Suche:a hand

Who is Robert Ellis? At first glance, he's simply a smiling, longhaired,
twenty-two-year old in a hand-stitched western shirt and Dwight Yoakamtight blue jeans - But there's more to this youthful Houston, Texas native
than meets the eye
The young songwriter's second release and debut for New West Records is an
impressive and diverse concept album split between five breathtaking folk songs
and five soon- to- be country standards. Listening to Photographs, one finds it
difficult to pigeonhole Robert Ellis. It's even harder to remember that he's barely
just begun.

Through Twelve is an electronic-dyed combo powered by 80’s synthpop and shiny post-production by Italoconnection. Their Mini LP “Inner bridges” is full of layered basslines, pulsating rhythms, catchy vocals and retro synth warmth. Tracks such as the richly melodic “Silent Radio’ and the New Order-ish sweeps of “New Town” are irresistible invitations to stand-up and move your hips.

T12 have a tendency for emotive analogue leads, expressive pads and inimitable synth sequences, in duet with electric bass phrases.

Through12 signature sound becomes immediately recognizable in the dancefloor-ready song “This Love”, starring Italo disco icon Fred Ventura. “Silent Radio” receives an exuberant electro-remix treatment from Italoconnection and “This Love” goes hand-in-hand with Mono Han version.

** INITIAL 400 LPs CONTAIN A BONUS 7" OF A RARE XMAS SOUL 45! **

** THE 4th VOLUME OF RARE & HIP-SHAKING SEASONAL GROOVES!! **

Dear Santa, we just loved "Santa's Funk & Soul Christmas Party," Volumes 1-3 TRLP-9013, TRLP-9027, TRLP-9050, and we have really tried to be good this year! Please bring us a whole 'nother album's worth of rare and obscure Christmas-themed funk and soul!

When the third volume of "Santa's Funk & Soul Christmas Party" was released in 2015, everybody involved was certain that it would be the final one. For years, the curators had been looking for "Christmas Rare Grooves" until they finally realized there was nothing left to discover that would justify a fourth volume. Sure, it would have been an easy task to dig through the catalogues of major labels to come up with 40 minutes of more-or-less trivial Christmas soul music. But who on earth would want that kind of album? Since the foundation of Tramp Records in 2003, the label has gained a high reputation as one of the very few German reissue labels of obscure funk, soul, and jazz music. 99% of the songs originate from 7" singles, the small and handy standard-format of the 1960s, which, like Santa's sleigh magically circling the planet on Christmas Eve, spins at forty-five revolutions per minute on the turntable.

So, what can you expect from this, the fourth volume of a series which had ostensibly been completed with only three volumes? After some seven years of digging across the world wide web with open ears and eyes, never tiring of the hundreds of (mainly) shitty songs, hoping to find that kind of monster soul or funk track that constituted the hallmark of the previous volumes, the compilers slowly and surprisingly began to see a fourth volume taking shape. Finally, after more than two thousand days, a complete album's worth of quality tunes had been discovered and secured for release.

"Santa's Funk & Soul Christmas Party Vol. 4" contains a highly diverse selection of obscure Christmas songs. For example, take Bey Ireland's garage-mod-rocker "All I Want For Christmas Is A Go-Go Girl," is something to get you go-going around the tree! Do you prefer mirror-balls to tinsel? Check out Bill Deal with Pure Pleasure. Too fast? How about the dazzling-melancholic "I Won't Be Home For Christmas"? Do you prefer rap music while you wrap presents? Then your choice is going to be Hot & Sassy. Old-School-Hip Hop at its best. Every single song has a compelling reason to be included in this extraordinary selection. Not least is the opening track by Sharon Jones & the Dap-Kings. Their contribution represents the soul sound of the 21st century. Charming soul music with sociocritical lyrics, something you rarely find in the current musical landscape.

Even though the selected tracks that the two compilers and their worker elves proudly present on "Santa's Funk & Soul Christmas Party Vol. 4" are unbelievable, they are very real and will be the surprise gift from Santa this season that can be enjoyed year-round! It took seven years to complete, but believe us when we say it was well worth the wait. Merry Christmas, everybody!

Key selling points:

- initial 400 LPs contain a BONUS 7" of a ULTRA-RARE Christmas soul 45

- ALL but one song appear on CD, Vinyl LP and digital for the very first-time

- the vinyl LP comes with a full album download code

- fold-out CD-booklet and gatefold LP come with liner notes and label scans

repressed !

Nachdem sie in den vergangenen zwei Jahren die Saat gesät hatte, ist Peggy Gou nun dabei, 2018 die Früchte zu ernten. Im April hat sie beispielsweise ihr Coachella-Debüt in Kalifornien, aber begonnen hat ihr Jahr mit dem Podcast für die Kolleginnen und Kollegen von Resident Advisor, der mit ihrer großartigen neuen Single - It Makes You Forget (Itgehane)' endet und ihrer kommenden EP - Once' entnommen ist, die am 2. März 2018 via Ninja Tune erscheint. Geschmeidig, unmittelbar tanzbar und eingängig in seiner Einfachheit, hat Peggys charakteristischer Produktionsstil das nächste Level erreicht, mit dem sie die Single nicht nur selbst komponiert, sondern zum ersten Mal auch selbst eingesungen hat. Die in Südkorea geborene und in Berlin wohnhafte Peggy Gou hat sich mit einer Handvoll Knaller-12' bei Labels wie Rekids und Phonica White, sowie mit ihrer 2016er - Seek For Maktoop'-EP über das Ninja Tune-Sublabel Technicolour einen starken Namen in der Szene erarbeitet und ist quasi zu dem gegenwärtigen DJ-Postergirl schlechthin avanciert. Die Kombination aus ihren zutiefst Groove-geleiteten eigenen Produktionen und ihrer Leidenschaft für das DJ-Pult, das sie Woche für Woche auf der ganzen Welt aufs Neue besteigt - von Glastonbury zur Panorama Bar, De Schoon, DC-10 und dem Dekmantel Festival - hat ihre Fanzahl in kürzester Zeit auf ein Vielfaches anschwellen lassen.

In 2003, Pisco Crane assembled a six-piece band from motivated and talented like minds in the Kinshasa slums where he grew up. Pisco had been involved with a handful of local rap acts when he was younger, but after meeting legendary instrument builder Bebson De La Rue, he was inspired to follow a new path. He set about building instruments from the discarded trash that surrounded his city: bits of old computers or oil cans were fashioned into bass guitars and drums, and keyboards were bashed together using springs, metal pipes, and offcuts of tubing. If there was a core philosophy that guided Pisco at this stage in his journey, it was that everyone should have access to instruments, no matter where they come from or what their budget might be. And following in the footsteps of Bebson, Pisco locked into a Congolese tradition that touches on the eccentric genius of globally lauded artists like Konono Nº1 and Staff Benda Bilili. Over the years, Fulu Miziki's notoriety grew in the Kinshasa underground - their utopian vision of the future was infectious. Eventually, they were joined by performance artist, sculptor and fashion designer Lady Aisha, who offered the band unique colour and a soulful central focus. Influenced by Kinshasa's street performance scene, Aisha helped the band devise vivid masks and costumes that were as electric and singular as the instruments they played, and the scene was set. In 2020, as the world was plunged into lockdown, footage of Fulu Miziki went viral and their star began to grow exponentially, with a video of the band preforming the track 'Tikanga' racking up millions of views on Facebook. The band used this opportunity to work on documenting their sound, and shored up at the Nyege Nyege studios in Kampala for a year to assemble a definitive album. Recorded by HHY & The Macumbas' Jonathan Saldanha, this record captures the band's furiously innovative mixture of industrial sonics, spiritual jazz, punk, and Congolese soukous pressure. At their best, Fulu Miziki sound almost completely out of time, curving pounding rhythms around microtonal clanks, rousing chants and spiky sonics. On 'Mutangila', there's a hint of disco in the 4/4 stomp, but it's been shifted into a post-punk ritual, adorned with complex bell percussion and overlapping vocals. 'Congo' is even harder to define; electrified buzzes form a bassline, but it's the mindboggling rhythms that shuttle the track into psychedelic realms, led confidently by Lady Aisha's limber rhymes. Fulu positively slither on the sultry, industrial-influenced 'Sebe', while 'Tikanga' reminds of Congo's rumba-derived soukous traditions, materializing the sounds into the future with tight, pounding percussion and head-melting fx. The story of Fulu Miziki is sprawling and complex and constantly evolving, with various offshoots and band iterations. Two members left the band in 2016 to form KOKOKO! with French producer Débruit. Not long after they recorded this magnum opus album, several other original members left to form a similarly named outfit currently based in Europe. This other incarnation recently released an EP of electronic productions without the band founder Pisko Crane and lead vocalist Lady Aicha, on the UK based Moshi Moshi records. Pisco and Lady Aicha currently lead a different outfit in Kinshasa made up of completely new musicians. This full-length is the remaining proof of Fulu Mziki at their most vital and most complete - it won't be repeated - and can never be recreated. It's an essential portrait of one of the Democratic Republic of Congo's most innovative contemporary outfits, and some of the most surprising hybrid music you're likely to hear.

ft. Cinna Peyghamy & Jay Duncan Remix

Soreab returns to Control Freak for a full length white label release - a masterclass in organic, dubbed-out, dancefloor psychedelia, featuring live recordings by sound artist and modular percussionist Cinna Peyghamy following a recent collaboration with Azu Tiwaline.

As a DJ, producer and co-founder of Baroque Sunburst, Italian-born Soreab has been a mainstay of London’s underground electronic music scene for over 5 years. On ‘Teleportation’, he manipulates and twists Cinna’s deft percussion work into a distinct range of UK styles, ranging from 170bpm euphoria to subby, half-time ex- plorations from the school of FWD>> and Plastic People.

On the B2, Jay Duncan (Phantasy Sound / Intergraded) takes a decidedly minimal tack on her remix of ‘Untitled 1’, with deep, dubby chord stabs and immersive rhythms for late night dancefloor revelations.

For Fans Of: Om Unit, Shackleton, Al Wootton

Limited pressing of just 300 hand-stamped records - don’t miss your chance to grab one

Mastered & cut by Ruy Marine @ D&M, Berlin

Widely-loved electronic maestro Gigi Masin returns with ‘Vahinè' – a mini album of beautiful and distinct music that is unmistakably his, sounding better than ever.

Masin always pours his heart into composing, but here it takes on a potent new level of heavy emotion – as it’s a tribute to his late wife, who sadly passed away last year.

“There is a Tahitian dance called ‘Aparima’. It consists of graceful, sinuous and fascinating movements, which tell you stories and legends about love or tradition. The ‘Vahinè' are now dancing, the Tahitian females, with smiles and gestures that could be symbolic or descriptive but are always gentle, harmonious, charming. I was watching this documentary, it was almost 4 in the morning, but I couldn't sleep; I was in front of the television for hours, my wife had passed away the day before, and I was watching hands and arms swaying.

I told myself that maybe it’s so, at the end of the road it’s possible to realize dreams, and I’m sure that she is finally able to dance like never before, and is able to move without any impediment, with no suffering, free to make all the movements that she couldn't make for so long, turning to me with a smile and a wink. So, in the clouds, you will discover and see an extraordinary 'Vahinè', because she will move and dance and smile until the end of time.”
Gigi Masin

A future-retro dreamscape where stripes of early evening sun pour through partially closed venetian blinds; kalimba, piano and steel pans meet on the incredibly evocative ‘Marilene (Somewhere in Texas)’.

The Balearic/Italo house heart of ‘Barumini’ throbs throughout a celestial epiphany, whilst ‘Shadye’ is a sun blinded ambient mirage where angelic voices and electric guitar intertwine, before more heavenly music ensues on the trance-like ‘Malvina’.

A heart-wrenchingly beautiful evocation of transitioning to the other side, ‘Valerie Crossing’ is Gigi’s compelling and inspirational take on death, with a vivid evocation of something spiritual, existential and metaphysical. His exemplary approach shows decease not as a cause for despair, but a philosophical and poetic exploration of where souls go, when they leave their earthly bodies.

Masin closes with ‘Vahinè' – a twitchy, levitational piece of sublime deep techno, which transmits high strength vibrations of powerful emotions. On both this track, and the album of the same name, there’ s no pseudo intellectual ambient posturing with cod academic angles tagged on; This is music of real substance, coming from a real place. It’s saturated with feelings, but turns mourning into affecting art, and even a beacon of hope.

- 2022 repress / comes in label sleeve -



We launch our rocket number 057 by the expert hands of Tensal, three pieces of direct to the floor operational techno, faster, heavier and darker than the previous outcome by Hector.

On the A-side, the first cut is "Civil Defense", sharp continuous sequences showing up right from the beginning, solid kicks and a memorable break. This one is gone make some damage in sound systems out there.

B1 "Collapse", again starting with no remorse, white noises, distorted textures, heavy sub bass action and hi speed tempos, another to the bone exercise.

B2 is "Bihotxak", solid grooves, percussive panned details, on a linear and tooly arrangement excellent for long mixes and build-ups.

Composed, designed and recorded by Tensal. Mixed by Oscar Mulero.

On the cusp of their 30th year with British indie Warp Records, Plaid return with a joyous new studio album, Feorm Falorx. From their playful early releases in the late 80's until now, they have explored diverse musical styles and embraced new methods of synthesis whilst maintaining a musical thread that spins back through the early Hip Hop scene of their youth and beyond to the sounds of the late 60s and 70s that inspired it.

Plaid have toured extensively and collaborated widely over the years, writing for and performing with sonic researchers, percussion groups, solo artists and orchestras, most recently for the BBC Concert Orchestra. They have written for computer games and scored several feature films, one of which, Tekkon Kinkreet, was awarded the Japan Academy Prize for Animation of the Year.

This eleventh studio album finds our duo, Ed Handley and Andy Turner, recreating a recent performance at the Feorm Festival, an intergalactic festival held on the planet Falorx. In order to survive the Falorxian atmosphere they were converted into light so the traditional recording devices they'd taken on 'The Campbell' were not functional. Fortunately, having consulted Earth's Space Agency, it was deemed safe to recreate the performance back in their London studio. Extensive testing of the resulting recordings have established a level of thought contamination deemed, “perfectly acceptable.”

Feorm Falorx will be released Universally on 11-11-22

Ultramarine & Anna Domino meet again for a reworking of their collaborative track '$10 Heel'.

The song originally appeared on the Ultramarine album Signals Into Space (Les Disques du Crépuscule, 2019). $10 Rework replaces the urgent, jittery rhythm of the original with a straighter House backbone and then proceeds to disassemble the structure with a pair of freestyle, hands-on-the-desk, on-the-fly dub mixes.

Anna Domino's stream-of-consciousness lyrics tell the impressionistic tale of post-club after-hours chaos in Times Square, NYC circa 1979. Anna raps off studio equipment brand names like passing neon signs glimpsed in a blur through a taxi cab window.

Iain Ballamy wields his saxophone like a graffiti artist with a spray can; scrawling and skronking across the canvas. Ric Elsworth lurks in a side alley, unraveling a trash can monologue of wild flamming bongos.

Ultramarine is the UK duo of Ian Cooper & Paul Hammond. Formed in 1989, their albums include Every Man and Woman is a Star (Rough Trade, 1991), United Kingdoms (w/ Robert Wyatt) (Blanco Y Negro, 1993) and Signals Into Space (w/ Anna Domino) (Les Disques du Crépuscule, 2019).

Anna Domino is an American musician based in LA and NY, best known for her classic run of releases on Belgian label Les Disques du Crépuscule in the 1980s and '90s.

Iain Ballamy is a composer and saxophonist; a member of the Loose Tubes collective in the 1980s and more recently with several albums to his name on ECM.

Ric Elsworth is UK-based percussionist and vibraphone player.

Cosmopolitanism is creeping into the bedroom studios of producers worldwide. Romanski is another agent evolving transcultural hybrids, which blend from retained folkways to modern aged club grooves. A mixture of electronic beats in a rigid machine order and handmade organic moments woven together to form an eclectic sound. With a bit of drama, the hamburg based dj & producer Romanski, invites you on a diverse journey with his unique vision of club music. Balearic groove patterns accompanied by repetitive bongo motives & dimmed synth themes flow along the 4 tracks (2 of them featured on 7" vinyl) of this EP. The title track "Karma Calling" is a passionate homage to Mulatu Astatke, "Tagh Tagh" is surrounded by an iranian children’s song, "Gaugin" features a tahitian vocoder line about the french painter and on "Ants" Romanski reflects on lyrics that came to him when resident at a sanatorium years ago. Romanski is using his custom sound range & tools to express his downbeat grooves in this well balanced release. Hide below or turn around the umbrella with devotion and delight.

Reissue of Makaya McCraven"s modern classic, International Anthem debut "In The Moment" (2015) One venue, 28 shows and 48 hours of live, improvised music. These are the ingredients for Chicago-based drumme Makaya McCraven"s album In the Moment. However, McCraven, as the producer he also is, has not just thrown some random sounds together. Instead, he has carefully culled, cut and remixed the music into a coherent whole and 19 complex and catchy compositions emerge from his hands.

Since starting Babehoven in Portland, Oregon in 2017, Maya Bon has
shown herself to be a gifted heart-on-sleeve songwriter, using music to
peel back the layers of her own experience "sometimes sad, sometimes
surreal, always vividly rendered " to reveal universal emotional truths
hidden in the most intimately personal of details
After a handful of self- released EPs and their label debut on Double Double
Whammy with 2022's "Sunk" EP, Babehoven's first full-length album "Light Moving
Time" is due October 28 2022.
"Light Moving Time" is emblematic of Babehoven's wide range of dynamics, and
each of those sounds are taken further. You can hear the pared-down languor of
"Yellow Has a Pretty Good Reputation", the smoldering guitars of "Demonstrating
Visible Difference of Height", the peculiar charm of "Nastavi, Calliope", and the
soft tenderness of "Sunk". Alternating seamlessly acrossstyles, Circles and
Philadelphia have the wispy ambient calm of a Liz Harris track, I'm On Your Team
falls somewhere between a flowy country song and an 80s power ballad, Marion
contains the plucky indie- folk warmth of Hovvdy, and Stand It and Pockets are
coated with My Bloody Valentine's wobbly shoegaze. But in contrast with those
EPs, these tracks utilize Bon's voice with greater emotional impact than ever
before. Pressed on Bone Color vinyl

Dear Friends,
Do you know that tipping point, when an average gathering at a bar turns into a dancing party? A few seconds ago, you´ve been mixed up in boring small talk, then you suddenly get distracted by unobtrusive but cheerful sounds that unwittingly make your head bob, let you turn around and at least let you unintentionally find yourself in a bunch of smiling and dancing people…. so, music can save the night- Freudenthalers “Bar Rescue EP” definitely does. It appears nonchalant and unexcited, but always with a compelling spell.
With a touch of swing, a wobbling bass line and all the jazzy elements and cheering voices “The Swingers” gives that perfect vibe to really get a party going. “Worthy” is nearly cracking that harmony with raw, almost careless cut Afro Latin jazz samples, deep chords and spherical particles embedded, but a funky bass always keeps the easy vibe. “Lingerie” opens the flip-side with a tight beat, perfectly complemented with a noisy piano lick, strings, horns and some hip hop cuts. “Overseas Phone Number” then rounds out the release by featuring a swinging rhythm, lovely string pads, pleasant saxophone parts and paying tribute to a French rap classic. Altogether, you will answer it with a smile, for sure. With this in your bag, you´ll be prepared for toughest rescues!

P.S.: Physical release comes with handcrafted, screen printed artwork by fabulous graphic artist Zatina Kessl.

Forget your search for a holy grail, THIS is The Lost Ark Of The Covenant.

Walter Gibbons presents 'The Ten Commandments Are The Law Of The Land'
It will melt your face and make you clap yo' hands!
Mythical disco foundations from Sunshine Sound.




Label Info:
Take a journey to the dawn of DJ culture with Sunshine Sound, the NY imprint that through a series of genre defining Disco Edits became recognised as the 'Birthplace of the Edit'.

These 'Disco Adjustments' would become the hottest tracks in a DJ's crate, spawning countless bootlegs & imitations since they first appeared so many years ago.
As influential as these recordings were, most only appeared as acetate discs individually cut in mono & sold direct to DJs.
Some of these were cut in such small quantities it could be debated as to whether they ever really existed at all.
40 years later and all that remains are remakes & rumours...

...or so it was thought.



Sunshine Sound rises again to bring you a series of classic, legendary & mythical Edits.
Travel back with us to re-discover monumental works that helped shape the sound of dance music as we deepen the textures of history with a series of exclusive Digital & limited Vinyl releases selected from the vault.
Sunshine Sound releases are distributed by Moonshine Sound, bringing you antiquities of historical Disconificance.

Ever since he remixed Abimaro & The Free’s ‘Mark’ back in 2014, NuNorthern Soul boss Phil Cooper has kept in touch with Daniel Stenger, the producer and self-taught multi-instrumentalist behind the Flashbaxx project. Cooper was always convinced that Sanger would be capable of crafting a very special release for the label but was willing to give him time to come up with something special.

With Take Care My Friend, a mini-album inspired by the German producer’s deeply rooted love of jazz-funk, Stenger has repaid the faith shown in him. He’s deliv-ered a collection of quality cuts marked out by audible warmth, effortless musicality and memorable, sun-soaked songs.

As he makes clear in the liner notes included with the vinyl version of the mini album, the project began with the recording of luscious, Rhodes-laden opener ‘Al-right’. After staying up all night recording the track, Stenger not only decided to continue recording with the same relatively limited set of instruments (think bass and electric guitars, drums, piano, electric piano, organ, hand percussion and a handful of synthesizers), but also stick to a hybrid sound that added a subtle Lat-in shuffle to his Balearic-minded take on jazz, funk and soul fusion.

We’re biased of course, but there’s no denying that Stenger’s creative choices have resulted in a superb set of tracks. While the restricted kit list provided focus during the music-making process, there’s still plenty of musical variety across the six tracks that make up the set.

For proof, compare and contrast the jazzy, loose-limbed headiness of ‘It Just Happens’, where simmer-ing synth-strings, twinkling melodic motifs and glis-tening guitar licks rise above smooth jazz-funk bass and a gentle broken beat rhythm, and the slow-motion soul brilliance of ‘Strangers’, where Kathryn Kempf’s evocative and poignant lead vocals rise above a sump-tuous downtempo groove and heart-aching piano lines.

This subtly varied but musically coherent vibe contin-ues across the mini album. Stenger indulges in a bit of New York daydreaming on ‘Brooklyn Love Boat’, a wonderfully musically detailed chunk of 1970s style jazz-funk heat that offers knowing nods to Roy Ayers, Herbie Hancock and the jazz-fusion stylings of Azymuth, before opting for a deeper, slower and even more seductive sound on the Hammond-sporting bliss of ‘Take Care My Friend’.

Closing cut ‘City Lights’, a gorgeous, soft-focus affair smothered in echoing Rhodes riffs and immersive chords, has the feel of an underground classic in wait-ing: a stirring, string-drenched future sing-along whose emotion-packed lyrics are delivered brilliantly by Glasgow-born singer/songwriter Chris Pookah.

Despite the song’s subject matter – the painful final breakdown of a relationship – there’s something strangely uplifting about the combination of Pookah’s pitch-perfect vocal delivery and the absorbing warmth of Stenger’s comforting and sonically detailed music. It provides a fittingly impressive finish to a mightily immersive mini album.

The mysterious Withhold label with a very strong album compilation feat. 13 tracks from different unknown artists. Limited pressing of 300 copies and no repress..

Sunda Arc are brothers Nick Smart and Jordan Smart. Best known as key members of folk and jazz influenced minimalists Mammal Hands, their Sunda Arc project takes inspiration from the likes of Jon Hopkins, Rival Consoles, Moderat and Nils Frahm as well as their own music world. Their debut EP 'Flicker' was released in December 2018 and now the duo are set to release their debut LP, 'Tides' on 7th February 2020.

Named for a volcanic arc in the Indian Ocean, created by the process of massive tectonic plates colliding, Sunda Arc strives to mingle electronic and acoustic sounds until they become almost indistinguishable from each other. It's a process where they draw the acoustic properties and quirks out of electronic sounds and find the electronic potential in acoustic sounds. "Finding the ghost in the machine or blending the human elements of playing live is something we are always trying to explore in our work.

Experimentation is a large part of our process and we tend to combine carefully composed material with chaotic ideas to find the balance between the two" — Sunda Arc 'Tides', their debut album, takes its name from the idea of unseen forces that can affect our lives in myriad ways, being pushed and pulled and at the whim of powerful forces outside of our control as well as offering a nod to things such as the tides on our planet, tectonic plate movements and weather systems. There are often chaotic elements in these systems that function in a way that produce a type of controlled randomness on a large scale. This is something they try to reflect in their music by adopting some of the ways these systems work into musical sequences, and using ideas such as chaos theory to control musical parameters. "Tides is a reference to themes we were thinking a lot about during the making of this album. These include the similarities between macro and micro systems, or the circulatory and nervous systems in the body. Things that produce a type of controlled randomness on a large scale". — Sunda Arc 'Hymn', the first single from the album, uses Nick's voice sampled and played back through a keyboard to create a human yet electronic feel.

It mixes soft vocals with heavier electronic elements to create a danceable yet human sound world. 'Dawn', is best described as uplifting-techno, its use of repeated phrases building in intensity and variations to put you into a hypnotic state whilst also being industrial and danceable. 'Daemon' is one of the tracks that really resonates live. Drawing on the sound of UK dubstep it's intense but fun and the bass clarinet blends with synths at the end to create a sound almost like a vocal. 'Secret Window' brings forward another side of the band, focusing around a lo-fi recording of felted piano and bass clarinet.

These are blended with granularised and processed versions of themselves which emerge like ghosts of the instruments throughout the track. 'Cluster' is another key track. It utilises a small group of notes looped in an unusual way to create a sense of cascading patterns over a solid danceable drum groove. It emphasises soprano sax blended into the sound world half-way through to lift into the final section.

I hold Your hand Like I want My hand To be held. When we are young we show our love by emulating those we love. Tributes, respect, adoration, getting lost in things. Trying to become a person we wish to be. Hold that process and don't be afraid to let it always hold you too. Swallow Me is the result of playing Kamala Sankaram’s astonishing performance in clubs, of splicing it into and out of things, of those ideas taking on a little life of their own and connecting her ideas to new spaces and audiences. I Love Like Your Men is a tribute to the undated diaries of Samuel R Delaney, slices of time that cut themselves holes into other times and other places. Moments of reflection that now tie into the heads and bodies of others. Thank you to Kamala for your work, it’s clearly so inspiring, and for being supportive of this, which is humbling. Swallow Me samples Kamala Sankaram’s performance at the final Resonant Bodies festival in New York in 2019. “In Ancient Greek, ololyga is the ritual shriek of women, a sound so alarming to men that it could not be uttered within their earshot. Kamala Sankaram’s work was written as a direct response to the 2016 election.” It was released on New Focus Recordings.

Available again. Note price increase. The contributions of the late Detroit producer James DeWitt Yancey –better known to the world as J Dilla to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) It's on Slum Village's 1997 studio debut, Fan-Tas-Tic Vol. 1, that all these elements come together in the most proficient manner. An instant hit among Detroit's underground hip-hop scene, the album seemed to combine all the best elements of the reigning alternative and gangsta styles of hip-hop into one cohesive style that was a hit among critics. Fan-Tas-Tic's influence extended far beyond Detroit, as its sound heavily influenced the sounds of D'Angelo, Erykah Badu, and The Roots just to name a few. (Roots drummer ?uestlove has even declared that: "Hands down this album birthed the neo-soul movement.") Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved and every freestyle line of T3 and Baatin has been re-created, to maintain the legacy of a late-90s rap classic, and the legend of one of hip-hop's greatest beatsmiths.

"Jazz'n'Beats" is a new mini-compilation selected by Oonops and it's named as the eponymous "Oonops Drops"-series on Brooklyn Radio.

In the mix are renowned beatproducer DJ Mitsu The Beats from Japan who joined forces with 1Co.INR for a laid back instrumental tune with a well known core melody. Next up label-graphic design head honcho is back with a new'n'sweet mini beat called "Parakeets" before we get to the flipside. This gets started with German underground rap & producer duo 4Trackboy & Echomann a.k.a. Retrogott & Twit One who drop a sharp and jazzy dope tune for this release which gets rounded down with a beautiful jazzy hip-hop instrumental by Japanese jazz musician and composer Kazumi Kaneda.

Get your hands on these limited pieces of recycled vinyl.

Clear Vinyl

New Nordic jazz duo Svaneborg Kardyb sign to Gondwana Records and announce NPR Tiny Desk session and captivating third album Over Tage

Svaneborg Kardyb are Nikolaj Svaneborg - Wurlitzer, Juno, piano and Jonas Kardyb - drums, percussion a multi award winning duo from Denmark, where they won two "grammys" at the Danish Music Awards Jazz 2019: New artist of the year and Composer of the year. ?Drawing on Danish folk music and Scandinavian jazz influences, including Nils Frahm, Esbjörn Svennson and Jan Johansson's landmark recording Jazz På Svenska, their music is an exquisite and joyful melding of beautiful melodies, delicate minimalism, catchy grooves, subtle electronica vibes, Nordic atmospheres and organic interplay, all underwritten by the sheer joy of playing together. "We started in the earliest of mornings over the blackest of coffee, sometimes even without talking, just music.

Immediately we felt a connection between our personal style of playing and the compositions emerged like out of nowhere. The vibe from these early sessions is still the backbone of our little band".

Svaneborg Kardyb hail from Aalborg, in Jutland, in the north of Denmark where they first met in 2013 and discussed the possibility of creating a duo over late night talks. Six years went by as they both explored other projects before they eventually realised the idea of making music together. Like their new label mates, Vega Trails, Svaneborg Kardyb are a duo, a format that gives them a lot of space to occupy - or leave blank. "We enjoy the simplicity and focus it gives to the interplay. We come from very different musical backgrounds; Nikolaj from Scandinavian jazz, and Jonas from Roots, blues and folk, so the music is a sum of our personal contributions and doesn't thrive to be anything else than that. It's quite unique for us to have this shared musical tongue and friendship".

Their music is intentionally simple at first glance, but evolves and unfolds through listening over time, with plenty of room for exploration, reflection and improvisation. Their aim is to create music that is as honest and intimate as possible "with melodies and rhythms so strong that we are left as only the messengers". And their fast-developing music chemistry allowed them to give little thought to what their musical influences were. Giving their music a captivating charm. "We explored whatever sounds and musical structures our duality gave birth to and through long jam-sessions we found small seeds of ideas that turned into tunes. Danish traditional songs, community singing and hymns are a big inspiration too. Both the tonal language, the lyrical melodies and the way generations can gather around the music, is something that is close to our hearts".

Over Tage (over roofs) is their third album, following Knob (2019) and Haven (2020) and marks their debut for Gondwana Records a label noted for working with artists such as Mammal Hands, Portico Quartet and GoGo Penguin whose music, like that of Svaneborg Kardyb delights in exploring the fertile spaces between genres. For the duo it is their most serious and thoughtful record to date. "It may be our strongest and most honest record so far. Doubts and uncertainty were kind of the foundation for the sounds of the album but there is also hope and lots of uplifting moments and we're very pleased with how it came out." And it is that mixture of elevation and thoughtfulness, honesty and intimacy that makes the music of Svaneborg Kardyb so special and Over Tage such a joy to listen to. The world awaits.

2022 limited edition of this Japanese no wave gem from 1982. With extended liner notes and interviews with band members about the recordings of the album, as well as unpublished photographs from 1981 by Jibiki Yuichi.

The Japanese punk rock movement known as Tokyo Rockers began in the summer of 1978. It incubated an independent music culture as well as a host of fascinating, individualistic musicians. One of the more striking units was the male-female duo Maria 023. NON played bass for them, and it was here that she first attracted attention. However, Maria 023 was short-lived, and NON would not reappear until the following year, August 1979, on stage at the legendary concert event "Drive to 80s". Her unbilled performance at the event consisted of several songs for solo bass and vocals, and her combination of intensity and a distinctly female emotionality made a striking impression. In the months that followed, NON continued to play solo and she became a pivotal presence among the female rockers on the scene at the time.

Finally she shifted from solo to group performance, and formed NON BAND. After several member changes, the line-up stabilized into a unique trio with Kinosuke Yamagishi on violin and clarinet, and Mitsuru Tamagaki on drums. It was with this line-up that the group reached a musical peak. At the same time, the Japanese punk and new wave rock scene was moving in a new direction, as a second generation of artists appeared and mushrooming independent labels began to play an increasingly important role. I myself started a label called Telegraph Records in 1981 and worked hard on record releases and building a distribution network.

Since starting the label, I had wanted to release a record by NON BAND. There were many vicissitudes before it could happen, but in February 1982 NON BAND's first album was released as a 10-inch LP on Telegraph Records, the label's fifth release. In the early Japanese indies scene, if a release sold 1000 copies it was counted as a significant success. The NON BAND album went through several repressing and sold 2000 copies. The album was a hit and the band's critical reception and popularity suddenly took off.

The shows that followed the release of the album were given a boost by the addition of two female rockers, the guitarist Kummy and keyboard player Mitsuwa. The group was reaching a real musical peak and everyone expected more great developments, but just six months after the release of the album the group would grind to a halt. Members quit the band one after another, and with no possible replacements to be found, NON herself faded away from the scene.

NON BAND's career in the early Japanese indies scene was thus short-lived. But their sole album was reissued twice on CD, and remained popular with listeners. However, the group's history was to have a second chapter.

NON ended up returning to her hometown, snowy Hirosaki in the far northern prefecture Aomori. There she raised two children and took over the running of the family business, an arts supplies store. Her thoughts turned once again towards music, and in 1999 she took up her bass again and began to sing. She invited two fabulous musicians, Keiji Haino and Tatsuya Yoshida, to Hirosaki, and performed together with them as well as solo. This marked the beginning of a new phase for her, and she played live in Tokyo and released a solo album, "ie". She got back in touch with Yamagishi and Tamagaki and reformed NON BAND. They added Emi Sasaki on accordion and began to play a handful of gigs each year, bringing a mature depth to their undiminished power and dazzling a new generation of fans. In 2012 the group released an album of recent live performances entitled " NON BAND Liven' 2009-2012". I released the album on the newly reanimated Telegraph Records.

NON still lives in the north, in Hirosaki. The city is famous for its summer Neputa festival. The first track on this album, "Duncan Dancin'" is almost a theme song for NON BAND, but its rhythm is taken from the ohayashi music that is performed in this festival, as large floats and troupes of dancers wind their way through the streets. The title refers to the legendary dancer, Isadora Duncan. The image perfectly represents NON herself: Isadora Duncan dancing to the earthy rhythms bubbling up out of the north land.

Nov 9, 2016 Jibiky Yuichi (Telegraph Factory)

In order to achieve a meticulous sound quality the reissue version is cut on 12" vinyl instead of the original 10" format. The original cover artwork has been reproduced and there are liner notes by Jibiky Yuichi with unpublished photos of NON BAND.

Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist & composer Jeff Parker's ETA IVtet. Recorded live at ETA (referencing David Foster Wallace), a bar in LA’s Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, & alto saxophonist Josh Johnson to convene in extraordinarily depth-full & exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 & 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, & patience & grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album & first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan’s Live at the Lighthouse, Miles Davis' In Person Friday & Saturday Night at the Blackhawk, San Francisco & Black Beauty, & John Coltrane's Live in Seattle.

While the IVtet sometimes plays standards &, including on this recording, original compositions, it is as previously stated largely a free improv group —just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It’s tensile, yet spacious & relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes & eras —dub & Dilla, primary source psychedelia, ambient & drone— suffuse the proceedings. Listening to playbacks Parker remarked, humorously & not, “we sound like the Byrds” (to certain ears, the Clarence White-era Byrds, who really stretched it).

A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly & fluently in & out of lead & supportive roles. Building on the communicative pathways they’ve established in Parker’s -The New Breed- project, Parker & Johnson maintain a constant dialogue of lead & support. Their sampled & looped phrases move continuously thru the music, layered & alive, adding depth & texture & pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker’s beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums & shakers —as distinctive a sonic signature as we have in contemporary acoustic drumming— bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness & humility with which she navigates the bass position both ground & lift upward the egalitarian group sound. As the IVtet's grooves flow & clip, loop & repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony & intuition, deep focus & freedom.

For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately & unmistakably as music coming from Jeff Parker‘s unique sound world. Generous in spirit, trenchant & disciplined in execution, Parker’s music has an earned respect for itself & for its place in history that transmutes through the musical event into the listener. Many moods & shapes of heart & mind will find utility & hope in a music that combines the autonomy & the community we collectively long to see take hold in our world, in substance & in staying power.

On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks & screens & illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music & the beholding of its beauty, together. – Michael Ehlers & Zac Brenner

Based in rural New Mexico, William Fowler Collins (b.1974) is a composer, recording artist and performer. His music extends across and beyond many genres including drone, minimalism, and free improvisation. He records and performs in both solo and group contexts. Collins has released music on the SIGE, Type, Blackest Rainbow, Handmade Birds, Sicksicksick and Root Strata record labels. In addition to his work as a solo artist, Collins has several collaborations including Thalassa with Aaron Turner and Mesa Ritual with Raven Chacon. He has also collaborated with Marshall Trammell, James Jackson Toth, Mamiffer and is currently working on new music with Margarida Garcia.

Alone Inside the Walls of Night is music for Mellotron, violin, synthesizers, and electric guitar. It was completed in 2022 and is dedicated to Maria Valentina Chirico. It features Heather Trost on violin. Artwork by Chris Bigg.

‘JUSTIN TIME’ is the first Vinyl LP compilation by Children’s favourite, Justin Fletcher.
Justin Fletcher has starred in the hit CBBC shows Mr. Tumble, Gigglebiz, Justin’s House, Fun Song Factory,
Something Special and the GiggleQuiz comedy observational panel show for the pre-school audience.
Justin is a multiple BAFTA Children's’ Award winner, received an MBE in 2008, regularly tours with a live sell out live
Christmas show, has his own monthly magazine, and is the voice in numerous blockbuster film animations including
the four Shaun The Sheep movies!
This 12” Vinyl LP Picture Disc features his best known songs on Side One, with Side Two is jam-packed with sing-along nursery rhymes.

500 copies on limited purple vinyl

By The Sea come from the lineage of firework pop, bursts of colour and squeeze-your-hand intense love aligned with grey skies & work things.
Recall the first time you heard The Chills’ ‘Pink Frost’ or Television Personalities’ How I Learned To Live The Bomb’?
That’s the encounter.

Liam Power formed By The Sea in 2011, the band’s debut single Waltz Away coming out on The Great Pop Supplement label that year. In November 2012 the band released their self-titled album through Dell’Orso and GPS. The NME noted how there was “a beautifully bruised element to this Wirral act’s debut from the subdued, morbid production to Liam Power’s heroically battle-weary vocals”.

They have also often been tagged for their kitchen-sink dramas though they’re more akin to something like ‘Wish You Were Here’, both funny and dark without being maudlin. There’s an end of pier melancholy to By The Sea records though, something more than a scribble of sentiment on a souvenir postcard.

For their second LP ‘Endless Days, Crystal Skies the band turned over production duties to their friend Bill Ryder-Jones (formerly of The Coral) and released that bounty of melodic pop in 2014. It’s a partnership they have retained for the new third album ‘Heaven Knows Magnolia’ released on limited purple vinyl, CD and digital formats on October 21st. The song

Ohne die Möglichkeit, live aufzutreten und auch privat von den vielen Einschränkungen betroffen, verlagerte sich der Fokus von DISILLUSION in den letzten zwei Jahren voll und ganz auf die Band sowie auf die Aufnahme ihres vierten Albums "Ayam". Der Effekt ist hörbar: "Ayam" klingt tiefer, noch vielschichtiger und ausgereifter als seine hochgelobten Vorgängeralben. Der Detailreichtum in der Musik der deutschen Avantgardisten ist jedoch nie ein bloßer Selbstzweck, sondern die Komplexität dient immer dem Song und dem "Malen" von Bildern für das große Kopfkino. Während DISILLUSION enger zusammenrückten, kamen auch alte Gewohnheiten auf den Prüfstand. Um etwas Neues auszuprobieren, überließ die Band den Mix ihres neuen Albums erstmals anderen Händen und Ohren als den eigenen. Die Wahl fiel auf den renommierten Produzenten Jens Bogren (OPETH, KATATONIA, MOONSPELL), was sich einmal mehr als wahrer Glücksgriff entpuppte. Die geradezu magische Fähigkeit des Schweden, die Eigenheiten einer Band deutlich herauszuarbeiten, verlieh DISILLUSIONs ohnehin schon einzigartigen Sound einen hörbaren Feinschliff. So wurde beispielsweise der Gesang in ein klangliches Rampenlicht gestellt. DISILLUSION gründeten sich im Jahr 1994 in Zwickau um Sänger und Gitarrist Andy Schmidt herum. Die Ostdeutschen schafften das seltene Kunststück, sich bereits mit der Veröffentlichung ihres Debütalbums "Back to Times of Splendor" im Jahr 2004 einen exzellenten Namen im Bereich des progressiven Melodic Death Metal zu erwerben. Mit dem folgenden Langspieler "Gloria" (2006) gelang der Band ein Quantensprung und eine rasante Evolution in mehrere Richtungen gleichzeitig. Als zuletzt "The Liberation" im Jahr 2019 erschien, beschrieben Kritiker das Album als logische Fortsetzung von "Back to Times of Splendor". In den Songs spiegelten sich 15 Jahre zusätzliche Erfahrung in Andy Schmidts musikalischer Entwicklung wider. "The Liberation" kombinierte die besten Qualitäten von DISILLUSION: Das perfekte Zusammenspiel von massivem Metal verschmolz mit Momenten purer Euphorie aber auch ruhiger Introspektion, die eine klangliche Achterbahnfahrt voller leidenschaftlicher Emotionen erzeugte. Mit "Ayam" segeln DISILLUSION erneut zwischen den Sternen zu neuen Konstellationen der harten Gitarrensounds. Dabei bleiben die deutschen Avantgarde-Pioniere ihrem generellen Kurs treu, werfen aber auch immer wieder den Anker aus, um funkelnde neue Klangwelten zu erkunden. "Ayam" bietet eher eine aufregende Evolution als radikale Revolution. Dieses Album ist ein goldenes Ticket für die außergewöhnliche musikalische Reise des Lebens. Kommt alle an Bord, Anker hoch und Leinen los!

Sweet Billy Pilgrim sind heute die beiden Multiinstrumentalisten Jana Carpenter und Tim Elsenburg, deren Geschichte u.a. eine Mercury Music Prize-Nominierung, die Royal Albert Hall und das Glastonbury Festival umfasst. Mit 'Somapolis' veröffentlichen Sweet Billy Pilgrim ihr per Crowdfunding finanziertes, sechstes Album. Losgelöst von traditioneller Bandbesetzung und in Zusammenarbeit mit einer handverlesenen Gruppe talentierter Kollaborateure verbindet die Band ihre Avant-Pop-Instinkte (Prefab Sprout, Steely Dan) mit der Liebe zu Prince, der Faszination für die gefühlvolle Electronica von Jon Hopkins und ihren Entdeckungen bei der Erkundung der tiefen Frequenzen im modernen R&B.

Sweet Billy Pilgrim sind heute die beiden Multiinstrumentalisten Jana Carpenter und Tim Elsenburg, deren Geschichte u.a. eine Mercury Music Prize-Nominierung, die Royal Albert Hall und das Glastonbury Festival umfasst. Mit 'Somapolis' veröffentlichen Sweet Billy Pilgrim ihr per Crowdfunding finanziertes, sechstes Album. Losgelöst von traditioneller Bandbesetzung und in Zusammenarbeit mit einer handverlesenen Gruppe talentierter Kollaborateure verbindet die Band ihre Avant-Pop-Instinkte (Prefab Sprout, Steely Dan) mit der Liebe zu Prince, der Faszination für die gefühlvolle Electronica von Jon Hopkins und ihren Entdeckungen bei der Erkundung der tiefen Frequenzen im modernen R&B.

Formidable psychic warriors, channelers of the mystic and proponents of a spiritual quest that transcends this realm, Goat remain a band shrouded in mystery. Travelling from their inscrutable origins in the Swedish village of Korpilombo across the stages and festivals of the world in the last decade, this band has created their incendiary music entirely according to their own co-ordinates. With all this in mind, the casual observer might have guessed from its title that 'Requiem', their beatific and melancholic album of 2016, was to be their last. Yet the ancestral spirits summoned by their art are always restless. Thus the eternal cycles of rebirth have triumphantly produced 'Oh Death' - a ceremonial conflagration as powerful as any this band has made. Invigorated by forces we can only guess at the origins of, 'Oh Death' is a party to which all are welcome. Blithely waving away easy classification, these heat-hazed serenades are just as comfortable in the headspace of vicious '70s funk as they are in zesty ZE records post-punk. Folk-haunted incantations and free jazz skronk here find common ground, buoyed by relentless forward motion and raucous energy. Yet all of the above is locked into a delirious gnostic groove that threatens to throw the whole shebang spiralling into orbit. 'Oh Death' is driven by a supernatural charge that unifies, invigorates and transcends borders, whether geographical, musical, or between this world and the next. In the hands of these sages and soothsayers, this is just the beginning. Goat Is 'Oh Death', Long Live Goat!

Stargeigerin Anne-Sophie Mutter und Cellist Pablo Ferrández, einer der vielversprechendsten Newcomer der Klassik, veröffentlichen ein gemeinsames Album mit dem Doppelkonzert von Brahms und dem selten zu hörenden Klaviertrio von Clara Schumann bei Sony Classical am 4. November 2022. Die Einspielung erscheint als CD, Vinyl und digital.Anne-Sophie Mutter hat für diese Zusammenarbeit mit ihrem Protegé, dem Cellisten und Sony Classical Exklusiv-Künstler Pablo Ferrández, das Konzert für Violine, Violoncello und Orchester a-moll op. 102 von Johannes Brahms mit der Tschechischen Philharmonie und dem Dirigenten Manfred Honeck sowie das rare Klaviertrio g-moll op. 17 von Clara Schumann mit dem Pianisten und langjährigen musikalischen Partner Lambert Orkis aufgenommen. Das Album ist ab dem 4. November 2022 bei Sony Classical erhältlich.Cellist Pablo Ferrández, der für sein hochgelobtes Debütalbum "Reflections" bei Sony Classical den Opus Klassik-Preis 2021 als "Nachwuchskünstler des Jahres" erhielt, war Mitglied von Anne-Sophie Mutters handverlesenem Ensemble Mutter's Virtuosi. Anne-Sophie Mutter zählt seit ihrer frühen Zusammenarbeit mit Herbert von Karajan, mit dem sie 1983 auch ihr erstes Brahm Doppelkonzert aufnahm, zweifellos zu den Größen der Klassik-Welt. Neben ihrem überragenden Können und hohen Ansehen hat sie sich stets dafür eingesetzt, neue Generationen von Streichern zu fördern und zu unterstützen, beispielsweise in der von ihr ins Leben gerufenen Anne-Sophie Mutter Stiftung zur Förderung von musikalisch Hochbegabten, darunter auch Pablo Ferrández.Das Doppelkonzert von Johannes Brahms nahmen beide Künstler live in Prag im Januar 2022 mit der Tschechischen Philharmonie unter Manfred Honeck auf, nachdem sie bereits in Madrid und Oxford mit demselben Werk aufgetreten waren. Das Konzert ist ein Kammermusikwerk mit symphonischer Wirkung, eine anregende Mischung von musikalischem Miteinander, wie auch Konfrontation. In der Zusammenarbeit mit Pablo Ferrández erlebte Anne-Sophie Mutter eine "frische, aufgeschlossene und neue" künstlerische Partnerschaft mit einem Musiker, der ihrer Meinung nach "an der Spitze" der neuen Generation von Cellisten steht. Clara Schumann, künstlerisch untrennbar mit Johannes Brahms verbunden, war eine weibliche Komponistin in einer Männerwelt und wurde oftmals und für lange Zeit übersehen. "Beide bewunderten sich künstlerisch und Johannes Brahms fragte sie oft um Rat", so Anne-Sophie Mutter. Ihre menschliche und künstlerische Beziehung verband und inspirierte sie. Für die Geigerin spielte bei der Auswahl des Repertoires auch die Vielfalt eine wichtige Rolle, um auch eine von der Musikgeschichte vernachlässigte Komponistin ins Rampenlicht zu rücken. Clara Schumanns Klaviertrio g-moll von 1846 ist eines ihrer besten Werke - ein Stück voller Turbulenz, beeindruckender Komplexität und tiefer Sehnsucht, das Anne-Sophie Mutter und insbesondere ihren regelmäßigen Klavierpartner Lambert Orkis zu einer neuen Dimension musikalischer Konversation animierte. Die Studio-Aufnahme entstand in München und ist unvergleichlich in ihrem Fokus auf Clara Schumanns individueller Musikalität."Es inspiriert mich, mit Pablo solch ein musikalisches Gespräch zu führen", sagt Anne-Sophie Mutter über ihre Arbeit mit Pablo Ferrández. "Anne-Sophie Mutter ist die ideale Künstlerin", sagt Pablo Ferrández. "Hinter ihrem Spiel steckt immer eine Idee, alles geschieht aus einem bestimmten Grund. Es ist eine Ehre, nicht nur mit ihr zu spielen und aufzunehmen, sondern sie zu kennen und sie als Mentorin zu haben."

Traditioneller Old School Black Metal, ohne Schnörkel und Spielereien - geschmiedet in den immer noch brennenden Flammen des Spirits der neunziger Jahre! Mit Mitgliedern von NAGLFAR, ASPHYX und GRÁB

- vollfarbige Hülle, Inside-Out-Druck, innen schwarz geflutet
- extra Schuber
- Polygefütterter Innensleeve
- Plastik-Schutzhülle
- erhältlich als handnummeriertes 180g schwarzes vinyl

TRINITAS ist die unheilige Allianz der Drei, die den alten Geist des Black Metal huldigen. Die Mitglieder sind Vargher (Gitarren, Bass, zusätzliche Vocals), Tormentor (Drums) und Azathoth (Necromantical Screams, Lyrics). Die Idee zu TRINITAS kam im Jahr 2012 auf. Alle drei Mitglieder kannten sich zu diesem Zeitpunkt bereits seit einigen Jahren durch ihre anderen Bandaktivitäten. Von Anfang an war klar, dass TRINITAS eine Hommage an die Black Metal Bewegung der frühen 90er Jahre sein sollte. Daher ist die Musik roh und in gewisser Weise primitiv - ein bewusster Gegenpol zu dem, was man heute als Black Metal bezeichnet. Es gibt nichts Progressives in der Musik von TRINITAS und die Texte handeln nur vom Tod und dem Teufel - so wie es damals sein sollte. Eine Hommage an eine Zeit, in der Black Metal mehr war als nur Musik.

Es dauerte bis 2018, als die ersten drei Songs aufgenommen wurden. Sie wurden auf der selbstbetitelten MCD und MLP über das deutsche Label War Anthem Records im Jahr 2019 veröffentlicht. 2021 kamen Azathoth auf die Idee, ein erstes Full-Length-Album aufzunehmen. Innerhalb von drei Wochen komponierte Vargher neun Songs für das Album. Kurze Zeit später vereinbarte die Band eine Kooperation mit dem deutschen Label Vàn Records, um das Debütalbum zu veröffentlichen, das den Titel Total Heresy tragen wird. Es wurde in mehreren Studios in Schweden, den Niederlanden und Deutschland aufgenommen.
Weitere Formate

Welcome to the world of Edward Blankman, a retired dentist who wrote elegant, minimalist jazz in obscurity circa 1970. At least that's the story. In truth, Edward Blankman's Cape Cod Cottage is the 2021 concept album from Echo Park composer Brendan Eder. A tender, wistful follow up to 2020's To Mix With Time, the Cape Cod Cottage sound evokes the spirit of Erik Satie, Miles Davis with Gil Evans, and Stevie Wonder, balanced with the accessibility of 1960s lounge-exotica. Eder created Blankman's story to channel his own grief, with bittersweet tenderness. Read the liner notes (or watch the mini-doc), and you'll be transported to the quiet shores of Cape Cod in the early 70s, where a lonely retiree mourns his late wife, Natalie, with walks in nature and evenings at his Wurlitzer. The story is brought to life with a meticulously crafted package sporting classic liner notes, faux 1970s photographs documenting Edward with the musicians (taken during the actual session), a make-believe jazz label, and a commissioned oil painting of Edward's cottage. Eder brought together a dream line up with a ton of chemistry for the project; drummer Christian Euman (Jacob Collier), saxophonist Josh Johnson (Jeff Parker, Leon Bridges), and bassist Alex Boneham (Billy Childs), who all studied together at the Hancock Institute of Jazz. Rounding out the group is flutist Sarah Robinson, a recurring player in Eder's ensemble, and Edward Blankman (Brendan) on the Wurlitzer. The cast was booked for a single date with coveted engineer Michael Harris (Kamasi Washington, Angel Olsen) at famed Electro-Vox Recording Studios. To create realism for Edward's story, the charts were purposefully withheld from the musicians until they arrived at the studio. The result is an authentic and natural performance delivered by players at the top of their game, captured on lauded vintage equipment including the legendary Neve-8028 console. This was, hands down, one of the very best records of last year so don't miss out on this extremely limited pressing for UK and Europe. Under license from Jazz Dad Records.

Members of Papir & Causa Sui travel through new musical realms. 3 musicians with their own compass: Martin Rude & Jakob Skott have shared a wide range of musical quests: from Causa Sui's "Bitches Brew of Stoner Rock" crossing the folk meditations of Sun River and arriving most recently as members of the pre-fusion electric dealings of the London Odense Ensemble. Papir guitarist Nicklas Sorensen is not merely adding a new layer to an established duo, but his presence to the party have brought it into more meditative dwellings. These pieces move slowly, evolving like the slow growth underneath the ground. Whereas Causa Sui & Papir have always excelled at blistering panoramic and often sundrenched sounds, Edena Gardens take a dive inwards and downwards rather than outwards. But there's also an electrically charged ecstatic rawness to the dealings. Like Æther, the 10 minute opener's 2 guitars-and-a-drum kit improv, finding it's way from tumbling drones into monolithic slow riffage. Elsewhere, we find trails of electronic vapors, misfiring bursts of noise and slow drones stretched out. Edena Gardens is a thing to be experienced first hand - it's not for everyone, but those who decide to stay are greatly rewarded. It's a debut unlike any other record on El Paraiso, perhaps unlike any you've ever heard. Welcome to Edena Gardens.

Neue Musik für die Fortsetzung eines absoluten Hollywood-Klassikers. Top Gun: Maverick, der zweite Teil
der Filmreihe aus dem Jahr 1986 ist in den deutschen Kinos. Wieder dabei, Tom Cruise in der Hauptrolle.
Für die passende musikalische Begleitung sorgt Hans Zimmer, legendärer Filmmusikproduzent, zusammen
mit hochkarätigen Pop-Stars wie Lady Gaga oder OneRepublic. So können sich Fans aus musikalischer
Sicht unter anderem auf die neue Singlse „Hold My Hand“ von Lady Gaga und den Track „I Ain’t Worried“
von OneRepublic freuen.
Der Original Soundtrack aus dem Jahr 1986 zählt bis heute zu einem der meistverkauften Soundtracks
weltweit.
Unterstützt wird der Soundtrack zusätzlich von dem deutschen Komponisten Harold Faltermeyer. Ebenfalls
inklusive: eine Neuauflage der Songs „Danger Zone“ und „Great Balls Of Fire“ welche bereits seit mehreren
Jahrzehnten mit Top Gun assoziiert werden und Klassiker der Musikszene sind.
Erhältlich ist der Soundtrack zum Film als Coloured White Vinyl (1LP).

Deron Miller gives his life to the riff. Unrestrained by industry expectations and genre limitations, the boundlessly prolific guitarist and voice behind multiple beloved projects is best known as the founder, frontman, and songwriter in CKY. His authentic and effortlessly hooky heavy rock obsession returns with 96 BITTER BEINGS. Reinvigorated and ready to rumble all over again, Miller roars back with the same reverence for riffage that made underground hits out of CKY anthems like “Flesh Into Gear,” “Escape from Hellview,” and “Disengage the Simulator” from 1998 till 2011.

The familiar warmth, feel, groove, and unapologetic honesty which drove the song “96 Quite Bitter Beings” to 54 million streams (on Spotify alone) permeates the pair of albums unleashed by 96BB.

A successful crowdfunding campaign saw Miller, guitarist Kenneth Hunter, bassist Shaun Luera and Shaun’s brother, drummer Tim, conjure up 2018’s Camp Pain in limited release. North American and European touring followed, wrapping up shortly before the COVID-19 shutdowns.

“After CKY and a short break, I decided to continue, without changing the sound,” Miller explains. “Because that’s what I do. It’s what I love to do and what people say I do well. All of the guys who got in the band with me are great musicians. And each of them is hungry. They have priorities and ambitions about being in a rock band, no matter the grim state of pop music out there. If we can bring rock and metal back to the mainstream, in some way, that’s the dream.”

In 2022, 96 BITTER BEINGS unleash the long-awaited Synergy Restored, 11 songs of relentless power and vibe. Four-on-the-floor, fuzzy and visceral, proper rock n’ roll made by an actual band, rather than a bunch of overprocessed samples and otherwise stale shenanigans. Songs like “Vaudeville’s Revenge,” “90 Car Pile-Up,” and “Wish Me Dead” offer vivid reminders of the truth-telling prowess of guitars, bass, and drums. Miller is on fire, weaponizing the same knack for memorable musical epiphanies behind projects like Foreign Objects, World Under Blood, and CKY.
Miller co-founded Foreign Objects and later Camp Kill Yourself (a name born of his love of VHS slasher classics) in West Chester, Pennsylvania, in the ‘90s. Written by Miller, 1999’s Volume 1 appealed to metalheads, skaters, stoners, and punks. The album led to a stint on Warped Tour and a deal with Island Def Jam Music Group, which issued Infiltrate•Destroy•Rebuild• in 2002. Axl Rose chose CKY to support the ill-fated Chinese Democracy tour, and they also played with Metallica.
An Answer Can Be Found followed in 2005, producing the Billboard Mainstream Rock Top 40 single “Familiar Realm.” Extensive touring with Avenged Sevenfold and the like-minded Clutch followed. Carver City, in 2009, would prove to be Miller’s last album with the group he created and led. Across the four albums, Miller indulged his love of everything from ‘80s thrash metal to doom, as CKY blended high-octane ruckus with occasional bursts of Moog synths and cinematic storytelling.
Miller never stopped creating, with a handful of full albums written and released, a foray into horror movies, and parenting three children with his wife, scream queen actress Felissa Rose. Like Galactic Prey, the most recent Foreign Objects album, the 96BB records were recorded and produced by Miller and Hunter at Manifest Productions. Camp Pain was explicitly made for diehard fans who supported the creation of both albums through 96BB’s Indiegogo campaign. Synergy Restored was always intended for wider release, which it sees now via Nuclear Blast.
“I want my work taken seriously. I thank God every day that I was never overexposed, or even exposed enough commercially, to where I’m resigned to a specific moment,” Miller says. “I would rather have my self-respect, the respect of the audience, and a dedicated cult following.”

“Every time I go out, I see Nirvana, Metallica, and Misfits t-shirts. These kids may not know the music, but at least they are displaying a visual interest,” he adds. “Corporations spend millions of dollars promoting certain styles of music, but history proves that true rock will always sneak in.”

Dean Fertita has been at the heart of American rock ‘n’ roll for almost two decades, from his role as an invaluable member of Queens of the Stone Age and The Dead Weather, touring keyboardist with The Raconteurs, and backing musician on records by Jack White, Karen O, Iggy Pop, Brendan Benson, The Kills, Beck, and more. While his own music had been the focus in his role as lead singer, guitarist, and founder of The Waxwings and on recordings as Hello=Fire, Fertita began TROPICAL GOTHCLUB with no clear mission for a solo album under his own name. In early 2020, the TN-based musician put up a small A-frame in his backyard to use as a writing and recording space while stuck at home during the looming pandemic. With rare time on his hands, Fertita set to work recording demos of the many musical ideas he had accumulated over the years, building upon songs and fragments written during different stages of his busy career. Fertita then enlisted his old friend Dave Feeny – a veteran Detroit musician and owner of The Tempermill recording studios in Ferndale, MI – to help develop the recordings even further, pushing the original demos in deliberate new directions to create a showcase for his wide-ranging songcraft and visionary imagination.