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Sect have a lot on their minds. With the release of their brand new single, New Low and the promise of Plagues Upon Plagues, the follow up full-length to 2019’s Blood of the Beasts, Sect explore the intersection of issues which have cascaded over us for the last five years, the “plagues” of the title referring to the literal pandemic, and the metaphorical plague of the political state and the rise of fascism.

Comprised of an international cast of stellar musicians, who cut their teeth in a formative moment of political, cynical, antagonistic extremes, Sect unites Scott Crouse (Earth Crisis, Tooth & Claw) & Jimmy Chang (Undying, Catharsis) - guitars, Steve Hart (Day of Suffering, Mania For Conquest) - bass, Andy Hurley (Fall Out Boy, Racetraitor) - drums and Chris Colohan (Cursed, Unwell) - vocals. They released No Cure For Death in 2017 and Blood of the Beasts in 2019.

Plagues Upon Plagues opens with the bereft waves of “No Uncertain Terms”, a side of the band we haven’t seen before. Vocalist Chris Colohan describes this album as “a funeral rather than a trial”, the activism of previous releases fading to sorrow and grief.

Lead single New Low follows with the advent of marching drums, a funereal procession for the world we hoped to build. There’s frantic horror on the album too, with the track “Drowning in Sorrows” taking a look at the ways in which we numb ourselves as a society. “#ForeverHome” is a bitterly angry track about how people used animals for both narcissistic virtue signalling and one-way comfort in the pandemic, and abandoned them en masse just as selfishly when social life came back. Speaking to their straight-edge principles and how that continues to feed into their songwriting, Chris says, “the only kind of straight edge songs I’m interested in writing are dynamic ones that address human realities that you don’t have to be straight edge to engage with.”

On Plagues Upon Plagues, Sect pierce through the veil of complacency, forcing listeners to confront uncomfortable truths about the fragility of our world. The band wields their sonic arsenal like a prophetic warning and with raw vocals and uncompromising lyrics, they confront the harsh realities of existence in these tumultuous times. As society teeters on the brink of chaos, Sect's cold hard statement resonates with an urgency that cannot be ignored.

With fans ranging from Bon Iver to The War On Drugs, critically acclaimed Amason member - multiple Swedish Grammy winner and festival headliner, farmer, record label boss & singer-songwriter Amanda Bergman - known for her grand voice - is back with her first solo album in over 8 years titled Your Hand Forever Checking On My Fever. With a very strong foothold in the local market this time Amanda is ready to conquer the world.

Ella Fitzgerald was an great American jazz singer, sometimes referred to as the "First Lady of Song", "Queen of Jazz", and "Lady Ella". She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing. Louis Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter and vocalist. He was among the most influential figures in jazz. His career spanned five decades and several eras in the history of jazz. Together Ella & Louis recorded various songs. On this 3 LP in a gatefold sleeve the complete “Ella & Louis”& “Ella & Louis Again” albums (30 tracks). All these tracks were recorded in Hollywood in 1956 & 1957 with on most tracks Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass. Buddy Rich played drums on Ella & Louis. Louie Bellson drums on the “Ella & Louis Again” tracks. This Classic Albums Collection is a must have for music lovers.

Luther Vandross was more than just a great singer. An elegant and warmhearted New Yorker who became one of popular music's most beloved performers, from his solo breakthrough in the early '80s to his untimely death in 2005, Vandross was a vocalist whose understanding of singing as an art form was so profound, he changed notions of what it could be. On March 23, 1977, Vandross's album 'This Close to You', with his group Luther, enchanted listeners with soulful tunes and deep lyrics, further cementing his status in the music industry. This is a x12 trk, standard Black LP vinyl & CD. Marketing activity.

Die Loons aus Südkalifornien spielen seit mehr als 25 Jahren ihre ganz eigene Art von psychedelischem Garage- und Freakbeat. Mit ,Memories Have Faces" haben sie ihr bisher eindrucksvollstes Werk geschaffen, zusammen mit einer klasse Version von ,Cries from the Midnight Circus" von den Pretty Things. Gegründet in San Diego, haben The Loons fünf Alben und eine Reihe von Singles aufgenommen und veröffentlicht und sind in mehr Städten auf der ganzen Welt aufgetreten, als sie zählen können. Sie haben mit Ikonen der 60er Jahre wie Glenn Ross Campbell von The Misunderstood, Dick Taylor von The Pretty Things, Randy Holden von The Sons of Adam und Blue Cheer und Michael Stuart-Ware von Love zusammengearbeitet. Mike Stax, der auch die Zeitschrift Ugly Things herausgibt, ist der Leadsänger. Anja Stax spielt Bass und singt Backing Vocals. Marc Schroeder und Chris Marsteller spielen Gitarren, und Chris Cancelliere sitzt am Schlagzeug. Mike Stax war bereits ein Veteran in mehreren anderen Bands aus San Diego, darunter The Crawdaddys und The Tell-Tale Hearts, als er 1997 die Loons gründete. Ebbot Lundberg von The Soundtrack of Our Lives produzierte das Debütalbum der Gruppe, ,Love's Dead Leaves", das 1998 bei Get Hip Records erschien. "A perfect pairing of Love-influenced garage-psych and British underground in the mould of the Pretty Things played with preternatural style and ability." - Shindig Magazine "Fantastically talented - as a group and individually, they've worked so hard at their passion _ It has been one of the highlights of my life to have been involved with them." - Glenn Ross Campbell, the Misunderstood

Die Melody-Gardot-Magie kehrt zurück auf den Plattenteller. „The Absence“ war ihr drittes Album und erschien im Mai 2012. Die Mischung aus sinnlichem Jazz, Pop-Balladen und Brasil-Sounds schoss weltweit in diverse Jazz- und Pop-Charts und wurde bereits im gleichen Jahr in Frankreich mit Platin ausgezeichnet. Neben Melody Gardot glänzen auf dem Album der aus Brasilien stammende Produzent und Gitarrist Heitor Teixeira Pereira, Bassist John Leftwich, Perkussionist Paulinho da Costa sowie die Schlagzeuger Jim Keltner und Peter Erskine

Limitierte farbige Splatter Vinyl-LP! Die Loons aus Südkalifornien spielen seit mehr als 25 Jahren ihre ganz eigene Art von psychedelischem Garage- und Freakbeat. Mit ,Memories Have Faces" haben sie ihr bisher eindrucksvollstes Werk geschaffen, zusammen mit einer klasse Version von ,Cries from the Midnight Circus" von den Pretty Things. Gegründet in San Diego, haben The Loons fünf Alben und eine Reihe von Singles aufgenommen und veröffentlicht und sind in mehr Städten auf der ganzen Welt aufgetreten, als sie zählen können. Sie haben mit Ikonen der 60er Jahre wie Glenn Ross Campbell von The Misunderstood, Dick Taylor von The Pretty Things, Randy Holden von The Sons of Adam und Blue Cheer und Michael Stuart-Ware von Love zusammengearbeitet. Mike Stax, der auch die Zeitschrift Ugly Things herausgibt, ist der Leadsänger. Anja Stax spielt Bass und singt Backing Vocals. Marc Schroeder und Chris Marsteller spielen Gitarren, und Chris Cancelliere sitzt am Schlagzeug. Mike Stax war bereits ein Veteran in mehreren anderen Bands aus San Diego, darunter The Crawdaddys und The Tell-Tale Hearts, als er 1997 die Loons gründete. Ebbot Lundberg von The Soundtrack of Our Lives produzierte das Debütalbum der Gruppe, ,Love's Dead Leaves", das 1998 bei Get Hip Records erschien. "A perfect pairing of Love-influenced garage-psych and British underground in the mould of the Pretty Things played with preternatural style and ability." - Shindig Magazine "Fantastically talented - as a group and individually, they've worked so hard at their passion _ It has been one of the highlights of my life to have been involved with them." - Glenn Ross Campbell, the Misunderstood

"Pretenders ‘Learning To Crawl’ is to be reissued on standard black vinyl and clear vinyl for RSD Stores & HMV on 7th June 2024. Celebrating the album's 40th anniversary, this reissue is true to the original 1984 release with the artwork and tracklisting remaining the same. This pressing of ‘Learning To Crawl’ features 2018 remastered audio by the album’s original producer, Chris Thomas, on vinyl for the first time.

‘Learning To Crawl’ is Pretenders’ third album, released after a band hiatus which saw in this time the sad passing of guitarist James Honeyman-Scott and bassist Pete Farndon before recording started. It sees an assortment of guitar and bass players on the record before Robbie McIntosh and Malcolm Foster joined Chrissie Hynde and Martin Chambers making the band a four piece.

The 1984 album is certified Gold and Platinum in the UK and US respectively and reached #11 on the UK albums chart and #5 in Billboard 200, featuring some of their most loved songs including ‘2000 Miles’, 'Back on the Chain Gang' both singles securing spots in the UK top 20 singles chart."

It’s time to embark on the next chapter of extra-terrestrial worldbuilding - the second instalment of Seismic Records is here. Stepping in is sonic explorer Pyramid of Knowledge a.k.a. K.O.P 32. Based in Seoul but born and raised in France, the Beyond The Bridge label head is blending his Tekno roots with an introspective approach to music, carving out a trademark sound led by pensive rhythms and psychedelic atmospheres. With fierce precision and spellbinding force - you’re invited to explore the unknown depths of your psyche as you enter the state of ‘Fusion’. In all its ominous grace, the journey takes off with ‘CFU’. A kaleidoscope-esque acid ritual is guided by subtle yet uptempo kicks, lifting us into the first phase of the cleansing. Followed by ‘Xer’, where an ancient chant introduces the next dimension of consciousness-expansion. The progression of energy tells us that the higher powers have bigger plans for us - a phase that is entered on the B-side. ‘TV’ surges in tempo and raises blood pressure with an annihilating paradox of the calm and the chaotic. For those who managed to withstand all phases of the occult test, reconciliation is near as ‘Yrots’ strikes down with a mind-warping drum workout for the body and soul. Enter the heart of a psychedelic odyssey and swirl into the labyrinthine pathways of your ego as you enter the Fusion by K.O.P. 32.

Double LP set capturing some of Causa Sui's heaviest, most psychedelic tunes recorded live at Loppen - a legendary Copenhagen venue, located in the famous - and infamous - Freetown Christiania commune. This is the sound of Causa Sui at their home turf, stretching out and exploring eight epic fan-favourites from their entire catalogue in front of a small crowd of 400 people in a packed sold-out venue. The show was recorded the first week that Covid restrictions were lifted on venues in Denmark, which called for an especially buzzing night, even for a band that has exclusively played no more than a handful of shows each year since their 2005 debut. Each Causa Sui show is unique. Here we're offered a different perspective of the band's music - it's looser, more free-flowing, and some tracks are warped into something far from their original versions, bouncing off the wooden beams on the low ceiling of Loppen with renewed energy. At one point you can hear the band calling to take a breather and let some air inside the sauna-like temperature of the show, which just weeks before seemed impossible. Loppen 2021 offers a complete set from start to finish, so since chances that you'll catch the band live in person are slim, this is the next best thing. Mixed and mastered by Jonas Munk. Edition of 1000 copies on coloured ecomix vinyl.

Speed, Glue & Shinki’s last album has been reissued in a gorgeous specification that faithfully reproduces the original, including the entire volume band! Released in 1972. It is a two-disc set that became the last album. Famous for its tiger jacket. There are a lot of songs that seem to be centered on Joey Smith now, but Bluesy Rock is fully opened like the previous work. Although some lyrical songs can be seen, the D-side medley makes heavy use of the precious Moog synthesizer at the time. Guests include Michael Hanopol, Shigeki Watanabe, Hiroshi Oguchi. The 96khz24bit sound source mastered in 2017 is used for this analog conversion. The jacket is a single jacket × 2, a full-length band, a lyrics card, etc. The original is reproduced as much as possible.

Kiyoshi Yamaya's "Japanese melody by PCM recording" series second work. A crossover sound picture scroll created by the genius Kiyoshi Yamaya on the theme of Kyoto, featuring Toshiko Yonekawa (1st), who later became a Living National Treasure."

A1. Koto / B1. Kyo gion warabeuta

When I arrived in Geneva, Claude picked me up in his Aston Martin. He had a tape deck playing Lowell Fulsom – a guy who used to come to Memphis a lot and I knew some of his musicians. I grew up around the Blues, so this was a natural sound for me. Claude didn’t tell me until much, much later that he played Blues harmonica. He took us to the hotel where we had a warm and cordial welcome. Montreux was a quaint and sleepy town in 1967. However, there was a palpable excitement in the air and we could feel it. Everyone seemed to know that they were about to launch something great – the Montreux Jazz Festival - and there was no turning back. I was their first international artist to perform there with my quartet with Keith Jarrett, Jack DeJohnette and Ron McClure.

We played two concerts at the Casino one in the afternoon and one at night. That was the start of three great and lasting friendships; Claude Nobs, Montreux Jazz Festival co-founder, Rene Langel, and the engineer of the recording, Pierre Grandjean, from Radio Suisse. And - a fourth person, who was 6 at the time, Yvan Ischer. We did not meet until many years later and have become good friends. It is thanks to Yvan’s persistent belief in this music and Pierre Grandjean’s safe keeping of the tapes, that we hear them now, more than fifty years later. live at Montreux Jazz Festival, June 18, 1967. Featuring Charles Lloyd, Keith Jarrett, Ron McClure, and Jack DeJohnette.

In The Pit returns, again with four tracks from label boss Seb
Jay hailing from Adelaid e/Tarndanya, Australia. Two years
on from the inaugural release, Seb Jay draws his newest
works from the local scene's expansion beyond clubs & into
Adelaide's House & Techno landscape of thriving bar culture,
sprawling inner city parklands parties & warehouse shows.
All four tracks are re§ective of Adelaide's willingness to
venture into discerningly fresh, yet richly familiar dance §oor
territories & are particularly inspired by his own infamous
'Snake Pit' parties, with their distinctly diverse crowds &
literally folkloric stature. This is for the city we love & the
dancers willing to explore the realms of their new urban
arena.

Blue Vinyl

Die Produzentin, DJ, Pianistin und Aktivistin LP Giobbi veröffentlicht ihr mit Spannung erwartetes Debütalbum, „Light Places“ auf Counter Records. Musikalisch ist LP Giobbi, eins der populärsten aufstrebenden Talente der elektronischen Musik, irgendwo zwischen ODESZA, Bonobo, Bicep und TSHA einzuordnen.

„Light Places“ entstand zu einem großen Teil zwischen den Wolken, in Flugzeugen hoch über der Realität und anderen Ablenkungen, wo LP Giobbi Ideen und Melodien locker niederschreiben konnte, bevor sie im Studio umgesetzt wurden. Der Aufnahmeprozess des Albums war eine Reise an sich, die sie auf neue Weise herausforderte und ihre künstlerischen Fähigkeiten über die Grenzen einzelner Singles hinaus erweiterte. Es erlaubte ihr, außerhalb der Tanzfläche zu experimentieren und zu erforschen, mit einer Verbindung zu ihren improvisierten Jazz- und Jam-Band-Grundlagen, womit alles einst begann. Auf „Light Places“ sind zudem beeindruckende Features zu Gast, wie bspw. SOFI TUKKER, Little Jet, Caroline Byrne, Monogem, DJ Tennis und Joseph Ashworth zu hören. LP Giobbi zelebriert die Freuden der Zusammenarbeit, der Improvisation und der Erschaffung von Musik durch Freundschaft - eine Hommage an die Menschen und die Musik, die sie als Künstlerin geprägt haben.

Bellissimi Dischi di Ornavasso open the doors of the Archivio once again!

The tracks on this album, meticulously chosen from their vast, almost boundless collection, maintain the warm and dance-like nature that distinguishes the sound of Somar Records. The captivating rhythms and velvety bass are processed in the celebrated audio department, unsurpassed in the creation and melodic mixing, providing a finished product of a quality established by many professionals in the sector. The selection is obviously 100% italian, certified by officer T. Campanat.

Optimal reproduction on a stereo system guarantees increasing undulations and hand clapping, with extended influence on other peripheral joints. To date, no adverse effects have been observed in the administration in a protected environment (dance hall).

Tangential Music is pleased to present the new album from veteran Spanish DJ and producer, Dj Toner (aka Antonio Herrera). Alongside his co-writer/arranger Daniel Molina and with guests that include the legendary Blue Note Records innovator Erik Truffaz and Grammy winning flautist and saxophonist Jorge Pardo, he has created a 10 track collection of slow-burning instrumentals that straddle the worlds of hip hop, jazz and electronica.

With a personal, precision tooled approach to his craft, the Andalusian has offered up an album of finely modelled downbeat moods.

At first glance, ‘Out Side’ is made up of recognisably superior hip hop instrumentals but if you listen carefully, and with patience, one can hear a craftsman at work. A wooden box is just a box until you look closer. The hidden joints, the perfect lining up of the grain, the years of artisanal graft and laser-focussed attention to detail that go into making something that has nothing present, that doesn’t deserve to be there. This is how Dj Toner operates.

The two singles that preempt the album’s release reveal different sides of his craft. ‘Camina’ struts with tough intentions. Soundtrack-y in an exploitation police drama manner, the get-out-of-my-way drum break and tension-filled chords suggest the bad cop, Erik Truffaz’s piercing lyrical trumpet lines, the good. The Afro-jazz horns led second release ‘Surprise’ is an altogether more playful, sunbaked affair. Sensual and slow-burning, there’s still an edge but it’s too hot to quarrel.

Dj Toner’s minimalist attitude to creation is shared with his co-composer Molina - an individual’s contribution may be cut to the bone, leaving just its aura or tone. The echo of a piano, a single blast of tuneful wind from a flute, a perfectly positioned drum hit.

Since the Wu-Tang Clan’s RZA began applying his beatmaking prowess to movie soundtracks, the hip hop instrumental has been acknowledged as something to listen to, as much as being used as a DJ tool or backing for an MC. Dj Toner’s instrumentals can, therefore, be seen as soundtracks. Soundtracks to his life and craft, vignettes of his environment in both the urban sprawl and the wider and slower spaces of “el campo”.

The sweet-tempered jazz-blues of ‘La Rimosa’ is a gentle welcome to the album. A simple, laid back groove with the most romantic of piano hooks that one could imagine Common dropping rhymes on. You’re kept on your toes with the odd purposeful moment of discordant interruption but the tender heart of the composition is never far away.

‘O’Beat’ hints at John Coltrane with the sparse but full-sounding upright bass before a head-snap break leads into a curious piano groove, a vintage organ swirls into a psychedelic fractal, whilst the bluesy female vocal snippets add the spice, that zing in the Granadan gazpacho.

The flamenco guitar driven ‘Flama’ is an excellent example of intricate sample placement and musicality. Old school (school yard) scratch interludes, sweet piano hooks, a minimalist but knife sharp flute contribution from Jorge Pardo, and the crunchiest of drums taking us for an intriguing walk round the corner.

We’ve mentioned them before but it’s on ‘Sweetband’ that we can feel that Wu-Tang dread hanging off its shoulders. A brooding orchestral number with powerful horns and a cavernous piano hit. The title of the piece is in stark contrast to the dark shadows of the tune.

Erik Truffaz returns in fine form on the super lethargic jazz-funk-hop of ‘The Day’. His instantly identifiable muted trumpet sound paints dazzling colours over the more earthy tones of the filtered down keys as a rubbery upright bass keeps the forward momentum. Dj Toner’s ‘Blessed Are The Weird People’ album, was rated in Jazz Magazine as one of the 20 jazz albums of 2021, so he isn’t some dilettante when it comes to playing with the complex hues of jazz but he does like to strip it to its bare essentials.

‘Fanega’ sees a gorgeous flute contribution from Jorge Pardo. An eerie boom-bap groove with sprinkles of electronic pulses and washed out chords is the canvas on which the award-winning multi-instrumentalist evokes the heat shimmer of the savannah.


‘Esperanza’ translates as ‘hope’ in English and this lovely slow, swinging jazzy groove really does provoke feelings of positivity and belief. Sublime vibraphone and another stunning trumpet offering from Erik Truffaz, take us on a journey of warm days and possibilities, the shuffling drums and sweet chord patterns are nicely finished off by a tranquil horn chorus towards its unhurried end.

‘Under Beat’ ends on a beefy boom-bap groove with a liquid funk bassline, elegant synth strings and old school scratching. Again, there’s that undisputable soundtrack edge, action and motion, the smell of the city.

There you have it, 10 tracks that go beyond the surface, deep into the dedicated craft of Dj Toner. Decades of experience and collaboration purified and refined into beat-heavy emotions, listen closely or crank it up, it’s down to you!

Bonobo alias Simon Green - heute einer der größten Namen in der Dance-Musikszene - tauchte erstmals Ende der 90er Jahre als einer der hellsten Sterne des Downtempo-Genres auf. Ursprünglich um die Jahrtausendwende veröffentlicht, ist Bonobos Debütalbum "Animal Magic" ein zeitloses Album und ein Kultfavorit unter den Fans geworden.

Aufgenommen auf einem Akai 4-Spur-Tonbandgerät, nimmt "Animal Magic" einen besonderen Platz in der Geschichte des in Brighton ansässigen Independent-Labels Tru Thoughts ein, denn es war das erste Album des Künstlers, das auf der Tru Thoughts-Compilation "When Shapes Join Together" debütierte. Bonobos Anfänge als talentierter DJ und Produzent begannen unter der Anleitung von Tru Thoughts A&R Robert Luis und seinen Label-Nächten in Brighton, wie z.B. phonic:hoop, wo Simon seine ersten Erfahrungen sammelte und begann, die ganze Nacht hindurch DJ-Sets zu spielen.

"Animal Magic" ist das Ergebnis von Simon Greens Zeit in der kreativen Küstenstadt Brighton und markiert einen wichtigen Meilenstein in seiner musikalischen Reife. Die Stadt übte einen entscheidenden Einfluss auf ihn aus und ermöglichte es ihm, seine Fähigkeiten als Drum-Programmierer und Produzent weiterzuentwickeln, während er unermüdlich als DJ in diesem kreativen Zentrum auflegte.

Während er in Brighton lebte, veröffentlichte Bonobo neben seinem kultigen Debütalbum "Animal Magic" eine Handvoll EPs und Singles wie "Scuba", "Terrapin" und "One Offs, Remixes & B-Sides" und legte mit anderen Künstlern von Tru Thoughts und Ninja Tunes in ganz Europa und Nordamerika auf.

Mit der Veröffentlichung von "Animal Magic" im Jahr 2000 wurde Simon Green als ernstzunehmendes Talent in der Szene bekannt, das der elektronischen Musik eine echte musikalische Note verleiht. Seitdem wurde Bonobo bei Coldcut's Ninja Tune unter Vertrag genommen und veröffentlichte sechs weitere Alben, darunter das GRAMMY-nominierte "Fragments" im Jahr 2022, während er seine DJ-Performance zu einer voll orchestrierten Live-Band weiterentwickelte, weltweit auf Tournee ging und zu einem beliebten Mainstage-Performer auf den größten Musikfestivals der Welt wurde.

„Awkward Attraction” captures Monstera Black’s exploration of both embracing and deconstructing pop music. The EP starts off with ‘system’, a piece that echoes a classic song structure while anticipating an unconventional sonic palette, setting the stage for the impending unraveling process that reaches its culmination in the final track, ‘who’s a hoe?’. As the journey unfolds, traditional structures progressively give way to a stream of consciousness, where motif-driven improvisation and softly sung melodies collide with a darker club and experimental soundscape masterfully crafted by alys(alys)alys. The lyrics, infused with provocation and sarcasm, delve into themes of existence and vulnerability, presented through warped vocals and repetitive hooks. „Awkward Attraction“ crafts a taunting atmosphere, challenging listeners to embark on a reflective journey.

Renowned US producer Maceo Plex releases his highly anticipated third album, ‘’93', a homage to his three-decade journey through the realms of electronic music. Marking both a passion and a prolific career, the maestro presents a tantalising body of work that masterfully blends House, Hip Hop, Global Bass, Techno, Breaks, and Electronica. This audacious fusion delves into historic and modern influences, crafting an audio journey that transcends time, rich in history yet boldly future-facing.

‘’93' is a cross-genre exploration, seamlessly balancing emotion with hard-hitting beats. Maceo Plex collaborates with a stellar lineup of artists, including Diplo for his contribution on ‘You Don’t Have To Wait’ with Cubicolor, Oscar and the Wolf, Perry Farrell (Jane’s Addiction), Johnny Jewel and Desire, Kirsty Hawkshaw, Mystic Bill, AVNU, Giovanni, Ishi, and Tyler Hill, resulting in a diverse and dynamic musical affair.
This album narrates the story of a highly esteemed artist at a pivotal juncture in his career, consistently evolving towards new directions. Departing from the early deeper house sound that initially defined him, Maceo Plex intentionally ventures into new territory, steering away from his famed melodic and techno direction in recent years. Nevertheless, '93' retains the essence of Maceo Plex's signature style, transcending various sounds and genres in a manner reminiscent of his electrifying DJ sets, meticulously curated for the dancefloor and the crowds.

‘93’ vinyl LP by Maceo Plex is available on Lone Romantic from 17th May 2024.

Key Feedback Quotes:

Pete Tong - Maceo is such a talented producer. A sonic juganaut. An inspiration to so many aspiring music makers. He's a master of analogue and digital in the studio. He's a total 'one of'.
Kolsch - Incredible album!!!!
Artbat - “Very cooooool album!
Gregor Tresher - Wow, now this is what I call an album! Extraordinary stuff, I love it! Big up, Eric!
Hot Since 82 - Nothing short of sensational. My fav producer and DJ who consistantly sets the bar far too high and we all play catch up. Love it.
Rodriguez Jr - Awesome album. LOVE IT. Such a wide spectrum of influences here. Respect!
Laurent Garnier - Very cool. Will play these
Hernan Cattaneo - This is a really good album!
Wehbba - happy to finally see the album coming out, lots of gems, Nasty, Just You and I, Get out Of Here and You're My Desire are my main picks.
Eelke Kleijn - Already listened to the whole album on Spotify. Fantastic. Miles ahead of everyone else. Thanks for sending this, will play many of these for sure.
AFFKT - all tracks are amazing
Ida Engberg - Loooove this release! Stop that and Serpent jazz for me, can't wait to play them. Lone Romantic killing it!
Victor Ruiz - Honestly, you’re a genius! 10/10 productions always.
Pig&Dan - Great to hear new tunes from one of my favorite producers out there
Oliver Huntemann - some real gems on here
Fideles - wow, love it all
Peter Kruder - Love 'em all! Thanks for sending my way!
Yotto - Sick Sick Sick work!
Jody Wisternoff - Insane tracks from Maceo!!!
Terr - Amazing music as always, thx!
Nicolas Masseyeff - Solid release! Full Support!
Paige - Nasty is an absolutely mind-blowing track!!
Braxton - Incredible Album. .
Dense & Pika - Wicked stuff from Maceo.
Eli Brown - Always great music from Maceo Plex.
Anden - Congrats on the album! Love it!
Sergio Muñoz / Fur Coat - Great work from Eric! Congratulations.
La Fleur - So many gems in there, looking forward to having a proper listen from start to end! Thx
Captain Mustache - Big work here from Maceo, congratz!
Alex Kennon - This is a masterpiece!
Timo Maas - Clickbait is a cool track, I like the deep funk.
Martin Eyerer - This is a great album!! I love nasty most, but all great.
Nick Warren - This is such a great album.
Laurent Garnier - Very cool EP. Will play these.
Jonas Rathsman - Stop That sounds interesting

This 12-inch vinyl, officially licensed by Sony, features a superb remix by Mike Maurro, who masterfully reworks the stems. On the B side, you'll find the original version. Since its release in 1982, "Looking Up To You" has cemented its status as a modern soul anthem, co-written by Leon Ware and Zane Grey (of Grey & Hanks) and produced by Webster Lewis, all titans in the genre. Heavily sampled since it’s original release, notably by artists like Zhane ("Hey Mr. DJ") and Ortega Cartel ("Miami Vice").

Operating from the depths of London’s musical underground since the late ‘90s, Infinity Plus One has been quietly toiling away, letting his music do the talking for the past two and a half decades. Cyphon Recordings draft in the veteran producer for a rare four-track EP of Detroit-infused, future-facing house and techno laced with the compelling lyricism of JaronX.

The Rebellion EP sees Infinity Plus One in some of his finest form to date. Leading the charge, ‘Context is Broken’ opens with JaronX’s poignant and passionate lyric on the state of global media, where sensationalism sells more copies than facts. From there, you dive headfirst into a hit of heavy-duty, contorted house. Crisp hats, punchy kicks and echoing stabs are interspersed with twisted electronics and JaronX’s arresting vocals. A sub-rattling bassline hits you square in the chest taking this neural club cut to the next level.

‘Say The Truth’ follows. A glitching, syncopated roller, woven with an entrancing monologue that is modulated and layered into tripped-out harmonies that echo around your brain.

On the flip side, ‘Identity Keeps Changing’ is a morphing techno weapon, where voices and synthesisers oscillate through different forms with every new turn. Rave-infused synth lines, breakbeats and a warped bassline channel that ‘90s warehouse flavour for a kinetic dose of dancefloor bedlam.

Rounding off the EP, the surging chords of ‘Utopia’ ping between your ears. A pulse that rides the kick drum, as dizzying arps and heavenly strings are layered into the mix to form a transfixing, gravity-defying techno immersion.

Fusing lyricism with the depth and dynamism of house and techno’s roots, Infinity Plus One hardwires meaning within his music. Visceral and thought-provoking, it’s a welcome respite in a sea of conformity.

Recorded live in Birmingham, 8th of November 1997
Duration 45’30”

All Tracks written and produced by Daft Punk for Daft Life
Retouche Janvier

Published by Concorde Music Publishing for World excluding France
Delabel Editions / Daftmusic for France

Nachdem The National den Soundcheck für ihren Auftritt in Vancouver am 5. Juni 2023 beendet hatten, spielte die Band einfach weiter. Etwas braute sich zusammen: Die prägnanten Gitarrenparts von Aaron und Bryce Dessner trafen auf den Signature-Drumbeat von Bryan Devendorf. Als der Bassist Scott Devendorf loslegte, fing Matt Berninger an, einige Zeilen zu singen, die schon seit ein paar Jahren in ihm reiften. " Smoke detector, smoke detector / All you need to do is protect her", intonierte er. Ihr Tontechniker ließ die Aufnahme laufen und plötzlich war es ein 12 Minuten-Jam. Sie wussten, dass sie etwas Besonderes hatten, und nahmen die Live-Aufnahme bald darauf in Aarons Studio mit. Sie haben ein paar Minuten gekürzt, aber ansonsten das beibehalten, was auf der Bühne in Vancouver passiert ist. Dieser Song, "Smoke Detector", ist der krönende Abschluss von "Laugh Track", die überraschende zweite Hälfte eines Doppelalbums, das im April mit "First Two Pages of Frankenstein" begann. Es erwies sich als das letzte Kapitel eines Werks, das ansonsten neben dem Schwesteralbum geschrieben wurde - der Schlussakt einer Katharsis, die zeigt, was The National in den letzten drei Jahren durchgemacht haben. Vor zwei Jahren war die "Smoke Detector"-Zeile einer der wenigen Fetzen, die Matt während einer lähmenden Depression schreiben konnte und das zu einer Zeit, in der sich die Band fragte, ob sie jemals wieder ein Album machen würde. Nach der Pandemie belebte ihr neuer Glaube aneinander die kreativen Fähigkeiten wieder. "Weird Goodbyes", das bereits im August 2022 erschien, war ihr erster Durchbruch und der erste Vorgeschmack auf diese neue Ära. "Wir haben es wirklich schnell veröffentlicht, weil es wie ein Baby war, das in der Dunkelheit geboren wurde, oder so", lacht Matt. "Wir mussten es den Menschen zeigen". Aber als sie schließlich mit diesem umfangreichen Werk vorankamen, entschieden sie sich, "Weird Goodbyes" nicht auf das Frankenstein-Album zu nehmen. "Es fühlte sich an, als ob die Geschichte bereits erzählt worden wäre. Es war eine eigene Sache", sagt Aaron. "Aber es fühlte sich auch so an, als hätte es einen Bezug zu dem, was wir taten. Das war ein Teil der Logik für die Aufnahme einer weiteren Platte - wir wollten "Weird Goodbyes" ein eigenes Zuhause geben." "Laugh Track" ist das vielleicht musikalisch bedingungsloseste Album, welches die Band seit Jahren gemacht hat. Es ist aufmüpfig und dennoch leichtfüßig, doch es enthält ebenso viel seltene, ungebremste Schönheit wie Trostlosigkeit. Thematisch gibt es keine absichtliche Trennung zwischen "Frankenstein" und "Laugh Track". Während Matt auf "Frankenstein" eher auf der Suche nach einem Zufluchtsort war, hat er hier eine neue, klare Sicht auf das, was zählt. Sein dringendes Bedürfnis nach Intimität wird durch eine immer größere Angst vor der Unwirklichkeit des modernen Lebens noch verstärkt. Die Charaktere auf diesem Album (keine Vornamen, abgesehen von einer Tourmanagerin namens Alice - nur "ich" und "du") decken einander, träumen füreinander und helfen, den Schein zu wahren - und lösen damit das Versprechen von der gegenseitigen Fürsorge ein, das Matt auf dem Frankenstein-Schlusslied "Send for Me" gegeben hat. Wenn "Frankenstein" ein Zeichen für die Wiederherstellung des Vertrauens zwischen den einzelnen Bandelementen war, so ist das lebendige und neugierige "Laugh Track" das selbstbewusste Produkt dieses Prozesses und eine Absichtserklärung für jetzt und die Zukunft.

Als Nathan Salsburgs Tochter ein Baby war, sang er sie oft in einem Schaukelstuhl in den Schlaf. Irgendwann erinnerte er sich an ein Lied, das er sich als Teenager beigebracht hatte: "The Evidence" von Lungfish, der Band aus Maryland, die Post-Punk in den 90er und 00er Jahren prägte. Salsburg erkannte, dass er den Gitarrenpart mit einer Hand spielen und dabei singen konnte, während er Talya in seinem anderen Arm hielt. Obwohl die Originalversion von "The Evidence" nur fünf Minuten lang ist, ist es ein sich wiederholendes Mantra, so dass Salsburg es nach Belieben verlängern konnte - 10 Minuten, 20 Minuten, sogar eine Stunde. "Es war therapeutisch und beruhigend und einfach schön für mich", sagt er. "Und es wirkte bei ihr." Schließlich beendeten Nathan und Talya ihr Ritual, aber sein Wiegenlied-Cover blieb in seinem Kopf. Also überzeugte er seine Kollegen aus Louisville, Bonnie "Prince" Billy (alias Will Oldham) und Tyler Trotter vor, dass sie eine Version mit Salsburg an der Gitarre aufnehmen sollten, während Oldham singt und Trotter Drumcomputer und Synthesizer hinzufügt. Sie beschlossen neben"The Evidence" noch einen anderen Song von Lungfish zu covern, "Hear the Children Sing", und spielten jedes Stück so lange, dass pro Song eine Albumseite gefüllt würde. Das Ergebnis ist das betörende "Hear the Children Sing the Evidence", ein Album, das die Stärken und Visionen der drei Musiker zeigt, während es gleichzeitig vor Augen führt, wie kraftvoll die Lieder von Lungfish sind.

Warehouse Find!

The masterful, supergroup of Phreek lead by Patrick Adams, sees three of its sought-after masterpieces, two of which have never been on a 12 inch, officially reissued and remastered on a label that’s fast becoming a go-to for in demand reissues, South Street Disco.

A pure classic, ‘Weekend’, was born back in ‘78 written by Leroy Burgess and James Calloway and produced by Patrick Adams and Burgess, they lead an expertly curated troupe for this massive Paradise Garage staple and Larry Levan favourite. That late ‘70s sound where synthesisers rose to prominence, sees a combination of cosmic keys, freakish strings and power-play funk guitars, tied together with tight percussion, bold basslines and Christie Shire’s lead vocals, that whole heartedly captures the spirit of disco. Famously remade into a house anthem 10 years later by Todd Terry, ‘Weekend’ is a timeless slice of celestial magic.

In a similar fashion ‘Everybody Loves A Good Thing’ does another blast around the cosmos - a Universal Robot Band feel emanating from the buzzing synths and awe-inspiring vocal prowess of Leroy Burgess, coupled with ‘Shining’ star, Venus Dodson. As uplifting as it gets, complete with a killer piano breakdown to draw out every ounce of anticipation.

Flip it over and a whole side is devoted to the greatness of ‘I'm a Big Freak R*U*1*2’. A mesmerising, fast-paced, disco workout with sensuous groans, sleazed up, supernatural keys and a heavy bass that just goes and goes and goes! Favoured by the biggest and best out there, from Ron Hardy to Theo Parrish, it’s got the power and energy to light up even the most demanding of dancefloors.

2024 Repress

Frits Wentink with his third for the Clone Royal Oak series,... 4 warm deep house tracks for the inbound springtime. First 150 copies on red vinyl.

ZamZam 95 is a link with the enigmatic French producer Hiss Is Bliss. We’ve been fans since the very first drop on their 777Hz label and these two sides drive straight to the heart of the dub techno galaxy.

Little is known about Hiss Is Bliss beyond the fact that they hail from France, are steeped in esotericism, and create tunes as masterfully grounded in roots reggae as they are in techno and related strands of electronic music. Their releases are utterly free of hype, beautifully crafted 10” vinyl plates that let the singers and tracks speak for themselves.

At the risk of being cheeky, “Nope” is absolute dub techno bliss. The 808 kick propels the track relentlessly forward, saturated washes of color streak the night sky, while syncopated hi hats and warm, soulful chords bring life- dare we say funk- to a style too often stiff and clinical, too in thrall to the past to truly step forward. Matching Hiss is Bliss in mystery, Ras Lys’ vocal brings a Dread perspective on music and the sometimes shady business of music, a grounded contrast to the deep inner space explored by the tune itself. The B-side version “Abbadia” splits musical atoms through the desk, focusing squarely on the stripped 4/4 elements and gloriously distorted pads that echo and cycle like tides in a darkly shimmering sea.

The new album from Hysterical Love Project is a moody collection of guitar-shimmered downtempo odes. Lashed by the blue-hot debris of missing, it reverbs with adoration for those dear and far. It says I'm sorry for taking photos of sunsets, I couldn't wait to be alive.

A bit more than half a decade on from his widely acclaimed debut Vanishing Points from 2018, Swiss guitarist, composer, and improv musician Manuel Troller releases his new record Halcyon Future. A rhythmically dense and ambiguous, yet joyful ride for unstable times, a plea for warmth and hopeful resistance.

Troller’s mode of incorporating, zooming in, and expanding on small elements from improvised sessions creates a multilayered work of driving rhythms and abstract, vibrating textures. Opening with Halcyon Future I’s distinctive open pulse, this first piece guides us through subtle harmonic shifts that are almost unrecognizable as they take place over extended time, overlapping and creating a sense of ambiguity until the piece reaches an almost optimistic level with Mario Hänni’s unexpected introduction of driving acoustic drums. Relentlessly and with increasing excitement, heavy electronic 80s bass drums and an armada of layered hi-hats push them on, leading to the all-incorporating melodic finale.

The two long pieces Halcyon Future I and Halcyon Future II focus on forward momentum. In between them stands DNA, a purposely directionless contemplation on emotion as such. It is raw, naked, and confrontational, with a tender and subtly changing chord progression creating intimacy and proximity, abstraction and warmth, like a beautifully vibrant hologram for the listener to walk around in.

The B-side with its 20-minute Halcyon Future II features playful futuristic guitars, enhancing and challenging the stereo image that Troller is already well-known for. As it’s given time to develop and take root, the ever-varying guitar interactions densify and the staccato patterns jump out of the speakers with joy, creating excitement and building momentum. Compared to Side A, things turn to a slightly more complex rhythmical, melodic, and harmonic feel here. There are easy references, such as Manuel Göttsching’s E2-E4 or Pat Metheny performing Steve Reich’s Electric Counterpoint, but Troller goes a different and very much more concrete way. Although the piece has been recorded in various places and through a long process of overdubbing, there is an astonishingly strong live feel to it, from beginning to the end, from the slow rise to the full spectrum and the almost krautrock-like finale. Improvisers Hans Koch on soprano saxophone and Michael Flury on heavily fuzzed trombone join in, while Troller and Mario Hänni on many guitars, bass, drum machines, and acoustic drums provide a joyous driving entity, not giving up until it all breaks down again. There is overkill and brute force, though never without depth and a vision of future.

In the musical scope of Halcyon Future, there is no need for an absolute definition of things. A continuously changing interpretation of repetitive and variable elements fading in and out of focus tells a story of an excited sense of acceptance. Feelings of transcendence stem from Troller’s layering of constantly shifting rhythmic structures with unforeseen improvised harmonic changes. Drum machine parts overlayed with acoustic drums shift between musical modes, anchoring the album on the verge of a jazz-influenced, motorik, post-ECM balearic plateau. Abstract textural elements gently swirl around and behind all that is rhythm, providing a submissive counterpoint. As with much of Troller’s work, Halcyon Future is an album that unfolds slowly, revealing more of its richness, detail, and subtle beauty at each listen.

Halcyon Future is a joint release by three:four records and meakusma.

'Comrade Detective' ('Tovaraul Detectiv') is an
American buddy cop series created by Brian
Gatewood and Alessandro Tanaka.
Each episode is a different 'lost' episode from a
fictional Romanian television show that had been
commissioned by the Communist Party to promote
communism during the Cold War.
The episodes were filmed in Romania with local
actors and later dubbed into English for effect.
The episodes feature the voices of Channing
Tatum, Joseph Gordon-Levitt, Nick Offerman,
Jenny Slate, Jason Mantzoukas, Chloë Sevigny,
Jake Johnson, John DiMaggio and others.
The soundtrack features rare versions of
'Flashdance, What A Feeling', 'Obsession' and the
smash hit 'I Can't Wait' by Nu Shooz along with
Joe Kraemer's original score

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Songs by Norwegian black metal drummer Einar
Selvik (Vikings, Gorgoroth, Wardruna), also known
by his stage name Kvitrafn (white raven).
Lyrics are sung in Old Norse and they mainly
consist of excerpts and edited Old Norse Skaldic
and Eddic poetry, except for the song ‘When Horns
Resound’, which was written by Einar.
Pressed on opaque white vinyl with printed inner
sleeve.

2024 Reissue

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Score by Danish composer Jesper Kid (‘Assassin’s
Creed 2’, ‘Borderlands 3’, ‘State of Decay 2’,
‘Warhammer: Vermintide 2’) and American
composer Sarah Schachner (‘Assassin’s Creed:
Origins’, ‘Call of Duty: Modern Warfare’, ‘Anthem’).
“‘Valhalla’ marks the first time the two of them
Sarah & Jesper have worked together, and the
sheer size and scale of the Viking-themed
soundtrack is all the better for it.” - spin
Double LP with Red with Yellow Splatter (LP1) and
Teal with Black Smoke (LP2) coloured vinyl in a
gatefold sleeve with printed inners.

"It seemed that if I didn’t somehow repeat the process of greatness, and do so immediately, multiple times away to satisfy playlist and binge watch culture, then I “wasn’t shit”. After a while I was like “nah this doesn’t feel good,… I don’t know if I am finding joy in this”. I would record songs and not release them, obsess over sessions recorded in my home with 30 takes of vocals and wake up only to delete them. When it began to feel right I found solace in an epiphany that I was not obligated to operate at any other wavelength. I am moving on a different type of time, and that doesn’t expire." -Cavalier

For heads of a certain time period of NYC hip-hop, Brooklyn born, New Orleans-based rapper and songwriter, Cavalier was the one that got away. The outrageously talented artist whose name and reputation preceded him everywhere you went in the scene. The rapper who everyone knew was so dope that he had to blow, but who never seemed concerned with any of that. The pretty boy draped in Polo who stole every live show with a feather in his hair and a mouth full of gold fronts. The cat so dedicated to his own independence that even indie labels stopped trying to sign him and projects came when they came, but when they came they were undeniable.


Cavalier was THAT guy for a lot of us; a silver-tongued philosopher with an eye for the poignant details of black life and a delivery as effortless as a young Ken Griffey’s swing. All that said, it never really felt like Cav had that moment in the spotlight that we always assumed was coming. After chiseling away through headier cult corners of the NYC hip-hop scene Cavalier was recognized for his memorable co-pilot to Quelle Chris’ 2013 Mello Music debut, Niggas Is Men. The critically acclaimed LP helped propel Quelle Chris into the forefront of indie hip-hop (and also happened to be the first production credits for Messiah Muzik). Cav followed up with his first full length, Chief, which sports a notable Raekwon feature but also early work from producers like Ohbliv and Tall Black Guy. A relocation to New Orleans and partnership with producer/vocalist Iman Omari yielded two more projects: 2015’s Lemonade EP and Private Stock in 2018. Great records all; eagerly sought by collectors and signal boosted by influential media like OkayPlayer, Solange’s Saint Heron, and Pitchfork. Cavalier’s bonafides have never been in question, but his new album Different Type Time feels like a revelation—a sonic suspension bridge between his rich history and the artform’s future.

Different Type Time doesn’t sound like the future though, its vibrations are somewhere all their own. It sounds like jazz, like a conversation overheard in roti shop, or a pool hall, or the foyer of your old building on a fall day, front door propped open with a brick. The blues is in there too, and the south—the American South, and theGlobal South, and South Brooklyn. It’s not that it sounds like the past, but you can hear everything that came before in the thick of the basslines and the yearning of the keys. Different Type Time also doesn’t sound like now, it sounds like RIGHT NOW; the bounce of the lyrics like the staccato of basketball in the park, carried on a spring breeze.

Although he doesn’t rap on DTT, Quelle Chris plays a pivotal role; producing eight songs and serving as associate producer/consigliere to Cav throughout the creative process. “There is no time wasted in explaining things when I collaborate with Quelle. He understands the universe I am in and the realities I want to create. He’s in them. And I don’t think I can envision one without him,” Cavalier explains. Messiah Muzik, Wino Willy, Ohbliv, Ahwlee, Child Actor, Fushou and several other producers round out the credits, all lending their talents to the album’s spaciously soulful sound. At the center of all these alchemies is Cavalier, nimbly dancing in and out of pockets like a sidewalk game of jumprope. Different Type Time is a masterclass in this thing we call hip-hop; daring and original, yet always standing deeply rooted in the culture.

Die gefeierte Can Live Serie wird mit einem Konzert in Paris mit Damo Suzuki fortgesetzt! Die zweite Phase der gefeierten Can Live-Serie, Can Live in Paris 1973, wird am 23. Februar 2024 auf Vinyl, CD und digital über Mute und Future Days (das neue EU-Label von Spoon Records) veröffentlicht.

Live in Paris 1973 zeigt Can in magischer Form bei einem Auftritt, der am 12. Mai 1973 im Pariser L'Olympia aufgezeichnet wurde und bei dem erstmals Damo Suzuki am Gesang zu hören ist. Von 1970-73 wurde die Stammbesetzung von Irmin Schmidt, Jaki Liebezeit, Michael Karoli und Holger Czukay durch den japanischen Improvisator und Sänger Suzuki ergänzt. Sie lernten sich durch eine zufällige Begegnung kennen, als Suzuki als Straßenmusiker in München unterwegs war; einige Monate nach dem hier veröffentlichtem Auftritt verließ Damo die Band. Dieses neue Album in der Reihe ermöglicht es uns, die Band in einer besonders wichtigen Phase ihrer Karriere zu erleben, da zwei ihrer am meisten gefeierten Alben - Tago Mago und Ege Bamyasi, wobei letzteres in den Pariser Auftritt einfließt - erst kürzlich veröffentlicht wurden. Die Aufnahmen wurden von Gründungsmitglied Irmin Schmidt und Produzent/Sound Engineer René Tinner, die alle Alben dieser Reihe zusammengestellt und bearbeitet haben, aus Aufnahmen in den Archiven von Spoon Records und von hilfsbereiten Fans eingesandten Aufnahmen zusammengesetzt und für das 21. Jahrhundert aufgearbeitet. CAN, die in den späten 60er Jahren gegründet wurden und sich ein gutes Jahrzehnt später auflösten, haben sich mit ihrer beispiellosen und kühnen Verbindung von hypnotischen Grooves und avantgardistischen Instrumentalstrukturen zu einer der wichtigsten und innovativsten Bands aller Zeiten entwickelt, und diese Alben zeigen die Gruppe aus einer ganz anderen Perspektive. Man hört vielleicht vertraute Themen, Riffs und Motive, die auftauchen und sich durch diese Jams wälzen, aber es sind oft nur flüchtig wiedererkannte Gesichter in einer wirbelnden Menge. An anderen Stellen hört man Musik, die es nie in den offiziellen Albumkanon geschafft hat. Bei diesen Aufnahmen gehen Can in noch extremere Bereiche als bei ihren Studioarbeiten: von sanftem, atmosphärischem Drift-Rock bis hin zu Momenten, denen die Band den Spitznamen "Godzillas" gab. Und selbst wenn sie sich von Minute zu Minute dem Rhythmus anpassen und hinterher jagen, kann man die außergewöhnliche musikalische Telepathie hören, die ihre Mitglieder miteinander teilen.

Die neue Veröffentlichung folgt auf Can Live in Brighton 1975 "Pure dynamite... keep them coming" - MOJO; Can Live in Stuttgart 1975, UNCUT's Reissue of the Year, #2 in MOJO's Reissues of the Year, #7 in THE WIRE’s Archive Reissues of the Year, und Can Live in Cuxhaven 1976, das ebenfalls in den “Reissues of the Year” stark vertreten war.

Can Live in Paris 1973 wird am 23. Februar 2024 auf Doppel-Vinyl, 2 x CD und digital über Mute / Spoon Records veröffentlicht.

Following the release of Eric Chenaux's last album Say Laura (2022), The Guardian wrote "the Canadian songwriter has one of the all-time great singing voices in popular music, an intensely romantic Chet Baker-ish instrument that seems to float with piercing direction, like a paper aeroplane thrown hard through mist." With Uncut describing his songcraft "as delicate and lovely as a rare orchid" and Record Collector praising the album's "sublime alien balladry" such are the accolades that have accrued throughout Chenaux's unique and consummately uncompromising solo music for well over a decade now. Delights Of My Life opens a new chapter for the singer/guitarist and formally introduces the Eric Chenaux Trio, with Toronto-based musicians Ryan Driver on Wurlitzer organ and Phillipe Melanson on electronic percussion. Driver is a longtime collaborator, appearing on several of Chenaux's solo albums (even embedded into the very title of the 2010 masterpiece Warm Weather With Ryan Driver). Melanson has a long list of involvements that include Bernice, Joseph Shabason, and U.S Girls, and a recent release with his Impossible Burger project on Chenaux's own experimental label Rat-drifting, but this marks the first fulsome involvement between the two as players on a recording. In many ways Delights Of My Life also picks up right where Chenaux's previous album left off, in its subversions of a classic, timeless jazz-inflected balladry, while the interplay of the trio formation indeed unfurls many new delights. Recording together at Chenaux's spartan home studio in rural France, Driver's harmonically warped organ and Melanson's electroacoustic sampling and percussion hold time in newfound ways. Where previously Chenaux relied on a freeze/sustain pedal and minimalist rhythmic triggers to generate both pulse and chordal foundations, Melanson now paints timekeeping with expressive and intricate colourations, through live deployments of fluid sampled percussion (including orchestral timbres like timpani, kettle drums, and woodblock) that blur the boundaries between acoustic and electronic. Driver also ramps up his role in the song arrangements (prefigured in his support playing on Say Laura), teasing out chords and melodic filigree on Wurlitzer that percolate more prominently with Chenaux's signature fried guitar solos and succulent singing. Both trio members add dulcet backing vocals, most notably on the 10-minute tour-de-force of fuzzed and ring-modulated swing "This Ain't Life" that opens the record. All seven songs on the album groove and sway, simmer and sparkle, like nothing in the inestimable Chenaux discography to date. Chenaux's tunes have the uncanny ability to sound like jazz standards; songs you feel you've heard before, though certainly never quite like this. Yet these are of course all originals, compositionally and interpretively, bent through an inimitable avant/out-music lens. Delights Of My Life conveys warm familiarity, shot through with the exuberantly experimental subversion and playful, even mischievous, iconoclasm that continues to mark Chenaux as defiantly, virtuosically, and genially one-of-kind.

The original Star Wars Dub album was released in 1978 on Burning Sounds and shows Phil Pratt's amazing talent as a record producer, singer, and songwriter. This re-issue of that original album comes with an insert and sleeve notes + bonus CD

THIRD EAR BAND stammen aus Canterbury und begannen als psychedelische Band namens THE GIANT SUN TROLLEY, die in Südlondoner Clubs lange und improvisierte Sets spielte. Nach einem Auftritt wurde der Band fast die gesamte Ausrüstung gestohlen. So wurden sie aus purem Zufall und offensichtlicher Notwendigkeit eine Akustikband und nahmen den Namen THIRD EAR BAND an. Von 1969 bis 1972 veröffentlichte die Band drei Alben auf dem progressivem Harvest-Label, "Music From Macbeth" (1972) war davon das bekannteste und kommerziell erfolgreichste. Am 24. April 1970 traten die Third Ear Band beim 2. Essener Pop & Blues Festival. Aus welchen Gründen auch immer tauchten sie aber weder auf dem offiziellen Plakat zur Veranstaltung noch in den Programmheften zum Festival auf. Das Billing des Tages war mit Acts wie The Flock, Ekseption, Rhinocerous, The Groundhogs, It"s A Beautiful Day und den noch unbekannten Black Sabbath, die gerade ihr erstes Album veröffentlicht hatten, prall gefüllt. Das Essener Konzert in der Quartettbesetzung mit Sweeney am Schlagzeug, Minns an der Oboe, Coff an der Violine und Smith am Cello fand nur wenige Wochen vor der Veröffentlichung des zweiten Albums statt, das die Fans als "Elements" kennen, obwohl es schlicht "Third Ear Band" heißt und im Juni 1970 erschien. Von den vier Elementen spielte die Band an dem Abend "Earth" und "Water", aber in einer kürzeren Fassung im Vergleich zu den Albumversionen. Erst vor kurzem sind die professionellen Tonaufnahmen vom Festivalauftritt der Third Ear Band wieder aufgetaucht und jetzt restauriert, klanglich aufgearbeitet und gemastert worden.

-Debut full-length album from Miami-based soul jazz trio Fat Produce. -Featuring musicians who played with The White Blinds, Scone Cash Players, Jungle Fire, War, The Bombillas. Featured in Relix Magazine’s April/May new artist spotlight to over 250k subscribers.
-Upcoming shows in California and Florida. F-Spot Records proudly presents the debut LP "Fresh Squeeze" from Miami-based soul jazz trio Fat Produce. Led by guitarist Addison Rifkind (The Soul Vaccinators) and drummer Michael Duffy (The White Blinds, Jungle Fire), this duo is joined by world-renowned bass player Rene Camacho (Poncho Sanchez, War) to bring you 14 all-new and original soul jazz instrumental cuts that's a guaranteed head-nodder from start to finish. When Rifkind and Duffy first met on a gig with organist Adam Scone (Scone Cash Players), both felt an instant chemistry musically, and the seeds of Fat Produce were born. In sharing their passion for classic soul jazz, in addition to funk and hip-hop, Rifkind and Duffy started to dive in, taking the idea of a guitar trio to new heights unlike anything you've heard before. After a year of playing gigs and honing their craft, both descended back to their hometown of Los Angeles, CA, to meet up with Rene Camacho and spend two days recording at The F-Spot HQ under the helm of producer and label owner David M Celia. Recording all live in one room to 1/2" tape, the resulting sessions truly captured the essence of Fat Produce's sound. Forced to be in the moment tracking live with no overdubs, "Fresh Squeeze" highlights the authentic tone and feeling from those two special days spent breathing new life into the guitar trio format. From the more straight-ahead soul jazz tunes like "Sticky Beets" and "Slick" to more outside-the-box cuts like "SON!" and the afrobeat-inspired "Afrenetic," rounded out with groove-focused compositions such as "Cadillac Converter," Grease on the Range," and "818 Don't Hate," this LP brings a variety of styles and feels, while all keeping it under the same umbrella of guitar, upright bass, and drums. Highlighting the chordal and melodic stylings of Addison Rifkind, the signature drum tone and feel of Michael Duffy, and tastefully executed playing from bassist Rene Camacho, "Fresh Squeeze" is the perfect sonic experience. From the first note on side A to the last hit on side B, it's a full sound, a timeless listen, and one slated to be on repeat for decades to come

Late Night Tales and Bonobo were pretty much made for each other, it just took them a while to both realise it. Stepping forward into the compilers spotlight for the 33rd edition is Simon Green - aka Bonobo - a musician, producer and DJ perfectly suited to soundtrack an evening spent reclining to some parallel beats. Six albums to the good (most recently 'The North Borders' released earlier in 2013), Green has been on a winning streak since 2010's breakthrough 'Black Sands', which has now sold in excess of 160,000 copies. His music has aided the sales of Citroen cars and Olay creams, as well as soothing the puzzlement of Lost. Wrapped in delicately programmed drums, Green's music is at once both sombre and reassuring. If what comes out the other end is the music of Bonobo, then this is the fuel that keeps the engine running: soul, jazz, classical, pop, funk, leftfield, rock. Pianos and brass are abundantly present. Our ivories are warmed and tickled by the classic, Bill Evans, and new school, with Matthew Bourne's mournfully beautiful 'Juliet' and Dustin O'Halloran's 'An Ending A Beginning'. The brass section comes courtesy of Menehan Street Band's jazzy 'The Traitor', 'Flipside' by the Hypnotic Brass Band. Exclusives include YouTube sensation 'One Thing' by Peter & Kerry . Not only that, but there's Bonobo's special LNT cover version, a brilliant reading of Donovan's 'Get Thy Bearings', As the light dims, the unsettling sounds of Lapalux or maybe even Shlomo pierce the misty evening air, before giving way to the ethereal splendour of Eddi Front's 'Gigantic' or even Nina's paean to an imagined rural idyll 'Baltimore'. Amble down to the riverside. It could be the Great Ouse, as willows weep into the water; it could even be in Brooklyn overlooking the Lower East Side, as the sun slides down the sides of the skyscrapers. Take a notepad for inspiration. Maybe even a hipflask for a slug of something warm. Sit down and reflect and let those beautiful pianos skim the water's surface. Sometimes, you think, life is good. You can't play a symphony alone, it takes an orchestra to play it: Simon Green is your conductor.

Warehouse Find!

FIRST TIME ON VINYL
HALF SPEED MASTERED 180 GRAM VIRGIN VINYL PRESSINGS
INCLUDES COVER ART PRINT
INCLUDES EXCLUSIVE CHRIS ISAAC COVER VERSION
INCLUDES DOWNLOAD CODES FOR THE ORIGINAL MIX AND UNMIXED VERSION IN WAV AND MP3 FORMATS

Trentemøller is the Dane who did. He's been making electronic music of one kind of bent or another for over 15 years, first making his name as part of Trigbag, a live house act that toured extensively. But it's his solo material that has impacted on the dance community - and beyond. 'La Champagne' was a game-changer and his remixes of artists like Sharon Phillips secured his place as an artist with some serious chops. But that's not all he is. You can hear that yearning in his productions and it's evident here, a sort of Protestant northern European melancholy. He is aided on his journey towards the Baltic by some heavy hitters, of course: Velvet Underground, Mazzy Star, This Mortal Coil. But that's not the story, it's not where the plot comes from, it's not where we're going. It's just a little indicator to reassure you we know the way. No. For it's in the dark beauty of Low's tremulous 'Amazing Grace' or even the way that the Shangri-Las' '(Remember) Walkin' In The Sand', surrounded by the similarly inclined, takes on a funereal gait. As we navigate the flatlands of your mind, we're helped along by a generous sprinkling of Anders' fellow Danes, like Darkness Falls (the atmosphere of this mix aptly encapsulated right there), Ekko, Chimes & Bells and the Late Night Tales tradition, Trentemøller's cover of Chris Isaacs' 'Blue Hotel', sung by Marie Fisker and Steen Jørgensen.

Originally released in 2010 this mix has gone on to become a classic, it was never released on vinyl at the time, so due to public demand we have carefully mastered each track and carefully cut at half speed for optimum sonic reproduction.

Warehouse Find!

Blue Record announces the re-awakening of Savannah’s rock giants BARONESS. Blue Record is an instant classic, with all the peaks and valleys, textures, and nuances that timeless records yield over repeated listens. Deep and dark, Blue Record overflows with gossamer melodies and striking, earnest riffs that have become the band’s signature. Blue Record is the most poignant moment in the BARONESS canon to date.

Remotif is a fast-rising star with a sound being called 'trance fusion.' He makes his mark again to that end with a new one on Especial that brings more of his modern-day ethnic styles to the driving breaks of techno following outings on the likes of Coymix and Space Lab and sets everywhere from Fabric to Berlin's Warning parties.

This one kicks off with 'U 15' which is a busy blend of shimmery timbres and sharp perc, spaced-out pads and psychedelic synths that are ever on the rise. More trance overtones define 'Glint's Pursuit' and 'The Elevated Place' is slick and sleek, ascending and always rising. 'The Sunken Place' shuts down with more slow and percolating dub mutations to round out a superb EP.

The Prodigy Carlos Nilmmns Is Back on Skylax With Once Again a Splendid 12 Inch! His Style Is a Mixture of Refinement and the Most Beautiful Things That House Music Has Ever Produced, Moodymann, Theo Parrish in the Lead but Not Only That, We Must Also Add the Masters Lalo Schifrin, Donald Byrd and Even Henry Mancini. This Ep Starts With a Bang With the Sublime "Nes", Three Letters Which Alone Sum Up the Small Miracle of Bringing Together Both the Ghosts of Detroit and the Most Beautiful Cinematic Music Directly Inherited From the Glorious 70s. "Believe" Plows the Same Furrow With a More Mental Universe and to Conclude "Parisian Nights" (Jazz Version) Which We Swear Would Not Have Been Missing on an Impulse Album. Side B Opens With "Celebration" Which Sounds More Club Tool for Once With Obviously This Je Ne Sais Quoi That Is Far Superior to All Current House Productions. and This Ends With the Club Version of "Parisian Nights", a Real Volute of Sound. His Style Reminds Us Very Strangely and Quite Paradoxically of the Illustrious Terre Thaemlitz Aka Dj Sprinkles. Music for the Soul and the Body....

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

Darning Woman is an intentional, beautiful, sometimes confrontational album that shreds expectations of DIY, bedroom music, and feminine themes. There's a lushness and maternal instinct at play, as Coope connects the dots between physicality, ephemera, and the ultrafeminine. "I don't really like to deal that much with themes of personal hardships, or heartache and love," says Anastasia Coope. "Ultimately, I work most honestly with the language of what is happening in a moment and the passage of time around it. That, coupled with my reaction to entering the artistic landscape, and my thoughts about what does and doesn't get representation, comprises most of this album." Darning Woman explores, among other things, the meditative aspect of sewing, patching and embellishment, care and repair, collection not as modern, craven consumption but as a counterpoint to materialism. This sort of collection - the good kind, the gathering of things to make a home - can be, in Coope's words, "A very baby way to critique capitalism. Birds make nests, right? It can be a new life for a thing that was made. What you surround yourself with matters." To that end, Anastasia Coope is also the founder and leader of the Bonzo collective and show series, an exciting new home for the type of expansive, profoundly creative scene that New York has been missing for some time. And while Bonzo may well be the ascent of a new community, Darning Woman is the story of Anastasia Coope, herself. It is the sound of Coope entering the world as an artist, acknowledging the tangle of what changes - the gaze of the world, Coope's art in reaction and community to art in general - and what does not: her ideas and her own self.

A Human Home“ wurde während des Einschlusses in Lucys Zimmer in Berlin geschrieben.
Es ist eine intime und ausdrucksstarke Sammlung von musikalischen Skizzen, die erforschen, was es bedeutet, ein Zuhause zu finden und sich zu Hause zu fühlen.
Mit einer Reihe von zufälligen und absichtlichen Kollaborationen aus der Ferne dokumentiert es einen spezifischen, persönlichen und universell geteilten Moment in der Zeit.
Die Entstehung des Albums war ein bewusster Versuch, den Einfluss von anderen auf ihren kreativen und persönlichen Prozess zu fördern.
Sie erkennt an, wie viel Heimat nicht nur an einem Ort liegt, sondern auch an den Menschen, die wir lieben.
Das Artwork des Albums wurde von Julia Schimautz von Don't Try Anything New gestaltet, die Fotografie stammt von Francis Broek und das Styling von Lenny-Dee Doucha.

Erstmalige Reissue nach 50 Jahren der Debüt-LP "Thema Maboneng" (1975) des südafrikanischen Trios Abacothozi, das 1973 vom Bassisten und ehemaligem Mitglied der Elite Swingsters gegründet wurde. Diese epische Fusion aus sonnendurchfluteter Ausgelassenheit, funky Rhythmen und Soul-Jazz-getriebenen Beats, klingt, als wäre sie erst gestern aufgenommen worden, und steht bereit, die Tanzflächen wieder zum Leuchten zu bringen - von den Vibrant Streets in Soweto bis zu den Funky Basement Dives in Barcelona und darüber hinaus.

2LP Soundtrack for UbiSoft video game in the Avatar series on Translucent Blue & Pink Vinyl Set after the events of the first Avatar film, you’ll embark on a journey across the Western Frontier, a never-before-seen continent of Pandora, as you join other Na’vi clans to protect Pandora from the formidable forces of the RDA. Created in collaboration with Disney and James Cameron’s production company, Lightstorm Entertainment, you will experience a first-person open-world action-adventure game exclusively developed to maximize the power of new-gen consoles and PC. Abducted by the human militaristic corporation known as the RDA, you, a Na’vi, were trained and molded to serve their purpose. Fifteen years later, you are free, but find yourself a stranger in your birthplace. Reconnect with your lost heritage, discover what it truly means to be Na’vi, and join other clans to protect Pandora from the RDA.

Von seinem ersten Album „Minima Moralia“ („Excellent“ 8.1 Pitchfork) im Jahr 2006 bis hin zu den über 70 folgenden Alben hat Chihei Hatakeyama einen gewaltigen Kanon an Werken geschaffen.
Shun Ishiwaka, der mit Künstlern wie Ai Kuwabara, Hiroki Chiba, Kei Matsumaru, Gen Hoshino, Terumasa Hino, Tony Allen und unzähligen anderen zusammengearbeitet hat, ist einer der produktivsten Modern-Jazz-Schlagzeuger Japans.
Gemeinsam haben sie in Ambient-, Experimental-, Elektronik-, Pop-, Hip-Hop-, Jazz- und Metal-Projekten gespielt, und genau das repräsentiert diese neue Veröffentlichung - ein Treffen gleichgesinnter Musiker mit unzähligen Bezugspunkten, die an einem epochalen Punkt zusammenkommen, um ein Ambient-Werk zu produzieren, das vor Kreativität und Verständnis strotzt
Sie lernten sich bei Live-Auftritten im Radio kennen. Dies führte zu einer Reihe von Auftritten. Die Chemie stimmte sofort, und im März 2023 folgten die Aufnahmesitzungen für dieses 2-bändige Epos.
Zu Chiheis spezifischen Referenzen für die Gitarrenbearbeitung auf diesem Album gehören My Bloody Valentine, Les Rallizes Dénudés und Keiji Haino.
Beide Musiker schöpften aus ihrer Vorliebe für Free Jazz und Spiritual Jazz, insbesondere für die Werke von Alice Coltrane und später Sun Ra.
Psychoakustische Überlegungen, Zufall, Spontaneität und der Schnittpunkt, an dem Musiker in der Hitze des Gefechts aufeinander reagieren (oder auch nicht), waren allesamt Inspirationen für dieses bemerkenswerte Projekt, das in zwei separaten Teilen im Jahr 2024 veröffentlicht wird.

SIMON AND GARFUNKEL’S SWAN SONG: BRIDGE OVER TROUBLED WATER FEATURES METICULOUS PRODUCTION, GORGEOUS SONGWRITING, AND HEALING SPIRIT
Sourced from the Original Master Tapes and Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180s SuperVinyl 33RPM LP Plays with Staggering Detail, Clarity, and Definition
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe



Unifying, soothing, comforting: Simon and Garfunkel's Bridge over Troubled Water quickly became the album of an era upon release in 1970, the benchmark set serving as a beacon of hope and hymn of reassurance during a time marked by polarizing changes, social unrest, uncertain politics, and the dawn of a new era. These uplifting reasons — to say nothing about the gorgeous songwriting, meticulous production, and watershed performances — attest to why it is more relevant than ever in our current climate. Music, Bridge over Troubled Water simultaneously suggests and proves, heals all wounds and lifts all boats.

The seminal effort Rolling Stone named the 51st Greatest Album of All Time reaches illustrious sonic and emotional heights on Mobile Fidelity’s 180g SuperVinyl 33RPM LP. Pressed on MoFi SuperVinyl and strictly limited to 4,000 numbered copies, this ultra-hi-fi collector's edition brings you closer to music that picks up where the duo's Bookends leaves off. You'll enjoy deep-black backgrounds and pointillist details. Seemingly every note, breath, and movement is reproduced with exquisite accuracy, clarity, and balance. Each rotation benefits from SuperVinyl’s ultra-low noise floor and superb groove definition.

The best-selling record in the U.S. for several years running and winner of six Grammy Awards — including nods for Record of the Year, Album of the Year, Song of the Year, and Best Engineered Recording — Bridge over Troubled Water endures as a staple of accessible sophistication, angelic elegance, effortless singing, unhinged ambition, and therapeutic spirit. While it would turn out to be the final studio set for a duo surrounded by creative and personal disagreement, Simon and Garfunkel's collaborative ethos and soaring harmonies — combined with reflective narratives centred on the American experience, friendship, romance, and farewells — combine to turn the 11-track work into a paean to resolution, reconciliation, calm, and balance.

Home to the legendary title track graced by Garfunkel's pacifying solo lead vocals as well as the equally famous folk ballad "The Boxer," Peruvian-based "El Condor Pasa," upbeat "Cecilia," and rock ’n’ rolling "Baby Driver,” Bridge over Troubled Water remains as renowned for its musical diversity as its lyrical poignancy. Moving beyond the templates they'd perfected on four prior albums, Simon and Garfunkel embrace a then-unimaginable swath of styles. Rock, pop, gospel, country, R&B, South American, and jazz strains course throughout the songs, each sparked with bold experiments yet grounded in a well-orchestrated melange of melody, rhythm, and classicism that makes everything personal, familiar, and warm.

Not for nothing is Bridge over Troubled Water one of the finest-sounding albums ever made. Featuring instrumentation helmed by members of Los Angeles' fabled Wrecking Crew as well as multiple choral and string sections, songs took hundreds of hours to complete and involved pioneering recording techniques. Evoking both Phil Spector's live"Wall of Sound" approach as well as inventive effects, Bridge over Troubled Water is a triumph of texture, atmosphere, and architecture. Our audiophile edition brings the record's unique traits to the fore.

Whether the reverberation generated by Garfunkel's cassette recorder on "Cecilia," echoing drums captured in a corridor heard throughout "The Boxer," automobile noises peppering "Baby Driver," layer upon layer of voices dotting "The Only Boy Living in New York," or echo-chamber percussion on the title track, details comes through with stunning accuracy, clarity, and dimensionality. In every regard, Bridge over Troubled Water exudes genius.

THE 1968 ALBUM ON WHICH JOHNNY CASH BECAME A LEGEND: AT FOLSOM PRISON AMONG THE MOST IMPORTANT AND POTENT STATEMENTS OF THE 20TH CENTURY


Johnny Cash already knew his way around Folsom Prison when he and his band stepped inside the institution’s forbidding walls on the morning of January 13, 1968 to record At Folsom Prison. He’d played there two years prior. But this time was different.

Cash took the stage that day for two shows amid a darkening sociopolitical atmosphere and a raging war in Vietnam, as well as the knowledge his career and health hung on by a thread. The Arkansas native shared many of the long odds and abject failures of the inmates for which he performed. The songs he chose, and the conviction with which he delivered them, say as much. The point at which Cash transformed from a country star into a legendary artist, and a bold statement about the American prison state and its commitment to rehabilitation, the triple-platinum At Folsom Prison remains one the most important, potent, and fabled records of the 20th century.

You can hear it echo off the walls of the room; pulse through the itchiness of the Tennessee Three’s acoustic-based boom-chick rhythms; crackle in the announcements conveyed over the intercom; ring in the comedy of the off-cuff remarks and pair of novelty tunes; sense it in palpable energy that wells up within Cash and his audience. And you can experience it like never before via Cash’s knockout singing. The bedrock foundation of all his music, the singer’s baritone resonates with profound degrees of depth, pliability, and passion that underscore how much this appearance meant to him — and the extent he was living the narratives.

Indeed, every song on At Folsom Prison serves a purpose and speaks to the conditions — mental, emotional, physical, geographical, legal, social — the inmates confronted on a daily basis. Beginning with the explicit messages of the opening “Folsom Prison Blues,” Cash makes it clear he understands and shares many of their plights. Not for nothing did the myth of Cash having done hard time persist for decades once this record hit the streets. That’s how real it is, and how dedicated Cash remains to conveying every note with the same truth he invests in the impromptu comments he makes between and amid songs.

Listen to the sorrow, regret, pity, and loneliness of Merle Travis’ “Dark as the Dungeon,” Cash pulling syllables til they threaten to break and inhabiting the mood of bleak phrases such as “pleasures are few” and “the sun never shines.” Witness the isolation, dejection, and sadness punctuating the walking-blues “I Still Miss Someone,” matched in gravity by a solemn reading of “The Long Black Veil” — a traditional dirge that involves murder, cheating, and deception. Cash cuts even deeper on a heartbreaking solo rendition of “Send a Picture of Mother” and plainspoken version of Harlan Howard’s “The Wall,” detailing a suicide disguised as jailbreak through cliched-jaw deliveries that softly curse the impossible situation.

In chronicling temptations, mistakes, mortality, punishment, and life “inside” — for better or worse, the stories of the disenfranchised, forgotten, written-off, and unrepentant — At Folsom Prison also has a blast playing the outlaw role. Cash captures wild-eyed craziness and out-of-control mayhem on a revved-up take of “Cocaine Blues,” taking extra satisfaction in its dastardly tales by way of voice that shifts into character for the sheriff and judge. The gallows humor and racing drama of “25 Minutes to Go”; quicksilver accents and resigned acceptance of “I Got Stripes”; train-whistle blare and twangy locomotion of “Folsom Prison Blues” — all fight the law only to see the law win.

Cash remains deeply committed at every moment, and inseparably connected with the tortured souls removed from the goings-on of the outside world. No wonder all but two songs here stem from the day’s first performance that saw Cash, Luther Perkins, Marshall Grant, and company give everything. As does the Man in Black’s soon-to-be-wife, June Carter. The couple’s fiery duet on “Jackson” scorches; their combination of surrender and fortitude “Give My Love to Rose” puts us in the dying protagonist’s shoes.

And with the closing “Greystone Chapel,” famously penned by convict Glen Sherley, who watched it all happen under the watchful eye of guards, Cash separates the corporeal from the spiritual, relaying lessons about salvation and survival. Heady themes to which he’d return for the remainder of his illustrious career.

1STEP Process 180g 45rpm Double LP Pressed on VR900-Supreme Vinyl!
Mastered from the Analogue Mix-Down Tapes of the Original Digital Recording by Bernie Grundman!
Ultra-Luxe "Monster Pack" Jacket with a Deluxe 16-Page Booklet & Striking Outer Slipcase!

New lacquers cut after each run of 500 pressings!

Strictly Limited to 5,000 Numbered Pressings!

Impex 1STEP #5 celebrates Patricia Barber's 1999 "return" to The Green Mill, Chicago's fabled jazz club. Conceived as a "companion" to her Grammy-winning studio album Modern Cool, Companion finds Barber and her touring band in inspired form, playfully and energetically performing hits and deep tracks from her celebrated oeuvre.

The dynamic interaction between the artist and her reverent audience adds a palpable sense of space and community. At the same time, the fans' hushed attention creates a studio-like sense of precision and detail. The snap and crackle of Barber, her grand piano, and her onstage partners practically leaps off the groove into your listening room!

Companion's fan-favorite reputation is enhanced immeasurably by Jim Anderson's jaw-dropping, lifelike recording. Eschewing the crystalline sterility of digital recordings of the time, Anderson's sound is always warm, natural, and lacking unforced "hype."

Like Anderson, Impex aims to present great recordings that are as natural as possible. And we couldn't wait to put our favorite Patricia Barber release, using Jim's analog mix-down master tapes, on 180 grams of VR900 Super Vinyl. The deep, inky black backgrounds and absence of surface noise will pull listeners right into those three evenings in 1999, capturing a seminal modern jazz artist at a creative and professional peak and reveling in a perfectly rendered and joyous audio time capsule.

Finally, our deluxe Impex Treatment packages the whole party with a lovely outer slipcase, a booklet containing a new note from Patricia, and a dazzling array of photographs from the evenings by frequent Barber collaborator Valerie Booth, exclusive to our 1STEP. Heavy paper stock with spot gloss coating and a faithfully recreated exterior design will satisfy original fans and aesthetes throughout the music-loving world.

FREQ Records is the record label accompanying the manga "FREQ," created by Nicola Kazimir, illustrated by goodnewsforbadguys, and written by the legendary Dai Sato, who has written scripts for Ergo Proxy, Eureka Seven, Cowboy Bebop, Samurai Champloo, among many others.

The setting of Freq's lore unfolds in a futuristic realm where the influence of sound frequencies governs all aspects of life. In this world, everything from traffic and AR visuals to electricity, warfare, and of course, music, is orchestrated through the manipulation and extraction of sound frequencies. The narrative unfolds within the sprawling expanse of Rephlex, a vast city featuring diverse districts, factions, and social classes.

FREQ001, called Super FREQ, is composed by none other than Machine Girl, known for their breakcore-inspired sonic adventures and highly energetic live shows. For this EP, we might get a compositional glimpse of how Machine Girl will sound in the future.

In The Red Records is proud to announce a previously unreleased new album by Brooklyn-born master of minimalism Alan Vega, Insurrection. The eleven songs here showcase the unparalleled vision and uncompromising force from one of the most influential artists of all time. Alan Vega was born in Brooklyn in 1938. He co-founded the legendary New York City punk band Suicide with Martin Rev in 1970. Suicide’s groundbreaking 1977 debut is considered one of the most influential albums of all time. Vega considered his solo records the audio counterpoint to his visual art that reflected the world around him while simultaneously exploring universal themes. It makes his work as relevant today as it was when he created them. It was during his highly experimental period beginning in the late ’80s that he began working with Liz Lamere, who became the most crucial collaborator of his solo career until his death in 2016. Lamere, along with Jared Artaud, resurrected these newly unearthed collection of lost recordings, which they co-produced and mixed. Lamere and Artaud spearhead the Vega Vault project, which aims to bring rare, unreleased and back catalog work spanning Alan Vega and Suicide’s career to the public for the first time. On Insurrection, Lamere says: “Insurrection was created in the time period around 1997/98, after Mutator and prior to Vega’s 1999 release of 2007 and captures the intense energy of NYC in the ’90s rife with crime, killing, hate, fascism, racism, and moral bankruptcy. You can hear the tortured souls floating through this album. Post-Gulf War angst still enveloped Alan. He was having premonitions about a major terror attack in the US, well before 9/11. The upcoming birth of his son raised further awareness of the state of our world. All these emotions are mirrored in the sounds he magnetized. And true to Vega form, there remains hope and empowerment coursing through the tracks. In the almost three decades of going into the studio with Vega, we recorded significantly more material than the seven albums released. Vega’s intention was to experiment with sound which would become the canvas for the poetry that reflected his vision of the universe. Because the goal wasn’t to make albums, he had no timeline or constraints and would freely follow new paths uncovered along the way.”

Another Michael's next chapter begins with Pick Me Up, Turn Me Upside Down, their new album due out this spring on Run For Cover Records. Following last year's sibling album Wishes to Fulfill, Pick Me Up is a more expansive output, patiently unfolding to reveal an exploratory side that brings new hues into the band's vibrant sound. Helmed by lead singer/songwriter Michael Doherty and producer/bassist Nick Sebastiano-along with signature contributions of multi-instrumentalist/vocalist Alenni Davis, drummer Noah Dardaris, and longtime engineer/co-producer/confidante Scoops Dardaris-Pick Me Up, Turn Me Upside Down came to life over three years of intermittent writing and recording sessions that proved unexpectedly fruitful. The band decamped at Headroom Studios in Philadelphia, PA, as well as the same Ferndale, NY house where they made their debut LP, 2021's New Music and Big Pop. The songs on Pick Me Up, Turn Me Upside Down often take the knack for melody that defined Wishes To Fulfill and apply it to left turns like the hypnotic quasi-krautrock of "I've Come Around To That," the sparse balladry of the title track, or the pulsating synth explorations of "The Diner's Spoon." The album's world is weirder and more improvisational, like in the twisting ends of "Hub of Dreams" or the spontaneous performances of "Like I Won A Car"-but Doherty's warm singing and conversational lyricism always keep things grounded. On Pick Me Up, Turn Me Upside Down, the band didn't set out to capture the all encompassing, existential value of music, but they did contribute to it-offering more songs to the world, and with them, chances to create one of those moments.

To address the weight of the world without speaking of weariness. To march the song to breathlessness but loosen your grip when the band wanders. To tell all your secrets but shield your loved ones from vulnerability. To dress up in the charm and temptation of the pop song but maintain a core of peculiarity, of a single voice trying to navigate this world. This is the project of the Spatulas. Think of the few songwriters who know they're the only ones in the world who could write their songs. The ones who sing in the confidence that the song couldn't exist without them: Peter Jefferies, Jenny Mae, Ron House, Heather Lewis. Jonathan Richman? Put Miranda Soileau-Pratt and the Spatulas on this list. All eleven songs on `Beehive Mind' share a percussive, unshadowed presence, a steady, clear-voiced clop. Every note on the record is a little bit sad on its own but then they're organized in a way that you don't actually notice. Credit this to the band's skill_Jon Grothman, Lila Jarzombek, Kyle Raquipiso and Miranda Soileau-Pratt all play with no limits and they all play with profound ease. The songs breathe in warmth and patience, they are immediate and sweet. And then they start to meander. The guitar skitters with the deliberate unpredictability of a wild animal. Parts repeat and reset with the obsessiveness of an anxious mind. The lyrics open doors to unexpected scenes of lovers, family, and violence. This is all intentional: "I need to play music and listen to music as a form of therapy," explains Soileau. This means safety, this means encouragement, this means trauma, this means hard questions. Only a band so comfortable at the margins, only a band so capable, only a band so trusting can achieve all this. Miranda Solileau-Pratt wrote the first Spatulas song in 2020, while living in Oregon. Since that time, the band has released two cassettes and toured the United States. Members of the Spatulas have also played in The Blimp, Honey Bucket, Hot Gum, and Meerkaz. The band has shared stages with Helen, Lavender Flu, Debt Rag, Pink Reason, Blues Ambush, and Kath Bloom. `Beehive Mind' is their debut LP.

After five long years, Balance and Composure return with Too Quick To Forgive--newly signed to Grammy-nominated producer Will Yip's label, Memory Music, the alt-rock darlings sound more assured and adventurous than ever across two vulnerable tracks. Too Quick To Forgive is a reflection on personal perseverance in the wake of confrontation, told through two distinctly different scenarios. "Savior Mode" finds frontman Jon Simmons baring his soul in a way that is unparalleled in their discography, while "Last To Know" is an emotionally-resonant highlight that leaves a lasting impact well after its final notes play out. Simmons' vulnerability and emotional delivery across both tracks cut through with unflinching precision courtesy of Andy Slaymaker (guitar), Matt Warner (bass), Erik Petersen (guitar), Dennis Wilson (drums), and who the band considers their 6th member--producer Will Yip. In the fall of 2022, the group got together at his Conshohocken, PA studio, Studio 4, with a few ideas that Yip helped turn into these otherworldly tracks. "It was all magic," Jon says. With a renewed sense of purpose, Balance and Composure will return to the stage for a series of Too Quick To Forgive release shows in some of the biggest rooms they've ever played.

Gemma Blackshaw is a scholar, writer and curator currently Senior Tutor for research at the Royal College of Art. She has curated major exhibitions for galleries and museums in London (National Gallery; Wellcome Collection and Vienna (Leopold Museum; Wien Museum).
This is her debut album.

Who Will You Love is the debut collaborative album from The Dengie Hundred with Gemma Blackshaw. In 2023, The Dengie Hundred co-produced with Japan Blues two albums for Demdike Stare’s DDS label, and released the solo album Tube on London’s Sagome imprint; their solo debut Brackenbank appeared on Ethbo in 2022, when they also contributed to World of Echo’s Thorn Valley compilation. Here, they collaborate with Gemma Blackshaw on an album of smudged dream pop.

Gemma’s vocals were recorded from home at night on an old iPhone. Who Will You Love surfaces dark, desiring songs on the passion and exhaustion of looking after others. Emerging in simple rounds that expand with layers of field recordings, synths and drum machines, the songs include lullabies for baby boys and men, enchantments of wary lovers and spells of protection for a daughter.

Moving between her children and her lover, the mother sings of the demands of daily intimacy (play with me, carry me, sing to me…) that echo through adult relationships too.

Who Will You Love was mastered by Carim Clasmann, and mastered and cut for vinyl by Stefan Betke (aka Pole). Artist Alexis-Soul-Gray gifted Screen Memory of 2022, a painting on found paper, for the artwork. Mark Thomson designed the sleev

Platz 5 Powermetal SOUNDCHECK 05/24
Aus den Tiefen des Black-Metal-Undergrounds kommt eine seiner wichtigsten Figuren mit einer neuen Band und einer noch härteren Gangart. Als Frontmann der legendären schwedischen Maniacs Nifelheim hat Hellbutcher den schlechten Ruf des echten Black Metal mit eiserner Faust verteidigt. Jetzt, mit der gleichnamigen neuen Band, geht die wilde Mission weiter: Nichts weniger als die totale Metal-Manie wird hier geboten. Nach dem Ende von Nifelheim, die Ende 2022 ihre letzte Show spielten, verschwendete Hellbutcher selbst keine Zeit, um weiterzumachen. "Mir wurde klar, dass ich meine eigene Band gründen musste, um den wahren Geist des Metal aufrechtzuerhalten. Ich war unglaublich inspiriert!" Zusammen mit alten Weggefährten des Bösen, den Gitarristen Necrophiliac (ebenfalls von Mordant) und Iron Beast, dem Bassisten Eld und dem Schlagzeuger Devastator (Ex-Nifelheim), machte sich HELLBUTCHER schnell daran, diese Vision in die Tat umzusetzen.

Deluxe black on white splatter 2LP edition (double LP with gatefold sleeve and printed inner sleeves!). Including original sleevenotes by Byron Coley and a new introductory essay from Dinosaur Jr. fan Henry Rollins! First issued in 2002 only in the States and Australia,
‘Ear Bleeding Country’ is the only career-spanning compilation of Dinosaur Jr. Dinosaur Jr. are one of the most successful and influential alternative guitar bands from America, and fronted by laconic singer/guitarist J. Mascis, they’ve enjoyed global success and inspired generations, from Grunge onwards.

The first six tracks are drawn from the band’s early career in the 1980s, when they recorded for independent labels like Homestead and SST. Among them are the classic single ‘Freak Scene’ and the follow- up cover of The Cure’s ‘Just Like Heaven’. Most of the compilation
samples the best of Dinosaur Jr.’s output after signing with Warner Bros in 1990, including hit singles such as ‘The Wagon’, ‘Whatever’s Cool With Me’, ‘Out There’, ‘Start Choppin’ and ‘Feel The Pain’. ‘Ear Bleeding Country’ ends with ‘Where’d You Go’, a track by J. Mascis’
post-Dinosaur Jr. band The Fog.

Introducing "Show of Force", the latest creation from label head Kessell. Set against
Granulart's careful work, this vinyl release is a fusion of raw energy and refined precision, featuring tracks that pulse with rhythms and intricate layers, showing off Kessell's signature style.

Crafted with care, the vinyl itself is a work of art. A blend of crystal clear transparency, solid yellow warmth, and bold black accents, adding a visual dimension to the auditory experience.

Die »vielleicht letzte wichtige Rock'n'Roll-Band unserer Generation« (Zitat Musikexpress) ist zurück. Wanda, Amore, Bussi, Niente, Ciao! Fünf Alben der österreichischen Kultband Wanda, formal insgesamt weit über 300 Wochen lang in den Charts, mittlerweile 14-mal Platin. Unabhängig davon wachsen die Songs live dargeboten ins Unermessliche; als ekstatische Gewalt auf der Bühne spielt die Band ausverkaufte Konzerte und Festivals in Deutschland, Österreich und der Schweiz.
»Es gab nie einen Plan B, es gab nur das Leben als Problemstellung, Musik und Erfolg, hin oder her«, bringt Sänger Marco Wanda einen Hauch von Bandphilosophie in einem der hunderten Interviews zum Ausdruck. Diese Kompromisslosigkeit spürt man auch. Die Jahre zwischen Bühne, Tourbus und Studio verschmelzen zu einem langen Drahtseilakt ohne Sicherheitsnetz. Und die Energie bei jedem Konzert – jedes Mal spielt die Band als wäre es das letzte Mal – reißt das Publikum ausnahmslos mit.

»Wenn deutschsprachiger Rock'n'Roll tot war, dann haben Wanda ihn wiederbelebt«, sagt detektor.fm über die Anfangszeiten dieser Band, die sich 2014 mit Amore gleichzeitig in die Radio Playlists und die Herzen der Fans katapultierte. In der neuen Single vereinen sich aufgestaute Energie, Sehnsucht und Aufbruchsstimmung, und ziehen gemeinsam durch die Nacht. Die Stadt wird wachgerüttelt, die Botschaft ist klar: »Don't stop the rock«.

Die »vielleicht letzte wichtige Rock'n'Roll-Band unserer Generation« (Zitat Musikexpress) ist zurück. Wanda, Amore, Bussi, Niente, Ciao! Fünf Alben der österreichischen Kultband Wanda, formal insgesamt weit über 300 Wochen lang in den Charts, mittlerweile 14-mal Platin. Unabhängig davon wachsen die Songs live dargeboten ins Unermessliche; als ekstatische Gewalt auf der Bühne spielt die Band ausverkaufte Konzerte und Festivals in Deutschland, Österreich und der Schweiz.
»Es gab nie einen Plan B, es gab nur das Leben als Problemstellung, Musik und Erfolg, hin oder her«, bringt Sänger Marco Wanda einen Hauch von Bandphilosophie in einem der hunderten Interviews zum Ausdruck. Diese Kompromisslosigkeit spürt man auch. Die Jahre zwischen Bühne, Tourbus und Studio verschmelzen zu einem langen Drahtseilakt ohne Sicherheitsnetz. Und die Energie bei jedem Konzert – jedes Mal spielt die Band als wäre es das letzte Mal – reißt das Publikum ausnahmslos mit.

»Wenn deutschsprachiger Rock'n'Roll tot war, dann haben Wanda ihn wiederbelebt«, sagt detektor.fm über die Anfangszeiten dieser Band, die sich 2014 mit Amore gleichzeitig in die Radio Playlists und die Herzen der Fans katapultierte. In der neuen Single vereinen sich aufgestaute Energie, Sehnsucht und Aufbruchsstimmung, und ziehen gemeinsam durch die Nacht. Die Stadt wird wachgerüttelt, die Botschaft ist klar: »Don't stop the rock«.

"Palm Reader", das zweite Album der Texaner HIGH DESERT QUEEN, strotzt geradezu vor roher Kraft und dem Donnern von gefühlt 666 heißblütigen Dieselpferden. Der Langspieler steckt voll von coolen Vibes, packenden Leads und jeder Menge Desert-Feeling. Dabei liegt der Fokus der Wüstenrocker auf großartigen Songs, statt sich hinter Genre-Zäunen zu verstecken. Diese ungezähmte Attitüde fand den Zündfunken für ihre sprudelnde Energiequelle auf der letzten Tour. Als die Band nach sechs Wochen auf Europas Straßen und Bühnen mit den legendären FATSO JETSON nach Texas zurückkehrte, hatte sie sich von deren allabendlichen Improvisationen und Jamsessions inspirieren lassen und zahlreiche Ideen notiert. Trotz Jetlag konnten es HIGH DESERT QUEEN kaum erwarten, mit neuen Aufnahmen zu beginnen. Dabei konzentrierte sich die Truppe weniger darauf, wer bestimmte Parts wie einspielte, sondern sie erlaubte sich Unvollkommenheit und ließ den Click weg. Frei von künstlichen Schranken begann ihre Musik so frei zu fließen wie nie zuvor. Schon bei der ersten Studiosession nach der Tournee entstanden gleich drei neue Songs. Die Band aus Austin, Texas hat den musikalischen Jackpot geknackt, und "Palm Reader" ist der schlagende Beweis dafür. HIGH DESERT QUEEN waren schon immer etwas anders und viel mehr als nur eine weitere Desert Rock Band. Von Sänger Ryan Garney und Gitarrist Rusty Miller im Jahr 2019 in Houston, Texas gegründet, rekrutierte das Duo bald darauf Schlagzeuger Phil Hook (MONTE LUNA) und zog 2020 nach Austin um. HIGH DESERT QUEEN wurde von Anfang an das Zeug dazu nachgesagt, die dümpelnde Wüstenrockszene wieder in Schwung zu bringen. Ihre vielseitigen musikalischen Einflüsse, die von Grunge bis Funk, sowie von Old School Metal bis Doom und vielen weiteren Musikstilen reichen, boten eine ideale Grundlage für neue Ideen und die nötige Verjüngung des Genres. Ihre donnernden Verzerrer-Hymnen kommen mit einer gesunden Portion Groove und eingängigen Melodien daher, die massiven Anschub durch eine seltene emotionale musikalische Intelligenz erhalten. Der frisch geprägte Sound ist dennoch eng mit dem reichen Erbe des Wüstenrocks verbunden - was in ihrer Stilbezeichnung "Texas Desert Rock" ein Echo findet. Mit "Palm Reader" vollziehen HIGH DESERT QUEEN den nächsten Quantensprung ihrer rasanten Entwicklung. Die Texaner haben die perfekte Balance zwischen den kräftigen Wurzeln ihres Genres und dem pointiert-eigenen Ausdruck gefunden. Angetrieben von Geist und Kraft der live gespielten Musik, rockt dieses Album hart und ehrlich!

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.

SALTPIG is a bit of a mystery. The band just showed up seemingly out of nowhere, album in hand, with the music loudly speaking for itself. As it soon became known, SALTPIG is a two person band with Fabio Alessandrini (formerly of Annihilator) on drums and Mitch Davis handling vocals, guitar and all of the other layers of noise that can be heard on the record. The music that came out of this pairing has elements of doom/stoner/psych/occult metal and others, but they didn't go into it with anything that specific in mind. They just make the music they want to hear. Davis has been working with bands/artists including LA Guns, Damon Albarn, Billy Squier, Stephen Malkmus, Mark Lanegan, Sunbomb and U2, but SALTPIG is obviously a very different animal. For his own band, Mitch created a sound that is much darker. When he started writing the SALTPIG tracks, it pretty quickly turned into this debut album. Most of the tracking was done in their respective studios, with Fabio in Italy, and Mitch in New York where he'd do all of the final recording, production and mixing. It's melodic but embraces dissonance. It's noisy and dirty and evil sounding. Underproduced and real. It embraces imperfections as only a human can do.

Originaler Soundtrack für die Amazon-Serie "Fallout", die auf einem Spiel-Franchise basiert.

Er war einer der ersten Tenorsaxophonisten, der modernen Jazz nach dem Big-Band-Stil spielte, was ihn zu einer Quelle der Inspiration für viele machte. Im Juli 1979 spielte er beim North Sea Jazz Festival mit seinem Trio, bestehend aus dem Pianisten Kirk Lightsey, dem Bassisten Rufus Reid und dem Schlagzeuger Eddie Gladden. Auf “North Sea Jazz Concert Series Dexter Godon 1979” sind ihre Performances von 'It's You Or No One' und 'More Than You Know' zu hören. Außerdem enthält das Album eine Aufnahme des „Tenorkampfes“, der am Abend während "Flying Home" mit Hank Jones am Klavier, Gene Ramsey am Bass und Gus Johnson am Schlagzeug, sowie Dexter Budd Johnson, Illinois Jacquet, Arnett Cobb und Buddy Tate am Saxophon, stattfand. Nachdem mit Ella Fitzgerald die North Sea Jazz Concert Series erfolgreich startete, folgt nun die zweite Veröffentlichung der Vinyl- Serie, die Ende letzten Jahres von Bertus Distribution in Zusammenarbeit mit NTR, AVROTROS und MOJO präsentiert wurde. Es ist eine neue Vinyl-Serie, bestehend aus Live-Aufnahmen von legendären Künstlern aus den Jahrzehnten des renommierten North Sea Jazz Festivals. Die North Sea Jazz Concert Series umfasst offiziell lizenzierte Veröffentlichungen, die standardmäßig auf weißem 180-Gramm-Vinyl in einer Hülle aus hochwertigem Papier zusammen mit einem Liner Notes kommen. Die Veröffentlichungen erscheinen mit schwarz-weißem Artwork von Hans Pol, der sich am typischen Stil des Festivals orientiert. Die Gestaltung ist von den Cover-Klassikern älterer Jazz-Veröffentlichungen des Labels Blue Note inspiriert. Die Liner Notes wurden von dem Journalisten und Jazz-Experten Jeroen de Valk verfasst. Das besondere Merkmal der Serie: Alle Aufnahmen sind erstmalig auf Vinyl verfügbar.

Maya Hawke ist US Musikerin, Songwriterin, Schauspielerin und Produzentin - und nebenbei Tochter von Uma Thurman und Ethan Hawke. Sie hat bisher zwei hochgelobte Musikalben veröffentlicht, "Moss" (2022) und "Blush" (2020), die beide ihre natürliche Begabung für Songwriting und Geschichtenerzählen sowie ihr Händchen für eine eindrucksvolle visuelle Präsentation mit selbst entworfenen Coverdesigns unter Beweis stellen. "Thérèse", die Leadsingle von Moss, erregte mit dem faszinierenden Video unter der Regie von Brady Corbet weltweite Aufmerksamkeit - und zig Millionen Streams - und bescherte Maya einen beeindruckenden TV-Auftritt in der Tonight Show mit Jimmy Fallon. Maya und ihre Band ernteten jede Menge begeisterte Kritiken für ausverkaufte Shows in den USA und der EU, sowie Support-Slots für Bright Eyes und Faye Webster. Auf ihrem dritten Album "Chaos Angel", geht Maya, die mittlerweile 25 Jahre alt ist, mit ihrem sparsamen, ehrlichen Songwriting, mit dem sie sich einen Namen gemacht hat, noch einen Schritt weiter. Es ist ihr bisher klanglich anspruchsvollstes und thematisch nuanciertestes Werk und fühlt sich wie ein Höhepunkt an. In diesen 10 Songs katalogisiert Hawke Umbrüche, Enthüllungen, Schwächen und gebrochene Versprechen, während sie die Muster durchläuft, die wir wiederholen, während wir nach Wachstum streben, uns verirren und unseren Weg zurück zu einem grundlegenden Verständnis von uns selbst finden. "Chaos Angel" ist auch ein Dokument dafür, dass Hawke als Musikerin immer mehr zu sich selbst findet. Nach ihren beiden vorangegangenen Alben war Hawke im Studio abenteuerlustiger und lehnte sich an ihre Ambitionen an. Viele dieser Tracks werden immer noch von der Akustikgitarre und Hawkes anmutigem, aber dennoch gesprächigem Gesang getragen, aber ihre Umgebung ist komplizierter und üppiger als je zuvor. Sie hat sich erneut mit ihren langjährigen Mitarbeitern Benjamin Lazar Davis und Will Graefe zusammengetan, wobei Christian Lee Hutson als Produzent fungierte.

Maya Hawke ist US Musikerin, Songwriterin, Schauspielerin und Produzentin - und nebenbei Tochter von Uma Thurman und Ethan Hawke. Sie hat bisher zwei hochgelobte Musikalben veröffentlicht, "Moss" (2022) und "Blush" (2020), die beide ihre natürliche Begabung für Songwriting und Geschichtenerzählen sowie ihr Händchen für eine eindrucksvolle visuelle Präsentation mit selbst entworfenen Coverdesigns unter Beweis stellen. "Thérèse", die Leadsingle von Moss, erregte mit dem faszinierenden Video unter der Regie von Brady Corbet weltweite Aufmerksamkeit - und zig Millionen Streams - und bescherte Maya einen beeindruckenden TV-Auftritt in der Tonight Show mit Jimmy Fallon. Maya und ihre Band ernteten jede Menge begeisterte Kritiken für ausverkaufte Shows in den USA und der EU, sowie Support-Slots für Bright Eyes und Faye Webster. Auf ihrem dritten Album "Chaos Angel", geht Maya, die mittlerweile 25 Jahre alt ist, mit ihrem sparsamen, ehrlichen Songwriting, mit dem sie sich einen Namen gemacht hat, noch einen Schritt weiter. Es ist ihr bisher klanglich anspruchsvollstes und thematisch nuanciertestes Werk und fühlt sich wie ein Höhepunkt an. In diesen 10 Songs katalogisiert Hawke Umbrüche, Enthüllungen, Schwächen und gebrochene Versprechen, während sie die Muster durchläuft, die wir wiederholen, während wir nach Wachstum streben, uns verirren und unseren Weg zurück zu einem grundlegenden Verständnis von uns selbst finden. "Chaos Angel" ist auch ein Dokument dafür, dass Hawke als Musikerin immer mehr zu sich selbst findet. Nach ihren beiden vorangegangenen Alben war Hawke im Studio abenteuerlustiger und lehnte sich an ihre Ambitionen an. Viele dieser Tracks werden immer noch von der Akustikgitarre und Hawkes anmutigem, aber dennoch gesprächigem Gesang getragen, aber ihre Umgebung ist komplizierter und üppiger als je zuvor. Sie hat sich erneut mit ihren langjährigen Mitarbeitern Benjamin Lazar Davis und Will Graefe zusammengetan, wobei Christian Lee Hutson als Produzent fungierte.

Die niederländische Sängerin Amber feiert das 25 järige Jubiläum ihres damals zweiten gleichnamigen Studioalbums "Amber". Es wurde 1999 veröffentlicht und enthält Dance-Pop, HI-NRG, House und Urban Contemporary Songs. Es ist ihr bis heute vom Pop-Mainstream am besten aufgenommenes Album und enthält die Single "Sexual (Li Da Di)". Der Song "Above the Clouds" war im Finale der dritten Staffel der HBO-Fernsehserie "Sex and the City" zu hören.

Es fühlt sich an wie eine Infusion: die Kochsalzlösung strömt durch die Kanüle in dich hinein, ist aber etwas kühler als deine Körpertemperatur, deshalb breitet sich diese angenehme Kälte in dir aus. Klar, diese Infusion ist die 7"-EP von MANTAROCHEN, dieser lichtscheuen Kreatur aus den Untiefen der Leipziger Unter(wasser)welt. Die verhuschte Gitarre, grobkörnig verpixelt wie eine VHS-Kassette aus den 80ern, flangert sich durch ein Labyrinth aus melodisch-organischen Bassläufen. Die Rhythmusmaschine treibt die sechs Songs gnadenlos und nonchalant an den Abgrund. Seltsamerweise hauchen die Synths keine zusätzliche Kälte ein, viel mehr hüllen sie den Coldwave in eine wärmende Decke. Keine Kuscheldecke, eher eine dieser gold-silbernen Folien-Rettungsdecken. Über all dem schwebt eine distanziert, unterkühlte Stimme. "Alles wird gut, es ist bald vorbei" scheint sie dir zuzuraunen. Doch es werden tiefe Wunden besungen und die Sehnsucht, den Ballast und die ganzen Banalitäten hinter sich zu lassen. Das jedoch völlig unverkrampft. Die Tragik lauert zwischen den Zeilen, während sich dein Verstand schon im Bann der Hooklines verabschiedet hat. MANTAROCHEN, das sind Diana, Sebi und Tom. Alles ist selbst aufgenommen und gemixt. Das Mastering übernahm Jean-Baptiste Meyrieux (u.a. in Broncho Libre & Laxisme aktiv). Die 7"-EP erscheint am 31.05 auf It's Eleven Records.

Zobol - Retrofuturism EP is a nostalgic yet forward-looking release that invokes past visions of the future.

It features five original tracks, ranging from upbeat and energetic to more ambient and introspective. Each track is a storytelling journey, exploring different aspects of Electro and Braindance.

Crafted with both analog and digital machines while enhanced by modern production techniques, it epitomizes the main concept of Retrofuturism. The result is a series of warm, melancholic soundscapes where the past meets the future.

“Triumph In Hatred” was first released in 2009 in very limited editions. To celebrate their 30th Anniversary Sammath is re-releasing with Doc Records this ‘blackened, filthy speedfast, epic, violent and raw black metal beauty’ in full ‘war battle’ style; re-mixed, re-mastered & with re-furbished artwork.

“Triumph In Hatred” was first released in 2009 in very limited editions. To celebrate their 30th Anniversary Sammath is re-releasing with Doc Records this ‘blackened, filthy speedfast, epic, violent and raw black metal beauty’ in full ‘war battle’ style; re-mixed, re-mastered & with re-furbished artwork.

“Triumph In Hatred” was first released in 2009 in very limited editions. To celebrate their 30th Anniversary Sammath is re-releasing with Doc Records this ‘blackened, filthy speedfast, epic, violent and raw black metal beauty’ in full ‘war battle’ style; re-mixed, re-mastered & with re-furbished artwork.

Pleasantville (1998) war eine originelle Fantasy-Komödie über Highschool-Geschwister (Tobey Maguire und Reese Witherspoon), die in eine idyllische Schwarz-Weiß-Fernsehserie versetzt werden. Zur Feier des 25- jährigen Jubiläums des Films präsentiert Varèse Sarabande die allererste Vinyl-Veröffentlichung von Randy Newmans Filmmusik als 2-LP-Set mit einem erweiterten Programm von 34 Titeln, gepresst auf Translucent Tan Vinyl und verpackt in einem Klappcover mit Original-Artwork des bekannten Illustrators Sim Sim

Tyler Hubbard beweist auf seinem zweiten Album ”Strong” erneut, warum er zurecht zu den angesagtesten und besten neuen Künstlern der Countryszene zählt. Mit mehr als 1 Milliarde Streams als Solokünstler enthält Tyler Hubbards zweites Soloalbum 13 brandneue Songs, darunter “Back Then Right Now“, “Turn“ und “Wish You Would“. Das Album ist jetzt auch erhältlich als limitierte Vinyl nur solange der Vorrat reicht!