Cerca:angèle

Hittin your decks in 4 weeks time on a Cannonball Records' 7"/45rpm, “U need me” by the LA Propinquity surfaces as part of a body of productions initially meant to be put out all together on an album. As often seen, for many reasons this didn’t happen and we are offered the privilege to release it on our flagship label first time ever. A modern soul dancerof the highest order out of a couple of premium recording studios in Los Angeles (included Hit City West with award winning engineer Avi Kipperat the controls) by the hands of Maestro Sanifu Hall and his Aljoni Music Co. featuring what could easily be defined the L.A. Dream Team of musicians, to include the infectious groove of drummer supreme James Gadson (previously featured also on our long sold outs with Mike James Kirkland) and many other stellar players from the area. I know I’m a weirdo so, to my taste, the most remarkable stuff sits on the flipside. Sanifu’s slick instrumental arrangement enriched by the flute of Todd Del Giudice, seamlessly in and out from the verses, makes it a sublime slice of original Soul Jazz from the late 70’s. Actually we really struggled to put this version on the back up side of this release as, with that hint of west coast fusion, it’d be worth a main side on its own. Just listen to both versions, judge by your excellent selves and make your move accordingly. Full links and presale details on our website for your consideration. ***The full cover above is an artwork done exclusively for digital & social media promotion.

Wildly acclaimed Grammy-winning artist Flume returns with a
new album, ‘Palaces’, on Transgressive Records.

‘Palaces’ began to take shape when Flume returned to his
native Australia after struggling to write music in Los Angeles at
the beginning of the pandemic. Settling in a coastal town in the
Northern Rivers region of New South Wales, Flume quickly
found the inspiration he needed through reconnecting with the
nature around him - the rolling hills, walking around barefoot,
the green colour the sky turns before a big storm, growing and
eating his own vegetables, the smell of rain.

He and his neighbour and long-time collaborator, the visual
artist Jonathan Zawada, became fascinated by the local wildlife,
in particular the birds, collecting field recordings that ultimately
worked their way in to the album. As Flume continued to forge a
strong connection to his surroundings, the album he wanted to
make started to form, eventually adopting a title to properly
highlight the luxury and magic of the natural world.

‘Palaces’ is his most confident, mature and uncompromising
work to date, a true testament to nurturing the relationships that
make us whole and bring us peace.

The album features a host of vocalists and collaborators, its
cast list spanning new and household names from around the
world - breakout US star Caroline Polachek, British polymath
icon Damon Albarn, Spain’s Vergen Maria, France’s Oklou and
fellow Australian Kučka, who returns following her standout turn
on ‘Skin’.

Deluxe CD including two exclusive bonus tracks in 6-panel
heavyweight board digipack with tube pocket and 8-page
booklet. Matte finish on digipak board with glossy spot UV
finish.

CD digipack with poster insert.

Black 180G double vinyl in widespine jacket with full colour
centre labels and digital download card.

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

Belarusian post-punk / synth pop group Molchat Doma have always exuded the kind of brutalist aesthetic of the architecture that adorns their album art. It's cold, gray, imposing, industrial and yet there are human hearts beating within those foundations. In the wake of their breakthrough success in 2020, the trio endured a polarity of experiences, from the nadir of an uprooted life and forced relocation away from their native Minsk to the apex of headlining massive shows across the world. It was in this headspace that the band settled into their new home of Los Angeles to finish writing their fourth album Belaya Polosa, a testament to change in difficult times, a love letter to the digital pulse of the `90s, and a technicolor reinvention of the band's somber dancefloor anthems. From the opening synth swell and drum machine throb of "Ty Zhe Ne Znaesh' Kto Ya," to the goth / post-punk austerity of "Son", to the swirling electronic textures mixed with reverb-drenched guitar flourishes, expansive space, and yearning vocals of title track "Belaya Polosa" - that suggests Depeche Mode at their most reflective or The Cure at their most downtrodden - to the sultry and seductive "Chernye Cvety"_ a track reminiscent of Duran Duran's early `90s output in its fusion of dreamy guitars and authoritative mechanized beats _ and the interwoven layers of instrumentation, soaring chorus, and melodic sophistication of "Ya Tak Ustal", it's clear that Molchat Doma are operating on another level. Molchat Doma gained following with earlier albums that sound like third-generation bootlegs of banned recordings from the Eastern Bloc made after a few key entries in the Factory Records catalog were smuggled in from the West. Belaya Polosa propels them into a new direction while retaining their cold minimalist delivery they're known for. The basement grime and dirty tape-head sound of their previous work are now making space for digital luster and shimmering production values. And while Molchat Doma's broadened aural spectrum adds a synesthetic power to Belaya Polosa, the mood remains rooted in stark and unflinching self-reflection. Molchat Doma retain the duality of being both cold and feverish in their delivery while pushing their music into expanded territories through an armory of new textures. The trio continue to harness the sound of harrowing beauty thriving under harsh realities.

STONEMAN, die großen Provokateure der Gothic- und NDH-Szene sind nach nun über 6 Jahren Musikpause mit einem neuen Studioalbum zurück!
Während den letzten beiden Jahrzehnten, hat sich die düstere Truppe um Frontmann Mikki Chixx als fester Name etabliert. Mit mehreren Smash-Hits wie "Mord ist Kunst" und zahlreichen Auftritten bei Festivals wie dem Wacken Open Air, Eurorock, Wave-Gotik-Treffen oder Rock The Ring, haben sich STONEMAN aus dem Schattendasein des vorherrschenden Einheitsbreis katapultiert.
Pünktlich zum 20-jährigen Bandjubiläum in 2024, melden sich STONEMAN nun mit dem Album "NEU !" und Konzerten in Deutschland lautstark zurück!
Durch neue Songs wie "Heimatdiebe", "Korrekt" und natürlich "Helene" provozieren und polarisieren STONEMAN wie noch nie zuvor. Mal gehasst, mal geliebt, aber immer im bandtypischen Stil, mit tonnenweise Humor und Satire!
Das Album wurde in der Schweiz, auf Mallorca und in Los Angeles produziert und gemischt. Auch dieses Mal wurde beim Songwriting erneut auf den Steve van Velvet gesetzt, ebenso auf Dan Suter, der sich in der Schweiz um das Mastering des Albums gekümmert hat.

Recorded in 2014, Mid-City Island is the first ever project to be released from Moses Sumney. Moses recorded the entire EP from his apartment in Mid-City, Los Angeles straight to cassette on a four-track recorder that TV on the Radio's Dave Sitek lent him. To mark the 10 year anniversary of Mid-City Island, Moses kept good on a promise he made to himself all those years ago, broke and starting out - that he would press it to vinyl in a decade. Reflecting back on that period, Moses says "Mid-City, Los Angeles was more of a concept than a place. Seemingly nobody had ever heard of it, and yet it was the geographic center of the city. Living there felt analogous to my disposition as a 'rising' Angeleno - highly visible and invisible at the same time. I sat on my bedroom floor and wrote 'Plastic.' Throughout his 10-year career, Moses Sumney has consistently evaded definition as an act of duty: technicolor self-directed videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Weeks from a small town in North Carolina; seemingly infinite collaborators, but one staggering voice. Consistent across the worlds of music, fashion, and film is his assertion that the undefinable still exists and dwelling in it is an act of resistance.

This is the quartet's second LP, recorded in 1971, and contains mostly Peruvian songs with a strong Cuban flavor where Pancho Acosta’s electric guitar reaches vertiginous heights and is combined with outstanding conga and timbales playing. Extremely rare and hard to find in its original issue, this is the first-time reissue. Remastered from the original tapes. The guitarist Francisco "Pancho" Acosta Angeles (1946) played a significant role in spreading love for Cuban rhythms across Peru, those sunshine beats breaking through the cloudiness that hangs over Lima most of the year, as the city bears a closer resemblance weather wise to London than to Havana. In 1967, after making a name for himself with his six-stringed skill, he made his vinyl debut with Compay Quinto. Shortly after Pancho left Company Quinto, he joined Los Kintos. When Los Kintos disbanded, Pancho Acosta swiftly moved on to his next project for MAG: the Cuarteto Yemayá, formed by tumba drummer and singer Miguel Montoya, bassist Máximo Pecho and timba drummer José Luis Fiallega, all under Pancho's direction and arrangements. The quartet's debut album, "Ecos del Trio Matamoros", was a tribute to the Cuban trio of the title and comprised cover versions as well as a couple of their own songs. This is the quartet's second LP, recorded between July and August 1971. "El Tic Tac" contains mostly Peruvian songs. The foreign versions on the album include the classic 'Compay Gallo', written by Miguel Matamoros; 'Toribio carambola' and 'El Tic Tac', from the repertoire of the Cuban Trio Servando Diaz; and 'Sandunguéate', best known in Celia Cruz’s version. ‘Oye Mi Son' and 'Oye Mi Guitarra' were composed by the album's lead vocalist, Miguel Montoya. Percussionist Jorge Mariazza (Los Pachas, Manzanita y su Conjunto) co-wrote 'Descarga Yemayá' with Pancho, which features outstanding conga and timbales playing. Pancho also composed tracks on his own: 'Me Voy a Monsefú', 'Mi Provinciana', 'Yo Me Voy de Aquí' and 'Flaca y Fea', the latter
with a Beatle-like intro where his Japanese electric guitar reaches vertiginous heights (he never used sound effects in his recordings). Cuarteto Yemayá released one more album for MAG. In 1973 Los Kintos reformed, with the addition of the bass, percussionist and guitarist from Cuarteto Yemayá. Pancho Acosta has continued his career as a composer and arranger to this day

Erste Vinyl-Neuauflage dieses fantastischen Albums von 1981 von Marcos Valle, eines der bedeutensten Künstler der brasilianischen Musik. In Brasilien aufgenommen, nachdem er Ende der 70er Jahre in den USA gelebt hat, brachte Valle sein angeborenes Talent für Arrangements und seine vielfältigen Einflüsse auf diesem unwiderstehlichen Album zusammen. Gäste sind u.a. Sivuca, Chicago's Peter Cetera, Robson Jorge und Joses Azymuth Roberto Bertrami. Valle ist einer der wenigen Künstler, die man sich nicht entgehen lassen sollte, wenn man auch nur das geringste Interesse an brasilianischer Musik hat. Ob Sie nun Bossa Jazz, Samba, Psych Folk oder Soul mögen, Valle hat mit Sicherheit ein großartiges Album für Sie aufgenommen. Ende der 60er Jahre hatte er bereits genug qualitativ hochwertige Platten veröffentlicht, um sich einen Platz unter den besten brasilianischen Songwritern aller Zeiten zu sichern, aber seine Karriere war glücklicherweise noch nicht zu Ende, und er veröffentlichte in den folgenden Jahrzehnten weiterhin erstaunliche Musik. Mitte der 70er Jahre ließ er sich in Los Angeles nieder, weil er es leid war, unter der brasilianischen Militärdiktatur zu leben, und begann, mit so talentierten Künstlern wie Leon Ware oder Chicago zusammenzuarbeiten. ,Vontade de rever você" (1981) ist sein erstes Album nach der Rückkehr nach Brasilien und zeigt all die musikalischen Einflüsse, die er während seiner Zeit in den USA erhalten hat, insbesondere Boogie, Soul und Funk, mit hervorragenden Mitwirkenden: Sivuca, Peter Cetera aus Chicago, Robson Jorge und sogar José Roberto Bertrami von Azymuth am Rhodes. Das Eröffnungsstück ,A Paraíba nao é Chicago" ist Marcos Valles eigene Interpretation von Leon Ware's ,Baby Don't Stop Me" und macht deutlich, dass das, was er in LA erreicht hat, nun auch in Brasilien ankommt. Dies ist ein unverzichtbares Album für Boogie-Liebhaber. Hören Sie sich den unwiderstehlichen Groove von ecados de amor, (Valles eigene Komposition, die allerdings zuvor von Cristina Camargo aufgenommen wurde) oder elhos surfistas querendo voar" an, und Sie werden schnell feststellen, dass dieses Album zu den solidesten Leistungen in seiner gesamten Diskografie gehört. Selbst wenn das Tempo im Midtempo gehalten wird, wie beim abschließenden Stück ao pode ser qualquer mulher", schaffen es Valles Songs, die Tanzfläche mit seiner sehr gut gelungenen Mischung aus brasilianischen Klängen und funkigen Rhythmen zu erschüttern.

Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, The San Francisco Sound.' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70's, Patrick's synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like You Make Me Feel (Mighty Real)', Dance Disco Heat' and Stars.' This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer's I Feel Love' and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12 singles, like Menergy' and Megatron Man'. He also had founded Megatone Records, the label upon which he released his debut album, Menergy'. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, Do You Wanna Funk' for Sylvester, and Right On Target' for Paul Parker, as well as a second solo album Mind Warp'. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scenes. The result was the VHS collections Muscle Up' and School Daze' released in 1979 and 1980. Afternooners' is the third collection of Cowley's instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we've used the titles from Fox Studio's 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Afternooners' reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick's 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

Los Angeles-based ASHRR are back on 2020 Vision ahead of a new album and this time serve up their own superb version of The Romantics's 1983 hit 'Talking in Your Sleep.' In their hands, it becomes a club-ready sound with a vocal you may recognise as it featured in the Mad Max episode of Stranger Things. Add in some DFA-inspired punk funk vibes and with all the instruments reapplied while new layers of bass and synth are added and you have one fantastic new version. Balearic don Fernando steps up for two remixes, first stripping things back to a deep house sound and then bringing some dub disco vibes to the fore.

Ambient Maximalism in Synths, Strings, Harps, and Horns. A sonic excursion, taking inspiration from public parks across the globe, Big Majestic features Kronos Quartet soaring above desert vistas on West Coast Sky Forever, Shabaka Hutchings' kaleidoscopic shakuhachi and tenor saxophone meditations on Spiritual Sun and Primrose Hill, James McVinnie performing an electrifying synth organ epic on Blue Sky | Mirrored Glass, and the otherworldly voice of Lisel beckoning the listener into the unknown.

American Pulitzer Prize winning composer and sound artist Ellen Reid is set to release ‘Big Majestic,’ an album of music written for her acclaimed GPS-enabled work of public art, Ellen Reid SOUNDWALK, that reimagines urban parks as interactive soundscapes. The album features performances by the Kronos Quartet and Shabaka Hutchings. SOUNDWALK premiered in New York's Central Park, and continues to expand to urban parkland around the world, including Los Angeles' Griffith Park, London's Regent's Park & Primrose Hill, and Tokyo's Ueno Park. The project has already been featured on NPR, the New York Times, the Washington Post, and the LA Times.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

Die Geschichte von Canned Heat ist auch gleichzeitig die Geschichte von Exzessen, Drogenmissbrauch, psychischen Erkrankungen und Tablettensucht, verbunden mit der Affinität für bandinternen Begräbnisse. So sagte erst vor kurzem Drummer Adolfo "Fito" de la Parra in einem Interview: "Ich bin nach über 55 Jahren noch immer bei Canned Heat. Überhaupt noch am Leben zu sein, ist hier schon ein Triumph". Schließlich war Fito seit dem zweiten offiziellen Album der Band "Boogie With Canned Heat" mit dabei, das 1968 auf dem US-Label Liberty veröffentlicht wurde. 1970 erschien "Future Blues", das erste Album mit dem neuen Gitarristen Harvey Mandel. Mit "So Sad (The World"s in a Tangle)" enthält das Album den ersten Umweltschutz-Song der Band. Es handelt vom ständigen Smog über Los Angeles. "Let"s Work Together", eine Coverversion von Wilbert Harrisons "Let"s Stick Together" aus dem Jahre 1962, wurde für Canned Heat weltweit zu einem Top Ten Hit. Im gleichen Jahr folgte der Konzertmitschnitt ""70 Concert: Recorded Live In Europe". Aufgenommen an verschiedenen Orten während der Tournee durch Europa (u. a. der Londoner Royal Albert Hall), ist dies das erste offizielle Live-Album der Band und gleichzeitig das letzte Tondokument von Canned Heat mit Alan "Blind Owl" Wilson, der im September 1970 an einer Überdosis Tabletten starb. Mit "Final Vinyl" veröffentlichten Canned Heat vor kurzem ihr letztes Album; "Future Blues" und ""70 Concert: Recorded Live In Europe" gehören zu ihren essentiellen Alben, als die Band in ihrer Keybesetzung mit Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel und Larry Taylor Ende der 1960er / Anfang der 1970er Jahre den Zenit ihres Schaffens erreicht hatten. Wilsons Tod hinterließ eine Lücke, die nicht mehr zu schließen war, zumal auch Larry Taylor und Harvey Mandel kurz zuvor Canned Heat verlassen hatten, um sich John Mayalls "USA-Union"-Band anzuschließen.

Bomp Records of Burbank, California was likely the most significant American independent record label of the 1970s. In 1979 Voxx was founded as a subsidiary of Bomp as a specialty label for '60s-styled garage and psychedelic inspired music and was home to the debut album of the Pandoras. The Pandoras really got started back in 1982 when triple threat Paula Pierce (guitar, vocals AND songwriter) met singer and guitarist Debbie Mendoza at Chaffey College Rancho Cucamonga, one of those dozens of small communities that make up the greater Los Angeles area. According to stories told around the campfire, Paula had posted an advertisement on the bulletin board inside the college's cafeteria. The ad was both simple and direct: Wanted: female musician to jam with. As legend has it, the ad also stressed a keen interest in 60's garage punk music. Debbie answered Paula's ad, and soon the two girls were bringing guitars to school and holding impromptu jam sessions between classes. A little later that year, Paula brought in Gwynne Kahn on keyboards and second guitar, and Debbie convinced drummer Casey Gomez to join. People who were around at the time pinpoint December 1982 as the official beginning of the Pandoras as a band. The Pandoras didn't waste any time getting down to business. They started gigging regularly, and their repertoire of tasty garage nuggets expanded substantially, fueled both by Paula's talented songwriting and also no doubt by her relationship with Unclaimed frontman Shelley Ganz and his extensive knowledge of obscure 60's gems. The Pandoras unleashed their first recordings on the world in 1983 with the "I'm Here, I'm Gone" EP on Moxie records. It was a meaty slab of girls in the garage punk rock, and while maybe not as polished as subsequent efforts, it clearly showed off the talent of the band. Greg Shaw had been alerted to the band a few months earlier, and always one to know a good thing when he heard it, he quickly signed them. "It's About Time" saw the light of the day in 1984 on Voxx Records and became one of the first and best efforts of authentic 1960's-styled garage punk to emerge from the revival scene. It was pure garage gold! Today, 40 years after its original release date, we are thrilled to reissue this essential '80s garage punk gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes 3 bonus tracks and liner notes by Gravedigger V's John Hanrattie. "Paula Pierce refused to play it cute. On The Pandoras' debut album she out-snarled, out-screamed, out-fuzzed and out araged the male-dominated competition-like a well-aimed go-go boot to the jugular." - Mike Stax, Ugly Things Magazine "As good a '60s punk record as any contemporary combo is likely to make." - Trouser Press

Das mit Spannung erwartete vierte Studioalbum ”Death or Glory” des aus Los Angeles stammenden Trios
Palaye Royale. ”Death or Glory” bietet einen faszinierenden Einblick in eine transformative und grandiose
musikalische Reise. Als Hymne an die Widerstandsfähigkeit und Selbstfindung verkörpert das Album die
künstlerische Entwicklung und das Engagement der Band, die Grenzen von Glam-Rock, Art-Punk und
Brit-Pop zu einem unverwechselbaren Sound zu verschieben.
Nach der Veröffentlichung der Doppel-EPs „Sextape“ und „Songs For Sadness“ und dem Alternative Radio
Smash ”Dead To Me” kehren Palaye Royale mit ihrem brandneuen Studioalbum „Death Or Glory“ zurück,
begleitet von einer weltweiten Headlinertour im Sommer!

Am 30. August 2024 veröffentlicht der aus Kaiserslautern stammende DJ und Produzent Zedd sein neues
Album „Telos“, welches seine erste Albumveröffentlichung seit 9 Jahren ist. Nach dem großen Erfolg seines
letzten Albums „True Colors“ aus 2015, das mit Dance-Hymnen wie „Beautiful Now“ und „I Want You
to Know“ mit Selena Gomez glänzte, bietet auch „Telos“ wieder spannende Feature, u.a. auch die Single
„Out Of Time“ mit Bea Miller.
Zedd beschreibt „Telos“ als sein bisher ehrlichstes und persönlichstes Album, weiter sagt er: “With Telos, I
wanted to create a profound album listening experience that takes you on a journey beyond just the songs.
I wanted everyone to be able to feel a deeper emotional connection, like how I felt listening to my favorite
albums when I was growing up. It was the details, transitions and cohesiveness that made me want to
create a truly meaningful body of work.”
In seiner Karriere arbeitet der jetzt in Los Angeles beheimatete Zedd mit einer beachtlichen Reihe von
Künstlern zusammen und remixte Songs von u.a. Justin Bieber, Lady Gaga, Black Eyed Peas und Skrillex.
Neben fünf Nominierungen und einem GRAMMY Award (2019) für die beste Pop Duo/Group Performance seiner Single „The Middle“ feat. Grey und Maren Morris, räumte er auch noch zahlreiche weitere
Auszeichnungen ab. Das Album wird auf Vinyl am 30.08. erscheinen

Daddies don't always come home for Christmas. From the snow-covered plains of Wisconsin's Driftless region to the palm-lined avenues of Los Angeles, the loneliness of the holidays is a universal theme, best expressed by tear-in-the-beer country music hopefuls. Sung and strummed (and plucked) by an unlikely assortment of Nashville aspirants, our Christmas Dreamers spent the '60s gambling their futures on the AM airwaves of a forgotten America.

Santa's Lager coloured Vinyl. Daddies don't always come home for Christmas. From the snow-covered plains of Wisconsin's Driftless region to the palm-lined avenues of Los Angeles, the loneliness of the holidays is a universal theme, best expressed by tear-in-thebeer country music hopefuls. Sung and strummed (and plucked) by an unlikely assortment of Nashville aspirants, our Christmas Dreamers spent the '60s gambling their futures on the AM airwaves of a forgotten America.

"My Lover The Killer" is the latest collaboration between Lydia Lunch and Marc Hurtado. They first worked together on the 'Sexodrone' track of the Etant Donnés's album "Re-Up" in 1999. Featuring Terry Edwards (Gallon Drunk), Ian White (Gallon Drunk), Mark Cunningham, We Are Birds of Paradise, David Lackner. "My Lover The Killer" is a collaborative project with Marc Hurtado. What began as a loose musical concept in the summer of 2012 became a prophecy written in blood by November of the same year. "My Lover The Killer" is a late night noir confessional. Sinister, sexy and mysterious, the music slithers, erupts and caresses the seductive vocals as they relay twisted tales rife with innuendo, promises and threats. The text is based on the murder/suicide of an ex-lover whom I had recently contacted for the first time in over a decade. Caught in the early fall hurricane which leveled the East Coast of America while enroute to Los Angeles, I had sent an invitation proposing that we meet for drinks. Two days later, during a alcohol fueled fight with his girlfriend about whether or not he should come to see me, he shot and killed her, called the police, turned the gun on himself, and died the next day on his 55th birthday. A tragic event, which "My Lover The Killer" attempts to make sense of. Each song is a rumination on the frightening effects of a mad love spun out of control and the haunting remnants of a lover who still stalks from beyond the grave.

Introducing ‘Total Blue’, the Los Angeles-based trio of Nicky Benedek, Alex Talan, and Anthony Calonico. Despite collaborating for over a decade, ‘Total Blue’ represents a new chapter in their artistic journey together as a trio.

Embracing chance, inviting the unknown, and guided by a spirit of sheer play and exploration, ‘Total Blue’ was driven by a desire to ‘touch the beyond’ in pursuit of an elusive vibe the three had been chasing for years.

Alex, Nick, and Anthony envision ‘Total Blue’ as the all-encompassing full picture, a place where the real and the imaginary begin to blur; a destination reached not through escapism but by expanding one's perspective; a widened scope of vision where personality both shines and disintegrates.

Across the album, their mission statement is expertly achieved with subtlety and delicate human touch; painting with a lush palette of digital synths, Akai EVI wind synthesizer, fretless bass, and guitar, the trio masterfully balance texture and color, evoking wide expansive vistas that stretch from Los Angeles right out to the furthest reaches of sky and sea. This is ‘Total Blue’ - a place of time and timelessness where echoes of history and tradition merge with rootless inhuman sonics.

Art and design by Michael Willis.

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

There are ghosts all across AVANTI, the debut album from Malice K. At points it's howling and unhinged, a grungy layer atop a lush foundation of melodic capital-s Songwriting, but in other moments it dissolves into a gentle, wistful haunting. Malice K's songs are blunt, uncomplicated and unflinching as he probes the interiority of memories, of mistakes - saturated with an innate intensity that sucks you into his gnarled and visceral world, so barbed it could draw blood. Malice K is helmed by visual artist and songwriter Alex Konschuh, New York-based but born and raised in Olympia, Washington. Following a stint living in Los Angeles, where he became a member of the artist collective Death Proof Inc., a trip to New York resulted in him simply never leaving the city. A period of chaos ensued, Malice K exhausted and unmoored and ultimately, unwell. The record is unpredictable across its 11 songs. The album opens with a jarring scream on "Halloween," Malice K's breathless vocals buried beneath a grungy, roving Nineties riff. The track emanates a manic energy, enveloping. It's a fitting entrypoint for the record, and for the vividness of Malice K. The snarling and obsessive "You're My Girl" has a swaggering paranoia: "I got so high I thought my hand touching my hand was your hand." But AVANTI exists in quieter moments too; "Radio," with its fluttering morose cello, moves at an almost glacial pace comparatively. The aching wistfulness of "The Old House" is an album stand-out, anchored in an acoustic guitar, an uneasy lullaby that never quite settles into itself: "I think to myself I got the things that I wanted, but I can't help think there's something else that I forgot to do." A recent press interview called Malice K a shapeshifter, but he's not amorphous in that way. He's decisive and intense, more concerned with carving his own path, and building his own world. Every part of Malice K is distinctly himself: from his sweaty high-octane shows to the high-flash high-contrast photos; from his gnarled and unsettling illustrations to the studio recordings that vacillate between grief and tenderness, there's an exceptional ferocity across everything Malice K touches. AVANTI feels lived in, like peering into an abandoned house through a window smeared with grimy fingerprints, relics of a life well-lived scattered inside - despite being a debut, there's the sense that Malice K arrived fully-realized, imperfections and all.

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

Die aus Hawthorne, Kalifornien, stammenden Thee Heart Tones setzen mit ihrer Musik sowohl eine Tradition fort als auch neue Grenzen. Leadsängerin Jazmine Alvarado ist gerade mal 19 Jahre alt und das älteste Mitglied der Gruppe, Jorge Rodriguez, ist 21, aber wenn man sich ihre Platte anhört, wird deutlich, dass sie weit über ihr Alter hinaus talentiert sind. Thee Heart Tones, das sind Jazmine (Gesang), Ricky Cerezo (Tasten und Orgel), Jorge (Schlagzeug), Jeffrey Romero (Bass), Peter Chagolla (Leadgitarre) und Walter Morales (Rhythmusgitarre). "Eines Tages bekam ich eine Mail von Ricky Cerezo mit der Frage, ob ich einen Song für seine neue (damals noch namenlose) Band schreiben wolle", erzählt Jazmine. "Ich kannte seinen Schlagzeuger und die anderen Jungs aus der Mittelschule, sie waren also bekannte Gesichter. Sie schickten mir ein mp3 eines Instrumentalstücks, das sie geschrieben hatten, und sagten mir, sie wollten einen Text, also schrieb ich einen und schickte ihn ihnen." Dieser Song wurde schließlich "Don't Take Me as a Fool", eine schwermütige Moll-Ballade, in der Jazmines schwülstiger, perfekter Gesang erklingt, und die nun für ihr Debütalbum bestimmt ist. Ricky ging nach Hause und spielte seinem Vater "Don't Take Me As a Fool" vor, das er als Sprachnotiz auf seinem Telefon aufgenommen hatte. "Ich war zögerlich. Dad kannte diese Musik besser als jeder andere, er ist damit aufgewachsen. Aber er hat sich mein Telefon geschnappt und es an sein Ohr gehalten. Seine Zustimmung bedeutete mir sehr viel. Aber er hatte die gleiche Reaktion wie Jorge und ich, als wir Jazmine zum ersten Mal singen hörten. 'Das wird ein Hit', sagte er mir. Ihr habt hier etwas ganz Besonderes". Es war dieselbe Aufnahme, die Leon Michels und Danny Akalepse von Big Crown Records aufhorchen ließ, die beide sofort das Potenzial der Gruppe erkannten. Nachdem sie bei dem Label unterschrieben hatten, flog Leon nach Los Angeles, um mit Tommy Brenneck in Tommys Diamond West Studio ihr Debütalbum aufzunehmen. In fünf Tagen haben sie 14 Songs aufgenommen, die den Charme des Teenager-Souls einfangen und ihn mit ihren bewährten Produktionsfähigkeiten mischen - das Ergebnis ist ein modernes klassisches Soul-Album. Der Album-Opener und Titeltrack "Forever & Ever" ist ein ansteckender Two-Stepper, der sofort die Stimmung hebt, während schwere B-Seiten-Balladen wie "Should I Call You Tonight", "Cry My Tears Away" und "It's Time" den Klassikern des Genres den Rang ablaufen. Mit "Need Something More" ziehen sie das Tempo an und füllen die Tanzfläche, während Jazmine mit einem Track im Northern-Soul-Stil ganz sachlich die Dinge auf den Punkt bringt. Sie covern den Klassiker "Sabor A Mi" aus der Feder von Alvaro Carrillo mit großem Effekt, werden ihm gerecht und stellen ihre Version auf eine Stufe mit den besten von ihnen. Ein weiterer Höhepunkt ist ihre Version des The Vanguards-Klassikers "Somebody Please", den sie auf eine ganz andere Ebene heben. Die stampfenden Drums von "No Longer Mine" stehen im Kontrast zu Jazmines honigsüßem Gesang und enden mit der düsteren Energie eines Hip-Hop-Samples aus den mittleren 90ern. Forever & Ever ist sowohl ein Beweis für die unverwechselbare musikalische Chemie als auch für das Talent der beiden. Ihre Intentionen als Band sind ein Beweis für ihren kollektiven Charakter. Die Entscheidung, "Sabor A Mi" zu covern, "erlaubt es uns, unser Publikum wissen zu lassen, dass wir zu unseren Wurzeln zurückkehren", sagt Jazmine. "Wenn man in L.A. aufwächst, wird man von der Stadt, den Kunstwerken und der Musik beeinflusst", sagt Ricky. "Dad besaß kein Lowrider-Auto, aber andere Mitglieder unserer Familie schon. Impalas. El Caminos. Wir waren von der Kultur beeinflusst, insbesondere von der Chicano-Kultur. Und Oldies und Soulmusik spielten eine große Rolle." Der Stil. Die Kultur. Die Anspielung auf die Vergangenheit. "Das ist es, was wir anstreben. Wir wollen junge Chicanos mit ihrem Erbe verbinden. Und wir wollen die Menschen vereinen_ alt und jung."

"Magdalena Bay, the Los Angeles-based duo of Mica Tenenbaum and Matthew Lewin, create magical pop music that floats in the ether of our collective social cosmos. While they call California home, their essence lies in the clouds, emitting unique yet familiar frequencies of synthesized nostalgia, kitschy catchiness, and warped neo-hooks. Suited for the times, Magdalena Bay blends the known and felt with innovative sonic landscapes.

Tenenbaum and Lewin met as teenagers in a Miami high school music program. Tenenbaum, who moved from Buenos Aires to Florida at age one, and Lewin, a guitar shredder influenced by his dad’s prog and concept rock records, quickly recognized their kindred spirits. They formed a prog band called Tabula Rasa and began a romance. Both were skilled musicians; Tenenbaum a pianist and singer, and Lewin self-taught in production and music theory. Despite attending different colleges, they maintained their band, traveling hours to rehearse before realizing two things: their relationship was undeniable, and prog rock wasn’t resonating with young audiences.

Shifting their focus to pop, they explored its craft, leading to the creation of Magdalena Bay. They learned the complexities of pop writing and production, striving to create something interesting within the genre. Describing their music broadly as ""pop,"" they released several EPs and singles before debuting their album, ""Mercurial World,"" in 2021. Praised for its melodic hooks and meticulous production, it was often labeled as ""synth-pop.""

Their success is reflected in streaming numbers, social media followers, and festival appearances. Magdalena Bay's stylized online aesthetic complements their music, creating a cohesive artistic vision. Tenenbaum says, “We love extending the world of our music past sound into videos or graphics.” Lewin adds, “We’re trying to create an atmosphere or an emotional quality with it.” This integrated approach, termed ""world-building,"" is central to their artistry."

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Doppel-LP auf rotem Vinyl, limitiert auf 2000 Stück. Das lange vergriffene Debütalbum der beliebten Indie-Rock-Band Velocity Girl aus dem Jahr 1993 ist wieder erhältlich, mit einem neuen, von der Band genehmigten Mix und einem kompletten Album mit Bonustracks, das Singles, Outtakes und die Peel Session der Band von 1993 enthält. Velocity Girl gründeten sich etwa 1989 an der Universität von Maryland außerhalb von Washington DC und setzten sich kurz darauf aus Gitarrist Archie Moore (Black Tambourine), Gitarrist Brian Nelson (Black Tambourine), Schlagzeuger Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), Bassist Kelly Riles (Starry Eyes) und Sängerin Sarah Shannon (Starry Eyes, The Not Its) zusammen. Die Band kombinierte englisch inspirierten lärmenden Shoegaze-Fuzz mit rauem US-Indie-Rock und klassischem 60er-Jahre-Pop-Songwriting. Eine Killer-Single auf Slumberland und pausenloses Touren erregten die Aufmerksamkeit der damaligen Indie-Rock-Kenner, und nach einem hitzigen Werben, das sowohl Abendessen als auch Nachtisch beinhaltete, unterzeichneten Velocity Girl in Hoboken, New Jersey einen Vertrag auf einer Motorhaube, und machten Sub Pop zu ihrer Heimat. 1992 begann die Band mit der Arbeit an ihrem Debütalbum "Copacetic" in den Easley Studios in Memphis - einst Heimat der Bar-Kays und anderer klassischer Soul-Bands - unter der Leitung von Bob Weston (Volcano Suns, Shellac), und mischte das Album anschließend mit Weston in Chicago. Obwohl das Album starke Songs enthielt - Popsongs wie "Audrey's Eyes", "Pop Loser" und "Living Well" neben ehrgeizigen Erkundungen wie "Pretty Sister" und "Here Comes" - hatte die Band wenig Erfahrung mit der Produktion und es fehlte ihr an den Fähigkeiten, im Studio "das Boot zu steuern". Infolgedessen war das Album eine eher schlichte Angelegenheit, der es an der Üppigkeit der früheren Aufnahmen mangelte. In den Ohren der Band war das ein Schock, und sie merkten bald, dass dies nicht die Platte war, die sie zu machen hofften. Bob Weston hatte genau das getan, was von ihm verlangt wurde, und die Klänge eingefangen, aber die Band hatte nicht ihren Teil dazu beigetragen, eine klare Vision zu formulieren. Aber die Zeit der Band im Studio war vorbei, und Polvo war gerade aufgetaucht, um an ihrem Album zu arbeiten, also machten sich Velocity Girl auf, um das Video zu Audrey's Eyes" zu drehen. "Copacetic" kam 1993 auf den Markt und die Leute schienen es zu mögen, aber innerhalb der Band gab es ein Gefühl der Enttäuschung bis zu dem Punkt, an dem die meisten Mitglieder es nicht mehr ertragen konnten, die Platte zu hören. Seitdem hat die Band viel über Aufnahmen gelernt, und Archie Moore eine Karriere als Tontechniker eingeschlagen, so dass die Band schließlich beschloss, sich mit "Copacetic" nochmal auseinanderzusetzen. Nach umfangreichen Ausgrabungen tauchten die 2"-Bandspulen im Haus der Mutter von Jims Ex-Frau auf, und im Frühjahr 2023 begann Archie mit der Arbeit an einem Remix. Song für Song entstanden die neuen Abmischungen genau so, wie die Band sie sich vorgestellt hatte. Der erhabene Gesang von Sarah (die am College Oper studiert hat), die klingende Leadgitarre, die saftigen, verwaschenen Rhythmusgitarren und das klare, stampfende Schlagzeug. Die Popsongs sind viel poppiger. Der Klang ist kraftvoller, und die Platte ist ein zusammenhängendes Werk, das von Song zu Song fließt. Der Ansatz war nicht, ein Album zu machen, das nach 2024 klingt, sondern sich auf das Jahr 1992 zurückzubesinnen und das Album zu machen, das die Band damals hätte machen sollen. Das Ergebnis, "UltraCopacetic (Copacetic Remixed and Expanded)", ist eine spannende alternative Geschichte von "Copacetic". Und während sie dabei waren, hat die Band den Rest ihres Studiomaterials aus dieser Zeit ausgegraben und aufgefrischt: "Ultracopacetic" enthält "Warm/Crawl" von der Velocity Girl/Tsunami Split 7", ,Creepy' von der Crazy Town 7", "Stupid Thing" von der Audrey's Eyes 7" und die unveröffentlichte Albumauskopplung ,Even Die'. Abgerundet wird das Ganze durch die komplette John-Peel-Session der Band aus dem Jahr 1993 mit fünf Liedern, darunter zwei Tracks, die seit der ursprünglichen Sendung nicht mehr zu hören waren. "UltraCopacetic" ist wirklich die definitive Version von Velocity Girls erstem Album.

Handling the Undead, the Original Motion Picture Soundtrack, is the latest in composer Peter Raeburn’s long and multi award-winning body of work. The music scores director Thea Hvistendahl’s extraordinary film. We are taken on an emotional journey experiencing grief, devastation, hope, the unknown and acceptance .Recorded at Soundtree Studios in London and Los Angeles and featuring members of Europe’s renowned 12 Ensemble, Peter Raeburn’s score offers unique textures and virtuosic performances amongst the ever-growing and transcendent sense of life and death that the score, as a whole, brings to the film. Raeburn’s score for Handling the Undead was awarded the World Cinema Dramatic Special Jury Award for Original Music at the 2024 Sundance Film Festival, and has been nominated for Best Score at Norway's Amanda Awards.

Hört man den coolen Sound von LA LOM mit geschlossenen Augen, kann es sein, dass man sich in einer Welt irgendwo zwischen tropischer Hitze und schwarzweißem Hollywood-Krimi wiederfindet. Musik mit dem „Twang“ von Rockabilly, der Sinnlichkeit lateinamerikanischer Rhythmen und dem ungeschliffenen Sound moderner Independent Music, die schon prominente Fans wie Beck und Vampire Weekend gefunden hat.

Hinter LA LOM, Abkürzung für ”The Los Angeles League of Musicians”, verbergen sich die drei Musiker Zac Sokolow (Guitar), Jake Faulkner (Bass) und Nicholas Baker (Drums/Percussion). 2019 fanden sie sich zusammen um im historischen Roosevelt Hotel am Hollywood Boulevard zu spielen, inzwischen geben sie Konzerte vor Tausenden von Menschen, veröffentlichten erste digitale Singles ihrer Latin- und SoulInstrumentals und ziehen zahllose Fans auf ihre Social-Media-Profile. Ihr Albumdebüt bei Verve Records produzierte Elliot Bergman (Cage the Elephant, Major Lazer, Wild Belle)

80s alt country punk outfit, Lone Justice, with Maria McKee, Ryan Hedgecock, Marvin Etzioni and Don Heffington are in full flight with the release of a brand new 7". Taken from their forthcoming album, Viva Lone Justice, 'Teenage Kicks' is a rambunctious slice of punk angst that sounds like it was recorded in one take. It's a timeless anthem with a joyous riff that explodes into a hail of feedback. A favour returned as Maria McKee, the songwriter of Feargal Sharkey's only solo hit 'A Good Heart', Lone Justice cover The Undertones' Peel-approved favourite with the artwork of the single being a nod to the original. "As much as we loved Merle Haggard, George Jones, and many other authentic hard core Country artists, we were also deeply impacted by Punk; from the Velvet Underground (we were playing "Sweet Jane" live as early as 1983) to the MC5 ("Sister Ann" is on the album "Viva Lone Justice")." Backed with 'Nothing Can Stop My Loving You' that's cut with a wild, squeezebox-powered interpretation of the George Jones and Roger Miller country stomp. "Speaking of George Jones, here's one written by George Jones and Roger Miller. Two of our favorites! We played this song at nearly every show starting in 1983. This ragged and right live recording captures the fire from a sold out show at The Palace in Los Angeles and features Jo-El Sonnier on lead accordion documenting the only time Sonnier played with LJ. "Nothing Can Stop My Loving You" is the only live track on Viva Lone Justice." // "A roots rock band that took Los Angeles by storm in the 80s and developed a smaller but deeply enthusiastic following outside the Golden State

Broken Keys, as you may know, is a multi-talented musician and producer based in Los Angeles. His cut 'Assorted Colors' has become a real underground house classic that now lands on wax for the first time as a special extended 12" remix that really locks you into the languid grooves. The legendary Galcher Lustwerk steps up to add his own distinctive take on the original and infuses it with a techy yet atmospheric groove. Then Broken Keys explores a different facet of his sound with three distinct cuts on the flip that range from blunted beats and sun-kissed Balearic to chilled-out future soul. They make for a diverse package that has something for many different situations.

So You Like Slippers? is the debut record from Slippers, the new project from Madeline B.B. from Los Angeles, California. Madeline is an illustrator and animator currently studying at Cal Arts, has directed music videos for Of Montreal, and also plays in the band Le Pain and was formerly in NYC's Yucky Duster.

-Daniel Zelonky (aka Low Res) has been producing records since 1978. Notable credits span from The Misfits to his own iconic club track "Amuck".
-His 2022 orchestral funk celebration of "Marvin Gaye's Trouble Man" has earned critical acclaim. This record, featuring many outstanding musicians, breaks the mold of history-conscious record making, eschewing the slavish copying of past styles which has become so common, and exemplifying the label’s stated mission of “Reimagining a futuristic past” where “weird vistas of fresh possibilities unfold before us...”
Suite Crude Revue is a rotating cast of outstanding performers committed to an unshackled aesthetic. Produced, composed, and arranged by Daniel Zelonky, this single presents songs for imagined films.
“Cowpoke Detox” might be termed “spaghetti jazz”. It’s a strange hybrid of spaghetti western style baritone guitar lines supporting jazz noir harmonies, creating a surreal backdrop for the tale of an unrepentant murderer, who feels regret only in terms of the consequences he’s facing.
“Blue Ramen #1” is a lover’s lament, set to what might be termed a “Hollywood samba”: One imagines Los Angeles session players emulating samba for a commercial film, not an authentic Brazilian band. The lush aural environment culminates in a dreamy closing vamp with the impassioned vocal set amid a swirl of improvised trumpet, violin, and piano. This haunting, yet ironic song may well have found its way into the popular consciousness ... if the movie had actually existed!

Yogisoul returns with his first album in 8 years, a timeless throwback offering & an instant classic that will leave you wondering if you somehow missed this record reminiscent of 90’s West Coast Rap. It’s that blunt rolling record, with deep G-Funk grooves, skits, and raps provided by US-based rapper Woof. A record inspired by the albums Yogisoul grew up listening to. A combination of his imagination of the West Coast California landscape portrayed by 90’s records on Death Row Records, and the real-life experiences of California-based rapper, Woof.

The first track they worked on - “94 Heavy - wastes no time setting a vibe and transporting you back to 1994. It’s an undeniable head nodder, with smooth horns & deep synth bass that will leave no question about the record's low-end power, and a dope drum swing.

Other notable tracks on the record are “Comin Thru”, which is a braggadocious, G-Funk, banger! It contains all the ingredients to classic West Coast Rap albums. A smooth beat for Woof to weave in and out of, talkbox, scratches in the hook, and samples of legendary Los Angeles voices. A track that will make you feel like you should have a forty and a doobie nearby.

The title track, “Let the Dopeness Begin”, the self-titled track on the album is an homage to the West Coast Classics radio station on GTA: San Andreas. A cruise with the windows down & a jam that slaps!

Introducing the inaugural vinyl release, envisioned by Ekaterina Arshanitsa, designer and founder of the progressive streetwear label, DESU Clothing titled "Fashion Show".

This exclusive LP marks the genesis of our limited vinyl collection, comprising of only 10 meticulously curated records, each edition being limited to 300 copies.

Articulating a fusion of progressive clothing design and intelligent music, "Fashion Show" will grace the shelves of our flagship fashion house in Bali, as well as select partner stores in global fashion capitals such as Paris, New York City, Los Angeles, Dubai, Tokyo, Moscow.

Renowned artists, who share a passion for DESU's innovative style, have composed exclusive tracks that embody our vision. Aquarius Heaven, eclectic singer, and stylish performer Monoplay, remarkable duo Kurt & DJ Nils, and Silas Hoppe, side project of techno producer Roman Shultz, all contribute to the first of ten collectible EPs. Each composition reflects a seamless blend of intellectual music and cutting-edge fashion, showcasing the subtle and profound synergy between sound and style.

We now present our first DESU "Fashion Show" - avant-garde electronic music with modern street fashion. Ready-to-Play!

Written with no big plan in mind, Reverend Baron's "Overpass Boy" becomes a Los Angeles meditation, an eight song prayer of poetic topography. The album gives the city its own sound, and its own songs to hum. Recorded in several different locations of LA, and loosely sketching the story of a young wanderer, the album is an easy current of observations and longings. Slices of soul and doo-wop emerge in stacked harmonies, while the percussion and grooves are the blooms that could only come from East LA. Garcia's investment to vocal tenderness and instrumental high style strikes our universal center. His soft serenade reconnects us to something misplaced. Playing almost every instrument on the album, Garcia's spirit is tailored into the sound, designing an amalgam of tones and frequencies as idiosyncratic as the singer himself. Traversing the alleys, passing the sous-chef's cigarette smoke, under the shaking bridges, behind a velvet curtain in a good suit, with a slide guitar in the rain, the titles quilt together for us: Every promise out here walks and waits in the little hours. Jackie and Jimmy drive away and we're left in that little valley, suspended. Recorded and digitally released in 2019, "Overpass Boy" will be re-released by Karma Chief Records on 8/2/2024