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Keep It Simple!

That's what Tony Allen told me, whether on stage, in the recording studio or when we were working together on the album "The Source"(Blue Note 2017) in my studio. Obviously, if he repeated it at will, it's because it's so difficult, to express the essential, not to scatter, over-play, over-arrange. So natural for him, so constraining for others! For years he pushed us, the members of his group to develop our projects. I had something in mind, necessarily with him, unfortunately his unexpected demise decided otherwise.
It took a moment to accept his departure, to accept being a voice, to find a new path. The desire to continue the work started together, that of mixing styles, sounds to appropriate them and create new, authentic. The desire also to meet new people, another energy.
After composing music for this project, I asked my friend Ben Rubin, musician and producer to help me record it. I found in NYC what I was looking for, a sense of urgency, that of doing, generous and committed musicians. I knew Jason Lindner, a musician that I have been following for a long time and he was the first person I thought of for pianos and synthesizers. He has this ability to find new and powerful sounds, with a direct and unadorned playing. For the drums, I didn't especially thought about a musician whose playing could come close or far to Tony's. Ben suggested Josh Dion to me, I've been following him since his "Paris Monster" project, I love his ability to make his drums sound like a new instrument by playing the bass synth with his right hand, that forces him to keep it simple! He also plays 2 tracks in drum/synth mode on the album.
I'm also happy that he agreed to sing a song on this album.
So we recorded at the Figure8 recording studio in Brooklyn, Eli Crews providing the sound recording, we decided with Ben to create a powerful and assumed sound from the take. Many biases on the tones, whether on the drums and the keyboards. Back in my studio in Paris, I continued to search, to dig while recording additional saxophones, percussions and keyboards.

I met Tchad Blake during a week-long mixing seminar. His work on the album on is radical.
Keep it simple?
Difficult but I try to remain so on all the phases of evolution of this project, from writing to production, in the improvisation parts. Where I feel it the most is in the immediate joy of playing with Jason and Josh, of tweaking a few sounds in my studio to create the unexpected, surprise in the structures, authenticity. Simple as the desire to go towards something essential, to seek oneself, to find oneself, to doubt but also to invent oneself.

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

"Less Is More is the debut studio album by DJ and record producer Lost Frequencies. The Belgian youngster shook the world with debut single ""Are You With Me"" and soon found himself on top of the world, following up on his worldwide smash with global sensation ""Reality"" and ""Beautiful Life"". Now, he shows the full extent of his potential through his debut album. Harboring a plethora of ridiculously catchy singles alongside the before-mentioned hits, Less Is More shows exactly why Lost Frequencies' signature sound is so widely acclaimed. Easy on the ear, increasingly addictive, and filled with gorgeous, laid-back vibes, the songs on the album allow minds to drift and emotions to flow freely, all made possible through the delicate arrangements and a strong choice of sounds. Lost Frequencies describes the album himself as being ""all about the simplicity of good feelings blending together, bringing a chill, but still energetic vibe."" Less Is More is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl. The vinyl package includes an insert with lyrics. "

Less Is More by Lost Frequencies, released 22 March 2024, includes the following tracks: "Beautiful Life", "Reality", "In Too Deep" and more.

This version of Less Is More comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a gold disc. Another vinyl is pressed as a gold disc.

"Paradise In Me is the second album by the Belgian band K's Choice. Six singles were released from the album: ""A Sound That Only You Can Hear"", ""Mr. Freeze"", ""Not An Addict"", ""Wait"", ""Dad"" and ""Iron Flower"". ""Not An Addict"" reached #5 on the U.S. Modern Rock Tracks chart. Paradise In Me is a set of post-grunge rock that relies as much on the group's churning, vaguely hard sound as it does on their songwriting talent. The album was certified Gold in Belgium and even Platinum in the Netherlands. The double album Paradise In Me is available as a limited edition of 750 individually numbered copies on translucent green coloured vinyl. The D-side contains an etch and the vinyl package includes an insert. "

Paradise In Me by K's Choice, released 25 April 2024, includes the following tracks: "White Kite Fauna", "Song For Catherine", "Iron Flower", "Paradise In Me" and more.

This version of Paradise In Me comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, green disc. Another vinyl is pressed as a translucent, green disc.

The sixth studio album, 'Matango!, its title referring to the 1963 Japanese psychological horror film of the same name (directed by Godzilla/kaiju maestro Ishiro Honda) by Australian band The Kill Devil Hills is out on Bang! Records! New album has ten songs, that - according to the band's own words - "entwined in the lyrics are inferences of global unrest and displacement, near future scenarios, climate catastrophe, pandemic vortices, the Simpsons, the grace of women, refugees and boat people, Cold War paranoia, the creative process itself, and of course Australia and its peculiar place in things". Cheery stuff, no? A strange and sinewy beast of an album, it's something of a departure from earlier KDH work: minimal, leering with glitching drums samples, synth swells, empty spaces, and a soup of fat bass tones to float it all in. From the opening ghost radio hums of Survivor Guilt, to the entrancing closing whispers of violin on Weigh of a Woman, this album goes on a pretty strange and serpentine journey. Enjoy listening, as much as we have enjoyed making it.

The Finnish-Swedish composer and pianist Iiris Viljanen, has through her honest and fine expression, achieved success with everything from her Grammy-winning album "Den lilla havsfrun" to a role, and composer, in the theatre production "Det vilda”. Recently, she was at everybody’s attention and gained success at the Peter LeMarc tribute concert in Tele2 Arena in front of a 16,000 mesmerised audience. Later this spring, she goes on a performance tour together with Stina Ekblad. A performance based on her new album "Själsligt upvakanden vid Slussen". An album that enchants with honest, dreamy but concrete songs performed by an almost groovy band. An album where the darkness is accompanied by hope. She has never really sounded like this before, not so directly, alive and embracing.

DISBELIEF’s new album’ Killing Karma’ once again underlines the band's singularity and their persistence to follow an unconventional way for more than 30 years against all resistance. DISBELIEF have grown into a very experienced band that has always kept an open minded spirit, yet remote from any mainstream connection, in order to further sharpen their Death Metal style with implacable conviction and dedication. A colossal, destroying, atmospheric, yet subtle wall of sound was conceived with this new album. The band invited two of the most unique singers in the German Metal scene on ‘Killing Karma' : Michelle Darkness (End of green) and Joschi Baschin (Undertow). They perform on some of the album songs : ’The Scream that slowly disappeared’ , ‘Flash of inspiration’ and the epic ‘Reborn’. DISBELIEF captivates the listener further with a special rendition of Killing Joke classic ‘Millenium’, shaping it into a very memorable remake which will surprise a lot of fans out there. Lyric wise, DISBELIEF vocalist Karsten ‘Jagger’ comments : "'Killing Karma' is a declaration of war to desperation, grief and helplessness, an unbelievable musical journey through the human soul threatening to break under the weight of life." DISBELIEF ’s new album ‘Killing Karma’ is a diversified, captivating , strength giving, crushing Death Metal monster !

Ever since their auspicious beginnings, more than a decade ago, Laughing Bastards have giddily delighted in impurity. Initially a reeds-guitar-bass trio modeled after the classic Jimmy Giuffre 3, the band has remained truthful to its original spirit. Saxophone player Michel Mast and guitarist Jan-Sebastiaan Degeyter have remained its core, but the band went through several permutations, first welcoming Eline Duerinck (cello) and Marcos Della Rocha (for Unanimal in 2019) and solidifying its present-day line-up with bassist Cyrille Obermüller.

Bastards. It's kind of a rude word to throw around carelessly, but there has always been that element of being irregular, being too stubborn to comply with what is expected, that has set them apart. This is nowhere more evident than in the material contributed by Degeyter, who wrote more than half of the album's compositions. A talented illustrator and designer (he created a few of their striking album covers) as well as a versatile guitarist, Degeyter always manages to add a strong visual component to his material. In combination with his knack for pulling exotic influences into the band's overall sound, it leads to a playful, cinematic eccentricity.

"Tigraman" and "Black Spoon" are examples of this. Both are infused with an Ethiopian-tinged sound, but while the first one develops the catchy throbbing of a trance-like soul/rock tune, the second exudes the lush cadence of Golden Age Ethio jazz, the kind that gets under your skin with those sensual, irrepressible rhythms. They are a nice match with the increasing drama of the Slavic-tinged "Red Lemon", the slow, dreamy flow of the Jamaican dance hall-inspired "Sand", a strong feature for Duerinck, and "Dosi", that shows Obermüller's knack for propulsive melody.

The synesthete in Degeyter gets free reign in "Calliope", chamber jazz in which sweeping sax and cello are kept grounded by guitar, bass and drums. Mast's odd meter-song "Fetish" is another showcase for the band's effortless dancing and some gorgeous tenor schmooze. Della Rocha's "Turquoise" starts off in brooding, contemplative way and keeps simmering on a low, glowing fire. To top it off, there are a few covers that remind you of the band's origins. A new take on Giuffre's rootsy "The Train and the River" stresses their loose flexibility with an Americana style somewhat reminiscent of Charlie Haden, while Carla Bley's evergreen "Vashkar" gets a carefully constructed makeover to close out the album with grace.

On their latest album, Laughing Bastards prove they are a quintessential Belgian band - soaking up sounds and influences from all over the place while maintaining a tight unity - with an international appeal. Combining jazz and chamber music with ideas from pop music and multi-colored strains does not only give their music an iridescent edge, but also keeps the interplay fresh and inspired, something to return to while waiting to see them live on stage.

London-based rock duo, Yur Mum, is set to release their highly anticipated album, "Duality," on April 30, 2024. "Duality" serves as the sequel to their 2021 LP, "Tropical Fuzz," and encapsulates the band's essence as a fusion of contrasts – Female meets male, Europe meets South America, and rock meets Brazilian music. Anelise, the bassist and vocalist, expresses, "It's a total yin and yang. We're embracing our differences and blending them together to create something unique." The album features recent singles 'Say Say' and 'New Beginnings,' which gained recognition on BBC's 6 Music and Radio 1, along with Spotify editorial playlists. The duo's Brazilian roots are exposed in tracks like 'Hands To The Sky', 'Anhangá', ‘Café’, and ‘Snakes Don’t Fly’, featuring Myura Amara from PollyPikPocketz. In a bold move, Yur Mum has opted for an independent release, expressing pride in creating the album they envisioned. Collaborating with producer Alex Gordon, known for his work with bands like Tigercub and CLT DRP. "Duality" promises a wild mix of beats and melodies, rocking out with fuzzed-up riffs. Yur Mum's iconic bass and drums have levelled up, bringing an even bigger sound. Beyond the high-energy tunes, the band explores themes like faith, guilt, existentialism, mental health, toxic people, classism, and immigrant catharsis. The album cover, designed by Fabio Couto, portrays a fusion of the duo in an androgynous and striking composition. Fabio says it was captured “DIY style” with an old smartphone camera. Yur Mum, consisting of Anelise Kunz and Fabio Couto, stands out in the two-piece band scene with their distinctive Fuzz Punk Rock sound and South American influences. Live music enthusiasts can catch Yur Mum at various UK and European dates, including Rebellion, HRH Punk 4, IceBreaker, Raw Power Fest, Punktoberfest, Rock’n’Trolls, and Marchin Music Fest

Sleap-e is reclaiming herself. The Italian singer-songwriter’s second album, 8106, captures the spirit of play; the child-like instinct to pursue what you love without compromise - and here it is, that particular magic that rarely survives adulthood, remarkably intact. Each of its eleven songs are vibrant shards which build a mosaic of Asia Martina Morabito’s world: the growing pains of your early twenties, remaining faithful to your dreams despite the hostility of adulthood, places of escape both real and imagined - and the pulse of Bologna, her home and north star. As a student of old-school iconoclasts like The Fall and inspired by the outsider streak of Jimmy Whispers and Daniel Johnston, it was not any particular musical quality of theirs which Asia wanted to channel in Sleap-e, but their confidence to “explode in a raw, free and authentic way.” Though her sound has shifted from the tender bedroom pop of her 2020 EP Mellow and her 2022 debut album Pouty Lips which was bedecked with jubilant brass and Mediterranean rhythms, it’s her self-belief which endures. 8106 is Sleap-e’s most raucous, unpolished and playful offering to date, steeped in the influence of “egg-punk”, an internet-grown genre which seeks to satirise the tropes of punk with its danceable irreverence. There is joy to be found, Asia feels, in refusing to conform, and it has brought her closer to herself than ever before. But to gain her sense of self, first, she had to lose sight of it. Summer of 2023, when the outlines of the record were made, was a difficult time for her. 8106 was the number of the hotel room she felt confined to, alone and adrift from comfort when she was working away from home. Writing this album was her getaway car. “It represents an important choice I made,” she explains. “I chose happiness. I chose myself.” The title represents a kind of mental post-it note reminding herself to stay focused on what she loves; it’s a talisman to protect her from hard times. She returned home, and there she began recording the album in residency at the Bronson Club, a hive of like-minded creatives and mentors who helped it take its final form. At home, her own music was played freely and instinctively. The artwork for 8106 is by Noemi Vola, a prolific Bolognian illustrator and author who specialises in designs for children, which reflects the “funky, fairytale mood” of the record itself.

After more than 1 billion streams, 800k records sold and sold-out world tours, the duo with the mythical cross come back with ONE NIGHT / ALL NIGHT’ starring Tame Impala and ‘GENERATOR’ ‘from their forthcoming fourth album: HYPERDRAMA. The album is set to be released on April 26th 2024, via Ed Banger Records / Because Music.
The official video for ‘One Night All Night’ is available to watch on 24th April and was produced by Phantasm, directed by Anton Tammi in collaboration with Justice. The arresting music video reveals the artwork for the highly anticipated ‘HYPERDRAMA’ album.

After more than 1 billion streams, 800k records sold and sold-out world tours, the duo with the mythical cross come back with ONE NIGHT / ALL NIGHT’ starring Tame Impala and ‘GENERATOR’ ‘from their forthcoming fourth album: HYPERDRAMA. The album is set to be released on April 26th 2024, via Ed Banger Records / Because Music.
The official video for ‘One Night All Night’ is available to watch on 24th April and was produced by Phantasm, directed by Anton Tammi in collaboration with Justice. The arresting music video reveals the artwork for the highly anticipated ‘HYPERDRAMA’ album.

"All our dreamers lose to the light" - from "Angels Go Home" When the pandemic began, and the world shut down, so did the process of creating for Iron & Wine's Sam Beam. In its place was a domesticity that the singer hadn't felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes: "I feel blessed and grateful that I and most of my friends and family made it through the pandemic relatively unscathed compared to so many others, but it completely paralyzed the songwriter in me. The last thing I wanted to write about was COVID, and yet every moment I sat with my pen, it lingered around the edges and wouldn't leave. This lasted for over two years." The journey back began with a recording session in Memphis to record a handful of Lori McKenna tracks for the EP Lori with friend and producer Matt Ross-Spang. The cathartic experience reconnected Beam with his love for making music, and soon enough the paralysis had passed, and he was finishing lyrics and booking studio time for what would become Light Verse. Light Verse was recorded with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon (with an additional session at Silent Zoo Studio with a 24-piece orchestra), with a host of talented musicians joining Beam: Tyler Chester, Sebastian Steinberg, David Garza, Griffin Goldsmith, Beth Goodfellow, Kyle Crane, and Paul Cartwright. And, Fiona Apple joined Beam on vocals for the duet "All In Good Time." Beam lyrically once again takes focus on a series of both fictional and personal insights, filled with desperate characters and wide-eyed optimists, offering promise and a dose of heartache, tears and laughter, life and love. Taking stock in the album's title, he jokes, "Light verse is a form of poetry about playful themes that often uses nonsense and wordplay, and it's my first official Iron & Wine comedy album!_. Just kidding_." While true this may be Iron & Wine's most playful record, Beam says the title mostly reflects the way the songs were born with joy after the heaviness and anxiety of the pandemic. Where recent records like Beast Epic or Weed Garden gave air to the disquiet of middle-aged frailty and brokenness, these songs trade that for the focus acceptance can bring. Moment by moment, they delight in being pointed or silly (or both) and attempt beauty over prettiness. Light Verse arrives April 26th, and it's Iron & Wine's seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. Track by track, its equal parts elegy, kaleidoscope, truth, and dare.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

In many ways, the music of Writhing Squares could have only originated in Philadelphia; the city itself a microcosm of creatives, go-getters, freaks & weirdos that have coalesced into a supportive & boundary-pushing crew. Former Purling Hiss bassist Daniel Provenzano & Ecstatic Vision sax-player & vocalist Kevin Nickles' first musical missive was shot forth in 2013 (the self-released CDR "Live In Space") & various singles, split releases, albums (and a double-album) later we arrive at the duo's fourth full-length "Mythology", their third for Chicago-based Trouble In Mind Records. "Mythology" picks up the pieces left shattered by their previous double-album "Chart For The Solution" and reconnects the broken shards together like Kintsugi, the ancient Japanese technique for mending broken ceramics, infusing the breaks with powdered gold. The Squares themselves are like mad-scientists, taking the ruined detritus populating junk shops & surplus outlets & constructing their own sonic laboratories in their New Jersey basements to record, mix & tweak "Mythology"s eight tracks. Their new location allowed the band to regroup, reassess & reconstruct their sound from the ground up, shearing away the cosmic excess of 2021's "Chart For The Solution" to a sharper point. Tracks like `Barbarians' & `LEM' are classic Squares; brutal, aggressive, unwavering assault of Motorhead/Stooges-inflected sci-fi punk scree, while others like `Chromatophage's mutant funk & `Cerberus's techno-slink owe a serious debt to electric-era Miles Davis or Herbie Hancock & show that the group has more to offer than bludgeoning you with sonic force. Provenzano's bass & electronics are like a tank rolling across the terrain - a gnarly construct of Hawkwind-ian headiness & `Vincebus Eruptum's snarl - uncaring of what gets in the way. Nickles' brass vacillates between Stooges-influenced sleaze, jazzy no-wave stabs, & cacophonous sonic storms, strafing the listener into oblivion. The duo are joined on "Mythology" by drummer John Schoemaker - who contributed drums to "Chart For The Solution"s epic closing track `Epilogue' - whose percussive pulse adds an organic swing to The Square's sonics, particularly on album closer "The Damned Thing"s cosmic strut. "Mythology" tackles a multitude of themes, from fantastical tales of hellhound `Cerberus' or the comic-inspired "Eternity " to `Chromatophage's colorful/evil yarn about animals that eat colors (or a Magic: The Gathering card) to the true-life influenced `Acid Rain' that deals with the uncertainty of consuming drinking water after a chemical spill in the Delaware River. Elsewhere, `Ferrell' is an homage to the late, great Ferrell "Pharaoh" Sanders & `The Damned Thing' by a short horror story penned by Ambrose Bierce about an animal whose coloring is invisible to the naked eye. Writhing Squares are in a transitional phase, mapping out a new sonic mythology for themselves after crossing the event horizon into unknown space. "Mythology" is streaming on most DSPs & released on black vinyl & limited fluorescent green vinyl (while supplies last) on April 26th, 2024.

Returning after three years with their second studio album, Double Dog Dare, WHITE DOG have been revelling in a state of creative flux and are poised to share their revelations with the world. Formed in 2015 in Austin, Texas, White Dog began with a shared vision of blazing, fuzzed-out rock that drew gleefully from their home city's rich cultural melting pot. Emboldened by an us-against-the-world gang mentality and inspired by everything from dusty roots rock to explosive old school prog, the band's self-titled album emerged in 2021, courtesy of natural home Rise Above Records, and immediately stood out as a sophisticated, earthy and characterful new strain of retro rambunctiousness.
Recorded over a period of eight days at Stuart Sikes Audio (with engineer Andrew McCalla) in Austin, Double Dog Dare takes all of the debut album's deftly assembled ingredients and allows them to fly free, liberated from expectation. At times mellower than its predecessor, at others strident and ferocious, these new songs showcase White Dog's organic development, with elements of everything from wistful southern rock to crusty-eyed jazz rock finding a place. Somehow even more fluid and fiery than before, this band are growing and expanding before our ears.
Now free to peddle their incendiary wares, they return to the stage with their strongest material to date, and a newfound enthusiasm for giving The Riff the respect and imagination it deserves.

Returning after three years with their second studio album, Double Dog Dare, WHITE DOG have been revelling in a state of creative flux and are poised to share their revelations with the world. Formed in 2015 in Austin, Texas, White Dog began with a shared vision of blazing, fuzzed-out rock that drew gleefully from their home city's rich cultural melting pot. Emboldened by an us-against-the-world gang mentality and inspired by everything from dusty roots rock to explosive old school prog, the band's self-titled album emerged in 2021, courtesy of natural home Rise Above Records, and immediately stood out as a sophisticated, earthy and characterful new strain of retro rambunctiousness.
Recorded over a period of eight days at Stuart Sikes Audio (with engineer Andrew McCalla) in Austin, Double Dog Dare takes all of the debut album's deftly assembled ingredients and allows them to fly free, liberated from expectation. At times mellower than its predecessor, at others strident and ferocious, these new songs showcase White Dog's organic development, with elements of everything from wistful southern rock to crusty-eyed jazz rock finding a place. Somehow even more fluid and fiery than before, this band are growing and expanding before our ears.
Now free to peddle their incendiary wares, they return to the stage with their strongest material to date, and a newfound enthusiasm for giving The Riff the respect and imagination it deserves.

Vintage Hardrock der 1970er Jahre direkt aus Down Under! Das lang erwartete zweite Album der australischen Band Tarot besticht mit Hardrock inkl. Hammond-B3 für eine neue Generation von Fans! Als geschlossene Formation haben Tarot mit 'Glimpse Of The Dawn' ein lebendiges, weitläufiges Album zusammengestellt, das seinen Kerneinflüssen Uriah Heep, Rainbow und Deep Purple ernsthaft Tribut zollt und gleichzeitig eine eigene Identität hervorbringt. Dabei ließ die Band Freiräume, um Improvisation zu ermöglichen. Viele der Leadgitarren des Albums wurden spontan im Studio geschrieben und anschließend beibehalten, sodass Tarot "den Blitz in einer Flasche einfangen" konnte. Dieser Ansatz wird vielleicht am besten im Titeltrack veranschaulicht, der das Album mit ausgelassenen Hammond-Keyboards und Stimmengewalt auf großartige Weise eröffnet.
Artwork von Lena Richter, Mastering von Patrick Engel (Temple of Noise).

Rock Hard:
"Achtung: Bei "Glimpse Of The Dawn" handelt es sich mitnichten um einen weiteren Output der finnischen Hardrocker Tarot, bei denen sich Ex-Nightwish-Bassist Marco Hietala zurzeit (mal wieder) austobt, sondern um einen Eintrag in der noch vergleichsweise kurzen Diskografie der gleichnamigen australischen Band, die mit ihrem Full-length-Debüt von 2016 erstmals in weiteren Kreisen von sich hören machte. Diesem famosen Scheibchen stellt das Quintett aus dem tasmanischen Hobart nun nach schlappen acht Jahren einen Nachfolger zur Seite, der den Herrschaften nicht minder exzellent geraten ist. TAROT zocken entspannten, von Siebziger-Größen wie Deep Purple inspirierten Hardrock mit Metal-Schlagseite. Die Hammondorgel ist nicht von dieser Welt, und Frontmann Will Spectre verfügt über ein gefühlvolles, warmes, kräftiges Organ, das den Hörer im Zusammenspiel mit den verträumten Gitarrenmelodien in mystische Welten entführt. Wunderschön!"

New Heaven, INTER ARMA’s latest album, is a compelling testament to perseverance, top to bottom. Its thicket of ever-dense layers of doom, death, and black metal occasionally let bits of light slip in, fleeting reminders to keep going amid the tumult. New Heaven marks a sharp turn for the band, showcasing some of the most extreme and angular songwriting INTER ARMA has ever laid bare. Known for their cinematic take on sludgy, extremely cavernous, and borderline psychedelic Metal, the Richmond band broadens their dynamics by seesawing between piledriving momentum and swirling oblivion. New Heaven crushers and conquers, and illustrates what INTER ARMA can truly be. Take the title track, with its hair-raising lead riff stemming from drummer/songwriter TJ Childers’ challenge to himself to write a nonsensically dissonant part that he ended up loving. The song spirals upward into a punishing Death-Metal march, Meanwhile, vocalist Mike Paparo’s stentorian bellows the bludgeon, above an impossibly complicated web of riffs and rhythms. From the get go, New Heaven and the opening title track eschews any restraint - INTER ARMA is completely unchained. Paparo’s keen and empathetic lyrics about innocent victims of war, addiction, and social apathy affirm that feeling, as a survivor grimaces at the carnage behind him and presses ahead best he can. “You stared into the brutish jaws of strife’s heartless device,” he growls into a chthonic blitz during “The Children the Bombs Overlooked,” a late-album powerhouse. “And you turned your back to hell.” That forward march out of madness is New Heaven in an armor-plated nutshell. Though this is indeed another INTER ARMA triumph, it is not a triumphant album, meant to offer some glib or naïve assurance that everything will be fine. What evidence is there for that, really, either on a record where friends are forced into submission, addiction, suicide, or retreat to a world where suffering remains the lingua franca? No, INTER ARMA and New Heaven are too realistic and experienced for that. This is, instead, a record about enduring brambles and curses and lasting long enough to make something profound, honest, and even affirming about it all every now and again—exactly as INTER ARMA has on New Heaven. FFO: Amenra, Neurosis, Full of Hell, Cult of Luna, Yob, Primitive Man, Thou, Ulcerate, Mastodon, The Body, Panopticon

About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival's success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others' at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018's Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O'Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he's done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener "Now Dream," the droning "Sleep Walker," and the closing triptych of "Lost in Descanso," "Sunrise," and "The Hidden Path" occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, "Ticking Clock" is reminiscent of Stereolab's non-easy listening vintage electronic side, while the two-part arpeggiated "Euphoria" recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between "One Breath"'s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album's lingering tension between electronics' ability to project mechanical rupture as well as the organic and the infinite _or "walking between dreams," as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos' first solo album, Welcome Home, back in 2005), released by Stephen O'Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what's come before, both in his own work and in the music he loves. -Alan Licht, New York, December 2023

John Wright’s 1960 debut album “South Side Soul” was originally released on the Prestige label and recorded at Van Gelder Studios. Along with Wright (piano), the album features Wendell Robert (bass) and Walter McCants (drums). This new edition of the album is released as part of the OJC Series and is pressed on 180-gram vinyl at RTI with (AAA) lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio. It is presented in a Tip-On Jacket.

Cocoon Crash is the third studio album of the Belgian band K's Choice, released in 1998. Its singles were 'Believe', 'Everything for Free',
and 'If You're Not Scared'. Musically, it is comparable to their second album, Paradise In Me MOVLP1543, though more musically diverse, and with a generally lighter tone and subject matter.
Since its release, Cocoon Crash has sold more than 1.000.000 copies, and went platinum in Belgium and Netherlands.
The album was produced by Gil Norton (Pixies, Counting Crows, Feeder).
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"Corrosion of Conformity's In The Arms Of God was released in 2005 and was the last album to feature Pepper Keenan on vocals and guitar until his return in 201The set shows a return to the form of albums like Deliverance and Wiseblood, where it features a new form of progression and maturity not seen in older Corrosion of Conformity releases and resembles a true underground metal album as opposed to the much more catchy and commercial albums of their classic era in the 90's. The opener of the album, ""Stone Breakers"", closely resembles a Tony Iommi-led Sabbath jam, while such other ragers as ""Paranoid Opioid"" and ""Never Turns to More"" feature a classic COC sound. In The Arms Of God is widely seen as one of their best albums to date and is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl. "

In The Arms Of God by Corrosion Of Conformity, released 26 April 2024, includes the following tracks: "It Is That Way ", "Rise River Rise " and more.

This version of In The Arms Of God comes as a 2xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a silver disc. Another vinyl is pressed as a silver disc.

Career trajectories are rarely linear or make logical sense. Life is always unpredictable so all you can do is put in good work and keep at it. Joh Chase is a testament to this. Over the past two decades, the Seattle-raised, Los Angeles-based artist has persistently honed their songwriting and toured, opening for acts like Noah Gunderson and David Bazan. This dedication comes out entirely in their songs, which are so timeless, confident, and inviting they can only come from someone who’s devoted their whole life to their craft. Chase’s new album SOLO feels like a turning point for them: it’s the culmination of a lifetime of writing, losing, loving, and doing it all yourself. The LP adventurously toes the line between genres and sensibilities but it’s all filtered through Chase’s charming and fully-formed vision. SOLO is a testament to Chase’s do-it-yourself ethos throughout their entire career—they chipped away, self-funded tours, and crowdfunded this LP. But by finding their voice, they now no longer feel alone. “This is the most support I've ever had in my life,” says Chase. “I do not feel alone at all. There’s so much energy and generosity here around these songs.” Though it’s not their debut, SOLO feels like a reinvention for an artist: a daring reintroduction for a timeless talent. “I spent my life making music and trying to do it about 10 different ways,” says Chase. “Now this one feels like it. This album feels like a leveling-up of my music in general. When I look at it now, I realize this is the first record that's really me.” “Mesmerizing, infectious, joyful, and heartbreaking; this is the best new album I've heard in a decade. Joh Chase has arrived

In 1993 American guitarist / producer Charles Normal was traveling in Europe with Guns n' Roses. When they arrived in Norway, Charles arranged a meeting with the Oslo based underground band Sister Rain. There was an immediate kinship between the two bands, and the next day members of both bands went into a recording studio and wrote a song together. The result was the genesis of The Merchants of Venus, a band formed by Normal, Guns' keyboardist Dizzy Reed, and Sister Rain members Aslak Nygren and Rune Annaniassen. Normal stayed in Oslo while Guns n' Roses continued on their tour, and eventually negotiated a contract with Warner Music for a full album release. Recording commenced in Hollywood, California in late '93, but was brought to a sudden halt when the Northridge Earthquake destroyed their studio and master tapes on January 17, 1994. Warner flew the band back to the safer environs of Oslo where the entire album was rebuilt from the ground up. The result became Wish Across the Land. Now 30 years later, the album is remastered and released on vinyl for the first time, and features unreleased bonus material.

Maria Chiara Argirò's album "Closer" departs from her prior work, fueled by an indescribable, dreamlike feeling. The album's core duality of blurred lines and clarity reflects Argirò's philosophy. A philosophy encapsulated in the urgency of her production process and the unique lucidity with which she weaves ambient, dance, jazz, and experimental pop seamlessly together. The album defies easy definition, emphasising an inner self-discovery process, detached from external influences, not only breaking sonic ground but signifying a deeply personal journey, anchoring Argirò to her creation. Argirò has previously seen critical success with support from Pitchfork, The FADER, FLOOD, Brooklyn Vegan and Clash Magazine. “Closer” will be released on the 26th of April 2024

nit is the genius underdog of the current French chanson scene. After playing along with Sébastien Tellier or Juliette Armanet (a huge success in France), after remixing Phoenix, Myd, Dita Von Teese, Cola Boyy, Tony Allen or Jane Birkin, here he comes with his debut album. The balearic sound is always a big nit influence, feel good electronics & lush acoustic chords.

Spotted by French label Record Makers (Sébastien Tellier, Kavinsky, AIR, Cola Boyy) with his 2017 “Dessous de plage” first EP, nit has since grown from funky DIY library music to a lush and complex groovy sound. The magic of this debut album “Big Bang Puzzle” is a keen sense of composition and an innate affinity for 90’s European electronica.
It’s a playful album, the work of an artist at the peak of his craft, determined to twist styles and references (Daft Punk, Ennio Morricone, Robert Miles, Vangelis...) in order to give them a new form.

“Big Bang Puzzle” is a tangle of psychedelic and cartoon-esque pieces, an abstract modernist painting of sounds inspired by vintage pop music. The cover, created by Swiss artist Flora Mottini, offers a first glimpse of his brand new universe.

But it’s also by collaborating with French iconic design studio H5 that nit suddenly enters the French Touch genealogy. nit takes the shape of an n that grows legs and arms to become a cheeky cartoon character traveling through a real space-time continuum. Parisian H5 studio has been involved since the end of the ‘90s in the design of strong visual concepts for French Touch’s elite (Etienne de Crécy, AIR, Mirwais). French music at its best from which nit is a direct descendant. And one who expands and opens even further: pop, italo-disco, trip-hop impulses, Morriconian cavalcades, lo-fi aesthetics, Caribbean music. Producer and mixer Lucien Krampf (Oklou, Ascendant Vierge, Casual Gabberz, CRYSTALLMESS) was the person in charge of mixing this ambitious record.

nit is both a question and an answer, and a musical enigma that pushes us to explore the far reaches of our imagination…

Limitierte LP-Neuauflage: rot-goldfarbenes Vinyl, inklusive eines neu gestalteten Posters zum Ausklappen. Unser Album zum 1.Mai. Zum Tag der Arbeit und für den Kater danach. Die Arbeit verändert sich. Roboter ersetzen uns. Der Kapitalismus zerbröselt. Wir brauchen einen neuen Soundtrack - aber wie klingen work songs in einer Zukunft, in der die Natur der Arbeit selbst so unsicher ist? Mit ihrem zweiten Duo-Album Never Work suchen Ariel Sharratt und Mathias Kom (von der kanadischen Garagen-Folk-Band The Burning Hell) nach Antworten. Einige Songs sind Lieder über Arbeiter, andere sind Lieder für Arbeiter, aber die meisten sind beides zugleich. Musikalisch nutzt Never Work die akustischen Elemente eines Old-School-Folk-Revivals (...Guthrie, Seeger, Dylan..) die, tongue-in-cheek, mit Billig Electronica der 80er versponnen werden. Textlich greifen sie Anregungen von Gewerkschaftsaktivisten und situationistischen Witzbolden auf. Alles in allem die richtigen Instrumente, um die sogenannte Gig-Economy, technologischen Feudalismus, Klassenkämpfe, rebellische self-service Geräte und vollautomatisierten Luxuskommunismus zu erkunden. Sharratt und Kom sind vor allem als Teil der kanadischen Garagen-Folk-Band The Burning Hell bekannt. Seit fast einem Jahrzehnt haben sie sich mit ihren smarten, von dunklem Humor geprägten Songs und ihren dynamischen Live-Shows eine solide Fangemeinde erspielt, teilweise mit Freunden im Geiste, wie Jeffrey Lewis oder The Wave Pictures 2016 legten Sharratt und Kom eine erste Pause vom Bandformat ein, um ihre erste Duo-Platte "Don't Believe The Hyperreal" aufzunehmen. Das Album belebte die Atmosphäre klassischer Pop-Folk-Duette der 60er neu und bot eine intimere Seite ihres Songwritings, darunter den Underground-Hit "Fuck The Government, I Love You". Never Work nun gibt ihrem zweifellos charmanten Duett einen neuen Dreh: weg von der Romantik hin zu selbstreflexiven, zuweilen bissigen Betrachtungen von Arbeit in unserer Gesellschaft. Das beinhaltet ihre eigene Position als Musiker, unser Selbstverständnis in einem bröckelnden System von Arbeit, sowie die Rolle des Kapitals, das uns alle weiterhin prägt, auch wenn wir selbst keins besitzen. Never Work ist eine Protest-Playlist für unsere kollektive Reise ins Vergessen oder an den Strand, ernsthaft und ironisch zugleich.

Happy 20th birthday to Family Album, the third recording of Faun Fables and the first one released on Drag City. These songs belong to sons and daughters, entwined and orphaned, domesticated and feral; to all the family vines unraveling from a ball of yarn. In this family album, runaways graze the wild together, a mother finds her courage playing the piano, dogs become thieves and wolves, and a son is taken too soon. Fourteen-year-old nymphs sit dangerously at the crossroads, a younger brother tries to find his place, packs of girls defeat fear with a march, and the nightly adventures of the household mouse are spied upon. Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, whom inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Dawn has written musical theater performed by the Idyllwild Arts Academy, among others, and has lent her vocals to Bonnie "Prince" Billy on The Letting Go and What the Brothers Sang. In 2022, Faun Fables debuted their family band, joined onstage by their daughters with vocals, percussion, keyboard and dance.

1998 was a fertile year defined by juggernaut projects from Black Star, Lauren Hill, Outkast, and others, all of whom synced experimentation with foundational tenets that made the 1990s ferociously groundbreaking.


Out of Oakland, California, a collective known as Hieroglyphics were positioning away from industry control, to helm their own assets in manners more suited to their own marketing self-vision. While artists have certainly went solo prior, this came at a critical juncture for the crew during a spiraling and newfound Internet world. Born out of this independent spirit was the crew’s first official studio album 3rd Eye Vision.


The album spans twenty-two songs, all featuring beats by Domino who manned the lion’s share of production. A-Plus, Opio, Del, Casual, and Phesto also contributed beats. MCs each had their own song, short interludes highlighting their individuality through short verses, a clear espirit de corps statement.


Even among standouts like “Oakland Blackouts” or “At The Helm,” perhaps the most celebrated song off the release is “You Never Knew,” a track that propelled 3rd Eye Vision to #88 on the Billboard Top 200, not an entirely easy feat as a new label competing with the late ‘90s’ abundant onslaught of classic material.


In celebration of 20 years of 3EV, Fat Beats and Hiero Imperium are proud to present this CD/Vinyl reissue in deluxe packaging, expansive liner notes and the full original album tracks and a bonus for the very first time in one package.

Iconic death thrash metal band PENTAGRAM (Chile) was formed in Santiago, Chile in 1985. At the time, the country was roiling from political upheaval, but that didn't stop Anton Reisenegger, Juan Pablo Uribe, and (former drummer) Eduardo Topelberg from ingesting and eventually emulating the brutalist, evilest forms of metal from around the world. PENTAGRAM (Chile) now unleash their new album ' Eternal Life of Madness’ and is comprised of guitarist/vocalist Anton Reisenegger, guitarist Juan Pablo Uribe, drummer Juan Pablo Donoso, and bassist Juan Francisco Cueto. PENTAGRAM (Chile) marched forward from their debut 'The Malefice' (2013) while preserving the savage DNA that informed Darkthrone, At the Gates, Dismember, Napalm Death, and many others. The band ’s new album 'Eternal Life of Madness’ feature the crushing heft of "Possessor," "El Imbunche," "The Portal," and "Deus Est Machina, » which is a far-off salute to the group's classic "Spell of the Pentagram" from their 1987 first Demo. PENTAGRAM (Chile) doesn't exist merely for nostalgia reasons—though supporting Slayer in Santiago in 2019 was a highlight of past accomplishments. Their timely resurrection is unadulterated metallic passion. "When the pandemic hit, and I was in lockdown at home in Spain, I started writing riffs for a new LOCK UP album," says Reisenegger, who plays guitar in grind legends BRUJERIA and Chilean groove-thrash masters CRIMINAL. "I realized some of the stuff I wrote had the original Pentagram (Chile) feeling, so I put those ideas aside. They started piling up, so when the LOCK UP ’The Dregs of Hades' record was done, I began arranging them and working remotely with our drummer, Juan Pablo Donoso. I didn't even realize I had all that material in me, but it was somehow untapped. We had a 'false start' a few years before when original guitarist JP Uribe, JP Donoso, and I got together and started jamming on some new riffs. 'The Portal' came out of those sessions. » Though never explicitly political lyrically, PENTAGRAM (Chile) have issued angst-ridden proclamations throughout their 39-year existence.

2024 Repress

"Communication", das erste, wirkliche Soloalbum des Ex-Kraftwerkers Karl Bartos, kam 2003 in die Läden und damit 13 Jahre nach Bartos" Ausstieg bei den Düsseldorfer Elektronikern. 2016, und damit wiederum 13 Jahre später, erscheint das Album, komplett remastert und mit dem Bonustrack "Camera Obscura", erneut. "Communication" ist jedoch keine bloße Wiederveröffentlichung. Es ist der Reload eines Pop-Klassikers, der heute thematisch aktueller ist denn je. ""Communication" handelt davon, wie Bilder unsere Sicht auf die Welt bestimmen und wie sich durch elektronische Medien die Inhalte unserer Kultur verändern", so Bartos anlässlich der Veröffentlichung im Jahr 2003. 2016 hat dieses Thema an Dringlichkeit und Wahrhaftigkeit nichts eingebüßt. Ganz im Gegenteil. Heute ist die Medienwelt, die das Album beschreibt, so alltäglich geworden, dass ihre Wirkmächtigkeit gar nicht mehr wahrgenommen wird. Spannend: Obwohl zehn Jahre früher erschienen, kann "Communication" energetisch nahtlos an Bartos" gefeiertes letztes Album "Off The Record" (2013) anschließen.

Isaiah Collier & The Chosen Few return with a new musical journey, "The Almighty". The first quartet offering since 2021's Cosmic Transition.
Collier's compositions and lyrics focus on using music to communicate deeper principles that are part of everyday. Isaiah showcases these principles through sounds that evolve within the titles: Love, Compassion, & Perspective. These principles once taken fully in are arranged to deliver the message that there is a Divine energy connecting through us all and is seen within all things. The album opens up with LOVE, featuring the legendary Chicago vocalist Dee Alexander channeling her energy to deliver the message of love to the human family. With lyrics written by Collier specific to Alexander's qualities as a maternal figure to him and other musicians, the message remains strong within the music throughout the album. Searching deeper to share more sincerely through our interactions with others, is the albums objective. Collier & The Chosen Few showcase those Principle with Musicianship and an unyielding commitment to put their all into each breath of this episodic journey. The album features the legendary Saxophonist Ari Brown, who has mentored Isaiah for over a decade in their native Chicago. The conversation between student and master evolves on the song "Compassion". Collier's steps into the vocalist roll on the infectious, Perspective (Peace & Love) which serves as Collier's acknowledgement of Pharoah Sanders for his musical contributions, that features percussive sounds that connect the ancestors of the diaspora. Throughout "The Almighty" the group explores elements heard on 2021’s Cosmic Transitions and 2022’s Beyond by I AM (Isaiah Collier and Michael Shekwoaga Ode), and streamline the sound with laser focus in this incarnation.

. Lodge has been performing and recording with The Moody Blues for more than five decades, selling in excess of 70 million albums, and also enjoys a successful solo career, doing what he loves, performing and playing music. Lodge has been voted one of the “10 most influential bass players on the planet,” and has been the recipient of numerous awards, including ASCAP, and Ivor Novello Awards for Outstanding Contribution to Music. John was inducted into the Hollywood Walk of Fame, and in 2019 was given a star in his hometown ‘Walk of Fame’. In 2018, John and the Moody Blues were inducted into the ‘Rock and Roll Hall of Fame’, and in 2019 John was given the Lifetime Achievement Award in the Prog Awards. John’s latest release is the new studio Album ‘DAYS OF FUTURE PASSED – MY SOJOURN’. The album was recorded over the last year and has grown from John’s current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album

Noir Brésil is the debut album from Franco-Brazilian artist, composer and producer Yndi. Formerly known as Dream Koala, she decided to retire the moniker back in 2017 and began writing what ultimately became Noir Brésil, a modern pop album where afro-Brazilian percussion meets French and Portuguese poetry to create an immersive soundscape. As Dream Koala, Yndi released EPs Odyssey (2013,) Earth. Home. Destroyed. (2014,) and Exodus (2015,) as well as popular single "We Can't Be Friends", gaining her international success and garnering multi-millions of streams across platforms. In 2020, there were so many images of black people suffering on social media. After that traumatizing year, Yndi needed images showing that being black wasn't only about suffering, she wanted healing images. It's exactly what the Afro-Brazilian culture has been doing for centuries, it conveys a strength that keeps us alive in a dehumanizing society. The title track "Noir Brésil" is a poem for her ancestors. Yndi wrote "Amazona" on an atabaque (Afro-Brazilian percussion) rhythm inspired by the myth of the Amazons, warrior women, and Douanier Rousseau's painting La Guerre. The violence of the lyrics contrasts with the melancholic harmonies. The song pays tribute to the anger and strength required by women to live in the contemporary world. The song "Novo Mundo" and its animated video directed by Nina-Lou Giachettia are a reflection of Brazil, through luminous and colorful landscapes. Here the evocation of the divine, the beauty and the violence of nature reflects perfectly the essence of Yndi'sdebut album.

FOR FANS OF: IRON MAIDEN, SAXON, THIN LIZZY Mighty Music sind stolz darauf, die Veröffentlichung eines Live-Albums der TYGERS OF PAN TANG mit dem Titel "Live Blood" anzukündigen. Die Veteranen der NWOBHM, die Tygers, feiern derzeit ihr achtjähriges Bestehen bei Mighty Music. In dieser Zeit haben sie drei gut aufgenommene neue Alben veröffentlicht, von denen das letzte, "Bloodlines", im Jahr 2023 von der Kritik durchweg positiv aufgenommen wurde. Die Band, mit Gitarrist Robb Weir an der Spitze, zusammen mit den langjährigen Mitgliedern Jack Meille (Gesang) und Craig Ellis (Schlagzeug), hat für "Bloodlines" zwei neue Mitglieder aufgenommen: Gitarrist Francesco Marras und Bassist Huw Holding. "Live Blood" enthält Material aus der gesamten Bandkarriere, darunter Songs aus den ersten vier Alben bei MCA Records sowie aus den letzten vier Alben mit neuem Material. Jack Meille kommentiert: "Nach all der Zeit mit den Tygers ein Live-Album aufzunehmen? Ich hätte nie gedacht, dass ich das erleben würde, aber mit den Tygers Of Pan Tang habe ich gelernt, dass das "Unmögliche" möglich ist. "Live Blood" fängt die ganze Energie ein, die wir liefern, wenn wir unsere Lieblingssongs live und roh spielen!".
Die Aufnahmen wurden im Sommer 2023 im The Patriot in Wales (UK) gemacht und werden als Einzel-CD und als Doppel-Vinyl mit zusätzlichen Tracks erscheinen. Vor dem Album werden zwei Singles veröffentlicht: der Live-Favorit "Gangland" von ihrem legendären "Spellbound"-Album und das versteckte Juwel "Keeping Me Alive" von "Ambush".

Following her successful debut album After Dark, new ideas have led Whiting to create Lost in Abstraction.
More than the expected ethereal washes of sound, the album playfully embraces her many influences into a
soundscape of modernity

‘Landmass’ Turtle’s first artist album since 2017’s ‘Human’. To be released on 24 March 2023, it is his third official album having also released the acclaimed ‘Who Knows’ EP in 2013.

‘Landmass’ is a beautiful body of work that flows naturally as one piece of music and is inspired by the sparse surroundings of Jon’s studio in Argyll, Scotland, an area he moved to to try and escape the noise of the city and a move that has directly impacted on his creative process.

Jon Cooper… “Since I started producing music I have never gone into a track with any preconceived ideas, I let the music develop in its own way so my direct surroundings have always played a huge part in how it sounds and the hustle of the city was something I felt I needed to get away from. This was a cathartic experience in making it - it's a real outpouring of love for the Scottish countryside and the beauty I’m lucky enough to live in and see every day!”

Jon’s musical journey is one of experimentation and passion. A regular of the electronic scene in Glasgow in the late 90's/early 2000’s, he started to experiment with DJing and music production more for his mates entertainment than with any aspiration of a career as one of the most understated electronic artists Scotland has produced.

Erlend Øye & La Comitiva - 'La Comitiva': In einer kleinen Stadt wie Siracusa, Italien, findet das gesellige Beisammensein meist in den Häusern der Menschen statt und besteht aus: Zutaten für ein Essen kaufen, das Essen zubereiten und reden, das Essen essen und reden, die Instrumente holen und stundenlang am Tisch sitzen und spielen und singen. Erlend spielt eine Ukulele, Marco spielt Nylonsaitengitarre, Luigi spielt Cavaquinho, ein brasilianisches Samba-Instrument, und Stefano spielt Bass auf denselben Stahlsaitengitarren, die Erlend bei Kings of Convenience verwendet. Die Band wurde während einer Tournee 2018 durch Chile, Argentinien, Kolumbien und Mexiko professionalisiert. Während dieser Tour entstanden viele der ursprünglichen Songs der Band, wie Altiplano, dessen Arrangement in einer staubigen Grenzstation zwischen Chile und Peru stattfand. Nach vielen unfreiwilligen Pausen (Covid, Veröffentlichung des Kings of Convenience-Albums, Veröffentlichung des Marco Castello-Albums) wird die Full Length LP "La Comitiva" im Frühjahr 2024 endlich das Licht der Welt erblicken. 2016 wurde Erlend während des kollaborativen Festivals "People" in Berlin auf das freigeistige Klassik-Ensemble Stargaze aufmerksam und er begann, einige der Mitglieder in Studio-Aufnahme-Sessions und Live-Konzerte mit La Comitiva einzubinden.

Hauptsächlich mit dabei sind: Kobi Arditi (Posaune), Maaike van der Linde (Flöte), Romain Bly (Trompete, Horn und Percussions).