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MEMORIAM needs no introduction ‐ they are living legends of Old School Death Metal. Not only because the former fields of activity of the Brits belonged and still belong to the pioneers of UK Death Metal, but because they managed to follow their master plan more than precisely. MEMORIAM has built up their own loyal fan base over the past
seven years and developed its own musical identity. It would certainly have been easy for them to just follow the old paths, but the true art of the band is that they never deny their origins, but gradually incorporate something new ‐ with every album a few new nuances and facets are added.

The sheer speed of their creative output shows how consistently MEMORIAM follow this path: Following the initial success of the HELLFIRE DEMOS trilogy, MEMORIAM signed with Nuclear Blast in 2016. The band went on to release FOR THE FALLEN (2017), THE SILENT VIGIL (2018) and REQUIEM FOR MANKIND (2019) ensuring within a very short time that MEMORIAM were firmly established among loyal Death Metal fans. This wassupported by dozens of concerts, which have taken the band from selected club shows to major festival appearances (e.g. Hellfest, Wacken, Summer Breeze, Graspop). Following the success of this initial trilogy, MEMORIAM switched to the young label Reaper Entertainment. The album TO THE END, the first of a new trilogy, was released in 2021. The second album of the trilogy, RISE TO POWER, will be released in early 2023.

RISE TO POWER will not only once again offer an atmospherically dense Dan Seagrave cover, the war theme stylized on it also runs through Karl Willetts’ lyrics: With 'Never Forget, Never Again (6 Million Dead)' about the Holocaust and the, unfortunately, more than current 'Total War' about the war in Ukraine, Karl is more political than ever. "I am
writing 'our burden and shame' instead of 'their' as I believe it is our collective responsibility to ensure that something like the Holocaust never happens again. I feel that it is my responsibility as a frontman and lyricist to write about the things that I feel are important," explains Karl. MEMORIAM transforms aggression and grief into
uncompromising Death Metal energy. Also musically the mentioned above development process continues.

While the opener still serves the essential Death Metal groove, MEMORIAM becomes more variable with each additional song and keeps adding new dynamics into their Old School Death Metal sound ‐ from brutal grooves ('Annihilation's Dawn') via doomy‐melodic parts like in 'I Am The Enemy' up to aggressive Nordic riffing like in 'Total War'. RISE TO POWER is an extremely varied album, as Karl confirms: "That's Scott's style, he comes from a different generation than Frank, Spike and me. He brings in influences from bands I haven't even heard of. It gives us the balance between old and new, and it works pretty well for us.” (Thomas Strater)

Waxwork Records is proud to present the Us Original Motion Picture Soundtrack featuring a score by composer Michael Abels. Us, released in March 2019, is an original nightmare written, directed and produced by Academy Awardr-winning visionary Jordan Peele (Get Out). Set in present day Santa Cruz on the iconic Northern California coastline, the film, starring Oscarr winner Lupita Nyong'o and Black Panther's Winston Duke, pits an ordinary American family against a terrifying and uncanny opponent: doppelgängers of themselves. A blockbuster that earned raves from critics and audiences alike, Us earned more than $250 million at the worldwide box office to become one the highest grossing R-rated horror films of all time, buoyed by an unexpected and innovative soundtrack and by a groundbreaking, terrifying original score by Abels. Us marks the second collaboration between composer Abels and Peele, who first worked together on Peele's 2017 Oscar-winning horror film, Get Out. For the Us score, Abels explored themes of duality and discord. "Sonically, what defines 'scary' is the unfamiliar," Abels says. "It is the things that we can't place, and that we don't expect, that take us to that place of fear. We wanted to really strike terror into the audience." Central to the score was the opening track, an anthem for the doppelgängers, known in the film as The Tethered. Abels hit on the idea of using choral elements. "Jordan really loves the sounds of voices, and the human voice is an incredibly expressive instrument that anyone can relate to," Abels says. "The anthem sounds a little like a march of people preparing for battle, like an uprising maybe, but the sounds are not in a recognizable language. In other parts of the film there are vocal effects, just these strange sounds. They're designed to really freak people out." Abels featured a 30 person choir, a third of them children, in the "Anthem," and implemented Eastern European instruments, violins, percussion and a virtual instrument called a Propanium drum. "It makes this trashy metal sound, but you can also play melodies on it," Abels said. "The Propanium drum has a sound that's both otherworldly but not electronic or like science fiction. It's a sound you can't quite put your finger on, which is why it works well in this film." Also included on the soundtrack is the 1995 hip-hop hit "I Got 5 On It" by Luniz and the stand-out track "I Like That" by Janelle Monáe. Abels also helped with a new arrangement of the Luniz hit, which is featured on the soundtrack as the 'Tethered Mix from Us'.



































[xi] 35 I GOT 5 ON IT (FEAT. MICHAEL MARSHALL) [TETHERED MIX FROM US] - LUNIZ

Ray Charles is the first studio album by American pianist, vocalist, and band leader Ray Charles.3 Originally released in June 1957 on Atlantic Records, it was re-released under the title Hallelujah I Love Her So in 1962.

Der Soundtrack zum packenden Dokumentarfilm ”Billie” (Kinostart 24.12) , der mit seltenem Archivmaterial und Interviews das dramatische Leben von Billie Holiday nacherzählt.
”Billie” entstand unter der Regie von James Erskine, auf dessen Konto unter anderem die Emmy-nominierte BBC-Dokumentation ”The Human Face” geht. ”Billie” erkundet Leben und die Karriere der legendären Sängerin auf der Basis von rarem Filmmaterial (zum Teil erstmals koloriert) und Interviews mit Künstlerkollegen wie Charles Mingus, Tony Bennett und Count Basie, sowie mit Holiday’s Stiefeltern, Lebenspartnern, Schulfreunden, Gefängniskameraden, Anwälten und sogar den FBI-Agenten, die sie einmal verhaftet haben.
”Billie” kommt in Deutschland am 24. Dezember ins Kino, bereits am 13. November erscheint das Soundtrack-Album, das die wichtigsten und schönsten Songs aus dem Werk Billie Holidays versammelt.

Tensor Norm is back. In this ocassion, we visit differents locations of the world geography to bring you an EP full of electro, breaks, acid and IDM.

Side A goes into the coordinates of dark electro in different ways. "Cell Reprogramming" by Clone Theory (one of its members is Heuristic Audio) is a spatial track with smooth percussion, a heavy, oscillating bassline and minimal melodic design. On "Automorphism", Sigma_ALgebra resorts to smooth percussion and a drone-like oscillating bassline to generate a floating feel, over which choppy, lightning-like melodic profiles occur. Finally, north american LectrO cOd-E, speeds up the tempo to expose the military round bass, synth twitches and vocoder transmissions of “Morphology”.

Side B is incided in borderline spaces with the incorporation of acid sounds as main elements. After an opening that programs the rhythmic structure and adds pad atmosphere, "Amenacid" by Liðvarð aka DJ VLR ratchets up the tension through a brief acid line modified steadily but subtly. The EP closes with "Phanaire Luses", a track with typical IDM resources with which, through the accumulation of bleep-like emissions, acid figures, sparks and amorphous sounds, Jaquarius builds a psychedelic track.

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Red Vinyl

Young Fathers - Alloysious Massaquoi, Kayus Bankole und G. Hastings - kündigen heute ihr langerwartetes neues Album, „Heavy Heavy“, an. Das vierte Album des Trios erscheint am 3. Februar 2023 via Ninja Tune und ist ihr erstes seit „Cocoa Sugar“ von 2018. Das 10-Track-Projekt signalisiert einen erneuten Back-to-Basics-Ansatz ohne externe Produzenten, nur ein winziges Heimstudio, ein paar Geräte und Mikrofone: alles immer eingesteckt, alles immer in Reichweite. Über das Album schreibt Alloysious: „Jede Platte muss besser sein als die letzte. Das ist die Mentalität. Wenn es nicht besser wäre, würde es nicht herauskommen.“ Für ihn geht es bei diesem Album nicht einmal wirklich um die zehn Songs auf der Tracklist. Es geht darum, was mit dem Trio in den langen, verrückten Jahren seit „Cocoa Sugar“ passiert ist. „Heavy Heavy“ ist der Beweis für das, was von dieser Zeit übrig geblieben ist. Der Erfolg des Überlebens, der Exzess der Existenz. „Ich mag den Titel ‚Heavy Heavy‘, denn es ist alles plus die Küchenspüle", fügt G. hinzu. „Maximalistisch. Keine Art von Schlankheitskur. Es fühlt sich voll an, gewichtig. Und es zweimal zu sagen, macht es spielerisch.“
Für Young Fathers gibt es keinen Dresscode. Tanzen, nicht moshen. Die Hüften zucken, die Füße rutschen, das Gehirn feuert in Catherine Wheel-Sparks aus Freude und Empathie. Unterirdisch, aber nie dunkel. Immer noch jung, nach einigen Jahren, auch wenn die heavy, heavy weight of the world von Tag zu Tag zu wachsen scheint.

Perth-based artistic hub 823, led by producer / creator-extraordinaire Taku, joins forces with producers Idealism & Lucid Green for “Undone,” a genre-melting LP that bridges sonic comfort, textured tones and lush timbres into one serene, 10 track experience. LP arriving February 3rd, 2023 via 823 x Jakarta Records.

Finnish-born producer and pianist Idealism (1.5mil Spotify Monthly Listeners - SML) and French transplant Lucid Green (568k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on a number of past releases, their upcoming, fully collaborative LP “Undone” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket. With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. Featuring the likes of Yutaka Hirasaka (220k SML) and Charlie Kurata (aka Charlie – 200k SML; Duumu – 109k SML), the album soars, reminiscent of life’s simple, yet wholly memorable moments that bring you a nostalgic pause.
As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club member Mindi Ossi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.
823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (852k SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (753k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (17mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and wellestablished artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

 Between You & Me are back, bringing with them a
coloured vinyl repress of their explosive 2021
album, ‘Armageddon’.
 This album is a testament to perseverance, as the
band had just cracked ground on building this
album when the global lockdowns due to the
pandemic hit.
 The band rallied together to create amazing songs
and stories with the help of Sam Guaiana at the
helm as producer.
 ‘Armageddon’ will definitely have you singing along
and rocking out.
 LP pressed on Green & Black Swirl vinyl.

Die Pioniere der elektronischen Popmusik sind zurück und feiern mit ihrem 14. Studioalbum “Point” ihr 40-jähriges Bestehen.

Mit der Debut-Single „Bostich“ eroberten Yello die afro- merikanischen Dance-Klubs von New York . Danach ging ihr Sound – eine Collage von Musik aus aller Welt – um die Welt. Alben wie „You Gotta Say Yes To Another Excess“ (1983), „Stella“ (1985), „Pocket Universe” (1997) und „Toy” (2016) waren Bestseller. Die Evergreens „The Race“, „Oh Yeah“ und „I Love You“ tauchen noch heute ständig im Kino auf. Laute und stille Stimmen wie Shirley Bassey, Billy Mackenzie, Stina Nordenstam und Fifi Rong haben im Yello-Studio gesungen.

Das am 28.08. erscheinende, von Boris Blank und Dieter Meier höchst persönlich produzierte Studioalbum “Point” besteht aus 12 Titeln, deren typische Yello-Klangbilder einen jeden Fan und Kenner sofort
aufhorchen lassen. Die Singles “Waba Duba”, “Out Of Sight” und “Spinning My Mind” sind darauf ebenfalls zu hören.

Kirk Degiorgio is becoming somewhat of a mainstay on the Belgian De:tuned label. Here he returns with 'The Unveiling'. The title track stands out with a classical synth progression and beautiful harmonies, resulting in an uplifting Detroit fused techno cut. 'Descent Module' takes you on a driving acidic trip and has all the characteristics of a hypnotic floater for the after-hours. On the flip you'll find two exclusive remixes from Kirk's 'Communion' album on De:tuned. Ian o'Brien showcases his vast musical talent and opens up his soul with a warm and lengthy retake of 'The Ladder'. Luke Slater debuts strongly on De:tuned and provides a rare The 7th Plain remix of 'Absorption Spectra'. Luke's take is a sentimental and lush ambient techno interpretation where its unique sound oscillates between a melancholic state of nostalgia and modern escapism.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

blue marbled vinyl

Kirk Degiorgio is becoming somewhat of a mainstay on the Belgian De:tuned label. Here he returns with 'The Unveiling'. The title track stands out with a classical synth progression and beautiful harmonies, resulting in an uplifting Detroit fused techno cut. 'Descent Module' takes you on a driving acidic trip and has all the characteristics of a hypnotic floater for the after-hours. On the flip you'll find two exclusive remixes from Kirk's 'Communion' album on De:tuned. Ian o'Brien showcases his vast musical talent and opens up his soul with a warm and lengthy retake of 'The Ladder'. Luke Slater debuts strongly on De:tuned and provides a rare The 7th Plain remix of 'Absorption Spectra'. Luke's take is a sentimental and lush ambient techno interpretation where its unique sound oscillates between a melancholic state of nostalgia and modern escapism.

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

In the late '70s Wild Fire was one of the more popular groups in Trinidad. Formed by Oliver “Stompy” Chapman back in 1962 the group was originally named the Sparks. By the disco era Wild Fire were the house band at night clubs like Disco Tracks and the Upper Level. The group was very influenced by disco, especially the famous British group, Hot Chocolate known for the classic disco hit ”You Sexy Thing.” Hot Chocolate’s chief songwriter, Tony Wilson was originally a Trinidadian native and also great friends with Oliver Chapman. The opening track on this compilation is "Try Making Love", a floor-filling track written by Tony Wilson in 1977 and recorded at Coral Sound Studio in Port of Spain. It was there that Oliver Chapman laid down the unforgettable bass line, solidifying its status as a surefire hit. The infectious tune held steady at the number one slot for six weeks in Trinidad and eventually climbed to the top of the charts in Barbados. Recorded at KH Studios, “Living On A String” with its unique disco synth sound by keyboard player Calvin Duncan was about the hard living of one trying to survive as a musician and hoping to one day partake in the material strappings of fame. “The Rebels” was more about the political struggle for the young in the country at the time. There was a lot of corruption in the government and a lot of young people out of work. The song called to stand up and rebel against the regime. And years later in 1990 it did happen when the Muslim group Jamaat al Muslimeen stormed the Red House (Trinidad’s Parliament House) and took cabinet members hostage. Wild Fire would go on to tour the Caribbean extensively including stops in Barbados, Antigua, St. Thomas and Guadeloupe. The group had a massive local hit with their track “Say A Little Prayer.” The group would disband in 1985 and Oliver Chapman would move to America. Wild Fire - Dance Hits is a collection of Wild Fire's more dance friendly material.

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

For Dancer Only ist die legendäre Clubnacht von Bill Kealey, dem ebenso trinkfesten wie umtriebigen Sammler und Jäger aus Dublin. Quasi jedes Wochenende ist er mit seinem 7"-Vinylkoffer unterwegs und beglückt die Massen. Da er das schon ein paar Jahrzehnte macht, gehört er zur absoluten Champions League derer, die sich mit Rhythm & Blues der 50er und all seinen Spielarten beschäftigen. Dies ist seine erste Compilation und wir behaupten, dass es eine der Besten ist, die Stag-O-Lee je veröffentlicht hat.

James Brandon Lewis is a New York-based jazz tenor saxophonist, composer, and bandleader. His instrumental voice marries the emotional power of gospel and the grit and groove of blues and R&B to the modal and vanguard influences of Albert Ayler and John Coltrane, and Sonny Rollins" expressive melodic and tonal discipline. Moments, his 2010 debut, was followed by two outings for Sony Masterworks" revived OKeh imprint: Divine Travels in 2014 and the widely celebrated Days of Freeman the following year. After working American stages and clubs, he toured European and Asian festivals. Radiant Imprints, a duo outing with drummer Chad Taylor, appeared in 2018 and was followed by the quintet offering An UnRuly Manifesto a year later. In 2021, after he was selected as the "Rising Star Tenor Saxophonist" in the Downbeat International Critics Poll, Lewis issued The Jesup Wagon, his debut for Tao Forms. Along the way, Lewis drew the attention of many improvising artists, most notably the saxophonist and jazz deity Sonny Rollins, who doesn"t offer effusive praise very often. Moved by Lewis" deep, spirit-seeking sound, Rollins said "When I listen to you, I listen to Buddha, I listen to Confucius ... I listen to the deeper meaning of life. You are keeping the world in balance." Eye of I opens with 44 seconds of gritty, high-throttling low-down groove, an ear pulverizing opening designed to cleanse all traces of ordinary from the palette. From there, Lewis offers a prayerful cover of Donnie Hathaway"s "Someday We"ll All Be Free" and then the first of his disarmingly addictive originals, "The Blues Still Blossoms" in addition to many others.

In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7”EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7”EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs.

In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12” EP, the G.I. record would have to wait. A new DC label, Fountain of Youth, expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to finally release the record on Dischord proper.

In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world made multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts. -Ian MacKaye, August 2010

Zu ihrer letzten Tour pilgerten insgesamt mehr als 130.000 Fans, die Tour für 2019 ist bereits
angekündigt und die Jubiläums-Show in der Berliner Wuhlheide im August 2019 mit 17.000
Besuchern, war nach nur 20 Tagen restlos ausverkauft. Ihre Musikvideos zählen über 350 Mio. Views
auf YouTube, Sie spielen unzählige Headliner-Slots auf allen großen Festivals und halten den Status,
als eine der erfolgreichsten deutschen Bands im Streaming-Bereich. Die letzten beiden Alben sind
bereits vergoldet und mehrere Singles haben Gold- und Platinstatus erreicht. In den
Mainstream-Medien bleiben Vincent und Dag dabei, zum Teil ganz bewusst, weitestgehend unter dem
Radar. In der großen Vielfalt, des am 1. März erscheinenden Albums - Die Unendlichste Geschichte'
ist das Lied - Unikat' tatsächlich ein Einzelstück. Der beinah klassische Pop-Song trägt eine Botschaft,
die für SDP eine besondere Bedeutung hat und zeigt erneut die emotionale Seite des Musikduos.
Gerade in heutigen Zeiten, in denen der Erfolgs- und Anpassungsdruck, besonders auf junge
Menschen, enorm hoch ist, sind solche Songs wichtig. Unikat rundet den famosen Genre-Wahnsinn
des Albums perfekt ab.

Hidden Worlds are everywhere around us. Some may emerge,
materialize in waveforms.... and let you look a little deeper. 3
Ambient and Dub influenced Deep House and Electronica
tracks. Mastering and Cut at Dubplates & Mastering, Berlin.

2023 Repress

After his amazing EP on Omerta Records, Bristol based Artificial Red delivers 3 tracks for 3AM Eternal 04. Side A "Mystics" brings the vibes right away! Ambient soundscapes mixed with Hardcore amens and deep subs. Energetic yet meditative B1 "Imy From The Fruit Farm" goes even deeper. Lush ambient pulling you in over subtle breaks, flowing atmospheric jungle. B2 "Dragnet" is another full on amen choppage tune but with subtle guitar licks and wavey atmospherics.

Minimal Synth, Darkwave, EBM, Synthwave and New Wave from Sweden.

(Obergman, Derek Carr, Baby Ford mixes)

Some 20 years on from its initial release, it's amazing how fresh and current 'Praise' by Leigh Dickson sounds, every bit as reinvigorating as a swim in an icy mountain stream. Sushitech imprint Pariter have opted to remaster the lush original mix in its full glory, adding the already well known and much loved Baby Ford Heavenly Circuit remix alongside a new, unreleased 'alternative remix' and new mixes by Pariter's own Ogerman and Derek Carr. All four sides are eminently playable in the deep house/techno framework, as you'd imagine, with varying levels of the original's bewitching instrumentation retained.

Deadpool 2 is a 2018 American superhero film based on the Marvel Comics character Deadpool. It is the sequel to Deadpool (2016) and the eleventh installment overall in the X-Men film series. The film was directed by David Leitch and written by Rhett Reese, Paul Wernick, and Ryan Reynolds, who stars in the title role alongside Josh Brolin, Morena Baccarin, Julian Dennison, Zazie Beetz, T.J. Miller, Brianna Hildebrand, and Jack Kesy. In the film, Deadpool forms the X-Force to protect a young mutant from the time-traveling soldier Cable.

Bates approached the score with a slight rock sensibility and created an “obvious superhero theme” that he felt fit within the established X-Men franchise. He attempted to write music that stayed out of the way of the film’s comedy and complemented its dialogue, which was a challenge due to the constant changes being made to the film throughout the post-production process. For the score, Bates used a distorted guitar run through a wah-wah pedal, microsynths to add “unique colors”, and a choir.

Deadpool 2 is available as a limited edition of 1000 individually numbered copies on transparent pink coloured vinyl. It is housed in a high-quality sleeve with silverfoil and spot-varnish with embossing on the front cover. Additionally, this release includes a 4-page booklet and fridge magnet of the film’s logo.

On June 30, 1986, the same day that Diamanda Galás"s The Divine Punishment was released, the Supreme Court upheld the constitutionality of Georgia"s so-called sodomy law in Bowers v. Hardwick, criminalizing consensual sex between men. At the time, about 15,000 people were known to have died of AIDS in the U.S. alone, with little government acknowledgement besides suggestions to quarantine homosexuals on island colonies. By the end of 2021, the number of AIDS deaths globally would exceed 36 million. The first album in her Masque of the Red Death trilogy, The Divine Punishment is one of the most jarring works of art produced in response to the AIDS epidemic, and a milestone in Diamanda Galás"s artistry and activism. Galás uses her famous voice both as an orational instrument and as well as a physical representation of AIDS and those it afflicts.

Celebrating its one hundredth release, Black Truffle is honoured to present a major archival discovery: a stunning document of the only performance by the trio of Tony Conrad, Arnold Dreyblatt and Jim O’Rourke. Across a two-night programme organised by David Weinstein at legendary New York experimental venue Tonic in January 2001, Conrad, Dreyblatt and O’Rourke presented individual projects before performing a collaborative set each night, the first with members of Dreyblatt’s ensemble and the second the trio heard here. As Dreyblatt points out in the wonderfully informative and reflective liner notes written for this release, this was a collaboration across generations, reflecting the profound impact of Conrad’s pioneering minimalism on Dreyblatt and O’Rourke. Both Dreyblatt and O’Rourke came to this collaboration armed with a deep appreciation of Conrad’s music and the just intonation principles at its core, Dreyblatt having first encountered the incredible power of Conrad’s precisely tuned violin chords during his tenure as an archivist for La Monte Young in 1975, while O’Rourke had performed with Conrad in various settings since the mid-1990s (as well as admiring, reissuing, and performing Dreyblatt's music). The flyer for the concert promised ‘massive, ecstatic, pulsating overtones’, and the trio certainly delivered. From the moment this keening stream of bowed strings begins, it is clear, as Dreyblatt writes, that we are in ‘Tony’s sonic universe’, as massively amplified, slowly shifting combinations of precisely chosen pitches fill the room with complex beating patterns and ghostly difference tones. For more than twenty-five minutes, the music operates at a level of intensity comparable to classic recordings such as Conrad’s Four Violins, until the texture thins out slightly in the performance’s final quarter, allowing for the listener’s first recognition of the individual voices that make up this enormous, overwhelming harmonic edifice. The constant stream of bowed tones is broken by a beautifully rich pizzicato from Conrad on monochord, the sliding low tones and metallic shimmer of the other strings taking the set's final moments on an unexpected detour into spacious pastoral psychedelia.

Though produced by three individuals known for their own distinctive bodies of the work, this is egoless music, the perfect expression of Conrad's desire 'to move away from composing to listening', to 'working "on" the sound from "inside" the sound'. Historically important and overwhelming in sonic impact, this release also serves as a moving tribute to Tony Conrad from two musicians profoundly marked by the example set by his art and life.

Brit Taylor’s highly anticipated sophomore album, Kentucky Blue, is a drive down the famed Country Music Highway – Route 23 -- back to her Appalachian roots. Grammy-winner Sturgill Simpson and renowned engineer and producer David Ferguson caught wind of the Kentucky gem after her self-reflective debut album, Real Me, garnered praise from Rolling Stone, American Songwriter and NPR’s World Café. The two legends didn’t hesitate to jump in and get their hands dirty, producing the next musical chapter of Brit’s life story. The album is to be released on Brit’s own Cut A Shine Records in collaboration with Thirty Tigers. Having the courage to find her “real me” set Brit free. Kentucky Blue is a musical celebration of her healing and rebirth. It exudes confidence with a touch of attitude that replaces the melancholy, contemplative sound of Real Me. It is a progression of her life and her music and an introduction to the stand-your-ground and know-your-worth Brit of today. It is a shift back to her East Kentucky influences where the cry of the fiddle, the moan of the steel guitar, the twangy banjo and the atmospheric string section are like a journey floating through space and time. Brit continues to unabashedly write and sing about what she lives and what she knows and sees. It’s genuine. It’s who she is. Kentucky Blue is Brit’s personal invitation to you to join her at her cabin in the woods for a bourbon, a swing on the porch and a story-telling song.

 After two fiery albums, ‘Silence Slowly And Madly Shines’
in 2017 (Alter K), and ‘Private Meaning First’ in 2019
(Vicious Circle / FatCat Records), The Psychotic Monks
have never ceased to impress with their maturity and
determination to offer a singular stage and discographic
presence.
 Although radical, ‘Pink Colour Surgery’ is truly accessible
to those who immerse themselves in its in depth. One is
unceasingly hypnotised, shaken as their soul flirts
dangerously with a furious and oppressive trance. Then
the journey becomes addictive, letting yourself slide from
one track to another, sometimes struck, sometimes set
ablaze with an unexpected epiphany, because its light
irradiates us.
 Live, their music is an intimate, sensory experience, the
effects of which continue to be felt for a long time
afterwards.
 Recorded and produced by Daniel Fox of Gilla Band, ‘Pink
Colour Surgery’ is composed, in part, of improvisations,
and is presented as an act of resistance to the ambient
violence. Disconcerting at first sight, this new opus
operates in the dark, a surgery of ethics which is fleshed
out of pink for a staggering metamorphosis. Its very
structure takes the listener on an initiatory trip full of secret
corners, provided they are prepared to dive into it, to
plunge into it.
 ‘Pink Colour Surgery’ is like a hidden room in a house that
we have never entered before, and the possibility of
feeling good there is not excluded.
 Support from KEXP, Northern Transmissions, Kerrang,
Loud & Quiet.
 UK and EU tour dates to be announced for early 2023.

Repressed On translucent blue vinyl! Too many people sleep on Tougher Than Leather, Run-DMC’s fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game – Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens’ prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic – chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy DMX – get lost in their crates. For starters, the album’s first single, “Run’s House” b/w “Beats To The Rhyme” is arguably the most powerful one-two punch of the trio’s career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world’s best DJs, flexing the pinnacle of what would be called “turntablism” a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, “Mary, Mary,” driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like “Walk This Way,” the song wasn’t just bubblegum – there was an edge to it, and the lyrical gymnastics were very real. It wasn’t selling out, it was allowing fans to buy in. “Papa Crazy,” driven in concept and by a sample from the Temptations’ “Papa Was A Rolling Stone,” followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group’s first three LPs. It’s easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like “Radio Station” they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. “Tougher Than Leather” reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And “They Call Us Run-DMC” and “Soul To Rock And Roll” both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the ‘80s output of one of the decade’s most important groups. It encompasses the full range of the trio’s capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay! A1. Run's House A2. Mary, Mary A3. They Call Us Run DMC A4. Beats To The Rhyme A5. Radio Station A6. Papa Crazy B1. Tougher Than Leather B2. I'm Not Going Out Like That B3. How'd Ya Do It Dee B4. Miss Elaine B5. Soul To Rock And Roll B6. Ragtime

The second instalment from London Odense Ensemble digs deeper into the group's vision of what modern psychedelic jazz should sound like. Cut from the same sessions as Jaiyede Sessions vol. 1, released last summer, vol. 2 presents a more nuanced approach to the material. On this set the ensemble focuses on shorter, layered pieces - travelling from deep spiritual jazz grooves to gorgeous free-flowing minimalism to full-on acid jazz. There's echo-drenched flutes being absorbed into layers of analog synth pads and guitars, bossa beats and double bass sequences merging with electronics. It's an intoxicating mélange of sounds and styles, spanning wide temporal and geographical distances. London Odense Ensemble came together when two of the finest exponents of London's flourishing jazz scene, flautist and saxofonist Tamar Osborn and keyboard specialist Al MacSween, came over to Denmark to explore new sounds with Causa Sui's Jakob Skott and Jonas Munk, as well as local bass player Martin Rude. For two days the group laid down grooves and ideas and experimented in the studio, and later the best segments were edited and mixed by Jonas Munk, who took a somewhat liberal approach to the mixing process, often dyeing the material with external effects and synthesizers. Jaiyede Sessions are the kinds of records that defy genre-terms, yet have its own instantly recognizable fingerprint. It carries a unique shared vision between the players of what modern psychedelic jazz sounds like. bios: Tamar Osborn: Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab. Al MacSween: Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate. Martin Rude: Multi-string instrumentalist & lead singer in Sun River & Edena Gardens with members of Papir & Causa Sui. Jakob Skott: Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, Jonas Munk: Guitarist in Causa Sui & studio wizard on most releases on El Paraiso.

«I am the bridge between the day and the night that never ends, I am the acid drop that beads on your dancing body, I am the metallic breakthrough that crosses your being when I catch your wet hands, I am the brutal wave that grazes your dark gaze and your tired eyes, I am the titanium and the cyprin, I am the adrenaline, I am that being that invents, desires and revolts, I am that jolt of desire that tears me when it is dark, I am a psychoactive substance diluted in honey, I am the back that you caress, I am our first and last dance, I am the one who seduces you, I am the one who obsesses you, I am the solitary dance that bewitched me the first time we met, I am the cry muffled by our restless bodies, I am the movement that pierces and unfolds as if it were the last. I am solid and liquid, mechanical and organic, I am your first and last time, I am Baraka.»

French duo Baraka present their first eponymous EP.
Dive into their cathartic universe in which they celebrate their love for club culture using powerful TR8s, incisive break beats, synthetic layers inspired by trance and trip-hop as well as cavernous female voices.

This alliance of electronic music, 90’ aesthetics and dreamy undulations intertwine like the yin and yang and promise a mystical universe with futuristic imagery.

Techno trailblazer Amelie Lens presents her new EP 'In My Mind' on her own Lenske imprint, containing three explosive techno tracks.

Belgium's Lenske Records presents its next EP from label head Amelie Lens. The release marks a considerable high point of Lens' career, hot on the heels of the launch of her radio show and dropping just before her debut Ibiza residency with sister label EXHALE. 'In My Mind' will mark Amelie's first solo release on the label since 2020 and follows her collaboration with Airod on 'Raver's Heart' EP late last year. The EP also was inspired by electrifying visuals that Amelie takes on the road and showcases at selected gigs.

Title track 'In My Mind' opens proceedings with blasts, bangs and heavy reverbs whilst Amelie's voice swirls above. The build-up gives way to furious claps, and spiking synths that continue to dance around the vocal sample in a ruthless march. The beat is unrelenting with a venomous, pulsing bassline that creates this raw and atmospheric techno cut, while bubbling keys maintain vitality and lightness with their careful arrangement.

Multiple elements come into play for subsequent track 'First Light'. A stripped back kick synchronizes with distorted pads for the opening, soon accompanied by a heavier kick-drum counterpart and lick of acid to inject some sharpness. The true DNA of the track is the programmed claps and dark pads that rise and fall menacingly throughout, as splashes of effects are thrown into the mix.

Final track on the record 'Trippin'' undoubtedly packs a punch. Blasting off with a dominant kick and oscillating spring reverb that swipes through Amelie's wistful vocals, the harder elements gradually succumb to the softness of her voice. The listener's focus is momentarily shifted during an early breakdown before the kick returns with more vigor accompanied by hurried hi-hats and distortion that sends you into a frenzy.

Back in the early days of GAMM we used to release Hip Hop reworks of classic golden era favourites.

After tons and tons of Disco, Jazz, House and Latin reworks we thought it was time to bring it back to the streets of the American east coast with a three part 7" inch series produced (not edited) by the mighty Lee Gomez aka Wipe The Needle.

The beats are all brand new production but you'll probably recognise the vocals.
Over the 3 releases you'll hear shades of inspiration from classic producers like Pete Rock, DJ Premier, Dilla and DITC.
It almost sounds as if these are the original productions. No joke...it's that strong!!

Italian mastermind based in Berlin, Kaoslog, has been meticulously working on this project for well over one year, gathering top artists to finally achieve a superb 9 track album.

Grab your copy before its too late!

KingUnderground presents a stunning collection of 8 releases pressed onto 7” vinyl from the Cavendish Music catalogue. Paying homage to the genre of Library Music, furthering its exposure to a new generation of listeners.
Library Music experienced its heyday in the 60s and 70s, as thousands of instrumental tracks were produced by musicians and composers for the purpose of placements in Radio, Television, and Film. This rich piece of European music history would go on to inform genres to come and speak heavily to the Jazz, Funk, and Hip Hop communities of the future.
This was often a musician's first opportunity to become a composer, or what most would commonly know now as producer of music. These composers would work with a stable of musicians to record 100’s of tracks that would go into a publishing Library. The pieces of music were recorded quickly and deliberately. The composers, musicians, and engineers understood their role in the process, it was an act of discipline amongst all involved. Often the composer was given a brief on what the end goal was for the client. The specifics would include tempo to lock into, song ending time, ect.
Never before have these tracks from the Cavendish Music Library been pressed on 7” vinyl at 45RPM. In all there will be 8 individual 45s, licensed from Boosey & Hawkes & Cavendish Music Library. The collection includes compositions by Tony Kinsey, John Scott, Sam Fonteyn, Ray Davies, and more.

There’s a boldness to Library music. It's in the forward nature of where the drums sit in the mix and the percussive playing of the keys that gives you something to grab hold of, it feels grounded yet exciting. It’s music beamed in from a different galaxy!

The Soninke collective consciousness finds its origins in a founding myth, a blood pact: the legend of Biida and the decadence of the empire of Ghana or Wagadu (evoked by Léopold Sédar Senghor as a land of plenty in his poem Le Kaya Magan). From the 3rd century AD, gathered in the region of Sahel, on the edge of the Sahara desert, the Soninko ruled over their kingdom and its capital Kumbi Saleh. According to folklore, they were blessed with abundant rain and nuggets of gold could be picked directly from the ground.

They owed this prosperity to a providential but cruel protector: the Wagadu Biida, a seven-headed serpent who lived at the bottom of the Kumbi well. Every year, as a reward for his favours, the Biida demanded an offering: the life of the most beautiful virgin woman in the community. Sacrifices took place for generations, until the 13th century AD, when fate chose Siya Yatabéré, Maamadi Sehedunxote's sweetheart...

Centuries later in 1977, Gaye Mody Camara, a young Soninke raised in Mali's Kayes region, settled in France to found his own empire. Initially selling wax, kola nuts and other goods in his Parisian outlets, he rapidly started distributing cassette tapes and eventually producing a multitude of recordings for his own label: Camara Production.

Crossing paths and collaborating over the next four decades with legendary artists, griots and industry moguls like Boncana Maïga, Jean-Philippe Rykiel, Ganda Fadiga, Diaby Doua or Ibrahima Sylla, Camara became one of the great independent music producers of his generation, and a pilar of the Parisian Soninke diaspora.

Released in close collaboration with Gaye Camara and with the assistance of Daouda N'diaye, one of A.P.S' (Association pour la Promotion de la langue et de la culture Soninké) historical members, this selection of songs and accompanying notes aim to shed a light on an intricate culture and its modern music, injustifiably unknown outside of West Africa and the various Soninko diasporas around the world.

From Malian Zouk to Mauritanian Reggae and other psychedelic groovers originally released on cassettes or digitally, we have given the utmost attention to bringing this music to a new format. It has been carefully remastered and pressed on a couple of 180g vinyls, with riso printed liner notes.

Brainwave research center is a new project from NYC-based house/techno producer, Chase Smith (W.T. Records, Apartment, is/Was), & documentary filmmaker, Christa Majoras (School of Visual Arts).

Conceived together over two years as musical thought experiments, brainwave research center’s debut album, figure 1, contains a genre-bending distillation of influences from experimental music (Steve Reich, Laurie Spiegel, Black Dice), 1990s ambient techno (The Orb, Pete Namlook/Fax Records), and Motorik/Kosmiche/Krautrock (Kraftwerk, Suicide, Manual Gottsching).

The songs embrace a raw, naive approach to sound design, instrumentation, and technical production to capture the feeling of experimentation of the works they are inspired by. Described by listeners as a mixture of Electronic, ambient, and kosmische/krautrock.

Recorded and produced in Greenpoint, Brooklyn in the back of Smith’s synthesizer/electronic repair shop, Specs Sales & Repair, Figure 1 is the first in a sequence of 4 works to be released.

Made primarily with TR-606, OB8, SH-101, MS-20, Fizmo, H3000, SDE-3000

Support from Call Super, Ame, Slam, Fish Go Deep, Lars Behrenroth, Iron Curtis, Severino, Laurent Garnier and more