Suche:wen

UK label Dawn State continue their hot streak this summer with further eclectic moods for the dance floor and beyond. On the tools for the fifth outing on the label is KIDWHO, a blossoming talent who through the last years whilst enduring the pandemic found light by burying himself in his studio experiencing new creative flows. The “Warez House” EP varies in tastes, similar to the highs and lows of the times that just passed us by.

Diving into the deep end is the title track, “Warez House”, loopy and hypnotic, swaying between shades of low end leaned house and techno. Off kilter synths and pads maneuver their way around the driving force of the track. “It came together layer by layer, eventually turning into a dense (and at times, unruly!) groove. A final touch
of atmospherics from an old Roland ROMpler and the track was done - bar a generous helping hand in mixdown from Joel Kane (who also turned out a heads-down dub version which might make an appearance!).”

Leaning in a more hazy direction is the blissful cruiser, “Leploop Lagoon”, a deep and emotive vibe crafted especially for the early mornings. A sophisticated deep house energy from the talented producer. “‘Leploop Lagoon’ is the oldest track on the EP, a cleaned-up version of a rough jam I made around four years back. It takes its name from the Leploop, a quirky semi-modular analogue groovebox of sorts, hand-built in Italy. A very unique and unpredictable machine, it’s on bass duties here as well as providing some percussion sounds via the MPC sampler.”

On the flip side lies “Spectral Pattern”, and it packs a certain punch. The rolling arrangement converses in harmony with icy hi-hats that flash in and out teasing the energy, all of the elements having space to breathe and work their magic.“‘Spectral Pattern’ came together quickly one very productive weekend in the studio last year. It developed from the bass sequence, which comes from a Yamaha TG-33, an unassuming 80s digital synth known for its glassy mix of ROM samples and FM tones - very New Age sounding, or 90s computer game soundtracks. But when you strip it back to basics, it punches hard in the low-end.”

Slipping on to the B side is a five minute transcendental trip, offering yet another series of textures to this otherworldly EP. The final track “At Least We Hav Music” is an ethereal soundscape waiting to be explored, wandering amongst ambient realms throughout. “The label was keen to include an ambient track on the release, and I wanted to record something specially for them. At first I had in mind something droning and melancholic, but after a few experiments with cassette
loops and reverb pedals this was the one that stood out. It was recorded during one of the lockdowns, and I guess I needed to create something that sounded more hopeful than brooding. I messaged DS boss Tom Haus with a rough version, and we went on to have a grumble about the gloomy state of things, locked-down in our respective cities and missing friends, family, activities… At some point I wrote ‘at least we have music’ - and almost as soon as I had sent it I knew I had found the track’s title. I’m very lucky to have had my home studio as a refuge through the long months of lockdown, and I’m honoured to have the chance share some of my output from this period on this record.”
KIDWHO fitting the Dawn State ethos to a tee here as they set up shop for what looks to be another fantastic release. “Each of these tracks came about in quite different ways. Like many creative people, I had moments of struggle during the pandemic, where the lack of variety and day-to-day stimulation lead to periods of writer’s block, and so I used those times to focus on smaller, more manageable projects such as making synth patches, recording sounds and and throwing together short loops in my samplers for later use. A number of
these short loops eventually laid the foundations for title track ‘Warez House’. Big thanks to Dawn State, Joel Kane, El Choop and everyone else who has helped make this happen.” -

KIDWHO

TROUBLEs Comeback-Album "Simple Mind Condition" wird als Deluxe 2CD Edition wiederveröffentlicht und enthält ein fantastisches "Greatest Hits"-Set, das live gespielt wurde, bekannt als

"Live in Stockholm 2003" auf CD 2, komplett neu gemastert!

Mit "Simple Mind Condition" kehrt Trouble nach einer langen Pause (zwölf Jahre waren seit der Veröffentlichung von "Plastic Green Head" vergangen) in den Himmel des Metals zurück. Auf die Veröffentlichung folgten einige Beschwerden und Kritiken, die nicht wirklich fair sind. Zwar sind fette und doomige Stampfer wie auf "Psalm 9" und "The Skull" nicht im Überfluss vorhanden, ebenso wenig wie die Stoner-Metal-Geschwindigkeitsattacken des selbstbetitelten "Trouble", aber beides war seit dem Erscheinen des selbstbetitelten Albums nicht mehr wirklich vorhanden.

"Manic Frustration" war ein Killer-Album, ohne Zweifel, aber anders, da es sich auf Hardrock und nicht auf Doom- und Stoner-Einflüsse konzentrierte. "Plastic Green Head" behob dieses Problem auf beeindruckende Weise und führte zu einem weiteren großartigen Trouble-Album. Dieses Album enthält Songs, die gut geschrieben sind und eine Menge schlammiger Stoner-Hooks haben, und die von Eric Wagners (R.I.P.) Wehe-ist-mirSchreibweise getränkt sind. Insgesamt ein sehr gutes Album, ein überzeugendes Album, das es wert ist, gehört zu werden. Wer die Vergangenheit erwartet, könnte ein wenig enttäuscht sein, aber wer sich die Zeit für dieses Album nimmt, wird darin einen verborgenen Schatz finden.

Wir haben uns entschlossen, der Wiederveröffentlichung ein wahres Juwel hinzuzufügen, nämlich das komplette Set ihrer Reunion-Show vom November 2003, live aufgenommen in Stockholm, Schweden. Dies ist nichts weniger als ein absolut fantastisches Trouble-Live-Set und die Trackliste spricht für sich selbst, alles Killer ohne Füller!

1970 was a time for heady experimentation in popular music, but very few records—and even fewer on major labels—come close to matching the stylistic ground covered by William S. Fischer’s album
Circles.
African American composer/arranger/keyboardist/saxophonist Fischer grew up woodshedding with the likes of Ray Charles, Fats Domino,
Muddy Waters, and Percy Mayfield…and then took a sudden left turn by studying electronic music in Vienna during the mid-‘60s. There, he met Joe Zawinul, and ended up penning five of the six tunes on Zawinul’s groundbreaking 1968 album The Rise and Fall of the Third Stream. Fischer went on to arrange for Herbie Mann, who signed him to his Embryo imprint for Atlantic Records; Circles was Fischer’s one and only release for the label. And he didn’t waste the opportunity; an utterly mindblowing mix of Sly Stone funk, heavy Hendrix-y metal, Southern soul, jazz fusion, and Stockhausen-esque explorations on the Moog synthesizer, Circles enlisted the same band (bassist Ron Carter, guitarists Eric Weissberg and Hugh McCracken) that Fischer had worked with while acting as Musical Director on Eugene Daniels’ underground classic Outlaw, complemented by drummer Billy Cobham and a five-piece cello section. With a line-up like that, it’s little wonder that the artistic reach of Circles is breathtaking, but it somehow manages to cohere according to its own internal, crazy logic; it remains one of the most adventuresome and collectible releases of its day. For this, its first-ever vinyl reissue, we’ve pressed 2000 copies in “black ice” vinyl, preserved the original “circle” cut-out stencil cover, and added liner notes by Peter Relic that feature quotes from Fischer himself. For the intrepid listener!

Im Jahre 1993 waren die Kellys noch Straßenmusiker. Sie wurden besonders in diesem Jahr immer beliebter
und die Marktplätze voller, wenn sie gespielt haben. WOW war zwar nicht das Album, was der Familienband ihren ganz großen Durchbruch brachte, sondern das Album davor, aber es war für ihre musikalische Entwicklung sehr wichtig. Bis heute ist es eines der beliebtesten Alben unter den Fans. Mit WOW wurde allen klar wohin die musikalische Reise der Kellys gehen sollte. Alle Songs wurden selbst geschrieben und der neue Popsound entwickelte sich in den nächsten Jahren stark weiter und machte die Kellys zu Megastars. Dieser Klassiker wurde tatsächlich bisher noch nie als LP veröffentlicht und so wird es viele freuen, dass es endlich eine Vinylausgabe davon geben wird.


Diese Erstpressung wird auf 180 g Coloured Vinyl erscheinen und ist dabei streng auf 1000 Stück limitiert.

A Boogie Wit da Hoodie will be releasing his third studio album ‘Artist 2.0’ on vinyl on the 5th August.

The Bronx-bred artist Artist Dubose, better known as A Boogie Wit Da Hoodie, first hit the rap scene with the breakout hit “Still Think About You” which was featured on his 2016 debut mixtape, ARTIST. The mixtape also introduced fans to “My Shit” which went on to become RIAA certified platinum and was also listed as one of “The Best Songs of 2016” on Apple Music. A Boogie quickly proved himself to be one of the game’s newest heavyweights after XXL dubbed him as “one of the hottest and newest up-and-comers in hip-hop” and included him in the 2017 Freshman Class. The young star also went on to release the 3x platinum “Drowning feat. Kodak Black” along with the platinum certified singles “Jungle” and “Timeless.” A Boogie went on to release his highly anticipated, now gold certified, debut album, THE BIGGER ARTIST, which quickly sprung into the Top 5 on Billboard’s Top 200. He also became the top emerging acting in the U.S. as he simultaneously sprung to #1 on Billboard’s Emerging Artists chart.

It is easy to see why The New York Times named A Boogie “the most promising young rapper the city has produced in some time.” A Boogie earned a BET Award Nomination for “Best New Artist” at the end of 2018 in addition to releasing his gold-certified sophomore album, HOODIE SZN, which made its debut at #2 before spending three non-consecutive weeks at #1 and maintaining a stunning 17-week streak within the top 10 on the Billboard Top 200 chart. The album also soared on streaming, garnering over 83 million streams the week it went #1. Following his latest album as well as his sold out “A Boogie Vs. Artist” tour, there’s no doubt A Boogie will continue to make waves and redefine the sound of New York rap.










[i] 9. Calm Down (Bittersweet) [feat. Summer Walker]

Der Belgier Nicolas Michaux hat mit ,Les Chutes" eine intime und vielschichtige Compilation mit Outakes und alternativen Versionen von Songs des Vorgängeralbums zusammengestellt, der neue Song und Single-Auskopplung ,Amusement Park" hört sich dank der einleitenden Gitarren- und Wurlitzer-Sounds an wie ein Signature-Track von Michaux. "Wenn es fließt, dann fließt es einfach. Das neue Album des belgischen Singer/Songwriters Nicolas Michaux enthält zehn Outtakes aus seinem letzten Album ,Amour Colère": fünf bislang unveröffentlichte Songs sowie fünf alternative Songs davon. Vorbote war das tiefe ,Amusement Park" mit seiner prägenden Gitarre und dem fragilen Gesang über die Liebe in der Familie und der Schönheit der Natur. Ein großartiges Stück musikalischer Weite. Aber auch die Live-Versionen von ,Amour Colère", ,Parrot" und ,Enemies" bestechen durch diesen speziellen Charme aus Indie, Vintage und Chanson. ,Les Chutes" ist französisch für die Wasserfälle. Wenn es fließt, dann fließt es einfach."- Westzeit 2020

For her forthcoming album Colour My Life, Heather Small, has teamed up with award-winning producer Rupert Christie and the London Metropolitan Orchestra to reimagine all of her Top 10 hits from both her career with M People as well as her solo material. There's also brand new music, in the form of the beautiful rendition of Paul Weller’s ‘You Do Something To Me’ to her super catchy uptempo lead single ‘Love Me or Not’

Heather Small, one of the most distinctive British female vocalists began her pop career as a teenager in Hot House, before becoming the voice of M People, one of the world's biggest dance acts which went on to sell tens of millions of albums worldwide, winning numerous Brits and a Mercury along the way. She launched her solo career at the turn of the millennium with Proud, which has gone on to be a timeless classic for all ages, featuring in theme songs for The Oprah Winfrey Show, Queer As Folk as well as performing at London’s 2012 Olympics.

The new album features orchestral versions of all of the UK Top 10 hits; Moving on Up, How Can I Love You More, Search For The Hero, One Night in Heaven, Don’t Look Any Further as well as the title track Colour My Life.

In keeping with the album title, there will be bright bold creative content to launch the album pre-order campaign and new single on the 19th of April. The video for the lead single ‘Love Me or Not’ will drop mid-May. Throughout the pre-order campaign, Heather will be doing select pieces of promo, such as the 2 hr radio special ‘Moving on Up’ on Bauer and performing live at numerous British Festivals, such as The Isle of Wight Festival (Broadcast on Sky Arts) Around the July release date there will be TV/Radio performances as well as a digital and social media campaign. Heather will tour with the orchestra in the Autumn.

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Dieses Album ist die bisher stärkste Album von TOXIK!
Während die Band auf eine lange Tradition im traditionellen Thrash zurückblicken kann, erweitert dieses Album die bisherige Tradition und zeigt, wohin die Reise gehen kann, sowohl musikalisch als auch subjektiv.
10 treibende Tracks, die von atemberaubend-halsbrecherischen BPMs bis hin zu ungeraden Taktarten und schroffen Dissonanzen reichen, spiegeln den Charakter des Albums, sowie die Botschaft und Denkweise der Band perfekt wider.
Es ist ein konzeptionelles Werk, da die Kunst auf dem Cover Parallelen zu den Themen in den Songs aufweist, aber es ist nicht mit einer schwerfälligen, traditionellen Konzeptalbum-Plakette versehen.
Es ist sauber, fokussiert und zugänglich, ohne das Konzept zu kennen, was eine viel coolere Umsetzung ist.
TOXIK sind der Meinung, dass dieses Album sowohl ihre Intensität als Live-Act einfängt als auch ihre Fähigkeit, Dynamik und Nuancen einzusetzen, die man in diesem Genre nicht immer erwartet.

Es ist ein ehrgeiziges Album mit sehr wenig Rücksicht auf Traditionen oder gar Erwartungen... es ist ehrlich und echt!

Als eine der beliebtesten Metal-Bands der Welt stecken sich AMON AMARTH sehr hohe Ziele, wenn sie ins Studio gehen. "The Great Heathen Army" wurde mit dem legendären Studioguru Andy Sneap an den Reglern aufgenommen und stellt für die Band einen kühnen Sprung nach vorne dar, da ihr unverwechselbarer Sound erneut eine sehr gekonnte Weiterentwicklung erfährt, sowohl textlich als auch musikalisch. Vom treibenden "Find A Way Or Make One" und dem kämpferischen "Get In The Ring" bis hin zu der sich heraufbeschwörenden Wut in "Saxons & Vikings" und dem epischen Urschrei in Form des Titeltracks, fasst "The Great Heathen Army" die Essenz dieser legendären Band zusammen und lässt dabei trotzdem noch Raum für neue Ideen.

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it's a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what's worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become "the accountable one" this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band's customary nods to the lineage of two-tone. It's further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they'd built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including "She's Kerosene", with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy in the U.S., when like the rest of the world, the band's plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road in mainland Europe in 2023.

Im Frühjahr erschien das Kracher-Album „Monster Mind Consuming“ welches mit den Ohrwürmern „Ori Ori“ und „Heathens“ zu einem Meilenstein der Bandhistorie wurde. Nur knapp ein halbes Jahr später legten die Außnahmekünstler mit der „Nightcall EP“ nach.

Am 12.08.2022 entfesseln sie mit ihrem brandneuen Album „Kreatura“ die nächste musikalische Bestie, die bereit ist, die Charts und die großen Bühnen zu stürmen.

Wenn man das Album „Kreatura“ hört, weiß man sofort, das ist MANNTRA! Die Kombination aus brachialen Metal-Riffs, harten Industrialsounds und traditionellen Folkinstrumenten beherrscht die Band, wie keine Zweite – denn es gibt keine. MANNTRA sind einzigartig!

„Kreatura“ ist das dritte Album der Kroaten, auf dem sie sich (vorwiegend) der englischen Sprache bedienen.
Musikalisch hält die Scheibe einige Überraschungen bereit. Starke Chöre verleihen den Songs eine ungeahnte Kraft und Dramatik, während die markante Stimme von Mastermind Marko M. Sekul die Geschichten der Songs so erzählt, als würdest Du sie erleben. Geheimnisvoll, mystisch und schaurig.

Auf ihrem neuen Album zeigen die vier Musiker wieder eine ganz neue Facette ihres Könnens. Zum ersten Mal sind auf dem Album drei Songs mit zum Teil deutschen Texten zu hören. Gekonnt spielen MANNTRA mit verschiedenen Sprachen und setzen diese perfekt zu der Story des jeweiligen Songs ein.

Ten years on from a remarkable debut album that traversed genres and put the duo’s trademark melodic mastery on display for the world to see, 2022 sees Spectrasoul’s ‘Delay No More’ album more than deservedly receive its 10 Year Anniversary Repress. Now being pressed to vinyl in it’s entirety for the first time, this milestone release highlights just how in-keeping Spectrasoul’s earliest album was with the forward-thinking, energetic, and beautifully deep ethos that has gone on to define their astounding career in music. 

A diverse, experimental, and genre-bending debut offering, ‘Delay No More’ cemented itself as one of 2012’s finest electronic albums and a Shogun Audio bestseller. Fast forward ten years and the impact of the album on Spectrasoul, Shogun, and the wider electronic music scene is still one of meteoric proportions. 

Receiving mass support from Mixmag, DJ Mag, BBC Radio 1, and countless other press outlets at the time, ‘Delay No More’ went on to be remixed the following year, with the reworked project featuring Calibre’s remix of ‘Away With Me’, a release which has gone it to
become one of the most iconic drum and bass tracks of the past decade. 

Since their emergence in 2006, SpectraSoul have carved a truly unique position, not only in Drum & Bass, but electronic music as a whole. The 10 Year Anniversary Repress of ‘Delay No More’ is not only a celebration of this, but a reminder of the stunning sonic soundscape that the albums alluring, enthralling and irrevocably charming sound still exists in to this day.

In late 1961 Spector formed Philles Records with Lester Sill, buying his mentor out the
following year. The slogan was ‘Tomorrow’s sound today’, and Phil Spector proceeded to live
up to that boast. Three-track tape machines were then state of the art, and he perfected the
method of ‘bouncing’ the tracks to get the biggest possible sound. As time went by, his ‘twominute symphonies for the kids’ would be increasingly gilded by his ‘everything but the kitchen
sink’ production including Strings, Percussion and banks of Vocals. Spector gained his
second U.S. chart-topper and his first as a Producer in 1962 with the Gene Pitney penned,
He’s A Rebel. Spector became increasingly obsessed by the production process. ‘My records
are built like a Wagnerian opera. They start simply and end with dynamic force, meaning and
purpose. I dreamed it up.’ He retired from the music business, returning only sporadically to
work with first The Beatles (their Let It Be album, plus solo LPs by George Harrison and John
Lennon), plus a handful of other artists including Dion, Cher and the Ramones.

Jessica Ackerley (Honolulu, Hawaii) and Patrick Shiroishi (Los Angeles, California) are both members of the newly announced super-family-group SSWAN (along with trumpeter Chris Williams, drummer Jason Nazary, and bassist Luke Stewart). Both have prolific outputs and work diligently to push the boundaries of their respective instruments and previous musical ideas.

'Across Water' sees Ackerley and Shiroishi contributing their own unique takes on the ambient sound. Jessica contributes 'I Am Here' and 'The Crevices Between My Heart', each following the collection's theme of water while the guitar and synth work on the second composition gives way to visuals of deep-sea life that can only sustain itself away from the hustle and bustle of crowdedness. Similarly, Patrick is no stranger to straddling the fine lines between subtle and overt emotionality. 'Because You Went There' and 'Leaving It All Behind' are his offerings, seemingly looking up to the sky rather than down ay the ocean, infused by the sweet and smoggy California air.

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.