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Sublime ethereal minimalism from Hiroyuki Onogawa on this retrospective compilation album for
Mana, the first dedicated release and remaster of his soundtrack compositions.

The album August in the Water: Music for Film 1995-2005 plots a decade of Onogawa’s compositions for films by the renowned filmmaker Gakuryū Ishii (formally known as Sogo Ishii). Ishii’s leftfield and trailblazing cinema has proven highly influential - Crazy Thunder Road (1980) is frequently cited as the starting pistol for the Japanese cyberpunk genre - and unfathomably difficult to source outside of Japan. This, coupled with the mysterious and artistic nature of the films, has seen him build a cult-like following. Most of his oeuvre remains undistributed outside Japan, though Third Window Films has recently taken great strides toward making some titles available internationally.

This retrospective publication, sequenced into an album by Onogawa himself, spans a fertile period of collaboration with Ishii, through soundtracks for three remarkable films: August in the Water (1995), Labyrinth of Dreams (1997), and Mirrored Mind (2005). Each feels texturally and sensually linked with the spiritual, ambient, dreamlike quality that lingers in Onogawa’s music.

The sound Onogawa conjures for these films is elegant and patient, often minimal or essential in form, but saturated in a poetic emotion and atmosphere that feels strange and otherworldly, touched by the metaphysical in subtle ways. Boundaries are crossed between New Age and science fiction, locating a blissfulness, melancholy and paranoia within the same spectrum, and moving toward an enchanting sense of mood and colour.

It’s notable that the compositions on this album straddle the millennium, and the mix of divine and uncertain themes in the music carry that currency. New listeners might hear links to Mark Snow’s compositional work for the X-Files and Millennium, or other celebrated future-facing and future-fearing Japanese anime or cyberpunk.

Onogawa’s music adds great depth and tenor to the sensory experience of the films themselves, but it stands just as strongly as a listening experience on its own terms, a virtuosic example of ambient that changes in hue when turned in the light. Remarkably, and in similar circumstances to Ishii, Onogawa’s work has never been widely available outside of (always highly enthusiastic) underground fan posts, usually sourced from extremely limited and private CDs limited to Japan. This retrospective seeks to remedy that, and hopes to achieve recognition for Onogawa as one of the great composers of the last three decades.

Onogawa continues to work in film, both in the creation of soundtracks, and now as a producer and director. He composed the music for Koji Fukada’s Harmonium (2016), which won the Jury Prize in the Un Certain Regard section at the Cannes Film Festival, as well as for Fukada’s A Girl Missing (2019). As a director, he received the Grand Prize for Best Short Film in the Noves Visions category at the Sitges Festival in 2022 for Flashback Before Death (Guu), co-directed with Rii Ishihara.'

Ursprünglich von der Sängerin und Multi-Instrumentalistin Cathy Lucas im Jahr 2015 gegründet, ist VANISHING TWIN nach einer Reihe von Besetzungswechseln nun das eingespielte Kollektiv aus Lucas, der Schlagzeugerin Valentina Magaletti und dem Bassisten Susumu Mukai. Mit den unterschiedlichen Hintergründen und Berührungspunkten ihrer Mitglieder - Lucas' linkes Songhandwerk, Magalettis einzigartige Herangehensweise an der Perkussion und Mukais lange Erfahrung in der Produktion elektronischer Musik - hat die Band seit 2016 auf fast einem Dutzend Veröffentlichungen einen hypnotischen Sound an der Schnittstelle von Minimalismus, Kosmischer Musik, Post-Punk und traumbeladenem, psychedelischem Pop entwickelt. "Afternoon X" zeigt VANISHING TWIN inmitten einer ausgeprägten kreativen Veränderung, in der jedes Mitglied weniger definierte Rollen übernahm und einen kollaborativen Ansatz verfolgte, der eher an die Arbeit dreier Co-Produzenten als an die einer Band erinnert. Das Album, das Ende 2022/Anfang 2023 aufgenommen wurde, ist das Ergebnis einer Reihe von Marathon-Aufnahmesitzungen, an denen das Trio in verschiedenen Konfigurationen teilnahmen. Mit einer spielerischen Balance aus Humor und Strenge, bei der jedes Mitglied die Rolle des Multiinstrumentalisten und den Prozess über das Ergebnis stellt, setzt "Afternoon X" den Weg der Erkundung fort, der ihre letzten Veröffentlichungen bestimmt hat. Metronomische, zyklische Patterns und pulsierenden Basslinien bilden nach wie vor das Herzstück ihres Sounds, aber diese verwurzelten Rhythmen ergeben nun die Grundlage für das Streben nach einer größeren klanglichen und strukturellen Bandbreite. Somit begeben sich VANISHING TWIN auf eine neue, facettenreiche Reise, die in ihrer Gesamtheit ihr bisher spannendstes Werk veröffentlichen.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT
- 25TH ANNIVERSARY EDITION
- FIRST PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON FLAMING (ORANGE & YELLOW MIXED)
COLOURED VINYL

They've never been praised for the great albums they produced, but Adorable released one of the stronger albums during the year 1993. Stuck in the moment between the end of the shoegaze hysteria and the Britpop era their debut album Against Perfection appeared. The heavy instrumentation and impressive voice of lead singer Pete Fijalkowski can definitely be linked to the perfection they're searching for in their music. The bittersweet Sunshine Smile' shows their crossover between shoegaze and Britpop, while the secret choruses from the guitar hooks creates the thrill of the unknown on Glorious'. The pre-Adorable tune Homeboy' is a track that follows the quiet-loud music line and it got some distortion and big bass sounds.


Adorable released only two studio albums before disbanding as a music group. It was an impressive 5-year period in which they combined the dreamy world of the shoegaze with the pop, but never got the recognition they deserved.

Against Perfection is available as a first pressing of 1.500 individually numbered copies on flaming vinyl.

Originally released on Polydor Records in August 1981, it remains a very special and discrete record and has gone on to achieve a cult status separate from the rest of their august catalogue.

Formed at London's Guildhall School of Music and Drama by way of Paris and the Isle Of Wight, Level 42 marked the union of four talented friends – Mark King, Mike Lindup, and brothers Phil and Roland 'Boon' Gould – complete with Wally Badarou, their very own studio-based synthesiser whizz-kid. From building a fervent following through the nascent Britfunk scene, they signed to Polydor and went on to make a series of fascinating albums.

The sheer invention, melody and imagination of this four-piece was astounding, aided by their secret weapon, French-Belizean Badarou, whom the band had met playing sessions for M, Robin Scott's art-disco ensemble. Although Level 42 had recorded – and made waves – for indie label Elite, they signed to Polydor and released this album, with three of their original calling cards, Starchild, Turn It On and the mighty, UK Top 40 breaching Love Games.

By the mid 80s Level 42 had become arena-filling superstars, with their commercial pop-funk with everyman lyrics that delighted fans not just in Europe, but also in America, too. Hear the roots of that on this frequently surprising, always entertaining debut album. Think of this album as the missing link between Talking Heads and Herbie Hancock.

Out of print on LP for a number of years, this re-issue faithfully replicates the original 1981 Polydor UK release with insert and is pressed onto high quality 180g vinyl.

Zur Feier des 40-jährigen Jubiläums des belgischen Labels PIAS erscheint exklusive Auswahl an 12“-EPs mit Musik von einigen der wichtigsten und erfolgreichsten Wegbegleiter. Consolidated ist ein amerikanisches Kollektiv, das 1988 in San Francisco gegründet wurde. Sie waren bekannt für ihren linken politischen Aktivismus und ihre radikalen Texte, sowie für ihre innovativen Soundcollagen, die Industrial-, Hip-Hop-, Hardrock- und Funkmusik vermischten. Ihre Texte behandelten Themen wie Vegetarismus, Frauenrechte, Tierrechte, den Kampf gegen Rassismus und Homophobie, den Zweiten Weltkrieg und Holocaust, sowie die Gefahren des Kapitalismus und die Übel des amerikanischen Nationalismus.

If youʼre a fan of Daptone Records, chances are youʼve read or heard the name Victor Axelrod, and even if you havenʼt, youʼve heard music from his hand. As a producer, arranger, recording and mixing engineer, and keyboardist, his creativity has extended across more than two decades of the labelʼs releases, even dating to its prehistory with Desco Records.

If You Ask Me To..., the first LP under his name for the label, is a collection of singles released between 2007-2023 as well as unreleased tracks from Sugar Minott and Binky Griptite. The genesis of which came via an 11th hour request from Daptone for a Sharon Jones remix (2007) that resulted in the reggae version of “How Long Do I Have To Wait For You?” found here.

This opened the door to additional explorations of reggae/soul synergies within the catalog, affirming the musical and cultural link between Daptoneʼs core soul sound and Axelrodʼs passion for Jamaican music. While previous projects like Ticklah Vs. Axelrod and Roots Combination (produced under the alias Ticklah) were inspired by the Jamaica of the 1970s and 80s, this set specifically channels an earlier period in the 1960s when Jamaica was both strikingly original in its continuum of genres but also closely and empathetically attuned to Black American music.

Through Axelrodʼs exceptional taste and the notable contributions of guitarist To

Originally released on Rocket Girl in 2000, Piano Magic’s third album proper heralded a seismic and surprising shift away from its more electronic predecessors, ‘Popular Mechanics’ and ‘Low Birth Weight.’ ‘Artists’ Rifles’ is Piano Magic’s first band-band album and marks their debut, actual recording studio appearance. Improvised on the spot and produced/recorded over just five days by John A. Rivers (Dead Can Dance, Felt), at his Woodbine St Studios in Leamington Spa, stylistically, the record could feasibly be described as the first (only?) baroque post-rock record, utilising as it does, consciously or otherwise, influences as broad as Bach and Codeine.
For ‘Artists’ Rifles’ the core of Glen Johnson (vocals/guitars/keyboards), John Cheves (guitars), Paul Tornbohm (bass) and Miguel Marin (drums/percussion) were augmented by guests Caroline Potter (vocals) and Adrienne Quartly (cello).
The success of ‘Artists’ Rifles,’ particularly in Spain, kickstarted a wealth of touring possibilities and over the next 16 years, the band toured all over Europe. It also caught the attention of 4AD Records, for whom they signed to the following year.
This 2023 vinyl re-pressing honours the original (Matt Dornan) sleeve design and beautiful photography of Royal Artillery Memorial (Hyde Park, London), by John Cheves of the band.
“Classic English folk music for the 21st century” – Record Collector
“Glen Johnson and cohorts explore a doomed English romanticism, boldly linking contemporary romantic mores with the lost generation of 1914 – 18…. strangely it works….” – The Wire
“Another endearingly odd record, drifting along the seawall between the macabre and melancholy. This is the work of 4AD obsessives who have learnt to love electronica.” - Q

**AVAILABLE ON BLACK VINYL AND COKE CLEAR INDIE EXCLUSIVE**Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City. Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

**AVAILABLE ON BLACK VINYL AND COKE CLEAR INDIE EXCLUSIVE**Detroit has a long tradition of being the farm team for the Big Apple jazz big leagues, but just as important is the acknowledgement of local legends who left their mark on the city by staying put and releasing amazing music right in Detroit. Kenny Cox and the Contemporary Jazz Quintet is one such group that could have and definitely should have had a wider audience in their day, but their recorded legacy continues to grow in estimation. Truly a comprehensive group with no weak links, the compositions and playing on this record show the incredible talent and innovation that was brewing in Detroit before, during and after Motown locked its doors in the Motor City. Of note is group member Charles Moore, an important figure in the jazz and arts scene in Detroit and founding member of an underground art and music co-operative called the Detroit Artist Workshop. A talented musician and composer in his own right, Moore and group leader Cox composed all the material on Multidirection. Cox described it as “more of an orchestral-type effort than just a combo per se.” in the original release liner notes by Nat Hentoff. Both were integral in the future DIY jazz universe by co-founding the highly influential Strata Records. But before embarking on that journey, his group recorded two timeless classics for Blue Note Records. Like many of the greatest musical albums, this work shines brightest as a whole with new dimensions to discover with each listen. This new and exciting re-issue is certain to provide the listening experience with the best possible platform.

Legless!

Carbon Music continues its conquest in a special single summoning some of drum & bass' greatest minds, as Goldie & Lenzman make illustrious debuts alongside label pillars Jubei & Submotive.

Two years after their first collab 'Component' (CM002), Submotive & Jubei reforge the foundations upon which Carbon Music was built, in two tracks written with two powerhouses sharing the same ethos.

Goldie reinstills his prowess, linking to form a holy pantheon on 'Game Of The Gods'. 10 years since Jubei released his album on Metalheadz, they collaborate again with a mutual accomplice in Submotive. Reinforcing the core principles, its a celebration of vigour and mysticism; brute force balanced with celestial pads - bringing shared beliefs full circle towards a new golden era.

Lenzman makes his intro on the flip, with a touch of nonchalent class on the effortlessly rolling 'Members Only'. Having all released with The North Quarter and Metalheadz, the trio share a close bond, developed over years of performing and travelling together. Its an innate understanding; a brotherhood; three elements that progress, intensify and naturally form, in a way that no others can.

DJ Support:

Goldie
Skeptical
Lenzman
Jubei
Bryan Gee
Halogenix

DeForrest Brown Jr., the writer and producer behind Speaker Music, describes Techxodus as "abstracting Blackness through information overload". On the album he explores the intersection of tech, Blackness and resistance via music taken from his archived live shows, which are then edited, ordered and reassembled in the studio. The main line of inquiry that feeds into Techxodus is Drexciya, whose myths have informed much recent afrofuturist creativity. DeForrest researches and reimagines the artifacts and stories of Drexciya with new maps, ideas and music, particularly reflecting on the 'Seven Storms', seven albums that came out in quick succession around the death of Drexciya member James Stinson, which seemed to herald Drexciyans in the attack mode. The artwork by Abu Qadim Haqq, who also created artwork for Drexciya, links the work too, with Deforrest re-orienting charts and timelines familiar from Drexciyan mythology, working up clues to all possible environments where Drexciyans could survive, from the depths of the Atlantic, to oceanic islands or even outer space. Like Sun-Ra, another touchstone of Afrofuturist music, it might be that the Drexciyans wanted to leave the planet they hated. With these elements, DeForrest creates a soundtrack for an alternate history, a sort of sci-fi sonic fiction which threads together the sonic warfare and mythos of the Drexciyan records with ideas and references to Ishmael Reed's 'Mumbo Jumbo', which tracks the story of 'Jes Grew', an audio virus, back to the coastal black cities of Alabama and the American South. Musically the album is as intense as its inspirations. DeForrest skilfully hand-plays rhythms which amalgamate trap and jazz drumming, but feel at times like orca-song as they pulse through the thick waves of digital sound. Equally the music evokes the ocean, with deep cold drones, or as if it's floating through time like in 'Holosonic Rebellion' which mixes in recordings of African Warriors. Sometimes there is an energetic turbulence as on 'Jes Grew', where punched-in passages of jazz brass bounce against DeForrest's drums to create a weird disassembled jazz. Towards the end the album begins to feel like a spaceship taking off, the rushes of ascending noise and distortion, distant Southern Gospel Vocals feel like music that's leaving earth. Listen to it without the references or feed your imagination; this is a powerful and immersive original work from one of electronic music's most unique creators.

Repress.

RAWAX proudly welcomes Ian Pooley to the artist family!
Overthirty years into his career, Ian Pooley continues to be a favourite of house & techno fans and DJs, remaining a highly respected figure within electronic music.

He is enjoying one of the most fruitful periods of his career, with fresh material drawing more house and techno lovers to his fanbase, while classic older cuts are being reintroduced to new generations.

We are pleased to present you in future some of his timeless past & present releases. Starting with "Relations". This 2x12" came out originally in 1996 on iconic Definitive Records, runned by Richie Hawtin & John Acquaviva. The re-mastered version will be available on solid 180 Gramm vinyl

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Available only n Germany!

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Queer tweemo from the pop fringe of Little Rock, Arkansas's thriving '90s DIY scene. Paper Airplanes, Paper Hearts gathers Everyone Asked About You's complete recorded works, including the Let's Be Enemies LP and their two and a half 7"s released between 1997-2000. Remastered from the original DATs for maximum nostalgic crunch, this deluxe 2xLP is housed in a gatefold tip on sleeve and includes a 20-page book crammed with flyers, photos, lyrics, and an extensive essay on this crucial missing link between midwest emo and the Moog synthesizer.

Following on from their critically acclaimed debut album, the second album from Shackleton / Zimpel represents the culmination of the ecstatic trance urge that has underlined both artists work since they embarked on their singular yet somehow parallel paths. The duo, consisting of electronic music maverick Sam Shackleton and visionary avant folk virtuoso Waclaw Zimpel, sees them link up with one of Indian Carnatic music"s greatest emerging young vocal talents, Siddhartha Belmannu, to bring an album which is equal parts both a meditative exercise and an urge to transcendence whilst thematising both the acceptance of our mortality and the joyous celebration of living.

The inaugural release on cult eyewear label Kuboraum's new music platform, SALÒ is a mystifying fusion of noise, prog rock and psychedelic music that attempts to imagine a "dreamy and decadent" Roman renaissance. It's the brainchild of multidisciplinary artist Emiliano Maggi, who links with Mai Mai's Toni Cutrone, Wildmen's Giacomo Mancini, producer Cosimo Damiano and musician, writer and critic Stefano Di Trapani to distill a wellspring of poems, fairytales, anecdotes and mythologies - drawing on mythological symbolism, medieval theater and rural iconography - into an oozing celebration of art, ecstasy and extravagance.

Reissue of Veik's `From Madness To Nomadness' EP out now. Limited to 300 copies on 10" black in clear vinyl. Originally released on cassette in 2016, `From Madness to Nomadness' is the debut EP from Caen, France-based group Veik and is now being reissued on vinyl for the first time, with a limited 10" release courtesy of Fuzz Club Records. Introducing listeners to the trio's motorik, synthesised post-punk, the EP is a compilation of four tracks taken from a two-day recording session in the summer of 2016, recorded and mixed by Hugo Lamy of fellow Caen experimental duo Glass. The cover and the title of the EP are openly inspired by the `Telepathic Music' works by the French conceptual artist Robert Filiou, outlining the band's multi-disciplinary approach to music from the off. At the time drummer/vocalist Boris Collet told a local media outlet that "we wish to assume links with other artistic disciplines like photography". Concerning the reference to Robert Filiou, he added: "It is not so much the visual aspect that is important as the philosophy and the vision of the economy that he develops. The result should not be pompous or falsely intellectualizing. It is just that it seems relevant to build bridges between different fields (artistic or not). Bringing a bit of philosophy, architecture, images, sociology or geography into music can't hurt. It's not pretending to be anything else than what it is, it's still music, but I think there is a gesture and an intention to assume, no matter how you qualify it (creative, political, reflective). You have to allow yourself to do it."

It's full of moments that can be heartbreaking (as on the AMA UK 2023 Awardwinning single 'Car Crash'), deeply romantic and genuinely uplifting. These are songs imbued with the virtues of forerunners that inspired Hannah as both an artist and a producer, from Wanda Jackson to the Shangri-Las, and that exude the atmospheric allure of true, original Americana noir. The common link is a voice that's at times delicate and restrained, and at others powerful and stirring.

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

For her second release on Northern Electronics, Vallmo (appellation of Melina ?kerman Kvie) strengthens her proficiency towards an electronic elevation with each and every track being a crevice offering kaleidoscopic gleams into a poetic narrative extracted from the slightly autotuned yet softly metallic voice.

What Virgil is to Dante, the piano is to the listener: a fragmented leitmotif and a guiding cicerone into the nimbus that is "Othem". Dual in nature, the album comprises seamless transitions between divergent idioms, figuratively as well as literally.

A false dichotomy conveying the opposing pairs tender and bold, distinct but evading and with a direction every so often forward as inward. "Othem" is an opus in equal parts melancholy, magic and mimesis.

Boss Priester makes his LOCUS debut with his bustling four-track ‘Hotel Dijon’ EP.

Working hard in the studio to develop his own take on minimal-leaning house and techno, The Hague-based DJ/ producer Boss Priester is starting to reap the rewards and emerge as another hotshot from the country’s hotbed of electronic talent. Racking up support from the likes of Dungeon Meat, East End Dubs, Michel de Hey, Dr. Banana and Alec Falconer, his releases on What NxT and Dark Side Of The Sun have accompanied appearances at the likes of Thuishaven, Colorado Charlie and Lovelee. Another fan of the young Dutchman is FUSE and LOCUS boss Enzo Siragusa, and late September brings a first appearance on the latter imprint as he makes his label debut with his four-track ‘Hotel Dijon’ EP.

Title track ‘Hotel Dijon’ comes loaded with raw drum licks, cosmic synths and menacing, swirling low-ends for a heavy-hitting opener set to cause serious dance floor damage, while the slinking ‘ROF66’ mixes eerie stabs with shuffling drums and bouncy baselines for another heavyweight anthem. Next, ‘SUP01’ keeps things ticking nicely on a similar tip with yet more punchy percussion arrangements linking with playful sound design peppered with zippy FX, before closing the show with the hopped-up, bass-driven sonics of final effort ‘Wek’.

Boss Priester ‘Hotel Dijon’ EP drops via LOCUS on 22nd September 2023.

Weighing in heavy with murderous intent across three guaranteed dance levellers, Trends & Boylan land on Sneaker Social Club with a bang. The pair have been slugging out grime-leaning gear for the past five years, causing a ruckus with their truly evil ‘Norman Bates’ beat, releasing also on Trends own Mean Streets label and linking up with Slimzee’s foundational stable Slimzos for some dubplate action.

They bring that street-level swagger to the tracks on the Ninety Nine EP, but here their punchy 8-bar flex is embellished to blend in with the Sneaker surroundings a treat. ‘Carnage’ tips towards chopped up Think Breaks while ‘Nocturnal’ doubles down on the dirtiest of b-lines. Confirming their allyship from dubplates' gone by, Slimzee links up with Trends & Boylan for the double A side slammer, ‘Ninety Nine’, weaving dread-side D&B stabs around a tightly-wound beat with devastating results.

There’s not an ounce of excess on these cuts precision tooled to smashup the dance good and proper. Need we say more?

YMO DRUMMER YUKIHIRO TAKAHASHI'S SOPHISTICATED CITY FUNK CLASSIC FROM 1978 CO-PRODUCED BY RYUICHI SAKAMOTO AND FEATURING HARUOMI HOSONO, MINAKO YOSHIDA AND TATSURO YAMASHITA. RELEASED FOR THE FIRST TIME OUTSIDE OF JAPAN - WITH REMASTERED AUDIO, LP COMES WITH OBI AND FOUR PAGE INSERT

Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah records).
The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.
'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid tempo ambient funk featuring Takahashi's beat backed by Haruomi Hosono's bumping bass line, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar.
The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class arrangements. The perfect soundtrack to an early morning stroll in the Paris streets as illustrated by Masayoshi Sukita's photos featured on the album cover.
A sophisticated album full of glitz and fun, 'Saravah!' gives a unique insight into the versatility the YMO musicians and how funky they could play under Yukihiro Takahashi's influence. This was a key time when the three musicians were just transitioning to a sound that would be dominated by synthesizers and 'Saravah' catch them just at that fascinating moment.

Paul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music. With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers. Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul. With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music. In Paul Hillery's words: "Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"

Wann immer EVERGREY-Frontmann Tom S. Englund und der US-amerikanische Pianist/Komponist Vikram Shankar (Redemption, Lux Terminus) zusammenkommen und ihre Kreativität gemeinsam als SILENT SKIES nach außen kehren, entsteht Magie! Mit Dormant veröffentlicht das schwedisch-amerikanische Cinematic-Pop-Duo nun das nächste, magische Stück Musik. Das dritte Studioalbum von Englund und Shankar erscheint am 1. September 2023 über Napalm Records. Getragen von vertonten Emotionen und skandinavischer Melancholie reiht sich Dormant in die klangliche Welt der vorherigen Alben Nectar (2022) und Satellites (2020) ein und bietet atemberaubende Klaviermelodien, atmosphärische Keyboards, weitläufige Soundlandschaften und eindringlich schöne und intensive Vocals auf zehn Eigenkompositionen, begleitet von mehreren Bonustracks. Für Letztere haben SILENT SKIES bekannte Klassiker gecovert, unter anderem von Iron Maiden und Linkin Park, und diese an ihren ganz eigenen, unverkennbaren Sound angelehnt.
Auf Dormant lädt der atmosphärische Eröffnungstrack „Construct"" die Hörer dazu ein, die beiden Musiker auf einer gefühlvollen Reise zu begleiten. „New Life“ schlägt hingegen dunklere Pfade ein. Englunds einfühlsamer Gesang spricht direkt zur Seele und harmoniert perfekt mit Shankars ausgefeilter Instrumentierung, die von zartem Piano getragen und einer einnehmenden Produktion unterstrichen wird. Das harmonische „Churches"" sowie das Pop-inspirierte „Just Above The Clouds"" – Letzteres mit einem fesselnden Solo des Leprous/Musk Ox-Cellisten Raphael Weinroth-Browne – bauen sich zu einem hypnotischen Tagtraum auf, um in den gefühlvollen Tönen von Dormant zu versinken. Einfühlsam kreieren „Reset"" und „Tides"" schier endlose melancholische Klanglandschaften, während das ergreifende „The Real Me"" mit elektronischen Tönen eine weitere Facette des Albums aufzeigt.
Die durch und durch stimmige Zusammenarbeit beider Künstler bildet das Fundament aller SILENT SKIES Kreationen. Durch viel Feingefühl und Liebe zum Detail, gepaart mit tiefgründigen, ausdrucksstarken Lyrics, entsteht ein einzigartiger Charakter, der mit jedem Ton die Handschrift von Englund und Shankar trägt. Auf das tief bewegende „Light Up The Dark"" und den Titeltrack „Dormant"" folgt mit „The Last On Earth"" die letzte Eigenkomposition des Albums.
Das dritte Werk von SILENT SKIES ist melancholisch und beruhigend, aber auch sprudelnd und glühend – es erweitert das klangliche Universum des Duos in alle Richtungen. Dormant reflektiert das Leben selbst und ist das Ergebnis mutiger klanglicher Experimente in Verbindung mit genau der künstlerischen Ästhetik, die SILENT SKIES auszeichnet. Mit ihrer Musik schreiben Tom S. Englund und Vikram Shankar so intensive Geschichten wie das Leben selbst und erreichen damit Menschen in unterschiedlichsten Lebenslagen mit verschiedensten musikalischen Vorlieben."

Tripped's second full length album has arrived, roughly one year after Unboxed (PRSPCT273) and is once again ready to take you on another journey through hard techno, industrial, acid, breaks & hardcore techno.

Tripped digs deeper into raw & analog techniques that will teleport you back to the wastelands of 90's warehouse raves.
While slowly building in Bpm and intensity, It features both emotional and kickheavy tracks ready to take on any dancefloor.
It also includes a Slave To Society remix of 'Tank', earlier released on MADINCH003.

While we once again recognise the artwork style from past releases (painted by himself) we notice another personal concept linked to the album . 'A Thing About Something' addresses mental health issues, anxieties & depression and aspires to keep fighting the daily struggles.

Zumindest äußerlich scheint The Grape in Ventura, Kalifornien, nur ein weiteres anonymes Gebäude in einer Reihe von Restaurants und Geschäften zu sein. Doch im Sommer 2022 sollte dieser einnehmende Veranstaltungsort das lang erwartete Live-Debüt einer der beeindruckendsten Partnerschaften in der Welt des progressiven Metals und der Jazz-Fusion beherbergen. Auf der rechten Seite der Bühne stand Derek Sherinian, der seine betörenden Keyboard-Parts mit eleganter Souveränität vortrug und dabei in gefühlvoller Konzentration versunken war. Links auf der Bühne, fast verloren hinter seinem Schlagzeug, saß der renommierte Schlagzeuger Simon Phillips, dessen hypnotisierende, fliegende Drumsticks gelegentlich zwischen Becken und Toms zu sehen waren. Diese tadellose Partnerschaft wurde durch den ausgefeilten Bass von Ric Fierabracci unterstützt, wobei die unerbittliche, verspielte Double-Neck-Gitarre von Ron 'Bumblefoot' Thal ein weiteres melodisches Furnier hinzufügte. Vor 500 dankbaren Fans aufgeführt, hätte der Uneingeweihte, der am Veranstaltungsort vorbeikommt, nicht ahnen können, dass dies eine musikalische Live-Vereinigung war, die zwei Jahrzehnte lang in der Entwicklung war. Sherinian hatte seinen Ruf durch Auftritte mit Bands wie Kiss und Alice Cooper sowie durch seine Zeit bei den Progressive-Metal-Giganten Dream Theater gefestigt. Phillips' Liste der Credits war immens und umfasste die Zusammenarbeit mit Jeff Beck, Gary Moore, Joe Satriani und The Who. Das Live-Album ist erhältlich als schwarzes 180g schweres Vinyl inklusive 2-seitigem Einleger sowie als Ltd. CD Digipak mit 26-seitigem Booklet.

With "Times Are Tight" we have the missing link of the "soul chain" where Neddy Smith, Steve Kahn & Co.,Touche', Maxine Singleton, Jagg ... have found a pinch of glory. The history began 40 years ago when S.P.Q.R. (sub-label of Best Record) released "Danceteria", a wonderful compilation with 10 disco-soul-funk songs produced in the States among which the fantastic tune written, arranged and performed by Jimmy Young, still relevant today, that during the summer 1983 was rocking half world's dancefloors. The vocal side of "Times Are Tight" is so good for vibe and sentiment, while the instrumental version is early 80's disco-funk perfection. Great groove with really interesting instrumentation and variation. Yes indeed! This is the classic funk anthem from the early 80's - the lyrics are so apt for the current economic situation "Don't give up, your day is coming!"

Mapache consists of Clay Finch, Sam Blasucci, Cam Wehrle, and Steve
Didelot - Born and raised in Glendale, California, the groups' breathtaking
harmonies and heartfelt sound verges on cosmic West Coast Pop
Americana - their sound is not an exercise in pop nostalgia, but rather a
distinctly independent link in a chain that stretches far behind and ahead
of them

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

The life-affirming energy at the heart of Sven Väth‘s recent album Catharsis is revisited, reanimated, and remixed by some of the most exciting names around, closing the circle on a superlative burst of
recent work that has not only given us the epic original LP, but also the extraordinary compilation What I Used To Play.

Roman Flügel, Benjamin Damage, Robert Hood, Planetary Assault Systems, Mano Le Tough… do we need to go on? This hand-picked list of luminaries have answered the call and certainly don’t disappoint, each fusing their signature sound with Sven‘s DNA to create a wild, uncompromising companion piece to the original album.

True to form, the running order is very much rooted on the dance floor, Silvi‘s Dream, revisited by Damiano von Erckert, explodes like a Balearic sunrise. Dreamy strings with a touch of Detroit create a lovely atmosphere while the beautiful piano sound goes right into your heart and appears as if you could feel the warm sun on your skin. Roman Flügel’s acidic rework of What I Used To Play is a homage to the 80s and the early sound of electronic music which creates nostalgic feelings and offers a greatly produced retro soundscape à la Kraftwerk. Staying close to the original, but with the perfect amount of spin, it’s a symbiotic interplay of synthetic bass pads, and a tiny bell melody. Robag Wruhme’s cranking minimal funk takes us down The Worm-hole. A concise interference sound builds
up sustained tension, tangled but structured, deep and yet driving. Robag took over the deep and dirty rhythms of the original perfectly and delivers a versatile piece. This opening salvo oozes quality and
sets things up perfectly for the electrified celebration of hi-octane technology come.

Jonathan Kaspar‘s growling interpretation of We Are provides a melancholic atmosphere with fascinating percussion parts. Zaps shoot through the air like small laser pistols while we let ourselves
be carried away by the bass, the frisky vocal stutter effect is the icing on the cake. Speeding things up, the euphoric trance that engulfs Krystal Klear’s epic version of Feiern. Expansive strings increase up
to ecstasy and guide us to a love-filled unity. This remix is sure to be an excellent peak-time smasher for the open-air season. On to a wild ride of pure techno with Benjamin Damage, who delivers a dry and uncompromising Berlin Techno version of Mystic Voices. Harder pace but the string synthesizer harmony brings light to an otherwise gloomy environment. Next up is Luke Slater’s PAS Deep Heet Mix to add a retro nineties vibe to proceedings on Nyx. Entering a rough space with gigantic clap impacts, we are blessed with straightforward Techno. Shimmering and spooling, this groove hits the
mark. Then, as if it was ever in doubt, Sven‘s lofty place in the techno firmament is underlined by a peak-time contribution by non-less than Detroit legend Robert Hood. Unmistakable, you must recognize the signature Robert Hood drive on Butoh. Chord stabs fulfill the Detroit feeling with offtaking string elements and high-energy vocal transformations. It’s a warm embrace that triggers emotions. Planetary Assault Systems then blasts things ever deeper into the cosmos on a second outing of Nyx. Reduced and to the point but of course, true to form, with powerful tribal percussion parts and intensive cutting hi-hats.

From there on in, the collection gradually re-enters the atmosphere, burning with a phosphorescent, melancholy glow. Harald Björk extrapolates Being In Love into a hypnotic groove for the early hours. A playful and atmospheric electronica interpretation to soothe our souls due to disharmonious synth pads and a dreamy deformation of the original melody. Mano Le Tough harnesses the ethno-rhythms
and brooding energy of Catharsis into a low-slung, tribal stomper. Anomalous organ parts ring out and link up with a trance-like sequence, summer feelings arouse as you feel like you can almost smell Ibizan air. The collection comes full circle with a second equally seductive interpretation of Silvi‘s Dream by Florian Hollerith. Stripped-down and hypnotic, the homage to Sven's girlfriend Silvi is extended as a reverence to Sven himself. Sven's profound vocal clearly infuse time and space and leave a forever-lasting memory of love.

By accident or design, it somehow leaves us with the reassuring sense that, although this specific part of the journey may be drawing to a close, the mission of the man behind it all most definitely isn't.

written & produced by: Sven Väth & Gregor Tresher

The history of film music would be different without John Williams. Cinema classics like Star Wars, Indiana Jones and Harry Potter are inextricably linked with his musical style. His soundtracks captivate listeners with thrilling, moving themes and a tremendous range of atmospheres and sounds. John Williams conducts the greatest orchestra in the world; a once in a lifetime recording celebration. The album includes beloved hits such as the “Superman March”, the Theme from Jurassic Park, excerpts from Close Encounters of the Third Kind and the Star Wars, Harry Potter and Indiana Jones films. There are also works such as the Suite from Far and Away and the moving Elegy for cello and orchestra, that may be less familiar but are no less brilliant.ng the legendary composer’s 90th birthday. Featuring completely new arrangements and repertoire all recorded in breath-taking Dolby Atmos sound.

Death Is Not The End sub-label 333 hit again with a reissue of a rarely encountered piece of prime UK digi, courtesy of Franklyn Bernard aka Frankie B - mixed at Fashion's A Class Studio in Clapham, and released on the Ital Stuff label in early 1986.

Frankie B began his recording career with producer Bert Douglas, first releasing on his Reggae City label in 1984 with the No More Tears 7" under his birth name Franklyn Bernard. In 1985 he then linked up with Ital Stuff - a production team consisting of three brothers who also helmed the Sweet & Bitter Band. Operating a small eight track studio in the basement of their house in Balham, Ital Stuff had recently been responsible for putting together and laying down the backing track to Dixie Peach's classic Pure Worries, released on the Jah Tubbys label in 1985. Upon playing Pure Worries to Frankie he was immediately inspired to lay down his own vocal on the track, which too features Dixie Peach contributing vocal harmonies - it was recorded late 1985 and mixed down along with a ferocious dub side at South London's A Class Studio, eventually seeing release in early 1986.

"Rocking Heels: Live at Metal Church" dokumentiert ein ganz besonderes Konzert in der idyllischen Kulisse der Kirche von Wacken und ist das erste Album der Live-Series "Rocking Heels". Vor nur 300 Fans, eröffnete dieses einmalige Ereignis das Wacken Open Air 2016. Mit Klavier, Cello und Geige präsentiert Tarja Cover-Versionen ihrer Lieblingskünstler. Darunter "Numb" von Linkin Park, Rammsteins
"Ohne Dich", Metallicas "The Unforgiven", sowie einen Nightwish-Klassiker und Tarja-Originals.