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Werewolf Hair is the work of Andy Godwin, guitar player and amateur pedal steel guitar player. Born in Ann Arbor, Michigan and currently based in Virginia, he came up playing bass in punk bands at local venues and basement shows.

The music of Werewolf Hair is wide reaching and genre-hopping in the best possible way. This is explained in his musical upbringing.

The Accra-born pianist and frontman only released a few albums in small quantities, yet two of them are among the most sought-after records from 70's Africa. This was the first.

So what do we know After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound.

Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father's piano during school holidays.

The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wah-wah guitar spin us out before those imperious horns bring us back in.

And what better way to close this set than with 'More', swept up in a call and response between Rob and his backing singers as a 'Blow Your Head' synth flares and the brass blasts. Good times guaranteed.

As the man himself says, 'Funky music is in my blood. What you hear is the coming out of my mind.' No one sounds like Rob, because there is no one like Rob.

Mit „Sweet Unknown“ veröffentlicht die US-Amerikanische Gruppe Ceramic Animal ihr viertes Studioalbum am 04. März 2022. Die aus Doylestown/Pennsylvania stammenden Brüder und Freunde lassen sich nicht auf Genre beschränken: Von Glam, über Post-Punk und Psych Rock, bis zu 70er Pop & Folk sind alle Einflüsse dabei.

Ceramic Animal besteht aus den drei Brüdern Chris Regan (Gesang, Gitarre), Erik Regan (Schlagzeug), Elliott Regan (Gesang, Keyboard) und deren Kindheitsfreunden Anthony Marchione (Gitarre), sowie Dallas Hosey (Gesang, Bass).

Nachdem sie ihre ersten drei Studioalben komplett selbst finanziert, produziert und veröffentlicht haben, schreiten sie nun auf neuen Wegen und kollaborieren mit dem Grammy-ausgezeichneten The Black Keys Frontmann Dan Auerbach als Songwriter und Produzent. Zudem veröffentlichen sie das Album bei dem von Dan Auerbach gegründeten Label Easy Eye Sound. Der Titeltrack ist eine von Roy Orbison inspirierte Meditation über die andere Seite. ”Lyrisch und klanglich verkörpert ’Sweet Unknown’ ein Eintauchen in eine ungewisse, aber wunderschöne Dunkelheit”, sagt Schlagzeuger Erik Regan.

Das gesamte Album taucht in eine Welt ein, in der intime Liebende sich allmählich verlieren und einander
gegenüber kalt werden und in der flackernde Erinnerungen an bessere Zeiten den einzigen Trost bieten.

Next up on Time Is Now is a fresh cut from prolific Japanese producer Stones Taro: a kaleidoscopic EP which traverses the boundaries of genre to create something truly unique, occupying the intersection of UKG, electro, breaks and house.

After the raging success of previous releases on Scuffed Recordings, Breaks 'N' Pieces and more recently on his own imprint, NC4K, the Kyoto producer makes his Time Is Now solo debut with Super Hot Floor EP. Kicking things off is the pacey, club-ready banger "Integration" with stuttering synths and a driving bassline which leave little room for respite beneath a fierce breakbeat electro rhythm. On "Straight Walk" Taro offers a new take on speed garage with a sharp two-step rhythm and the suggestion of acid-tinged synth stabs which lure you in before reaching their full form in high-energy intervals of 4X4.

After "Watching You" strips things back, the B-side brings the energy with Pulse X style stabs ("Super Hot Floor") and old school house-indebted Korg organ melodies a la Robin S ("Dry Flower").

For fans of - The Meters, War, New Mastersounds, Jungle Fire. Mestizo Beat's first 45 release with All-Town Sound. An upbeat and eclectic blend of early 70s funk and soul. We are very excited to welcome Mestizo Beat to the All-Town family! MB incorporates a diverse mix of sub-genres within the Funk and Soul spectrum. They have released a string of 45s with labels like Colemine, F-Spot, Common Good, and now ATS! We couldn't decide which tunes should be assigned the A and B sides, so we left them unmarked, for you to decide. "Poppin Off" catches your attention right from the start with some Metersesque organ and guitar interplay. It settles into the groove and this is a feel good Southern Funk influenced burner. A 4 piece horn section comprised of members of Sure Fire Soul Ensemble mixed with Jungle Fire's Steve Haney on percussion, round out this recording. On the flip side is "City Of The Body Bag" which would have you believe you were hanging out somewhere in South East Los Angeles in 1973. This tune takes heavy influence from the band "War" and is destined to be another Latin Funk struttin' classic.

For fans of - The Meters, War, New Mastersounds, Jungle Fire. Mestizo Beat's first 45 release with All-Town Sound. An upbeat and eclectic blend of early 70s funk and soul. We are very excited to welcome Mestizo Beat to the All-Town family! MB incorporates a diverse mix of sub-genres within the Funk and Soul spectrum. They have released a string of 45s with labels like Colemine, F-Spot, Common Good, and now ATS! We couldn't decide which tunes should be assigned the A and B sides, so we left them unmarked, for you to decide. "Poppin Off" catches your attention right from the start with some Metersesque organ and guitar interplay. It settles into the groove and this is a feel good Southern Funk influenced burner. A 4 piece horn section comprised of members of Sure Fire Soul Ensemble mixed with Jungle Fire's Steve Haney on percussion, round out this recording. On the flip side is "City Of The Body Bag" which would have you believe you were hanging out somewhere in South East Los Angeles in 1973. This tune takes heavy influence from the band "War" and is destined to be another Latin Funk struttin' classic.

"The soundtrack of the much celebrated smash hit movie of 2018 - MAMMA MIA! Here We Go Again - is to be released on vinyl for the first time as a double picture disc set, emblazoned with the movie's cover image of the whole cast on disc one and a second disc with a scene from the movie.
To be released on 1st April through UMC/Polydor, this double-LP picture disc set features all sixteen songs from the film's original soundtrack, including ‘When I Kissed The Teacher’, ‘One Of Us’, ‘I've Been Waiting For You’, ‘Fernando’ as well as two extra tracks not featured in the movie - ‘I Wonder (Departure)’ sung by Lily James Jessica Keenan Wynn and Alexa Davies and ‘The Day Before You Came’ sung by Meryl Streep."

Reuben's Daughters is not a band, it's a name for all of the musical works by Reuben Myles Tyghe, a pure product of Bath's musical scene. Reuben performs solo, write and record albums featuring a wide pool of guests, collaborate with other artists, has a six piece live band... it's all Reuben's Daughters. The daughters part of the name allows all of his musical endeavours to have a fluidity... And the album is full of this light and smotth fluidity that gets directly to the listener's hear without fighting it. Or, in the words of Keely Stoltz: "“Playful and adventurous pop where solid grooves undulate underneath technicolor island slide guitars. Who knew some of the sunniest new music in the world could be crafted in the southwest of England?”

Catalina Matorral is a duo; Marion Cousin and Borja Flames make up its double head and four hands. At the beginning of the 2010s, they were called June et Jim -- they released some disturbing EPs before joining the label Le Saule (a small, chivalrous table whose holy grail is everything unheard, where folk- singing is avant-garde and avant-garde is synonymous with enchantment). Their first LP, Les Forts (2012), evoked the songwriting of indie-hobos inspired by Latin America, contributing to the rejuvenation of French music. Noche Primera (2013) went even further by vibrating in various reveries, from African songs to Spanish medieval music, from Purcell to Bach. It blew hot and cold under a psychedelic candlelight. The record in question has been maturing for seven years in eccentric barrels, marinating in the shadow of Marion and Borja's respective evolutions, nourished by their individual obsessions. Marion fixated on songs and dances from the Iberian Peninsula. This gave birth to a minimalistic, organic record featuring the cellist Gaspar Claus, where humming trembles among frowning pizzicatos, thin drones and throbbing arpeggios. She went on to release another album with the electronic duo Kaumwald, an oeuvre at the crossroads of vernacular narratives and experimental music, simmering everyday songs in an insolently modern production. Meanwhile, Borja leaned towards an intellectual, synthetic and furious pop; made two albums to awaken the dead, somewhere between Moondog and Battiato. They are two conceptual, electrifying and dance-inducing recordings for the phosphorescent masses. ...chimeric narration, heady verses, pop fragments, horizontal synths, distorted technologies. One would think they're listening to an opera composed by Robert Ashley or Laurie Anderson, based on an improbable libretto written by anthropologist Jeanne Favret-Saada, and performed by holograms of Brigitte Fontaine and Areski -- who unexpectedly regurgitate bits of blunt folk, binary jazz, baroque songs and ghostly madrigals. Micro-events, great enchantments. This record was written and recorded by two people, tinkering feverishly for seven years. It was blessed with the furtive appearances of faithful friends: Gaspar Claus played the cello; Igor Estrabol the clarinet, trumpet and flugelhorn; Renaud Cousin the drums; Ernest Bergez played the violin and whimsically mixed the tracks like a bonesetter-scientist. At the crossroads of worlds, eras and moods, Catalina Matorral invents a curiously rural science fiction that confounds poetry with white magic and puts French music in a permanent tension between the cosmos and manure...

Wretched, bleak, hopeless and incredibly dark. Canadian dark hardcore crust bruisers Dark Circles and American black sludge destroyers Abstracter bring forth waves upon waves of utter misery and horror on this crushing 12" split. Dark Circles' stark, rabid and virulently embittered dark hardcore is a firestorm of crust punk, grindcore and black metal that marvelously brings together the best and most confrontational elements of bands like Catharsis, Gehenna, Cursed, The Secret, etc. On the other hand Abstracter's bleak and hallucinatory side fuses doom, crust, drone and black metal to incarnate a staggering twenty minutes of total and horrific devastation, yielding a similar sonic hell as seen in dark and miserable slower bands like Triptykon, Primitive Man, Coffinworm, Indian, etc

Collaborating once again with legendary composer Yuzo Koshiro, Data Discs is thrilled to present one of the most revered and timeless soundtracks of the 16bit era: The Revenge of Shinobi. Composed in 1989, the music for the Mega Drive game (known as The Super Shinobi in Japan) blended Western dance music with Japanese overtones, to create something truly unlike anything else before. The soundtrack was Koshiro's first commissioned work for SEGA and served as a forerunner to his seminal Streets of Rage trilogy, where the concepts and styles he founded with Shinobi would be expanded upon to astonishing effect. Koshiro's work on The Revenge of Shinobi remains a testament to the ingenuity of early game composers who, when given enough creative freedom, found the means of drawing new and unexpected sounds from extremely limited hardware.

The Revenge of Shinobi is presented as a 180g bone coloured LP, cut at 45rpm and packaged in a 425gsm outer sleeve, with heavyweight inner sleeve and double-sided lithographic print, featuring original artwork sourced from the SEGA archives in Japan. The release also includes exclusive liner notes written by Koshiro himself.

LTD Warehouse find

The legendary Disk Union Japan and 180g present the best of today's Brazilian music!

A completely unique and beautiful album from contemporary Brazil blending soft pop, indie folk, sixties psychedelia, lo-fi and flavors of the brazilian Clube da Esquina!

- First ever vinyl release of this top album out of contemporary Brazil
- Essential solo effort from former member of Brazilian underground leaders Diesel, Udora and Transmissor
- Analog recording process
- 180g heavy vinyl, comes with download card

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Leonardo Marques makes a kind of music that creates bucolic and romantic scenarios whose sound goes among indie folk, sixties psychedelia, lo-fi and the brazilian Clube da Esquina.

As Chicago's Dusty Groove tell us about the album:
"A really beautiful album from contemporary Brazil – but one that resonates with some of the best soft pop elements of the late 60s and early 70s! Vocals are in English and Portuguese, and the instrumentation is this fantastic blend of light elements given a really airy spin – almost as if Nick DeCaro and Sean O'Hagan got together in the studio to work on a set that has slight bossa inspirations – but is something completely unique! This is the first we've ever heard of Leonardo Marques, but we'll sure be watching out for him in the future – as he's got this way of embracing so many elements of things we love, yet never stays slavishly in their own territory – wending his way beautifully through songs that include "Ainda E Cedo", "All The Hearts", "Nao Te Escuto", "The Girl From Bainema", "Um Sopro", "In Your Arms", and "So Que Me Enfeita"."

Back in stock !

There is geological time and deep-space time. The natural world's time, and quantum time. Humans started measuring time with the stars and seasons. Then came hourglasses and sundials. The first mechanical clocks weren't in Europe until the late 13th century. Then came industrial time, a wristwatch for all and then everything had a time. A time for everything. All feeding into our recently digitised time and its marching nanoseconds. Let us not forget however another way to measure time: That would be K&D time.
Yes, you can rush, but isn't it so much nicer to amble? This onception of time may well have its roots in those smoke mists, softly blowing through the pre-history of 1995, and if that was time - then we need space. In particular, one Viennese front room that has turned its bass bins out to the cosmos. That sweet smoke, shrouding the desk and sampler. A few old keyboards (as a friend skins up at the back) unnoticed on the couch - just passing through...
Those days of K&D time had been thought to have gone. But one of times tricks is to hide itself in music. Not long ago (after a box of DATs had been found, and a DAT player prised back into service) back through the music wormhole our heroes fell into that smoke laden room of 1995. The remix time hadn't arrived nor the intense touring schedule. It was before the K&D sessions release and all that came with it, before the solo projects of the Peace Orchestra and Tosca. This was a time before all of that. A time for literally living in the studio and experiencing the joy of creating tune after tune. Just the sound and the smoke and no boundaries.
It was before people started asking about when the album was coming out. Which developed its own time specific answers. The 90s answer was soon, 00s answer was not sure and then: never! from 2010 onwards. The truth was, an album had been finished by the spring of '95 and all recorded onto DAT and placed in a box. K&D pressed up 10 copies and gave 4 away to some suitably eccentric individuals. Then the room's doors opened and in a tremendously big cloud of smoke time rushed in, K&D rushed out, and the years went rolling by. The days got filled with remixes, touring and life.
Then in early 2020 that chance moving of a box at the back of a room exposed the DATs and their time transporting properties. As K&D went through them they ended up comfortable and back in the room and that wonderful haze of 1995. The music was transferred from the DATs and K&D painstakingly rebuilt every molecule that made up the original 10 copies. From the very first takes of the mixes printed onto tape, to the solid slab of black virgin vinyl, to the abused by many plays, white cover. Even down to the labels that says "'Unverkäufliche Musterplatte" (Testpressing - Not For Sale) in rather rude German.
It now looks, feels and sounds pretty much exactly the same as those original 10 copies did in 1995. The only thing that couldn't be don is the original clouds of smoke those 10 copies were bathed in. That will be left to the listener to wrap it in the fresh harvest of 2020. In one way it's a musical time warp space travel. In another, if the music becomes classic and timeless, then it's of its time, whatever the time. So as the rooms bass bins are once again turned out towards the cosmos, K&D are happy and proud to release what they thought were lost moments. Drop through the worm hole, take your place on the couch. The friend who is skinning up, always just passing through, listening to an album for the future called 1995. It all makes sense if you measure in K&D time.

25 years of perpetual, subtle and occasionally lunatic compositional, recording- and production-wise workouts finally result in the first and withal last album „Asphalt“ from the realms of Rico Puestel's childhood pseudonymous getaway „Tetzlaff“.

„Asphalt“ tells genuine stories of mobility and industrialisation, freedom and boundaries, the reciprocity of humanity and technology within the tension of past, present and future. Beneath its overall nostalgic and somehow timeless electronic retro charme it has been inspired by different currents, questions and approaches from philosophy to diverging sciences that shaped this long-haul monument of creation.

Following numerous artistic and technical ordeals, the consistently analogue production went through an emotional roller coaster ride while growing up, defined by the diverging poles of magic momentums and withering setbacks and combined with a fear of never finishing what once has been initiated, wanting to become reality some day.

Years and years of striving and searching for the right gear and recording setups to make this miniature album sound the way it should, never left out the central aspect of one perceptible and pure storytelling. Each song, as intimate, neat and almost predictable it might appear, has been elaborately designed moment by moment, second by second, byte by byte, revised hundreds of times, scrapped and recreated, dismantled and reconstructed.

„Asphalt“ enters and exists stage as a conceptual and musical unicum of its own that claims its self-fulfilling destiny by an endless circularity of endings and new beginnings...

NEW RED ASTAIRE (AKA FREDDIE CRUGER) drops the 12 more dope tracks influenced by classic reggae, hip hop, R&B, downtempo and dub vibes. Includes several hard to find/out of print gems including "GHETTO HELL", "MAMBO EL KINGSTON" and a previously
unreleased version of his classic "FOLLOW ME". Full pic sleeve (with some dope artwork from BASTARD JAZZ’s JJ MARLEY). Don't miss!

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Quincy Jones Big Band Bossa Nova + 2 Bonus Tracks (Yellow Vinyl) “Almost every track here is a small classic that you’re bound to have heard somewhere, without realising what it was. “Manha de Carnaval”, Luiz Bonf‘s peerless melody, is another that surfaces constantly in movies and behind commercials. Likewise, Jobim’s “One Note Samba”, which varies the metre and changes the pace most effectively. Jones recognised that he had something that could change the metre and flavour of almost any piece. “On the Street Where You Live” loses its slightly plonking sentimentality and turns into a celebration of community. “A Taste of Honey” acquires a new and exotic quality.” Penguin Guide to Jazz “There are few albums more enchanting than this one, which finds the perfect balance, among other things, to make everything swing, and to make us dance better. And you’ll be amazed to hear the voices of Roland Kirk, Paul Gonsalves, Jim Hall and Clark Terry. Yes, all of them are here.” Jazz Magazine Personnel: featuring Clark Terry (trumpet) Phil Woods (alto sax), Paul Gonsalves (tenor sax), Rahsaan Roland Kirk (Stritch, alto sax), Lalo Schifrin (piano), Jim Hall (guitar), Chris White (bass), Rudy Collins (drums), Jos Paula, Carlos “Bala” G
mez, Jack Del R o (percussion), Quincy Jones (conductor). Recorded in New York, August 13 & September 4-12, 1962. *BONUS TRACKS: Quincy Jones and His Orchestra. Similar personnel as Big Band Bossa Nova, also including Rahsaan Roland Kirk (flute, tenor sax, Stritch). New York, June 15, 1962. Original session produced by Quincy Jones. Originally issued in 1962 on the Mercury single 72012


b a2 | Boogie Bossa Nova Aka Boogie Stop Shuffle

THE BEST OF SURF MUSIC IN AN EXCLUSIVE 3 VINYL COLLECTION ! BETWEEN CLASSICS AND RARITIES, BE CARRIED AWAY BY THE WAVE OF SURF ROCK !

THE BEST OF SURF MUSIC IN AN EXCLUSIVE 3 VINYL COLLECTION ! BETWEEN CLASSICS AND RARITIES, BE CARRIED AWAY BY THE WAVE OF SURF ROCK !

Repress

To emerge from a global pandemic with a renewed sense of situational awareness, hard won insight, and a new album is the kind of move we've come to expect from THRICE over the last twenty years. With Horizons/East, Dustin Kensrue and his bandmates address, with candor and courage, the fragile and awkward arrangements that pass for civilization, while inviting us to dwell more knowingly within our own lives. Without surrendering any of the energy and hard edge of their previous albums, they've given us a profoundly meditative work which serves as a musical summons to everyday attentiveness. Since forming THRICE with guitarist Teppei Teranishi, bassist Eddie Breckenridge, and drummer Riley Breckenridge in 1998, Kensrue has never been one to back down from a mental fight. This mood is set by the opening synth-driven number "Color of the Sky," which sounds well-suited to accompany the closing credits of the Stranger Things season finale. Think Flying Lotus giving way to Elbow and setting the listener down in a new dimension. A self-recorded effort, Horizons/East conveys a palpable sense of danger, determination, and possibility.

Cassandra Jenkins' An Overview on Phenomenal Nature emerged from the blue earlier this year. With pandemic unknowns and political upheaval leaving most at frayed ends, the New York-born musician’s assuring voice and expansive fresh take on songwriting created a much needed reflective space for listeners worldwide. As 2021 comes to a close, Jenkins revisits those flowing textures and refrains with (An Overview On) An Overview On Phenomenal Nature, a collection of previously unreleased sonic sketches, initial run-throughs, demos, and sound recordings from the cutting room floor that provided the scaffolding for what became one of this year’s most critically acclaimed albums.

When Jenkins visited Josh Kaufman’s studio this summer, they opened up their original sessions to uncover the ideas that were shed in the creative process. The new collection, (An Overview On) An Overview On Phenomenal Nature, isn’t merely a retrospective; it acts as a clear-eyed addendum as well as a compelling origin story, coming to life as a subconscious companion to the original album.

First takes of “New Bikini” and “Hailey” are born from opposite starting points; while “New Bikini” began as an airy alto meander, “Hailey”’s origins lie in an upbeat dance track. On “Crosshairs (Interlude),” Jenkins’ pitched vocal delivers a straight monotone, recasting the format as poetry with music highlighting her words, and “Ambiguous Norway (Instrumental)” lifts the ambient nature of the mournful song into glimmering waves. The demo version of “Michelangelo” contains alternate lyrics “I’m Michelangelo, a Teenage Mutant Ninja Turtle,” a lost contrast to the later verse where Jenkins’ likens herself to the sculptor. On “Hard Drive (Security Guard),” we join Jenkins as she listens to a passionate museum guard whose promised “overview” of the exhibit on view builds into a monologue of observations on art, politics, feminism and the human condition. This candid interaction evolved into the cornerstone and title of Jenkins’ album.

Before they decided to make an album together, Jenkins brought Kaufman a song called “American Spirits.”The dusky ballad takes us to the Texas plains via a voicemail from the payphone of a county jail (“Miss Cassandra”). Cassandra sings, “Time here burns through the sunsets / Like you and a pack of American Spirits” over warm instrumentation with a vocal delivery that reinforces Jenkins’ unwavering tenderness towards her subjects.

(An Overview On) An Overview On Phenomenal Nature bookends Cassandra Jenkins' musical output this year with nuance, coloring in the corners, and giving us another window into her ever-expanding world of chance encounters, experiences, and sonic textures. They glimmer like the sun’s changing patterns on the wall as a new day gets going.

Lauded London 6-piece Melt Yourself Down are back armed with a new approach for their fourth studio album Pray For Me I Don’t Fit In. Created for misfits, by misfits, Pray For Me I Don’t Fit In sees Melt Yourself Down embrace a celebratory punk agenda. Having realised they are never going to fit the mould, the group deliberately draw on their myriad influences, speaking all languages musically and lyrically. Led by the potent sounds of Sax pioneer Pete Wareham, the punchy sax hooks pay homage to the traditional horn sections of late 60’s early 70’s era of Jazz, Soul and Rock n Roll, while showcasing African pentatonic scales and dance-inducing rhythms with raw 70’s rock and punk. This album sees vocalist Kushal Gaya celebrate his diversity - tonally, texturally, and emotionally while embracing lyrical depth. Recorded and produced by band favourite Ben Hillier (Blur, Depeche Mode & Nadine Shah), delivering his distinct musical depth, resonance, and dark drive so essential to Melt Yourself Down’s sound. This album is the band’s most cohesive work to date.

Nas King's Disease II Album Following the Grammy Award winning album, King’s Disease, the king returns to his throne with the second coming, King’s Disease II. The star-studded project offers tacit game on life, love, and loss, uplifting through action and lived experience in a way only Nas can. This is a body of work for the fans, for the day 1’s that contributed to the legacy. Alongside the decorated production savant, Hit-Boy, Nas remains rooted in lyrical prophetism while proving that he constantly reinvents the wheel. The sequel to last year’s King’s Disease features Ms. Lauryn Hill, Eminem, EPMD, Hit-Boy, Charlie Wilson, YG and more.

10 Track LP - Japanese multi-instrumentalist Masahiro Takahashi's latest album, Flowering Tree, Distant Moon, is a meditation on seasons and distance. Recorded in isolation at his temporary home studio in Toronto, following the coldest winter he’d experienced to date, this is a collection of hushed, lush color wheel electronic vignettes.

Flowering Tree, Distant Moon was created using an array of instruments including software synthesizers, granular samplers and a shruti box. The original Not Not Fun cassette run sold out quickly and this Telephone Explosion re-release will be Takahashi's first official vinyl offering.

The songs shimmer and sway, unspooling in sparkling arcs and alternating between reverie and lullaby. Inspired by blooming apple trees, gagaku music, the nostalgia of immigrants and longing for home, Flowering Tree, Distant Moon moves from soothing to surreal, a swirl of quiet melody and imagined landscapes, as transportive for its listeners as its maker.

Montparnasse Musique is a balance of two distinct sensibilities: Algerian-French producer Nadjib Ben Bella’s passion for raw organic beats, and South African DJ Aero Manyelo’s love of DIY synthesis in the digital realm. It’s a bold blend of fresh and processed flavours; the acoustic grit of traditional Africa combined with the pulse of modern Johannesburg — gqom, kwaito, techno, afrohouse. Together they produce an electro-acoustic sound, loaded with infectious hooks, uncompromising and authentic. For their self-titled debut EP, the cross-continental duo collaborates with Congolese bands Kasai Allstars, Konono Nº1, Mbongwana Star and Basokin on five audacious dance tracks forged from the tribal rhythms and mystic voices of the Kasai rainforests, amplified by the aggressive growl of hand-wrought instruments from Kinshasa’s urban wilderness, and augmented with the slick precision of an EDM toolkit. The end result is an inevitable evolution of Congotronics into a sharp-edged, club-ready sound. Nadjib Ben Bella is a DJ and producer who draws influences from the gnawa music of his North African roots and a diverse range of Sub-Saharan sounds from musicians he has worked with over the years. Most recently he has been touring Europe with West African band Les Amazones d’Afrique. Aero Manyelo, a name now synonymous with the burgeoning South African house scene, has honed a distinctive electronic sound that translates across the international club circuit and has attracted a broad range of collaborators — including Idris Elba and The Mahotella Queens on the opening track of an album inspired by the Nelson Mandela biopic Long Walk to Freedom. The EP was recorded and mixed by Kwezydoctor at Khaima Studio in Lille, France.



c 3 Bitumba (feat. Mbongwana Star) Extended
d 4 Sukuma (feat. Muambuyi) [Extended]
[Extended]

„Zwischen dem, was man sich vornimmt / und dem, was daraus wird / steht viel zu oft ein Leben / das sich dafür nicht interessiert.“ (EMMA6)
Wie kann es weitergehen mit dem Musikmachen, wenn man sein Leben nicht im Dispo oder in tausendfach getaggten Stockbetten des Konzert-Venues sieht? Wie kann man seine Leidenschaft bewahren, auch wenn sich nicht mehr alles um Wochenend-Ausfahrten, Merch und Cola-Rum dreht? Was für Lieder will man schreiben, die anderen aber vor allem einem selbst immer noch aus dem Herzen sprechen? Und natürlich: Wohin im täglichen Leben mit all dem Rock’n’Roll?
Mit ihrem vierten Album, mit „Alles Teil des Plans“ hat das Trio aus der Nähe von Köln Inventur betrieben – und bietet auch für die Hörer*innen den Soundtrack zu einer intensiven Auseinandersetzung mit sich selbst auf. Sehnsuchtsvoller Indie-Pop und Katharsis. Doppelten Boden gibt’s woanders, hier geht’s um alles, Leute.
„Ich liebe es, wenn ein Plan funktioniert“, das war einst die Catchphrase des „A-Teams“, einem ziemlich unsubtilen Ensemble.
EMMA6 sind dagegen eher das A-Team des Zweifelns, sind Honig auf die Wunden, sind Chronisten eines fragilen Erlebnisparks der 1000 Möglichkeiten – und „Alles Teil des Plans“ rettet einem mehr als nur ein bisschen das Leben.
Danke dafür!

Gazing at the stars is looking at the past. The galaxies send you messages from thousands of light years away. That overwhelming feeling is present on Free Andromeda by Timothy J. Fairplay. An album grounded on earth while floating through eternity with a loose connection to the Milky way.

This nine-track record is, as always with T J. F. a delicately balanced mix between dark and light, analogue and digital, vast space and tight basements. With an impressing collection of premium synthesisers and drum machines, TJF showcases some of the most exquisite electronically generated soundscapes heard on this side of 1984. His sound on Free Andromeda can be described as leftfield inspired by various John Carpenter- and Italian horror movie soundtracks together with some West German Kosmische Musik.

Thimothy J. Fairplay, somewhat of a veteran on the label, makes deep and warm electronic music celebrating underground sounds from the last five decades. This album is no exception. For all you introverts dreaming of a life in the starshine – here’s Free Andromeda!

With Plum, the songwriting partnership rooted in the creative rapport between bandleader Molly Hamilton and guitarist Robert Earl Thomas continues to expand on shared visions, delving deeper into what was always there: dusty guitars, ear-worm melodies, warm expansive arrangements. Each entry to their catalog has marked a subtle reimagining of Widowspeak's sound, though perennial points of reference remain the same: 90's dream pop, 60's psych rock, a certain unshakeable Pacific-Northwestness. Speaking to the timeless feeling of each, the albums continue to be discovered well beyond their respective PR cycles, made beloved by new listeners through word of mouth. The band's fifth album feels comfortable and lived-in: humble in structure, heavy on mood. Perhaps that came taking time off from the touring grind, instead working full-time jobs and settling into the rhythm of daily life in a small upstate New York town. Plum was recorded over a handful of weekends last winter by Sam Evian (Cass McCombs, Kazu Makino, Hannah Cohen) at his Flying Cloud studio in the Catskills, and was mixed by Ali Chant (PJ Harvey, Aldous Harding, Perfume Genius). In addition to Hamilton (vocals, guitar) and Thomas (guitars, bass, synth), it features instrumental contributions by Andy Weaver (drums), Michael Hess (piano), and Sam himself (bass, synth). Plum nestles into the band's canon like it was always there, but with new textures coming to the fore, like the polyrhythmic pulse of "Amy" and "The Good Ones", or the watery, Terry Riley-influenced track "Jeanie" Plum navigates the spaces between the lesser emotions of modern life. Hamilton's lyrics speak to the unique turmoil of anyone who creates as their work, who must somehow survive off such "fruits of their labor." Yet, Widowspeak have always made a bitter pill much easier to swallow. The majestic "Breadwinner", the luminous "Even True Love" - these songs here were made to be listened to, enjoyed. "Money" is particularly hypnotic, built around a repeating, cyclical motif that serves as both skeleton and body. "Will you get back what you put in?" Hamilton asks over an insistent guitar riff. The line is delivered with a knowingness that transcends its surface critiques of late-stage capitalism, asking both herself and the listener whether this is, in fact, the world we want to live in. Through Plum, Widowspeak have brought something into the world that seems to know its own worth, even as it wonders aloud about what is to come. What value and meaning do we assign ourselves, our time, and how do we spend it?

The following quote from Placebo frontman Brian Molko will surely endure: "if the song serves to irritate the squares and the uptight, so gleefully be it." Such a statement pairs neatly with its originator's new album; 'Never Let Me Go' is a folky and alternative indie tirade against political tyranny, climate catastrophe and overhyped new tech. With Molko making the album after discovering that his "neighbours were spying on me on behalf of parties with a nefarious agenda", we can be sure this one'll feel a little more transgressive than the band's former dreamier output, 'Sleeping With Ghosts' springing to mind.

Secret Night Gang are poised for greatness, beaming out of Manchester with a dazzlingly sunny jazz funk sound which is right at home on Brownswood. Fronted by Kemani Anderson, this supremely talented band have all the chops you could wish for, melting buttery Rhodes, honey-coated sax, slinky bass and liquid guitar lines into the pot and laying it on smooth. From upbeat party pieces to cosy, baby-making fodder, this debut album rightly places them in the cut and thrust of the contemporary jazz scene, and they brim with more than enough talent to take themselves very far indeed.

Hip Hop Collected will take you on a musical journey through the history of hip hop. This 2LP covers the first 20 years of the genre, showcasing 25 early pioneers who participated in the rise of hip hop. This compilation features music from the new labels that started to rise from the underground scene, like Sugar Hill Records, Profile and of course Def Jam. Including artists that defined a genre, a lifestyle and most of all, artists that inspired millions of young kids with both socially critical lyrics as well as classic party anthems.

This hip hop compilation album is part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest and best names of its genre, combined with forgotten hits and less discovered gems, giving the listener an experience of both nostalgia and uncovering new musical grounds at the same time.

The 2LP features Kurtis Blow “The Breaks”, Grand Master Flash & The Furious Five “The Message”, Beastie Boys “She’s On It”, Rob Base & DJ E-Z Rock “Get On The Dancefloor”, and Eric B. & Rakim “Paid In Full” amongst many others.

Hip Hop Collected is available as a limited edition of 5000 individually numbered copies on red (LP1) and white (LP2) coloured vinyl. The album includes an insert with liner notes, photos and credits.

Vinyl Edition of 300 copies

Aesthetical in collaboration with Sync presents "Detect" by Marco Monfardini.

Originally developed as an audio/video live performance, Marco Monfardini based his research for Detect on the decoding of inaudible sounds, sound generated by electromagnetic emissions left from electronic devices and inaudible to the human ear. By using various electro-smog detectors Marco Monfardini creates a sort of detection mapping where electromagnetic emissions are the starting point for the sonorous development of each single composition.

A path that creates a parallel with our lives by questioning how much these emissions affect unconsciously our choices, tastes and perceptions, seeking a relationship between the massive use of technology in everyday life and our emotional state.
The album Detect is developed in 15 tracks in continuous play, an imperfect, faulty mosaic inhabited by invisible beings manifesting themselves in the form of sound streams, mutable entities that find a definitive form in the pattern of the compositional structure.

The album opens with “aR1 detection", sounds of pure detection place themselves in the sound space giving the initial coordinates for the exploration of unconscious parallel areas. The boundaries transform and gradually expand until they flow into the structure of "kernel variations", a growing rhythmic pattern decodes the impulses projecting a perspective that dissolves in the unstable and fluctuating electromagnetic emissions of the subsequent "[a]3020t detection", "binary defect "and "core[2] ". “[A.box]emission” confronts the use of sound downloaded random from internet sample banks and the emissions generated during the download itself, micro sound fragments arrange themselves in an organized and regular pattern, shaping a rhythmic structure. The first part ends with the short “[sa]6030” and “[det]x1a”, absence and presence provide an alternation of movements, inaudible and elusive signals all trying to establish a contact with our perception. “det : scan” opens the second part of Detect, a sort of scanning, leaving EMF (electromagnetic field) textures, a static multilayer that progressively expands until it dissolves into the rhythmic emissions of a common smartphone “[4s]detection”.The track “[rs]zone” " is pushing itself deeper, two minutes of sound speleology that reveal the existence of sound artifacts that seem to vanish getting in contact with the light accented by the bass drum of "[det] 0100+" a constant, rhythmic pumping, a luminous pulsation that reveals an apparent void, which seems to subside entering in the winding and waving atmosphere of "conductive [area]" and "[s3] microfunktion". Detect comes to the end with “[emf]terminal” a mirror of the unarrestable technological acceleration intercepting the flow of data that feeds the system of communication , digital micro waste suffocates the living space by centering up the invisible in an unconscious map.

[a] A1

[c] A3

[e] A5 core[2]
[f] A6 [A.box]emission (2)
[g] A7

[i] B2 [4s]detection
[j] B3
[k] B4 [det]0100+
[l] B5 conductive[area]
[m] B6 [s3]microfunktion
[n] B7 [emf]terminal

Demon Records präsentiert das erste Doctor Who-Abenteuer von Douglas Adams - dem Schöpfer von The Hitchhiker's Guide To The Galaxy - mit Tom Baker als Doctor. Auf der Jagd nach dem Schlüssel zur Zeit geraten der Doktor, Romana und K9 auf dem Planeten Calufrax in lokale Ereignisse und zwischen die Fronten des bombastischen Captain - halb Mensch, halb Maschine - und den finsteren Mentiads. Jemand plündert ganze Planeten nach ihrem Reichtum, und gerade als der Doktor herausfindet, wer dahintersteckt, gerät etwas anderes in Gefahr: die Erde!
Der kultige TV-Soundtrack von 1978 wird auf 2 x 140Gr. Sky Demon Splatter-Vinyl-LPs präsentiert und von John Leeson, der Originalstimme von K9, erzählt. Zur Nebenbesetzung gehören Mary Tamm als Romana mit Bruce Purchase, Andrew Robertson, David Warwick und Rosalind Lloyd. Die Begleitmusik wurde von Dudley Simpson komponiert, und die bekannten Klänge des Doctor Who-Themas wurden vom BBC Radiophonic Workshop zur Verfügung gestellt.
Die farbigen Vinyl-LPs werden in einer vollständig illustrierten Gatefold-Hülle mit Besetzung und Credits sowie bedruckten Inner Sleeves präsentiert.

Liebe, was sonst?
Warum sich immer entscheiden, wenn man beides kann. Sich in die Wolken träumen und dabei mit den Beinen fest am harten Betonboden stehen, bedrückend-raue Musik machen, die das Leben dennoch feiert und liebkost. Love A.M. denken groß und klingen groß. Packen düstere Synthie-Sounds und E-Drums mit schneidenden Post-Punk-Gitarrenriffs zusammen, wickeln das ganze dick in Dream-Pop-Zuckerwatte ein. Haben keine Scheu vor eingängigen Melodien, aber wissen auch, dass Ohrwürmer allein nicht genug sind.

In seiner mehr als drei Jahrzehnte umspannenden Karriere hat sich der Komponist und Multiinstrumentalist Arjen Lucassen weltweit als treibende Kraft des Progressive Rock etabliert. Der vielseitig begabte Niederländer ist vor allem für sein Rockopernprojekt Ayreon bekannt, widmet sich aber auch regelmäßig musikalischen Nebenprojekten, die alle verschiedenen Aspekte seiner musikalischen Persönlichkeit erforschen.Lucassen ist bestrebt, bei Star One eine gleichbleibende Sängerbesetzung beizubehalten. Für 'Victims of the Modern Age' hat er die hochkarätige Besetzung der Leadsänger des ersten Albums 'Space Metal' (2002) wieder zusammengeführt: Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), und Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). Die unterschiedlichen Gesangsstile dieser großartigen Vokalisten, die von hochfliegenden Power-Vocals über eindringlich-melodische Passagen bis hin zu brutalem Growl reichen, verleihen jedem Song eine atemberaubende Vielfalt an stimmlichen Texturen.Was die Instrumente betrifft, so spielte der Holländer die Rhythmusgitarren, die Hammondorgel, das Mellotron, die Solina-Streicher und die analogen Synthesizer selbst ein und lud Schlagzeuger Ed Warby (Ayreon, Hail of Bullets, Gorefest) und Bassist Peter Vink ein, die kraftvollen Rhythmusspuren zu liefern. Außerdem holte er sich die einschüchternden Solokünste des ehemaligen After Forever-Keyboarders Joost van den Broek und des Gitarristen Gary Wehrkamp (Shadow Gallery), die beide charakteristisch glühende Soli beisteuerten. Zusätzlich zu dieser formidablen Besetzung rekrutierte Lucassen drei weitere Sänger - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze und den ehemaligen Black Sabbath-Frontmann Tony Martin - für einige Bonustracks des Albums.Zum ersten Mal ist 'Victims of the Modern Age' auf Vinyl als Gatefold 2LP+2CD & LP-Booklet erhältlich, sowie als Ltd. 2CD Digipak und Digitales Album (2CD).

In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality

Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures

As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album

For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.

Following the trio of projects they released in 2020 - The OutRunners, The Director’s Cut and the Bonus Footage EP, in the fall of 2021 Harry Fraud and Curren$y (aka Spitta Andretti) dropped Regatta, yet another classic project from this dynamic duo. Clearly they wanted their fans to start 2022 off the right way, as Regatta is now available on a limited vinyl format. Entirely produced by Harry Fraud, with features from 2 Chainz, Larry June, Styles P and Jay Worthy, limited edition vinyl record is a must have for collectors and hip hop fans alike.

Repressed! When asked at the time about what to expect from this collaboration with Edo G, the legend Masta Ace fired back without hesitation: “People are gonna be surprised when they hear the mixture of styles. We both have a different approach. It’s like the old Reeses commercial... Ya got peanut butter walking down the street. Coming from the other direction is chocolate. Someone trips and blam, a peanut butter cup was born. Something new and amazing was created that no one had ever thought of!” When one thinks of Boston and New York, the first thing that comes to mind is the infamous Red Sox/Yankees rivalry. But this time when Boston met New York, it was a collaborative effort to bring the world one of the tightest Hip Hop efforts of 2009. Two of the game’s most exceptionally creative and well-rounded artists, Edo. G and Masta Ace brought the two cities together with Arts & Entertainment. Like their home cities, these artists have a long history and have influenced the world. Hailing from Brownsville, Brooklyn, Masta Ace got his proper introduction setting off the quintessential Juice Crew posse cut, “The Symphony.” Not long after, Edo G’s debut Life Of A Kid In The Ghetto and it’s lead single “I Got To Have It” went to the top of the Billboard Rap Singles chart with heavy rotation on Yo! MTV Raps. Both Ace and Edo have continued to stay relevant, drop albums, tour the globe, and influence up and coming artists everywhere. Joining the duo on Arts & Entertainment was a notable list of prominent artists from NYC and the Bean including Posdnuos of De La Soul, Large Professor, DJ Spinna, KRS-One, Marsha Ambrosius, Mr. Lif, Akrobatik, Chester French, Double O of Kidz in the Hall, M Phases, and more. The album continues to be a fan favorite to this day, especially the never-gets-old cuts “Little Young” and “Dancin’ Like A White Girl,” and this re-issue is sure to be well received once again.

Repress in green vinyl !

DMC World Champion and IDA World Champion

Practice Yo! Cuts v9

Packed full of fresh phrases - a deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with both sides at 100bpm.

Weighing in at 40gms.

‘This Here Feels Good’ is the sound of an artist using music as
their second language. With all music self-produced / written,
Kay Young is defining an original generation of Black British
Music.

Moving between tightly rapped verses and glorious vocal
performances, often within the space of one track as well as
across the whole EP.

The release is a stunning collection of songs which expands
upon the sonic blueprint Kay has already laid out, that caught
the attention of Jay Electronica and Jay-Z, who later signed her
to Roc Nation.

She delves deeper into dance and soul while continuing to
explore themes of familial legacy and cultural relation, keeping a
perfect balance between lyrical vulnerability and musical uplift.

Live TV performance for Other Voices (Dec 2021), TV
performance for BT Sport (May 2021), Clash New Gen Artist
(autumn 2021), plus performances last year at Boiler Room
Festival, South Facing Festival, BBC Intro Live Summer By The
River, Live at Leeds Festival and more.

Supporting Jay Electronica for UK tour.

“uplifting groove” - The Fader

“pertinent, powerful lyrics” - Cool Hunting

“Young will undoubtedly keep shining” - Line of Best Fit

“Pure and bright promise.” - Beats Per Minute

“Kay Young finds a balance between smooth vocals and hardhitting lyrics” - Gigwise

“one of the UK’s most promising up and coming talents.” - Alfitude

“...an extremely exciting future ahead.” - CLASH Radio - 6 Music, BBC Radio 1, BBC Radio London, BBC 1Xtra, Amazing Radio A-List.

Der Dream-Pop Künstler Papercuts veröffentlicht sein neues Album 'Past Life Regression'. Losgelöst von Trends und musikalischer Fremdbestimmung, ist sein nunmehr siebtes Studioalbum eine Reise in die verträumteren Gefilde des psychedelischen Folk-Pop, geprägt durch Einflüsse von Künstlern wie The West Coast Pop Art Experimental Band, Spiritualized, Echo & The Bunnymen, Leonard Cohen und dem Pop der späten 60er Jahre.

Der Dream-Pop Künstler Papercuts veröffentlicht sein neues Album 'Past Life Regression'. Losgelöst von Trends und musikalischer Fremdbestimmung, ist sein nunmehr siebtes Studioalbum eine Reise in die verträumteren Gefilde des psychedelischen Folk-Pop, geprägt durch Einflüsse von Künstlern wie The West Coast Pop Art Experimental Band, Spiritualized, Echo & The Bunnymen, Leonard Cohen und dem Pop der späten 60er Jahre.

Neue EP des Londoner Produzenten Wordcolour mit seinem verspielten 2021er Track 'Bluster' plus drei nagelneuen Remixes vom New Yorker DJ Python, dem britischen Klangzauberer Djrum und einer Hälfte von Matmos, The Soft Pink Truth. 'One to watch' - The Guardian

Repress !

Repress !

A must-have for all sci-fi fans

Travel the universe with the best tracks from Avatar, Blade Runner, Gravity, Interstellar, Star Wars, The Fifth Element, The Hitchhiker’s Guide to the Galaxy and The Mandalorian

John Williams composed some of the greatest film scores of all time. His soundtracks for the Star Wars films are legendary. The Imperial March, included in this album, is one of the best known symphonic themes ever, it is also a prime example of classical music influencing film music as the composition draws from Chopin’s Marche funèbre and Holst’s The Planets.

I See You from Avatar was nominated for Best Original Song at the 67th Golden Globes, it was originally performed by Leona Lewis. In this performance Tuva Semmingsen inspires with a soulful interpretation of the song.

Concert orchestration is based on the original orchestration of the film soundtracks

The double vinyl includes the best tracks of Galaxymphony I & II

Belgian Metal frontrunners EVIL INVADERS are ready to unleash their third album, Shattering Reflection, on April 1, 2022 via Napalm Records! It took the band almost five years to craft a new record and it has been undoubtably worth the wait. EVIL INVADERS have found the perfect balance between fast, mid and slow tempo songs focusing on strong choruses, touching lyrics and even some progressive touches that will grab every Heavy Metal fan by the throat and screaming for more! EVIL INVADERS’s Shattering Reflection is promising to be a game-changer for the Belgian 4-piece as the band seems to have found their own formula to turn Heavy Metal into another extreme direction. Shattering Reflection takes off with a fast Heavy Metal banger “Hissing in Crescendo”, followed by the epic anthem “Die For Me”, already destined to become an EVIL INVADERS’s all-time classic. A calmer side is explored on tracks like mid-tempo opus ”Forgotten Memories“, creating a dense, heavy wall of sound with piercing vocals and ditto lyrics underlined by guitar solo virtuosity. That thrilling epos stands in line with “In Deepest Black”, which showcases even more how the band has managed to craft a pure classic Heavy Metal anthem with melodic guitar lines and catchy choruses, creeping relentlessly into the listener’s head. It also proves how Joe has matured as his vocals have entered a whole new dimension, both in the high and the low ranges. On the contrary, ”Sledgehammer Justice“ is a furious outburst of classic Thrash/Speed Metal in which the Belgian quartet goes full throttle with hammering rhythms and guitar solo madness! Another album highlight is the dark opus ”The Circle“, creating a horrifying atmosphere with stomping drums and excellent guitar lines. Fans of King Diamond will definitely dig this one! Throughout the album the band manages to keep the balance between fast Extreme Heavy Metal with sharp shredding and mosh-worthy tracks, as well as very melodic, more intense and chorus-oriented midtempo anthems. Shattering Reflection has turned out to be a monster of an album that will prove that in a new generation of Metal bands, EVIL INVADERS have been able to develop and mature record after record, just like the great classics did in the good old days. You will want to hear this record and also find out how EVIL INVADERS will deliver this masterpiece live on stage! credits

Jon Lucien is one of the most amazing vocal soul singers, nicknamed ‘the man with the golden throat’; he also had his own percussive style, and was prolific in the 70’s writing many timeless classics over the years. Dynamite Cuts take four of these wonderful songs from the Mind’s Eye LP – these titles are first time on 7” vinyl and all cut @ 45 rpm. A perfect Soul Jazz funk release, don’t miss out

Album - 3 singles - vinyl “Make all the uncertainty and adventure of growing up sound like the best days of your life” - UPSET “A ripper that channels sounds from all throughout punk history” - Brooklyn Vegan "On a take-no-prisoners assault" - Tom Robinson, BBC 6music “California compacted into three rowdy minutes” - The Rodeo “Scorching slacker pop” - CLASH Reminders approach punk rock from where they know it best: a forgotten seaside town. Formed on the Isle of Wight in 2017, the band cut their teeth writing songs about teenage lust and suburban boredom, gaining attention after they independently released Water Sports and Major Cities. Fresh-faced and excited, the then-teenagers coined their sound 'beach punk'; a tongue-in-cheek ode to their hometown that they stand by today. 
 Firmly solidifying their identity as breakneck but bubblegum, a pop-tinged punk band, Reminders work to introduce themselves to anybody willing to listen. After an unexpected hiatus during COVID which delayed the release of their album, the band are now raring and ready to go with their new label home at Venn and forthcoming tour dates. 
 Already championed at radio by BBC Radio 1, BBC 6Music and BBC Introducing, as well as landing placements on esteemed Spotify and Apple Music editorial playlists alike, they were labelled 'scorching slacker pop' by the influential CLASH Magazine, dubbed 'About to Break' by UPSET Magazine, and have already shared stages with rock legends and pop stars Liam Gallagher, The Killers, and Camila Cabello. Debut album Best Of Beach Punk released 1st April 2022

If now the time for voodoo amulets and protective talismans, sharpened swords and unbreakable shields, it’s also a moment for music to assume its highest form as a healing art, a source of benevolent spells, and a refuge from the chaos. After all, the best creators are always those that tap into the telluric current that exists below the surface. Those who delve into the collective unconscious so that timeliness is a happy accident; timelessness was always the intent. If Quelle Chris and Chris Keys’ Innocent Country 2 sounds like an antidote for a moment of surreal anxiety, the same could be said of it a decade from now. It’s an album best understand in a dialogue with the first volume of the series. Released in 2016, the initial Innocent Country focused on isolation, pessimism, and the notion of finding peace within pain. At a time when those feelings convey the mood of the moment, Quelle and Keys have responded with a soundtrack that offers soothing light in a bleak timeline. A hopeful record in a hopeless moment, precisely when it’s needed most.

Gerald Clayton gehört zu den wichtigsten Modern-Jazz-Pianisten unserer Zeit. Auf seinem zweiten BlueNote-Album will sich der sechsfach Grammy-nominierte Musiker mit den Auswirkungen der abstrakten Kraft der Zeit auseinandersetzen.

Bei der spannenden Umsetzung in mal lyrische, mal swingende, mal treibende Jazz-Klänge unterstützen ihn niemand Geringeres als sein berühmter Mentor Charles Lloyd am Saxophon, sein Vater John Clayton am Bass, Justin Brown am Schlagzeug und erstmals MARO als Vokalist.

Zu hören sind Originale, Stücke des katalanischen Komponisten Federico Mompou und von Geralds Onkel Jeff Clayton sowie zwei atemberaubende Solo-Klavierversionen des Standards „My Ideal“

Eine großartig zusammengestellte 5-CD-Box und LP zum Jubiläum von Frankreichs vielseitigsten PopMusiker aller Zeiten!
Am 25. Februar dieses Jahres wäre Michel Legrand 90 Jahre alt geworden. Er war Filmkomponist,

Jazzmusiker und brillanter Dirigent, Pianist und Sänger. Musikalisch überwand er Grenzen und hinterließ als dreimaliger Oscar-Preisträger unzählige berühmte Melodien die auch heute noch bekannt sind (wie
z.B. ”The Windmills Of Your Mind”)

Blue Notes weltweit erfolgreiche audiophile TONE-POET-LP-SERIE:
- audiophiles, rein analoges Mastering von den Original-Analogbändern
- Pressung in 180g-Vinyl
- extra-dicke, laminierte Tip-on-Sleeves
- wattierte Innenhüllen

Die „britischen Eagles“ sind im Anflug. Am 15. Oktober erschien„Enjoy The Ride“, das neue Werk der
Frontm3n!

Das zweite Studioalbum von Peter Howarth (The Hollies), Pete Lincoln (Ex-The Sweet) und Mick Wilson (Ex-10cc) beeindruckt mit tollen Melodien, eindrucksvollem Harmoniegesang, frischem Sound und feinstem Songwriting!

Anders als bei ihrem 2018er Debutalbum, als das Star-Trio den Fans in der Mehrzahl noch tolle NeuArrangements der Mega-Hits ihrer „alten“ Bands servierten, enthält die neue Scheibe zwölf nagelneue,
selbstgeschriebene und von Mick Wilson fein produzierte Songs, die dennoch 1:1 nach Frontm3n klingen und auch Fans von Toto und den Eagles komplett auf ihre Kosten kommen lassen. - Jetzt auch als 2LP!

Die Popband aus Thal schaffte trotz Pandemie mit ihrem Partyhit „Marie“ und der Folgesingle „Sono il Destino“ den Durchbruch im gesamten deutschsprachigen Raum. Mit „Marie“ gelang ein Hit für die
Geschichtsbücher! Ihre aktuelle Single „Bowie“ stürmt derzeit die Charts.

Doch was ist die Essenz von ALLE ACHTUNG? Optimismus, Lebensfreude und eine geballte Ladung Liebe, verpackt in einer Symphonie aus harmonischem Krawall. Genau diese Gegensätze machen ALLE ACHTUNG zu einem Unikat und inspirieren den Titel
ihres kommenden Albums.

„Liebe & Krawall“ erscheint am 1. April 2022 und beinhaltet die Hits „Marie“, „Bowie“ und „Sono Il Destino“ sowie noch nie gehörte Titel mit garantierten Hitpotential. Was meint die Band mit ROMANTISCH
RANDALIEREN? Ist das COOL ODER NICHT? Was klar ist: wer tanzen, träumen, lachen, weinen oder mitschreien möchte, für jede Emotion ist gesorgt.

Nach über 12 Millionen Streams, einer Gold- und Platin-Auszeichnung in Österreich und Auftritten in TV- Shows wie dem ZDF Fernsehgarten, der Roland Kaiser Show, den ORF Stars am Wörthersee, ORF
Studio 2, ORF Guten Morgen Österreich, ATV Heinzl & die VIPs, der ARD Silvestershow, ORF Gartenparty der Stars und vielen mehr, war ALLE ACHTUNG auch zwei Mal für den Amadeus Austrian Music Award nominiert.

Roxy Music veröffentlichen am 1. April eine neue Half-Speed gemasterte Version ihres Albums „For Your
Pleasure“.

Im Jahr 1973 folgte nach dem Debutalbum von Roxy Music das zweite Album mit dem Titel „For Your Pleasure“. Für die Produktion des Albums konnte die Band mehr Zeit im Studio verbringen, was zu einer
aufwändigeren und experimentelleren Produktion führte. Brian Enos Mischung aus Tape-Loop-Effekten ist in „The Bogus Man“ unüberhörbar und „Do the Strand“ wird als die typische Roxy Music-Hymne gefeiert.

Das Album schaffte es bis auf Platz 4 in den britischen Albumcharts.
„For Your Pleasure” wurde von Miles Showell in den Abbey Road Studios neu gemastert. Um die verbesserte Audioqualität widerzuspiegeln, wurde das Artwork überarbeitet und mit einer glänzenden Laminierung versehen, sodass das Album nicht nur eine Schallplatte, sondern ein Kunstwerk ist.

Das Album erscheint als 1LP.

Chris Imler likes to play drums standing up. He‘s the dandy with the killer offbeat, or, as one major German newspaper once put it, the "Grand Seigneur of the Berlin Underground". He has been making his mark on countless Berlin musical affairs since long before the fall of the Wall, with The Golden Showers, Peaches, Oum Shatt, Driver &Driver, Die Türen, Jens Friebe, to name but a few. He has also been perfoming across Europe as a solo artist for the past decade.

In "Operation Schönheit" (German for "Operation Beauty"), he has recorded his most, well, beautiful album to date. But Benedikt Frey's warm production subverts its own beauty with a multitude of clanking and ingling synth sounds, making the work very much about the cosmetic surgery it performs on itself. It's all in the tradition of the more experimental and electronic side of post-punk in which Imler and his unique groove are rooted. It doesn't take insider knowledge of Berlin's post-punk underground to realise that that Imler groove consists of rhythm that sings, vocals that dance and a look that fits, as illustrated by "Disappoint Me", his latest video: https://youtu.be/YeVJ75ljjB8

Elsewhere - such as in "Movies" - the rhythm sings, less electronically reduced, into the acoustics of an old, high-ceilinged Berlin apartment; metal clatters, a zither trembles and Imler plays with the metronome. Sometimes he moves ahead of time, sometimes trails behind it. He always manages to be in his very own groove, which carries everything along. And this is precisely the essence of the Imler rhythm, which lends itself to being applied to the very rhythm of life: Stretch and compress your time and loop it according to your own groove! Optimise nothing but feel everything! And dance to it! Even when contemplating everyday information overload, as Imler's high-speed mumbling suggests in the hectic yet smooth opening track "Temperature".

But being the ultimate night owl he is, Imler manages to make even the odd bout of paranoia seem like a good thing: like some kind of krauty, groovy B-horror-soundtrack-inflected high-pressure environment, "Whip Me" is a cross between Conrad Schnitzler and Bauhaus. In the title track, whose lyrics were written together with Jens Friebe, he intones: "You want to be something greater / You break your leg / When it heals again / You break it again" and sounds like the most gleeful fatalist you can imagine. Because in his city, one can still lose oneself better than anywhere else - a night easily becomes a whole universe that can be traversed, marvelled at and played with, and one might find one's old self again only when hearing "church bells" and "small birds singing". At least that's how Imler illustrates it in "Emptiness full of stars", and it seems likely that those "stars" are the human companions of the Berlin night in question.

And so once again Imler becomes Berlin's most important cultural ambassador: that scene of the eternally, and somehow successfully, failing creatures of the night, once the envy of the international postmodern bohème, has, despite many claims to the contrary, not been completely "optimised away", and its attitude to life is perfectly summed up in Imler's groove. And, of course, his look. "Schau Hin" (German for "Look!"), he sings in the track of the same name, masterfully dubbed out with the help of Melbourne's Leo James.

Quite right! Look - and listen.

Yours, Johannes von Weizsäcker (The Chap)

During 1978 to 1980, Fashion released one album and a handful of indie club hit singles mixing Punk & Reggae vibes. They toured the US extensively supporting The Police in 1979. Limited Edition of 800 copies 2LP set with printed inner bags. All tracks completely remastered. Contains every studio recording of the first lineup of Fashion including US singles. Includes unreleased tracks. Liner notes from lead singer & Guitarist Luke Sky. Fashion went through several line-up overhauls during its initial existence between 1978 and 1984. John Mulligan (synthesiser, bass) and Dik Davis' (drums) were constants, but the band's frontman changed with each of the band's three albums. Post-punk years: Fàshiön Music Fashion was formed originally as Fàshiön Music, in Birmingham, England, in 1978, and consisted of John Mulligan (bass, synthesizer), Dik Davis (drums), and Al James (vocals, guitar). James became known as Luke Sky, or simply Luke or Lûke (short for "Luke Skyscraper" - a reference to the Star Wars character Luke Skywalker and the fact that James was tall and thin), while John Mulligan was known simply as Mulligan and Dik Davis simply as Dïk (or "Dik Mamba" on their debut single). In 1978, they also founded their own Fàshiön Music label; from this point forward, the band was generally (though not completely consistently) identified as Fashion, as distinct from the name of their self-owned label. Fashion released their first two singles ("Steady Eddie Steady" and "Citinite") as independent issues on the UK in November 1978 and June 1979 respectively. The group was quickly picked up by I.R.S., who put out a third single in the US in September 1979, "The Innocent". Their sound was varied, playing punk, post-punk and indie repertoire, although Mulligan at that time also had a synthesizer which later characterized the future synthpop years of the band. Still signed to I.R.S., in 1979 they recorded and released their first album, Product Perfect. All three members were credited as having written the songs collectively. Between 1978 and 1980, Fashion played shows with performers such as Toyah Willcox, UB40, Hazel O'Connor, & Billy Idol, who later became well known. A then-recently formed Duran Duran opened their shows; they toured the UK with U2, both the UK and US with The Police, and opened for The B-52's on their first British tour. In March 1980, no longer associated with I.R.S., Fashion released their "Silver Blades" single, again on their own Fàshiön Music label. Later in 1980 they also released one more song, "Let Go", on a Birmingham bands compilation called Bouncing in the Red (EMI). In June 1980, after a last gig in London with U2, Luke James left the band, and later moved to the United States.

Embrace is the sixth studio album by Dutch trance DJ and producer Armin van Buuren. The album features hits like “Another You (ft. Mr. Probz)”, “Off The Hook (ft. Hardwell)”, “Looking For Your Name (ft. Gavin DeGraw)” & “Heading Up High (ft. Kensington)”. Other notable collaborators include Angel Taylor, Cosmic Gate, Eric Vloeimans and many others. The album was originally released in 2015 through Van Buuren’s own label Armada Music. Critics noted how the record has a poppy, commercial appeal, but still allows the emotional essence of trance music to shine through.

Embrace is released as a limited edition of 2500 individually numbered copies on black & white marbled vinyl. It comes with a
4-page insert with pictures, lyrics and credits, and the run-out groove contains secret inscriptions.

Out of This World is the fourth studio album by the Swedish rock band Europe, originally released in 1988. It included four singles, “Open Your Heart”, “Let The Good Times Rock”, “More Than Meets The Eye” and “Superstitious”. The latter is arguably one of Europe’s most popular songs. The album was produced by Ron Nevison, who has been recognized four times by Billboard Magazine’s Top-5 Producer of the Year, has been nominated for several Grammy’s and worked with iconic bands as Led Zeppelin, Kiss, Thin Lizzy and Meat Loaf amongst many others.

Classic Bill Evans Trio album on 180g vinyl LP, plus a bonus CD that
contains the complete album + 6 bonus tracks

The LP contains an extra track from the same session not included on the original LP. "If there's any doubt that Evans is one of the freshest things to happen to the piano in the last few years, this album should dispel any such feelings. The trio is a closely integrated unit. The interplay among the three men is best illustrated in 'Leaves', wherein they carry on a three- way conversation, with bassist Scott LaFaro leading the discussion. 'Witchcraft' finds LaFaro making pungent comments on Evans' statements and drummer Motian egging on both of them. Here is an album with meaning - here is truth." - Don DeMicheal, DownBeat

NAPPYNAPPA is a prolific artist from Washington DC with a highly creative and free approach. ONDAMICUNDERDACOZMIKLYTZ coalesces his expressive hip hop soundscapes with layers of eclectic influences. The album features production from long-time collaborator Black Moses, as well as Pat Cain, Zac Clare, Tooth Choir, Jelani Kwesi and RICTHESUPERSONIC.

NAPPYNAPPA is one half of the group MODEL HOME alongside Pat Cain. He has featured on over twenty albums in the last two years alone, including the celebrated Disciples compilation ‘One Year’, the acclaimed ‘SE’ on Max D’s Future Times label and ‘both feet en th infinite’, released by Don Giovanni Records.

Electronic music pioneer and Poker Flat boss Steve Bug is a name that needs little introduction, as one of Germany’s true house masters he has consistently pushed musical boundaries to become a taste maker and trend-setter of a generation. Joining forces once more with regular collaborator Clé for their joint Nu Groove debut, the pair who have been behind a vast number of elite club cuts now deliver ‘Let It Go / Suitcase In A Box’ for an imprint steeped in house history. Opening with ‘Let It Go’, ethereal strings and an enriched, buttery vocal are paired with a wickedly deep bassline and acidic synths for a track that sounds like it was ripped straight from a 90s NYC dancefloor, while the accompanying Bassmix offers a headsier, dub-like alternative. ‘Suitcase In A Box’ is a little tougher in its composition, as Steve Bug & Clé’s patented old-school drums and another hefty dose of acid influence are layered upon a relentless beat for a track destined for in-the-know floors.