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After lot of Skep Waxing Amelie and Rob and Cathy, Ian and Peter are back for indie good! It's been a long time coming but influential jangle guitarpop band Heavenly are releasing a brand new 7" single, with a full album to follow in February 2026. Portland Town is as effervescent a pop song as any of Heavenly's past recordings, with duelling vocals from Amelia and Cathy; looping, twanging, `how-did-he-do-that' guitar escapades from Peter, and a super-catchy melody. As so often with Heavenly, though, the lyrics have real bite. The song embraces those who find themselves on the margins of a hostile world where maleness, straightness and conformity are in the ascendant. So why Portland? It has always been a sanctuary - one of those places where difference is celebrated, a place where, as the song puts it, anyone can fit in. The flip is a cover version of a much-loved Only Ones song, `Someone Who Cares'. Heavenly are: Amelia Fletcher (guitar, vocals), Cathy Rogers (guitar, vocals), Rob Pursey (bass), Peter Momtchiloff (guitar), Ian Button (drums)

Was kann und darf Musik? Auf diese Frage gibt Scott Walker eine Antwort. "Bish Bosch" ist ein düsterer, aber zugleich funkelnder Monolith. Um 2009 herum begann das ehemalige Mitglied der Walker Brothers damit, an diesem Material zu arbeiten. Zusammen mit seinem Co-Produzenten Peter Walsh und einem festen Stamm aus Musikern wie Ian Thomas (Schlagzeug), Hugh Burns (Gitarre), James Stevenson (Gitarre), Alasdair Malloy (Percussion) und John Giblin (Bass) nahm er die Tracks in den folgenden Jahren auf. Nach "Climate Of Hunter" (1984), "Tilt" (1996) und dem tiefdunklen "The Drift" (2006) kreieren die orchestralen Arrangements auf "Bish Bosch" eine aufgeregte Stille. Pointierte klassische Musik trifft auf Breakbeats und verzerrte Gitarren und macht "Bish Bosch" zu einem der wohl intensivsten Hörerlebnisse des Jahres. Unter der Leitung des musikalischen Direktors Mark Warman nahm Scott Walker dieses außergewöhnliche Album in den Londoner Air-Studios auf.

999 were one of the true punk rock originals came together in November 1976. 999 quickly became a cornerstone of the scene in the UK, releasing their debut single ‘I’m Alive’ in July 1977.  Within a couple of years, they were touring the USA extensively, building up a significant following Stateside and earning them some action on the US Billboard Album Chart. Throughout the late 70s and early 80s, a series of classic singles alongside the albums ‘999’, ‘Separates’, ‘The Biggest Prize in Sport,’ and ‘Concrete’ kept the band’s star in the ascendancy.
‘Live at The Basins Nightclub’ recorded in June 1987 catches the band firing on all cylinders.

Grinderman entstand 2005, als Nick Cave Material für das Album „Abattoir Blues/The Lyre of Orpheus“
von Nick Cave & The Bad Seeds schrieb. Gemeinsam mit Martyn Casey am Bass, Warren Ellis an Violine
und Gitarre und Jim Sclavunos am Schlagzeug erarbeitete die Band gemeinsam Songs. 2006 ging sie in
ein Londoner Studio und begann eine Marathon-Session mit Songwriting und Demoaufnahmen. Mit dem
Ziel, den raueren, ursprünglicheren Sound von Caves gefeiertem Post-Punk-Projekt „The Birthday Party“ nachzubilden, wichen die Texte und die Musik von Grinderman deutlich von Nick Caves früheren Arbeiten
mit The Bad Seeds ab.
Im darauffolgenden April nahmen sie die besten dieser neuen Songs auf und nahmen mit Hilfe ihres langjährigen Freundes und Produzenten Nick Launay ein Album auf. Ihr am 5. März 2007 veröffentlichtes Debü-
talbum „Grinderman“ mit elf Songs wurde von der Kritik hoch gelobt und enthält die Singles „No Pussy
Blues“ und „Get It On“. Das Quartett kam 2009 wieder zusammen, um „Grinderman 2“ aufzunehmen, das
2010 erschien. Im Dezember 2011 gab Cave die Auflösung der Band auf einem Musikfestival in Australien
bekannt.
Das „unglaublich aufregende Debütalbum“ (Observer Music Monthly) ist auf schwarzem Öko-Vinyl und im
CD-Digisleeve-Format erhältlich

Born to Skank est le titre du second album de Mister Leu & The Nyabinghers qui fait suite à Born to Reggae, leur premier opus sorti en 2019. Born to Skank propose neuf titres originaux dont Mister Leu & the Nyabinghers sont les auteurs, compositeurs et interprètes, ainsi qu’une reprise.
C’est un album dédié au ska que l’on pouvait écouter lors des bals jamaïcains dans les années 60. Il a été enregistré en plusieurs sessions dans les Pyrénées Orientales pendant l’année 2023 aux studios Record It, Les Fauteuils Rouge et La Casa Musicale par Chromatic Records. Douze artistes ont été réunis sur cet album et influencés par des groupes comme The Skatalites, New York Ska Jazz, Jazz Jamaïca, Toots & the Maytals et Laurel Aitken.

En co-production avec Lucha Libre Records

Portland Town is as effervescent a pop song as any of Heavenly’s past recordings, with duelling vocals from Amelia and Cathy; looping, twanging, ‘how-did-he-do-that’ guitar escapades from Peter, and a super-catchy melody. As so often with Heavenly, though, the lyrics have real bite.
The song embraces those who find themselves on the margins of a hostile world where maleness, straightness and conformity are in the ascendant. So why Portland? It has always been a sanctuary – one of those places where difference is celebrated, a place where, as the song puts it, anyone can fit in.
The B side is a cover version of a much-loved Only Ones song, ‘Someone Who Cares’.
Heavenly celebrate the release of Portland Town with a show at Islington Assembly Hall, London on 19th July, as part of the Skep Wax Weekender.
Heavenly are: Amelia Fletcher (guitar, vocals), Cathy Rogers (guitar, vocals), Rob Pursey (bass), Peter Momtchiloff (guitar), Ian Button (drums)

Motel d'amour - A Lost Electro-Funk Gem from the NDW Era Resurfaces

When we first collaborated with Collage member Markus Kammann on the EP project "Mit den Puppen tanzen" at the end of last year, we never imagined what would follow: Kammann approached us with a completely unreleased full-length album by his former band. Upon receiving the first three preview tracks, we were floored. One of them was "Nachtcafé" - a track that kicks off with a funky bassline layered over the punchy rhythm of a Roland TR-808. Add shimmering synths and Katrin A. Kunze's sharp, distinctive vocals, and we instantly knew we were hearing something special.

For a label dedicated to rediscovering lost treasures, this was exactly what we'd been searching for. The next two tracks - "Rendezvous" and "Casanova" - were just as compelling. When Kammann sent us the full album, we realized we were holding an electro-funk grail from the late golden days of the German Neue Deutsche Welle (NDW). We were listening to "Motel d'amour".

"Motel d'amour" is a concept album, offering a sharp, vibrant perspective from a confident, intelligent, and radiant young woman eager to experience nightlife, love, and music. Kunze's lyrics paint vivid scenes of flirtation ("Nachtcafé", "Rendezvous"), encounters with men ("Casanova"), the pulse of nightlife ("Die Nacht ist noch jung"), love ("Rotes Licht für rote Liebe"), one-night stands ("Motel d'amour"), and more. Rarely has a German album from that era captured emotional nuance and social dynamics so insightfully. Without veering into the overly personal, Kunze's direct, daring lyrical style was groundbreaking at the time - and remains refreshingly bold today.

While German listeners will fully appreciate the lyrical depth, the music speaks volumes on its own. Kunze's words are masterfully complemented by the production of Markus Kammann and Jürgen Grah. As heard on the in-demand "Mit den Puppen tanzen", their creativity seemed boundless. Each track is tightly composed, catchy, and full of character. While many German bands at the time leaned into rock, Kammann drew from the deep grooves of Earth, Wind & Fire, The Isley Brothers, Brothers Johnson, The Commodores, and the electro-futurism of Afrika Bambaataa's "Planet Rock" and "Looking for the Perfect Beat". The result: tracks with unmistakable electro-funk flair, powered by the classic 808 drum sound.

Though primarily rooted in funk and electro, the album retains flashes of NDW aesthetics - "Wir haben getanzt heut' Nacht" being a prime example. The instrumentation is a dream list for vintage gear lovers: Yamaha keyboards, Roland Juno-60, vocoder, Micromoog, Hohner D6 Clavinet, Fender bass, and a Telecaster guitar all feature prominently.
Recorded in 1985 at the high-profile Delta Studio by Richard Rossbach, the album attracted interest from Polydor. However, the label proposed using the compositions for a solo project with singer Inga Humpe (of Neonbabies), who was already signed to their roster. This would have required replacing Kunze as the vocalist, an idea the group firmly rejected. As a result, "Motel d'amour" was shelved, and Kammann, Grah, and Kunze moved on to form Cold End.
The album cover features a rare archival photo of Katrin A. Kunze - rediscovered by Kammann and now finally seeing the light of day, 40 years later.

We believe Motel d'amour deserves recognition alongside cult German classics like P!OFF?, 1. Futurologischer Congress' "Wer spricht?", Ami Marie's "Verrückt nach Glück", the funkier cuts of Cosa Rosa, or Piet Klocke's groove classic "Heute ist nicht sonst". It's a record that fits into adventurous DJ sets but also rewards a full, start-to-finish listen.

A note on audio quality: Sadly, the original master tapes were lost. The tracks were restored from a vintage TDK cassette. Thanks to modern digital tools, we were able to remaster them to a high standard - but in some songs light distortions remain. We appreciate your understanding and hope you enjoy this lost and undiscovered gem.

British sci-fi romantic comedy Timestalker is written and directed by Alice Lowe who also stars in the film alongside Aneurin Barnard, Tanya Reynolds, Kate Dickie, Jacob Anderson and Nick Frost.
The album features the film’s original music composed by Toydrum (Prevenge, Slow Horses, Platform 7, Three Pines, Deep Water, The Banishing).

Reissue of classic 1999 album on CD and LP. Musicians:

Bass: Family Man Barrett, Mikey Chung, Ben, Toots Hibbert, Bengy Myaz.

Drums: Winston Grennan.

Guitars: Mikey Chung.

Keyboard: Bubbler, Toots Hibbert, Harold Butler.

Percussion: Carrot, Toots Hibbert, Winston Grennan.

Horns: Dean Frasier, Nanbo Robinson, David Madden, Johnny Moore.

Burning Bass: Pamela Fleming, Jenny Hill & Nilda Richards on 'You Really Got

Me'.

Backing Vocals: Leba Hibbert, Toots Hibbert, Jenieve Hibbert, Robert Bailey.

20 Jahre - das letzte Studioalbum der britischen Death-Metal-LegendeThose Once Loyal ist das siebte und letzte Studioalbum der britischen Death-Metal-Band Bolt Thrower. Ursprünglich 2005 veröffentlicht, zählt es bis heute zu den stärksten Werken der Band. Mit präzisem Songwriting, markanten Riffs und einer kompromisslosen Produktion verkörpert das Album alles, wofür Bolt Thrower bekannt sind: kraftvoller, schnörkelloser Death Metal mit Haltung.Die Texte behandeln Themen wie Loyalität, Erinnerung und die Auswirkungen von Krieg - ernst, reflektiert und ohne Klischees. Musikalisch bleibt die Band sich treu: midtempo-lastige Songs, eingängige Gitarrenarbeit und ein wuchtiger Sound, der auch nach zwei Jahrzehnten nichts an Wirkung verloren hat. Ein Album, das sich nicht nur an Fans der Band richtet, sondern auch an alle, die klassischen Death Metal mit Substanz schätzen.Jetzt erhältlich als 20th Anniversary Edition in der neuen Farbe Military Green.01. At First Light - 4:0202. Entrenched - 3:4203. The Killchain - 4:5704. Granite Wall - 3:4705. Those Once Loyal - 4:1706. Anti-Tank (Dead Armour) - 4:1507. Last Stand of Humanity - 3:2308. Salvo - 5:3209. When Cannons Fade - 5:44

'A Necessary Escape' ist der Soundtrack zum demnächst erscheinenden Film 'Dakar: Race Against The Desert'. Die physischen Formate umfassen CD, Vinyl und eine limitierte Farbvinyl-Edition in Curacao-Blau. Es ist der vierte Album-Soundtrack von M83 und wurde in Frankreich und den USA von M83s Anthony Gonzalez zusammen mit den regelmäßigen M83-Mitwirkenden Joe Berry und Clement Libes aufgenommen. Der Film erscheint am 12. Mai digital bei Universal Pictures und feiert seine weltweite Kinopremiere am 26. Juni in der MK2 Bibliothèque in Paris. Unter der Regie des französischen Schauspielers und Regisseurs Jalil Lespert wird hier die weltberühmte Rallye Dakar begleitet - ein Event, das seit 45 Jahren die ultimative Bewährungsprobe für Belastbarkeit, Können und Ausdauer im Motorsport darstellt. Das 9.000 Kilometer lange Rennen dauert 14 strapaziöse Tage durch raues Wüstengelände. Mit beispiellosem Zugang taucht dieser Film in das härteste Autorennen der Welt ein. Begleitet wird dies von einem wunderbaren Score den Gonzalez perfekt auf den Film zugeschnitten hat. Ambient trifft auf sphärische Klangcollagen und ist damit der perfekte Ausgleich zu den im Film dokumentierten Strapazen um die berühmte Rallye. Nach dem fantastischen 'Fantasy'-Album von 2023 oder dem 2011er Klassiker 'Hurry Up, We're Dreaming' ein weiterer Geniestreich des französischen Sound-Magiers und seinem M83-Projekt!

Poor Creature is comprised of Ruth Clinton, Cormac MacDiarmada and John Dermody, all three are members of other bands (Landless and Lankum respectively) who have built a large following on re-interpreting songs from the past Songs that have existed for centuries can seem immutable and anchored to time. A new generation of Irish musicians are keen to acknowledge that musical legacy, while reimagining the songs within a contemporary context. Poor Creature's sound - particularly in the context of contemporary Irish folk - offers something unique. There's the gauzy, underwater, almost psychedelic seams of 'Bury Me Not' and 'Adieu Lovely Erin'. 'All Smiles Tonight' and 'Hicks' Farewell' nod to the influence of American folk/bluegrass acts like Doc Watson and the Louvin Brothers. These shifting sounds are made possible by producer John 'Spud' Murphy, who has produced all of Lankum's albums, and worked with Junior Brother, OXN, Pretty Happy, Ye Vagabonds as as well as the final two albums by The Jimmy Cake, with whom John has played for over 20 years. "There's something about the everyday and the fantastical, being entangled, which I think Irish music does so well." This also sums up All Smiles Tonight, moving through stories and loss and history to create an otherworldly and timeless album for the ages.

Dream Flight Records is back for another take off and journey into deep and tech minimal. Both of these sounds are late-night live jams recorded at Crystal Palace Studios, formerly home to Palace Vinyl, now a welcome part of the Brixton landscape and the evidenly aptly named 4:32AM have previously recorded on their label (Palace Trax) as well as the OOZ label. The A-side, 'Italia,' is a tight, bouncy tribute to classic Italo house brimming with energy and emotional warmth and on the flip is a deeper, more hypnotic groove elevated by a spontaneous vocal performance from rising star Lee Banton. 'Speaking In Silence' is subtle, smeared with synth colour and slow burning, an after-party classic in the making.

Hildur Gudnadóttir reunites with director Todd Phillips for the score to Joker: Folie à Deux, following their acclaimed work on 2019's Joker, which earned Gudnadóttir an Academy Award, GRAMMY, BAFTA and Golden Globe. Phillips describes her music as 'basically the second biggest character in the first film', and her return was never in question.

For Folie à Deux, Gudnadóttir pushed her sonic language further, inventing a new instrument to reflect Arthur's internal split. Inspired by his mental confinement, she worked with Icelandic builders to create a 'string prison' - long strings stretched through space and played with a trench cello - to evoke both euphoria and claustrophobia.

This album is one that is always going to be reissued until the end of time. It's pure, raw, inescapably good soul music that was popularised in recent years by Floating Points and his Melodies International label. The 1976 debut album by Chicago soul, rare-groove and jazz-funk fusionists Tomorrow's People was led by the Burton Brothers. This reissue comes on red vinyl for the first time and is full of a dynamic blend of styles-from the sax-driven disco-funk of 'Let's Get Down With The Beat' to the doo-wop-tinged 'Hurry Up Tomorrow' and the fiery 'Hurt Perversion'. The 20-minute title track, Open Soul, is a mesmerising space-soul journey which kicks off this highly sought after gem in style.

First Word Records are incredibly proud to bring you ‘I Swear To You’; the stunning sophomore album from Georgie Sweet.

Georgie is a singer / songwriter currently based in Brighton, with a uniquely smooth, soulful vocal tone.

Whilst working on her debut record (‘Misunderstood’), Georgie began a songwriting partnership with multi-instrumentalist Marc Rapson, who is on the boards throughout this project. The duo discovered a natural musical connection instantly, and began working on an abundance of beautiful new material shortly after the release of the first album; writing and creating at Rapson’s home in Hertfordshire at various sessions from 2021 onwards, culminating in this new 12-track album, ‘I Swear To You’.

Despite being one of the UK’s best kept secrets, Georgie’s already been pricking the ears of some highly-respected selectors. The first single from this record (‘Smaller / All That We Were’) received love from tastemakers such as BBC 6 Music's Gilles Peterson (“this one melts”), Jazz FM's Tony Minvielle ("supremely talented”) and Clash Magazine (“exudes soulful grace”), whilst previous material found itself in the crates of legendary luminaries like DJ Jazzy Jeff & DJ Spinna amongst others.

At the end of 2024, Georgie signed to Worldwide Award-winning independent London-based label, First Word Records; although she previously featured before on the label, via the title track of the highly-acclaimed 2021 sophomore album by Children of Zeus, 'Balance', along with Akemi Fox. Prior to this her debut album 'Misunderstood' dropped back in 2020 on Futuristica Music; an independent imprint run by Deborah Jordan & Simon S, on which Georgie also collaborated with acclaimed producers like K15 and Mecca:83.

An all-round creative soul, away from creating music, Georgie also works as an illustrator and animator. However, her lifelong love of music is unquestionable. She’s been a vocalist from a young age, initially working with her musical parents (a producer and professional singer respectively).

With a hugely diverse set of inspirations ranging from Stevie Wonder to Michael McDonald, Hiatus Kaiyote to Chappell Roan, Mac Miller to Sampha, and George Duke to EW&F, Georgie's respect, love and admiration for a wide range of music is clear; from jazz to soul to pop to hip hop.

BPitch Berlin setzt die Erweiterung seiner Klangwelt fort und präsentiert die neunte Ausgabe von WE ARE NOT ALONE, einer 12-Track-Compilation, die eine Brücke zwischen verschiedenen Formen und Rahmen schlägt, die von einer echten Liebe für den Underground zusammengehalten werden.

Jede WE ARE NOT ALONE-Compilation ist ein Beweis für die stilistische und genreübergreifende Vielfalt, die BPitch ausmacht, und bietet einen Einblick in verschiedene Subkulturen und verbindet Künstler aus aller Welt mit einer gemeinsamen Vision. Von Acid bis Industrial, von EBM bis Trance - Genrebezeichnungen verpuffen und machen einem Gefühl Platz, das jedem Künstler die Möglichkeit gibt, seine eigene Interpretation einer Energie zu dokumentieren, die das Label und die Veranstaltungsreihe seit ihren Anfängen getragen hat. Verspielt wie immer, ohne dabei den funktionalen Kern von Techno aus den Augen zu verlieren, ist WE ARE NOT ALONE pt. 9 ein Versuch, ein Gefühl zu dokumentieren, und eine wichtige Momentaufnahme einiger der aufregendsten Stimmen der elektronischen Musik.

Limited reprint of the sold-out Volume 3 from the Underground Wave series, featuring Belgian and Dutch wave, synth, and minimal artists. Most tracks were previously only on cassette. Walhalla Records is dedicated to reviving the 80s/90s cassette scene by releasing rare material, often for the first time

"High urgency music with a very personal expression of the artist: in one way or another", this has always been the important or maybe even the core factor of every Cortizona release so far.

So it was just a matter of time until DJ Marcelle/Another Nice Mess, longtime fan of The Fall and Jiskefet, topnotch producer, dj wizard with three turntables (and a lovely person in general) - and myself - would collaborate towards a Cortizona release.

I guess the initial idea of working together with DJ Marcelle/Another Nice Mess dates back to 2019. One day she called me four times in five minutes just to hear Mark E. Smith's voice message on my phone. Since then there has been no going back. I mean: what's not to love about her?

Some time ago, she sent me the digital files of her new LP 'Sorry, No Service'. One of the tracks, 'Sorry, No Silence', features the Nan Goldin sample: 'this is clearly ethnic cleansing', taken from Goldin's impressive speech to which the audience cheered in support at the opening of her exhibition at the Neue Nationalgallerie in Berlin end of 2024.
Two weeks later Marcelle contacted me again: her German label refused to release the track. This was the moment we had both been waiting for: at last Cortizona and Marcelle would work together!

The album is due to be released later this year, but, with things as they are in Gaza, it is important to issue 'Sorry, No Silence' as a stand-alone track as soon as possible.
Talking about urgency!

'Sorry, No Silence' resonates feelings of global despair over the genocide in Gaza and the moraland political bankruptcy of 'western values'. It does so over a repetitive, militant tribal beat, complete with heavy basslines. The spirits of Mark Stewart, On-U Sound and Muslimgauze loom over the track, but as is always the case with Marcelle, both on stage and in the studio: she has an authentic style of her own, where playfulness meets courage and - also in this case - anger meets rhythm.

'Sorry, No Silence' is a track I didn't know I was waiting for. A track reflecting the sign of the times. The 12'' also features an even more heavy (and faster) dub version and the avant garde track 'Never Again Means', featuring more Nan Goldin samples: 'never again means never again for everyone'.
For obvious reasons the proceeds of this 12 inch and the digital Bandcamp release will be donated to PCRF, Palestine Children's Relief Fund.

Support more than welcome.


(written by Philippe Cortens)

We always knew we would return to this project because Brutalism remains a profound part of our lives, something we cherish deeply. Inspired by the photographs we have been capturing for a new book, the music emerged effortlessly. Documenting these buildings feels instinctive; this is where we belong.

Our unwavering fixation on symmetry, synchronisation, and repetition endures, but this time we believe the music reveals a more emotional depth. That is the direction we have been moving towards. Some things simply take time, yet this album seemed to take shape of its own accord.

Join us as we walk through these modern day cathedrals, monuments to the people.

Als eine der einflussreichsten Bands, die aus der britischen Festivalszene hervorgegangen sind, überlagern die Ozrics Ambient und ätherische Landschaften mit Freeform-Dub-Trips, unglaublichen Rave-Grooves und psychedelischem Progressive Rock. Es ist eine offene Erkundung der Musik und der Seele.

Seit über 30 Jahren haben die Ozrics die Wechselfälle des Rock'n'Roll-Lebens erlebt. Die Band hat mehrere Besetzungswechsel durchlebt, mehrere Nebenprojekte hervorgebracht, ihr eigenes Plattenlabel gegründet, einen Hit gelandet und weltweit über eine Million Alben verkauft. Und doch ist die Grundmotivation hinter der Existenz der Band nie ins Wanken geraten.

Ihre charakteristische Mischung aus Hippie-Ästhetik und Raver-Elektronik mit spiralförmigen Gitarren, texturierten Keyboard- und Midi-Sampler-Wellen und super-groovigen Bass- und Schlagzeug-Rhythmen begeistert bis heute Fans auf der ganzen Welt.

"Curious Corn" ist ein klassisches Ozrics-Album, das Rock, Ambient, Weltmusik und gekonnte Basslinien mit einem Markenzeichen-Groove vermischt, der Fans an die bemerkenswerten Festivalauftritte der Band erinnern wird.

Initially influenced by the skinhead scenes of France and Italy, their new LP “Renaissance” borrows from sounds outside the subculture, orchestrating harmonies to unite the punks, skins and moshers. The comparison to L’INFANTERIE SAUVAGE is undeniable with odd song structures switching from slow melodies to fast punchy pogo beats. However on this LP, there is a subtle influence of early American hardcore bands, adding more stomping rhythms and upping the pace of the songs. Renaissance is an excellent example of how a band can evolve their sound without losing the aspects that define them: razor sharps riffs, unexpected disco drum syncopations and, of course, orchestral “Ohhs”. Every song verges on an anthem that will get stuck in your head for days.

In 1966, Oscar Agudelo recorded this elusive and lesser-known collector's gem called "Pa' mi muñeca" for Discos Fuentes. It is a rarity where the artist took an unexpected musical turn and performed several porros, paseaitos, gaitas, and cumbias, evoking the swaying motion and rolling waves of Colombia's Caribbean sound. It resonates with the echoes of a romantic minstrel laced with an unexpected richness of nuance, a hallmark of the cumbia sound. It's exactly the kind of music that lights up a tambó or a fandango circle on carnival night. A dozen tracks, none of them new, but suffused with a consciousness that can be understood within the context of their time and with the personality of the artist bold enough to bring them to life. 'Madre cumbia' opens the album with a festive, nostalgic mood, infused with the simple beauty and the electrifying beat of the tropics that immediately makes you want to get up and dance. It's a fantastic example of how to perform a song with passion and make the listener fall instantly in love with an album. 'Pa' mi muñeca', the title track, is a fast-paced paseaito that explores new paths that took a shortcut to the dance halls. A showstopper on the dance floor. 'Está como mango' is a porro-cumbia that charms with a rich tapestry of compliments, the calling card of many old-school tropical songs. 'Cumbia de recuerdo', 'Cumbia suave', 'Cumbia de Santa Marta', are back-to-back cumbias. This is an album devoted to recreating the strength of a musical genre that's been the soundtrack of Colombian life for decades. It's a record dedicated to capturing good times, filled with simple dreams, steeped in joyful energy, and shining with the uninhibited flair, or better said, the quality of the sixties. This album represents a milestone on the route cumbia had taken, both for Discos Fuentes and maestro Agudelo. First time reissue. Includes liner notes by genre expert Don Alirio.

Come Ahead ist das 12. Album von Primal Scream. 11 neue Songs, mit denen Bobby Gillespie sich darauf
vorbereitet, einige der persönlichsten Songs der Bandkarriere zu veröffentlichen.
Der Songwriting-Prozess für Come Ahead begann 2019. Zu diesem Zeitpunkt hatte Bobby Gillespie noch
keine Ahnung, ob er noch einmal ein Album von Primal Scream machen würde. Zum ersten Mal kamen
die Texte vor der Musik. Die Geschichte kam zuerst. Bobby schrieb allein, mit einer Akustikgitarre. Die
Ideen flossen schnell, in langen Inspirationsschüben. Dieser Prozess, zusammen mit der Ermutigung durch
Produzent David Holmes, bot einen neuen Einstieg. In Zusammenarbeit mit Holmes und Primal ScreamGitarrist Andrew Innes wurden die Come Ahead-Sessions in Belfast, London und Los Angeles durchgeführt.
„Ich bin sehr aufgeregt über dieses Album, so als würde man seine erste Platte machen. Wenn es ein
Gesamtthema für Come Ahead gäbe, wäre es vielleicht ein Konflikt, ob innerlich oder äußerlich. Der Titel
ist ein Begriff aus Glasgow. Wenn jemand droht, mit dir zu kämpfen, sagst du: ‚Komm schon!‘ Es erinnert
an den unbezwingbaren Geist der Glasgower, und das Album selbst vermittelt diese aggressive Haltung und
Zuversicht. Sie haben da oben ein Wort dafür: gallus. ‚Come Ahead‘ ist auch ein ziemlich frecher Titel.“
Bobby Gillespie

DIEMAJIN is the duo of Berlin-based producer DJ DIE SOON (Daisuke Imamura) and Tokyo-based vocalist MA. Their self-titled debut is equal parts scrambled hip-hop, simmering noise and spectral Tokusatsu soundtrack. A set of cursed beats and possessed raps inspired by Japanese sci-fi and supernatural-horror films from the 1960s.
The pair, both originally from Japan, first collaborated live at an event in Berlin organised by Morphine Records in 2019. But the eleven tracks on their self-titled debut were made by swapping beats, sounds and acapellas across the internet. Editing, arranging and degrading them into the collection presented here.