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Max Essa is a bonafide Balearic boss man and one of the regulars of the Is It Balearic? label. It is there that he returns now with 'I'm Homeward Bound' which is a textbook sound from the producer, with a hint of Tears For Fears. The pads are delightfully gooey and subtly uplifting over gently percussive and stuttering beats and the whole thing is rich in lazy poolside energy. Nathan Dawidowicz remixes into a percolating bit of deep and tribal disco, Secret Soul Society brings out the early evening house grooves ready for sunset sessions and the closing cut 'Chasing Horses' is a super sweet late night groove with heartfelt chords

Area Silenzio is eat-girls" debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Their live performances have that same ghostly, ephemeral quality. There is something other-worldy about the three of them, a suggestion of telepathy, their three voices blending together or going their separate ways like a flock of starlings. They secured opening slots with artists as different as Thalia Zedek, Exek and The Young Gods, just to name a few. It is the elusive essence of their music that allows them to feel at ease pretty much anywhere they find themselves: part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies. The album was self-recorded, a necessary measure to protect the delicate nature of the inner landscapes painted by the band. In this case "delicate" does not mean "soft" by any means: the industrial disco inferno of "A Kin", the ritualistic kraut stampede of "Para Los Pies Cansados" and the bubbly post-funk rhythms of "Trauschaft" will leave you gasping for air once you come out on the other side. "On a Crooked Swing", the opener, is all arpeggiated bass and stumbling kicks. "Unison" will dip you into a hallucinatory river where nothing is what it seems to be and rescue you at the very last second. "Canine", the first single off the record, will gently but firmly reach for your jugular with its vulpine Farfisa and deceptively nonchalant drum beat. The vocal polyphonies on "3 Omens" sound like a field recording of traditional music from a tiny country that has yet to be discovered. eat-girls exist on a slightly different plane from ours, where everything is teeming with secrets and hidden life. Area Silenzio is a precious polaroid shot from that world, or, as Tom Verlaine would have it, "a souvenir from a dream".

Area Silenzio is eat-girls" debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Their live performances have that same ghostly, ephemeral quality. There is something other-worldy about the three of them, a suggestion of telepathy, their three voices blending together or going their separate ways like a flock of starlings. They secured opening slots with artists as different as Thalia Zedek, Exek and The Young Gods, just to name a few. It is the elusive essence of their music that allows them to feel at ease pretty much anywhere they find themselves: part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies. The album was self-recorded, a necessary measure to protect the delicate nature of the inner landscapes painted by the band. In this case "delicate" does not mean "soft" by any means: the industrial disco inferno of "A Kin", the ritualistic kraut stampede of "Para Los Pies Cansados" and the bubbly post-funk rhythms of "Trauschaft" will leave you gasping for air once you come out on the other side. "On a Crooked Swing", the opener, is all arpeggiated bass and stumbling kicks. "Unison" will dip you into a hallucinatory river where nothing is what it seems to be and rescue you at the very last second. "Canine", the first single off the record, will gently but firmly reach for your jugular with its vulpine Farfisa and deceptively nonchalant drum beat. The vocal polyphonies on "3 Omens" sound like a field recording of traditional music from a tiny country that has yet to be discovered. eat-girls exist on a slightly different plane from ours, where everything is teeming with secrets and hidden life. Area Silenzio is a precious polaroid shot from that world, or, as Tom Verlaine would have it, "a souvenir from a dream".

Although he began his career as an artist as a producer, working on the hit ‘Le Code’ in 2017 with Ichon, Myth Syzer and Bonnie Banane, Muddy Monk's work today is far removed from hip-hop and closer to a mutant form of synthetic and romantic variety, sung in French. His debut album, Longue Ride, is a collection of songs about adventure, love, violence and the quest for a good life - themes which, for the young man, are all about overcoming his anxieties. So many subjects that he treats with a mechanical and desperate lyricism often close to that of another fan of powerful two-wheelers whose label was called Les Disques Motors: we're talking about the legendary Christophe.

Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.

Known for the monolithic force of their music and their inventive production techniques, The Body"s albums are benchmarks in the expansion and evolution of heavy music. Tightly packed with deceptively nuanced arrangements and exhilarating, challenging distortion, their compositions are possessed of an unmistakably singular sound. The Crying Out of Things is no exception; a culmination of all that The Body have done before, highlighting their mastery of dynamic and monumental music that pushes toward the unmistakable sound of oblivion The Body have produced a wealth of groundbreaking collaborations with the likes of Full of Hell, Thou, Uniform, BIG|BRAVE, OAA, and Dis Fig. The duo"s benchmark albums have, over the past 2 decades, changed the perceptions and directions of heavy music. The Crying Out of Things" embrace of noise is a comprehensive display of the multitude of expressions possible with abrasive sound, a skill that The Body have pioneered and refined. "I think for us the key to the way we use noise is, it"s not the only element," says Buford. "You"ve gotta really listen if you"re into noise. But it also has to have dynamics. Where, say, BIG|BRAVE (who have a similar ethos) expresses it in this more intellectual, minimalist way, The Body comes from an instinctual, maximalist way. We"re trying to cover it ALL." The Body stand alone in their ability to connect disparate influences and collaborators into a wholly original, potent and singular work. Alongside producer/engineer Seth Manchester, the duo"s voracious and omnivorous musical appetites have pushed the studio as an instrument into new avenues to conjure profound feelings from the music. The Crying Out of Things cements The Body"s place as a leader of heavy new music, their boundless creativity, their defining ability to convey anguish, created with a visceral clarity to devastating impact.

The Outer Edge is excited to announce the release of an intense and previously undiscovered funk rap / boogie single, featuring two tracks recorded in 1986.

While researching for his book on 80s funk music in Germany, DJ Scientist explored bands from Bavaria that collaborated with GIs. One of these bands is Grand Slam, a group that remains active to this day. The band’s leader, Toby Mayerl, lived near a US Army base in Amberg, where he fell in love with funk after hearing Roger Troutman and Zapp. He soon became part of two groups: Total Control and Grand Slam.

Originally led by guitarist Harry Zawrel, Grand Slam had a “European” funk sound similar to Talking Heads or Level 42. However, in 1985, Mayerl took over the band and merged it with Total Control, a mixed group that included African-American soldiers. From that point on, they shifted towards a heavier funk and soul sound, continuing to work with musicians from the GI community. By late 1986, they had enough material to record their debut album, Make My Day. Although published by the independent label Kerston, the album was only available on cassette, primarily sold at their concerts in early 1987.

DJ Scientist managed to track down an original copy of this ultra-rare tape in the MUZ archive in Nuremberg. "What I heard blew my mind," he said. "The cassette featured seven raw, well-produced funk and soul jams with fantastic arrangements and vocals." As an old-school funk and disco rap collector, he was immediately captivated by the track "Goin' Out," which features GI rapper Calvin E. Flagg. This song evokes the energy of early recorded rap singles from labels like Enjoy or Sugar Hill Records.

On Side B, the second track from the unheard debut album, ‘Don’t Let You Down,’ offers another glimpse of what we've been missing. This uptempo boogie-funk track features lead vocals by Aletha Mcbryde, Calvin E. Flagg, and Oliver Allwardt, along with thrilling synths and a lively brass section - perfect for turning up the volume.
Both tracks have been remastered from the original master tapes, which Toby Mayerl fortunately still had in his archive. The artwork for the release is inspired by original band posters, with the Grand Slam logo taking cues from Bootsy's Rubber Band’s Body Slam! cover from 1982. This limited vinyl pressing is capped at just 350 copies.

Joel Sarakula's new album "Soft Focus" is a mid-career album spanning his many influences and genres including Soft-Rock, Funk and Indie Pop, all brought under the umbrella of his gentle gaze and a 'soft' aesthetic. "Soft Focus" is also the name of a photographic technique born out of a spherical abberation of the lens where the image is a bit blurry and undefined: it's both flattering and forgiving on the subject. It's an apt title. As a lifetime wearer of (vintage) glasses, Sarakula knows a lot about spherical abberations. Perhaps he produced these songs with his glasses off as these are abstract and warm vignettes, never overstaying their welcome and for this reason Sarakula manages to feature twelve new tracks on "Soft Focus".

Highlights include one of the two Shawn Lee produced tracks "I'll Get By Without You", the rockier, iberic beat of "King Of Spain", the soulful affirmation of "Back For Your Love" and the psychedelic-tinged "Bird Of Paradise" and "Microdosing". This is a lovingly crafted album, well polished and it feels like the culmination of Sarakula's adventures in soulful soft-rock and his defining statement in the genre. While comparisons will be made with contemporary projects like Shawn Lee's Young Gun Silver Fox, Drugdealer, Benny Sings and Prep, echoes of soft-rock icons Ned Doheny, Boz Scaggs, Todd Rundgren and Michael Franks also ripple gently through the album.

Imagine if Ray Manzarek was the frontman for the Bee Gees... It's a neat visual introduction to Joel Sarakula, a UK-based Australian artist who writes, produces and sings Soulful Pop, gazing out at a contemporary world through vintage glasses, vintage threads and long blond hair. His music is informed by a rich, 1970s-inspired palette, drawing on soft-rock, funk and disco influences: sunny, uptempo jams for darker times. Self-aware that he looks and occasionally sounds like the love child of Ray Manzarek and the Gibb brothers, his self-deprecating sense of humour is always there just below the fringe.

Born in Sydney, based in UK and international in outlook Sarakula is a songwriter who has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe. Since then he has released albums such as "Island Time" (2023), "Companionship" (2020), "Love Club" (2018) and "The Imposter" (2015) that have racked up plays on rotation across national UK and European radio and got him noticed in The New York Times, The Independent (UK), The Irish Times, Rolling Stone Germany, El Pais (Spain) and Sydney Morning Herald. It's- been a long road finding his current cult status starting out at the piano from a young age in suburban Sydney, writing and singing songs by the time he was a teenager and onstage by fifteen years old playing jazz standards in his local golf club. "I came from humble beginnings, it's best not to mention" as he sings in his 70s boogie influenced song "I'm Still Winning". Joel Sarakula is a fixture on the festival and club circuit having previously performed at SXSW, Primavera Sound and Glastonbury festivals. Ever the internationalist, he tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is another echo of the 1970s when world travelling soul and pop artists from the US did the same and guarantees that his live shows remain fresh, exciting and absolutely contemporary.

The beats on Capital Punishment, from RZA, Rockwilder, Domingo, and other A-list maestros, are grimy, radio- friendly, yet low-ley cutting-edge, affirming its status as an undisputed classic. Big Pun was as much a visionary — conceptualizing every song — as a consummate pro in the booth. Citing Picasso and Baby Jesus while purporting to “twist your temples into pretzels,” Pun made Minute Rice out of multi-syllables. There’s no way to describe Pun’s febrile liberties with the king’s English. He doesn’t really breathe; when he does, it’s a sharp gasp for air that almost mimics his Ginsu-like wordplay. Pun’s habit of sucking wind before spitting an ill verse mimics the effect of a lit grenade about to land and decimate entire sections of the population. If Pun’s dense rhymes invoke mixed metaphors, that’s likely because he’s an impossible amalgam of wanton wooer and lyrical hitman, an overweight lover with a murderous mouthpiece.

Goshawk brings a solid repertoire of productions characterised by a soulful disco vibe, already showcased in his collaborations with Erik Rico on Atjazz Record Company and Situatism, not to mention his stellar remix for Groovement Inc. - Love and Affection.

This 12" features four tracks that blend soulful boogie with house influences, delivering a fresh and captivating sound. The A1 track, "Loyalty" featuring LYMA, offers a distinct Detroit vibe with a low-slung funky bassline and LYMA's sultry vocals. A2 spotlights Greg Blackmann's powerful vocals over a dynamic piano chop, creatin an engaging and energetic groove.

The B-side continues the soulful journey, B2 features LYMA's remix of "1 Up 1 Down," adding her unique touch to the EP.

In a world of division, BEÃTFÓØT’s delayed second album is as an invitation to unite at a utopian celebration of life. Originally scheduled for release in October 2023 but postponed due to the ongoing Israel/Palestine war, the intrinsically-political ‘TOO CUTE’ has taken on more prominence than the Tel Aviv duo of Udi Naor and Adi Bronicki could have imagined.
“It's more urgent than ever for us to share this now, even though the album has been ready for a while,” says producer Naor. “BEÃTFÓØT are against any war, and believe that people should talk and not use violence - never,” he adds vehemently. “We feel the pain of Palestinians and Israeli loss of life, and are devastated by it. We hope the war will be finished soon and that peace and prosperity will come soon for both sides.”
While both Naor and vocalist Bronicki have been active in protests, charity work and community efforts over the past year - explicitly against the current government in Israel - such values of peace, acceptance, coexistence, inclusiveness and anti-hate from all sides are further instilled in the songs that form ‘TOO CUTE’.
“We're really trying to highlight that there are people here working tirelessly for a brighter future for our ill kids and our neighbour’s kids,” adds Naor, who is also co-founder of techno duo Red Axes. Having had to flee the country with his family, it’s through music that Naor and Bronicki have found hope.
In light of such conflict, the multi-layered yet sonically-bonkers record also enables escapism, which is needed more now than ever. Following their self-titled 2021 debut (released on DJ Tennis’ label Life and Death), ‘TOO CUTE’ is a refreshingly-ridiculous dark-rave rollercoaster which careers between hard-dance, big-beat, post-punk, techno, hyperpop, country and everything in between.
Things blast off at breakneck speed with the chaotic title track’s hyperpop snares, instantly-catchy lyrics (which feel ominously striking considering the war) and a stadium-ready chorus that erupts into rolling breakbeats, punishing EDM and even a nod to The Bloodhound Gang’s ‘The Magic Touch’. Somehow, we’re just three minutes into the record.
The tongue-in-cheek ‘HEART OF LEAD (TAKE IT OFF)’ still bangs despite its silliness, like if Kero Kero Bonito got in the studio with will.i.am. Later, ‘LEO’S SONG (THE SOCIAL MEDIA GUY)’s wittily satirical one-liners - “I just wanna get high with AI” - come thick and fast amid a barrage of glitches and guitars. ‘SUKC MY DIKC !!!’, meanwhile, pairs flute with pulsing hardstyle beats.
While their first record’s experimental explosion captured the pure carnage and energy of the BEÃTFÓØT universe in a conceptual fashion (though remaining polished in its own way), album two is primed to connect with a bigger audience thanks to its pop melodies, structures and songwriting.

Much of ‘TOO CUTE’ was written while the duo toured Europe for the first time, with rough sketches of tracks created in the moment during their incendiary live shows, and then recorded in planes and cars.
If their first record was a case of testing the vibes, album two is more assured and confident within their sonic world. “In the first album, we stepped into the club, metaphorically, and started making eye contact with everyone to figure out the energy,” Bronicki says. “But, this time round, I already had an idea of the story that I wanted to tell to these random people.”
And what is that story? “Radical silliness, or radical fun – that’s the essence of BEÃTFÓØT,” Naor confirms. “What we really want to do is goof around and have fun, and that brings out something very profound and honest,” he explains. A sense of nostalgic freedom is also at the album’s core, thanks to the removal of adult predetermined social constructs that decide how people should behave or look. “There’s a very honest and positive energy in holding onto your childlike wonder and trying to explore that with others,” Bronicki suggests, adding that “the adult world can be so wrong and angering”.
She feels this relates to both the album’s lyrics and the artistic state of mind that the duo always work to: “the goal is to feed a really thought-out and profound idea, but through a playful spoon,” she says. With this in mind, the recurring theme of ‘TOO CUTE’ stems from the duo’s “radical and lived experience of existing in a place that holds a lot of guilt and fear – because death is so imminent and prevalent in a very confronting way”. This is clearly represented on ‘FOOTYLICIOU$’, on which Bronicki screams “someone’s gonna die tonight!” before emphatically shouting “NOT ME!”
The album title is BEÃTFÓØT’s response to that: “We want to be a celebration of life, and that applies to all lives, of all backgrounds, including animals… that’s our guiding light,” Bronicki says.
“We create in the context of living in a country where the current government’s anti-democratic measures are limiting who is included in the celebration of life. Because different people are always being pushed out and excluded: whether it’s queers, Palestinians or people from different religions.”
BEÃTFÓØT - who have found a home among the LGBTQIA+ community - are fighting back against oppression. “We want everybody to come to the party and celebrate life together,” says Naor, setting out his and Bronicki’s mission… “and our goal is to widen that party as wide as it can go.”




c MANIAC ft. Princess Rani

e WHERE HAVE I BEEN ALL MY LIFE ft. Bugle Boy



c MANIAC ft. Princess Rani

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]



[c] MANIAC [ft. Princess Rani]

[e] WHERE HAVE I BEEN ALL MY LIFE [ft. Bugle Boy]

Over the last few years Theravada has been making a very strong name for himself, with a unique human touch and deep lyricism, the rapper-producer proved to be a man of many hats and is standing tall as a one of a kind artist in today's musical landscape, having collaborated with artists such as Evidence, Earl Sweatshirt, Yungmorpheus, Your Old Droog and Navy Blue just so name a few, as well as his 2000 Entertainment home team alongside Rob Chambers, TOP$ and Kluse. On his brand new full-length "Waste Management", he has teamed up with RRR Music Group representative Zoomo to produce the entire project. The two have crafted 10 killer joints, with Theravada handling all mic duties on his own and Zoomo's soulful productions providing the perfect soundscape for his transcendent bars to resonate and bring you on an epic journey.

Span over the course of 2 years with the first chapter released in March 2021, CRIMEAPPLE is back to end the YDFWC? trilogy with a masterpiece. With production duties handled by Loman, Chairman Chow, Buck Dudley as well as Oh No, and a sole guest appearance by Canadian emcee Daniel Son, the NJ native of Colombian descent goes out with a bang on this 3rd instalment to ask for the last time… YOU DON’T FUCK WITH CRIME?!

Norwegischer Black Metal Klassiker neu aufgelegt! Das vierte und letzte Obtained Enslavement-Album zum ersten Mal auf Vinyl! Wir wissen nicht, ob
es nur unsere Einbildung ist, aber wenn man über Black Metal-Bands aus Norwegen spricht, werden Obtained Enslavement oft vergessen. Das liegt
sicher nicht daran, dass wir denken, sie seien es nicht wert, erwähnt zu werden. Vielleicht liegt es einfach daran, dass Obtained Enslavement nie als
führende Kraft in der norwegischen Black Metal-Szene angesehen wurde und uns ihre Einzigartigkeit und Brillanz vergessen lässt. Sie sind
wahrscheinlich eine der ersten Bands, die man als symphonischen Black Metal bezeichnen kann, aber ihre Musik war trotz des starken
Keyboard-/Orchestral-Backgrounds im Vergleich zu anderen symphonischen Bands einfach viel härter und kompromissloser. „Soulblight“ und
‚Witchcraft‘ waren großartige Alben. Aber es gibt noch ein weiteres, das oft vergessen wird, vielleicht weil es ein bisschen anders ist als die beiden
eben erwähnten und sich musikalisch von ihnen unterscheidet. Die Rede ist von „The Shepherd and the Hounds of Hell“!

Computer Future is the sprawling and ambitious third album by amorphous Brisbane, Australia garage rock outfit Velociraptor! The 14-song opus is the best recorded capture yet of everything that makes the ‘Raptors so beloved, a stream of addictively catchy rockers characterised by stupidly infectious melodies, an overabundance of earworm hooks, guitars aplenty plus of course their trademark gang vocals and harmonies. The shadowy cabal behind Velociraptor have returned from a spell away from the spotlight with renewed vigour and focus, more committed to and appreciative of their combined talents and chemistry than their younger selves, who were perhaps more about concerned about chasing good times rather than long ones. These days there are more cooks in the ‘Raptors kitchen than before but that’s only allowed them to expand the palette of the Computer Future menu without compromising on quality. Their distinctively melodic take on the garage rock form is still entirely evident, only it’s now augmented by quirkily compelling sonic detours into psych and new wave realms, the band all the while sounding wholly like themselves and nobody but themselves (apart from perhaps the Devo-indebted title tracks). In their halcyon days Velociraptor were a force to be reckoned with, an amorphous collective sometimes up to 12 members strong - many of them wielding guitars of some description - who partied hard and played even harder, attacking their live shows with unbridled glee and genuine gusto. They toured Europe/UK, and staged with bands the calibre of Black Lips, New York Dolls, OFF!, Radio Birdman and Violent Soho. The unparalleled camaraderie of their renowned live blitzes - plus sheer size of the band - at times threatened to overshadow the genuine strength of their songwriting and recorded output, but now with Computer Future those concerns are firmly in the past!

For soul-reggae artist Natty, music isn’t just pleasure, it is also a healing power.

The London-raised singer-songwriter has been on a remarkable journey of creative and personal discovery in recent years, moving his partner and children to rural Jamaica to live off-grid and off the land, while delving deep into studies on music’s mental and physiological properties .

The result of this journeying is Natty’s expansive, fourth album, The Divine Trinity.

Across nine tracks he employs his trademark vocal power and uplifting melodies to explore everything from earthy funk grooves to guitar-strummed yearning, emphatic spoken word entreaties and spacious, dubbed-out reggae.

Partnering with his longtime band The Rebelship once more, Natty also expands his reggae-influenced sound through the instrumental frequencies of South Asian tablas, Zimbabwean mbira and wooden flutes. “There’s so much that I’ve never done before in this record,” he explains. “We have a song in 5/4, inspired by my time learning music in Zimbabwe, as well as sound bowls, the song of the crickets from the land we live on in Jamaica and hand drums from all over. Its ancient frequencies combined with classic songwriting, allowing people to tune into the power of music.”

"Beneath the Mask" marks a return to the more commercially viable jazz-funk of the Chick Corea Elektric Band’s earlier albums, and marks the end of the first stage in the band’s history, which began five years earlier with the group’s self-titled debut.

Energy meets craft on this superlative outing, which finds the five virtuoso musicians (Chick Corea, drummer Dave Weckl, bassist John Patitucci, guitarist Frank Gamble, and saxophonist Eric Marienthal) engaging in a highly sophisticated yet accessible set of music.

Massive in the scale of the influences it contains, the album travels from the heavy grooving funk-fusion of the title track “Beneath the Mask,” to the lively West African township jive of “One of Us Over 40.” to the mellow smooth jazz of “A Wave Goodbye,” and the grandiose ‘70s style prog-rock/fusion of “Charged Particles.”

Originally released on GRP Records in 1991, the album reflects the innovative spirit of The Elektric Band, pushing boundaries and creating a unique sonic landscape that captivates listeners.

Katie Malco's album 'Failures' has been hailed as a raw and powerful exploration of vulnerability, with Clash Magazine praising the album as "a work of real tenderness and stark honesty" and NPR Music highlighting its "bracing and infectious" sound. Her blend of indie rock and confessional lyricism has resonated with listeners, earning her critical acclaim. Over the past few years, Malco has toured extensively, sharing stages with the likes of Julien Baker, Lumineers, Laura Stevenson, SOAK, Bob Mould, and Jenny Lewis, solidifying her place as one of the most compelling voices in the contemporary indie scene.

arottenbit is an electronic music project born in 2008 by Alessandro 'Otto' Galli (FOH Sound Engineer for Messa, Deafheaven, Pallbearer, Truckfighters, Bongzilla, Fuoco Fatuo). Playing solo with a 1989 NINTENDO GAME BOY or accompanied by hardcore punk drummer Guido Montanarini (PARADISE LOST, IMPLORE, THE SECRET), he soon found himself opening for some of his favorite bands like MELVINS, ATARI TEENAGE RIOT, THE BODY, MELT BANANA, AUTHOR & PUNISHER, FULL OF HELL and performing at major international festivals like ROADBURN 2022, HELLFEST 2022. "You Don't Know What Chiptune Is" is a bold exploration of the chiptune genre, pushing the boundaries of 8-bit music with an experimental and innovative approach. Each track on the album is a unique specimen, meticulously crafted to showcase the versatility and depth of chiptune sounds. The album is characterized by its inventive use of 8-bit sound chips, evoking the essence of vintage gaming consoles like Game Boy. arottenbit skillfully manipulates these sounds to create a wide range of textures and atmospheres. The lo-fi, raw quality of the 8-bit era is preserved, while contemporary production techniques enhance the overall listening experience.

Ein Livealbum (nochmal) ist eine recht offensichtliche und doch für Talco passende Idee zum Jubiläum. Im Jahr 2022 hatten Talco beschlossen, ein Mischpult für die "Videogame"-Tour zu mieten. Die Möglichkeit, jedes Konzert mitzuschneiden, verlockte, und am Ende der Tournee gab es etwa 35 Sets, aus denen ein echtes Live-Album werden konnte. Und genau um "echt" geht es. Es durfte nichts gefälscht, neu aufgenommen oder überspielt werden, nichts bereinigt werden. Das moralische Diktat, live darzustellen, wer Talco ist, mit der Musik, Entschlossenheit, den Witzen, dem goliardischem Unsinn, der Herzlichkeit der Menschen, all das musste erhalten bleiben und daher "wahr" sein, nicht perfekt oder künstlich, sondern wahr. Ein echtes DIY-Projekt, an dem die gesamte Talco-Familie mitgewirkt hat: von Tontechnikern Matteo "Houdini" Piccolo - der alle Live-Auftritte der Tournee aufgenommen hat - und Edoardo "Dodi" Pellizzari (Overdrive Recording Studio), der das Album abgemischt hat, bis hin zu den Beiträgen der gesamten Band, die während einer anderthalbjährigen Europa-Tournee aufgenommen wurden. Talco in eigenen Worten: "Wir hätten nie gedacht, dass wir noch einmal ein Live-Album machen würden, aber vielleicht haben wir es nach weiteren 10 Jahren nötig. Viele Bands erreichen ein Ziel, und feiern es mit einer Best Of-Compilation, aber die Greatest Hits einer Live-Band kann nur ein Live-Album sein." Und hier sind nun die essentiellen Songs der bisherigen 20 Jahre-TALCO-Karriere, aufgenommen zwischen 2022 und 2024 in unterschiedlichen Städten, eine traumhafte Set-List vor den besten Fans der Welt. Immer daran denkend, dass ein Ziel nicht das Ende ist, sondern ein neuer Weg, der zu gehen ist. 2LP klassich schwarz oder Jewelcase-CD!