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- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

In den zwei Jahrzehnten ihrer Karriere hat die Norwegerin Ane Brun einen weiten Weg zurückgelegt, seit sie auf den Straßen Barcelonas die Lieder anderer Leute vorgetragen hat. Heute ist sie eine beliebte Singer-Songwriterin mit zehn Studioalben und zahlreichen Auszeichnungen. Mit ihrer einzigartigen, ausdrucksstarken Stimme und ihrem intuitiven Gespür für Melodien setzt sie die hohe Kunst der Coverversion fort. In Bruns Händen werden selbst Songs, die sich unantastbar anfühlen, näher gebracht und in einem neuen und intimen Licht gezeigt. Ob sie nun Beyoncés Siegeszug "Halo" mit einem Cello-Arrangement von Linnea Olsson neu interpretiert oder Radioheads "How To Disappear Completely" eine gespenstische Zerbrechlichkeit verleiht - sie taucht unerschrocken ein, sucht den emotionalen Kern eines jeden Songs und arbeitet sich von dort aus vor. Portrayals versammelt zum ersten Mal zwölf von Bruns beliebtesten Coverversionen sowie eine bisher unveröffentlichte Version des Rodgers & Hart-Standards "Blue Moon". Bruns Bearbeitungen, die insgesamt über 250 Millionen Mal auf Spotify gestreamt wurden und in Filmsoundtracks, Werbespots und bahnbrechenden Fernsehserien wie "Normal People" und "Peaky Blinders" zu hören sind, bewegen sich auf zarte, unvergessliche und oft verblüffende Weise. Portrayals ist die erste in einer Reihe geplanter Veröffentlichungen im Jahr 2023, um das 20-jährige Jubiläum ihres Debütalbums Spending Time With Morgan zu feiern. "Covers sind ein wichtiger Teil meiner Karriere", sagt Brun. "Es ist fast eine eigene Karriere. Es hat seine eigene Dynamik. Ich wollte das feiern, indem ich diesen Songs ihren eigenen Raum gebe."

Australian out-rock duo, Party Dozen, returned with their second album Pray For Party Dozen in May 2020. Once again self-produced, tracks like the eponymous "Party Dozen" act as a bridge from their debut album, The Living Man, where evil sample loops built the foundations upon which the duo erected a brand new temple of irreverence. Elsewhere, they flirt with electro-Krautrock ("Auto Loser"), stoner-psych ("The Great Ape") and ambient-industrial ("Scheiße Kunst"). It still sounds like Party Dozen, but somehow louder; more hushed; even wilder. Plus there are two songs with lyrics. It's smart enough to make you move and dumb enough to make you think. But it's not greater than the sum of its parts. There are no parts - there is only Party Dozen.

Close to five years on from their last transmission, Ulrika Spacek resurface from self-imposed exile with their third album, Compact Trauma, a collection of songs that function as a chance treatise of sorts for our current collective condition. With a title like that arriving at this point in time, it's tempting to interpret the record solely in the context of the global events of the past few years, but the roots of these ten songs arc back much further in time, charged with their own personalised internal damage. Trauma, in its myriad forms, is often hard to qualify, even harder to rationalise. When something begins to go wrong, how do you gain perspective? What is a temporary roadblock, and what is unmitigated disaster? In its first phase of life, Compact Trauma was a document of a band striving to perfect an idea while the universe around them seemed to want to shut down. And then, at an impasse of sorts and with a record halfway complete, it suddenly did. If Ulrika Spacek were a band in need of the breaks applying, it was the force of a global pandemic that made it happen. As the world stood still, Compact Trauma was filed away, unfinished and unheard by the wider world, possibly to remain that way forever. And yet, there was to be a second act. If mutability is our tragedy, it's also our hope, clearer days slowly began to emerge as the bad slipped away. The wound, as the saying goes, is the place where the light enters you. The prolonged break enforced by myriad lockdowns may have separated the group but it also afforded the five time to reflect on what had already been committed to tape.. As the lights came back on and the shutters up, they found themselves drawn back towards Compact Trauma. What they rediscovered was a record that seemed to preempt the shared grief of a global pandemic. Even if the specifics were different, the themes were uncannily similar. Addressing existential freak out, displacement, substance reliance and encroaching self-doubt, these highly personalised songs suddenly took on a wider significance, speaking in part to a bigger narrative. They could have left it alone, but in coming back to what they knew, Ulrika Spacek found their best work yet. RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound, Stereolab.

BBE Music’s highly-acclaimed J Jazz Masterclass Series continues with an album that unites three J Jazz legends with a young musician beginning their professional career. Recorded and released in 1986, ‘Approach’ is both sophisticated and experimental in equal measure, balancing serene ambient moments with thunderous and dynamic explosions of energy. ‘Approach’ was originally issued on the Art Union label and sees bass uber-maestro Isao Suzuki, percussion and drumming icon Masahiko Togashi, and keyboard wizard Hideo Ichikawa join together with neophyte guitarist Akira Shiomoto to deliver a first-class showcase of contemporary jazz across five tracks, demonstrating their individual talents working as one unified ensemble. Suzuki’s deeply resonant and pliant basslines move sinuously across the album, supporting Togashi’s ebullient flashes of percussion and Ichikawa’s lush textures and colourations; topping it all off is the young Shiomoto’s guitar adding melodic texture and shine. Opening with ‘Make Trip’, Ichikawa’s gentle introduction makes way for a change of gear as Suzuki’s bass drives the band along before Togashi’s drum and percussion centrepiece solo leads to the outro. The plaintive and bluesy ‘Otari’ follows next, with Ichikawa’s piano flowing around and between the rhythmic undertow from Suzuki and Togashi. Things turn slightly more experimental on ‘Mysterious’ as Suzuki, the piece’s composer, turns to arco bass effects and Ichikawa employs synthesiser and electronic textures to add colour to the palette.

It's hard not to see the hype around BRUIT= as the next big thing in post-rock. While their 2018 EP Monolith provided a promising indication of their son- ic ambition, it was their debut LP The Machine is Burning and Now Everyone Knows It Could Happen Again which really set off the trig- ger. Receiving rave reviews around the globe and selling out the first vinyl pressing of 3.000 copies within less than a year, BRUIT= have no need to prove themselves beyond what they have already achieved so far. Consisting of three musical meditations, Apologie du Temps Perdu Eng. apology for time wasted sees BRUIT= cut down on their massive sound in favour of a more subtle contem- plation. In contrast with their recent streaming single «Parasite (The Boycott Manifesto)» with its direct message for Spotify CEO Daniel Ek and his listeners, the band have seemingly forgone their activist agenda paring back the grand thematic gestures and poignant spoken-word excerpts. Instead, BRUIT= let the music do the talking, reaching an activism which is more visceral, but all the more personal. "This ambient EP is conceived as a comma between our first album and the next one," explains bass player & violinist Cle'ment Libes about the purpose of this record. "It is an invitation to lose time, a parenthesis in the frantic race of our society." Existing somewhere between the grand genius of soundtrack composers like Hans Zim- mer and Ramin Djawadi, and the experimental prowess of fringe pop artists like Radio- head and Darkside, Apologie du Temps Perdu reveals the hidden power of film scores. We all know that moment in which we cease to be conscious of the musical accompani- ment and we become truly absorbed in the story. The music becomes part of scenery, and in this moment we lose track of time. Talking of his own work Ramin Djawadi (Game of Thrones, Westworld) notes: "If you were to turn the picture off, there is a story there and a connection to the characters and the plots." In the same way, through the sweeping strings of «La Sagesse de Nos Ai"eux», the ethereal tape loops of «Re^veur Lucide» and the undu- lating synths of «Les Temps Perdus», worlds are created to get lost in, and we experience the full power of music with our eyes and ears open. RIYL Hans Zimmer, Nils Frahm, Godspeed You! Black Emperor, Balmorhea, Max Richter, Olafur Arnalds, A Silver Mount Zion, Boards Of Canada

Così come sei" is a 1978 film directed by Alberto Lattuada, a sentimental drama starring Marcello Mastroianni and Nastassja Kinski, still very young but already an acclaimed actor
The soundtrack was composed, orchestrated and directed by Ennio Morricone and was infused with romance and ethereal melodies played with wind instruments but set like a symphony. With the contribution of I Cantori Moderni di Alessandro Alessandroni's choir and Oscar Valdambrini's trumpet. Unusually within Morricone's repertoire is the presence of funk-rock and disco songs "Dance
On" and "Space 1999", reflecting the late '70s pop sound.

Originally released in 1978 and subsequently reissued a few times, the
soundtrack of "Così come sei" was not released on vinyl for almost 40 years and is now finally re- released with remastered audio and a new sleeve layout, on 180gr. solid pink vinyl

Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.

Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.

Es dürfte nicht überraschen, dass Van Morrison ein vom Skiffle inspiriertes Album aufgenommen hat, denn Van Morrisons Liebe zum Skiffle reicht bis in seine Kindheit zurück.
Er verbachte viel Zeit in dem berühmten Plattenladen Atlantic Records in Belfast, wo er Folk, Blues und Jazz aus dem frühen 20. Jahrhundert hörte.

Es dauerte nicht lange, bis Van Morrison in der Schule in einer Skiffle-Band spielte.
Mehrere Jahrzehnte später besinnt sich Van Morrison mit seinem neuen Album ”Moving On Skiffle”, das am 10. März 2023 erscheinen wird, wieder auf seine Liebe zu diesem Genre. Der Fokustrack ”Streamline Train” kündigt das kommende Album mit insgesamt 23 Titeln an.
Mit ”Moving On Skiffle” greift Van Morrison einen Musikstil auf, der Mitte der 1950er Jahre in Großbritannien explosionsartig aufkam, und
verleiht ihm ein Maß an Raffinesse und Soulfulness.

This is the fifth western in a row for Sergio Leone after the Dollar Trilogy
and "Once Upon a Time in The West"
"Giù la testa" (Duck, you sucker, 1971) is also the fifth collaboration between the
director and Ennio Morricone, which would be followed by "Once Upon a Time in
America" nearly 15 years later, before Leone's premature death in 1989.
Now a world famous and feted director, Leone directed "Giù la testa" an epic film
that tells of the friendship between a Mexican bandit and an Irish explosives
expert during the 1913 Mexican Revolution. With a over two hours running time,
the film has the tones of a Hollywood extravaganza, but it is only occasionally
accompanied by Morricone's music, which focuses more on the romance and
melancholy triggered by the two protagonist's memories.
This score's main theme is extremely memorable and makes this a classic
soundtrack. Thanks to the recurring "Sean- Sean" tune, and the melody sung by
Edda Dell'Orso, a theme that is universally recognized.
Limited 180gr. crystal clear vinyl edition.

Nachdem Steve Winwood die erfolgreiche Spencer Davis Group verlassen und die hellen Lichter zugunsten
der Countryside und der Jam-Sessions mit Jim Capaldi, Dave Mason und Chris Wood hinter sich gelassen
hatte, gründeten sich Traffic in Birmingham im April 1967. Traffic begannen als Psychedelic Rockband
und diversifizierten ihren Sound durch den Einsatz von Instrumenten wie Keyboards sowie durch die Einbeziehung von Jazz- und Improvisationstechniken. Bald darauf, im Dezember 1967, veröffentlichten Traffic
”Mr. Fantasy,” ihr Debütalbum, über Island Records. Das Album nannte der Rolling Stone „one of the
best from any contemporary group“ und es ist zu einem festen Bestandteil fast jeder Umfrage zum besten
Album des 20. und 21. Jahrhunderts geworden!
Nun erscheint das Album als individuelles Re-Issue aus dem phänomenalen ”Traffic 2019 - The Studio
Albums 1967-74 Boxset.” Aus den Originalaufnahmen remastered und auf 180 g schweres Vinyl gepresst,
ist es ein Muss für jeden neuen oder erfahrenen Traffic-Fan.
”Mr. Fantasy” erscheint als Deluxe LP und digital.

After a first mini-album Dr Bolivard which took the form of a funky and electronic tragi-comic self-psychotherapy, a series of interviews with creators on YouTube (Jacques, Myd, L'impératrice...) where he played a zany psychiatrist character asking existential questions, Bolivard is back with a new mini-album which will be released on January 27th 2023: M. Bolivard.

Composed between 2020 and 2022, he gives his impressions of a turbulent period: pandemic, confinements, American and French elections, global warming, war in Ukraine, worsening mental health... Bolivard keeps his black humour and his taste for nonsense while adding a good dose of satire. On the agenda: social anxiety, radicalisation of opinions, narcissism, psychopathy...

Musically, French pop and funk are always mixed with electronic music. Bolivard sings, raps, slams, speaks, above all to tell stories that are more or less crazy, often funny, sometimes disturbing, definitely creative.

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

CLEAR BLUE VINYL

`Oh Me Oh My' is both elegant and ferocious. It is stirring in one moment and a balm the next. It details histories both global and personal. Lonnie Holley's harrowing youth and young manhood in the Jim Crow South are well-told at this point _ his sale into a different home as a child for just a bottle of whiskey; his abuse at the infamous Mount Meigs correctional facility for boys; the destruction of his art environment by the Birmingham airport expansion. But Holley's music is less a performance of pain endured and more a display of perseverance, of relentless hope. Intricately and lovingly produced by LA's Jacknife Lee (The Cure, REM, Modest Mouse), there is both kinetic, shortwave funk that call to mind Brian Eno's `My Life in the Bush of Ghosts' and the deep space satellite sounds of Eno's ambient works. But it's a tremendous achievement in sonics all its own. It's also an achievement in the refinement of Holley's impressionistic, stream-of-consciousness lyrics. On the title track which deals with mutual human understanding", Holley is able to make a profound point as ever in far fewer phrases: "The deeper we go, the more chances there are, for us to understand the oh-me's and understand the oh-my's." Illustrious collaborators like Michael Stipe, Sharon Van Etten, Moor Mother and Justin Vernon of Bon Iver serve as not only as choirs of angels and co-pilots to give Lonnie's message flight but as proof of Lonnie Holley as a galvanizing, iconoclastic force across the music community.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Krieg, steigende Energiekosten, Inflation. Eine politische Klasse und ein gespaltenes Land. Das Unbehagen nach dem Brexit, Akte nationaler Selbstbeschädigung und verhängnisvolle Realitätsfluchten. Verzweiflung, Wut und Entfremdung. War es jemals schlimmer da draußen?
Willkommen bei „UK Grim”. Das zwölfte Album der Sleaford Mods baut auf den einzigartigen, aufrührerischen Stärken früherer Alben auf und verfeinert sie gleichzeitig auf eine neue Weise. Es handelt sich um nichts Geringeres als eine Band und eine Stimme ihrer Generation, so wie es The Jam, The Clash oder Public Enemy zuvor waren.

Begonnen haben die Arbeiten zum neuen Album in den Lockdowns von 2021. Schließlich setzte man die Arbeit im JT Soars fort, dem Arbeitsraum und der Kreativzelle der Band, und vollendet „UK Grim“ dann im Heimstudio des musikalischen Kopfes Andrew Fearn. Das Album präsentiert die Band in ihrer makellosesten Wut, gepaart mit wilder Poesie. Nach „Spare Ribs“ von 2021 (ihrem dritten UK-Top-Ten-Album seit 2019 und ihrem bisher erfolgreichsten) ist es, wie alle ihre Platten, eine Diagnose der Krankheiten der Gesellschaft.

Obwohl „UK Grim“ größtenteils vor den Turbulenzen des Jahres 2022 entstanden ist, nimmt es die Erschütterungen einer Gesellschaft, die den Verstand verliert, auf unheimliche Weise vorweg, erzählt von einem Mann, der entschlossen ist, sich mit Heucheleien auseinanderzusetzen, insbesondere mit seinen eigenen. Die 14 Tracks klingen nach knarzigem Punk, widerspenstiger Elektronik und Elementen von Hip-Hop. Sie beschreiben die Realität in zu brutaler Unverblümtheit, um nur einfache Protestsongs zu sein. Sie sind zu Vinyl gewordene Wut, aufgekocht von den Großmeistern des pointierten Zorns – den Sleaford Mods! Wie bei den „Spare Ribs“ Kollaborationen mit Billy Nomates und Amy Taylor helfen auch bei „UK Grim“ Freunde aus: Florence Shaw von Dry Cleaning ist auf dem schaurigen „Force 10 From Navarone“ zu Gast. Williamson ist ein Fan der Band und sagt: "Sie erinnert mich wirklich an die frühen Sachen, die ich gemacht habe, einfach die Art und Weise, wie sie ein einziges Wort benutzt, um eine ganze Geschichte zu erzählen." Perry Farrell von Jane's Addiction rappt auf dem bizarren „So Trendy“, einem Song, von dem Williamson sagt, er sei "sehr vorsichtig... ein wirklich seltsamer Track“.

Seit ihrem Durchbruch-Album "Divide and Exit" von 2014 hatten die Sleaford Mods immer mehr Gelegenheit zum offenen Austausch, sowohl im In- als auch im Ausland. Sie sind eine unermüdlich arbeitende Band, die mit ihren minimalistischen Liveshows unter anderem 2021 in der 10.000 Zuschauer fassenden Nottingham Motorpoint Arena auftrat. Zu den weiteren Meilensteinen ihres Erfolgs gehören Auftritte im US-Late-Night-TV, Headliner-Auftritte auf Festivals und Chart-Platzierungen in ganz Europa mit „Spare Ribs”. Ein großer Bewunderer ist Iggy Pop, der der Band mit einer persönlichen Version des Drogenrausch-Grand-Guignols „Chop Chop Chop” Tribut gezollt hat.

Released on RCA Records - new album from singer/songwriter/actress/US superstar. This collection is Miley’s eighth studio album and the follow up to 2020’s 'Plastic Hearts'. 2023 finds Miley the strongest and most confident she’s ever been, with the music and imagery of 'Endless Summer Vacation' serving as a reflection of that. Recorded in Los Angeles and produced with Kid Harpoon/Greg Kurstin/Mike WiLL Made-It/Tyler Johnson, Miley describes the album as her love letter to LA. The full tracklisting has not yet been revealed, but does of course include the massive #1 single 'Flowers'. Extensive promo/marketing activity across all media outlets. Upcoming UK promo trip plus nationwide TV ad campaign. Formats are standard black vinyl LP and standard CD.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

Nachpressung: "Beach Umbrella" Vinyl (2LP Blue)! ,Pacific Breeze" dokumentiert die musikalische Explosion Japans in die Stratosphäre. In den 1960er Jahren erreichte die Nation ein Nachkriegswunder und Japan stieg zur zweitgrößten Volkswirtschaft der Welt auf. Blühende Tech-Exporte wie tragbare Kassettenabspielgeräte, funkelnde Videospiele und glänzende Autos boomten weltweit und pumpten japanische Taschen voller Yen. Der finanzielle Aufschwung Japans durchdrang auch die Populärkultur und brachte den City Pop hervor. Dieser neue Sound entstand Mitte der 70er Jahre und zog sich durch die 80er Jahre und kanalisierte die zeitgenössische Psyche des Landes. Es war anspruchsvolle Musik, die Japans Wohlstand widerspiegelte und einen Soundtrack für aufstrebende Urbanisten lieferte. City Pop verkörpert diese Ära. ,Pacific Breeze" ist eine fachmännisch zusammengestellte Kollektion von ausgesuchten Songs, die von seidigen, glatten Easy Listening Grooves über innovative Techno-Pop-Banger bis hin zu allem, was dazwischen liegt, reicht. Diese Musik wurde bisher noch nie außerhalb Japans veröffentlicht, mit dabei sind Schlüsselkünstler wie Taeko Ohnuki und Minako Yoshida, Haruomi Hosono und Shigeru Suzuki, sowie die Kultfavoriten Hitomi Tohyama und Hiroshi Sato und viele andere. Diese lang erwartete Veröffentlichung enthält auch neu in Auftrag gegebene Cover Paintings des in Tokio lebenden Künstlers Hiroshi Nagai, dessen ikonische Bilder des Resort-Lebens auf den Hüllen vieler klassischer City Pop-Alben der 1980er Jahre zu finden sind. Viele der wichtigsten City Pop-Protagonisten kamen aus der japanischen New Music-Szene der frühen 70er Jahre, wie Light In The Attic's gefeierte ,Even a Tree Can Shed Tears - Japanese Folk & Rock 1969-1973" Compilation, die erste Veröffentlichung der laufenden Japan Archival Series, zeigt. ,Pacific Breeze" versammelt nun einige der besten City Pop Stücke: aufregende Easy Listening mit mutierter Exotica, gekipptem Techno-Pop und dampfendem Boogie, der unter dem Neon-Glanz brodelt.

»Love As Projection« is the new album by Frankie Rose, her fifth studio LP and second for Night School following the reissue of her interpretation of The Cure’s »Seventeen Seconds«. Frankie Rose has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls but on »Love As Projection« she takes a bold step into electronic pop production. A sumptuous recorded statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and choruses but still touched with an optimism undimmed.

After spending nearly two decades establishing herself across New York and Los Angeles independent music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal melodies and harmonies, »Love As Projection« is a reintroduction of her established style through the lens of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.

More than a rebirth, a refinement, a resurgence, »Love As Projection« boasts a widescreen scope: a long- form project heavily considered for half of a decade, culminating in the most personal and accessible collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead track »Anything«, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry Switchblade »It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning fear even if the world is quite literally on fire.. In the end, at least we have each other,« says Rose. »Sixteen Ways« further boasts a propulsive, massive chorus, though tempered by a cynicism built in global post-truth, global malaise. »It’s about getting your hopes up, but simultaneously making lists in your head about how it will never work out in your favour.«

The big anthems don’t let up there. On »DOA« some massive, rolling drums lathered in big mid-80s gated reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones and there are plenty of them. »Sleeping Night And Day« takes its time with an off-the-cuff chorus, swirling around in harmony and chorus-bass. »Saltwater Girl« picks up the balladeering baton with another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track and soupy, digital atmospherics. Album closer »Song For A Horse«, reimagines modern Pop production a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like these are big oceans of emotion to fall into before being led out by Rose into a bright new day.

»Love As Projection« is released in the USA by Slumberland.

First time reissue of a legendary and undeservedly obscure salsa collector’s album from 1969. Led by rebel accordionist Alfredo Gutiérrez and featuring singer Lucho Pérez of Sonora Dinamita fame, “Así es… Con salsa!” is just that: raw, heavy duty NYC salsa performed through a Colombian “Costeño” tropical filter, with trombone, accordion and deep bass. Contains three hot bonus tracks in the same style and insert with liner notes. “¡Así es… Con salsa!”, by Colombia’s Alfredo Gutiérrez y Los Caporales del Magdalena, is a legendary collector’s album, yet still undeservedly obscure (and perhaps sonically surprising) for the uninitiated. It’s an experimental mash-up of seemingly disparate genres from different origins that on paper would seem to be at cross purposes. Yet at the same time the release is a masterpiece of raw pan-Latin fusion from the dawn of Colombian salsa that holds its own as a bonafide heavy duty pioneering record of the genre, despite its outsider status. Probably the most shocking musical element is Alfredo Gutiérrez’s fiery accordion, an unexpected instrument in the idiom of salsa, as it’s usually associated with the tropical music of Gutiérrez’s Caribbean home region of Sucre. Gutiérrez has always been a provocateur, never shying away from the controversial or outlandish, which has earned him the richly deserved sobriquet, “El Rebelde Del Acordeón” (The Rebel of The Accordion). Gutiérrez started Los Caporales in 1968 as a rival to Discos Fuentes supergroup Los Corraleros de Majagual, and the band had made three popular albums prior to “¡Así es… Con salsa!”, yet most of the repertoire on those records consisted of typical Colombian tropical and coastal rhythms and genres, none were purposely devoted to the newly minted genre of salsa. From the start, Gutiérrez lays down a salsa manifesto when the album kicks off with ‘Guadelupe no va’, a four-minute workout with pile-driving force that demonstrates the uncompromising power of this 14 piece orchestra. The listener is instantly hooked by the rawness of the sound, the bouncy energy, heavy brass and piano arrangements and the looseness of the improvisational sections. Gutiérrez was given the green light by Codiscos A&R head Humberto Moreno to dedicate an album to New York style salsa, giving more prominence to the voice and compositions of Lucho Pérez, an already proven expert in Cuban genres who previously had been only one among many vocalists in the band. Several tunes on the record are remakes of older compositions by Lucho Pérez from his early tenure with Discos Fuentes group La Sonora Dinamita, the new versions are much more raw and menacing, as if put through a Bronx filter. The band was made up of Codiscos’ regular stable of ace studio musicians from Medellín for the recording date. The album was both a success and also not abnormal in its mixing of salsa and costeño Colombian sounds, as there were several other similar hybrid records by other artists at the time. Both the desperation of the lyrics (about not being able to afford anything) and Lucho Pérez’ forceful delivery leave an indelible impression of street wise authenticity, which is backed up by the fact that both band members grew up poor

China's leading post rock band Wang Wen are releasing their 12th album on March 10th, the follow-up to much acclaimed 2021's "100.000 Whys" "Wang Wen's new album Painful Clown & Ninja Tiger is named after the traditional Chinese method of chronology year name (DEDF & DEDD).The two years just passed by. The sexagenarian cycle of the Chinese calendar is like the FE- against-FD polyrhythm in music. Two separate paths that travel six times through the Heavenly Stems and five times through the Earthly Branches and then reunite. However, this is just a superficial interpretation. The reality is the dark side has been approaching and countless miserable accidents occurred in front of us. All the savage and dictatorship come back, repeating itself over and over again in a dead loop in the history, which becomes less distant and fuzzy nowadays. They are not just "years","people" or "places" that we read in books. They jump out suddenly in front of us, turning into vivid and bare details that we are confronted with every day. To put it simply: this album was composed and recorded in those two years, and it records the life experience of the band in those two years, hence the name. For fans of RADIOHEAD, MONO, 1099, RADARE, CONDOR GRUPPE, GODSPEED YOU! BLACK EMPEROR, CASPIAN, IF THESE TREES COULD TALK Limited (130 copies ww) Single Colour (Transparent Orange) Edition!

With his new album, Gecko Turner confirms that he is a standout artist in the global groove scene, a must for the outernational sounds aficionados.

Somebody From Badajoz is the fifth studio album in his much lauded discography and his first in seven years, eagerly anticipated by both his fans and himself: "this business of dedicating yourself to music and making songs... it's a long game."

With the release of his first two, remarkable, albums, Guapapasea! (2003) and Chandalismo Ilustrado (2006), Gecko started cultivating what one astute journalist defined as Afro-maduran soul—the "maduran" bit referencing Extremadura, a region in central-western Spain.

Badajoz, Gecko's birthplace, is the biggest city in the area, on the border with Portugal, by the Guadiana River. It is a place that oozes history, where there is constant movement at the border, and people's character is friendly and open-minded with foreign habits.

Gecko's Afro-maduran soul isbuilt on Afro-American music and drenched in Brazilian, African, Latin American and Jamaican sounds. There are also echoes of a youth marked in equal parts by our man's admiration for the Beatles and the flamenco that could be heard everywhere in Badajoz in the seventies. It makes for a singular sound and a musical language of its own—spicy, succulent, full of nuances, but with a very personal flavour.

The album opens with the Nigerian talking drums of Twenty-twenty Vision, (neo) soul in a magical falsetto, carried by a sumptuous orchestral arrangement with a cinematic flavour: "I'd been thinking about doing something called 'Twenty-twenty Vision' for some time, making a play on words with the vision we have of the world after the year 2020 and the medical expression, which, in ophthalmological terms, means 'normal or complete vision.' Beyond that particular song, I think that's the mood of the album: a look at society in the twenties of the 21st century and the feelings and demons it produces."

It's followed by De Balde, a very special song born from a posthumously discovered lyric by the great writer Carlos Lencero, a regular collaborator of Camarón, Pata Negra, and Remedios Amaya, and also from Badajoz. While conceived as a fandango, Gecko has moulded it into his sound in such a seamless way it now seems as if the words could only have been written to be embraced by the percussion, brass, and backing vocals heard on the album. It's the only lyric on Somebody From Badajoz not written by Turner, still it sits rather comfortably with the rest, sharing the same emotivity and sensitivity, as well as the trademark humour and irony.

Other tracks see more protagonism for the rhythm.The beat-driven Ain't No Fun Preachin' to the Choir features Gecko's vocals walking the thin line between singing and talking over a phenomenal afro-disco-funk-infused trailblazer. In Am I Sad? it's impossible to not bob your head to the queen of Papatosina's mongrel rhythm, as close to the banks of the Guadiana river as it is to the shores of the Mississippi. Qué Siesta Tan Buena, He Babeao Y To! is an ode to the snooze in true Afro-Maduran fashion. And in Come And Try, the Caribbean influence is evident—lovers' rock that invites you to dance in good company.

In these songs, and throughout the album, for that matter, the musicians accompanying Gecko, who himself plays many of the instruments as well, shine brightly. All hailing from Extremadura, Javi Mojave (percussion), Álvaro Fdez 'Dr. Robelto' (bass), and Rafa Prieto (guitar) have been carrying him with delicate forcefulness since he started out as a solo artist. At the same time, the wonderful and essential voices of Deborah Ayo, Astrid Jones, Fani Ela Nsue, and Miriam Solís give the album a sunny variety of colours. And there are many more—a sensational group of musicians contributes dazzling harmonic bursts to many of the songs. The palette of sounds is very diverse and rich in textures and nuances, including, for example, the ngoni, bells, and various repurposed kitchen utensils.

The groove is always around, moving between the magical border sound of Everybody Knows Somebody From Badajoz and Little Dose, the silky soul of The Sibariteo Appreciation Society, and the exultant celebration of End Of The World (which surprisingly sees Gecko turning to the occasional use of autotune), a piece that could be used for the final credits of a Monty Python film and, in fact, closes the album.

Gecko Turner has done it again with Somebody From Badajoz, looking to the future without losing sight of the roots. In times of upheaval all over the globe, when people are looking for purity, he delivers a formidable piece of work: risky, optimistic in spite of everything, and with a decidedly bastard sound. Let's rejoice.

Kalita are proud to unveil the second volume in their "Borga Revolution!" compilation series, focussing on the phenomenon of "Burger Highlife", a crossover of West African melodies with synthesizers, disco and boogie that took over Ghanaian airwaves during the 1980"s and beyond. Featuring both highly sought-after recordings by artists including Atta Frimpong and D.J. Lawyer Okyere, as well as seminal performances by greats such as Pat Thomas, A.B. Crentsil and Alan Cosmos, Kalita once again come to the rescue of audiophiles, DJs and music-lovers alike with "Borga Revolution! - Volume 2". Spread over a double-LP housed in a gatefold sleeve. Accompanied by a 12-page booklet featuring extensive interview-based liner notes on each artist and never-before-seen archival photos.

With Synthetic Hearts, Tubatsi Mpho Moloi, Msaki and Clément Petit issue an invitation to the listener and lover to journey to another place. Here, hearts, experiences, and sounds meet, shift and evolve across an inventive nine track album. Experimental, playful and complex, the project merges voices, instruments and sounds, across geographies and genres, creating sparse, yet lush atmospherics that spin on the universal themes of love. As skilled musical shapeshifters, Synthetic Hearts melds Msaki and Moloi"s folk sensibilities with electronic elements, as Petit teases out distinct textures from his cello across the record. On Synthetic Hearts, love, longing, confusion, sorrow, despondency and queries are opened up and negotiated in songs that vibrate with their naked, honest and tender vulnerability.

After a stay on the Côte d'Azur, Claude François moved to Paris in 1961. Determined to take the Capital, the young performer recorded new songs for the Fontana label. A few months later, the stunning success of “Belles! Belles! Belles! is soon followed by that of “Si j’avais un marteau”, an adaptation by folk songwriter Pete Seeger. At the dawn of the 1960s, Claude François joined the closed circle of yé-yés idols. Appeared under the pen of the sociologist Edgar Morin, the name "yéyé" designated a generational movement inspired by Anglo-Saxon pop culture. Adored by post-war baby boomers, his protagonists caused a veritable popular tidal wave and shake up the charts. Here starts the yé-yé revolution, and the legend of Claude Francois Ads –London Macadam Reviews –London Macadam, R2

Oceanhoarse mag ein Neuling auf dem Gebiet des Heavy Metal sein, aber schnell und laut werden sie die Szene im Sturm erobern! Die Helsinki-Band mit Ben Varon (ex-Amoral) an der Gitarre, Bassist Jyri Helko (Warmen, ex-For The Imperium), Oskari Niemi am Schlagzeug und Sänger Joonas Kosonen tourte bereits in Finnland, Tokio, Japan und ganz Europa.
Zweifellos macht die Heavy-Metal-Gruppe ein Statement gegen computerisierte Metal-Musik, bei der es schwer zu wissen ist, was real ist und was nicht: Mit Oceanhoarse, gelobt für ihre wilde Energie auf der Bühne, bekommst du, was du siehst, ohne Backing-Tracks; aber pur, roh und wild - eine Seltenheit in der Heavy-Musik-Welt heutzutage.
Im Juni 2020 veröffentlichten Oceanhoarse The Damage Is Done - LIVE!, ein Album mit 11 Straight-in-Your-Face-Heavy-Metal-Hymnen, die auf einer ausgedehnten Tournee mit Nightwish-Sänger und -Bassist Marko Hietala aufgenommen wurden. Die Singles von Oceanhoarse, die auch auf dem Soundtrack des beliebten Videospiels Wreckfest enthalten sind, wurden bereits fast zwei Millionen Mal allein auf Spotify gestreamt.
Im Jahr 2021 ging die Band mit dem deutschen Label Noble Demon einen Gang höher, das erste Studioalbum der Band veröffentlichte und das Follow-up ist bereits für Anfang 2023 geplant!


Mit ehemaligen und aktuellen Mitgliedern bekannter Bands wie Amoral, Warmen und anderen haben sich Oceanhoarse zu einer Band entwickelt, die bereit ist, die Dinge in ihrem eigenen Stil zu erkunden, anstatt sich an irgendeine Art von Durchschnittsformel zu halten. Nachdem sie 2021 ihr Debütalbum "Dead Reckoning" (Noble Demon) veröffentlicht haben, gefolgt von mehreren Single-Veröffentlichungen und ausgedehnten Tourneen, sind die aus Helsinki stammenden Vierer vielleicht einer der bemerkenswertesten und hart arbeitenden Newcomer. Also macht euch bereit für "Heads Will Roll", ein Album, das ihr im Jahr 2023 nicht verpassen solltet!
Als Bonus gibt es das Live Album von "The Damage is Done" als 2te CD dazu.

Nach seinem Debüt-Produzenten-Tape “AKA DER COACH” in 2021 folgt am 10.03.2023 nun der lang ersehnte Nachfolger “AKA DER COACH II” – und die Tracklist lässt allen Rap Liebhaber*innen das Wasser im Mund zusammenlaufen. Torky Tork vereint die Crème de la Crème der Deutschrap-Elite aus Helden wie Dendemann als auch der neuen Wilden wie Young Meyerlack oder Xaver und ist damit verantwortlich für Featuring Tracks, die es so noch nie zu hören gab!

Laute Gitarren, gewaltige Refrains zum Mitsingen und erhebende Ausdauer.
Nur wenige Platten trugen dazu bei, die Post-Hardcore-Szene so schnell aufzubauen wie das Debüt der Band, Page Avenue, eines der ersten seiner Art, das sich eine Million Mal verkaufte

Herzschmerz, Verzweiflung, Motivation, toxische Beziehungen, Schmerz, Verlust, Wut - alle wesentlichen Zutaten des klassischen STORY OF THE YEAR-Sounds treiben "Tear Me to Pieces" auf verblüffend neue Weise an.
"Tear Me to Pieces" ist unbestreitbar, objektiv gesehen ein Killer, vielleicht das beste SOTY-Album seit Page Avenue.

First time ever on vinyl - limited gatefold edition, 180-gram audiophile
pressing. One of the most highly acclaimed trio albums by New York pianist Bill Charlap,
originally released in 1997 on CD by Criss Cross and now reissued for the very first time on vinyl.

Widely known for his work on the Blue Note and Venus labels, his résumé includes performing with many of the leading artists of our time, ranging from Phil Woods, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person, to singers Tony Bennett and Barbra Streisand. Charlap's album with Tony Bennett,The Silver Lining, The Songs of Jerome Kernwon them both Best Traditional Pop Vocal Album in the 58th Annual Grammy Awards.

Known also for his interpretations of American popular songs, Charlap he has recorded albums featuring the music of Hoagy Carmichael, Leonard Bernstein and George Gershwin.
Jazz critic Scott Yanow gave All Through The Night 4.5 stars on the online jazz platform AllMusic and described it as a superior modern mainstream set.

Bill Charlap: piano
Peter Washington: bass
Kenny Washington: drums

The live recordings included here are among the very best from Billie Holiday's final years
Part of the motivation behind the 1956 Carnegie Hall concert was to promote Billie's autobiography, Lady Sings the Blues.

The music was attuned entirely to Billie's character part, reinforced by readings from her book by Gilbert Millstein. Although recorded in 1956, the LP was only issued in 1961, almost two years after Billie's passing on July 17, 1959, at the age of 44.

Billie Holiday, vocals
Roy Eldridge, trumpet
Coleman Hawkins, tenor sax
Carl Drinkard, piano
Tony Scott, clarinet (piano on Lady Sings the Blues only)
Carson Smith, bass
Chico Hamilton, drums
Gilbert Millstein, readings from the book Lady Sings the Blues Live at Carnegie Hall, New York, November 10, 1956.

American singer, actor, dancer, and civil rights activist Eartha Kitt was
celebrated for her highly distinctive singing style
Her recordings of "C'est Si Bon" and the Christmas novelty song "Santa Baby"became instant classics and are presented here along with many other hits.

Limited edition audiophile pressing on 180gram premium vinyl.
Eartha Kitt epitomized the idea of the sex-kitten chanteuse, rising to fame with a nightclub act centred on her slinky stage presence and her throaty purr of a voice. As much as she enjoyed vamping it up, she also projected the image of an exotic international sophisticate. She brought a definite zest to her torch songs and Orson Welles once called her "the most exciting woman in the world".

Eartha Kitt , lead vocals on all tracks,

plus: Henri René Orchestra,
Maurice Levine Orchestra,
Shorty Rogers Orchestra,
Anton Coppola Orchestra.
New York, 1953-59

There is a perfect match between Dario Argento's film and Goblins' music
in "Profondo Rosso" (Deep Red), both made in 1974 - and then released
the following year - when both artists were living in a period of maximum
creativity: their fortuitous meeting produced two masterpieces, one
cinematographic and one musical, a source of inspiration in the decades
to follow
The music of "Profondo Rosso" was originally commissioned to jazzman Giorgio
Gaslini, a former Dario Argento's collaborator who wrote the songs on side B of
this LP, but was soon entrusted to four young musicians from Rome: Claudio
Simonetti (keyboards), Massimo Morante (guitars) , Fabio Pignatelli (bass guitar),
Walter Martino (drums). The legendary theme and sinister melodies of the title
track set a new standard at the time for film music, not just in the thriller / horror
genre, and thanks to their dazzling debut Goblin enjoy international fame and
respect until today. An essential masterpiece for any lover of soundtracks and
cinema, Italian music, progressive rock, jazz- rock and much more. A piece of
History, reissued in a faithful reproduction of the original 1975 version. 180gr.
clear purple vinyl edition.

Roadrunner United war ein Projekt des berühmten
Hardrock-Labels Roadrunner Records, das 2005 zur Feier
des 25-jährigen Bestehens organisiert wurde und seinen
Höhepunkt in den "All-Star Sessions" fand, einem Album,
das für Chart-Platzierungen in Deutschland, den USA,
Großbritannien und weiteren Ländern sorgte. Vier
"Spielführer" (Joey Jordison von Slipknot, Robb
Flynn von Machine Head, Dino Cazares von Fear
Factory und Matthew K. Heafy von Trivium) wurden
auserkoren, sich mit 57 Artists aus 45 ehemaligen und
aktuellen Roadrunner-Bands einzufinden. Ein
Metal-Familientreffen der besonderen Art!
Ab dem 10. März 2023 sind sowohl das Original-Album
der "All-Star Sessions" als auch das Konzert selbst in
Vinyl wieder erhältlich.

In the 1950s, Jamaican dancehall regulars were crazy about the haunting sounds of American Rhythm & Blues. But in the mid-1950s, Rock 'n' Roll began to replace RnB in America, and Jamaican dancehall owners like Duke Reid and Clement Dodd turned to local musicians to record their own versions of American RnB.
The trend of covering foreign hits exploded during the Ska heyday of the early 60s and continued through the Rocksteady and Reggay eras. Jamaican musicians have covered virtually every genre of music, from jazz and rock to film scores, television soundtracks, pop, classical music and more. Over the years, they have also recorded many "versions" of already existing covers. Cover of cover of cover…
Admittedly, some of these covers were futile but many were sublime as this new and eclectic collection of Ska, Rocksteady and Reggay nuggets, compiled by the very competent and very charming D.J. Héléa, brilliantly demonstrates. Attention we are here "undercover", there are no well-known covers. Some of the tracks selected are rare, others unknown or forgotten - but all are excellent and blended in an impeccable mix, in line with previous the Harlem Shuffle compilations... All Killer, No Filler!
REGGAY UNDERCOVER is an exciting musical kaleidoscope of Jamaican and Reggae music from the early 60s through to the mid 70s.
We hope you will enjoy listening to this album as much as we had composing it for you.
All aboard for REGGAY UNDERCOVER!

Roman artist Heinrich Dressel delivers a sparkling gaze into the future with the glistening ‘Lambda 2077’. Opening with powerful, guttural drones and sweet sweeps from ‘Nebulosa’, the broad sonic scope of this LP is beautifully demonstrated.

Growling arps and magnetic, synthesised moans are throughout this record. Dressel cultivates a cinematic, cerebral experience throughout each track, delicately weaving a visceral soundscape. The rising, slicing tones of the atmospheric ‘CEM 8220’ provide a compelling journey through meandering arps with a defined structure. ‘Arpeggio Jawa’ swims into action with a watery, colourful arpeggio sailing through each intriguing section.

‘Francisco’ opens things up with an electro-tinged, thunderous remix. Building upon the chordal gravitas of the original, the remix provides the release with an acidic percussive journey. The swirling brilliance of the title track ‘Lambda 2077’ presents itself as stunning, emotive work which prepares you for the decade Heinrich Dressel is heading to next. The machine lead release shows Heinrich Dressel as a consistent unstoppable force behind the synthesiser, culminating in an astonishing, sophisticated record.

Acid architects joined their force to build up this second Opus.
Mental to hardfloor !
Acid to acidcore !

Gondwana Records announces 'Goodbyes' the debut album from Estonian pianist and composer, Hanakiv, a deeply beautiful, meditative piano album featuring special guest Alabaster dePlume

"This is an album about healing. It is about saying your goodbyes to everything that doesn't serve you anymore. Each of these songs has a little goodbye in it. So, these are very beautiful and necessary goodbyes".

Hanakiv is a young composer and musician from Estonia (now based in London) who creates meditative piano-based ambient music with elements from classical and electronic music. 'Goodbyes' is her debut recording and draws on influences as diverse as Tim Hecker, Björk "Vespertine", Kara-Lis Coverdale, Arvo Pärt, Erkki-Sven Tüür and Aphex Twin as well as her own cultural heritage. Music has an important part in Estonian culture, especially choir music and its traditions, but Hanakiv also draws on her love of nature – the beautiful Estonian seaside and forests - and on her time in Iceland. However, it was moving to London that gave her the freedom to make her own music: "London gave me the freedom and courage to really be who I am (as a person and musically)" and her heritage and her new home both offer inspiration to Goodbyes, as Hanakiv moves between these two opposite places, a bustling metropolis and a small country full of nature, drawing inspiration from both as she sculpts her own voice.

Hanakiv had an unconventional music education – she started studying music at a school for handbells when she was nine and was part of a handbell ensemble for eight years. Starting on piano at the same time she went on to study composition at high school, and later at the Estonian Academy of Music. Eventually switching to electroacoustic composition, she studied in Reykjavik, and did internships in Malmö, and again Reykjavik before moving to London. She grew up in a musical family and her grandmother was a piano teacher and choir conductor.

"I would always ask her to take me to her choir rehearsals. I remember sitting under the grand piano, listening to the choir and just being mesmerised by the sounds. She also teaches in a local music school in the south of Estonia with about ten pianos, and I'd spend a lot of time there as well. I believe this was the starting point for me to get to where I am now. The last two pieces on the album (Home II and Home I) are composed in this same music school, so it feels like a full circle.

An early influence was Regina Spektor "the first artist who made me really want to play piano" alongside dream pop and Sigur Rós' as well as Estonian contemporary composers such as Erkki-Sven Tüür and Arvo Pärt. Later her studies took her to Reykjavík: "There is this amazing record shop called 12 Tónar in Reykjavik where you can drink espressos and listen to all their vinyls. I spent quite a lot of time there. There is something about Icelandic music that really excited me (the mixture of contemporary electronic sounds with melancholy, emotionality). This is when I started getting more into electronic music, and experimenting outside of classical music". Following a year long break from studying and inspired by making an electroacoustic soundtrack for a friend's abstract video, she was inspired to complete a masters in electroacoustic composition, diving fully into the worlds of sound recording and mixing and focusing on surround sound and how to position and move sounds in space, eventually doing an internship with composer Kent Olofson in Malmö, who works with multi-speaker systems for theatre productions. "I learnt a lot from him and he introduced me to some of my favourite plugins I've used a lot on this album as well."

Hanakiv moved to London just as the pandemic hit and found herself trapped, in a big new city, without any network or family and so just concentrated on making music. "I stayed in my room with my basic equipment - keyboard, Korg minilogue, SM 58 and Rode nt1-a microphones, laptop and speakers. I was reading about mixing, and trying out different things and listening to a lot of music to get the sense of the mixes and production and finishing a commission piece for 5.1 multi speaker system at that time so I set up four speakers for quadrophonic surround sound in my room!". She also found her way back to piano - my instrument – and started practicing again, playing the pieces she used to play, but also just improvising, and this was the beginning of what would become her debut album, 'Goodbyes'.

"I started appreciating everything about music again (even melody!), and everything just came together naturally, and I arrived to a point where I finally found my voice, and I had something that I wanted to say and share. I composed "Meditation I" first and started with "Goodbye", and all the other pieces are derived from that. Without "Meditation I" there wouldn't be this album. If you listen closely, "Meditation I" starts where "Goodbye" ends; "Meditation II" is born from "Meditation I".

But it was meeting Fi Roberts, a sound engineer based at the legendary Strongrom Studios in Shoreditch, London in December 2020 that really brought the album into focus. The pair bonded over an interest in prepared piano and a similar approach to production ideas (a balance of not overdoing it, and letting the songs speak for themselves, but being open to explore) and Fi became a friend but also a confidant and eventually co-producer

"Fi has a big impact on this record but I don't know how to really explain that properly. Of course, this album is sonically stunning thanks to her amazing mixes and recording skills, but she also believed in this music so much and it created something very special - that's difficult to measure with words. She just works with heart, and I really appreciate that"

This then is 'Goodbyes', the first offering from a major new voice, who offers us a meditative work full of space and tranquillity but also life and friendship and meaning. And we are very proud to welcome her to the Gondwana family.