on a 2019 live performance first conceived as a full-scale test drive of some new electronic equipment Puech was designing at that time. It explores the musical potential of stridulation, the act of creating sounds by rubbing together certain body parts—in the insect world, a common means of communication. Again, Puech’s approach is neither purely naturalistic nor only mimetic. Rather, “Imperceptible Life” offers yet another artistic reflection on the theme of chaos and order, and how human perception and emotion relate to it.As a whole, “Mt. Hadamard National Park” thus not merely mirrors natural phenomena but transforms them in ways that are emotionally evocative: the complexity and apparent arbitrariness of Puech’s compositions reveal an underlying beauty that is equal parts haunting and comforting.

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Dark Green Vinyl

American singer-songwriter, poet, and photographer Thomas Meluch, known musically as Benoît Pioulard, returns with his most structured and vocal release to date. Titled »Eidetic,« a word denoting the ability to recall mental images with extraordinarily rich precision, the album presents unprecedented clarity and vitality for Benoît Pioulard. To access its thematic ground, Meluch looked inward with an affinity towards the people he loves during a period marked by his move from Seattle to Brooklyn in 2019. The resulting work engages with the universe's unflinching mortality and, as he says, »the ways it has modified and improved my relationships, especially with family.« Embodied by the creek, leaves, and ferns of the cover photography — taken in Michigan’s Burchfield Park, where he and his dad used to hike and »muse on existence« — the music glistens and unfurls with the flow of life he’s come to know. »Eidetic« is the culmination of Meluch's craft both as a producer and writer. An evocative sonic vocabulary meets deft lyrical introspection, articulated with the nuance, vulnerability, and confidence of a longtime artist hitting a stride.

Meluch has continually refined, redefined, and adjusted the focus of his gentle pop project over the last 20 years. Recorded primarily with guitar, tapes, and voice — and spanning labels with albums for Kranky, Morr Music, Beacon Sound, and Past Inside the Present — his catalog flows seamlessly between ambient improvisation and pop composition. Much like the analog photos that often accompany his releases, songs can feel dreamily softened and distant, and others beautifully vivid and detailed. 2021 full-length »Bloodless« found Meluch deep in droning decay, expressive yet wordless. With »Eidetic,« he swings back to sharpened forms. Lush banks of treated guitar and synth brush against hushed percussion; there is mist in the distance, but everything up close is intricately constructed and radiant. Meluch's voice is notably forward in the mix — a warm and calming tenor, a harmonic coo more than a whisper — ever-observant and actively processing.

To record much of the album, Meluch filled a cabin in rural Maine with his usual setup of simple percussion, a couple of Fender electrics, and a parlor guitar made by his friend who does bespoke luthier work. The modest utility is what he knows best, and here he pushes the output to its most pristine potential.

»Eidetic« opens in a swirl of familiar haze; »Margaret Murie« eases listeners in, as lush and verdant as the landscapes conserved by its famed namesake. With the setting established, Meluch, the narrator, enters the foreground with »Crux,« a tender piece written about finding new motivations in a new city. »We covet this rare green hue / Here at the farthest point from home,« he sings above a reassuring pattern of strums and percussion. Meluch's prose shines on the swiftly-moving »Nameless,« inspired by the neurological effects that came with the antiquated practice of manufacturing mercury mirrors; »folks would slowly go insane while looking into their own reflections every day,« he adds. The idea informs a series of surreal abstractions before everything drops out in the final minute, and we are left free-floating in eerie nothingness.

Across the album, labyrinthine lyrical ponderings scatter with dazzling imagery, artfully blurring scenes from world history with Meluch's more personal, present-day. The propulsive and earnest »Thursday Night« catches his mind overly active and too stoned, riffing on black holes and songwriting itself. »Halve« references the splitting of the atom, what he considers »the beginning of man's downfall,« and the unrealized initiative proposed by the US government that would have created 'nuclear refuges' in its national parks. Meluch's loved ones weave throughout; »Tet« holds his father's experience in Vietnam and its lasting effects. »Lillian Isola« touches on his maternal grandmother's spinal curvature, and »Pastel Dust« navigates the wake of his cat, who died on New Year's Eve 2020.

At first blush, Meluch's atmospheric and melodic sensibilities resonate purely in their own right. Upon closer meditation, his ability to render stories — many of which surround human tragedy, misfortune, and understanding — through the prism of his poetry makes »Eidetic« even more rewarding.

Faitiche presents the album Exq I by Berlin underground techno legends Muellie Messiah & Punk not Punk, mainly known under their 100Records moniker. Weighing in at 36 minutes, the track was recorded in 2010, effortlessly intermingling dub, drone and collage, a blend achieved thanks to the duo’s jazz-inspired approach to improvisation.

_

100records is one of the last undiscovered treasures of the Berlin underground of the 1990s and 2000s. Like Elektro Music Department, 100records is unthinkable without techno and the club scene, but with a few exceptions the duo’s tracks are not aimed at the dancefloor. With a claim to universality and a broader frame of reference, 100records developed a more extensive understanding of sound that rests on three pillars: the understated analogue drums of the Roland TR-808, a blurred, dubby sound, and improvisation.

On first hearing, Exq I has little in common with the groovy, detailed, variation-rich sound usually associated with 100records. Recorded at the end of a highly productive decade, it is an echo speaking of exhaustion in which dub, drone and collage converge to form something whose jazz sensibility makes it readily identifiable as the work of 100records.

100records was founded in 1994 by Muellie Messiah (Dirk Budde) and Ekki 808 (Ekkehard Rau), who were joined in 1999 by Punk not Punk (Martin Osti). Around 2002, Ekki departed, leaving Budde and Osti to continue as a duo. Since then, their relationship has shaped 100records: Budde is the driven lone genius doggedly pursuing sounds, Osti the pragmatist who turns ideas into music.

As well as making music, Budde is also a musicologist. In 1997 he published his PhD thesis entitled Take Three Chords... Punk Rock and the Development to American Hardcore. As well as being his specialization, punk is also part of his identity: in the 1980s he sang and played keyboards in various punk bands in Kassel, the best known being Haunted Henschel.

After the fall of the Wall, attracted by the freedom of the newly reunited Berlin, Budde packed his bags and drove to the formerly divided city, having already become acquainted with techno at Kassel’s influential Stammheim club.

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

Lawrence Hayward knew that he wanted to be a pop star as a teen, and he devised a plan to release ten albums and ten singles over ten years to make that dream come true. A particular and determined individual, he would only be known as Lawrence from that day forward. His hopes for stardom would be pinned on his newly formed band, the succinctly named Felt. Soon signed to Cherry Red Records, Lawrence’s achingly cool vocals and the group’s way with walking melodies were evident on their debut for the label, “Something Sends Me To Sleep.” This compilation collects material from Felt’s Cherry Red period of 1981 to 1985, kicking off with that confident start, assembling numerous high points, and closing with their biggest hit, “Primitive Painters.”

This phase of the band is defined by the songwriting partnership and unique interplay of Lawrence and guitarist Maurice Deebank, with Deebank’s stylish and confident playing the envy of many of their counterparts. He delivers a constant string of shimmering hooks that wrap themselves around and over top of Lawrence’s more traditional beat combo song structures, as if trying to fit four songs worth of ideas into a pre-set radio friendly cutoff time. It works wonderfully as Lawrence always counters with a solid bedrock.

In one of many brushes with the brass ring, in 1984 Felt recorded versions of “Dismantled King Is Off The Throne” and “Sunlight Bathed The Golden Glow,” for the newly formed and Warners-backed label Blanco y Negro, in hopes that the band would follow their A+R man Mike Alway to the executive suite. Despite putting forward two of their finest songs, it was not to be. While major label dreams had to remain on the shelf, fans were delighted to be able to hear these beautifully stripped down and more direct versions when this compilation was released a few years later.

By 1985 the Felt roller coaster was something Maurice Deebank was constantly getting on and off of. As Gary Ainge always kept the beat, and Lawrence never lost focus, they were joined by local teen prodigy Martin Duffy on keyboards, filling out the arrangements, and following Deebank’s racing six-string cascades in “The Day The Rain Came Down” you can even hear a tiny hint of the next phase of the band in Duffy’s organ before Maurice swoops to the finish. The newly expanded Felt would then put everything they had into making one of the defining releases of the 80s: “Primitive Painters.”

For over 28 years envy have been crafting soaring compositions with captivating melodies that owe as much to Explosions in the Sky and Mogwai as they do to Bad Brains and Cro-Mags. Their new EP continues to display a masterful control of tension and release in chords and melodies behind the steady spoken-word Japanese of singer Tetsuya. Throughout their storied career, Japanese ENVY have paved the way for iconic bands like Isis, Converge and Deafheaven with their unique sound blending elements of hardcore / punk with reverb-drenched tremolo-picked guitar lines owing to the world of post-rock. Envy sit right in between these 2 worlds, and prove that they are not as disparate as it seems at a first glance. Opening track ,Seimei` marries tear-inducing melodies with gut-wrenching grooves to create a soul journey, while ,Zanshin` (meaning ,uninterrupted heart` in Japanese) dashes forward with an upbeat groove and soaring post rock leads. On ,Tamayura', the energy is dialed back as reverb-drenched tremolo-picked guitar lines wash over you from behind alongside Japanese spoken word-parts and a throbbing heartbeat. This is ENVY at their very best. FFO Mono, Mogwai, Explosions In The Sky, Isis, Swans, Pelican, Caspian, Thursday, From Autumn To Ashes, Thursday, Birds In Row, Deafheaven Limited (400 copies ww) Single Coloured Tamayura (Dark Red Vinyl) Edition!

Cluster was the pioneering German duo of Hans-Joachim Roedelius and Dieter Moebius. Formed on the cusp of the 1970s, they were a part of West Germany's nascent Kosmische Musik scene. The group would use restrained improvisational techniques similar to Gruppo Nuova Consonanza, working with both electric and acoustic instruments (organ, guitar, tone generators, cello, etc.) to create a singular sound that Julian Cope called "a huge beating heart, planet-sized and awesome."

Originally released in 1972 on Brain, Cluster II features six pieces of atmospheric, proto-ambient drones – a step forward from Cluster's 1971 self-titled debut, which had all untitled songs. On "Im Suden," hypnotic bass pulsations and repetitive guitar patterns flow serenely, while side two opener "Live In Der Fabrik" dives deep into Roedelius and Moebius' foreboding industrial soundscapes and synergistic textural interplay.

As Roedelius told Uncut magazine in 2022, "This feels like a breakthrough? Well, we were just getting more into it, and getting more experienced at being able to elaborate it. Conny (Plank) was working with us again – as well as being a multi-talented artist, he was a very experienced sound master and great human being. He contributed as a fellow musician, adding sounds with his mixing table such as reverb, delay and other effects enriching the whole pieces so that they finally became somehow unique."

It's no surprise that when Neu! guitarist Michael Rother first heard Cluster II, he suggested a collaboration with the band – resulting in the supergroup Harmonia who would make their first album together the following year.

Dial 303! The new and hopefully also durable sampler series on Running Back is here.

Dedicated to the twang of Roland’s silver baseline box with a varied string of artists: DVS1, Marko East & Jordi Chu (whose collaboration sparked the idea of a whole series), Like A Tim via Prins Thomas, Katerina and I:Cube.

The Parisian put it in a nutshell, too: „Although rinsed to death to the point of becoming a parody of itself, acid will last forever.“ Therefore, his Folie Noire is combining the original recipes with hypnotic European influences, while Marko and Jordi present a rough and direct 303-909 live jam, Prins Thomas puts his wickedest smile on Like A Tim’s Wonderline from 2005 and Katerina sets a lucid dream to sanguine music.

Finally, there is a rare and much desired musical outing by the unique DVS1. A direct ode to Chicago’s acid and beatdown styles and its Midwest companions, it is a heads-down-lights-down late night track made for driving up and down Lower Wacker Drive. Trippy trip artwork by the inimitable Gasius.

Trivia: If the piano is the bread of house music, the acid line is its butter!

Vive La Musique brings us yet another magical release, compiling four stunning tracks from South African bass player - Sipho Gumede. Taken from two rare albums originally released in the 80s, the music blends South African roots with Boogie influences and is the follow-up to the hugely successful "Jika Jika" reissue.
The release was born through label founder Aroop Roy's relentless search for a copy of the 1983 Peace album, which led to him tracking down the original producer - Greg Cutler - a key figure in South African music from that period and regular collaborator with Sipho. Aroop was blown away by "Uthinina" and "Bayabizana" - two unique tracks, featuring haunting Zulu vocals, African jazz flavours, and epic changes over hypnotic grooves.
"Something to Say" and "City of Gold" were recorded a few years later in the world-renowned Battery Mobile Studio. Sipho had been working there with Caiphus Semenya and Letta Mbulu and their influences can be heard, with drum machines and American Boogie instrumentation laying the foundation for powerful vocal lines sung in English, with soul and gospel sensibility.
The 12" comes with extensive liner notes from Greg Cutler, talking about his time in South Africa. He recalls his experience as a White producer, working with Black musicians under the challenges of apartheid and describes his musical journey with Sipho Gumede, with intriguing details on how the music and production evolved.


Feedback

"The music of Sipho is so good - wow! Uthininia def worth the 3 year search, but even more wonderful to then stumble over a tune like "Something To Say"!"
Hunee

"Chunky, soulful and deep. Thanks for unearthing these beauties!"
Mr Scruff

"Brilliant tracks! Thank you so much"
Gilles Peterson

"This is fucking amazing!!!!"
Eli Soul Clap

"Sipho's Music is great!"
Antal

"Amazing music that is perfect for today's music environment, a lovely blend of South African and boogie flavours."
Patrick Forge

Armed with a thrift-store synth, bizarre wit and arresting vocals, the intergenerational, all-female micro-choir Alice release their second album L"Oiseau magnifique. Hailing from Geneva, Alice"s music subverts French and Occitan folk music to create a playful and poignant blend of intricate harmony and storytelling lyricism - a unique sound that is deep yet deceptively minimal.

Glasgow-based 4 piece, Tide Lines, have grown their large & passionate fanbase through blistering live shows and their trademark anthemic songs. Their unique appeal stems from escapist lyrics mixed with driving undercurrents of drums, guitars and keyboards. Their last album, the self produced and self released ‘Eye of the Storm’, arrived in the depths of lockdown in May 2020 yet still debuted at #12 in the Official UK Album Charts - narrowly missing the top 10. The band, originating from the Scottish Highlands, are Robert Robertson (vocals, guitar), Alasdair Turner (guitar), Ross Wilson (keyboards) and Fergus Munro (drums). Sold out shows and new music see Tide Lines taking things to a new level in 2022. This new album contains the singles Rivers in the Light and Written in the Scars

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions African RARE GROOVE A journey at the heart of Nigerian afrobeat from Orlando Julius to the ethnojazz of Alemayèhu Eshèté passing by the High-life of the Ghanaian Ebo Taylor...

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Brazilian RARE GROOVE Discover the wonders of Brazilian music from 60s, 70s & 80s. A wave of modernity invades the country and Soul, Funk & Disco influences merge with traditional genres such as Bossa Nova, Samba or Batucada. This union led to a colorful and cheerful groove symbolizing the transformation of Brazil.

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions French RARE GROOVE This "French Rare Groove" volume offers us a oneâÇ`way ticket to France from the late 60"s to the early 80"s. From confidential releases to forgotten movie soundtracks, discover the grooviest tracks from the french scene. Have a good trip!

Rare Groove Collection Explore the fusion of world music with soul, funk and disco through the Rare Groove Collection. With this new volume, discover unique groove tracks straight from Jamaica! Fully remastered original versions Oriental RARE GROOVE A trip to the oriental peninsula following the steps of the Lebanese disco of Elias Rahbani, cradled by the Morrocan Soul of Ouiness or trained by the Lybian melodies of Ahmed Fakroun...

After an interminable wait due to the vinyl manufacture crisis, Mercury 200 is back stronger than ever, supplying some homegrown material that is conceivably as potent as GOTG001. This time they teamed up with 2 legendary OG's, Apoc Krysis & MCR-T, to spice up your musical experience and bring you the best of the two worlds. Dealing at the intersection of breakbeat, Ghetto tech and trance, this record will definitely catch your attention. Parental Advisory Explicit Content. Legally available only on prescription.

For the first track of the vinyl, they teamed up with the Atlanta based rapper Apoc Krysis to blend two opposite genres in a Memphis rap infused techno banger. This unique collaboration put on the table whats the both side has the best to offer: powerful and lethal flow. This track is here to pick you up and put you back on your feet after a breakup. When nobody's there for you, this track is.

Full of fast and filthy grooves "Caramelo" is the track that will make you sweat. A heavy stomping beat with devilish vocals ready to make your ghetto inner self dance. Heavy grooves and a powerful bassline this track will slap you into consciousness. 100% Floor impact guaranteed.

On the flip side we start with an outstanding collaboration with Berlin most notorious player in the ghetto house-techno scene: MCR-T. An uplifting, instant serotonin booster.

Building up the tension at the start with a breakbeat and OG (original gangsta) lyrics, the tracks eventually turns into four to the floor house infused groove. Party killer guaranteed!

Last track but not the least consists in a classic mercury 200 signature breakbeat track. A fine blend of trancy and infectious melodies with a short rap hook and chest punching drums.

WITCH RIPPER haben eine liebevolle Hommage an die legendären Pulp-Science-Fiction-Storys aus der "Goldenen Zeit" des Genres erschaffen. Auf ihrem zweiten Album "The Flight After the Fall" erzählen die Amerikaner eine durchgehende Geschichte, die aus all den schmackhaften Zutaten besteht: Ein verrückter Professor, seine sterbende Frau, Kryo-Kammern und ein Schwarzes Loch dürfen dabei nicht fehlen. Garniert wird das Konzert von universell wichtigen Themen wie Liebe, Angst, Verlust und Akzeptanz. Musikalisch haben WITCH RIPPER ebenfalls das passende Rezept für "The Flight After the Fall" gefunden. Das Album steckt nicht nur erwartungsgemäß voller Vorwärtsdrang und ungezähmter Energie, sondern es finden sich ebenso flinke wie vertrackte Gitarren-Attacken, ein subtiler Hauch von Synthesizer-Sounds und kosmischer Atmosphäre sowie unverschämt eingängige Clean-Vocal-Hooks. Kurz gesagt, WITCH RIPPER bleiben ihren knorrigen Wurzeln treu, während sie sich gleichzeitig den Arena-Rock-Bombast von QUEEN und DAVID BOWIE sowie den überschwänglichen modernen Prog von COHEED AND CAMBRIA und MUSE zu eigen machen. Geboren und aufgewachsen in der Stadt des grauen Himmels und der lauten Musik, Seattle im Jahr 2012, haben WITCH RIPPER aus Washington von Anfang an die zeitgenössische Härte von Acts wie MASTODON, GOJIRA und BARONESS nahtlos mit der hymnischen Qualität des klassischen Rock verschweißt. WITCH RIPPER gehen ihre Musik auf typisch amerikanische Weise an: Fette Riffs, große Hooks und verdammt sei dieser Schlagzeuger! Mit "The Flight After the Fall" meldet sich die Heavy-Truppe aus Seattle mit einem kühnen musikalischen Statement in der US-Metal-Szene zurück.

Superb mental Nederland acid traditional sound...
Pure jewel of a kind :!!

ENJOY !!

After three years of breakout touring at some of the biggest roots festivals in the United States and Canada, and another three years locked out of the live performance world they have so ambitiously cultivated, Doolin', France's premiere practitioners of Irish and Celtic music, return with a new album entitled CIRCUS BOY. Recorded in part in the US (Chicago, Kansas City and Pittsburgh) during their 2019 tour, the album was completed at the legendary Studio Ferber in Paris, France, under the direction of two legendary producers, Olivier Lude and Patrice Renson, both of whom have collaborated with some of the biggest names in French music. While their 2016 album drew its inspiration from the fusion of traditional Irish music, French chanson, and American roots music, CIRCUS BOY is resolutely more adventurous, as evidenced by their original compositions ("Circus Boy", "When I'm Gone", "A Place Where We Belong"), as well as by the added punch and sonic elements that were brought to the project by producers Lude and Renson. Powerful, full of emotion, and eminently appealing, Doolin' is poised to take their career to the next level with the release of CIRCUS BOY.

Second VA for ISSUES is a limited copy and special edition yellow vinyl and its big one as all the tracks included on the vinyl are the top selling tracks of the past few months.

First track on the A side is by Detlef. “Back2back” is simple but effective, with a strong kick, subby bassline, technical effects and a massive captivating vocal in the breakdown, creating tension using effects that leads to a massive drop. On the same side Just Jake’s “Sphinx” has a unique Ancient Egyptian vibe, with a funky Sitar and traditional Arabian singing driving the breakdowns, the track has a quick thumping, wobbly bass line groove with solid percussion.

On the B side there is Nicola d’Angella’s “Kill vibe” which is a dancefloor weapon with a quick bass that creates a unique groove and a massive breakdown with full vocals. On the same side there is also Chicks Luv Us with their popular track “Look so fun” which is extremely groovy and catchy with a big bassline and vocals that create a playful groove.

Ukrainian blackened death/doom metal offensive 1914 continue to reflect the gruesome tales of World War I, its soldiers’ fate, their death, fear and feats to be never forgotten, and unleash their new opus, Where Fear and Weapons Meet, on October 22nd, via Napalm Records. Its eleven tracks of pure historic harshness follow up to the band’s sophomore full-length, The Blind Leading the Blilnd (2018), and debut, Eschatology of War (2014), both highly acclaimed amongst critics, and create a sophisticated variety of massively brutal blackened death metal accented by dramatic and realistic audio soundscapes and disquieting melodies spiced with the approach of sludge and doom! Blurb IG#1: "After their highly acclaimed previous records, blackened death/doom metal unit 1914 again faces the cruelty of World War I on its third opus Where Fear and Weapons Meet . The first single “...And a Cross Now Marks His Place” already marks an absolute highlight, as this massive outburst features none other than Paradise Lost icon Nick Holmes, whose pervasive delivery matches with 1914 ’s mastermind Hptm. Ditmar Kumarberg’s (9. Westpreußisches Infanterie-Regiment Nr. 176) vocal harshness." Blurb IG#2: Blackened death/doom metal frontrunners 1914 return with their third inexorable opus, the new studio album Where Fear and Weapons Meet. On this masterpiece of pure harshness, 1914 again reflects the gruesome tales of World War I without making any compromises. Second single “Pillars of fire”, that deals with The Battle of Messines in 1917, starts with an atmospheric introduction that draws the listener deep into the album theme and erupts into a massive blackened death/doom outburst shortly after. Blurb IG#3:Since 2014, Ukrainian blackened death/doom metal visionaries 1914 have told the gruesome tales of World War I and are now ready to face the fiery depths again on their third attack, Where Fear and Weapons Meet. Third single “FN .380 ACP#19074” breaks in with heavy guitar lines and thunderous black metal drumming like a blaze of gunfire and reflects the assassination of Austrian Archduke Franz Ferdinand and his wife 1914 in Sarejevo, an event that caused the outbreak of World War I.