Buscar:21 savage

Fast sechs Jahre nach seiner letzten Solo-Veröffentlichung meldet sich 21 Savage mit seinem lang erwarteten neuen Studioalbum "American Dream" zurück. Das Album, das zwei Wochen in Folge auf Platz 1 der Billboard Top 200 Charts stand, setzt die Trap-Tradition des Rappers fort, fügt aber einige neue Elemente hinzu, darunter R&B auf dem Track "prove it" mit Summer Walker und Pop auf der Doja Cat-Kollaboration "n.h.i.e." Mit Featurings von Metro Boomin', The Weeknd, Young Thug, Travis Scott, Lil Durk und anderen fehlt es aber auch nicht an Hip-Hop-Elementen.

Fast sechs Jahre nach seiner letzten Solo-Veröffentlichung meldet sich 21 Savage mit seinem lang erwarteten neuen Studioalbum "American Dream" zurück. Das Album, das zwei Wochen in Folge auf Platz 1 der Billboard Top 200 Charts stand, setzt die Trap-Tradition des Rappers fort, fügt aber einige neue Elemente hinzu, darunter R&B auf dem Track "prove it" mit Summer Walker und Pop auf der Doja Cat-Kollaboration "n.h.i.e." Mit Featurings von Metro Boomin', The Weeknd, Young Thug, Travis Scott, Lil Durk und anderen fehlt es aber auch nicht an Hip-Hop-Elementen

Savage Mode II is a collaborative studio album by Atlanta rapper 21 Savage and producer Metro Boomin. The 15 song album serves as a sequel to the duo's extended play Savage Mode (2016). It features guest appearances by Drake, Young Thug and Savage's cousin Young Nudy. Savage Mode II received widespread acclaim and debuted atop the US Billboard 200. It was supported by two singles, "Runnin" and "Mr. Right Now". Specialist promo/marketing activity.

Hip hop/rap/producer/songwriter released his second Columbia album on CD in January 2019 - this is the double LP format of the same album. Recent collaborators have included Drake, Metro Boomin, Young Thug, Gucci Mane and the recent massive hit "Rockstar" with Post Malone. Specialist music press coverage, with ads, features & reviews. Online/social media activity. Video plays across MTV/Vevo. Profile across streaming platforms. Poster campaign.

22 track double gatefold vinyl version of the album (CD) which was released July 7th. Collaborators include Beyonce, Jay Z, Nas,Travis Scott, Alicia Keys, Nicki Minaj, Rihanna, Bryson Tiller, Rick Ross, Big Sean, Calvin Harris, Justin Bieber, Quavo, Lil Wayne, Chance the Rapper & more. Support across radio, TV & press. Online & social media activity.

In a year which marks the 40th anniversary since the initial formation - under the moniker of Black Death - of what would subsequently grow into influential genre legends, 2026 marks the return of the imperishable Norwegian duo of Fenriz & Nocturno Culto for their new opus of high calibre old metal, under the banner of ‘Pre-Historic Metal’. As Fenriz himself proclaims of the title’s symbolic origin, “Prehistoric is a loose term. I just figure it’s our VIBE, our take on things & it’s more a statement that we use old style to create something new”.

‘Pre-Historic Metal’ contains eight tracks of primal epics & gargantuan riffs with organic sound & the ever-present permeating spirit of the 70’s & 80’s, for a new continuation of the mastery witnessed on 2024’s ‘It Beckons Us All’. This next chapter in Darkthrone’s extensive & ongoing catalogue presents a vast odyssey through the sonic landscapes of Thrash, Black, Heavy & Doom Metal &, adorned with a punishing & “in your face” guitar presence, Darkthrone stirs the cauldron of savage creativity with a nod to the writing methods which were indicative of their earlier works of the late 80’s, but with a more refined craft.

'Pre-Historic Metal' was recorded at Chaka Khan Studios, Oslo, with production work conducted by Ole Øvstedal, Silje Høgevold & Mads Luis. Mastering was carried out by Jack Control at Enormous Door, & Maor Appelbaum Mastering.

This edition of 'Pre-Historic Metal' is presented on black vinyl.

The first volume in a two-part collection of pirate radio adverts & idents, taken from recordings of London stations between 1984 & 1993.
Many thanks to Wayne Anthony, Simon Reynolds, Stephen Hebditch & The Pirate Radio Archive.

Das neue Album führt Usher mit seinem Freund L.A. Reid zusammen.

Usher hat die Musik, die Kultur und unzählige Leben verändert. Der mehrfach mit dem Grammy Award ausgezeichnete internationale Megastar, Schauspieler, Tänzer, Unternehmer und Philanthrop wird auch im Jahr 2023 und darüber hinaus für Veränderungen sorgen. Er hat weltweit mehr als 80 Millionen Platten verkauft und Dutzende von Auszeichnungen erhalten. Gleichzeitig hat er auf dem kleinen Bildschirm in NBCs The Voice und auf der großen Leinwand in Blockbustern wie Hustlers brilliert. Darüber hinaus hat er sich unermüdlich als engagierter Menschenfreund hervorgetan, indem er zig Millionen Dollar für verschiedene Zwecke sammelte und mit seiner New Look Foundation die Jugend förderte. Seit 1999 bietet er jungen Menschen in unterversorgten Gemeinden Chancen und ermöglicht ihnen, sich zu entfalten und scheinbar unmögliche Träume zu verwirklichen. Als echter Ausreißer ist er auf der Bühne seiner ausverkauften My Way Las Vegas Residency ebenso zu Hause wie auf einer Kulturmission der Regierung 2016 nach Kuba als Teil des Presidential Committee for Arts and Humanities von Präsident Barack Obama. Dieses Album stellt die kreative Wiedervereinigung von Usher und L.A. Reid dar, die seit dem 2004 erschienenen Album Confessions mit Diamant-Zertifikat nicht mehr zusammen gearbeitet haben. Das Album wurde hauptsächlich in Atlanta, GA mit vielen der angesagtesten Produzenten Atlantas aufgenommen, darunter Sean Garrett, Lil John, The Avila Brothers, Mel & Mus, Tricky Stewart, Rico Love, The-Dream, Jermaine Dupri, D Mile und viele andere. Es gibt Features von Summer Walker, 21 Savage und Latto.

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.



Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.



Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”



But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.



The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.



“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.



Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.



Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

On limited double vinyl (500 ) with a download -

With Limited Edition A4 Heavy-Weight Space Art print (First 100 Copies Online) Signed & Numbered By Jon Savage (CTRUE48) Original Cover Artwork By Matt Sewell.

Jon Savage's Space - An amazing musical voyage through the theme and idea of Space - music for Space - Space - Music - Through West-Coast US Rock , Techno, Post-Punk , Jazz, Ambient & Experimental sounds-this is a journey like no other .. From Sun Ra to Mr Fingers and way beyond.

.

"We are taken to less familiar musical quadrants-fascinatedly & instructively so"

(Roy Wilkinson - MOJO Feb 2025)

FECHA LANZAMIENTO: 3 JUNIO

LP - limited re-press 2024! coloured Vinyl ! Cash Savage is one of the most respected and talented songwriters in Melbourne. With her band The Last Drinks, she has forged a reputation for gritty, raw and Australiana-tinged storytelling. One of Us is the result of a "fucking awesome, but fucking hard" 2015 for Savage, using the experience to generate a broader scope for songwriting. There's exploration of dichotomies and dualities, the songcraft emboldened by aural landscapes laid bare by The Last Drinks (Joe White, Rene Mancuso, Chris Lichti, Brett Marshall, Kat Mear).

Riding the Low are fronted by actor Paddy Considine, who was inspired to start a band after seeing Guided by Voices play live. "Robert Pollard's songwriting is just incredible. The immediacy of it just blew me away. His presence on stage... Being a fan felt like being in a gang. I wanted my own gang". The name Riding The Low came from a biography on Lee Marvin that Paddy read before the idea of having a band was even conceived. "There was a section in the book where it described the way Lee felt after he’d completed a movie. He used to see a psychiatrist who advised him that after movies he should fill his time doing the things he enjoys to take his mind off things and settle him back into normal life. The psychiatrist called this period 'Riding the Low'." 'Riding the Low' initially came about as a hobbyist outlet for Paddy's musical interest and ability; writing Pavement inspired songs on acoustic guitar on his own, before developing them with The Leisure Society's Nick Hemming.

Usher hat die Musik, die Kultur und unzählige Leben verändert. Der mehrfach mit dem GRAMMY Award ausgezeichnete internationale Megastar, Schauspieler, Tänzer, Unternehmer und Philanthrop wird auch im Jahr 2023 und darüber hinaus für Veränderungen sorgen. Er hat weltweit mehr als 80 Millionen Platten verkauft und Dutzende von Auszeichnungen erhalten. Gleichzeitig hat er auf dem kleinen Bildschirm in NBCs The Voice und auf der großen Leinwand in Blockbustern wie Hustlers brilliert. Darüber hinaus hat er sich unermüdlich als engagierter Menschenfreund hervorgetan, indem er zig Millionen Dollar für verschiedene Zwecke sammelte und mit seiner New Look Foundation die Jugend förderte. Seit 1999 bietet er jungen Menschen in unterversorgten Gemeinden Chancen und ermöglicht ihnen, sich zu entfalten und scheinbar unmögliche Träume zu verwirklichen. Als echter Ausreißer ist er auf der Bühne seiner ausverkauften My Way Las Vegas Residency ebenso zu Hause wie auf einer Kulturmission der Regierung 2016 nach Kuba als Teil des Presidential Committee for Arts and Humanities von Präsident Barack Obama. Dieses Album stellt die kreative Wiedervereinigung von Usher und L.A. Reid dar, die seit dem 2004 erschienenen Album Confessions mit Diamant-Zertifikat nicht mehr zusammen gearbeitet haben. Das Album wurde hauptsächlich in Atlanta, GA mit vielen der angesagtesten Produzenten Atlantas aufgenommen, darunter Sean Garrett, Lil John, The Avila Brothers, Mel & Mus, Tricky Stewart, Rico Love, The-Dream, Jermaine Dupri, D Mile und viele andere. Es gibt Features von Summer Walker, 21 Savage und Latto.

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

Hoodie SZN ist der Nachfolger von The Bigger Artist, dem Debütalbum des New Yorker Rappers, auf dem auch seine mehrfach mit Platin ausgezeichnete Single "Drowning" erschien. Hoodie SZN wurde ursprüngich am 21. Dezember 2018 veröffentlicht. Features waren unter anderem Juice WRLD, 6ix9ine, Nav, Offset, Tyga, Young Thug und Queen Naija.

Diamond-certified, eight-time GRAMMY® Award-nominated Travis Scott returns with the long awaited UTOPIA. The fourth full length #1 studio album contains 19 tracks including “I KNOW ?,” “K-POP” with Bad Bunny and The Weeknd, “DELRESTO (ECHOES)” feat. Beyoncé, and “FE!N” feat. Playboi Carti.

Repress!

In the mid-1970s, a force of nature swept across the continental United States, cutting across all strata of race and class, rooting in our minds, our homes, our culture. It wasn’t The Exorcist, Goodbye Yellow Brick Road, or even bell-bottoms, but instead a book called The Secret Life of Plants. The work of occultist/former OSS agent Peter Tompkins and former CIA agent/dowsing enthusiast Christopher Bird, the books shot up the bestseller charts and spread like kudzu across the landscape, becoming a phenomenon. Seemingly overnight, the indoor plant business was in full bloom and photosynthetic eukaryotes of every genus were hanging off walls, lording over bookshelves, and basking on sunny window ledges. The science behind Secret Life was specious: plants can hear our prayers, they’re lie detectors, they’re telepathic, able to predict natural disasters and receive signals from distant galaxies. But that didn’t stop millions from buying and nurturing their new plants.

Perhaps the craziest claim of the book was that plants also dug music. And whether you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears), you also took home Plantasia, an album recorded especially for them. Subtitled “warm earth music for plants…and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Plants date back from the dawn of time, but apparently they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson.

Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytumcomosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.”

But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “He constantly had a song he was humming,” Darmet says. “At the table he was constantly tapping.” Which is to say that Mort pulled his melodies out of thin air, just like any household plant would.

The Plantae kingdom grew to its height by 1976, from DC Comics’ mossy superhero Swamp Thing to Stevie Wonder’s own herbal meditation, Journey Through the Secret Life of Plants. Nefarious manifestations of human-plant interaction also abounded, be it the grotesque pods in Invasion of the Body Snatchers or the pothead paranoia of the US Government spraying Mexican marijuana fields with the herbicide paraquat (which led to the rise in homegrown pot by the 1980s). And then there’s the warm, leafy embrace of Plantasia itself.

“My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes.

Garson may have given the album away to new plant and bed owners, but a decade later a new generation could hear his music in another surreptitious way. Millions of kids bought The Legend of Zelda for their Nintendo Entertainment System back in 1986 and one distinct 8-bit tune bears more than a passing resemblance to album highlight “Concerto for Philodendron and Pothos.” Garson was never properly credited for it, but he nevertheless subliminally slipped into a new generations’ head, helping kids and plants alike grow.

Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’snew renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant.

"MONSTER" - ZUM ERSTEN MAL AUF VINYL. Monster ist das dreizehnte Mixtape von Future. Es wurde am 28. Oktober 2014 von Freebandz Entertainment veröffentlicht.

The prolific Brussels-based ensemble Razen is back on Hands in the Dark with a new stunning collection of fascinating improvisations: ‘Hier l’An 4000’.

Based upon the theme of reincarnation hypnosis and inspired by the writings of Donoso and Slauerhoff, 1940s SF drawings, sky burials and a fantasy of future music where savagery and sophistication meet, the band ventures here into reverse mesozoic exotica. Each piece leans on sampled hand percussion (by grace of the legendary Algerian percussionist Abdelmajid ‘Guem’ Guemguem), augmented by Brecht Ameel, Kim Delcour and David Poltrock’s trademark devotional approach on early music wind instruments and pre-digital keys and synthesisers, spiralling down into their own rabbit hole of repetition and changes.

As gorgeously illustrated by the contemporary British painter Nicholas William Johnson: whilst proposing a futuristic trance-like trek through magenta night skies, toxic radiations and a hostile flora, Razen has never sounded more ecstatic and disruptive.

On the 25th August, Burna Boy will release his brand-new album ‘I Told Them…’. It will be available to stream everywhere as well as on CD & Vinyl. The Pre-order will go live alongside the album announce on the 28th July. ‘I Told Them…’ features Burna’s newest hit singles ‘Sittin’ On Top Of The World (feat. 21 Savage)’, ‘Talibans II’ & ‘Big 7’ as well as a whole host of album features.



Burna Boy was born Damini Ogulu in Port Harcourt, Rivers State, Nigeria, in 1991 and began making music at just ten years old. As a teenager he honed his craft on Nigeria’s southern coast, delving into dancehall, reggae and Afrobeat’s. In the early 2010s Burna Boy emerged as one of Nigeria’s fastest-rising stars, combining influences from his Nigerian heritage with hook-filled pop stylings to create unforgettable tracks. His 2012 single ‘Like to Party’ broke into the global mainstream and paved the way for his full-length debut L.I.F.E, a year later.



Over the next five years, Burna Boy released two more albums and collaborated with a long list of high-profile artists including J Hus, Skales, Fall Out Boy and Lily Allen. African Giant was released in 2019 followed by his fifth album Twice as Tall in 2020 (which featured collabs with Chris Martin and Youssou N'Dour), both charted in several countries across the globe andgarnered worldwide acclamation, with the latter winning a Grammy Award for ‘Best Global Music Album’. Breaking cultural boundaries, he became the first Nigerian to headline a show at New York’s Madison Square Garden, he released his sixth album, Love, Damini, last year (featuring collabs with the likes of Ed Sheeran and Khalid). It deservedly became the highest-charting Nigerian album in history and currently holds the record for the only African artist to earn a no. 1 on iTunes in 16 countries worldwide.

Invasion of Privacy is the debut studio album by American rapper Cardi B. It was released on April 6, 2018, by Atlantic Records. Primarily a hip hop record, Invasion of Privacy also includes trap, Latin trap and R&B.

“What It Means To Be King'' is the first posthumous album from late Chicago legend, King Von. Known as one of the great storytellers in modern hip-hop, Von’s untimely passing in November 2020 came on the verge of him reaching superstardom, with his album “Welcome To O'Block'' hitting number thirteen on the Billboard 200. Fans can finally expect to hear the finished product of the lead single, “Don’t Play That,” which Von himself teased on social media while still with us. Joining Von, the album features appearances from 21 Savage, G Herbo, Fivio Foreign, Moneybagg Yo, Lil Durk, Polo G, A Boogie Wit da Hoodie, Dreezy, OMB Peezy, Boss Top & DqFromDaO. Long Live King Von. Pressed on silver & black marble vinyl; widespine sleeve; 12-page booklet.

THE SOUNDTRACK OF THE MOST CONTROVERSIAL FILM EVER.

FOR THE FIRST TIME IN FULL IN A SPECIAL DOUBLE VINYL EDITION!!! (NON-RETURNABLE)

This Legacy Edition of “Cannibal Holocaust” includes the film score remastered and released in its entirety for the first time ever on double LP; graphically speaking, it includes a gatefold cover with glossy title letters printed on a special soft touch paper, OBI and an 8-page booklet complete with reproductions of posters, lobby cards and photographs from the set, plus presentation essays written by Fabio Capuzzo (one of today’s best soundtrack experts), Stefan Dimle (Landberk, Anekdoten, Paatos, Morte Macabre) and Mikael Åkerfeldt.

AMS Records is proud to present a special edition of the “Cannibal Holocaust” soundtrack, exclusively released on the occasion of Record Store Day 2023. It is, of course, one of the many 'cannibalistic' movies, but perhaps it’s also the only one of its a genre that even today generates mixed feelings and strong controversy.

The excellent soundtrack, composed by Riz Ortolani, makes extensive use of string instruments, masterfully arranged and directed to match the strong contrast between the more relaxed scenes - the incipit of the film is memorable, with the main theme accompanying the spectator in a flight over the Amazon forest - and those full of rhythm and tension; in the first case, the strings go along with guitar arpeggios, while in the second they vibrate alone or together with glacial electronic beats. There are also funk-rock episodes such as in “Cameramen’s Recreation”, “Relaxing In The Savana” and “Drinking Coco”, while “Cannibal Holocaust (Terror)” is pure noise mixed with haunting percussion.

Elza Soares’ 34th studio album and her first to feature previously unrecorded material exclusively composed for her. Over a sprawl of distorted guitars, squalling horns, taught strings and electronic shards, samba is savaged by rock ‘n’ roll, free-jazz, noise and other experimental music forms as Elza tackles the burning issues of 21st century Brazil: racism, domestic violence, sex and drug addiction.

A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica. Her life-story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil’s repressed female, black, gay and working-class populations.

 Blasting off higher than ever before, Metro Boomin proudly presents his anxiously awaited blockbuster new album, HEROES & VILLAINS, out via Boominati Worldwide/Republic Records through Island in UK. Assembling an Avengers-level guest list, the album also notably boasts the likes of John Legend, Future, Chris Brown, Don Toliver, Travis Scott, 21 Savage, Young Nudy, Young Thug, Mustafa, A$AP Rocky, Gunna, and the late Takeoff. It notably serves as his first solo LP in four years and the follow-up to his 2018 full-length debut, Not All Heroes Wear Capes. The latter bowed at #1 on the Billboard 200, picked up a platinum certification, and housed the triple-platinum “Space Cadet” feat. Gunna, platinum “No Complaints” feat. Drake & Offset, platinum “Don’t Come Out The House” feat. 21 Savage, triple-platinum “10 Freaky Girls” feat. 21 Savage, platinum “Overdue” feat. Travis Scott, among others.

4x LP and Zine (ft. photos, historical text and track narrations by the artist) set. Nation bring it.
An essential delve in to the retrospective works of SSPS. Limited edition. No repress. HUGE TIP ON THIS!

" You can't fake the funk, as they say and SSPS is pure funk embodied in all he does, the man oozes the funk 24-7!
One of my earliest encounters with SSPS was at one of the infamous Rubulad parties out in Brooklyn....
the man was decked out extravagantly...a cross between Blowfly and some futuristic being zapped
down to earth directly from the P-Funk mothership. Who was this masked man?
The disco vampire, was beating fast disco tracks relentlessly while slamming in his 707 over the records in real time...
not an easy feat, the beauty of the imperfections making it that much more exciting hearing the gallop and wild energy
he was bringing to the crowd, we were eating it up. This is SSPS, fearless in his approach and execution,
a modernist looking to the future but rooted in the past, an artist committed to his art...
all presented with unhinged emotion. It's all or nothing...everything on the table....do or die...the true epitome of style!!!!

Declaring someone a "cult figure" or a "legend" is a huge weight to carry and is often a term that is carelessly thrown around,
but those of us who have dwelled in this "underground" over the last 30 years can say with confidence that SSPS is just that
to many of us, no questions asked, it's not up for debate.

Now, many years later we see the culmination of his electronic works from 2002-2021 committed to record in this 4xlp,
16 track boxed set (plus 45 page booklet) titled SSPS, "The Life and Times of GiGi Black" thus solidifying
Mr. Nicholson's place in the secret world of dance not dance music.

The only way to describe this offering is "full spectrum electronic musical madness" not to be categorized,
never to be pigeonholed, full of surprises and straight from the gut with a direct hit to the heart.
We could go on about the production processes, about his Furr City studio space or his cross country excursions
for work with a truck packed with paintings (but also his music equipment) plugging in and recording during his
pit stops in Motel 6's across the US. But again it doesn't do justice to simply have a small peek inside the man's mind...
the music is beyond the mind. The process is the process and nothing has or can stand in the way of what the SSPS
has done in his long musical life. Punk Rock, Hardcore, House, No-Wave, Industrial, Jakbeat/Slow-Beat and Noise.
it's all there for the taking, it's all intertwined. If you want it, you will find it within SSPS's works.

Nicholson's path is the embodiment of true culture within "dance music" cultivated from years of learning, experimenting,
and pushing the limits with total commitment and immersion. "The Life and Times of GiGi Black" is true life experience,
it is a reflection of someone delving deep into his craft and presenting it with care in opposition to the fast, disposable,
self gratifying click bait culture we see dominating the pages today. The proof is here, drop the needle, enter the world of SSPS.














n G2 1000 Truths Balearic Inaugural Mix

Seit Veröffentlichung einer ersten Single via Soundcloud in 2013 zählt sie in Großbritannien zu den meistbeachteten Newcomern: Holly "Låpsley" Fletcher. Ihre so eigenwillig wie traumwandlerisch arrangierte Musik zwischen Pop und schwebender Elektronik wird von den einschlägigen Gazetten sowie Radio-Stars wie BBC-DJ Zane Lowe über alle Maßen gelobt. Eine Berücksichtigung in der international renommierten "BBC Sound-Poll" ist da ganz folgerichtig. Mit ihrer ebenso verführerischen wie zerbrechlichen Stimme versteht es Låpsley auch live, restlos zu verzaubern - sei es auf der Glastonbury-"BBC Introducing"-Bühne, beim Reeperbahnfestival oder in Clubshows. Nach der 2015er-Single "Hurt Me", die sich in den deutschen Airplaycharts gut platzieren konnte, kommt pünktlich zum Jahresbeginn 2016 auch endlich ihr Debütalbum in die Läden. Produktionshilfe für "Long Way Home" leistete Rodaidh McDonald (Adele, The xx, Damon Albarn, Savages). Zwei Songs wurden mit Paul O'Duffy aufgenommen. Die erste Single-Auskopplung, "Love Is Blind", ist ein weiterer Fingerzeig dafür, dass Låpsleys Debüt eine neue Qualität an Tiefe und Wahrhaftigkeit in den elektronischen Pop einbringt.

Der Superstar unter den DJ-Produzenten veröffentlicht sein neues Album "Funk Wav Bounces Vol. 2". Die erste Single "Potion" mit Popstar Dua Lipa und dem Rapper Young Thug hat bereits über 70 Millionen Streams erreicht. Die Liste der Featurings ist beeindruckend: Pharrell Williams, 21Savage, Snoop Dogg, Justin Timberlake, Halsey, Charlie Puth, Busta Rhymes, Swae Lee, Pusha T, Jorja Smith, Tinashe, Lil Durk und viele andere. Le DJ producteur superstar au monde présente son nouvel album « Funk Wav Bounces Vol. 2 ». Le premier extrait « Potion » en featuring avec la popstar Dua Lipa et le rappeur Young Thug cartonne déjà et cumule plus de 70 millions de streams. Pour ce second volume, on retrouve une liste de featurings impressionnants, puisque se croiseront Pharrell Williams, 21Savage, Snoop Dogg, Justin Timberlake, Halsey, Charlie Puth, Busta Rhymes, Swae Lee, Pusha T, Jorja Smith, Tinashe, ou encore Lil Durk.

2xLP + Book (Black) Heavy metal? Glam? Hard rock? Make your own fuckin' call, you poser. We're not gonna do it for you. Bound for Hell is early `80s L.A. rock as it actually was: a California cataclysm of drunk and horny headbangers, dressed in sharp, shiny, leather androgyny and fire, kicking crowds in the teeth to clear the way to that one big shot. This 2LP set delivers 21 tracks by 21 artists in an ephemera-stuffed gatefold, plus 144-page hardbound book detailing the Sunset Strip's most razor-sharp heathens. Drumsticks burned. Hands were severed. Faces bled. Heavy was HELL for a half decade and it was a long, long way down.