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Im Jahr 2015 spielte die amerikanische Supergroup Hollywood Vampires ihr wohl größtes und eines ihrer legendärsten Konzerte vor über 100.000 Fans. Rock in Rio ist nicht nur eines der bekanntesten Festivals, sondern auch der Ursprung des ersten Live-Albums der Hollywood Vampires.

Mit Alice Cooper als Frontmann, Hollywood-Superstar Johnny Depp, Aerosmith-Legende Joe Perry und Produzent und Songwriter Tommy Henriksen verfügt die Band bereits über ein hochkarätiges Line-up. Doch damit ist die Liste der Superstars noch nicht zu Ende. Mit auf der Bühne stehen Duff McKagan (Guns N' Roses), Matt Sorum (Velvet Revolver) und Bruce Witkin (Grammy-nominierter Produzent). Zu
den besonderen Gästen gehören Lzzy Hale (Halestorm), Andreas Kisser (Sepultura) und Zak Starkey (The Who / Oasis).
Eine Starbesetzung, die es so noch nie bei einer einzigen Show gegeben hat.

Das Album wurde von Bob Ezrin (Deep Purple, KISS, Pink Floyd, etc.) produziert.

Pressed 45 RPM full-out sound...
with A-side, from Exzakt... and second one from The D.exorcist...
Exzakt, pure legend of the Miami Bass sound, with Monotone, brings a cool teknoïd electro music here, quiet hard and agressive... rare sound !

Dexorcist goes England Electro, in the pure tradition of it... Game addicts style ! "Get funky ! Get Brown !"

Dance music has always been grounded in a sense of place. Chicago, Detroit, London, Berlin—a zip code can tell you as much about the music as the year it was made.

But beyond the nuts and bolts of the here and now lies a netherzone where some of the best electronic music floats, impossible to pin down. Swayzak’s Snowboarding in Argentina is one such record.

The title hints at its uncanny placelessness. The music has nothing outwardly to do with Argentina, for one thing. The work of UK producers David Nicholas Brown and James S. Taylor, it was recorded in a number of locations—mostly bedrooms—around London. Yet there is little that is quintessentially British about the music.

Instead, Brown and Taylor drew much of their inspiration from, on the one hand, the luminous chords and silky heft of Detroit techno, and on the other, the staccato drums and clipped textures that were then beginning to bubble out of Berlin and Cologne.

That brings us to the question of time. For if Snowboarding in Argentina belongs to nowhere, it is equally a product of nowhen.

On a practical level, the music took shape in the mid to late 1990s, although it took nearly 10 years for it to come to fruition. Brown and Taylor began jamming on instruments, then machines, in the late 1980s. Then, after Brown suffered a serious car accident, the two musicians began working together more seriously. Trial and error yielded a promising single with a downtempo vibe that a hired-gun studio producer promptly ruined; Swayzak retreated to their bedrooms.

They learned about Chain Reaction from a radio show, found new ways to burrow into the circuitry of their machines, and by 1996 they had hit upon their sound. brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publish nine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

The core of Snowboarding in Argentina appeared on a series of three two-track singles in 1997. (Taylor brought 10 copies of the first to Berlin’s Hard Wax, sold them directly to the shop for a fistful of Deutschmarks, and turned around and spent the money on records; that’s how DIY electronic music worked in those days.) The album itself appeared in 1998 on London’s Pagan label and quickly built a cult following. It was clear that the music was in conversation with its contemporaries: Heard from the right angle, it was possible to imagine it as a halfway point between the proto progressive house of Underworld and the monochromatic minimalism of Kompakt. But it also didn’t quite sound like anything else around; it was a dispatch from an unknown territory that needed no special understanding to decipher.

A quarter century later, Snowboarding in Argentina sounds simply eternal. Certain hallmarks of ’90s production are available—the music’s almost murky warmth is a reminder of what electronic music sounded like before software swallowed everything into its digital maw—but there’s nothing dated about it. The exploratory nature of these tracks, as the result of experimenting with their machines’ limitations, never eclipses their musical or emotional essence.

Long since been deemed a classic, Snowboarding in Argentina remains an underdog in the annals of electronic music. Its semi-obscurity was surely not helped by the decision to publishnine of its original 12 tracks on the CD, and seven on the vinyl, with only four appearing on both formats. Twenty-five years after its original release, Lapsus’ Perennial Series edition unites, for the first time, all the album’s tracks as a single triple-vinyl package, rounding out the 12 original songs with previously unreleased material. Working off the original DAT premasters, Swayzak have created new edits of all the tracks. The result might be considered the definitive edition of the album as it was meant to be, after a 25-year journey. It seems fitting that an album so timeless would continue morphing throughout its lifespan. For fans, it’s the chance to hear a beloved album as never before. And for newcomers, it’s the perfect introduction to a record that, in its own quiet way, reshaped the sound of electronic music, opening up new frontiers unbound by cartography or calendars.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12"-EPs mit Musik der ersten und erfolgreichsten Wegbereiter. The Neon Judgement aus Leuven bei Brüssel waren mit ihrem Sound schon immer allen eine Schritt voraus und veröffentlichten eine reihe von faszinierenden Alben. 'Chinese Black', 'TV Treated' und 'Miss Brown' waren (und sind) reine Underground-Hits auf dem Höhepunkt der New Wave. Es ist daher kein Zufall, dass sie zu Recht als Pioniere des EBM-Genres gelten.

Who did Aretha Franklin not want to miss out on when she recorded
her most inspiring albums in the early Seventies? Who gave Steely
Dan the beat? Who did Isaac Hayes, Donny Hathaway, BB King,
‘Sweet’ Lou Donaldson and Joe Cocker give the chair behind the
drums? No drummer has seen the inside of a studio as often as
Bernard ‘Pretty’ Purdie.
 Not for nothing do colleagues attribute the ‘funkiest soul beat on the
scene’ to the drummer, and consequently, Purdie has never relied on
the genre of jazz alone, but rather curiously looked beyond the
borders. Sessions with The Rolling Stones, James Brown, Jimi
Hendrix or Tom Jones are no problem for him, whose precise and
sensitive playing is synonymous with drive and groove. This is
probably one of the reasons why his rhythms are still sampled by
many DJs today.
 Released on CD back in 1996 and 1997 (and now out of print), the
two ‘Soul to Jazz’ recordings have a cult factor today and sound as
fresh as they did back then. Now both albums are released together
for the first time as a 3LP set.
 These recordings are peppered with lots of prominent star guests
from jazz and soul, from Eddie Harris, Michael Brecker and Nils
Landgren to Hank Crawford, Stanley Turrentine and Cornell Dupree.
 Purdie’s ‘Soul to Jazz’ project takes two different approaches: The
first part focuses on the renowned WDR Big Band led by Gil
Goldstein. Soul classics such as Stevie Wonder’s ‘Superstition’,
‘When a Man Loves a Woman’, Eddie Harris’s ‘Freedom Jazz Dance’
and Lee Morgan’s famous groove tune, ‘Sidewinder’, are interpreted
in large scale sound. One discovery of these recordings amidst all the
renowned guest soloists is the New York-born singer, Martin Moss.
 The great success of this first album, released under ‘Soul to Jazz’,
led to ‘Soul to Jazz II’, a more intimate record, but one that picks up
where the first recording left off, by exploring similar themes. Again,
Purdie has called together a notable band of kindred spirits, including
saxophonists Hank Crawford (BB King, Ike and Tina Turner, Ray
Charles), Stanley Turrentine (Jimmy Smith, Shirley Scott) and Vincent
Herring, as well as guitarist Cornell Dupree (King Curtis) to pianists
Benny Green and Junior Mance.
 Bernard Purdie’s ‘Soul to Jazz’ is a timeless classic and a blueprint of
the soul jazz genre in all its facets. Above all, it is a portrait of one of
the most influential and best drummers in the world, who made jazz
groove with his inimitable funky soul beat

Soul Jazz Records are releasing this latest Studio One compilation which features non-step 100% stone-cold classic Studio One killers! Spanning 40 years of the legendary label, this album is a fitting tribute to Clement "Sir Coxsone" Dodd and is a who's who of Jamaicaan Reggae.

Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry.

The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music.
Cable Ties are dedicated to their local community and independent networks, and to playing diverse and inclusive shows. They have toured Australia a number of times and have developed into a lean and efficient touring band who deliver powerful and meaningful shows. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. They have also self released three 7” singles which have all sold out. The debut album is on its third vinyl pressing.

The band toured UK/Europe in 2017 supporting Jen Cloher, and played Punk’d Festival in Berlin. They returned to the UK in May 2019 to play The Great Escape and shows with Tropical Fuck Storm and Amyl & the Sniffers. In Australia they played Bigsound 2018 and festivals such as the national Laneway Festival tour in 2018, Boogie Festival 2018, The Plot 2017, and Meredith Music Festival in 2016. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.

Available for the first time since originally released in 2006 via Stones Throw, Dudley Perkins & Madlib are pleased for the reissue of their sophomore collaborative LP, Expressions (2012 A.U.), their acclaimed follow-up to their 2003 debut effort, A Lil’ Light. And albeit the former can be accused of being excessively avant-garde, it’s Expressions where both Perkins and the Beat Konducta find a more fluid symmetry.

In everything from his collaborations with MF Doom and the late Jay Dee to his more recent pairing with Freddie Gibbs, Madlib is easily one of hip-hop's golden revolutionaries. At times his production has been accused of being sparse, but that's not the case with Expressions. This time around, Madlib's production is hitting all the funky corners with layered grooves that evoke the attitudes and emotions of A Tribe Called Quest's The Low End Theory.

Perkins's objective to keep the grooves flowing on Expressions is laid down with first lines of opener "Funky Dudley": "A little bit of funk and a dash of soul/ A little bit of George borrowed from my Ol' gran' pappy's stack of old school/ One nation under a groove." From there on the funk samples dance famously with Dudley's vocal style, which cross-pollinates the worlds of D'Angelo and Ol' Dirty Bastard. From "Get on Up" to the James Brown vocal sample in "Dolla Bill," Expressions uses Perkins's voice as if it were a sample itself, incorporating it in the production and the rhythms.

Madlib's production works flawlessly, his semi-psychedelic influence on R&B, soul and hip-hop keeping Perkins's style fresh and original. All the parts seem to be in place on Expressions as producer and emcee work side-by-side to create a cohesive sound that not only represents the creativity of the underground but could also awaken the tired ears of the mainstream.

Fleetwood Mac’s legendary album Tusk, originally released in Oct. 1979, went on to sell 4 million copies WW and was certified Gold in Germany and France, Platinum in the UK, Netherlands and New Zealand and 2X Platinum in the US. The band toured this album internationally across a 9 month period visiting; the U.S., Australia, New Zealand, Japan, France, Belgium, Germany, the Netherlands, the UK and Germany. Key tracks include “Sara”, “Tusk” and “Think About Me”.

The genius behind the album can be seen from the epic video for Tusk which was filmed with a full marching band (the University of Southern California's Trojan Marching Band), at Dodgers Stadium, Los Angeles on 4 June 1979.

We are absolute fans of Powel's work, no doubt, but what he have done for his frst vinyl in Seven Villas is something else, he goes beyond boundaries.
These four original tracks have no gendre, and this is something realy special. Powel always delivers the finest electronica, his album in All Day I Dream proves the techno craftsman he is.

Please take your time to listen to this excellent songs, and discover all the hidden details and messaged thay have, this is pure magic.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12"-EPs mit Musik der ersten und erfolgreichsten Wegbereiter. The Neon Judgement aus Leuven bei Brüssel waren mit ihrem Sound schon immer allen eine Schritt voraus und veröffentlichten eine reihe von faszinierenden Alben. 'Chinese Black', 'TV Treated' und 'Miss Brown' waren (und sind) reine Underground-Hits auf dem Höhepunkt der New Wave. Es ist daher kein Zufall, dass sie zu Recht als Pioniere des EBM-Genres gelten.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12"-EPs mit Musik der ersten und erfolgreichsten Wegbereiter. The Neon Judgement aus Leuven bei Brüssel waren mit ihrem Sound schon immer allen eine Schritt voraus und veröffentlichten eine reihe von faszinierenden Alben. 'Chinese Black', 'TV Treated' und 'Miss Brown' waren (und sind) reine Underground-Hits auf dem Höhepunkt der New Wave. Es ist daher kein Zufall, dass sie zu Recht als Pioniere des EBM-Genres gelten.

Gary Burton ist nicht nur der große Vibraphon-Innovator seiner Ära, sondern auch ein äußerst scharfsinniger Talentscout. 1973 stellte The New Quartet Abraham Laboriel vor: Dies war die erste Aufnahme des
Bassisten, der bald zu einem der gefragtesten Session-Spieler in allen Genres werden sollte. ”Es muss betont werden, dass Laboriel mit seiner erstaunlichen Bassarbeit wie ein zukünftiger großer Künstler klingt”, schrieb das britische Magazin Melody Maker seinerzeit. Auch Gitarrist Mick Goodrick entpuppte sich mit diesem Album als ein Musiker, den man im Auge behalten sollte. Er glänzte in einem wohl durchdachten Programm mit Kompositionen von Keith Jarrett, Chick Corea, Carla Bley, Mike Gibbs und Bandleader Burton.

Little Roy’s WOKE UP is a four song Zion I Kings showcase style ep with dub mixes by JAH David Goldfine.Few singer songwriters of his generation have maintained a recording career as consistently masterful as Little Roy.

His timeless classics “Prophecy” and “Tribal War” are among the most versioned songs in the reggae songbook. With a career now spanning six decades, every new Little Roy release raises the Rastafari musical banner another notch higher with no end in sight.

On WOKE UP, the Zion I Kings are complemented in fine style by musicians and vocalists who rank among the finest in reggae. These include, on drums, Roberto Sanchez and Aston Barrett Jr. who is joined by lead guitarist Lamont “Monty” Savory on the title track. Horns are by Okiel Mcintyre and Zoe Brown is featured on flute. Barbara Naps and Madeline Singer join JAH David on the background vocals.In 2023, Zion High Productions is celebrating twenty years of “crucial Rastafari music for these crucial times”.

Green Vinyl

For its fifth release, french label The Bass Academy goes back into time!!! Originally written by legendary Man Parrish, "Boogie Down Bronx", a cult classic from 1984, sees a mighty resurrection with a "fresh mix" rework from UK Electro veteran Bass Junkie. Not the first time Phil Klein (Battle Trax, Breakin' Records) remixes Man Parrish as he committed in 2002 the heavy “Bass Junkie's Boogie Down Bass Mix” of “Hip Hop Re Bop”. Today, he serves up an uncompromising electro funk mayhem made of old schoolish samples, vintage synth melodies, retro congas, relentless scratches and pounding 808 beats. This brand new Sci-Fi anthem, enhanced with the legitimate legacy from the past, will invite you for some irresistible B-Boy breakdancing movements on the linoleum!!! Tuuuuuunnne! On the flipside, Phil teams up once again with long time partner in crime Simon “The Dexorcist” Brown. Together, as Gods Of Technology, (Battle Trax), they revisit another untouchable song, “Future Computer”, an exclusive to TBA track written by Jamie Jupitor and published in 2017 (TBA02). Metallic sororities melt with nasty vocoder sequences and imparable whispers turn the cut into an ode to the dancefloor thanks to harsh and hammering beats. What a timeless monster in pure West Coast tradition! With abrasive outings to appear on the forthcoming months including an incredible album with Matt Whitehead on Dominance Electricity, Phil Klein definitively returns to studios stronger than ever, putting a end to a short blackout. Rush in this hypnotizing collector 12”, limited as usual to 150 copies as it marks one of Phil Klein’s best releases to date!