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Diese limitierte Version ist auf grünem Glow In The Dark Vinyl gepresst.

Ego Tripping at the Gates of Hell enthält 7 Tracks aus der "Yoshimi"-Ära, die auf dem 6 CD Yoshimi Battles the Pink Robots 20th Anniversary Box Set enthalten waren, das im November 2022 veröffentlicht wurde.

Ursprünglich als CD EP im Jahr 2003 veröffentlicht, erscheint sie nun
zum ersten Mal auf Vinyl 1st time On Vinyl. Sie enthält zwei Versionen des Titeltracks (eine davon mit einem Remix von Jason Bentley), einen Remix von The Postal Service von "Do You Realize?" und 4 Tracks, die nicht auf dem Album sind.

The superb Make Up series hits release number three and in doing so heads back to the trio that started it all. The combination of Chicago house originator Chez Damier, Adeen label head Camille and Italian talent Nico Lahs is a dream team indeed and they serve up some crucial edits that cover a wide sonic range. There are standout cuts on the first 12" such as 'Dance to Freedom' and 'African Bump' while jazzy grooves define 'Sunny' and 'Changes' is all about getting that dance floor vibing. This is another in-the-know musical voyage from this crew that more that deserves a spot on your shelves.

Madonna is the first and only recording artist to have 50 number 1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna has curated a new collection titled Finally Enough Love which includes her favourite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades.

This collection highlights You Can Dance, Madonna’s first ever remix collection. Celebrating 35 years this year, You Can Dance has sold more than five million copies worldwide and is still the second best-selling remix album of all time. The collection also pays homage to “Everybody,” Madonna’s first single. Each remix is newly remastered for the collection by Mike Dean, who produced Madonna’s two most-recent studio albums, Rebel Heart (2015) and Madame X (2019). Along with those rarities, this album also introduces the “Offer Nissim Promo Mix” of “Living For Love” as its first official release.

"And we"re coming out of dreams / And we"re coming back to dreams" is the first thing you hear Bill say as you remake your acquaintance on YTILAER. Right out the gate, he"s standing in two places at once: meeting up with old friends behind the scenes and encountering them on the record, finding himself coming round the bend and then again as someone else on down the line. Like the character actor he played on Gold Record, writing stories about other people, telling jokes about everyone, and in singing them, becoming the songs. "You do what you"ve got to do / To see the picture" Bill"s got a full band sound going on this one, with him and Matt Kinsey on guitars, Emmett Kelly on bass and backing vocals, Sarah Ann Phillips on B3, piano and backing vocals and Jim White on drums. Jim and Matt sing on one song, too, and some other singers come in, too. Bill plays some synth here and there, and Carl Smith drifts in and out of the picture with his contra alto clarinet, as do Mike St. Clair and Derek Phelps on brass. Somehow in between them all, you might think you hear the distant sound of a steel guitar. And you might - but you might not, too. In this company, Bill continues his journey, tunneling underneath the weathered exterior of what seems to be and into the more nuanced life everything takes on in the dark. With Bill"s voice making the extraordinary leaps and bounds that measure the lives of the songs, the band follow him through passages that seem to invent themselves; other times playing with deeply soulful grooves and/or desperate intensity, as these moments come and go. There"s nothing they can"t do. "I wrote this song in five and forever / I"m writing it right now" Bill sings on "Natural Information" - an admission of the everyday alchemy he"s forever trafficking in. Time passes, triangulating the encounters that went into any one record with two out of any three others, all of it made flesh, new constitution, in our stereo speakers. If every album is its own life, it stands to reason that they"re invariably passing in the night. Cascading images flowing from the stream of consciousness. Turning like pages from the journal, unspeakably personal, then suddenly become tall tales, like a book pulled off the shelf, completely unbound. Headlines flow through. Mirror images, mirthful ones. Bill"s lyrics strain at the lines on the page, not content to separate the printing of the fact from the myth or be confined to ink on paper. They want to fly free. And they do. "I realize now that dreams are real" On YTILAER"s inner sleeve, alongside his lyrics, Bill celebrates the "exhilaration and dread" of cover artist Paul Ryan"s paintings. Paul"s another one met up with again down the road, his indelible cover imagery on Apocalypse and Dream River now an axis of meaning in the Callahanian world - and in the bright colors found in these new images, a parallel to Bill"s recognitions here. "A breath of exquisite air as we come up from drowning", sounds like the desired hope for those hearing the songs of YTILAER.

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Having lived and worked in numerous musical directions for many years, Semay Wu’s begrudgingly
faithful cello still remains at her side: from Merseyside, to Manchester, to The Netherlands, and now to
Central Scotland. Always trying to push age-old boundaries of how the instrument is viewed and heard,
her focus has led her to explore further collaborative and everyday improvisations, blending electronics
with mixed media and a variety of gestural art disciplines.

Raspberry Hotel is Semay’s first foray into recorded solo work. Finding it hard to stick to any one brief,
she filled out a room of a local studio space, with toys, everyday objects, instruments, and her cello.
Sitting on the floor, she recorded whatever came to mind. A week-long session of improvisations were
then taken home, spliced up and pieces were composed and mixed. Raspberry Hotel is made up of
fleeting, off-the-cuff performances, that can be listened to as separate tracks or as one long piece.

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

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.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Gianni Brezzo, the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quickly followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa.” Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” (509k Likes) and “Café / Croissant” (200k Likes), and “lofi beats” (4.8M Likes) and most recently was synced in an episode of Gossip Girl for HBO US. Gianni’s latest excursion, “Soundscapes Vol. 1 – Music for Harlequins” is a special kind of release, one that ventures into worlds familiar, yet undeniably foreign and exciting. Gianni journeys through baroque pastures and medieval acoustics to bring forth an aural palette of colorful, timeless arrangements that fit comfortably in the sonic pocket. Featuring lush and nuanced instrumentation, all seamlessly melded together within Gianni’s groove-driven framework, the tracks on “Harlequins” present thematic moods that act as sonic windows into an enduring past. Jakarta is ecstatic to share such a project, with limited 300 vinyl initially pressed, arriving March 10th, 2023.

Classic 5th studio album (2001) from Norwegian symphonic Black Metal band, now remixed and remastered.

Rund 20 Jahre sind Dub Spencer & Trance Hill im Musikbusiness unterwegs und nach wie vor hungrig wie eine Raupe im Blätterwald. Vermeintlich dominierte dabei stets die Dub-Komponente, egal, ob sie humorvoll-intelligent mit Weihnachtsliedern, Spoken Words oder Italo Western vermischt wurde. Doch spielte immer auch das Elektronische, Psychedelische, der "Trance" eine wichtige Rolle im Schaffen der europaweit bekannten Schweizer Band. Nun endlich erhält diese Facette ihren gebührenden Platz auf dem neuen, zwölften Longplayer des Quartetts: "Imago Cells" heißt das Album und markiert eine Metamorphose. Aus dem Alten entsteht also das Neue, und so verschmilzt der Dub mit Elektronischer Tanzmusik oder besser: "Trancemusik"? Die Tracks stehen klar im Zeichen des Up-Tempos und laden zum Raven ein. Weiter ist auch das Klangbild noch bassiger und psychedelischer geworden, ohne jedoch den organischen Touch zu verlieren. So blubbern, echoen und grooven denn die acht Songs tierisch gut, klingen unverkennbar nach Dub Spencer & Trance Hill und zugleich versteht man, dass der einzige Weg das Neue ist. Ein wahrhaft magischer Augenblick, wie die Geburt des Schmetterlings.

Lovesick – everyone knows it, everyone hates it. Everyone feels alone. Everyone questions the previous relationship and what has been said during it. Everyone tries to numb the pain of this all-encompassing suffering with alcohol and drugs. Everyone calls at four in the morning and leaves embarrassing love confessions on the answering machine that will be never heard. Everyone feels alone and tries to find solace in casual acquaintances in bars, only to be turned away for being pushy. Everyone lays up for weeks stalking the likely reason this relationship ended, oh! It didn’t have to end, it was all so nice and this new one can’t be good and he/she won’t be good if the plans I’ve been making here for nights come true…oh how nice would this be! Oh it can’t be, maybe I just can’t be loved… maybe I just should…

Everybody knows it.

But from now on you never have to go through all that heartbreak alone again because we Herzschmerz Versicherungen have the solution! We are a band from Stuttgart, somehow only classified as dilletantic strange in the genre. We are at your side and take care of you when your heart hurts!

Book one of our numerous insurance packages today, or just listen to our songs – that helps too!

“Denn wenn du dir nicht sicher bist und deine Liebe bald zerbricht: Komm, schöner Mensch und kauf doch eine Versicherung bei mir, Bei Herzschmerz bin ich dann immer da, bei dir!”

Iassen Markov & Jannik Haller

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!

With his Old Skool mini album, Armin van Buuren takes his fans back to where it all started. Paying respects to the producers who basically invented the genre, he shows the power of timeless dance classics such as “Dominator”, “The Ultimate Seduction”, “Pull Over”, “Quadrophonia”, and “88 to Piano”.

Announced via his A State of Trance radio show, this release sees Armin delve back into history and bring favourites from the likes of Human Resource, Speedy J and Quadrophonia up-to-date with modern production twists.

Old Skool is available as a limited edition of 2000 individually numbered copies on translucent magenta coloured vinyl.

"Bernhard von Siluh Records hat mich gebeten, einen Hype-Text über die neue BAD WEED-Platte zu formulieren, und ich fühlte mich zunächst geschmeichelt, hatte dann aber doch Zweifel... Wie kann ich euch dieses Powerpop-Juwel in wenigen Worten erklären und näher bringen? Es ist nicht nur das übliche Jangle-Pop-Ding oder noch schlimmer, nicht etwas, das man heutzutage "Garage-Punk" nennt, nein, Sir! Es ist echter Powerpop im Stil der 70er Jahre, aber wie mein Chef immer zu sagen pflegt: Man kann den Leuten nicht erzählen, wie großartig eine Powerpop-Platte ist - man muss sie sich anhören, am besten mit einem Getränk der Wahl in der Hand, und bald wird sie ihre Besonderheit enthüllen (oder auch nicht). Was liebe ich an BAD WEED, außer der Tatsache, dass sie die hübschesten Jungs der Welt sind, die - nachdem sie 20 Jahre lang in verschiedenen Bands gespielt haben - endlich gelernt haben, ihre Instrumente zu spielen? Es sind die Songs! Es geht nur um die Songs! Die erste Single aus dem Jahr 2015 war etwas anderes, man kann es sogar Garagenpop nennen, ihr Debütalbum vor ein paar Jahren und etwa 100 Shows später war nur der Anfang, hier ist ihr zweites Album mit dem schlichten Titel "II", das Talent, Songwriting-Fähigkeiten und Pop-Handwerkskunst zeigt! Einige dieser 12 Originalsongs erinnern mich an Alben/Bands, die längst vergessen sind, wie z.B. "If you ever pt. 1" könnte eine frühe THE FRESHIES-Single sein, "Breaking Lines" könnte von einer RUDI-Setlist sein oder "Who's gonna love me" klingt wie einer dieser THE COLD-Ohrwürmer. Die meisten Songs haben diesen 80er-Jahre-UK-Indie-Punk-Vibe, der direkt in mein Gehirn und mein Herz geht! Sie haben sogar die Frechheit, TOWNES VAN ZANDT zu covern - und schaffen es, dass es nicht so deprimierend klingt wie das Original, nur ein bisschen traurig vielleicht. Zu behaupten, dies sei ein Wohlfühlalbum, ist nicht ganz richtig, so einfach ist es nicht. Es ist eine Platte, die Lust macht, die Band in einem kleinen Club live zu sehen, eine Platte, die einen einfach lächeln lässt und an gute Zeiten erinnert. BAD WEED ist eine Band für die Hosentasche, eine Band, die man liebt und von der man Freunden erzählen möchte, aber nicht zu vielen, denn die Band sollte klein und in der Hosentasche bleiben und nicht in den Playlists von jedem Tom, Dick und Harry vorkommen_" (Elmar / Bachelor Records) "Debüt-Scheiblette von Wiens Blitzpopgroup. Mitreißender Powerpop-Punk mit ganz viel early UK- vs semi-modern Texas-Sound in den Venen. Buzzcocks , Exploding Hearts, The Jam, Bad Sports, Marked Men, .... Schweine-tight gespielte, tolle Melodien, die einen sofort abholen, bissi Saxophon hier und Orgel da!! Die Platte strotzt vor Energie und Spielfreude, findet einen steilen Breakeven zwischen Witz, Charme und Klassenbewusstsein. Stark!" (FLIGHT13)

“On this, their second LP, P16.D4 solicited tapes from several artists from Europe, England, the U.S., Canada, and Japan, and mixed that with their own material. Though in the current digital age collaborations from artists thousands of miles apart is quite normal, this was a quite radical approach back in 1982, when work on this LP began – an interesting concept that actually works quite well, since these artists, which include Bladder Flask, DDAA, the Haters, Merzbow, Nocturnal Emissions, Nurse With Wound, and several others – work in a similar free-ranging experimentalism as P16.D4, and their particular elements, usually just vocals or one instrument or noise implement, blend well without diluting P16.D4’s own peculiar brand of avant-garde post-industrialism, but merely give it another facet. One of the best tracks, “Aufmarsch, Heimlich,” consists of a choir submitted anonymously from Eastern Europe phasing in and out of static while a skronky alto sax bleats away. Most of the pieces exist somewhere just beyond the borders of free jazz, industrial, and even classical avant-garde, full of jarring noises and strange transitions and with a heavy overlay of electronics. What started out as an experiment yielded one of P16.D4’s best albums.” - Rolf Semprebon / AMG

“Distruct is organized around sounds provided by the cream of experimental musicians of the early ’80s, from Nurse With Wound to Nocturnal Emissions, via De Fabriek, Die Todliche Doris, The Haters, Merzbow, and others. Obviously, there is no question of remixing here, and at no time do P16.D4 seek to hide its sources, clearly identifying the contribution of each artist in the liner notes. It would be futile to try to find the paw of each artist, the trio operating vis-à-vis its collaborators the same methods as in their own work. Reworked, distorted by various effects, cut, edited, aggregated with other sounds, produced by P16.D4 themselves, reprocessed. Exchange, communication, two other data that will constantly recur in the work of P16.D4, rich in external contributions and encounters of all kinds. Musically, and despite the diversity of sources treated, Distruct escapes the heterogeneous character, which often marks this type of collaboration, to offer a coherent whole: fragments of opera, Soviet speeches, out-of-tune guitar, saxophone, tattered violins, overdriven and metallic noisy attacks, jackhammers, field recordings, battered choirs, and many other less identifiable sounds. In addition to the desired dialogue between the artists, Distruct also offers a real reflection on listening, and on the expectations of the listener.” - Dissolve

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

When the pandemic hit, Hannah van Loon adopted a dog named Gizmo, who became a much-needed companion while the Bay Area musician wrote her second album as Tanukichan. Aptly Named after her new four-legged friend, GIZMO is an exercise in release, whether from situational hindrances—a forced lockdown, for one—or from self-imposed hedonistic coping mechanisms.“ A theme I always had floating around was escape,” van Loon explains of her follow-up to 2018’s Sundays. “Escaping from myself, my problems, sadness and cycles.”

To channel the more uplifting spirit she wanted for GIZMO, van Loon turned to the radio pop-rock of her childhood: “I was struck by the in-your-face positivity of the lyrics,” she adds,referencing artists like 311, The Cranberries, and Tom Petty. “I wanted to bring that positivity while writing about the sad and helpless emotions I’d been grappling with.” But GIZMO’s lightheartedness doesn’t make it shallow: “I think that I could let it go, as beautiful as snow,” she murmurs on “Don’t Give Up,” a nu metal-meets-Cocteau Twins groove about the sudden awareness that all the relationships you depend on could vanish instantaneously. Van Loon’s main collaborator on GIZMO was Toro y Moi’s Chaz Bear, and the jangly pop earworm “Take Care” showcases the heavily distorted, in-your-face guitar work reminiscent of Bear’s own psych joints What For? And Mahal. On the hypnotic, wall-of-sound-rocker “Thin Air” featuring Enumclaw, van Loon channels the triumphant grit of The Smashing Pumpkins as she ponders the impermanence of even the most impactful relationships: “I’ll always have the memories/Of how you used to make me see/Until they fell in the ocean/They’re not swimming/They’re not floating.”

Existentialism aside, GIZMO also sees van Loon break out of her sonic comfort zone. “One ofthe main changes of how I’m approaching music now is that I want to have more fun in the process,” she says, and she walks the line between melodrama and whimsy gracefully: “I can learn something because I’ve been here before,” she sings on the soaring, bittersweet “Been Here Before.” Deftones-inspired thrash drums and screeching electric guitars are gracefully contrasted with van Loon’s hypnotic, almost deadpan vocal style and a crystal clear acoustic guitar she describes as “cute.” Gizmo the dog suddenly passed away right as van Loon finished the album, but he’s immortalised with his photo on the cover—a fitting emblem of this new era of Tanukichan.

Fazerdaze, aka Auckland-based singer / producer / multi
nstrumentalist Amelia Murray, is back with new music after a
very intentional five year pause.
Fazerdaze returns with ‘Break!’, an air-punch purge in musical
form, marking an important reintroduction to an essential artist
of our times.

In a society where being strong and resilient is often held up like
a badge of honour, it’s much, much harder to acknowledge
when enough is enough - to accept when it’s time to let go. It’s
a truth that Murray has spent years wrangling with, but one
whose story thankfully comes with an empowering punchline of
personal reclamation. Rewind back half a decade and,
objectively, things for Fazerdaze were hitting their stride. Then
residing in Auckland, an early determination to graft hard and
“put herself in the right places” had led to working for and then
signing with legendary New Zealand label Flying Nun. A debut
LP - 2017’s ‘Morningside’ - followed, full of gauzy melodies and
nfluenced by Frankie Cosmos, Japanese Breakfast, and the
dream-pop landscape of the time.

Finishing up touring for the record at the end of 2018, Amelia
speaks of a deep sense of burn out and, more than that, of
feeling the “wheels starting to come off” in her general life. “No
longer being stoic and strong was the best thing I ever did for
myself. Giving up on the people and things that weren’t working
in my life was this big release where I could finally put down this
weight that I was carrying, and ever since then everything has
been better in my life overall,” she continues with an audible
sense of relief. “I can hear my intuition and write songs and be
creative; I signed a record deal, I moved into my own place. It’s
like the floodgates opened for good stuff coming into my life.”
Black vinyl in a single sleeve jacket and printed inner sleeve.
Design by Joey Clough.

Press - Reviews & features in The Guardian, The FADER, Brooklyn Vegan,
Complex, Consequence, DIY, Narc Magazine, Pigeons and Planes.
Radio - BBC 6 Music A-List.
Online - Support from both fans & fellow musicians, including posts shouting
out ‘Break!’ from King Krule & Lorde.

“This music is staggeringly original and innovative, and while it’s possible to locate it in a chain of circumstance that links it to ‘Industrial’ music, P16.D4 indulged in none of the empty cliches associated with the genre, worked incredibly hard, and seem to have been aiming at a form of sound art that was much more profound, varied, subversive, and potentially dangerous. Kuhe In 1/2 Trauer’s accompanying credits indicate their radical approach to making music: lots of improvisation, lots of live electronics, extensive use of tape-loops, some conventional instrumentation, and much that isn’t – like the milk churn on ‘Paris, Morgue’ or the use of baking tray and washing machine elsewhere. Even when guitars, drums or keyboards are used, they’re played very weirdly. It’s not even made clear who was doing what; the main credit is ‘Concept,’ which I assume means that one of the three devised the framework in which the noise would operate itself, and while RLW gets the lion’s share of these credits, a lot of the cuts are evenly divided among the team and I have no doubt that the group operated in a very democratic or libertarian manner. None of this prepares you for the insane and troubling sounds that reach your ears, composed with scant regard for conventional logic and following an exciting, absurdist path, especially in the matter of tape edits and juxtapositions of recordings.” - Ed Pinsent, The Sound Projector.

“Though this German group started out as a the new wave band P.D., by the time of Kuhe in 1/2 Trauer, their first LP under the P16.D4 name from 1984, they had developed far beyond into extremely experimental music similar to other post-industrial artists working with abstract avant-garde soundscapes. There’s a bleak industrial feel to the gritty, lo-fi electronics and tape loops, while the group throws in enough curve balls to keep it interesting. On some pieces, strange, looped choirs bubble out of throbbing pulses and drones of feedback, while others have clanging and clattering, and elements of musique concrète and improvisation blur the boundaries even further. The opening track, “Default Value,” is one of those disorienting pieces with noises flying everywhere, while “Paris Morgue” takes excerpts from one of their old P.D. tracks and messes it up with additional instruments, while the ungainly titled fourth track throws in a heavy texture of percussive noises to create an edgy ambience about to teeter off the edge, and the even darker and more ambient title track takes the tension even further. Arrhythmic and amorphous and capable at moments of becoming quite noisy and abrasive, while at others far more somber and quiet, Kuhe in 1/2 Trauer is quite a fascinating release.” - Rolf Semprebon / AMG

P16.D4 was a German electronic noise music collective, active primarily from 1980 to 1988. P16.D4 embraced tape cut-ups, musique concrète, endless recycling and transformation of previously published material, and many long-distance collaborations with like-minded artists such as DDAA, Vortex Campaign, Nurse With Wound, and Merzbow. Their active participation in the international industrial tape scene yielded collaborative output such as their release Distruct, where bands such as Nurse with Wound, Nocturnal Emissions, Die Tödliche Doris, and The Haters provided the source material. The longest-term collaboration was with the installation and conceptual artist Achim Wollscheid, who used P16.D4 sounds as the basis for LPs he recorded under the name SBOTHI. Ralf Wehowsky, the only constant member of the group, later released solo material under the alias RLW.

Members of P16.D4 were also involved with Selektion, a collective of people involved with sound as well as the visual arts. Selektion published LPs, CDs, books, visual art and design.

The collective worked in a strongly improvised, spontaneous and anti-professional way, using acoustic and electronic instruments, using existing sound fragments, duplicating and alienating them, using repetition, distortion, changes in speed and playing direction. For this they used not only sounds of other artists but also their own material from earlier productions. Late works of the collective are associated with musique concrete.

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.

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.

Innemuseum is the debut album by Danish composer, singer and multi-instrumentalist Cisser Mæhl. The 10 fragile compositions for vocals, sparse electronics and a myriad of instrumentation illuminate a hushed charm unlike few other Sonic Pieces releases to date.

The album sparked off while Cisser was working in a mountain lodge in mid Norway during summer 2019. On her spare time she would find herself recording mountains, rivers, stones, plants and animals in the beautiful scenery. After moving to Oslo shortly after, she rented a studio to further work on her own music, songs and sound processing. Through some friends she met Norwegian artist Jenny Hval who became an inspiration as she started taking solo classes with her. Jenny then pushed to contact producer Lasse Marhaug to work together. This became the last piece of the puzzle for Innemuseum to come to fruition as Lasse ended up putting the final touches on the album. When Cisser returned to Copenhagen after 7 months in Oslo, the album was finished. The title “Innemuseum” refers to both the dark months in Oslo and the retraction towards the inner self. An inner museum - music from within, both as a person and as in physical places.

This is undeniably a very personal record that sounds like the musical embodiment of Cisser herself. She sings in Danish in a close-miked way like she's sitting right next to you, all while gentle rhythms and soft strings together create a sort of bright, minimal chamber music with hints of pop sensibility. It almost feels like a Scandinavian reflection of Colleen's work in her more quiet, vocal periods. A music box of weightless compositions for the conscious mind.

Algiers haben sich eine Crew zugelegt: Für ihr viertes Album "SHOOK" versammelte die Band eine Schar gleichgesinnter Künstler um sich herum. Der Nachfolger zum gefeierten Album "There Is No Year" (2020) ist ein musikalischer wie inhaltlicher Blitzableiter in bewegten Zeiten und mit seinen 17 eindringlichen Songs schon jetzt eines der aufregendsten Alben aus 2023. Das komplette Album entstand, als Fisher und sein Bandkollege Ryan Mahan für einige Monate in ihre Heimatstadt Atlanta zurückkehrten, wo sie unter dem wachsenden Druck litten, was schließlich in einem Burnout gipfelte. Eine extreme Zeit für die Band und für die Freundschaft der beiden Musiker, in der sie schließlich auch persönlich wieder zueinander fanden. Sie hörten viel alten Hiphop und eine Neuauflage von DJ Grand Wizard Theodores 1970er Punk-beeinflusstem New Yorker Rap-Meisterwerk "Subway Theme" diente als spirituelles und thematisches Moodboard für das Album. Während Gemeinschaft und Zusammenarbeit schon immer ein wesentlicher Bestandteil der Arbeitsweise von Algiers war, kommt dies bei "SHOOK" nun voll zum Tragen. Die Liner Notes lesen sich wie ein Who is Who der zeitgenössischen Underground-Musik, mit Zack de la Rocha, Big Rube (The Dungeon Family), Billy Woods, Samuel T. Herring (Future Islands), Jae Matthews (Boy Harsher), LaToya Kent (Mourning A BLKstar), Backxwash, Nadah El Shazly, DeForrest Brown Jr. (Speaker Music), Patrick Shiroishi, Lee Bains III, und Mark Cisneros (The Make-Up, Kid Congo Powers). Dank ihrer Beiträge wird "Shook" aus verschiedenen Blickwinkeln neu geformt und kontextualisiert. "Es vertieft und erweitert die Welt von Algiers", so Schlagzeuger Matt Tong. Atlanta, der Ort, an dem die Platte entstanden ist, steht schließlich im Mittelpunkt. Das Album beginnt mit einer robotergesteuerten Zugdurchsage vom Hartsfield Airport, die vielen Einwohnern von Atlanta ein Begriff ist und Fisher als Kind immer eine Heidenangst gemacht hat. "Wir haben in einer Umgebung gearbeitet, an die wir gewöhnt waren", sagt Gitarrist Lee Tesche. "Es fühlt sich an wie die beste Algiers-Platte, die wir je gemacht haben." Dass diese Platte überhaupt entstanden ist, grenzt an ein kleines Wunder, da die Band immer wieder vor der Auflösung stand. Algiers haben jedoch Reibung in Energie umgewandelt und mit "SHOOK" ein außergewöhnliches und kraftvolles Album produziert, das am Ende von seiner starken Gemeinschaft lebt. "Ich glaube, mit dieser Platte haben wir unser Zuhause gefunden", sagt Mahan, und Fisher fügt hinzu: "Es war eine ganz neue, positive Erfahrung - eine erneuerte Beziehung zu der Stadt, aus der wir kommen, und Stolz dafür zu haben. Mir gefällt der Gedanke, dass diese Platte uns auf eine Reise mitgenommen hat, die aber in Atlanta beginnt und endet."

The Young Senators are an exemplary progenitor of DC's hyper-local, hyper-celebrated Go-Go scene. Peers of Chuck Brown's Black Heat and Soul Searchers, the septet was led by energetic singer and conga player Jimi Dougans, and featured saxophonist Leroy Flemming, guitarist Calvin Charisty, keyboardist Frank Hooker, drummer James Johnson, bassist Wornell Jones, and trumpeter Phillip Guilbeau. The band issued two singles on the the tiny Innovation label, before joining up with Motown's Eddie Kendricks in 1972 for his sophomore effort People... Hold On. The Young Senators' fuzzed-out brand of psychedelic soul is often bootlegged, but finds it first legitimate release in 45 years via these remastered sides.

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!

Limited Purple, Orange & Light Blue Vinyl 2xLPGrowing up in Atlanta, artist/producer Sol Messiah was always inundated with the rich and energizing spirit of Hip Hop culture. From breakdancing at a young age, to mastering the skill of DJing, to learning the art of production, Sol Messiah's talent and hunger eventually led to working alongside legendary Atlanta producer, Dallas Austin. While Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently, producing a catalog of popular tracks with Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. He also began a fruitful partnership with a fierce lyricist named Sa-Roc, producing numerous projects together including her groundbreaking 2020 album, The Sharecropper's Daughter. In 2022, Sol Messiah delivered his Rhymesayers debut, GOD CMPLX, where he connected with some of the finest MCs in the game to create a powerful and engaging collection of Hip Hop that was equal parts innovative and inspiring. Here, he returns with the GOD CMPLX Instrumentals, letting this impressive collection of beats stand on their own as further testament to his skills as a producer, as well as a visionary.

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!

Cosmic American Music from the far flung reaches of rural Oregon. Issued in 1979 on Allan Wachs' own True Vine imprint, Mountain Roads and City Streets gathers a decade of songs written while hitchhiking up and down the west coast. Screeching pedal steel, lilting flute, and tingly dulcimer are peppered throughout Wachs' tales of brief affairs, invisible dogs, and getting lost in a changing America.

Our next foray into the world of 12” vinyl sees three classic cuts from Tyrome - aka Kris Vanderheyden and Pascal Deneef, remastered for today’s standard and pressed onto glorious wax for that nostalgic feel. Tyrome formed in 1996 and quickly gained a following with their brand of electronic dance music. Their first outings appeared on the famous Bonzai Trance Progressive label where they’d deliver these three top-notch joints before appearing on other labels. Kris is a Belgian techno and electronic music producer who is considered one of the leading pioneers of the Belgian techno scene. He is also known by his stage name Insider, as well as The Assistant and he belonged to a host of groups including Quick Reverse, Cherry Moon Trax and Tripomatic Allstars to name just a few and he contributed heavily to the Bonzai sound of the 90’s. Pascal is also a name synonymous with the 90’s techno sound in Belgium. He worked closely with Kris on several projects including Indicator, Technodrive, Total Remedy and Quick Reverse. His repertoire also includes the monikers Big Jim and Emoryt (Tyrome spelt backwards) and has appeared on a raft of labels over the years.

On the A-side we get a taste of Tyrome’s most famous groove, the 1998 joint ‘Electric Voodoo’, with its instantly recognisable vocal sample. A highly charged and energetic slice of trance with a nice techno edge that always gets the crowd moving. On the flip, the B1 slot holds the much deeper grooves of ‘Noxious’ which saw the light of day in 1996. Dark and mysterious, the beat mesmerizes as a melodic siren fades up to the backdrop of erotic voices. A definite contender at any late-night session to keep the party flowing. Concluding the release in the B2 slot, the 1997 cut ‘Monkey Way’ has the honours. A feisty number with a driving groove thanks to a powerful bassline and rhythmic percussions. The track is laden with stabbing synths and pent-up energy just waiting to be unleashed onto the floors.

Jessica Winter is the queen of sad-bangers, a purveyor of dark glittery synth-pop and a truly unique artist, as well as an acclaimed producer and writer (The Big Moon, Jazmin Bean, Phoebe Green, Walt Disco & more). Growing up on a diet of Nine Inch Nails and Siouxsie and the Banshees, her music is just as likely to channel Madonna, trap, pop, and indie disco. Much of her childhood was spent gazing out of the window from her hospital bed due to hip dysplasia, which led to a very vivid imagination to grow.

Across Jessica Winter’s debut EP ‘Limerence’ for new label Lucky Number, Winter shows her versatility as an artist, from the cinematic-pop aesthetics present in ‘Choreograph’, to a more raucous, dance-heavy approach with ‘Funk This Up’. Grounded within her unique, unmistakable style, Winter delves into everything from synth-pop, punk, and 80’s glam and cements her glimmering pop vision.

“Limerence was written during a time when I was trying to understand my relationship to love and my behaviours around it.” says Jessica; “Love confuses me so much and I think this EP demonstrates that.”

The 1990s were a time when hip-hop infused with R&B became pop music, and at the forefront of this movement was En Vogue. Their most commercially and critically successful album, Funky Divas, stands as one of the best pop/R&B albums to emerge from that time, incorporating soul, hip-hop, pop, dance, and rock to create one of the era’s most diverse, dazzling, and exciting pieces of work. The album scored no less than five hit singles, three of which became Top 10 pop hits. It includes the unstoppable “My Lovin’ (You’re Never Gonna Get It)”, which was one of the biggest hits of 1992 and additionally the remake of “Giving Him Something He Can Feel,” “Give It Up Turn It Loose,” and “Free Your Mind”.

Funky Divas is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl and includes an insert.

Cocktail and power-bossa vibes meet shots of clavinet-funk in the new single by Milan-based producer Larry Manteca, a relentless creator of soundtracks for imaginary films in various genres – from the erotic to the spaghetti western, and from crime to zombie-horror.

Manteca's debut on 7" vinyl could only have happened under the aegis of Four Flies Records, whose team went and hand-picked two of the grooviest tracks in his bulimic output, both recorded in 2015 for the sci-fi/erotic-themed album Mutant Virgins From Pluto (the title says it all!).

"Ufo Bossa" is a delicious, uptempo bossa-jazz number cast in an ultra-lounge style and spiced up with references to Les Baxter's and Martin Denny's exotica, as well as to pop/erotic sci-fi soundtracks like Bob Crewe's Barbarella, with the added bonus of Yasmine Zekri's sexy scat singing. On the flip side you have "Intergalactc Porno Scene", a typical poliziottesco theme where clavinet and flute interweave into a super-funky groove, before synths come in and send us into erotically-charged space orbit.

Available as a 350-Copy Limited Edition 7-inch, and as a Digital Remaster.

Algiers haben sich eine Crew zugelegt: Für ihr viertes Album "SHOOK" versammelte die Band eine Schar gleichgesinnter Künstler um sich herum. Der Nachfolger zum gefeierten Album "There Is No Year" (2020) ist ein musikalischer wie inhaltlicher Blitzableiter in bewegten Zeiten und mit seinen 17 eindringlichen Songs schon jetzt eines der aufregendsten Alben aus 2023. Das komplette Album entstand, als Fisher und sein Bandkollege Ryan Mahan für einige Monate in ihre Heimatstadt Atlanta zurückkehrten, wo sie unter dem wachsenden Druck litten, was schließlich in einem Burnout gipfelte. Eine extreme Zeit für die Band und für die Freundschaft der beiden Musiker, in der sie schließlich auch persönlich wieder zueinander fanden. Sie hörten viel alten Hiphop und eine Neuauflage von DJ Grand Wizard Theodores 1970er Punk-beeinflusstem New Yorker Rap-Meisterwerk "Subway Theme" diente als spirituelles und thematisches Moodboard für das Album. Während Gemeinschaft und Zusammenarbeit schon immer ein wesentlicher Bestandteil der Arbeitsweise von Algiers war, kommt dies bei "SHOOK" nun voll zum Tragen. Die Liner Notes lesen sich wie ein Who is Who der zeitgenössischen Underground-Musik, mit Zack de la Rocha, Big Rube (The Dungeon Family), Billy Woods, Samuel T. Herring (Future Islands), Jae Matthews (Boy Harsher), LaToya Kent (Mourning A BLKstar), Backxwash, Nadah El Shazly, DeForrest Brown Jr. (Speaker Music), Patrick Shiroishi, Lee Bains III, und Mark Cisneros (The Make-Up, Kid Congo Powers). Dank ihrer Beiträge wird "Shook" aus verschiedenen Blickwinkeln neu geformt und kontextualisiert. "Es vertieft und erweitert die Welt von Algiers", so Schlagzeuger Matt Tong. Atlanta, der Ort, an dem die Platte entstanden ist, steht schließlich im Mittelpunkt. Das Album beginnt mit einer robotergesteuerten Zugdurchsage vom Hartsfield Airport, die vielen Einwohnern von Atlanta ein Begriff ist und Fisher als Kind immer eine Heidenangst gemacht hat. "Wir haben in einer Umgebung gearbeitet, an die wir gewöhnt waren", sagt Gitarrist Lee Tesche. "Es fühlt sich an wie die beste Algiers-Platte, die wir je gemacht haben." Dass diese Platte überhaupt entstanden ist, grenzt an ein kleines Wunder, da die Band immer wieder vor der Auflösung stand. Algiers haben jedoch Reibung in Energie umgewandelt und mit "SHOOK" ein außergewöhnliches und kraftvolles Album produziert, das am Ende von seiner starken Gemeinschaft lebt. "Ich glaube, mit dieser Platte haben wir unser Zuhause gefunden", sagt Mahan, und Fisher fügt hinzu: "Es war eine ganz neue, positive Erfahrung - eine erneuerte Beziehung zu der Stadt, aus der wir kommen, und Stolz dafür zu haben. Mir gefällt der Gedanke, dass diese Platte uns auf eine Reise mitgenommen hat, die aber in Atlanta beginnt und endet."

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

• Ty Karim is one of the finest Los Angeles singers to have never scored a hit in her own country. Her records are rightly lauded in Europe though and we present two of the best on her producer and partner’s Romark label in our Repro series. ‘Lighten Up Baby’ is a rare classic stomper from the heyday of Northern Soul. It was actually a one-off Car-A-Mel release in 1966 but it was recorded as part of Kent Harris’ Romark set-up.

• ‘All At Once’, on the other hand, is a moody mid-tempo number that has found favour with soul fans in recent years.

The studio at 122 West Loveland Avenue was not an unfamiliar space for Steve Okonski, the leader of his eponymous trio Okonski. Ever since the Colemine label set up shop in Loveland, Ohio it has been a host to a number of groups passing through town, including Durand Jones and the Indications who all of this trio's members have connections to. After setting aside some time in winter of 2020, Okonski, trained initially as a classical pianist, invited Michael Isvara "Ish" Montgomery and Aaron Frazer to work on an album that was initially planned to be beat driven and fully composed trio instrumentals. After finishing this first session with some improvisations, a second week was booked in the summer of 2021 to try and capture some more of that spontaneous energy. During this session, the tracks were all improvised and recorded live to a Tascam 388 during several late nights at the Colemine HQ. They were structured to allow the group's collective intuition to fully shape the melodies and arcs of the music. The album opens with Runner Up, where a triumphant yet melancholic melody in the piano leads to a more reserved B-section driven by the drums and bass of Frazer and Montgomery. As you journey through the remainder of the album you are met with a plethora of evoked and explored emotions. The calmness one has walking down a moonlit street after midnight, the connection one has for a person who comes into their world for just a moment or a lifetime, and the nerves and catharsis one feels when starting upon a new, unknown journey. Magnolia closes with Sunday, a track that was recorded late into the night at the close of their first recording session. Without the spontaneity of Sunday, the remainder of Magnolia would likely have never come to fruition. Magnolia was composed from the heart and from the spirit of those in the studio those late nights in Loveland. It is the culmination of an emotional and artistic release that was not afforded or recognized before the band sat at their instruments, and because of that it is introspective, meditative, spiritual, and new.