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200 COPIES MARBLE COLOURED VINYL Jailcell Recipes: Perhaps the last untold chapter in the story of the rapidly-detonating, late 80’s UK Hardcore scene. Often overlooked in favour of their contemporaries, this re-mastered/re-modelled retrospective collection of songs finally puts the record straight, giving them the recognition they deserve. It showcases the band’s importance within that scene and throws light on their unique standpoint and their growth over a 4 year period. This release is not intended as a discography, rather a selected ‘strongest hand’ from between the years 1988 to 1992. It features the definitive line up of Robbie Reid (vocals), Jamie Owen (guitar), Dave Arnold (bass) and Ian Barwick (drums). It's a game of two halves; the faster, straight ahead hardcore stylings make up Side One (practically the entire first album recorded in 1988), whilst the more melodic, mid-tempo material completes the set on the flipside - Robbie's unmistakable vocals being the constant throughout that makes it all work, he provided the band with a unique identity. Side Two closes with previously unreleased studio tracks from 1992 - virtually unheard until now, we believe these final three tracks to be amongst their best. The songs now sound as the band intended all the way back in 1988. Largely down to a relentless run of gigs back in their heyday, Jailcell Recipes gained a strong reputation for being an exciting and energetic ‘live’ hardcore band, playing with Bad Brains, All, Gorilla Biscuits and including tours with Youth Of Today (1989), Green Day (1991), Naked Raygun (1988). It’s the 35th Anniversary of the release of their debut album “Energy In An Empty Tank World” and after all these years, we finally have the recorded output to match the ‘live’ performance!

200 COPIES MARBLE COLOURED VINYL Jailcell Recipes: Perhaps the last untold chapter in the story of the rapidly-detonating, late 80’s UK Hardcore scene. Often overlooked in favour of their contemporaries, this re-mastered/re-modelled retrospective collection of songs finally puts the record straight, giving them the recognition they deserve. It showcases the band’s importance within that scene and throws light on their unique standpoint and their growth over a 4 year period. This release is not intended as a discography, rather a selected ‘strongest hand’ from between the years 1988 to 1992. It features the definitive line up of Robbie Reid (vocals), Jamie Owen (guitar), Dave Arnold (bass) and Ian Barwick (drums). It's a game of two halves; the faster, straight ahead hardcore stylings make up Side One (practically the entire first album recorded in 1988), whilst the more melodic, mid-tempo material completes the set on the flipside - Robbie's unmistakable vocals being the constant throughout that makes it all work, he provided the band with a unique identity. Side Two closes with previously unreleased studio tracks from 1992 - virtually unheard until now, we believe these final three tracks to be amongst their best. The songs now sound as the band intended all the way back in 1988. Largely down to a relentless run of gigs back in their heyday, Jailcell Recipes gained a strong reputation for being an exciting and energetic ‘live’ hardcore band, playing with Bad Brains, All, Gorilla Biscuits and including tours with Youth Of Today (1989), Green Day (1991), Naked Raygun (1988). It’s the 35th Anniversary of the release of their debut album “Energy In An Empty Tank World” and after all these years, we finally have the recorded output to match the ‘live’ performance!

Brown eco cover with hand stamped logo - limited edition of hand numbered 100 copies of black vinyl.

The album "LIVE" is a record of a concert from January 2024 promoting the band's latest album, "No Codes".

It is a departure from traditional forms and a certain correctness characteristic of studio situations. Instead, there is a lot of energy, improvisation and carefree fun flowing from contact with the audience, seasoned with rock claw and freedom of expression. It is a pass to the world of P.Unity as it is in its essence - a character that until now could only be captured during live performances.

Now you can experience it in any place and time of your choice.

Heavy Moss wurden 2022 aus einer spontanen Wiedervereinigung zwischen Lucas Harwood (King Gizzard)
und seinem Freund Sam Ingles gegründet und verbinden auf ihrem Debütalbum ”Dead Slow” hypnotisierenden Psych-Rock mit üppigem Dreampop. Mit hypnotischen Grooves, fuzzigen Gitarren und satten Melodien erkundet das Album klangliches Neuland und verweist dabei auf Ikonen wie Elton John & King Krule.

”Dead Slow” ist eine immersive Reise durch modernen Psych-Pop und erscheint am 22. November2024
auf limitierter, gestanzter Vinyl-Auflage über King Gizzards p(doom)records.

Gwen Stefanis Debütalbum Love. Angel. Music. Baby.
Das Album ist auf 45 RPM 2LP neonpinkem Vinyl gepresst. Mit enthalten ist die #1 Single “Hollaback
Girl”, sowie “Rich Girl”, “Cool” und “What You Waiting For?”
Anlässlich des 20-Jährigen Jubiläums des 5x Platin Albums wird diese Neuauflage am 22.11.2024 veröffentlicht.

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!

Vom 13-jährigen Disneystar zum Popstar des Jahres 2024! Zur Feier ihres Erfolges erscheinen drei ihrer
ersten Alben alle auf Vinyl.
Sabrinas zweites Studioalbum „EVOLution“ erschien 2016 und hinterfragt „the way the world works“, mit
nahbaren Lyrics über Zweifel und Liebe. Zwei Jahre später folgte „Singular Act I“ und 2019 die Fortsetzung
„Singular Act II“. In Act 1 versucht die Künstlerin, trotz Kritikern und Meinungen von außen, Vertrauen in
sich selbst und ihre Stimme zu gewinnen, und zu einem der Stars zu werden, die sie für ihre Selbstsicherheit
und Stärke so bewundert. Act 2 stellt für sie ein Gegenstück dar. Der Fokus hier liegt auf einer authentischeren, verletzlicheren und realistischeren Perspektive, aus der Sabrina übers Erwachsenwerden berichtet.
Sabrina fasst ihre Reise zusammen: „I’m doing what I wanted to do when I was 6. That’s really cool.”
Erhältlich ab dem 22. November!

Pianist, Composer, Multi-Instrumentalist Eva Novoa Releases First Album from Her Newly Forged Trio with Sax Legend Daniel Carter and Beloved Drummer Francisco Mela

"It’s not a rumor. Brooklyn’s Eva Novoa has formed a new trio! Novoa / Carter / Mela Trio, Vol. 1 marks their first sparkling album together (which is also Eva’s third with 577 Records). The group performed live for the first time in Cambridge (Boston) in 2022 and at the NY Forward Festival in August 2024.

In an invigorating creative explosion recorded at New York City’s Sear Sound in 2021, the multi-talented instrumentalist unites with sax legend Daniel Carter and beloved drummer Francisco Mela. Prepare to be reawakened when you experience Novoa tickling the ivories, dominating the Fender Rhodes, and wowing with the electric harpsichord and Chinese gongs. Even her whistling will linger in your mind!

As captured in the electrifying tracks “Aire” and “Fuego", Novoa / Carter / Mela Trio, Vol. 1 is inspired by the four elements (earth, wind, fire, and water). “Hasta Mañana Vida Mia” weaves together Cuban tradition with soulful lyrics (sung by Francisco) and high-energy, rhythmic conversations with horns and drums. The musicians’ free interplay approach defines this eclectic trio and their sonic universe.

Born in Barcelona, Spain, Eva Novoa is a pianist and composer who’s been mastering her talents since childhood. Calling NYC home since 2012, she has rocked countless local venues with her thrilling performances and has played with many adored artists all over the globe.

Her new album drops on November 22, 2024, and will be available on vinyl, CD, and digital download. Don’t miss the stunning cover art by Novoa’s friend and collaborator, acclaimed street photographer Richard Sandler, and stay tuned for Volumes 2, 3, and 4!"

Piano, Fender Rhodes, Cinese gongs, percussion & whistling by Eva Novoa.
Tenor, alto & soprano saxophones, trumpet, flute, clarinets by Daniel Carter.
Frums & vocals by Francisco Mela.
Recorded April 18, 2021.
Recorded, mixed and mastered by Jeremy Loucas at Sear Sound, New York City.
Photography by Richard Sandler.
Graphic design by Sergio Vezzali.
Graphic support by Mark Smith.

Hip-hop debut albums simply do not get more legendary than Eric B. & Rakim’s Paid In Full!!

Paid in Full is the debut album of American hip hop duo Eric B. & Rakim, released on July 7, 1987, by Island-subsidiary label 4th & B'way Records. The duo recorded the album at hip hop producer Marley Marl's home studio and Power Play Studios in New York City, following Rakim's response to Eric B.'s search for a rapper to complement his disc jockey work in 1985. The album peaked at number fifty-eight on the Billboard 200 chart and produced five singles, "Eric B. Is President", "I Ain't No Joke", "I Know You Got Soul", "Move the Crowd", and "Paid in Full".

Paid in Full is credited as a benchmark album of the golden age hip hop. Rakim's rapping, which pioneered the use of internal rhymes in hip hop, set a higher standard of lyricism in the genre and served as a template for future rappers. The album's heavy sampling by Eric B. became influential in hip hop production. The record has sold over a million copies and the Recording Industry Association of America (RIAA) certified it platinum in 1995. In 2003, the album was ranked number 228 on Rolling Stone magazine's list of the 500 greatest albums of all time.

Man muss es als eine glückliche Fügung des Himmels bezeichnen, dass diese drei Musiker zusammengefunden haben: Am Kontrabass der Schwede Anders Jornim, einer der wichtigsten Tieftöner der europäischen Jazz-Szene mit acht Alben als Bandleader für ECM und einer prallvollen künstlerischen Vita mit Touren und Aufnahmen an der Seite von Legenden wie Elvin Jones, Albert Mangelsdorff, Joe Henderson, Lee Konitz oder Kenny Wheeler. An der Gitarre Arne Jansen, der zweifach mit dem "ECHO Jazz" ausgezeichnete Berliner, der mit dem senegalesischen Orchestra Baobab, Nils Landgren oder Jazzanova spielte und dessen Duo-Aufnahme mit Nils Wülker unlängst sogar auf Platz 15 der deutschen Pop-Charts kletterte. Am Saxofon der ebenfalls in Berlin lebende Uwe Steinmetz, der sich neben seiner Zusammenarbeit mit u.a. Joe Maneri oder Tord Gustafvsen einen Namen als Komponist für die NDR Bigband oder das Fitzwilliam String Quartet machen konnte. Erstmals trat das deutsch-schwedische Trio 2016 in der Kathedrale in Göteborg im Rahmen eines nordischen Kirchenmusikfestivals auf. Sofort war klar, dass es eine spezielle Verbindung zwischen den drei Musikern gibt. Eine in dieser Form nicht oft zu beobachtende Gleichgestimmtheit, die auch die gemeinsame Tournee des Trios im Herbst 2022 prägte - und im besonderen Maße das Abschlusskonzert in der Waldkirche am Timmendorfer Strand am 22. Oktober. Nicht umsonst trägt das aus dem Live-Mitschnitt entstandene Album nun den Titel "The Pilgrimage". Zum einen, weil es mit "La Peregrinacion" beginnt, einem Pilgerlied des Argentiniers und "Misa Criolla"-Komponisten Ariel Ramirez. Zum anderen, weil Jansen, Jormin und Steinmetz in ihren zwischen Jazz, Klassik, nordischer und außereuropäischer Folklore wandelnden Stücken den Urgründen eines universellen menschlichen Phänomens nachspüren.

Out of print for 15 years, Soul Jazz Records’ “Do It Yourself” features a host of postpunk, punk, punk funk/dance and electronic experimentation from UK bands in
the late 70s and 80s that all arrived in the aftermath of punk. As well as loads of
great music, the album also charts the rise of the independent music industry in
Britain that similarly thrived during this time.
Featuring classic groups such as The Buzzcocks, A Certain Ratio, The Fire Engines,
Glaxo Babies and a host of lesser known, rare and obscure tracks and artists, this
new 2024 edition comes as a limited edition special coloured version double vinyl
pressing, complete with deluxe gatefold sleeve with two unique inner sleeves.
This fully remastered album comes with extensive sleevenotes and photography
as well as interviews with key behind-the-scene players – including studios,
cutting rooms, print works – that together bring a fantastic insight into the DIY
music and culture of this period and the explosion in the independent music
industry after punk.

Zum ersten Mal seit 2021 wird Pipe-eye, der australische Musiker, Sänger und Songwriter Cook Craig,
eine brandneue LP veröffentlichen. Das Album mit dem Titel „Pipe-defy“ soll am 18. Oktober erscheinen,
wobei die erste Single „Lords Of Lithium“ einen ersten Vorgeschmack auf das gibt, was noch kommen
wird.
Mit Anspielungen auf die ehrwürdigen Einflüsse von Funk und Synthie-Dance-Klassikern der 70er/80er
Jahre stellt Pipe-defy eine stilistische Abkehr von seinen früheren Alben dar. Craig erklärt, dass er seine
Einflüsse auf dem Ärmel trägt: „Ungefähr zu der Zeit, als ich anfing, Songs für das Album zu schreiben,
schenkte mir meine Mutter einen Haufen alter CDs aus meiner frühen Teenagerzeit, die ich seit Ewigkeiten
nicht mehr angehört hatte. Da waren haufenweise Grandmaster Flash, Herbie Hancock, Zapp, Stevie
Wonder und andere Sachen dabei. Als ich weiter Songs schrieb, fingen sie irgendwie an, so zu klingen...
also denke ich, dass das irgendwie eine alte Besessenheit von diesem Musikstil in mir ausgelöst hat.“ Dies
wird besonders deutlich, da jeder Track den Hörer dazu einlädt, sich in einem Teppich aus hypnotischen
Synthie-Rhythmen, beruhigenden Orchester-Hits und mit den Füßen wippenden, mit den Knien schlagenden
und mit den Händen klatschenden Grooves zu verlieren.
Pipe-defy ist ein Beweis für Craigs Entschlossenheit, mit jeder neuen Veröffentlichung eine neue Ästhetik
zu erforschen und sein Bestreben, neue Wege beim Songwriting zu gehen, weiter zu verfolgen.

Across seven tracks of widescreen ambient music, 45 minutes of visuals shot over four years in multiple countries, seven photographs, and a multi-sensory, multiple channel live performance, Willits has created something which might better be thought of as an experience than a simple album. OPENING features Willits latest music since Ancient Future, his 2012 collaboration with Japanese pianist Ryuichi Sakamoto, and his recent production and mastering work on Tychos Awake. The vibrant, enveloping sounds we have come to expect from him are on full display. The vinyl LP includes a download code.

The seeds of composer Rafael Anton Irisarri’s latest LP were first planted during his 2016 tour in Italy, months before that Autumn’s unexpected presidential election. The linguistic glitch of an innocuous diner in Milan named “il Mito Americano” – meant as “The American Dream” but translated literally to English as “The American Myth” – sparked a series of ideas, both conceptual and musical.

Amid the chaos of 2020, while exploring the stark world of brutalist architecture and inspired by the false fronts of Potemkin villages, a vision started to take shape: FAÇADISMS. Composed over three years, it’s a late capitalist lament of simmering electric despondency.

Irisarri’s obsession with repeating motifs mirrors the cyclical nature of our tumultuous political history. The album’s eight tracks heave and storm like a tempest being drained of its rage. This is the sound of majestic dissipation, of morning afters, fashioned from a mournful haze with cavernous guitars and granular twilight. A euphony of a receding tide as one sifts through the remnants of what remains: dust, delusion, and memory.

Opening with the somber gauze of “Broken Intensification," FAÇADISMS moves fluidly between moments of absence and abandon. Ashen swaths of electronics billow above smoldering embers of melody, guitar, and scattered streaks of processed strings and voice, as on the rapturous doom of “Control Your Soul's Desire for Freedom,” featuring Julia Kent on cello and Hannah Elizabeth Cox on vocals. "The impoverished peoples of the Americas have known all along that 'freedom' is a cruel illusion crafted by the elites, akin to Potemkin's fake villages designed to impress Catherine the Great," Irisarri indicates. "FAÇADISMS illustrates a twisted inversion where the rulers deceive their subjects with illusions of safety, democracy, and free speech to create a grotesque mirage of control over their own lives.”

Elsewhere, Irisarri leans into passages of hushed oblivion (“Hollow,” “Dispersion of Belief”), while ragged drones rumble and disintegrate into wind-battered ambient wreckage. One has the sense that it’s all too late. The hour of fury has passed. The beauty has come and gone. Irisarri’s muse has become the crack in the façade of the unraveling myth.

The record closes with a climax of grand departure. Co-written with Kenyan sound artist KMRU, “Red Moon Tide” surges from flickering elegy to celestial disquiet, roiling waves of hymnal descent, and bristling noise. The effect is unsettling and unmooring: a soundtrack for the soul leaving the body, only to discover a void. It’s the sound of the center not holding, of shared illusions being dissolved in a tunnel of white light.

The cover photograph captures a profound sense of desolation. Taken in the historic shanty town of La Perla, Puerto Rico, where Irisarri spent his childhood, brutal colonial mysteries are lost to time. A skeletal concrete structure decays against an expansive blue horizon. Only the shadow of its shell ripples on the empty sea.

Has the American myth finally run its course?

Big Sleepover, the reissue of 2021 collab album by Big Boi and Sleepy Brown, features CeeLo Green, Killer Mike, Backbone, Big Rube, and RENEGADE EL REY and is available for the first time on vinyl. Lauded for its humor and dynamics, the pair lets you know from the very beginning that they "have nothing else to prove."

Limited to 2000 copies, the VMP exclusive version of Big Boi and Sleepy Brown's Big Sleepover is pressed on Cloudy Green vinyl at GZ Vinyl. The 2LPs will arrive in a double gatefold, rainbow foil board, foil-stamped and numbered jacket.

Peni Candra Rini (she/her), the Indonesian composer and performer whose musical practice encompasses a wide range of traditional and experimental Javanese styles, announces her new album Wulansih (July 12, 2024) via New Amsterdam Records. Kronos Quartet's David Harrington, a frequent collaborator of Rini, recently called her “one of the world's greatest singers”, and on Wulansih she places her voice in conversation with a wide array of experimental and traditional musicians, including Andy McGraw, Lester St. Louis, Shahzad Ismaily, John Priestley, Curt Sydnor, and many others. Produced by Ismaily at New York's Figure 8 Recording, Wulansih creates a world all its own.

The 8 songs on Wulansih exert a deep sense of spiritual calm and act as, in Rini’s words, “a reminder that you are still human, listening to expressions of other humans.” Her music is deeply inspired by the poetry of Rumi and Hafez, Wayang Kulit (Indonesian shadow play), and Serat, the tradition of Sufi thought in Central Javanese court poetry. Rini says that Wulansih aims to “express my inner feelings, my soul, to provide inspiration to younger Indonesian composers, and to introduce Indonesian new compositions to new global audiences.”

Wulansih is a small encyclopedia of Indonesian music. Rini explains: “The album mixes a wide range of materials, including traditional Javanese gamelan singing, Balinese chant, stringband music of the 1960s, and intercultural improvisations, bringing them all together through my contemporary compositional approach. We created experimental ensembles, and even experimental instruments and tunings to create an album that, whatever you think of it, sounds like nothing else.”

Rini’s lyrics are poems, strongly inspired by Javanese Sufism, with a deep emphasis on love and the inner self. Estu explores the idea of “love as a sacrifice; it takes a commitment to put one’s heart in the right place. It requires the seriousness of an artist,” while Warahsih explores how “always through understanding and sincerity, teaching Love to those who study the ways of life, through the ages.”

The music on Wulansih transforms these poems of love and compassion into open and lush sonic spaces that are crafted using synthesizers, traditional Indonesian instruments, Rini’s wide vocal range, guitars, and Ismaily’s production.

When the then 21-year old Mac DeMarco released his debut Rock and Roll Night Club 12" just a short while ago in the Spring of 2012, it was accompanied by a barrage of bizarrely funny promo videos, wildly unhinged live performances and a not-so-subtle disparate range of promo photos. The glam facade was purely that, an image that was manufactured for fun to confuse the stiff and compartmentalizing world of indie music journalists. But it wasn't all a jest, as that EP covered a whole range of music styles that were latent in the ex-Makeout Videotape frontman's already impressive slough of cassette-only releases. The sincere and warm Mac who sang "Only You" was the same lipstick-wearing sleazoid that crooned "Baby's Wearing Blue Jeans" and that suited him and his listeners just fine. Now, all of six months later, Mac is back with his first proper full length, Mac DeMarco 2. As opposed to RNRNC, "2" is a concerted effort to produce a cohesive work that showcases Mac's natural ability as a songwriter, singer and producer. With a new arsenal of recording gear, the fidelity has substantially improved without compromising the immediacy and organic quality of his prior releases under any monicker. The results are immediately rewarding, from the warm "Cooking Up Something Good" to the heartfelt "My Kind of Woman." It's obvious Mac is presenting himself musically in the most sincere way possible, no matter what happens in his wild videos or live shows. "Freaking out the Neighborhood," Mac's apologetic ode to his loved ones about such public behavior, shows that Mac DeMarco is still with us, coming along for the ride, getting everyone else in trouble. Even so, the maturation process of Mac DeMarco, recording artist, is in full swing. He did, after all, turn 22 this April.

Zum ersten Mal auf Vinyl erscheint diese beeindruckende Sammlung von Sessions, die Dusty zwischen 1962
und 1970 für die BBC aufgenommen hat und die ursprünglich 2007 auf CD veröffentlicht wurde.
Die 22 Tracks sind die Session-Aufnahmen, die überlebt haben (die BBC nahm in der Vergangenheit
aus Kostengründen viele Sessions auf) und in guter Klangqualität erhalten geblieben sind. Das Set enthält
drei Titel, die im Juli 1962 als Teil von The Springfields in einem anderen, folkigeren Stil aufgenommen
wurden als ihre späteren Aufnahmen.
Zu den Highlights gehört eine Auswahl ihrer stets makellosen Coverversionen, darunter Stevie Wonders Uptight (Everything’s Alright), The Rascals’ Good Lovin’, Jackie Wilsons R&B-Stomper Higher and Higher
(Your Love Keeps Lifting Me) und der Bee Gees-Klassiker To Love Somebody. Zu den anderen Titeln
gehören BBC-Interpretationen einiger ihrer größten Hits - Wishin’ and Hopin’, Little by Little, You Don’t
Have to Say You Love Me, Son of a Preacher Man und I Just Don’t Know What to with Myself.
Die 2 LPs sind am 8. November auf allen Plattformen erhältlich.

Auf seinem Sony Classical Debut-Album "Human Universe" zeigt der außergewöhnliche japanische Pianist und Komponist Hayato Sumino seine facettenreichen musikalischen Einflüsse in einer vielfältigen Auswahl an Stücken klassischer Komponisten wie Bach, Händel, Purcell, Chopin, Fauré und Debussy, ikonischer Filmmusik von Hans Zimmer und Ryūichi Sakamoto sowie seinen eigenen Kompositionen und Arrangements.Die Besonderheit an Hayato Suminos Klavierspiel ist sein einzigartiger, souverän-virtuoser Stil, bei dem er eine präzise klassische Technik mit dem feinen Gespür eines Arrangeurs und ausgeprägten Improvisationsfähigkeiten verbindet. So lässt er beständig Eindrücke aus Genres wie dem Jazz oder der Popmusik, in denen er ebenso aktiv ist, in seine fundierten klassischen Interpretationen einfließen."Für `Human Univers' habe ich mich von den antiken Vorstellungen des Universums und dem Zusammenhang zwischen Kunst und Wissenschaft inspirieren lassen. Die alten Griechen glaubten, dass Himmelskörper im Universum Töne aussenden und dass das gesamte Universum Harmonie und Musik erzeugt, die sogenannte 'Musik der Sphären'."Hayato Sumino ist ein außergewöhnliches Phänomen: Bereits als Teenager begeisterte der 1995 in Tokio geborene Pianist und Komponist unter dem Namen "Cateen" mit virtuosen Videos klassischer Klavierdarbietungen und emotionalen Klavierarrangements von Anime- und Games-Soundtracks ein Millionen Publikum bei YouTube. Bis heute hat über 200 Millionen Aufrufe erzielt und über 1,5 Millionen Follower bei YouTube und Instagram gewonnen. Wenngleich Hayato Sumino bereits seit seinem 2. Lebensjahr Klavier spielte und Unterricht erhielt, studierte er bis zu seinem ausgezeichneten Master-Abschluss im Jahr 2020 Informationswissenschaft und -technologie an der Universität Tokio. Noch vor Abschluss seines Studiums gewann er 2018 als Außenseiter völlig überraschend den Grand Prix bei einem der wichtigsten Klavierwettbewerbe Japan - dem PTNA-Wettbewerb. Der Gewinn war der Startpunkt seiner Karriere als professioneller Pianist. Im Anschluss nahm er für ein halbes Jahr Klavierunterricht bei Jean-Marc Luisada in Paris und avancierte seitdem auf einer Welle der Begeisterung zum Klavier-Superstar in Japan. So spielt er am 14. Juli 2024, seinem 29. Geburtstag, ein Klavierrecital vor 14.000 Menschen in der ausverkauften Tokioter Konzerthalle Nippon Budōkan.Internationale Aufmerksamkeit erregte er 2021 beim Internationalen Chopin-Wettbewerb, wo er mit seiner hervorstechenden Interpretationen das Halbfinale erreichte. Im April 2024 feierte Hayato Sumino sein spektakuläres Debüt in der Royal Albert Hall mit seiner Aufführung von Gershwins "Rhapsody in Blue", die sowohl online als auch im Konzertsaal für Aufsehen sorgte. Als Solist tritt er mit zahlreichen Orchestern auf der ganzen Welt auf, darunter die Hamburger Symphoniker, das NHK Symphony Orchestra, das Boston Pops Orchestra, das Chicago Symphony Orchestra, das Baltimore Symphony Orchestra, das Tokyo Philharmonic Orchestra, das Japan Philharmonic Orchestra und das Polish National Radio Symphony Orchestra. Sein Debüt in der Elbphilharmonie gibt Hayato Sumino im Januar 2025.

Jawad Nawfal and Mazen El Sayed, better known by their stage names of MUNMA and EL RASS, met for the first time in Beirut, during the summer of 2011. A common friend told Jawad wonders about an MC who rapped and slammed in the classical Arabic language, as opposed to the vernacular Lebanese dialect. The two musicians met in a small café in Beirut’s Hamra neighborhood, spoke of music, argued about politics, and decided to collaborate at once. They began working on tracks the following day. A month later, they had already produced a dozen sketches, instrumental beds and accapella vocal tracks. These demos eventually landed in the hands of Ziad Nawfal and Fadi Tabbal, who set out to bring to life the duo’s first recorded album. “Kachf el Mahjoub” (the title is from a Sufi master-work penned some 900 years ago) was eventually released as a limited edition of 500 CD’s, during a launch event at then-budding alternative venue Metro al Madina in Hamra, on the 22nd of February 2012. These CDs went out of print in record time, as can be expected, and the album’s mythical status became reinforced over time – El Rass & Munma collaborated sporadically during the next ten years, but never fully grasped the level of musical intensity and explosive tension attained on this first outing. It has been a longstanding dream of ours, here at Ruptured, to produce a vinyl version of this album, and we are thrilled to say this moment has finally come. Artist ALI RAFEI’s original artworks have been painstakingly reproduced, the music has been dutifully remastered for vinyl by CEDRIK FERMONT, and the records were pressed by our friends at Mother Tongue in Verona. We added bonus track "Fi Kala'at Tarablus" to this 10th anniversary reissue for good measure – recorded during the same sessions that yielded “Kachf el Mahjoub”, it appears on the digital version of the album. “Kachf el Mahjoub” is a landmark album in Lebanon’s alternative music scene, and the MENA region’s hiphop and indie scenes writ large. At the time of their collaboration, El Sayed was a prolific writer and musician, at ease with a variety of instruments, notorious for his masterful flow in the classical Arabic language, with lyrics tackling both social and political sensitive subjects; Nawfal has previously released an impressive number of albums and EPs, exploring downtempo electronica and ambient dubstep, for a number of Lebanese and international labels. The collision of the former’s brazen, slammed vocals and the latter’s harsh beats works wonders on “Kachf el Mahjoub”, Munma’s sound-world perfectly fitting El Rass’s agitated discourse, alternating between broken beats, elaborate percussion, and ambient layers of synths. At times reminiscent of mutant hiphop outfit Shabazz Palaces, at others of the collaboration between dubstep producer Kode9 and the late vocalist The SpaceApe, this album is an uncanny meeting of Arabic hip-hop and electronica, an exceptional event in the realm of contemporary Lebanese alternative music.

Auf ihrem zwölften Album mit dem treffenden Titel 'Revolution', ihrem ersten Independent-Album überhaupt, versammeln Skillet zehn aufrührerische, ansteckende und unnachahmliche Hymnen. John Cooper Leadgesang, Bass, Korey Cooper [Gitarre, Keys], Jen Ledger [Schlagzeug, Gesang] und Seth Morrison [Leadgitarre] servieren ihren unverkennbaren, arena-erschütternden Rock, getragen von hochfliegenden Gitarrensoli, knallharten Riffs, cineastischen Streichern und einigen der eingängigsten und überzeugendsten Refrains ihrer bisherigen Karriere. Von der augenzwinkernden, mitreißenden ersten Single 'Unpopular' über die unvorhersehbare und unbestreitbare Dynamik von 'Ash In The Wind' und den mitreißenden Klargesang von 'Not Afraid' bis hin zum mitreißenden Opener 'Show Time' und der zärtlichen Ballade 'Happy Wedding Day (Alex's Song)': Skillet sind wieder da, mit neuer Energie und bereit für eine Revolution.

Bis heute wurde die Band zweimal für den GRAMMY® Award nominiert, erhielt einen Billboard Music Award und platzierte sich mit drei Alben in den Top 5 der Billboard 200. Mit weltweit über 22 Millionen verkauften Einheiten wurden 12 Singles und vier Alben mehrfach mit Platin, Platin oder Gold der RIAA ausgezeichnet. Dazu kommen monatlich 10 Millionen Hörer auf Spotify und mit dem fünffach mit Platin ausgezeichneten 'Monster' einer der meistgestreamten Rocksongs aller Zeiten.

The 2015 edition of Winnipeg’s send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’. Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.

Just under a year after their acclaimed self-titled debut, dreampop duo deary release a brand new six-track EP – Aurelia – via Sonic Cathedral on November 1. It includes the singles ‘The Moth’, ‘Selene’ and ‘The Drift’ and features Slowdive drummer Simon Scott playing on three songs. It will be available on three different vinyl variants, a CD with three bonus tracks and digitally. It’s a stunning record, which displays a new-found maturity in terms of production as well as musically and lyrically. The band – singer Rebecca ‘Dottie’ Cockram and guitarist/producer Ben Easton – have had to grow up in public since the release of their debut single at the start of 2023, supporting legends such as Slowdive and Cranes and TikTok sensations like Wisp along the way. An aurelian is a rare old term for a lepidopterist – someone who studies and collects moths – derived from the Latin aurelia, meaning chrysalis. The perfect title for an EP which is based around the theme of metamorphosis and change. “It leans on the natural world, the human body, the earth and sky as well as human emotion,” says Ben of how the EP represents physical and metaphysical growth. “Change can be daunting but equally exciting, which is something we’ve come to learn.” “While writing the EP, I found a letter I had written to myself when I was 22,” adds Dottie. “I was fresh out of university and had moved back in with my parents as Covid was in full force. I was uninspired and lost and reaching out to my future self for some hope. It was a physical representation of what can happen in a few years; how much can change and how you never know what’s coming next. “I found it interesting that – at the age of 26 – here I was looking back to my younger self for hope or just some comfort in the fact that things will and do move on. It was important to me to bring both of these versions of myself into the new songs.” “Personally, I had noticed a change in myself; a new level of social anxiety, a strange disassociation to things that once brought me joy as well as negative repetitions in my daily life,” reveals Ben. “I began the year sober which allowed me to finish the writing process as a letter of care to my own mental health. There are motifs throughout the EP – for example the riffs in ‘The Moth’ and ‘The Drift’ being reminiscent of each other – which are like musical reflections of these repeated cycles.” It’s musically where the change deary have undergone is most obvious. ‘The Moth’ mixes howling guitars atop a strident breakbeat making it more Curve than Cocteaus; ‘Selene’ is a slow-building wall of noise; ‘The Drift’ combines a perfect pop melody with an incredible sense of urgency. These three singles are balanced by the brief but beautiful ‘Where You Are’ which leads into the Portishead-style trip-hop of ‘Dream Of Me’. The title track has been a staple of their live sets for about a year as ‘Can’t Sleep Tonight’, but its mix of The Cure circa Disintegration and Mezzanine Massive Attack has grown and evolved so much that they renamed it ‘Aurelia’ as the embodiment of the change they have been through. “We’ve allowed deary to naturally grow over the past year, we didn’t want to force it to take a certain shape or sound,” explains Dottie of the duo’s slow and steady approach. “A lot of the last EP was written by sending ideas back and forth over WhatsApp, but this time we were able to sit in the same room and I think that really shows. We know each other a lot better now as we have experienced this journey together and that benefits the writing process as we are more open with each other and can be vulnerable.” “Aurelia definitely feels a lot more collaborative, more personal and more fully realised than the first EP,” concludes Ben. “It feels like a real document of what has been a very important time in both of our lives. Ironically, the band has changed and matured even more since the recording, so we’re both excited to document the next stage

Imagine a late-1980s British band who ignored the prevailing chest-beating roots rock and jangly indie, and opted instead for terrace chant pop choruses, lyrical wit and a high-fashion boot-boy image: Queen meets the Sex Pistols. But wait ... the band actually existed and quite possibly invented Britpop. Reviled by the press at the time, Boy Wonder's recently discovered recordings now sound remarkably prescient: Blur's London; the Sladeier side of Oasis; Supergrass' sense of fun; and the arched eyebrow of Pulp. Never previously available, Question Everything is a revelation.

2024 Repress

Alleviated Records is proud to present the new Mr. Fingers EP. After many years of the moniker being dormant and a long journey trying to get back into a creative mindset, we have a new offering. First up, "Outer Acid" delivers up a Minimal-Space-Acid flavor. Next, "Qwazars" continues the Space motif with a Minimal-Tech touch. "Nodyahed" moves toward a Dark Club Bounce with a dash of Tribal flavor. "Aether" offers up a more late-night Ambient-Space-House flavor. Hope you enjoy these selections at the club and at home for a long time to come. Musically Yours...

2024 Reissue

The second album of songs resulting from the collaboration between Teho Teardo and Blixa Bargeld was released in 2016, three years after the celebrated debut with "Still Smiling". Often the nature of collaborations is fleeting, usually not involving a sequel; in this case, however, we are faced with the evident settling of a bond, human and artistic, that is no longer occasional but has reinvented itself to explore other territories and will not stop there either. The album cover is inspired by the famous 1533 painting by Holbein the Younger, "The Ambassadors": a work celebrating an official visit, a meeting between two friends, the pride of their gazes still strong despite time, distance, despite everything. Teho and Blixa return with an album of new songs, sung in German, English and Italian. "Nerissimo" is the superlative of black in Italian and there is something rather black about the music on this album. Not in the sense of dark, an adjective often used to define certain sounds, but just as it happens with the colour black, which contains all other colours, so this music contains a multitude of possibilities."Nerissimo" is also the title of the track in English that opens the album and closes it, as if between two parentheses, in Italian. A temporal passage between languages that links Rome and Berlin, where the album was recorded, ever more intimately. A crossing of the last three years of work together for Teho and Blixa. This record is also a nocturnal story of apparitions, of colours that disappear from the world just by naming them, of aeroplane flights with the lights off in the cabin, of objects whose symbolism represents the passions and interests of the two artists (starting with the objects reproduced on the cover); a sort of tale through objects, continuous movements and the discovery of sounds, even random ones. Sounds intercepted in the space of these three years and which ended up on the disc as interferences that challenged the structure of some songs, resulting in their adaptation to the invasion of foreign sound bodies. "Nerissimo" does not only contain songs but also features experimental tracks, such as "Ulgæ", in which the lyrics explain, like a subtitle, the sounds that follow one another in a story.

2024 Repress

Errol and Alex Rita’s Touching Bass are proud to present Soon Come; a landmark compilation celebrating the talents of their now intercontinental musical community and an introduction to the wide-spanning sound and feeling of their growing label. 22 original tracks spread across double 12” vinyl and split between 'day' and 'night' moods, creating exciting connections between music for both the home and the eclectic sounds of their much-loved dancefloor.

Over the past six years, Touching Bass have steadily established themselves as one of London’s most important musical incubators. More than just a club night, concert series, NTS Radio mainstay and a label, Touching Bass has become something of a movement: a community meeting grounds for music lovers and some of the most exciting contemporary music-makers both in the capital and beyond.

The tracklist is a reflection of that, curated by TB’s Errol, Alex Rita and Sammseed over the course of two years. Among the list of contributors are Chicago/New York’s keiyaA, Stones Throw’s DJ Harrison, Ben Hauke, Ego Ella May, recent WARP signee Nala Sinephro, Melo-Zed, Hiatus Kaiyote’s Clever Austin and many more (see below for tracklist). Artwork for the project comes from Alex Rita, combining moments caught at Touching Bass’ own gatherings over the years.

Since launching properly in 2019, Touching Bass has quickly established itself as one of the UK’s most exciting new labels. The young imprint has championed critically respected and refreshingly innovative works with little genre restriction, receiving recognition from both musical and cultural bil. From the electrifying grooves of Danish trio, Athletic Progression, to the modern classical of South London’s CKTRL (featuring Duval Timothy).

Along the way, Errol and Alex have also been tapped up for collaborations/ commissions with some of the world’s most forward-thinking creatives and institutions; from the world-renowned White Cube gallery for Frieze Week 2021 and fashion designers Nicholas Daley and Azura Lovisa to film music supervision for Ronan McKenzie and Joy Yamasungie’s WATA and multi-award winning director, Jenn Nkiru’s (Beyonce, Kamasi Washington, Neneh Cherry) Black To Techno, the experimental documentary which premiered at Frieze Los Angeles and was nominated for ‘Best Short’ at the IDA Awards.

For newcomers, Soon Come acts as a vital introduction to the label’s wide-spanning DNA. For those already acquainted, it’s a glimpse at its exciting future.

Das neue Album der erfahrenen Soul-Funker The Brooks, welche seit Anfang der 2010er Jahre zusammen grooven, ist eine deepe Funk-Soul-Party. Von ihren Anfängen bei Dièse Onze bis hin zu den großen internationalen Bühnen verbinden sie Spielfreude, künstlerische Freiheit und kreative Synergie. Ihre elektrisierende Musik, eine Kreuzung aus Funk, Soul, R'n'B, Afrobeat und Jazz, wird von federnden Rhythmen, extravaganten Bläsern, einfallsreichen Keyboards und betörenden Gitarren angetrieben. Ihr kommendes Album ,Soon As I Can" verspricht, ihre Grooves in neue Höhen zu treiben. Inspiriert von Legenden wie James Brown, Fela Kuti und Herbie Hancock, navigieren The Brooks nahtlos durch Funk, Soul, R'n'B, Afrobeat und Jazz und haben sich einen weltweiten Ruf als unbestreitbare Groove-Maschine erspielt. Die Gruppe ist viel mehr als die Summe ihrer Teile und zelebriert mehr als 50 Jahre afroamerikanische Musikgeschichte und -entwicklung, wobei sie ihre Wurzeln nicht aus den Augen verliert und gleichzeitig in der Gegenwart verankert bleibt.

Elephant9 begründeten ihren Ruf als Live-Powerhouse schon lange vor ihrem Albumdebüt im Jahr 2008 und haben seitdem sechs weitere Studioalben sowie die beiden Doppel-Live-Alben Psychedelic Backfire I und II im Jahr 2019 veröffentlicht, letzteres mit Gastgitarrist Reine Fiske, dessen Lieblingsgitarrist zufällig Terje Rypdal ist. Da beide Alben vergriffen sind, ist Catching Fire eine höchst willkommene Ergänzung ihrer Diskografie. Aufgenommen bei einem bemerkenswerten Konzert von 2017 in Oslo - Rypdal würde in diesem Jahr 70 Jahre alt werden. Catching Fire hat Gemeinsamkeiten mit klassischen Live-Alben von Mahavishnu Orchestra, ELP und King Crimson, vor allem, was das Energieniveau und den Sinn für ungezügelte Intensität angeht. Dennoch gibt es auch ruhige Passagen, vor allem im 22-minütigen Opener, in dem sich Rypdal mit einigen typischen, gletschermelodischen Linien vorstellt. Rypdal ist die ganze Zeit über Feuer und Flamme für Lead-Action, heftige Rhythmusarbeit und abstrakte Akrobatik aus seinem Werkzeugkasten.Terje Rypdals Hauptwerk ist bei ECM erschienen, zunächst als Mitglied des Jan Garbarek Quartetts (Afric Pepperbird, 1970) und mit seinem ersten Soloalbum Terje Rypdal (1971), das bis zu Conspiracy (2020) insgesamt etwa 30 Veröffentlichungen umfasst.Ståle und Terje teilen ein gemeinsames musikalisches Verständnis, das daher rührt, dass Ståle seit fast 30 Jahren die ,rechte Hand" des Gitarristen ist, sowohl im Studio als auch auf der Bühne. Torstein und Nikolai sind die solideste aller Rhythmusgruppen, ein gut geölter Motor, der Finesse und Kraft vereint. Ståle Storlokken - Hammond, Rhodes, Mellotron Nikolai Hængsle - Electric bass Torstein Lofthus - Drums Terje Rypdal - Electric guitar.

Anlässlich des 20-jährigen Jubiläums des Albums „The Very Best Of“, erscheinen dieses und seine drei Vorgänger „The Mass“ (2003), „ERA I“ (2002) und „Era II“ (2000) zum ersten Mal auf Vinyl. Die ERA-Alben umfassen einen Mix aus Gregorianischen Gesängen, Rock, Pop, elektronischen Klängen und klassischer Musik. Für die Lyrics verwendet Eric Lévi, der Künstler hinter dem Projekt „ERA“, eine
imaginäre Sprache, die Latein ähnelt.

Statt Strukturen, die durch Zeit oder Kultur auferlegt wurden, zu folgen, ist der Künstler auf der Suche nach starken Emotionen. In seinen Alben setzt er diese anschließend musikalisch um. Außerdem, verfasst
Eric Lévi die meisten seiner Lieder mit dem Gedanken Soundtracks für epische Filme zu erschaffen. Die außergewöhnliche Arbeit von ERA berührt die Herzen und Seelen von Millionen Menschen weltweit.
ERAs Alben haben sich millionenfach verkauft und wurden in mehr als 18 Ländern mit Multi-Platin ausgezeichnet.

25 Jahre nach seinem Durchbruch zieht Eminem den Schlussstrich unter das aggressive Slim Shady-Kapitel,
mit dem 1999 alles anfing – auf dem 12. Studioalbum „The Death of Slim Shady (Coup De Grâce)“.
Weltbekannt für seinen bissigen Humor und seinen einzigartigen Flow, zählt Eminem seit gut 25 Jahren
zu den größten Heavyweights der Hip-Hop-Welt – und als popkulturelle Ikone. Schon kurz nach der
Veröffentlichung der „The Slim Shady LP“ im Jahr 1999 avancierte er zum meistverkauften Rapper der
Musikgeschichte. Abgesehen von inzwischen weit über 220 Millionen verkauften Alben, konnte Eminem
bereits 15 GRAMMYs sowie einen Academy Award in Empfang nehmen. In den USA erhielt er bereits
seine sechste Diamant-Auszeichnung (!). Zuletzt hatte Eminem im Jahr 2020 mit dem Vorgänger-Album
„Music to Be Murdered By“ zum 10. Mal Platz #1 der Billboard-200 eingenommen. Während auch
hierzulande etliche Alben regelmäßig Platz #1 der Charts belegten (u.a. „The Eminem Show“, „Encore“,
„The Marshall Mathers LP2“), ist Eminem inzwischen der Musiker mit den meisten Studioalbum, die schon
für sich genommen Streams in Milliardenhöhe verbuchen. Mit „The Death of Slim Shady (Coup De Grâce)“
schlägt der 51-jährige ”Über-MC” das 12. Albumkapitel auf und sorgt dafür, dass sich der Kreis schließt.

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

The A-Side of the record presents a stereo version of Mobarak’s 15-channel sound installation, Dafne Phono. The B-Side uses a recording of a portion of the translation process the libretto underwent in Namibia, live-processed by the artist.

The LP is published on the occasion of Nour Mobarak’s exhibition at The Museum of Modern Art, New York (October 26, 2024–January 12, 2025), with support from Sylvia Kouvali.

Artist Bio:
Nour Pamela Mobarak (Lebanese-American, b. 1985, Cairo, Egypt) lives and works between Los Angeles; Bainbridge Island; and Athens, Greece. Her works have been shown at Sylvia Kouvali (formerly Rodeo), London/Paris; Schinkel Pavillon, Berlin; MIT List Visual Arts Center, Cambridge, MA; Amant, Brooklyn; JOAN, Los Angeles; Kim? Contemporary Art Centre, Riga; Miguel Abreu Gallery, New York; Hakuna Matata, Los Angeles; and Cubitt Gallery, London. Exhibitions at the Museum of Modern Art, New York, and Castello di Tivoli Museo d’Arte Contemporanea, Turin, are forthcoming. She has performed at Western Front, Vancouver; 2220, the Hammer Museum, and LAXART, Los Angeles; Cafe OTO, London; Renaissance Society, Chicago; the Museum of Contemporary Art, San Diego; and elsewhere. Her music has been released by Recital (Los Angeles), Cafe OTO’s TakuRoku (London), and Ultra Eczema (Antwerp), and she has had sessions on BBC Radio 3, NTS Radio, and Dublab Radio. Mobarak’s writing has been published in Triple Canopy, F.R. David, The Claudius App, and the Salzburg Review, and her first catalog, Sphere Studies and Subterranean Bounce was published by Recital (2021). She received a BA in English and Media Studies from Sussex University and did further studies at Université Paris-Sorbonne, Paris IV. She has held residencies at Denniston Hill, New York and the Institute of Contemporary Art, Los Angeles, and was the recipient of the 2023 FOCA fellowship award. Mobarak was a 2024 faculty at Bard College MFA program.

Dafne Phono Vocalists:
Apollo: Renato Grieco (Italian)
Cupid: Arnou Argun (Abkhaz)
Dafne: Agnes | xaye (!Xoon)
Ovid: Olivia O’Dwyer (Latin)
Venus: Don Eugenio Darias (Silbo Gomero)
Abkhaz Chorus: Liana Ebzhnou, Murman Guaramia, Fatima Kharzalia, and Gunda Osia
Chatino Chorus: Felix Daniel Peña Mendes, José Vasquez Canseco, Catalina Candelario Matias, and Claudia Garcia Baltazar
!Xoon Chorus: Franco Tsame, John Djujui Klosi Barase, and Charity Tsame
Clarinet: Steve Kado

To celebrate the one-year anniversary of Doja Cat’s critically acclaimed album, “Scarlet 2 CLAUDE” deluxe vinyl is available now!

The album features 24 tracks including smash hits such as “Attention”, “Paint The Town Red”, “Agora Hills”, “OKLOSER” and more. Her hit single, “Paint The Town Red” spent three weeks on the Billboard Hot 100 Chart at No. 1; that marked the first rap song to hit No.1 on the Hot 100 Chart last year. In addition, the song was No. 1 for a total of four consecutive weeks on the Billboard Global 200 Chart. Furthermore, Doja Cat’s fan favorite track “Agora Hills” went No. 1 at Top 40 Radio in February 2024 making it her eighth No. 1 at the format. “Agora Hills” also peaked at No. 7 on the Billboard Hot 100 Chart.

Ivan The Tolerable Trio are back with an alternate version to the amazing Infinite Peace. 2 epic tracks to take you away into infinite space! "When we went in to ATA studios in Leeds to record the Infinite Peace LP - it was always the plan to have two versions of the album - a straight mix that documented what we actually recorded there in its pure form and another version that would rearrange everything into a new shape. Once the LP was out, I passed all the stems to my old pal/former bandmate and frequent collaborator Ajay Saggar (Bhajan Bhoy/King Champion Sounds/University Challenged) and asked him to remix it in a way that sounded nothing like the original record. Its a much more ambient and floaty affair - more Popol Vuh than Sun Ra a full drift spread across two 22 minute suites. This is what he did - infinite space - we hope you like it." Oli Heffernan, September 2024

Never say never! Because it's time for TURMOIL - a surprising landmark album comeback for RICO PUESTEL defining a musical and personal turning point with a completely new and re-invented artistry. About time!

4U opens the Pandora's Box of TURMOIL with inimitable meditative beauty, descending into the metaphorical and tonal SLICES OF LIFE that unleashes a complex chain of energy while WHERETO even overcomes this high voltage setup with a deadly infective loop and the only reminiscences of something to call Techno on this album in its fading conclusion.
Before HEART OF GOLD defines the probably most immersive peak on TURMOIL with its vast soundscape and mantra-like piano shuffle, QUESTIONS floats in Dubstep'ish ways to actually raise two questions to the listener while this train keeps on going.
FIVE SIGNS speeds up the pace on the album's second half, culminating in the mesmerizingly driven groove and words of HIGH HOPE and the powerful Upbeat drenched into ambient soundscapes on NEWTON.
Nearing the end of TURMOIL, DUMB delivers the longest vocal verses on this album and proceeds with the most pervasive and powerful layers of beats, violins and synth stabs.
Closing and re-starting all of it, EVERENDING grooves into infinity with its yoga-like theme and spreads some true love.

Without a doubt, TURMOIL happens to be the most accomplished work by RICO PUESTEL melting so many of his artistic worlds into one unique piece of art!

Captures a night at London’s well known vintage venue Bush Hall when the stage was shared with Jerron ‘Blind Boy’ Paxton. Takes you on a musical journey through Mississippi and Louisiana performing music by artists such as Memphis Minnie, Blind Boy Fuller, Rev Gary Davis. Acoustic duo project of Sister Suzie and Andy Twyman. Part of a growing movement in the UK presenting stripped back acoustic blues. Be ready to be transported back to the 1920s with a show of early folk blues evoking the playfulness, power and soul of the music and the people who created it. The duo are singer/songwriter, guitarist, occasional member of Dana Gillespie’s Blues Band and sometime one-man-band Andy Twyman, and Sister Suzie, singer/songwriter and frontperson of The Right Band; both busy and popular artists in their own right. They have toured the UK and Europe extensively.

Nothing In Rambling as the project name is taken from a Memphis Minnie song which Sister Suzie describes as “very poignant – and like so many in that era, it sounds deceptively cheery and upbeat, but the lyrics are dark, telling a tale of danger and bravery in taking to the road rambling especially as a black person. and the struggles that women, especially black women, faced in that era.” Sister Suzie published a dissertation “Women In The Blues, Pre-1960’ detailing the struggle that women, especially black women, had against the ‘patriarchy’ and in their own sexual liberation. The latter element was often written about observing the ‘racy’ side of life, and on songs such as ‘Me And My Chauffeur’ and ‘Kissing In The Dark’ Sister Suzie takes the cue to deliver with particular juke joint panache. PRESS / ADDITIONAL SALES POINTS: Launched at The Sound Lounge (Sutton) September 12th - Feature published in September issue of Blues In Britain magazine - Reviews in Rock n Reel, Blues In Britain, Blues Matters - Radio play on IBBA and RMR stations - Live shows, and Festival appearances through 2024 – Red Rooster, Ealing Blues, Upton Blues, Tenby Blues, Glastonbury