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Wie 'Strange Weather' von 1987 ist 'Easy Come Easy Go' eine Cover-Sammlung, die Faithfull in verschiedenen musikalischen Settings präsentiert und dabei Songy von Merle Haggard, Smokey Robinson, Duke Ellington, Randy Newman, den Decemberists und Morrissey interpretiert. Mit einer umwerfenden Gästeliste, darunter Antony Hegarty , Rufus Wainwright, Teddy Thompson, Kate & Anna McGarrigle, Jarvis Cocker, Jenni Muldaur, Sean Lennon, Warren Ellis, Nick Cave und Keith Richards. Zur Stammband dieses Sets gehören Marc Ribot, Greg Cohen, Jim White, Rob Burger, Doug Weiselman, Steve Weisberg, Barry Reynolds u.a. Das stilistische Ausufern dieser 12 Songs ist unglaublich. Zum Beispiel ist der Album-Opener, ein Cover von Dolly Partons 'Down From Dover', mit der kompletten Band und 18 Gästen vertreten! Faithfulls charakteristische, tiefe Stimme zeigt sich in hervorragender Form und nimmt einen mit auf Reisen durch Liebe, Lust, Tragödie und Sehnsucht. Gatefold 180 Gr. Doppel-LP (Weißes Vinyl)!

High Roller Records, reissue 2023, bone/ red splatter vinyl, ltd 300, insert, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2023, bone/ red splatter vinyl, ltd 300, insert, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Rockets Audio is back wit a stunning compilation called "As Above So Below".

Part 1 contains tracks by Anton Kubikov, Cesar Merveille aka C.S.R., Matheiu, Max Jacobson and Wareika.
Vinyl only & highy recommended!

Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation of bizarre hits taken from the glorious catalog of records released during the 60s and 70s on the Peruvian label Discos MAG. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. “Sabroso Go Go” brings together fourteen musical mixes created in the recording studios of Manuel Antonio Guerrero (MAG), in which music directors combine rhythm with alchemy in a quest to find the philosopher's stone of the dance. Exotica, ye-yé cumbia, guaracha infused twist, rock’n roll mambo, Spanish rumba, boogaloo beat, tropical garage and other unexpected bastard genres are featured in this festive compilation. Although this compilation begins in 1957, experiments like this (some more memorable than others) were not new in Peru. The songs on this album were however much more successful hybrids. Some clearly unite genres, others are projects with creative names, but all are bold musical initiatives that got and will always get people onto the dance floor. At the end of the fifties, rock music shook the foundations of Peru, and orchestras rushed to cover hit songs and explore the possibilities of mixing them with tropical music. Lucho Macedo's orchestra took up the mantle and reinterpreted a well-known guaracha by Celia Cruz ('Rock and Roll') in mambo style, renaming it 'Rock and roll Mambo'. 'Maestro de Rock and Roll', a hit by the Cuban Conjunto Casino, received similar treatment. Another mix in this vein is the rock tune 'El Rock de los Chinos' by the Mexican Manolo Muñoz (author of 'Speedy González') recorded by the Chilean Choche Mérida for MAG in 1961. The following year, Chubby Checker’s 'The Twist' hit the scene and was immediately fused with guaracha by maestro Nelson Ferreyra. A legendary MAG musician, Carlos Pickling, composed 'La Charanga del Espacio' in 1963. The space sounds are produced by Pickling and his inseparable Hammond. He himself is the one who leads the orchestra that accompanies Benny Del Solar, Lita Branda and Pablo "Melcochita" Villanueva in the tropicalized version of Spanish Rumba, when the beats of the Iberian rumba were still exotic in South America. Around that time, the Chilean Willy Marambio was already living in Lima. In the track included on this album, the go-go style showcases his virtuosity on the trumpet. Another outstanding trumpet player, Roberto "Tito" Chicoma from Chiclayo, played as a session musician with MAG from 1959. A few years later, he became one of the most popular Colombian cumbia players, a talent he demonstrates in the song on this compilation, which blends the fun of go-go with yé-yé beats. 'Batijugando' was a hit from Mexico and was played in all the rhythms played across the Hispanic world since 1967. Inspired by the "Batman" series, it was performed at MAG by the Betico Salas orchestra, with vocals by the Panamanian lady crooner Nallye Fernández. 'Computador Electrónico' is another surprise on this album, performed by Panamanian vocalist Patty Pastel, it is the only known version in Spanish of 'Der Computer Nr. 3', originally sung in German by France Gall. Two other songs feature Edgar Zamudio. The versatility of Zamudio y Los Vikingos (originally a Chilean group) is demonstrated in the guitar-heavy song composed specifically for the late sixties skate fashion ('Go Go en Patines') and in his idiosyncratic protest song ('Día de Pago') performed in beat style. In the mid-seventies, Los Kintos, led by guitarist Francisco Acosta, developed different harmonic ideas in an instrumental track that veers from boogaloo to salsa, the fashionable rhythm of the day. Finally, in 1976, when the bumping hips dance craze swept the continent, Manuel Guerrero was quick to jump onto the bandwagon, composing a Bump song, together with his son Carlos. The Italian musician based in Lima, Luciano Luciani performed the song 'A Bailar Bump' backed by his band of local musicians Los Mulatos.

The 2022 DreamWorks Animation film Puss In Boots: The Last Wish is the sequel to the spin-off film Puss In Boots (2011) and the sixth installment in the Shrek franchise. Directed by Joel Crawford, the film features a voice star cast including Antonio Banderas, Salma Hayek Pinault, Florence Pugh, Olivia Coleman, and John Mulaney amongst others. It received an Academy Award-nomination for Best Animated Feature Film. The story follows the daring Puss In Boots, who discovers that his passion for peril and disregard for safety have taken their toll. Puss has burned through eight of his nine lives, though he lost count along the way. Getting those lives back will send Puss in Boots on his grandest quest yet.

Heitor Pereira composed the film's score, who is best known for scoring the Despicable Me franchise. For this specific release, Pereira selected his favourite pieces to be featured. Together with his team, these pieces were mastered to sound as best as possible on vinyl. It features the additional tracks "Fearless Hero (Hero Version)" with Antonio Banderas, "Por Qué te Vas" by Gaby Moreno, "This Is the End" by Dan Navarro & "La Vida Es Una" by KAROL G.

Puss In Boots: The Last Wish is available as a limited edition of 750 individually numbered copies on orange "Puss" marbled vinyl. This vinyl package includes the map to the "Wishing Star" and a 4-page booklet with liner notes by director Joel Crawford.

Rob Grant präsentiert sein atemberaubendes Debütalbum ”Lost At Sea”.
Grant hatte nie den Plan, Musiker zu werden. Er hat keinerlei musikalische Ausbildung genossen. Noten lesen kann er nicht. Aber wenn er sich an ein Klavier setzt, geschieht etwas Magisches. Die Noten strömen aus ihm heraus und es entsteht eine Komposition nach der anderen.

Als Vater der internationalen Ikone Lana Del Rey hat er eine ganze Reihe von Talenten eingeladen, an der Entstehung des Albums mitzuwirken.

Seine Tochter Lana Del Rey ist als Autorin und Produzentin tätig, während Jack Antonoff, Luke Howard, Laura Sisk und Zach Dawes an der Produktion beteiligt sind.
Sein Album inklusive der Tracks ”Hollywood Bowl” und ”Lost At Sea”, mit Vocals seiner Tochter Lana Del Rey, erscheint am 09. Juni und ist vorbestellbar auf CD und Vinyl.

Powder Blue Vinyl. In den letzten fünfzehn Jahren haben Beach Fossils ihren Status als eine der definitivsten und beständigsten Bands des New Yorker Undergrounds der 2010er Jahre stetig ausgebaut und neue Hörer erreicht, während sich ihr Sound vom DIY-Soloprojekt von Dustin Payseur zu einer einflussreichen vierköpfigen Dream-Pop-Band entwickelt hat, die selbst produziert, selbst gemanagt und selbst veröffentlicht wird. Bunny steht für Stärke durch Verletzlichkeit. "Bunny" setzt die atemberaubende Entwicklung des Beach Fossils-Sounds fort, indem es Elemente aus der jangligen Melancholie der "What a Pleasure" EP (2011), den düsteren, Post-Punk-inspirierten Tracks von "Clash the Truth" (2013) und den üppigen Arrangements von "Somersault" (2017) aufgreift und ihren "Dream-Pop-Instinkt mit jeder weiteren Veröffentlichung schärft" (INTERVIEW). Inspiriert vom Psych-Pop der frühen Verve- und Spiritualized-Alben sowie von Einflüssen wie The Cure, Wire, den Byrds und Velvet Underground wurde "Bunny" von Payseur selbst produziert und aufgenommen, wobei Lars Stalfors (St. Vincent, Soccer Mommy, Lil Peep) als Mixer fungierte. Payseur merkt an, dass bei der Entstehung dieses Albums mehr Wert auf eine stärkere Ausrichtung auf Popstrukturen gelegt wurde. "Als ich die erste Platte schrieb, gab es keine Refrains, sondern nur instrumentale Gitarrenparts zwischen den Strophen. Dies ist die erste Platte, bei der ich bewusst darüber nachgedacht habe, einen Refrain zu schreiben." Unterstützt wird er dabei von den Bandmitgliedern Tommy Davidson (Gitarre), Jack Doyle Smith (Bass) und Anton Hochheim (Schlagzeug). "Bunny" ist das bisher lebendigste und persönlichste Werk der Band. Die Songs handeln von Depressionen, Liebe, Abenteuern, Verlusten, Fehlern, New York City, Freundschaften, die kommen und gehen - eine Melange aus körnigen Stücken im Prozess der Selbstfindung. Payseurs collageartige Texte kommunizieren durch Ton und Stimmung ebenso wie durch Erzählungen; New Yorker Dichter wie Frank O'Hara, Ted Berrigan und Anne Waldman sind Einflüsse, ebenso wie das Tao Te Ching.

Powder Blue Vinyl. In den letzten fünfzehn Jahren haben Beach Fossils ihren Status als eine der definitivsten und beständigsten Bands des New Yorker Undergrounds der 2010er Jahre stetig ausgebaut und neue Hörer erreicht, während sich ihr Sound vom DIY-Soloprojekt von Dustin Payseur zu einer einflussreichen vierköpfigen Dream-Pop-Band entwickelt hat, die selbst produziert, selbst gemanagt und selbst veröffentlicht wird. Bunny steht für Stärke durch Verletzlichkeit. "Bunny" setzt die atemberaubende Entwicklung des Beach Fossils-Sounds fort, indem es Elemente aus der jangligen Melancholie der "What a Pleasure" EP (2011), den düsteren, Post-Punk-inspirierten Tracks von "Clash the Truth" (2013) und den üppigen Arrangements von "Somersault" (2017) aufgreift und ihren "Dream-Pop-Instinkt mit jeder weiteren Veröffentlichung schärft" (INTERVIEW). Inspiriert vom Psych-Pop der frühen Verve- und Spiritualized-Alben sowie von Einflüssen wie The Cure, Wire, den Byrds und Velvet Underground wurde "Bunny" von Payseur selbst produziert und aufgenommen, wobei Lars Stalfors (St. Vincent, Soccer Mommy, Lil Peep) als Mixer fungierte. Payseur merkt an, dass bei der Entstehung dieses Albums mehr Wert auf eine stärkere Ausrichtung auf Popstrukturen gelegt wurde. "Als ich die erste Platte schrieb, gab es keine Refrains, sondern nur instrumentale Gitarrenparts zwischen den Strophen. Dies ist die erste Platte, bei der ich bewusst darüber nachgedacht habe, einen Refrain zu schreiben." Unterstützt wird er dabei von den Bandmitgliedern Tommy Davidson (Gitarre), Jack Doyle Smith (Bass) und Anton Hochheim (Schlagzeug). "Bunny" ist das bisher lebendigste und persönlichste Werk der Band. Die Songs handeln von Depressionen, Liebe, Abenteuern, Verlusten, Fehlern, New York City, Freundschaften, die kommen und gehen - eine Melange aus körnigen Stücken im Prozess der Selbstfindung. Payseurs collageartige Texte kommunizieren durch Ton und Stimmung ebenso wie durch Erzählungen; New Yorker Dichter wie Frank O'Hara, Ted Berrigan und Anne Waldman sind Einflüsse, ebenso wie das Tao Te Ching.

Four Johnny Thunders & the Heartbreakers" demo sessions from 1976 & 1977, compiled together on one album for the first time. The album shows the development of the band building towards their classic 1977 "L.A.M.F." album (recently reissued with a newly found original master), and further points to the direction they would have gone had they not split up. Includes "I Wanna Be Loved" from a recently discovered Master. Pressed in transparent magenta vinyl, it comes with a 12" poster of the Roberta Bayley cover photo - an outtake from the L.A.M.F. cover session, and an inner bag with the late Walter Lure interviewed by Johnny Thunders" biographer Nina Antonia in 2005. Comes in the year of Johnny Thunders" 70th birthday, and realeased on the 31st anniversary of his death.

Such Ferocious Beauty is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of, well, family. A tangle of sonic textures, Beauty is a rumination on aging, losing parents, facing mortality and creating space for one"s life in the midst of the ruin that comes from merely living. "Mike has never shied away from the darker, harder and sometimes uglier realities of our human condition," Margo Timmins explains of the band"s singular focus, "nor has he shied from its beauty. Thankfully, with one comes the other." Cowboy Junkies are an alternative country and folk rock band formed in Toronto, Ontario, Canada in 1985 by Alan Anton (bassist), Michael Timmins (songwriter, guitarist), Peter Timmins (drummer) and Margo Timmins (vocalist). The band gained wide recognition with their second studio album, The Trinity Session (1988), recorded in 1987 at Toronto"s Church of the Holy Trinity. Their sound, again using the ambisonic microphone, and their mix of blues, country, folk, rock and jazz earned them both critical attention and a strong fan base. Cowboy Junkies have gone on to record 16 studio albums and five live albums.

Southside sweethearts, the Dreamliners, first came into the scene as the Royaltones in 1961 when they were students at South San High School in San Antonio, TX. In 1963, label head Abie Epstein signed them to his Cobra & Jox labels producing 4 singles. On the way to a studio session, Ana (Ana) Wilburn coined "The Best Things in Life" on the dashboard of her car. Out popped a playful Farfisa and harmony-driven tune reminiscent of the Crystals or Ronettes. Ana also wrote and sang lead on the haunting ballad "Just Me & You." A song about longing and adolescent heartache that's perfect for any post-breakup kleenex session.

Southside sweethearts, the Dreamliners, first came into the scene as the Royaltones in 1961 when they were students at South San High School in San Antonio, TX. In 1963, label head Abie Epstein signed them to his Cobra & Jox labels producing 4 singles. On the way to a studio session, Ana (Ana) Wilburn coined "The Best Things in Life" on the dashboard of her car. Out popped a playful Farfisa and harmony-driven tune reminiscent of the Crystals or Ronettes. Ana also wrote and sang lead on the haunting ballad "Just Me & You." A song about longing and adolescent heartache that's perfect for any post-breakup kleenex session.

The Royal Jesters were a household name in the 60s in San Antonio, TX. the 1960s. Formed by Henry Hernandez and Oscar Lawson, the group performed at school dances and downtown clubs and eventually leased and managed their own venue, the legendary Patio Andaluz. The group also started their own label, Jester Records, and recorded various singles, including a take on Vanilla Fudge's "Take Me For A Little While" with the towering Louie Escalante on lead. The group also recorded "We Go Together," a group harmony classic with 16 yr old Luvine Elias, Jr on a Lowrey organ. A must-have hot tortilla to keep in your bag.

The Royal Jesters were a household name in the 60s in San Antonio, TX. the 1960s. Formed by Henry Hernandez and Oscar Lawson, the group performed at school dances and downtown clubs and eventually leased and managed their own venue, the legendary Patio Andaluz. The group also started their own label, Jester Records, and recorded various singles, including a take on Vanilla Fudge's "Take Me For A Little While" with the towering Louie Escalante on lead. The group also recorded "We Go Together," a group harmony classic with 16 yr old Luvine Elias, Jr on a Lowrey organ. A must-have hot tortilla to keep in your bag.

FÜR FANS VON: HEAT, Eclipse, Nestor, Hardline, Brother Firetribe
Mit ihrem neuen Album „Code Red“ schlägt die deutsche Hard Rock Band DEVICIOUS aus Karlsruhe ein neues Kapitel auf. 2017 gegründet, veröffentlichen sie nun ihr 5. Album in fünf Jahren. Nach einigen Klangexperimenten auf dem Vorgängeralbum „Black Heart“ kehren sie nun zurück zu ihren Wurzeln, zu dem, was sie am besten können. Große Arena-Melodien kombiniert mit bombastischen Chorarrangements und einer großen Produktion.
Das Album wurde von Bandleader und Songwriter Alex Frey selbst produziert und in den Mastersound Entertainment Studios in
Steinheim, Deutschland von Alexander Krull gemischt und gemastert. Er ist der Hauptakteur hinter den Bands ATROCITY und LEAVE’S EYES sondern steht auch auf der Producer- und Mastering-Liste von Bands wie ATROCITY, LEAVE’S EYES, DORO, CREMATORY, VELVET VIPER oder ZAR. Das neue Kapitel von DEVICIOUS beinhaltet auch einen neuen Sänger. Antonio Calanna verließ die Band nach dem letzten Album auf freundschaftlicher Basis, um sich auf andere Projekte zu konzentrieren. Sein Nachfolger ist niemand geringerer als der ehemalige TNT-Sänger Baol Bardot Bulsara, der bereits
auf dem „Black Heart“-Album einige Backing-Vocals gesungen hat und bei einigen Black Heart-Headliner-Shows an Bord war. Mit Baol ist die Band flexibler, da er eine breitere Bandbreite hat und alles von melodischen Balladen bis hin zu Power Metal-Melodien singen kann.

Mit „Code Red“ liefern DEVICIOUS ihr bisher kraftvollstes und ausgereiftestes Werk ab. Ein melodisches Meisterwerk mit allen DEVICIOUS-Markenzeichen.

"Es ist einer der herrlichsten musikalische Klänge, die es je gegeben hat", sagte Chick Corea selbst über den Sound großer Orchester.

Nur folgerichtig also, dass bei THE CHICK COREA SYMPHONY TRIBUTE. RITMO neben einem Jazztrio auch ein komplettes, 80-köpfiges Symphonieorchester in der Konzerthalle aufspielte - und den ikonischen Songs Coreas so eine ganz neue Klangfülle und Eleganz verlieh.
Unvergessene Stücke, die nicht zuletzt durch außergewöhnliche Solisten neue, schillernde Klangfarben bekommen.

Der Fokus der Songauswahl lag dabei auf einer Zeit, die wohl Coreas produktivste war, auf den Jahren 1971 bis 1976. In der Zeit komponierte der Pianist Songs wie "Spain", die innerhalb kürzester Zeit zu Jazzstandards wurden.
ADDA Simfònica interpretierte gleich vier Songs seines "My Spanish Heart"-Albums, auch mehrere der berührenden "Children's Songs" sind vertreten.

RITMO begeistert durch elektrisierende Bläsersoli von David Pastor, Antonio Lizana und Paquito D'Rivera. Der kubanische Saxophonist, ein fünfmaliger Grammy-Gewinner, sagte über das Projekt: "Wir alle
lieben Chicks Musik.
Die fantastischen Arrangements von Emilio, die Qualität und Hingabe eines sehr jungen, talentierten Orchesters und der typische Enthusiasmus der Spanier in einer prächtigen Konzerthalle - das alles
hat sich zu unserem Vorteil ausgewirkt."

A nomad in France and elsewhere, a dandy of the highways and byways, Antonin carries his poetically gaunt figure along the beaches of Cap-Ferret, where he is originally from, his long Cossack hair and his profile of a night owl with a sharp sweetness. Born "sea-drunk", he grew up in a wooden hut on the sand in the middle of the pines, and his only masters are time, the ocean and the six strings of his acoustic guitar. His music is like him: sun-drenched, free as air, necessary as water. Heady pop ritornellos, ballads to sing in chorus and dance barefoot, island saudades. Somewhere between Nino Ferrer and Nino Rota, Air and Moustaki, with Antonin's casual and chameleon-like ability to pass himself off as an Italian or an Israeli when the wine or the atmosphere encourages him to do so.

After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th

After the mind blowing success of Witchcraft's Legend (2012), mastermind Magnus Pelander outdid himself once again with the band's 2016 offering Nucleus. Combining what made it's predecessor the modern classic it quickly became as well as elements of the band's earlier days makes Nucleus a melancholic, raging, fragile, melodic and at times noisy masterpiece filed somewhere between classic rock, doom and ambient music. With a renewed line-up (Rage Widerberg on drums and Tobias Anger on bass) the band sounds more hungry and powerful than ever. In combination with the thrilling, yet very down-to-earth production by Pelander, Philip Gabriel Saxin and Anton Sundell, Nucleus throws you in dreamy sonic landscapes that will mesmerize and haunt you alike. Svart Records are proud to release an official reissue of this album on black and limited green vinyl on May 19th

SAR04 introducing the brand new project SS96, dedicated to the way that connect two cities of South Italy.

Label boss Antony Reale has the pleasure to share synthesizers with south Italian deepness Maestro Nicola Loporchio. Timeless house music for your pleasure.

We present you our second release, an ecletic 4 tracker with music by friends and music lovers Antonio, Luhk and Pir. Vinyl only. Limited edition. No repress.

Unreleased but perfectly formed "hidden" album, recorded in 1989-90 by Nuno Rebelo on the wake of his "Sagração Do Mês De Maio" double LP (composed in 1988 as soundtrack to the third Manobras de Maio fashion event in Lisbon). The tracks convey a sense of investigative curiosity regarding computer composition and they sound wonderfully artificial. Titles as "Moon OK", "Tiny Space Ships" or "Dança Das Creaturas Elásticas" ("Elastic Creatures Dance") embody this idea of otherworldness, a kind of music actually coming from another place, composed and played by elastic creatures. It displays the functional qualities of Library Music, illustrating playful as much as moody and dense moments. In this way the album comes across as a soundtrack for moving images, sure, but with unusual framing and sharp angles. A unique object in the Portuguese avantgarde, keeping its distance from Academia but also from contemporary independent releases ("Plux Quba" by Nuno Canavarro comes to mind). António Duarte's 2019 mastering enhances this collection of music liberated from the archives of one of the most brilliant, active and challenging musicians of his generation.

Nuno Rebelo was born in 1960, graduated in Architecture, founded Street Kids and Mler Ife Dada, played in the "transitional" line up of GNR in 1982. His creativity expanded into improvised music. Performances and recordings with other musicians multiplied. He composed music for theatre, dance, jingles and, on an almost contradictory scale to his underground credentials, soundtracks for the Expo 98 and Porto 2001 mega events.

“Improvisações Cristalizadas” by Nuno Rebelo:
Short electronic pieces composed in 1989-90 using the Atari 1040ST computer with Steinberg Pro24 Software, Two Yamaha Sound Modules (TX81ZX and TG55) and Ensoniq Mirage Sampler with keyboard. The composition method for each piece evolved from a short improvisation on the Mirage keyboard, recorded in MIDI to the computer. Counterpoint permutations (inversion, reversion, inverted reversion, transpositions) were then applied through the software, distributing the variations of the initial improvisation by other timbres. No other musical material was used.

The popularity of Brazilian music from the 60s, 70s and 80s has experienced quite the renaissance; artists such as Gal Costa, Gilberto Gil, Arthur Verocai, Joyce et al, have become household names to an international audience passionate about global sounds. However, even for die-hard fans and collectors of Brazilian music of the past, discovering contemporary Brazilian artists is not always easy, nor accessible. But, if you know where to look, you will see that there is a resurgence well underway that can be epitomised by an exciting new wave of Brazilian artists beginning to break through and gather momentum overseas. It’s with thanks to Sound and Colours, a website devoted to promoting Latin American music and culture, that we can help shine a light on one particular collective, bursting with creativity and camaraderie.

‘Hidden Waters: Strange and Sublime Sounds of Rio de Janeiro’ is compiled by Joe Osborne (founder of specialist Brazilian music platform Brazilian Wax) and Russ Slater (editor at large of Sounds and Colours). Focusing solely on the 'Rio Scene', rather than taking on the mammoth task of tackling Brazil as a whole, this collection presents 20-plus ground-breaking artists selected from Rio’s resurgent music scene. By presenting a snapshot into the pulse of the city and the vibrant musicians that live in it, ‘Hidden Waters’ collates tracks from a wide spectrum of musical genres from the avant-garde edge to bossa nova, samba, Candomblé, lo-fi rock, jazz and funk.

‘Hidden Waters’ showcases musicians such as iconic Rio mainstays Negro Leo & Ava Rocha, Brazilian jazz upstart Antônio Neves, critically lauded Avant-pop trailblazer Thiago Nassif, breakthrough artists Ana Frango Elétrico and Letrux, lo-fi psych rocker Lê Almeida, plus the Latin Grammy-winning Bala Desejo who are set to explode onto the world stage. The music featured on ‘Hidden Waters’ is unequivocally Brazilian, swelling with samba, bossa nova, funk, and jazz. But it’s within the album's blend; from sunny psychedelia to dusky synth-pop via experimental electronics, that marks the compilation as the sound of modern, multicultural Rio.

This comprehensive compilation comes with album artwork designed by Rio music’s leading album artwork designer, Caio Paiva. It features essays by professor and music critic Bernardo Oliveira and music journalist Leonardo Lichote, plus extensive notes on each track by the artists themselves.

Der Soundtrack von Tee Lopes (Sonic Mania, Streets Of Rage 4: Mr. X's Nightmare) zur neuesten Ausgabe der Spielereihe 'Teenage Mutant Ninja Turtles: Shredder's Revenge' (2022) ist eine Hommage an klassische TMNT-Songs mit einer guten Portion Spaß und fließendem Wechsel zwischen 80er/90er Elektro, Funk, Rock und jazzigen Melodien mit Chiptune-Vibes. Ferner steuerten namhafte Gäste exklusive Tracks für das Spiel und den OST bei: Raekwon The Chef und Ghostface Killah von der legendären Rap-Band Wu-Tang Clan, sowie Mike Patton, Frontmann von Faith No More und Mr. Bungle.

Adrian Marth, based in Barcelona, comes through with his new debut EP Marthians World by Italo Moderni own imprint. His italo is infused in electro tracks that are bound with their vibrancy to make any listener dance, with a killer bassline and super spacial synths.

There is something about these tracks that bring you back with nostalgia to the 80's but without losing a contemporary feel.
Including remixes by the great Baldo, Antoni Maiovvi and Mufti.

Marcos Díaz has been part of Buenos Aires underground for many years, being in projects like Bosques and making solo music under the pseudonym Entidad Animada (animated entity). Under this project, Marcos has explored sounds that involve a mix of feedback/distortion through synthesizers, guitars and drum machines that hint at the influence of Stereolab, Spacemen 3, and mid-nineties shoegaze. However, there are also ambient soundscapes with a slight rubbed of the ritualistic psychedelia of the Popol Vuh. The display of colours in his music comes together in the midst of a playful, relaxed and optimistic environment that is simultaneously melancholic. Because of the nature of those pieces, but also because in Entidad Animada there is also space for collage sounds that blend randomly with textures of a primitive analog sound, which inevitably causes a paradox between what is alive and what is inert. And it is because Entidad Animada is precisely that, a spectrum or a vision, a ghost. And these sounds are proof of his existence.

Pruebas de existencia (proofs of existence) is a collection of recordings that Marcos has made in recent years and that we have selected for this album, his first work on Umor Rex. A couple of these pieces were only released digitally, while the others have been on ltd cassette editions through Fuego Amigo Discos in Argentina. Pruebas de existencia is an Umor Rex compilation and remastered edition.

Guitar, sampler, synthesizer, organ, bass, drums & electronic beats, vocals, recording and mixing by Entidad Animada in Buenos Aires. Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Cover photography Natch Tablescape (1979) by Langdon Clay. Layout by Daniel Castrejón, Mexico City.

ZYX Italo Disco New Generation Vinyl Edition 6 presents 8 selected Italo Disco songs.

Look forward to songs by
Sauvage
Lars La Ville feat. Gauvey-Kern
Diego
Love Kills
Stockholm Nightlife feat. Helly
Soulya ID
Marc Fruttero & Alex Papale
Valerie Dore
Vinyl lovers, be invited to enjoy almost 50 minutes of iconic analog sound quality!

The compilation "Get Together" enters a new round and gathers four artists to take a journey into electronic music together again. Maxie König opens the gathering with warm basses and sparkling
chords in her track "TenTen".

The unmistakable groove immediately carries us away and drives us straight onto the dance floor, where the no less deep track "Dezest" by Dip resounds through the speakers. Here we float on the smooth strings of the recurring sound waves, which one can hardly resist. Ana Antonova takes up this beautiful flow in her fascinating track "Naked Neighbour" and adds jazzy melodic elements that are interwoven with original sounds to create a fabulous, versatile sound story.

Finally, Cie picks up the bass and groove again and reflects the wonderful atmosphere of this gathering with the harmonic strings in "Haus Im Turm", making you want to put this record on „again“ and „again“.

Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with pianist Karel Boehlee, bassplayer Hein Van De Geyn and Hans van Oosterhout on drums Toots recorded, as the European Quartet, the album 90 in
2012. The album features two compositions from Antonio Carlos Jobim, “Wave” and “One Note Samba”, “Dat Mistige Rooie Beest” from Rogier van Otterloo, “In Your Own Sweet Way” from Dave Brubeck and 7 more tracks.

90 is available as a limited edition of 500 individually numbered copies on white coloured vinyl.

Valencian producer Pépe's love of iridescent melodies, velvety pads and complex rhythms has seen him skilfully combine house, bass music and breakbeat in recent years. His music is globally reaching, having garnered attention from top artists including Ben UFO, Peggy Gou, Shanti Celeste, Moxie, Mount Kimbie and Disclosure.

His heartfelt, mercurial and emotive sound is ever present on his new album for Lapsus, which also incorporates a lush sonic forest, resplendent in detail and jam packed with influences. The album 'Reclaim' opens the door to experimentation and sound design, while embracing the braindance and hyperpop sphere with surprising maturity. It is an amalgamation of electronic sounds and pulsating structures in which orchestral sounds, folk music, ambient textures and an strong vocal presence, both synthetic and authentic, sparkle.

'Reclaim' imagines a post-human future, where nature once again reclaims lost ground and is free to flourish and take root around manmade structures. Pépe exhibits his personal reverence for the work of Antonio Cortés Ferrando, the architect behind the Espai Verd building, which broke architectural and urban planning norms by using computation to create structures that promote the organic growth of foliage. It is a building designed for the future, where flora cultivates indefinitely.

In Pépe’s own words, "At a time when we have witnessed how nature strives to regain ground, once humans are removed from the streets, it is important to start thinking critically about new techniques in the creation of art and design, and imagining a future where posterity is embodied in the rejuvenation of a greener world".

It’s been nine years since Antoni Maiovvi released Trauma on Bordello A Parigi. Since then, and before, the Bristol born artisan has been honing and refining his audio craft with explorations into electronics, soundtracks and rock. Now, in his latest musical incarnation, Maiovvi returns with Birds of Paradise. This avian themed four tracker is beyond anything you’ve heard from this synthesizer wizard. Complex, deep and layered, the EP is testament to a talent rarely heard. From the sheer elation of “Flycatcher”, which pivots and weaves, the listener is taken away. Throbbing rhythms and astral melodies are unfurled, arpeggios rumble as key scale ever higher in the heady notes of “Widowbird”. A steady kick is the morning song of “Streamertail”, warm computer tones scudding next chords that trill with optimism. Birdsong, a feature of the EP, is ever present in this agile and textured close. Drawing on his predilection for movie scores, “Quetzal” completes this feathered foray. Pulsating, drums offer the updraft for a spread of sounds and shape to takes to the wing. A unique record from an artist soaring to ever greater heights.

MONO have long drawn equal inspiration from the light and dark of life, spawning more than two decades of musical turbulence and melodic transcendence. Heaven Vol. 1 marks the beginning of a new annual tradition from MONO: A new EP released on Christmas Day each year, leaning into the light at precisely the time when we need it the most - surrounded by loved ones and hopeful for what the turn of the calendar may bring us. Recorded by Takaakira `Taka' Goto at his home studio in Japan (with drums recorded by Amak Golden at Golden Hive Studio in Prague) - and mixed by Rafael Anton Irisarri and Jeremy deVine at Black Knoll Studio in New York - Heaven Vol. 1 finds MONO at their most hopeful and cinematic. Of each of Heaven Vol. 1's three tracks, MONO offers these words: Lucia: "This song was written when our beloved longtime partner Jeremy (the owner of our American label Temporary Residence Ltd.) welcomed his second child. The song is constructed with two parts; the first part celebrates the birth of a new life and the second part heads towards dreams and hope. We wrote this song with the feeling of Santa Claus riding a sleigh through the snowstorm, smiling, jumping into the swirl of pure white light and carrying many dreams." Smile: "We drew upon the snowy scenery of Christmas that we experienced when we were young. Your exhaled breath is white. Your heart is dancing in the endless silvery white world, and when you are about to grab the snow with your hands and turn around, your parents look back at you with a smile. We wrote this song whilst remembering moments like this." Silent Embrace: "Time passed and we became adults. Life is like climbing and descending many steep mountains, but the reason we're still able to continue walking is because of our loved ones, colleagues, friends and family who quietly stand by us and giving us courage and strength. We wanted to express our gratitude with this song." Limited (220 copies ww) Single Colour (Purple Vinyl) Edition!

Mit dieser Aufnahme von Cello-Klassikern festigte Han-Na Chang im Jahre 2000 ihren Ruf als Interpretin von bemerkenswerter Reife und technischer Perfektion.

Für diese Sammlung hat sie sehr vertraute und weniger bekannte Werke ausgewählt, die - falls notwendig - von Chris Hazell mit gefühlvoller Sorgfalt adaptiert und orchestriert wurden. Seit einigen Jahren konzentriert sich das künstlerische Schaffen von Han-Na Chang ausschließlich auf das Dirigieren.

Seit der Spielzeit 2013-2014 ist Han-Na Chang Erste Gastdirigentin des
Trondheim Symphony Orchestra. Im Jahr 2017 wurde sie als erste Dirigentin zur Chefdirigentin des Orchesters ernannt. Nun erscheint ihre Aufnahme THE SWAN auf LP.

Orange Vinyl

The garage -psychedelic French duo The Liminanas straddles since 2009 the boundary between psychedelic ,shoegaze,garage & French yé-yé up to cool vocals . Quintessentially French but first known at the start in the US before hitting homeland France. 7 studio albums so far, 2 rare tracks compilations, many Eps,some OST, collabs such as L’Epée with Anton Newcombe & Emmanuelle Seigner : time for a first time Best of, and actually more than a Best of : Double Cd , Ltd Triple Vinyl& Digital editions offer 12 exclusive bonus tracks -new songs + rare songs when they called themselves les Bellas, before The Liminanas-.
“Electrified” also includes 23 classics songs , with featurings such as Peter Hook, Anton Newcombe and French pionners Laurent Garnier, Etienne Daho & Pascal Comelade.
Features liner notes written by Iggy Pop, Peter Hook & Keith Streng (Fleshtones) : because it’s only rock’n’roll.

As rookies in the thriving Brussels scene, jazz fusion quartet LũpḁGangGang have been making waves the last couple of years. After the EPs 'Stalingrad' and 'Urban Detox', they are now releasing their debut album 'Dopamine Overdose' on March 17 via Sdban Ultra.



Lyrically the inspiration for the album comes from growing up in a digital world and the constant dopamine we all have to deal with because of that. Musically their sound is rich, diverse and hard to pin down, looking at Yussef Dayes, BADBADNOTGOOD and even Black Country, New Road for inspiration.



LũpḁGangGang started out as a jazz/funk cover band in 2017. Anton, Miel, Lena and Rob all met at a jam session summer camp while still in school. Over time, the band started writing their own songs and released two EPs to critical acclaim. Due to the band's desire for creative expansion over genres, they have been able to perform on various Belgian stages for the past three years including Ancienne Belgique to Flagey, Gent Jazz and Handelsbeurs in support of label mates, Black Flower.



The album title 'Dopamine Overdose' is a quote from the track 'Dada Data', a track about the influence social media tends to have on our lives. The album's recurring theme is definitely the struggle with today's hyper virtual society and the overwhelming influence tech is having on society. With unbridled enthusiasm the band tackle relevant themes and combine striking observations with a highly contagious and very diverse sound.



From "Out the Light'', a smooth track about being stuck in the image we all try to create of ourselves, to 'Wanderer', a jazzy tune about the road to self-acceptance, and from 'Candy', combining a punk attitude with infectious hand claps, to 'Time Faded', about the difficulty of finishing your artistic work, LũpḁGangGang constantly showcase their genre-defying versatility.



As a whole, the album is a very balanced collection of tracks, ranging from brooding atmospheres to punky explosions with a constant drive, social criticism and an indomitable energy binding it all together. A promising debut, indeed.

As rookies in the thriving Brussels scene, jazz fusion quartet LũpḁGangGang have been making waves the last couple of years. After the EPs ‘Stalingrad’ and ‘Urban Detox’, they are now releasing their debut album ‘Dopamine Overdose’ on March 17 via Sdban Ultra.
Lyricaly the inspiration for the album comes from growing up in a digital world and the constant dopamine we all have to deal with because of that. Musically their sound is rich, diverse and hard to pin down, looking at Yussef Dayes, BADBADNOTGOOD and even Black Country, New Road for inspiration.
LũpḁGangGang started out as a jazz/funk cover band in 2017. Anton, Miel, Lena and Rob all met at a jam session summer camp while still in school. Over time, the band started writing their own songs and released two EPs to critical acclaim. Due to the band’s desire for creative expansion over genres, they have been able to perform on various Belgian stages for the past three years including Ancienne Belgique to Flagey, Gent Jazz and Handelsbeurs in support of label mates, Black Flower.

The album title ‘Dopamine Overdose’ is a quote from the track ‘Dada Data’, a track about the influence social media tends to have on our lives. The album’s recurring theme is definitely the struggle with today’s hyper virtual society and the overwhelming influence tech is having on society. With unbridled enthusiasm the band tackle relevant themes and combine striking observations with a highly contagious and very diverse sound.

From “Out the Light'', a smooth track about being stuck in the image we all try to create of ourselves, to ‘Wanderer’, a jazzy tune about the road to self-acceptance, and from ‘Candy’, combining a punk attitude with infectious hand claps, to ‘Time Faded’, about the difficulty of finishing your artistic work, LũpḁGangGang constantly showcase their genre-defying versatility.

"Contamination" is a 1980 horror / sci-fi movie directed by Luigi Cozzi,
who has collaborated with Dario Argento for some time, author of many underground movies that have been very popular
Its soundtrack was entrusted to Goblin during a hectic period for the band (Squadra Antigangsters, Amo Non Amo, Patrick, Buio Omega) who had various line- up changes: abandoned by guitarist Massimo Morante and keyboardist Claudio Simonetti, brothers Marangolo (Agostino on drums and Antonio on saxophone), Fabio Pignatelli (bass guitar) and Maurizio Guarini (keyboards) with Roberto Puleo on guitar, wrote one of the best scores of that time showing a wide
range of music styles (Jazz, funk, rock, electronic) and once again showcases Goblin's ability in creating very original film scores. The album has some extra tracks from the "Buio Omega" soundtrack, which was the first full release (fans would have to wait 1997 for a full CD release). Agostino Marangolo: Drums & Percussions Antonio Marangolo: Sax Roberto Puleo: Guitars Maurizio Guarini:
Keyboards Fabio Pignatelli: Bass guitar