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Der blitzartige Aufstieg von Freya Ridings mit ihren Singles „Lost Without You“ und „Castles“ aus ihrem selbstbetitelten Debütalbum machte sie zu einem der internationalen Überraschungserfolge der letzten Jahre. Mit „Lost Without You“ wurde Freya zur ersten weiblichen Künstlerin, die einen komplett selbst geschriebenen UK Top-10-Hit seit Kate Bushs „Running Up That Hill“ im Jahre 1985 feiern durfte.

Das ebnete ihrem Debütalbum den Weg zu einem immensen weltweiten Erfolg: Platz 3 der britischen Charts, über eine Milliarde Streams und phänomenale 47 Platin- und Goldauszeichnungen aus aller Welt.

Das mit Spannung erwartete zweite Album ”Blood Orange” wurde von Freya geschrieben. Dazu kamen ausgesuchte Kollaborationen mit Steve Mac (Ed Sheeran, Lewis Capaldi), Kamille (Dua Lipa, Little Mix), Will Bloomfield (Alfie Templeman, The Vaccines), LostBoy (Mimi Webb, Rita Ora), Phil Plested (Lewis Capaldi) und Scott Harris (Camila Cabello, Shawn Mendes). Das Ergebnis ist ein Album, das in 14 lebensbejahenden Songs alles auf den Tisch legt, was sie ist, was sie durchgemacht hat und was sie geworden ist.

A bubbling name within the UK house landscape for several years, it’s fair to say that 2022 was the year that ALISHA truly emerged as a surging name of note, dropping stand-out material via Eastenderz and making appearances at Warehouse Project, Shelter, INPUT and Amnesia for Jamie Jones’ iconic Paradise events. Taking things up a level as she gets set for an even bigger twelve months, her first release of 2023 comes on Jones and Lee Foss’ globally renowned Hot Creations with her latest single ‘Changes’ - accompanied by a classy remix from ever-excellent house music icon Mike Dunn.

A warping and driving production armed with tough kicks, rumbling low-ends and squelchy synths, all guided by the track’s hooky and infectious vocal sample from South Street Player’s iconic 1993 record ‘(Who?) Keeps Changing Your Mind’, ‘Changes’ is a rugged yet vibrant production geared to keep dancers moving as much as ALISHA’s own high energy presence in the booth. Switching up the aesthetic and diving deep into a swirling, soulful journey, Mike Dunn’s remix harnesses the vocal to pair with rich chords for a delightful slice of house music.

Underground rap stalwart, Vinnie Paz returns with his seventh studio LP, Tortured in the Name of God’s Unconditional Love. The 18 track LP falls on the heels of Jedi Mind Trick’s 10th album, The Funeral and the Raven, which dropped in November of ’21, and succeed’s the April 21 release of Vinnie’s sixth studio LP, Burn Everything That Bears Your Name.

Weighing in at nearly one hour of all new music, the hard-hitting LP ranks among Vinnie’s most decorated line-up of guest appearances to date, with features from the likes of Method Man, M.O.P., Kurupt, Geechi Suede (Camp Lo), Ras Kass, ILL Bill, Lord Goat, Big Twins, Thirstin Howl the 3rd and more. To boot, Pazienza calls upon the production talents of DJ Muggs, C-Lance, Stu Bangas, Oh No and more to lay the foundation with their neck-snapping soundscapes.

Over the past two decades, Pack Pistol Pazzy has ranked amont the most commercially successful indie hip-hop artists in the underground, and with his latest solo effort his legacy is only further reinforced.

Berlin-based French-Irish sound artist Zoë Mc Pherson levels up on their third full-length "Pitch Blender", mangling years of experience DJing and performing live into a tight set of cybernetic soundsystem experiments that flicker between the rave and the art space. Described as a "vanguard" by DJ Mag and "fearless" by Hyponik, Mc Pherson has performed tirelessly across the world, appearing at Berlin's CTM Festival, Madrid's LEV, Malmö's Intonal and presenting installations at Berlin's Silent Green and Monom. They also curate the ambitious A/V-focused imprint SFX with visual artist Alessandra Leone and maintain creative partnerships with Jessica Ekomane and Ciarra Black (as Carbon 96).

Pulling in influence from British bass music and the outer fringes of experimental sound art, "Pitch Blender" is Mc Pherson's most ambitious album to date, splicing bold vocal performances with psychedelic modular synth flourishes, illusory environmental recordings and relentlessly abstract polyrhythmic beats. It's music that's able to balance a constant exploration for newness with a rhythmic pulse that never ignores the dancefloor, connecting the nodes between artists like aya, Elvin Brandhi, ZULI and Slikback. Cinematic and sub-heavy, "Pitch Blender" is a dizzying work of sonic fiction that's permanently in flux, dissolving breaks, beats and acidic leads into queasy, pressurized tracks that act as an antidote to contemporary malaise.

Finest roots anthems from the late 70ies by the legendary singer Sylford Walker compiled and re-issued with the seal of quality of the Glen Brown production and the King Tubby mix.

Available again as LP-Vinyl with eight tracks including the three 12Inch-Single mixes of "Deuteronomy", "Eternal Days" and "My Father's Homeland", the longtime deleted Greensleeves longplayer from 1988)

Sylford Walker's heart-stopping 70's roots anthems recorded for Glen Brown are rightfully regarded like holy relics of reggae. The "Lamb's Bread" album gathers up these classic sides and once again makes them available for the roots disciples. Mixed by King Tubby at King Tubby's, this remastered reissue is the quintessential sound of 1970's Jamaica. An album so full of roots, you may have to scrape the mud out of your amp after playing!

Das Originalalbum des Harmoniegesang-Trio Tetrack (Carlton Hines, Paul Mangaroo und Dave Harvey) aus dem Jahre 1978. Die zehn Tracks erhabener Gesangseinlagen und schwergewichtigen Riddims wurden von Augustus Pablo produziert und von seinem Musikerkollektiv Rockers International in den Channel One, Harry J und Black Ark Studios aufgenommen, Sylvan Morris war der Toningenieur. Der Longplayer wurde von Kevin Metcalfe re-mastered und wird dieser Tage mit dem Gütesiegel Greensleeves neu aufgelegt!

Drumcode’s beloved A-Sides compilation makes a welcome return after a two-year absence, with a mammoth 25-track feast covering every shade of the techno spectrum split across seven, 12 inch parts. The project was devised in 2012 as a way of showcasing the wealth of strong material Adam Beyer receives each year, which due to Drumcode’s busy release schedule, might not otherwise find a home on the label. Since then, it’s grown to become an essential fixture on the techno release schedule and a marker for where the genre stands in any given year.

First up on part 6, Jay Lumen hits with an interplanetary excursion that will take you to another dimension courtesy of ‘Astronaut’. LAAT follows with an acid laden, glitched out roller, ‘Call of the Tribes’ before Mark Reeve provides a remake of the massive ‘Run Back’ and Zimmz delves deep for the closer ‘Qualia’.

Mit einer brandneuen Vinyl Überspielung von Tonmeister Kevin Metcalfe (The Soundmasters, London) kommt die Wiederveröffentlichung des Klassikers von 1981 in top-a-top Soundqualität. Der Longplayer wurde im Channel One Studio von Soldgie Hamilton aufgenommen und in King Tubby's Studio von Jah Screw und dem Meister persönlich abgemischt. Als Produzenten für die Tracks fungierten Jah Screw und Ranking Joe. "Dangerous Dub" ist eine äußerst gelungene Präsentation von Sturgav Soundsystem Dub Specials auf Riddims wie dem "Heavenless", "Shank-I-Sheck" oder "Bandulo".

it’s a pleasure to bring together, on this album, musicians with whom we feel a very special connection, namely Felicia Atkinson, Büþra Kayýkçý, Carmen Villain, Kuniyuki Takahashi, Pavel Milyakov,
KMRU, Ana Quiroga, Abul Mogard and Pedro Vian. All of them have been very generous in their willingness to participate in an artistic experiment: to build bridges between architecture and music.
Each of these artists chose a space and translated it into a piece of music, and the result is a sonic kaleidoscope through which specific territories can be gazed upon from unexplored points of view. The
compositions that make up this compilation are synaesthetic windows through which we can observe with our ears. To look through them, all we have to do is listen and we’ll be able to contemplate, in a unique
way, spaces located in such different places as Vilches (Chile), Istanbul (Turkey), Oslo (Norway), Sapporo (Japan), Nairobi (Kenya), London (England), Rome (Italy), Berlin (Germany), or even in imaginary universes.

Two albums that shook the world! The release of these two ground-breaking dubs sets in 1975 altered the course of modern music forever. Dub From The Roots & Roots Of Dub make up a crucial selection of King Tubby’s mind-altering dub versions.
Produced by Bunny ‘Striker’ Lee – both albums are essential!

The ace reissue of these wicked dub albums collecting together classic 70's dub versions by dub pioneer and leader of ‘roots’ music in Jamaica, King Tubby! Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard. All the tracks on here are versions of classic tracks from Cornell Campbell, Johnny Clarke, Horace Andy, Linval Thompson, Derick Morgan & Hortense Ellis dubbed out by the King of Dub King Tubby!’

Two albums that shook the world! The release of these two ground-breaking dubs sets in 1975 altered the course of modern music forever. Dub From The Roots & Roots Of Dub make up a crucial selection of King Tubby’s mind-altering dub versions.
Produced by Bunny ‘Striker’ Lee – both albums are essential!

The ace reissue of these wicked dub albums collecting together classic 70's dub versions by dub pioneer and leader of ‘roots’ music in Jamaica, King Tubby! Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard. All the tracks on here are versions of classic tracks from Cornell Campbell, Johnny Clarke, Horace Andy, Linval Thompson, Derick Morgan & Hortense Ellis dubbed out by the King of Dub King Tubby!’

Never one to pull inventive punches, Left Coast electronic music producer Dave Aju reassembled this notorious cast of characters for a remarkably fitting album package made during one of the most strange times our world has ever faced in the throes of the COVID-19 pandemic. While things were essentially shutdown, reopened, cycle-repeat worldwide, and every other species in mother nature's kingdom temporarily rejoiced while humans remained still in their caves, Aju and The Invisible Art Trio, his formidable if not-seen-in-a-minute musical team behind such underground anthems as "Be Like the Sun", went to work in the final days of the glorious G-Son studios in Atwater Village LA to record this LP.

Indeed, the same four/five walls and vocal booth that saw the Beastie's iconic Check Your Head and Hello Nasty come to life, became the birthplace of Glossolalia, Aju's fifth studio album and appropriately impressive seven-song set. As always, myriad musical styles and influences are strung together and boldly combined here, to the degree that drawing comparisons or attempting genre references feels futile. There are, however, clear visceral expressions of political provocation, hope and anger, fear and joy laid over twisted yet dedicated grooves in a lockdown era where Aju's imaginary collective dance floor feels in the temporary absence thereof and bizarro sixth-world unification strategy of recording every song's lyrics in complete non-languages aka total gibberish, feels right at home. Even the vocal guests join in the literal chant here, granting us diverse spell-casting and sensual nonsensical lyrical lines over tech-funk mother lodes, before closing the otherworldly proceedings with a powerful grand finale tribute to the US of A's proud boys-in-blue in the wake of George Floyd's very public assassination.

Equal parts timely anti-establishment and uplifting call-to-action, Glossolalia serves as a decidedly coarse yet crucial reminder of the possibilities in collaborative and devoted noise-making, booty-shaking, and alternative world-building during greater global disarray - beyond stylistic, nationalistic, and linguistic dividing lines. An overtly universal and unifying message liberating us from any fixed cultural identities and thus differences, to instead just focus on how the music delivers and we physically respond, together, as the foundation. Perhaps also an inspired response to the talking heads in every corner of the world's media, spewing useless and politically-tainted mouth data at us amidst these turbulent times.

Dynamite cuts is proud to cross over to the amazing sound and world of Library music. Muisc that can capture a feeling and mode in a single note and groove. This selection is from the German Library series Sound Music Albums, These tracks are taken from volume 11 in the series, the Original album sells for £150 plus

Tom Zé and Faust collide in Domenico Lancellotti's "machine samba"

Domenico Lancellotti's SRAMBA reaches back to the roots of samba whilst completely revamping its blueprint, indoctrinating guitar and percussion-led rhythms with analogue synthesisers, courtesy of album producer Ricardo Dias Gomes.

The majority of SRAMBA was recorded over two months in The Cave - Domenico's home studio in Lisbon, the city both Brazilian ex-pats reside in, where the arrival of a couple of Russian-designed synths purchased by Ricardo influenced the direction of their initial experimentation: "Ricardo had these instruments, modular machines" remembers Domenico, "and I had my guitar, some percussion instruments. On the first day we started making sounds and recording them, and songs started to appear, sambas started to appear."

The son of a renowned samba songwriter, at home Domenico would watch his father play and compose. At parties, the adults would hand his father a tamborim (a small tambourine) and ask him to play along. "I grew up inside samba, it's my roots", he says. "For me, everything is samba, I bring it into whatever style of music I am making".

Domenico and Ricardo instantly saw how the synthesisers were not at odds with the sambas they were playing, instead they had a similar sound to its typical percussion instruments (ganza, repinique, surdo, tarol). What's more, they saw a connection with roots samba, the samba that existed before bossa nova and samba jazz came along. This was rhythmic samba, with grooves that could go on ad infinitum. "It's samba de clave, geometrically structured" says Domenico. "It's ostinato samba", adds Ricardo.

"Diga" is a great example of what their proposal is capable of, as what begins as a glitchy machine whirring into action soon turns into a glorious samba in which the gurgles and scratchy beats coming from the analogue equipment only add to the arrangement. Likewise, on "Tá Brabo" it's an aching melody from one of the synths that gives the guitar rhythm its needed counterpoint, and shows how the duo's greatest accomplishment is not in invention alone, but in creating a great samba album. It's an album that can go from the opening track "Ere" with its reverberant bass thud, mantra-like vocals and staccato rhythms to the string-accompanied "Nada Sera de Outra Maneira", a swooning samba that pays tribute to the Brazilian ensemble Tamba Trio, who along with Tom Zé's Estudando O Samba, Domenico names as the biggest influence on their treatment of samba.

Other important reference points are made clear on "Um Abraço No Faust". One of three instrumentals on the album its title riffs off a JoãoGilberto song, "Um Abraço no Bonfá", but whereas JoãoGilberto was giving a hug (um abraço) to bossa nova guitarist Luiz Bonfá, Domenico and Ricardo are giving theirs to the German avant-gardists Faust. "Quem Samba", with its horn section and dramatic melody give a whiff of Domenico's Italian ancestry, while "Descomunal" is devoid of rhythm whatsoever, guest vocalist Tori singing over a bed of electronic drums, cello and swirling synths, that highlights the duo's unwillingness to stick to a particular formula.

Both Domenico Lancellotti and Ricardo Dias Gomes are revered names within Brazilian music over the past 20 years. As a member of the +2's, with Moreno Veloso and Kassin, Domenico released a trio of albums on Luaka Bop in the early 00s that pioneered a new Rio samba sound with elements of funk and psychedelia. With Veloso and Kassin he would later form Orquestra Imperial, a big band intent on reviving ballroom (gafieira) samba, and that has worked with guest vocalists such as Seu Jorge, Elza Soares and Ed Motta. SRAMBA is his fourth solo album. Multi-instrumentalist Ricardo Dias Gomes first came to notice as a member of Caetano Veloso's band Cê which helped reinvigorate Caetano's career with a sound influenced by British new wave. As well as collaborations with Lucas Santtana, Negro Leo and Thiago Nassif, and work with his own group Do Amor, he has released a series of acclaimed solo albums that reveal a restless music-maker.

SRAMBA is a glorious showcase of the duo's style, uniting Domenico's playful lyrics and rhythmic, samba-rooted songs with with Ricardo's assured accompaniment of unorthodox textures and instrumentations. It may be a new language for samba, machine samba (samba de máquina), but as Domenico says, "samba da máquina is samba".

Secretsundaze are back with their first label release in 2023: the follow up to Zeitgeist Freedom Energy Exchange’s 2021’s 'Kreuzberg Kix EP 1'. The team is very much present and correct with artist Wayne Snow once again joining the party on the deep house trip 'Take Your Time'. It comes complete with a stunning remix by Secretsundaze long time fave, NYC based producer and DJ Jenifa Mayanja, and the jazzy, uptempo, instrumental 'Bleached'.

Magic Source invites you to a journey to the obscure side of disco music.

Led by producer & notorious tape operator Björn Wagner (of Mighty Mocambos, Bacao Rhythm & Steel Band and Mocambo Records), the group follows up on their rootsy cosmic debut LP Earthrising and last year's EP Riviera Drive, whose stunning flute jazz cover of “Genius of Love” is also featured on this longplayer.

Further exploring the more unusual facets of disco in its otherworldly and international stylings, Voyage Spectral travels through a wide musical scope, ranging from “lost” tropical grooves, Mediterranean funk, outernational boogie, to cosmic sci-fi soundtracks. All 100% organic - created by real musicians with real vintage instruments, captured on 16-track analog tape.

An all-star cast of musicians invites you to a fantasy trip where angelic voices blend with spaced-out synths, ethnic string instruments interplay with sharp horn lines while the rhythm section is holding down a polyrhythmic puzzle of guitars, clavinets, B-3, drums and percussions.

The Berlin musician, visual artist, and label owner Lasse Winkler aka ACUD has attracted attention with titles such as MATJESFILET or VERBRENNUNGSMOTOR. He shows that electronic dance music can also have a sense of humor without ending in slapstick. Creaking basses and swinging rhythms meet warm synth chords and complement his bright voice. The microphone, always ready, replaces the notepad. Succinct, spontaneous keywords and sentences are created, snapping up everyday life. On the 10-track album VERDAMMT NOCHMAL, the musicians are accompanied over a creative period of three years.

PF006 Late night visions of MTV in the late 90s are the main inspiration for the debut EP of Polifonic’s mainstay Simone de Kunovich.

“Stone Island”, born from the collab with Pascal Moscheni, is the sun soaked musical manifesto of the festival - energetic, uplifting, psychedelic.

On the flip side Australian veteran Fantastic Man is shaking things up with a modern Trance interpretation of the original for guaranteed dance floor pleasure.

“Lingua di Sole” closes the EP on a mellow note, laidback yet acid tinged, closer to the atmosphere’s of Simone’s precedent works on Mule Musiq.

Close your eyes and it feels like Puglia already.

Born from the party of the same name held at Manchester’s storied White Hotel, the increasingly essential Bakk Heia label has consistently put out thrilling 12”s from co-founders schuttle and low-key cult favourit Jorg Kuning since 2019.

Stepping up for the imprint’s sixth release, schuttle brings four tripped-out cuts of contemporary dance music, showcasing his production chops across four stellar tracks, already getting an airing from Ben UFO on the Hessle Audio Rinse FM show, as well as support from Joe Delon, Kiernan Laveaux, Om Unit, K Means, Barker, Pariah & Terry Francis.

“schuttle’s latest offering begins with ‘Shadout’. Fractured celestial voices materialize from a mist of frosted percussion while a merciful kickdrum splutters above the surface, bringing with it the viscous, swampy murk. ‘Souvlaki’ follows with playful impish chatter that stumbles over the moss-covered bassline, whilst cascading snare hits tumble down abandoned wells, a gentle guiding presence through the forest.

‘Swords Dance’ is a 10-minute display of cosmic glory, where conventional momentum is abandoned in favour of complete ecstatic, unbridled chaos. After the dust settles on this fiendish bacchanalia, ‘Junkman’ creeps into the fore. Caustic mire oozes into focus, mist rising sluggishly from the reeds while an elemental pad sweeps across the terrain.”

For our 7th vinyl release, we welcome Berlin based artist ‘Lavan’ to +98.

Producing music for over a decade with a vast musical knowledge spanning funk, garage, house, hip hop to name a few. His sound is a unique blend of tastes for all ears.

Born out of East London and now living in Berlin, the talented Lavan delivers a variety of House & UKG Club tracks that will guarantee to move hips and feet on every occasion its played.

And finally, we have L&F stepping up on remix duties and hits the spot with a House & Garage romper stomper.

Mogwaa returns to Peggy Gou’s Gudu label with Drifted, his second EP for the imprint and a perfect summary of what makes him one of Korea’s most exciting contemporary artists - complete with a remix by Klasse Werks founder Mr. Ho.

A staple of Seoul’s electronic scene, Mogwaa’s catalogue takes in everything from ambient to jungle - but at the centre of his music, there’s always a distinct sense of melody and pure compositional chops that defines his music regardless of style or tempo. Put simply, you know a Mogwaa track when you hear one.

Quicker in tempo than his last EP for Gudu, Drifted opens with ‘Driven’ - a combo of chopped-up breaks and a relentless riff that does just what the title implies - before Mogwaa really flexes those melodic chops on ‘Chances for Bounces’, getting heady with synthesized voices and an almost Detroit-leaning bassline over an 808 groove. ‘Rushing’ takes things further into peaktime with an acid bassline and some nifty automation to keep things ascending, before Mr. Ho’s remix of ‘Driven’ closes the EP on a dreamy techno tip.

Following several European runs last year that saw Mogwaa perform at Warehouse Project, Pleasure Gardens and more, plus a Boiler Room in Seoul alongside Anz, Sharda, Finn, Closet Yi and Seesea, Drifted is another snapshot into the sound world of this remarkable talent.

Shannon, and veteran electronic producer and remixer producer Dave Clark, best-known for his Sparky moniker, and as one-half of the production/remix team Optimo (Espacio).

First emerging in 2015 with a couple of compilation appearances, Kübler-Ross released their debut, self-titled album in 2020. Originally released as a limited-edition cassette on the Glasgow label Akashic Records, the album — now resequenced and released on vinyl via Suction Records’ minimal synth sublabel Ice Machine — is a collection of tracks recorded over a three year period in a variety of studios, rehearsal rooms, and gigs, documenting the musical variety and ferocity of their incendiary live performances. The Akashic tape, despite being low-key, under-the-radar, and released in limited quantity, managed to earn them a Long List nomination for SAY (Scottish Album of the Year) for 2020.

Standout cut “Bridges”, first released in 2015, is synthpop perfection — sitting comfortably alongside classics from the first wave of UK electronic classics by Thomas Leer and Robert Rental, John Foxx, and even early Depeche Mode. It’s not the only synthpop track on the record, but the album is dominated by a more tough, raw, and punk spirit, featuring aggressive female vocals, live drums + bass guitar, and judicious use of crude analog synthesizers and tape delay fx. Think Liaisons Dangereuses meets Suicide, and you’re beginning to get close…

Available digitally, and on limited vinyl LP in a reverse-board jacket. We’ve also pressed up a special edition with an additional bonus 7”, featuring covers of songs by US minimal synth oddball John Bender,and Australian industrial mavericks SeveredHeads. The special edition LP and 7” are on pink-vinyl LP + green-vinyl-7”, and strictly limited to 200 copies. Both versions include a Bandcamp download card inside.

Kayama Japan based artist DAISUKE KONDO serves up a hearty dose of Detroit inspired soulful house, with a dash of jazzy broken beat on this 4 tracker from Chicago's JITNEY MUSIC.

This 12" aims straight at the hearts and souls of fans of labels like SOUND SIGNATURE as well as artists like DEGO.

Mint Condition would like to dedicate this release to the life of Nathan Coles, who sadly passed away on February 12th 2023. A true tech-house originator and underground party starter, his productions laid down a blueprint for the tech-house sound that has become a global phenomena today. A much lauded DJ & producer, he graced the decks of the best clubs globally. As well as his solo productions, Nathan had multiple collaborative projects, Housey Doingz, Mashupheadz, Two Right Wrongans, Get F@cked, to name but a few, that saw him tackle tech-house, deep house, breaks and electro with such skillful aplomb.

The now highly sought after original appeared on Wiggle in 2000, and for this release Nathan teams up with his longtime Wiggle partner, and legend of the scene, Terry Francis for 2 fierce tech-house jams under their 'Delinquents' alias. A-Side 'Disc' opens with heavy kicks and speaker rattling percussion.The hypnotic 303-line builds, layered synths add to the tension, then comes the drop where infectious chord stabs enter the fray. B-Side - 'Funktional' takes a more stripped back approach, the bass line and percussion delivers a groove capable of destroying any discerning dancefloor. Darker acid and synths riffs build around the melody to deliver a bass heavy roller of the highest order that sounds as fresh, exciting & relevant today as it did over 2 decades ago.

This slab of wax is an essential and key release in the evolution of the UK underground that we hope celebrates Nathan's dedication, musical vision and positive energy. His unique talent leaves behind a legacy that populates legendary labels such as Wiggle, Surreal, The End, Eukahouse, Swag, Eye 4 Sound, 10 Kilo and Plastic City. 'Discfunktional' has been legitimately re-released with the full involvement of Terry Francis and Nathan Coles, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

ULTRADISC ONE-STEP BOX SET OF BRUCE SPRINGSTEEN'S 1973 DEBUT PLAYS WITH AUDIOPHILE SOUND: LIMITED TO 7,500 NUMBERED COPIES.

1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe

Teeming with identifiable characters, youthful romanticism, vivid narratives, and sophisticated arrangements, Greetings from Asbury Park, N.J. is a personal postcard from the heart, soul, and mind of a rock ’n’ roll lifer bent on discovering his world and what lays beyond it. The 1973 album establishes many of the signature themes and sounds Bruce Springsteen would embrace throughout his unparalleled career. No wonder a majority of the songs — “Blinded by the Light,” “Lost in the Flood,” “Spirit in the Night” included — remain staples of the New Jersey native’s fabled concerts.

Sourced from the original analog master tapes, pressed at RTI on MoFi SuperVinyl, and strictly limited to 7,500 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP set is the definitive-sounding version of Springsteen’s daring debut. Afforded the benefits of SuperVinyl’s nearly non-existent noise floor, Greetings from Asbury Park, N.J. plays with a clarity, directness, and emotionalism that practically whisks you into the New York office in which Springsteen — accompanied by then-manager Mike Appel — played a few originals for legendary Columbia Records executive John Hammond and earned a record deal.

That solo-centric aspect of Greetings from Asbury Park, N.J. — credited only to Springsteen and featuring only a handful of accompanying musicians — helps make it unique in his catalogue. So do the acoustic-based frameworks, revealed on this pressing with newly exposed detail, nuance, and immediacy. The music emerges with an openness that gives flight to the Boss’ storytelling. His words flow with unbridled, stream-of-conscious pacing and vibrant imagery; they pay homage to and update a tradition established by Bob Dylan, Woody Guthrie, and Jack Kerouac. Equally important, Springsteen’s still-underrated vocal performances can now be appreciated in full-range fidelity. Earnest, transparent, and sincere, his singing comes across with an urgency that distinguishes him from the era’s singer-songwriter mold and a raw energy that underlines his unflinching belief in rock ’n’ roll.

Recorded in just three weeks, Greetings from Asbury Park, N.J. also stands out by way of its insightful artwork. Designed by Grammy winner John Berg, the inviting cover is appointed with images of the local landmarks, beachfronts, and geography that provide the backdrops for some of the songs. Those graphics are complemented by the beautiful packaging of Mobile Fidelity’s UD1S edition. Tucked in a sleek slipcase, the LP is housed in a special foil-stamped jacket with faithful-to-the-original graphics. In every way, this reissue is made for listeners who prize sound quality and who want to engage themselves in everything involved with this invigorating album.

An aspirational declaration by a then-23-year-old musician who was already a seasoned veteran of the Jersey Shore bar-band scene, Greetings from Asbury Park, N.J. can in many ways be seen as a semi-fictional autobiography released more than four decades before Springsteen penned his official tome. Elaborate, descriptive, and absorbing, Springsteen’s lyrics spark with the enthusiasm and exuberance of a wide-eyed adventurer ready for possibility, excitement, and fun — but who is also mindful of loss, pain, and disappointment. Words often tumble and collide like dice spilling from a jar; shaken and fully intact, they pour forth with purpose and without self-conscious concern.

One of two songs composed after label president Clive Davis cited the need for a radio-friendly single, the opening “Blinded by the Light” provides an unforgettable introduction. It flares with a blend of confidence, fun, and poetry that helps define Greetings from Asbury Park, N.J. Crackling with wiry guitars, funky chords, Clarence Clemons’ cool-toned saxophone, and action-packed lyrics, the shuffle simultaneously expands and contracts — and establishes Springsteen as a master of rhyme, alliteration, and breathless expression. The thread continues on “Growin’ Up.” Steered by ascending piano lines, soulful grooves, and frisky rhythms, the coming-of-age confessional is at once rebellious and controlled, fearless and vulnerable, honest and boastful. It is a tale to which multiple generations still relate.

Such universality has always been a Springsteen trademark. It surfaces throughout Greetings from Asbury Park, N.J., as does another Boss hallmark: the importance of friendship and tight bonds. These concepts relate to the fact many of the songs — see the feverish “Does This Bus Stop at 82nd Street?,” strutting “It’s So Hard to Be a Saint in the City,” and tender “For You,” the latter complete with brilliant Hammond organ shading — are directly tied to the friends, acquaintances, places, and happenings he knew. “Lost in the Flood,” whose cinematic drama and epic scope hint at the directions Springsteen would pursue on his next LP, extends that familiarity while addressing the kind of socially conscious issues with which he’s forever been associated.

Balancing the label’s vision of him as a folk-based singer-songwriter and his own desire to play rock ‘n’ roll with a full band, Springsteen never again made a record like Greetings from Asbury Park, N.J. One of the most captivating debuts in history, it heralds the start of a legacy whose import Springsteen seemingly foretells on “Blinded by the Light”: “He’s gonna make it tonight.” And how.

Marc Houle has long been an influence to electronic music, as well as many of our Dirtybird flock. Having been an integral part of Richie Hawtin's Minus label in the early 2000s, he's well known for being a live act and producer—with an affinity for analog gear and a sound that crosses between Detroit & Chicago with a new wave influence.

He made his first appearance on Dirtybird in 2017, where Claude hand-selected him to remix 'Whose Afraid of Detroit' for the 10th anniversary. He's back again on the label, this time with his own EP 'Min and Driver'.

The lead track 'Car and Driver' begins with a ferocious acid line and never lets up, with weighty drums and his signature synth elements weaving in and out.

The flip side, 'Min and Soda', is a trippy minimal monster with sparse and bouncing discord throughout, and using negative space to create a track that is full and impressionable.

repressed !

A lot can happen in 15 years. Few things manage to thrive for a decade and a half, especially in music. But a scrappy, left of center, Bay Area house music label, Dirtybird, has managed to do just that. Claude VonStroke, Dirtybird’s founder, is marking this 15-year milestone the only way he knows how… working. This year, VonStroke will throw two dozen-plus parties, three festivals (including the famous Dirtybird Campout), host his traveling Dirtybird BBQ series in major cities across the US, publish a coffee table book, release a seasonal clothing line, stage art shows, produce a fly on the wall docu series...and kick it all off by releasing a new album, out February 21st.

What began as a free party, turned basement record label, has morphed into a truly thriving community whose familial, fun and welcoming vibe has won over hearts and minds across the world. And while Dirtybird has grown and evolved, VonStroke’s core focus on music remains unwavering. The new album ‘Freaks & Beaks’ is a celebration of quirky innovation and a relentless pursuit of something new and fresh, while hearkening back to the freewheeling spirit that inspired the launch of his label. This is a project that draws upon the inspirations of family, old friends, new fans and proper dancefloors.

Claude will let his flock wet their beaks while they wait in anticipation of the new album with two new singles demonstrating the breadth of the dance music landscape explored on the record. Youngblood touches on the deeper sides of Claude VonStroke, a throwback to the label’s early days, featuring local LA music house talent Wyatt Marshall, while All My People in the House is a dancefloor heater that is sure to unite new and old Dirtybird fans together.

Today, Claude also delivers fans part one of an intimate video series, shot by his sister Emily (an accomplished filmmaker), documenting the creation of ‘Freaks and Beaks’, celebrating this historic milestone and taking a deeper dive into the day to day life of Claude VonStroke on the road.

‘Freaks and Beaks’ is the fourth artist album and sixth full-length project from Claude VonStroke. He approached the album with a new process, including committing to daily creative time, experimenting with a lot of new hardware and having fun creating a huge amount of sketches. He made music on many levels of gear all the way from complex modular synths to simple drum apps on his iPad. Keeping it all DIY, he sampled his own voice and his two children on several tracks as well. He allowed himself to breathe while creating over 130 ideas, which were whittled down to the finished 11 album tracks.

Freaks & Beaks nods at the inspirations that underpin VonStroke’s world, inside jokes between him and Justin Martin (FlubbleBuddy), unused experimental live sessions (Session A), playful noodling on synths (Alpine Arpline), obscure French producers (Frankie Goes To Bollywood), championing new talent (Youngblood), irreverent self-aware humor (Birthday Messages) and genre inspirations that range from ghetto tech and drum n bass to hip-hop and breaks. This is VonStroke’s love letter to the vibrancy and genre diversity that have made Dirtybird such a singular label.

Ebalunga!!! is thrilled to announce the first official reissue of the self-released, self-produced, and self-titled 1985 LP Scott Seskind. The album is a lo-fi singer-songwriter jewel. Don’t miss it.
“Authentic and personal, at times it reminds this writer of luminaries such as Jackson C. Frank, PF Sloan, Skip Spence, and Phil Orchs while never feeling derivative.

The songs are melodic and haunting, fueled by existential woes, political angst, and good ol’ fashioned love. Scott’s rich voice has an unpretentious gravitas, his simple-yet-effective guitar playing ranging from delicate fingerpicking to angry bashing.
Created at home on a Tascam 4-Track Portastudio, the recording features few frills and is all the better for it. Unlike most mid-80s records it sounds like it could have come from any time since the late ’60s onwards. As a testament to its greatness, and despite the late recording date, it even gets a nod on Patrick Lundborg’s “Acid Archives” compilation website, Lysergiawhere it’s described thus: “Late phase downer-loner folk and singer-songwriter trip, mostly acoustic, some tracks with a small band.” – Andrew Ure for Ugly
Things.Read a long story about the album in the upcoming Shindig! issue: Story about Scott Seskind in Shiding Mag.
The reissue is available on vinyl with a lyric insert.
Mastering (as always) by Jessica Thompson.

Feedbacks and reviews:
“Almost totally inheralded singer-songwriter Scott Seskind gets the reissue treatment, and I couldn’t be happier. About a year ago I pulled Seskind’s sole vinyl release out of the used bin of a Boulder record store, and with its almost Wallace Berman-esque cover art, could immediately suspect it was something special. The first listen didn’t dispel that notion one bit; here was an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that didn’t really snyc with its 1984 recording date. Definitely on the loner-ish end of the folk spectrum, with some aspects of the album harkening back to Skip Spence’s iconic Oar, while other moments revealed the urgency of the ’80s lo-fi revolution. But most importantly, the songs were just really, really great and managed to remain haunting long past their leaving.

Here, I thought, is an album that needs to be heard by more people, NOW. I asked around amongst some record collecting friends and discovered it was pretty highly rated by a small circle of people in the know, and that it had even managed to garner a mention in the Acid Archives despite its late recording date, and most excitingly that there was talk that the digital reissue label Yoga had managed to track Seskind down and secure the rights to his LP. (…) So here we have it, the best songs from Seskind’s eponymous LP. (…) I really hope this release continues to garner the listeners that it deserves.” – Michael Klausman

“The one that struck us the most this year was the almost totally unheralded work of singer-songwriter Scott Seskind, who recorded an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that doesn’t really sync with its original 1984 release date. Definitely on the loner-ish end of the folk spectrum, with songs that are really, really great and which manage to remain haunting long past their leaving. Truly an album that deserves to be heard by more people immediately. ” – Other Music

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

In 1980, Genesis P-Orridge and Peter 'Sleazy' Christopherson (then of Throbbing Gristle renown) travelled to New York City to meet up at the fortified apartment, known as The Bunker, of famed beat writer and cultural pioneer William S. Burroughs and his executor James Grauerholz to starting the daunting task to compile the experimental sounds works of Burroughs, which, up until that point, had never been heard. During those visits, Burroughs would play back his tape recorder experiments featuring his spoken word 'cut-ups', collaged field recordings from his travels and his flirtations with EVP recording techniques, pioneered by Latvian intellectual Konstantins Raudive. Throughout the next year, P-Orridge, Christopherson and Grauerholz would spent countless hours compiling various edits, each collection showcasing Burroughs sensitive ear and keen experimental prowess for audio anomaly within technical limitations. By the time 1981 came through, Burroughs had relocated to Lawrence, KS in which to escape the violence and mania of New York City life. It is in Lawrence that P-Orridge and Christopherson put the finishing touches on the record that would be known as 'Nothing Here Now but the Recordings'. The album would come out in the Spring of 1981 as the final release for the shuttering Industrial Records, brought about by the dissolution of Throbbing Gristle. The album remained out of print until 1998 when John Giorno and the Giorno Poetry Systems included the album on a multi-disc retrospective CD box set compiling the majority of Burroughs seminal recordings.

Nach der Veröffentlichung des von der Kritik hochgelobten Konzertfilms, „Live At Bush Hall“, haben Black Country, New Road heute das entsprechende Live-Album zum Konzert angekündigt, das das Set ihrer drei aufeinanderfolgenden, ausverkauften Shows in der historischen Bush Hall im Dezember 2022 enthält.
Anfang 2022 veröffentlichten Black Country, New Road ihr chartsstürmendes neues Album, „Ants From Up There“, das in Deutschland sensationell auf #10 der Albumcharts und in England sogar auf #3 (ihre zweites Top-5Album Veröffentlichung in UK innerhalb von 12 Monaten, nach ihrem für den Mercury Prize nominierten Debüt „For The First Time“), das von Fans und Kritiker:innen gleichermaßen gelobt wurde, zahlreiche 5-Sterne-Rezensionen erhielt und auf Jahresendlisten auf der ganzen Welt auftauchte, einschließlich der Wahl zur Nummer 1 durch Fans auf r/indieheads, Rate Your Music und Nummer 3 durch Pitchfork-Leser:innen. Und das, obwohl das Album nur wenige Tage nach der Bekanntgabe des Ausstiegs von Frontmann Isaac Wood aus der Band veröffentlicht wurde. Nach dem Erfolg von „Ants From Up There“ und mit einem vollen Tourneeplan im Jahr 2023 vor Augen, beschlossen die verbliebenen Mitglieder Lewis Evans, May Kershaw, Georgia Ellery, Luke Mark, Tyler Hyde und Charlie Wayne, die nun zu sechst sind, komplett neues Material zu schreiben und aufzuführen. Sie spielten auf Festivals vor großen Zuschauer:innenzahlen, darunter triumphale Auftritte auf dem Primavera, dem Green Man und dem Fuji Rock, und traten in eine neue musikalische Phase ein, in der sie Songs, die erst wenige Wochen alt waren, weiterentwickelten. Außerdem tourten sie mit Black Midi durch die USA und spielten zwei ausverkaufte Konzerte in New York. Die Band hat sich dafür entschieden, die Idee einer Frontperson komplett aufzugeben und teilt sich stattdessen die Gesangsaufgaben mit Tyler Hyde, die bei einer Reihe von Tracks den Gesang übernimmt, darunter „Up Song“, der die Freundschaft und den Erfolg der Band mit dem Text „Look at what we did together, BC,NR friends forever“ feiert. An anderer Stelle übernimmt May den Gesang bei „The Boy“ und „Turbines/ Pigs“, einem umgehenden Fan-Liebling und einem der verletzlichsten Stücke der Band bis heute. Lewis hingegen singt bei „Across The Pond Friend“ und „The Wrong Trousers“. Mit diesem Schritt hat sich der Sound der Band weiter verändert, so dass weitere Einflüsse und Vielfalt in ihr Songwriting einfließen konnten. Als sich die Songs während des stetigen Tourens weiterentwickelten, beschlossen sie, konventionelle nächste Schritte zu vermeiden. Die Leute, die auf neues Material warten, bekommen acht neue, hervorragende Songs zu hören, aber nicht so, wie sie es vielleicht erwartet hätten. „Wir wollten kein Studioalbum machen.“, sagt BC, NR-Pianistin May Kershaw. „Wir haben die neuen Stücke speziell für Live-Auftritte geschrieben und dachten, es wäre eine gute Idee, eine Performance zu veröffentlichen.“
Das Ergebnis ist eine gefilmte und aufgenommene Live-Performance, bei der Greg Barnes Regie führte und John Parish, ein langjähriger Kollaborateur von PJ Harvey, die Musik abmischte, die an drei Abenden in der Londoner Bush Hall stattfand. „Es geht darum, den Moment einzufangen.“, sagt der Saxophonist und jetzige Teilzeit-Sänger Lewis Evans. „Eine kleine Zeitkapsel dieser acht Monate, in denen wir diese Songs auf Tour gespielt haben.“

Brand new album by The Church, their first in 6 years! Presented in deluxe card gatefold sleeve CD with 16 page booklet and as limited gatefold purple double vinyl LP! "Let it first be said that the title track of The Hypnogogue, the first new album from The Church in six years, is one of the most breath-taking singles they've released in years, a darkly psychedelic six minutes that slowly spirals into a menacing descent. That alone is a reason to keep this one on your radar; the Australian neo-psych band have been going for over 40 years, with around a half dozen classic albums and zero bad ones, yet their ability to keep evolving and uncovering new aspects to their sound and approach only serves as a reminder of how vital they remain after four decades". After an epic return to homeland stages, Australian psych-rock legends The Church announce their forthcoming studio album The Hypnogogue. Following on from 2017's widely acclaimed Man Woman Life Death Infinity, the Sydney band's 27th album was recorded just before the world was shut down by the COVID-19 pandemic. Emerging from the darkness is the band's first new studio album in six years and the first to feature the newest line-up led by founder, bassist and vocalist Steve Kilbey. "The Hypnogogue" is the most prog rock thing we have ever done, we've never created a concept album before," says Kilbey. "It is the most teamwork record we have ever had. Everyone in the band is so justifiably proud of this record and everyone helped to make sure it was as good as it could be. Personally, I think it's in our top three records." Picking up substantial international airplay, raising anticipation for the album's release, the digital singles 'The Hypnogogue' and 'C'est La Vie' set the stage for the album's striking science fiction narrative. Kilbey unpacks the themes that tie the album together: "The Hypnogogue is set in 2054, a dystopian and broken-down future. Invented by Sun Kim Jong, a North Korean scientist and occult dabbler, it is a machine and a process that pulls music straight off dreams." This new five-piece line-up is made up of Kilbey along with long-time collaborator, drummer and producer Tim Powles, who's remained a staple across 17 albums since 1994. Joining them is guitarist Ian Haug, formerly of Australian rock icons Powderfinger, who has been with the band since 2013. Touring multi-instrumentalist talent Jeffrey Cain is now a full-time member since the departure of Peter Koppes in early 2020. Completing the line-up, newcomer Ashley Naylor is one of Australia's finest guitarists and a long-time member of Paul Kelly's touring band. Formed in 1980, The Church found early chart success in their homeland, before establishing themselves as an international touring entity, earning a worldwide hit with the single 'Under The Milky Way' from their hit 1988 album Starfish, while their stellar live shows have been deemed 'spectacular' by MAGNET magazine and continue to win the hearts of industry and fans across the world. Often seen as the Godfathers of an Australian psych/prog scene generating such internationally successful names as Tame Impala and King Gizzard And The Lizard Wizard, The Church have gone on to maintain a loyal and far-reaching following as their fanbase has expanded with their evolving sound. Entering their fifth decade as a band, The Church continue to remain a treasured creative force. European tour 2023 - Reviews secured in Mojo, Classic Rock, Uncut, Vive Le Rock, Record Collector, Louder Than War - Press Quotes: "While some may just want The Church to write another "Under the Milky Way", The Hypnogogue's title track is excellent. One of the most anticipated albums of 2023" - Brooklyn Vegan - Treble Zine have named The Hypnogogue one of their most anticipated albums for 2023

Originally released in 2014, Kero Kero Bonito’s debut mixtape, Intro Bonito, was a monumental success in the underground hyperpop scene bubbling up throughout the band’s hometown of South London. The trio, featuring Gus Lobban, Jamie Bulled, and Sarah Midori Perry, started crafting their unique blend of electronic pop music after school friends Gus & Jamie met Sarah on the internet. With Perry’s unique singing style (featuring lyrics in both Japanese and English), the band went on to write influential tracks such as “Sick Beat,” “I’d Rather Sleep,” “Pocket Crocodile,” and others that were inspired by J-pop, dancehall, and video game music.

The Intro Bonito mixtape paved the way for Kero Kero Bonito’s rise from underground glitch pop wizards to a monumental act within the PC Music scene and beyond. Since its release, the trio has built up a devoted fanbase across the globe, racked up over 500 million streams & video views across multiple albums, EPs, and singles, collaborated with numerous high-profile artists (e.g. 100 gecs, Porter Robinson, Felicita, Soccer Mommy, Ashnikko, etc), and performed at festivals around the world.

Fans of the innovations and originality that sprang from the L.A. underground of the late 1970s and ’80s often ask, “What’s Paul B. Cutler been up to?” A vital participant in the Los Angeles music scene of that period as bandleader, songwriter, musician and producer, Cutler’s work—in particular his guitar playing— with The Consumers, 45 Grave, Vox Pop and The Dream Syndicate is still admired by fans and an influence on anyone interested in that period and the styles that developed from it. In 2014, “Ryan Adams contacted me and wanted to form a band. He loved 45 Grave, he wanted to do some goth / punk, whatever you want to call it. That’s right up my alley. He’s amazingly talented and inspiring to work with. We did that for a while, and I wrote a bunch of songs.” Enthused about his new material, Cutler continued recording songs with just his signature electric guitar style and vocals. As this was developing, another vet of the early L.A. scene—Brad Laner of Medicine and Savage Republic—got in touch with Cutler. Soon Laner was mixing, co-producing, playing keyboards as well as adding the rhythm section. The overall process took some time, with songwriting beginning in 2014. When reflecting on the music that comprises Les Fleurs, “To me, and it does not sound like it, but because of the philosophy I had while producing it, it’s punk. I come from the original punk, before it was a genre. Before it was a ‘sound.’ When I got to LA in 1977 there were about twenty, maybe thirty bands and they all sounded very different. The Screamers, The Deadbeats, so many different takes on what music could be. There was no chance for commercial success so we all just did what we wanted. I never stopped. So philosophically I consider this punk rock, made in its original spirit although nobody would recognize it as such. I am a punk to this day.” So that, dear reader, is the basic story. Now it’s up to you to see what you recognize in Paul B. Cutler’s Les Fleurs.

Summer Forever And Ever succeeds Blue Gene Stew, 2019’s debut by the Wolfmanhattan Project, a collective unit co-starring three musicians familiar to In The Red listeners: singer-guitarist Mick Collins, front man of the seminal Detroit-bred garage units the Dirtbombs and the Gories, singer-guitarist Kid Congo Powers who played in such legendary bands as the Gun Club, the Cramps, and Nick Cave and the Bad Seeds, and drummer-vocalist Bob Bert, whose skin work has distinguished albums by Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus, and Jon Spencer and the HITmakers. The group was founded as a studio project by three musicians who are kept busy by their primary bands. Blue Gene Stew was written and recorded quickly. Powers says, “I think that the new record was much more a group effort. I think there’s more of a group kind of sound, as eclectic as it is. I feel like we all played together, as opposed to playing on each other’s songs.” Bert notes that the band’s music is grounded in spontaneity: “Me and Mick went in and had a couple of rehearsals, and I would come up with a beat, he would come up with a riff. I still have a cassette Walkman, believe it or not, and we’d put it down on that. It wasn’t even a full song. We’d just put down a bunch of ideas. When it came to recording we’d lay down the basic tracks and work out different things, and a lot of it was made up on the spot. It really is a great collaboration.” Recorded and engineered by Mark C. of Live Skull at his studio, Summer Forever And Ever finds Powers playing piano and the Kaoss touch-pad effects unit and Collins playing synthesizer, in addition to their usual instruments. The album reflects the same eclectic mix of musical styles heard on the debut. References and sometimes even direct quotes from sources as diverse as the Andrea True Connection, Captain Beefheart, the Count Five, and Eurythmics leap out of the speakers.

Behind Closed Doors, das dritte Studioalbum der englischen Hardrockband Thunder, wurde 1994 veröffentlicht und erreichte bei seiner Veröffentlichung Platz 5 der britischen Albumcharts. Damit festigte die Band ihren Ruf als eine der besten Rockbands von den
britischen Inseln. Drei UK Top 40 Singles wurden daraus ausgekoppelt: Stand Up, River Of Pain und Castles In The Sand.

Produziert wurde das Album von Gitarrist Luke Morley und dem langjährigen Mixer Mike Fraser, wobei alle Bandmitglieder sowie der ehemalige Produzent und Duran Duran-Gitarrist Andy Taylor Beiträge lieferten. Das Album gilt unter Fans der Band und des Hard Rock
gleichermaßen als Klassiker. Diese neue, erweiterte Ausgabe enthält vier bisher unveröffentlichte Live-Versionen von klassischen Songs des Albums. Außerdem wird das Album zum ersten Mal seit seiner
Veröffentlichung im Jahr 1994 in limitierter Auflage auf zweifarbigem Vinyl neu aufgelegt.

Our fourth release follows the ebb and flow of a night out in a strange mood.
For starters, guided by the concerned voice of Query D, we turn a few corners and go to the local 24h store to pick up some Night Shop Gold, aka the best midnight snack, a samosa. After that we do some Doomstrolling to a tune that invites us to indulge in the night’s pleasures, absently grinning through it’s darkest hours. When the sun comes up again, The Sleepless rounds out the EP for all the insomniacs out there, with some reflections on the dangers of sleep deprivation set to a melancholy beat.

Tape

The music of Melati ESP aka Melati Malay is a euphoric vision of megacity rhythm and rainforest escape, club breaks and weightless pop, mapping new dreams from the sound of futures passed: hipernatural.

Drawing on the music era of her teenage years growing up in Jakarta – Javanese radio Dangdut, gamelan cassettes, Moving Shadow-era liquid jungle, Japanese chill-out, etc. – as well as her current work in progressive percussion trio Asa Tone, Malay’s solo debut is boldly borderless, bridging worlds and wavelengths into a richly imagined hybrid synthetic utopia.

hipernatural is momentous linguistically, too, as Malay’s first foray into singing in Indonesian, the language of her youth. She characterizes her lyrical mode as “abstract, and a bit broken,” an intuitive collage of diaristic emotion and oblique poetry (“plant me in fleeting twilight / missing home, where is home? / I am another you”). Her voice serves as its own versatile instrument, alternately intimate and alien, sensual and sacred, shaded with the haze of hidden heavens.

Co-produced with long-time collaborator Kaazi (100% Silk, Asa Tone), the album’s 12 tracks are cohesive but eclectic, threading through temple bass music, cyber siren techno, Stereolab drum n bass, new age downtempo, and dial-up rave reveries, flecked with tactile fragments of offworld dialogue, computer hum, bubbling water, and beyond.

Malay’s technique of sampling and processing her voice into an electronic palette which she then performs on generative instruments gives the songs a bewitching artificial intelligence elegance, exquisite but uncanny. Hers is a hybridity both organic and hypermodern, deeply personal yet globally sourced – YouTube rips, nature tapes, cheap sample packs, club bootlegs. hipernatural champions a dynamic new language at the axis of then and now, of east and west