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Reissue des ersten von drei Alben, die auf James Bronsons Boutique-Label Touché aus San Francisco in dessen 20-jähriger Diskografie erschienen: 'Happiness Is... Takin' Care of Natural Business... Dig?' ist gleichzeitig die einzige LP des US-Pianisten Al Tanner, ein wahrer Heiliger Gral des Blues-Jazz, ausgegraben, entstaubt und mit ausführlichen Linesnotes aufgefrischt von Jazzman. Die CD enthält zwei zusätzliche Bonustracks, die dem 180g Vinyl als Download-Code beiliegen.

Fresh off the critically acclaimed “Capichone EP” on Peach Discs, Nachtbraker takes us on a blazing journey! The tight drum patterns, vigorous and heartwarming pads, bolstered with his signature bass lines, will have you reminiscing on 90’s Dutch House Music.


In the driver’s seat, anthemic title track “Dondoni” gears up with a vivacious synth pad and galvanic bass line whilst, in the passenger seat, “Barkuchi Fus" goes full throttle on multi-layered melodies and pads. In the back seat we find the original mix of “Don’t Worry” with a cleverly alternating arrangement and intricate sound design.


Rounding out the package, you’ll find Treviso (IT) based Slow Life affiliate Paolo Mosca flips “Don’t Worry” into an epic feast of arpeggios and melodies on some nifty and steadfast drum

Selected by Jim O’Rourke for his Tone Glow list of 25 albums that “never got their due”, Org was founded in the early 90’s by Espen Jensen and Kjetil D Brandsdal who would later go on to variously record as Elektrodiesel, Noxagt and Ultralyd in the swirl of the highly active Norwegian underground. “Org" was the only album the pair recorded as a duo, pressed in a meagre edition of just over 100 copies which disappeared almost as soon as they were made, lodged in the memory of the select few who have managed to hear it in the years since.

Made up of three long tracks, the near 20-minute ‘001’ opens the album with an extended organ zone-out matched with scraping factory machinery saturated into a dense cloud of harmonic fuzz. There's something transcendental about the sound that intersects with microtonal Alice Coltrane (particularly the unfairly maligned organ-only edition of "Turiya Sings"), as well as Pauline Oliveros and Ramleh. It’s music that pulls you in subconsciously; before you know it, you're fixating on the uncomfortable grind of metal on metal, buried mechanical rhythms and liturgical organ vamps that wind between industrial cacophony and sacred ritual music. For its last few seconds, we go into a full death metal tearout that fades out before it takes full flight, a glorious wtf.

‘002’ connects between minimalist drone styles and shoegaze, distorting fuzzed organ into pliable, dreamlike warbles that end up sounding like Kevin Shields' ‘Loveless’-era glides, or even Sunn O))) at their most devotional. Never losing the numbing overdriven mettle, its a piece that sounds spiritually entwined with Matthew Bower's Skullflower - a minimalist re-reading of high-contrast guitar music that takes all the psychoacoustic power and none of the annoying posturing.

For ‘003’, subaqueous organ is joined by synth and drum machine, sounding like the inspirational spark for Religious Knives' screwed 'n chopped cosmic psychedelia. The choice of sounds links it to Antena's foundational electro samba recordings too, but the overwhelming drone - a constant on all three compositions - connects the music to minimalist spirituals that have simmered beneath the DIY/avant garde for decades.

‘Org’ sits heavy on the nerves with overproof levels of mulched amp worship and ungodly, palms-down organ chords and wheezing, bezonked lines of melodic thought. 25 years out of sight and marinading in the archives, with the benefit of hindsight we can better understand the role these sounds played in the development of music in the contemporary sphere. It’s an important piece of the puzzle, one that makes valuable connections that, over time, have looked progressively more faint.

Kultrocker orchestrieren Anti-Nazi Kampf auf der dunklen Seite des Mondes.

Nach der Veröffentlichung der 'Love Is Still Alive' EP präsentiert die slowenische Kultband Laibach ihr brandneues Album und den Soundtrack zu 'IRON SKY : THE COMING RACE.'

'The Coming Race' (Regie: Timo Vuorensola, 2019) ist die Fortsetzung des Films 'Iron Sky' (2012), in dem Nazis planen, die Welt zu übernehmen, nachdem sie in einer geheimen Militärbasis auf der dunklen Seite des Mondes geschlummert haben. Laibach wurden beauftragt, die Musik für die finnische düstere Komödie zu komponieren, die Kultstatus erlangte und über Crowdfunding mehr als 1 Million Dollar einbrachte, wobei ihr Original-Soundtrack weithin gelobt wurde.

Dieser Soundtrack ist genauso episch und cineastisch wie der erste und bietet eine musikalische Reise mit orchestralen Scores und Bonussongs auf der CD und dem Download, darunter der Track 'The Coming Race', der die kraftvollen Vocals der slowenischen Grammy-Gewinnerin Amaya in den Laibach-Mix einbringt.

Schwarze LP mit ausführlichen Linernotes und Download Codes für Bonus-Songs

When Chet Baker lit up the West-Coast scene during the 1950s, he became a Jazz idol who
appealed to a younger generation and impressed even the most acerbic critics. He jammed
alongside Tenor Sax stars Vido Musso and Stan Getz, and joined Alto Sax legend Charlie
Parker on various West-Coast gigs. Hailed as the Prince of Cool, Chet caused a sensation
when his mellifluous Trumpet tones were first heard blending with Gerry Mulligan's deep
toned Baritone Saxophone in the famous Mulligan Quartet . It was in 1952 when they joined
forces on tunes like Walking Shoes and Line For Lyons. It wasn't long before they departed
ways with Chet establishing his own Quartet that launched a recording career blessed by
the plethora of performances gathered on this triple LP set. He plays his distinctive style of
trumpet along with presenting Chet the singer. Our collection opens with Let's Get Lost and
My Funny Valentine before advancing to include I Fall In Love Too Easy, The Thrill Is Gone,
That Old Feeling and Chetty's Lullaby. So, let's get lost in the eternally cool world of Chet
Baker.

Originally released in October 1993, “The Crossing” was Paul
Young’s fifth and final album for Columbia Records. Produced
mainly by Don Was and featuring top musicians such as Billy
Preston, The Memphis Horns, Jeff Porcaro and Pino Palladino,
the album is regarded by fans and critics as one of Paul
Young’s very best solo works. When interviewed for this 30th
Anniversary release, Paul Young said: “If you were to ask me
the albums I most enjoyed making they would be the first
and the last for Columbia Records; No Parlez and The
Crossing. On The Crossing, it was the caliber of the musicians
that I worked with and I was working with my musical heroes,
some of which I’d admired since I was a teenager. The
sessions were so relaxed and all the people in the studio
were such lovely people to work with, I will remember it
forever.” 7A Records is reissuing The Crossing on 180g coloured vinyl and CD. The recordings have been remastered and
the packaging will include rare photos, extensive liner notes, an exclusive Paul Young interview and lyrics to all of the
songs. The vinyl version comes in a gatefold sleeve and pressed on 180g Turquoise Viny

Available for the first time since originally released in 2006 via Stones Throw, Dudley Perkins & Madlib are pleased for the reissue of their sophomore collaborative LP, Expressions (2012 A.U.), their acclaimed follow-up to their 2003 debut effort, A Lil’ Light. And albeit the former can be accused of being excessively avant-garde, it’s Expressions where both Perkins and the Beat Konducta find a more fluid symmetry.

In everything from his collaborations with MF Doom and the late Jay Dee to his more recent pairing with Freddie Gibbs, Madlib is easily one of hip-hop's golden revolutionaries. At times his production has been accused of being sparse, but that's not the case with Expressions. This time around, Madlib's production is hitting all the funky corners with layered grooves that evoke the attitudes and emotions of A Tribe Called Quest's The Low End Theory.

Perkins's objective to keep the grooves flowing on Expressions is laid down with first lines of opener "Funky Dudley": "A little bit of funk and a dash of soul/ A little bit of George borrowed from my Ol' gran' pappy's stack of old school/ One nation under a groove." From there on the funk samples dance famously with Dudley's vocal style, which cross-pollinates the worlds of D'Angelo and Ol' Dirty Bastard. From "Get on Up" to the James Brown vocal sample in "Dolla Bill," Expressions uses Perkins's voice as if it were a sample itself, incorporating it in the production and the rhythms.

Madlib's production works flawlessly, his semi-psychedelic influence on R&B, soul and hip-hop keeping Perkins's style fresh and original. All the parts seem to be in place on Expressions as producer and emcee work side-by-side to create a cohesive sound that not only represents the creativity of the underground but could also awaken the tired ears of the mainstream.

New York City's loudest band A Place to Bury Strangers have had their intense live performance captured and immortalized directly to 12” wax. The post-punk legends are the 9th & latest entry in the Live at Levitation archival vinyl series. “Levitation 2021 was our second show as a new band and I felt so psyched to bring the new band members to such an epic festival. It was like a homecoming for me. Bob Mustachio was doing lights and playing with Ringo Deathstarr, Kikagaku Moyo & the Black Angels all on the same bill had me so rev’d up and excited. I knew it had to be an epic show. I remember right when we started I was flailing around so much like a freak on speed that I almost flung my guitar off the stage. By the time we got out into the crowd I thought I was gonna pass out. I remember we rented this PA speaker from Rock N Roll Rentals and for some reason they trusted us with this top of the line like $5000 12” monitor that we rolled around in the crowd while I was screaming at the top of my lungs. I love Levitation and Austin Psych Fest. They are always a UFO of a good time.” - Oliver Ackermann (APTBS)

Fourth release featuring Scott McCaughey (The Minus 5/Young Fresh Fellows), Steve Wynn (The Dream Syndicate), Peter Buck and Mike Mills (R.E.M.) and Linda Pitmon (Filthy Friends) Produced by Mitch Easter (R.E.M., Let’s Active) Featuring the singles “Journeyman” and the title track Available on CD, Digital, and as a double LP (with etched 4th side) On tour starting in August! In 2008 they busted out of the box and easily reached first with their Frozen Ropes And Dying Quails. The Baseball Project was on base and immediately posed a threat to go further. In 2011, they moved on to second with some wildness aptly called High And Inside. They were halfway home. Three years later in 2014, the quintet of Big Stars moved on down the line to the aptly titled 3rd, an epic double dip delight of craftsmanship and savvy. And there they stayed. For 9 long years at the hot corner, but we’re happy to say that The Baseball Project is finally coming home, scoring big and touching ‘em all with their fourth album Grand Salami Time!

Tucked in the heart of Koreatown, Los Angeles, lies The Libra Hotel—the titular architecture of Nick Malkin's new album and site of his musical and psychogeographic exploration. Unlike most musical "site-specific" studies, Malkin remains wholly ambivalent to the documentarian approach, instead sharpening an auteur-like focus on the site as a conceptual and highly expressive backdrop. The Libra is musically explored as a space that houses a noir fragmentation of identity—the exhausted trope of a complicated protagonist walking through rain-soaked street corners and fumy neon lights—where an inner monologue is rendered in both miniature and at a cosmic scale. Casting aside stifling tropes around field recording, ambient, and improvised music, Malkin's work finds its own unique fidelity and emotional core through the assembly and reassembly of memory. Nearly every sound on the album—from frayed saxophones, lambent pianos, and dissected jazz drum kits—are multiplied, shattered, and reconstituted into shapes that adorn The Libra in a motion-blurred fog. The narrative of the Hotel suddenly appears as if out of the mist, with intersecting characters interacting within its walls by happenstance. Adminst the languid set pieces, wraith-like sonic grains gravitate around wide subbass beams that give structural form to The Libra, a narrative tension like when a scene is shot from hundreds of different perspectives: an image both luminous and veiled.

Much like Frank Sinatra's own spatial residency immortalized on "Live at The Sands," "At The Libra Hotel" showcases an exuberant view of entertainment, hospitality, and a form of masculinity, one that can quickly detourn into darkness. Knowing this, Malkin extracts a melancholic core out of The Libra locale. The flickering shadows of American decadence are shown in their ephemeral honesty, lines that trace how even in everyday life virtue is tested, sanity is tested, even reality is tested within the confines of desire, within the night. The album is draped in fleeting textures, carefully arranged with a trance-like microtonality, the faint inflections and articulations of a jazz band cascading into dissipated stillness. Voicemails about changed locations and covert eavesdropping on guests' whispered conversations provide an atmosphere of missed connection and voyeurism—a purloined letter of desire receding into a vanishing point. Like the music itself, The Hotel, a chapel perilous at the intersection of desolation row, the center of it all, yet simultaneously at the edge of town, becomes a structure between libidinous virtuality and actuality—our inevitable half-light.

Ultimately, the pensive atmosphere of "At The Libra Hotel," powerfully asserts a plea for the kinds of intimacy only possible in transient spaces. Here, memory cascades into a force that feels like something supernatural, perhaps even religious, yet always subject to the infidelity of our imagination. Here, the album opens into its primary psychodrama, the transient nature of subjectivity itself and how this becomes fractured in the tumult between our commitments and desires. Within this nocturnal space, to quote Louise Bourgeois, "you pile up associations the way you pile up bricks. Memory itself is a form of architecture."

Following hot in the footsteps of his debut HF release ‘Cocoa Butter’, ‘Off The Grid’ sees Renelle 893 team up with producer Bay29 on a body of work that offers an escape route from the monotonous every day; the duo taking us further and further off the beaten track, marrying moments of purest hedonism with stark reminders that the real world lies in wait, just after sunrise, with no pause button in sight.

Laying the foundations with summer anthem (and lead single) ’Spaghetti’, Renelle wrestles with the fleeting nature of youth, and his topsy turvy relationship with the finer things in life. The dynamic is both gritty and nostalgic as Renelle walks the fine line between Hollywood hedonism and slurry excess, his mood swinging between moments of invincibility and vulnerability, expertly scored by Bay29’s ethereal, bass dripping instrumentals.

Another SE London / Brighton hook up, one of many on the label in recent years, Renelle utilised his late night train rides to-and-from Bay29’s Brighton studio as an opportunity to refine the verses that make up the bones of the project.

Twelve-tracks; six vocal, six instrumental, ‘Off The Grid’ is the first in a series of new works from Renelle 893 & Bay29. A perfect scene-setter for what’s to come.

As Renelle 893 explains… “Off The Grid is about soul searching and figuring out what kind of adult I am looking to be, navigating a world filled with distractions that will do everything to numb the pain as life inevitably passes you by…”

Psych-rap enigma Onoe Caponoe returns with his fifth studio album ‘Concrete Fantasia’ on High Focus Records. In crystal clear communication with the mothership; littered with striking references to fantastical realms and uncommon lore, but very much anchored in the inner city blocks and smoggy roadsides that inform his everyday, ‘Concrete Fantasia’ is a dark fantasy tape that expertly blurs the lines between genres, tones, moods and character profiles.

Of this world and out-of-this-world perfectly poised; Onoe offering up escape portals, before quickly pulling the listener back in with wave-upon-wave of catdelix riptides. ‘Concrete Fantasia’ is something of a tug-of-war; peppering movie samples, vignettes and complex go-betweens tickling the senses, combining with a cacophony of mind-bending lyricism resulting in a singular journey, with Onoe confidently filling the shoes of both author and narrator.

Pinocchio ducking feds in the hood, an Ice King ruling over a frostbitten kingdom, The Cheshire Cat trying to clean up Alice’s act, sweet serenades to off-shore mermaids, the trials and tribulations of life in a haunted trap house, big booty witches, flying carpets and beyond, ‘Concrete Fantasia’ is a real trip through the imaginative mind of Onoe Caponoe. With an eclectic line-up of featured artists and productional talent propping up the fictional cast, ‘Concrete Fantasia’ has all the makings of an alt-rap odyssey for the ages.

Psych-rap enigma Onoe Caponoe returns with his fifth studio album ‘Concrete Fantasia’ on High Focus Records. In crystal clear communication with the mothership; littered with striking references to fantastical realms and uncommon lore, but very much anchored in the inner city blocks and smoggy roadsides that inform his everyday, ‘Concrete Fantasia’ is a dark fantasy tape that expertly blurs the lines between genres, tones, moods and character profiles.

Of this world and out-of-this-world perfectly poised; Onoe offering up escape portals, before quickly pulling the listener back in with wave-upon-wave of catdelix riptides. ‘Concrete Fantasia’ is something of a tug-of-war; peppering movie samples, vignettes and complex go-betweens tickling the senses, combining with a cacophony of mind-bending lyricism resulting in a singular journey, with Onoe confidently filling the shoes of both author and narrator.

Pinocchio ducking feds in the hood, an Ice King ruling over a frostbitten kingdom, The Cheshire Cat trying to clean up Alice’s act, sweet serenades to off-shore mermaids, the trials and tribulations of life in a haunted trap house, big booty witches, flying carpets and beyond, ‘Concrete Fantasia’ is a real trip through the imaginative mind of Onoe Caponoe. With an eclectic line-up of featured artists and productional talent propping up the fictional cast, ‘Concrete Fantasia’ has all the makings of an alt-rap odyssey for the ages.

Psych-rap enigma Onoe Caponoe returns with his fifth studio album ‘Concrete Fantasia’ on High Focus Records. In crystal clear communication with the mothership; littered with striking references to fantastical realms and uncommon lore, but very much anchored in the inner city blocks and smoggy roadsides that inform his everyday, ‘Concrete Fantasia’ is a dark fantasy tape that expertly blurs the lines between genres, tones, moods and character profiles.

Of this world and out-of-this-world perfectly poised; Onoe offering up escape portals, before quickly pulling the listener back in with wave-upon-wave of catdelix riptides. ‘Concrete Fantasia’ is something of a tug-of-war; peppering movie samples, vignettes and complex go-betweens tickling the senses, combining with a cacophony of mind-bending lyricism resulting in a singular journey, with Onoe confidently filling the shoes of both author and narrator.

Pinocchio ducking feds in the hood, an Ice King ruling over a frostbitten kingdom, The Cheshire Cat trying to clean up Alice’s act, sweet serenades to off-shore mermaids, the trials and tribulations of life in a haunted trap house, big booty witches, flying carpets and beyond, ‘Concrete Fantasia’ is a real trip through the imaginative mind of Onoe Caponoe. With an eclectic line-up of featured artists and productional talent propping up the fictional cast, ‘Concrete Fantasia’ has all the makings of an alt-rap odyssey for the ages.

Fleetwood Mac’s legendary album Tusk, originally released in Oct. 1979, went on to sell 4 million copies WW and was certified Gold in Germany and France, Platinum in the UK, Netherlands and New Zealand and 2X Platinum in the US. The band toured this album internationally across a 9 month period visiting; the U.S., Australia, New Zealand, Japan, France, Belgium, Germany, the Netherlands, the UK and Germany. Key tracks include “Sara”, “Tusk” and “Think About Me”.

The genius behind the album can be seen from the epic video for Tusk which was filmed with a full marching band (the University of Southern California's Trojan Marching Band), at Dodgers Stadium, Los Angeles on 4 June 1979.

Hi Scores is beyond excited to present SSR Records: In Retrospect. This 2LP compilation album presented in a beautiful gatefold sleeve and through all digital platforms, wishes to highlight the immense and hard to grasp legacy of the Brussels based label. SSR Records was founded in 1988 by Marc Hollander as a sub label of his Crammed Discs and spanned the nascent years of house, acid, rave, trance, new beat, hip-hop, future jazz and broken beat, collaborating internationally and racking up close to 200 releases until it was put to sleep in 2002. Far ahead of their time, SSR Records released music of both European and North American artists that hadn’t broken through yet, such as those collected on this compilation: Move D, Nu Era, Gemini, Bjørn Torske, Glenn Underground or Matthew Herbert.

SSR Records was run by Crammed Discs chief Marc Hollander and Minimal Compact singer Samy Birnbach aka DJ Morpheus. SSR Records: In Retrospect comes with extended liner notes, exploring the pivotal milestones in the history of the adventurous label and zooming in on the origins of all records featured on the compilation.

All nine tracks on SSR Records: In Retrospect were selected by Hi Scores’s head honcho Kong DJ and have been remastered. Created between 1990 and 1996 and in the at the time pioneering spheres of house, breakbeat, electro and trance music, these treasures from the vast SSR catalog today stand as a stunning testimony to a truly remarkable and timeless musical legacy. Kong DJ: ‘While collaborating with Crammed Discs on the releases of Aksak Maboul in 2016 and Zazou / Bikaye in 2018 on Ensemble, I began to grasp the impressive catalog of the label and its sub labels, including SSR. Surprised by the tiny footprint SSR had left on the world wide web - often the case for labels ceased before the internet revolution - I wrote an article for British website The Vinyl Factory.

This would later prove to be the first step towards this compilation album, collecting favorites from the label as a kid in a giant candy store.’

Reformed Society joins the roster of Brussel's, Belgium's Basic Moves this June with a 2x12'' EP, comprising six original compositions from the New Delhi born now Barcelona based artist. After many years sharing music, Basic Moves boss Walrus welcomes Indian artist Harsh Puri onto the imprint for a special double pack vinyl release. The material was gradually reduced down to the six compositions that make up BM19 after received over a hundred demo tracks from Harsh the past few years.

Much of the release is inspired by UK tech house of the late nineties and the turn of the millennium and embraces a heads down, dance floor focused aesthetic throughout.

Opening the release is 'Constant State Of Hustle', perfectly setting the tone with an amalgamation of bubbling synthesizer tones, a choppy bass groove, sporadic pads and a heavily swung drum groove. 'Touch' then shifts focus over to fluttering stab sequences, bright chords, airy strings and a crunchy rhythm section before 'Hammer The Keys' embraces the core essence of the early Tech House sound, fusing organic percussion with multilayered machine funk melodies, all infused with an underlying acid feel.

Next up is 'Hug Pit' which dives into deep realms via ethereal, cinematic pad textures, wandering resonant synth lines and shuffled drums. The aptly named 'Adrenaline Rush' follows next, picking up the pace again courtesy of a gnarly bass melody, squelchy synth tones and a robust drum machine workout. 'Dream Shuttle' then rounds out the release, employing hazy atmospheric textures and a bumpy bass groove alongside dynamic, crisp drums.

If you are a death metal fan, GRACELESS shouldn’t need an introduction. Three full lengths and two split EPs have granted the Dutch ensemble a respectable reputation across the globe. Closer to home, the four piece has played countless live shows since their 2016 inception. The rock solid line up -unchanged since day one- has delivered ferocious, high energy live performances at Eindhoven Metal Meeting, Into the Grave, Party San Metal Open Air, Ruhrpott Metal Meeting, Stonehenge, SDF2021 and many more festivals and clubs. Joining forces with LISTENABLE RECORDS in 2023 is the next thundering milestone for GRACELESS. Tirelessly working on their fourth full-length, the next chapter for GRACELESS will be another step deeper into the abyss that started with Shadowlands (2018), via Where Vultures Know Your Name (2020), to Chants from Purgatory (2022). For fans of DEATH, ASPHYX, GORGUTS, BOLT THROWER, AMON AMARTH, BLOODBATH.

In the quiet surrounding the pandemic, Madeline Kenney made sonic sketches in the basement studio she shared with her then-partner. She arranged phrases that called her—the sharp knife of a synth cutting a path along a blooming arpeggio, drums stuttering firm and tight. Working this way, she amassed a collection of songs she had no particular aims for. Some formed her 2021 EP Summer Quarter, others languished.

But in 2022, Kenney’s partner left suddenly and without warning, plunging her into the solitary act of untangling what happened. In the wake of her ensuing depression, she revisited these songs and found in them something prescient. She’d already laid the foundation for A New Reality Mind.

That her relationship’s end came without warning is only half true, though. The warnings were in the feelings and fears that inspired Kenney’s critically-acclaimed third album, Sucker’s Lunch (2020), which was co-produced by Jenn Wasner (Flock of Dimes) and centered around the idea of flinging oneself freely into the seemingly-assured destruction of new love, come what may.

If sonically Sucker’s Lunch was letting yourself be pulled into the warm bath of a good story, A New Reality Mind reflects the harsh light of truth coming to break the spell. But as sobering as morning light can be, there’s brilliance to it, too. To see in the clarity of day is a gift. A revolution. Rather than reckoning with love lost, the songs on A New Reality Mind grapple with the self that chose to fall. “I guess I only needed to look twice / Reflected in my attitude, my constant compromise,” Kenney sings on “Red Emotion,” the musical landscape screeching and gasping around her observations of how she made herself small to keep the dream of love alive.

These notions of sight and vision pervade the record as Kenney stands before the infinity mirror of selves she’s been to preserve bonds in her life. On “I Drew a Line,” Kenney contends with the stories she’s told herself to keep plodding along, and the way those stories shape her perceived reality. She invokes John Berger’s Ways of Seeing—“Everything around the image is part of its meaning,” we hear him say. “Everything around it confirms and consolidates its meaning.” Here, Kenney isn’t interested in shaming herself for being carried away by the fantasies of the heart, but rather in investigating the unavoidably human propensity to do so. “I, like everyone else, am muddling through my most ordinary disaster of a life,” she acknowledges, a sentiment which reverberates through album opener “Plain Boring Disaster.” “I don’t need to start again,” she sings at the song’s close. “But I can change when it ends.” We may all be doomed to repetitive, ordinary heartbreaks, Kenney realizes, but at least we can cultivate a capacity to witness our missteps and build new realities for ourselves.

This is Kenney’s most expansive work, while also her most solitary. Produced and recorded alone in her basement, these songs are manifestations of what it feels like to be transformed by pain. Textures collide and collude; sonic ornaments emerge and dissipate capriciously; saxophones soar untamed, as on the 80s pop elegy to self-sacrifice, “Reality Mind”. These songs beg you to dance, then pull the rug out from under you once you’ve caught the beat, leaving you dizzy like the whiplash of love’s end.

But in the propulsive power of A New Reality Mind, there’s also acceptance, self-forgiveness, and a willingness to move forward into life, with all its ways of making a sucker of you. “That way of living, I’m over it,” Kenney declares of the habits that hold her back on “Superficial Conversation”. “I do not need to be reminded of what I did,” she assures, the song opening wide and beaming, like a smile expanding to taste a new breath of air.

Theory Of A Deadman return to Roadrunner Records with their 8th studio album ‘Dinosaur’ releasing on 17th March on CD and Digital with the vinyl version following in July. It features the single and title track from the album ‘Dinosaur’ that was released late 2022 and was A Listed at both Kerrang and Planet Rock Radio as well as brand new single ‘Ambulance’.

Debut vinyl by Cruz Perro Maldito, a Tenerife based trio forever imbued in the collective imagination and folklore myths of the magical and misty mountain of Agua García, located in Tacoronte district at the foot of Teide Volcano (Tenerife/Canary Islands). Their music is an explosion of free jazz improv where sophisticated sound textures emerg-ing from modular synths and processed guitar create abstract and random rhythmic patterns with complex saxophone lines guiding the ensemble from quiet to menacing passages of sudden bursts of noise and frenzy.


Entitled Truquetin Resorte, the album takes inspiration from the rich history of mechanical automata, such as Talos, the bronze giant who defended the island of Crete and was eventually defeated by Jason and his Argonauts. Or Apega de Nabis, a replica of King Nabis’ wife whom crossed unsuspecting victims with its iron spikes hidden in the device's lower arms, hands and breasts.

Or even René Descartes and his infamous daughter- like Automaton replica, an eerie creation from the renown philosopher to evoke his dead daughter
These myths and more serve as reminder of a mechanical world’s past, a world of complex automata stories with me-chanic ‘imitating’ beings as its problematic protagonists. An eerie counterpoint to our current uber modern digital world and its rapid advancing A.I.s.

Hand the king of re-edits Late Nite Tuff Guy the keys to an unreleased Silk recording from the ‘70s hey days and you’ve got yourself a recipe for greatness. A’s and Bees line up their second heavyweight 12 inch pressing, with two exhilarating edits from LNTG alongside the first ever release of the original recording. As ever 50% of the profits from this release will be donated towards the British Beekeepers Association.

It's rare to crack the vaults on a recording that’s as good as this, that never saw the light of day. Courtesy of ‘70s Philly International wonders Silk, most famed for their soul sensation ‘I Can't Stop (Turning You On)’ that was sampled by LF System for their 8 week strong number 1 release, ‘Somethin' 'Bout The Way’ has all the elements of a smash hit. As catchy as they come, singalong sensibilities and musicianship of the highest order with vocal harmonies to match, it’s genuinely astonishing that this never got released. Who better to tweak this into an all-out disco stomper, than re-edit royalty Late Nite Tuff Guy. His Disco Dub teases in, loops up and adds extra punch to all the elements that make the original such a standout track, before letting loose those joyous vocals. Big room, full body, DJ friendly business this!

On the B side, the original mix gets it’s first ever release, with LNTG providing a shorter edit of his full throttle re-work to round off the package.

Ron the don Basejam lines up a new set of white label heat served straight from the lab. Chopped and screwed samples married with top drawer instrumentation, tied together with that signature Basejam groove. From low slung house to funk infused mid-tempo goodness and a chunky fist pumping party starter.

George Apergis aka EMEX, founder of Modular Expansion, returns after 2 years with a Collection of Classics! George Apergis makes his great return with a retro - italo infused banger techno track “Retrograde”. The release continues with the two first ever tracks of George Apergis, produced back in 2005 but never officially released! “Rave On” the electroclash smash hit and “Sleeping With Headphones”, a techno theme with percussive rhythms, bass synth lines and unique vocals, representing the sound of 00s. The release closes with “Back Forward” a hard kicker track with rave synth lines, percussive rhythms that goes beyond and creates a perfect rave tool.

New Copenhagen, Denmark based imprint Inherent Futurism shines a light on an unsung gemstone from the Detroit Electro genre, Autobot-1000's '3 Dimension Of Space'. Inherent Futurism is a new label coming out of Copenhagen, Denmark and headed up by Morten Kamper, a staple in the Danish electronic music scene who's been involved in it for more than 30 years and nowadays is running the 313vinyl_collective record store in the capital.

Inherent Futurism will focus on a blend of unearthed old records and new material with no real boundaries, just a focus on quality electronic music in all forms with an inclination towards Techno and Electro. To inaugurate the label, Morten will release Autobot-1000's debut album on vinyl for the first time, the project was only out on CD and released in 2001 on Hoodwink Records from North Carolina, US. Run by James B. Boggs who also was executive producer on the album.

Across the '3 Dimensions Of Space' LP, Autobot-1000 treats us to an array of classic Detroit Techno and Electro cuts, fusing an amalgamation of crisp analogue drums, intricately intertwined synth strings, squelchy acid licks and arpeggios alongside silky snaking bass grooves, twinkling chimes and vocoder vocal lines. The entire project embraces and encapsulates the futuristic, spaced out aesthetic synonymous with the Electro sound of its it's time and place, namely Detroit at the turn of the millennium.

Greg Paulus joins forces with fellow Brooklynite Taylor Bense for a new Freerange EP showcasing their left field, raw house sounds across three original tracks plus a bonus Martinez Brothers edit.

With previous releases appearing on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt, the producer, DJ and trumpeter is perhaps best known for being one half of No Regular Play who have recorded LP’s and EP’s for Wolf & Lamb, Crew Love, and Let’s Play House. Never one to be confined to one genre, Greg takes influence from Jazz, Funk, Hip Hop and underground house to form a unique sound primed for discerning dance floors. Taylor Bense is an in-house composer and producer at the highly regarded Hyperballad Studios in Brooklyn, where he works and records a wide spectrum of music for everything from high end commercial work to EP’s for Wolf + Lamb and Soul Clap Records. The entire EP was recorded and produced at Hyperballad Studios over the past few years.

Title track Heat Make Sense wears its Prince inspiration on its sleeve with a hooky whistled tune, crunchy live bass fills and punchy, raw beats. Next up we have Switch which features Brooklyn MC’s Stimulus and Malik Work on vocal duties and Greg’s own trumpet adding top lines to the deep pads and rolling groove.

Marino takes us back to golden era jacking Chicago house of the 00’s but with Greg’s trumpet flourishes bringing a live, jazzy energy to the track. Fellow NYC mainstay Big $exy provides his trademark deep baritone vocal to give a little hip house flavour. Closing out the EP we have NYC’s Martinez Brothers providing an uptempo minimal edit of Do You Love Me, a track from Greg’s previous Freerange EP. The MB’s keep things rolling and stripped back for maximum club impact creating a useful DJ tool whilst allowing Greg’s musical and vocal parts to shine.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature.

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’

In 1990, Eric Clapton performed 18 nights at one of his favorite venues - the famous Royal Albert Hall in London. During the 18 run of shows Clapton performed with three different line-ups: a rock band, a blues band, and an orchestra. Eric returned to the same venue in 1991 with the same three line -ups and played a further 24 shows. The huge undertaking of rehearsing for performances of three distinctly different genres was made even more challenging by the line-up for the rock shows varying from 4, 9 or 13 band members.

Clapton has always played with superlative musicians, and these shows were no exception. The bands included Johnnie Johnson, Jimmie Vaughan, Chuck Leavell, Nathan East, Greg Phillinganes, Steve Ferrone, Ray Cooper, and Jerry Portnoy. Additionally, legendary special guests joined Clapton on stage: Phil Collins in the rock ensemble; Robert Cray, Buddy Guy and Albert Collins for the blues shows.

The Orchestral performances were arranged and conducted by Michael Kamen the highly regarded and successful composer who had worked with Clapton previously (Lethal Weapon, Edge Of Darkness). The set list included the epic 30 minute ‘Concerto For Guitar’ that Kamen composed especially for Clapton - released now for the first time.

Many of the performances in both years were filmed and recorded. The huge volume of audio and film material from the archive has been painstakingly restored and upgraded by Clapton’s team of Simon Climie (audio production and mixing), producer Peter Worsley (Slowhand at 70 and The Lady In The Balcony), and director David Barnard (The Lady In The Balcony).

This remarkable series of shows will finally be given the release that they deserve. A full concert of each genre (Rock, Blues, Orchestral) has been assembled from the hours of material available and will be released on audio (CD, LP, digital) and with an accompanying film on Blu-ray and DVD.

The Clapton classics performed with the rock band include ‘White Room’, ‘Lay Down Sally’, ‘Wonderful Tonight’, ‘Pretending’ and ‘Layla’. The Orchestral show features a stunning version of ‘ Layla’, plus stand-out highlights of ‘Bell Bottom Blues’, ‘Edge Of Darkness’ and ‘Sunshine of Your Love’. Great covers of ‘Cocaine’, ‘I Shot the Sheriff’ and ‘Knockin’ on Heaven’s Door’ also feature. The 14-song Blues set includes standards such as ‘Sweet Home Chicago, ‘Have You Ever Loved A Woman’, and ‘Key To The Highway’.

The limited-edition ‘Definitive 24 Nights’ deluxe box sets include 47 songs and almost 6 hours of music on 6 CDs or 8 LPs and 3 Blu-ray’s.

It's always good to have Norbak onboard again with this brand new slice of plastic. Four cuts of precise and gymnastic techno aimed for the most advanced dancefloors energetic and intelligent at the same time, as we like.

A side starts with "Tell me I'm wrong" a fast paced hypnotic exercise with adrenalinic synth lines running over complex rhythms, properly arranged in a constantly changing structure.

"Amongst Them" follow, textured flanged sounds running across the stereo field, shuffled beats and lots of space, the definition of how profound techno should be.

Flipping the vinyl, B1 is "Pure and Faithful", funk infused sequences constantly altered in shape, complex grooves and as always a profound structure full of twists.

Last cut in this exercise is "Unbearable Lightness", continuous and repetitive randomized synth lines spiced with lots of reverb over a well crafted drum workout, intense and spacious at the same time.

Another demonstration of studio skills and sound design from this young Portuguese producer.

Über Iris aus dem Raum Stuttgart/Esslingen ist nicht viel bekannt. 1981 hat die siebenköpfige Band ihr einziges Album für das kleine Label PEAK aufgenommen, die natürlich nicht die finanziellen Mittel hatten, Iris zu etablieren. Zudem klang das anspruchsvolle und dennoch teils hart rockende Material nach dem, was man allgemein als Krautrock bezeichnet, oder bezeichnen kann. Somit war ein Drängen in die damals angesagte NDW-Richtung absolut ausgeschlossen.

Der Übergang von den späten Siebzigern zu den frühen Achtzigern war musikalisch auch in Deutschland extrem spannend. Iris hielten stilistisch eher an den Siebzigern fest, was ihnen heute mit dieser Wiederveröffentlichung posthum neue Fans bringen wird. Auch in der Hardrock- und Heavy Metal-Szene gibt es immer mehr junge Bands, die mit der Klangästhetik spielen, die auch auf „Iris“ zu hören ist. Ein
„veralteter Sound“ wird wieder modern.

Die CD und LP kommt mit Liner Notes von Fachmann Michael Lörber. Ausserdem wurden alle Komponenten des Albums, also auch das Textblatt, gescannt und hinzugefügt. Den Audiotransfer hat Patrick Engel (Sony Music, High Roller, etc.) vorgenommen, das Remastering erfolgte durch Neudi.

Ein in Zukunft nicht mehr vergessenes Stück deutscher Rockgeschichte!

Not much is known about Iris from the Stuttgart / Esslingen area.

In 1981, the seven-member band recorded their only album for the small label PEAK, which of course did not have the financial means to mainstream Iris. In addition, the sophisticated yet sometimes hard rocking stuff sounded like what is generally called, or can be called, Krautrock. Thus, a push towards the NDW style that was in vogue at the time was absolutely out of the question.

The transition from the late seventies to the early eighties was musically extremely exciting, even in Germany. Iris stuck stylistically more to the seventies, which will bring them new fans posthumously today with this re-release. Also in the hard rock and heavy metal scene there are more and more young bands playing with the sound aesthetics that can also be heard on „Iris“. An „outdated sound“ is becoming modern again.

The CD and LP comes with liner notes by expert Michael Lörber. In addition, all components of the album, including the lyric sheet, were scanned and added. The audio transfer was done by Patrick Engel (Sony Music, High Roller, etc.), the remastering was done by Neudi.
A piece of German rock history that will not be forgotten in the future!

repressed !

Number 060 in our catalogue, and we are keeping it tight and sharp. Oscar Mulero is the mind behind this creature, offering three cuts of merciless techno exercises both physically and digitally.

Opening track is "Tormenta", Storm in spanish, a fast paced groove with almost all elements up from the very beginning. Wisely distorted drums, continuous filtered sequences, a sharp elastic line running and mutating across the structure. Direct and mental at the time.

"Espectro Rojo", Red spectrum translated begins with obsessive distorted evolving lines, shuffled hi hats and precise kicks. The stereo field is constantly worked out augmenting the experience exponentially.

"Gradiente de Voltaje" closes the EP, the overall feel is less distorted and more opaque and lo-fi. The liquid filtered bassline is soon joined by distorted hats, alternating patterns and twisting the sounds wisely. No sudden interruptions, no abrupt changes, just the right dose of hypnosis to use as a powerful tool.

Over the course of eight thrilling tracks, ‘Royal’ leads listeners on a topsy-turvy journey from Middle Eastern exotica to Spaghetti Western style scores, via scorching Mediterranean beaches.
Highlights of the album include the surf-meets-Western delights of “Silver Lining”, where irresistible guitar lines are piled high and topped with euphoric synths and rock drums, resulting in a timeless soundtrack for both headless nights in dive bars and heedless days at the funfair.
“Juda” follows, a deadly combination of Zepellin and Middle Eastern rock with subtle hints of synth funk. The track is named after living legend and Middle Eastern guitar hero, Yehuda Keisar, who also joins the band for this song, contributing a scorching solo. The thunderous guitar riffs are matched pound-for-pound by the irresistible percussive groove.
Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, 'Royal'. Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on
their first album for international ambassadors of Middle Eastern grooves, Batov Records.

Boom Pam “Rock the Casbah” on title track “Royal”, revealing another card up their sleeve, as they transform a famous 80's Israeli radio theme into a discoinspired super jam with a punk edge.

The band maintain their reputation for first-rate and distinctive surf rock on the fast paced “Daber Yafé” and “Monsour”.
The sonic imprint is both warmed and widened by the rare addition of a tuba supplying the lower frequencies.
Meanwhile, opener “Lava Tongue”, and “Golden” emphasize the melodic side to the band, conjuring dreamy sunset mirages to hypnotize the listener.

Boom Pam have established themselves as pioneers of modern Middle Eastern surf rock, combining sophisticated yet catchy guitar riffs, with roaring tuba basslines and fiery drums. In the past decade the band have frequently collaborated with and backed legendary Turkish folk singer-songwriter, Selda Bagcan, on stage and record, and performed at some of the world's most renowned festivals, including Primavera Sound, Lollapalooza, Fuji Rock, the Montreal Jazz Festival and many more.
An engaging listen from beginning to end, ‘Royal’ is the perfect representation of Boom Pam’s incredible 20-year journey, showcasing their superior skills in pushing the boundaries of their genre.

TSJUDER meldet sich zum ersten Mal seit 2015 mit einem brandneuen Werk zurück! Mit einem erneuerten Lineup und Schlagzeugmeister Jon "The Charn" Rice am Thron ist Helvegr eine authentische Darstellung des wahren norwegischen Black-Metal-Sounds, den Tsjuder in den 90er Jahren mit definiert hat. Die Band ist sich sicher, dass sie das Jahr 2023 mit Blasphemie und Blast Beats erobern wird!

Schwarzes 12" Vinyl in bedruckter Innenhülle im Deluxe Gatefold (mit speziellem Schnitt). Erste Pressung 1.000 Exemplare weltweit.

FFO: Mayhem, 1349, Darkthrone, Gorgoroth, Carpathian Forest

TSJUDER meldet sich zum ersten Mal seit 2015 mit einem brandneuen Werk zurück! Mit einem erneuerten Lineup und Schlagzeugmeister Jon "The Charn" Rice am Thron ist Helvegr eine authentische Darstellung des wahren norwegischen Black-Metal-Sounds, den Tsjuder in den 90er Jahren mit definiert hat. Die Band ist sich sicher, dass sie das Jahr 2023 mit Blasphemie und Blast Beats erobern wird!

FFO: Mayhem, 1349, Darkthrone, Gorgoroth, Carpathian Forest

Das nunmehr 20. Studioalbum der erfolgreichsten deutschen Art- & Progressive Rockband ELOY. Es ist zugleich das 3. Album einer einzigartigen, vom Band- Mastermind Frank Bornemann als Rock Opera gestalteten Trilogie über das Leben und Schicksal der französischen Nationalheldin und Heiligen Jeanne d´Arc.
Bereits die beiden ersten Alben mit dem Titel „The Vision, the Sword and the Pyre, Part 1 & 2“, auf denen sich diverse illustre Künstler (u.a. Alice Merton) auf der Gästeliste befinden, wurden nicht nur durchweg positiv rezensiert, und erreichten hohe Chartsplatzierungen, sondern fanden auch aufgrund ihrer auf profunden Kenntnissen basierenden Umsetzung in allen historischen Details auf kultureller Ebene viel Beachtung.


Mit „Echoes from the Past” legt nun der Autor nochmal nach, und lässt den durch die Handlung der ersten beiden Alben führenden Protagonisten und Waffengefährten von Jeanne d´Arc, Jean de Metz, die aufwühlenden Ereignisse der Vergangenheit auf sehr emotionale Weise reflektieren.


Musikalisch entstand dadurch ein Werk, bei dem sich sensible und atmosphärische Passagen mit gewaltigen, dramaturgisch geprägten Klangwogen abwechseln, die den ELOY-Fan sicherlich an frühere Konzept-Werke der Band erinnern werden.


Diese Melange ist aber gemäß Frank Bornemann, der sich bei dieser Produktion erneut mit Veränderungen im Line up konfrontiert sah, voll beabsichtigt. Obwohl es sich bzgl. seiner musikalischen Elemente bestens in die Trilogie integriert, ließ es bei seiner Entstehung offensichtlich doch viel Spielraum für künstlerische Momente, die man nicht erwartet, aber die sich außerordentlich prägend für das Album auswirken, welches wieder einmal einzigartig ist.

Das nunmehr 20. Studioalbum der erfolgreichsten deutschen Art- & Progressive Rockband ELOY. Es ist zugleich das 3. Album einer einzigartigen, vom Band- Mastermind Frank Bornemann als Rock Opera gestalteten Trilogie über das Leben und Schicksal der französischen Nationalheldin und Heiligen Jeanne d´Arc.
Bereits die beiden ersten Alben mit dem Titel „The Vision, the Sword and the Pyre, Part 1 & 2“, auf denen sich diverse illustre Künstler (u.a. Alice Merton) auf der Gästeliste befinden, wurden nicht nur durchweg positiv rezensiert, und erreichten hohe Chartsplatzierungen, sondern fanden auch aufgrund ihrer auf profunden Kenntnissen basierenden Umsetzung in allen historischen Details auf kultureller Ebene viel Beachtung.


Mit „Echoes from the Past” legt nun der Autor nochmal nach, und lässt den durch die Handlung der ersten beiden Alben führenden Protagonisten und Waffengefährten von Jeanne d´Arc, Jean de Metz, die aufwühlenden Ereignisse der Vergangenheit auf sehr emotionale Weise reflektieren.


Musikalisch entstand dadurch ein Werk, bei dem sich sensible und atmosphärische Passagen mit gewaltigen, dramaturgisch geprägten Klangwogen abwechseln, die den ELOY-Fan sicherlich an frühere Konzept-Werke der Band erinnern werden.


Diese Melange ist aber gemäß Frank Bornemann, der sich bei dieser Produktion erneut mit Veränderungen im Line up konfrontiert sah, voll beabsichtigt. Obwohl es sich bzgl. seiner musikalischen Elemente bestens in die Trilogie integriert, ließ es bei seiner Entstehung offensichtlich doch viel Spielraum für künstlerische Momente, die man nicht erwartet, aber die sich außerordentlich prägend für das Album auswirken, welches wieder einmal einzigartig ist.

Das nunmehr 20. Studioalbum der erfolgreichsten deutschen Art- & Progressive Rockband ELOY. Es ist zugleich das 3. Album einer einzigartigen, vom Band- Mastermind Frank Bornemann als Rock Opera gestalteten Trilogie über das Leben und Schicksal der französischen Nationalheldin und Heiligen Jeanne d´Arc.
Bereits die beiden ersten Alben mit dem Titel „The Vision, the Sword and the Pyre, Part 1 & 2“, auf denen sich diverse illustre Künstler (u.a. Alice Merton) auf der Gästeliste befinden, wurden nicht nur durchweg positiv rezensiert, und erreichten hohe Chartsplatzierungen, sondern fanden auch aufgrund ihrer auf profunden Kenntnissen basierenden Umsetzung in allen historischen Details auf kultureller Ebene viel Beachtung.


Mit „Echoes from the Past” legt nun der Autor nochmal nach, und lässt den durch die Handlung der ersten beiden Alben führenden Protagonisten und Waffengefährten von Jeanne d´Arc, Jean de Metz, die aufwühlenden Ereignisse der Vergangenheit auf sehr emotionale Weise reflektieren.


Musikalisch entstand dadurch ein Werk, bei dem sich sensible und atmosphärische Passagen mit gewaltigen, dramaturgisch geprägten Klangwogen abwechseln, die den ELOY-Fan sicherlich an frühere Konzept-Werke der Band erinnern werden.


Diese Melange ist aber gemäß Frank Bornemann, der sich bei dieser Produktion erneut mit Veränderungen im Line up konfrontiert sah, voll beabsichtigt. Obwohl es sich bzgl. seiner musikalischen Elemente bestens in die Trilogie integriert, ließ es bei seiner Entstehung offensichtlich doch viel Spielraum für künstlerische Momente, die man nicht erwartet, aber die sich außerordentlich prägend für das Album auswirken, welches wieder einmal einzigartig ist.

blue + red marbled vinyl
"Dog Eared"! Named as such as it marks a turning point in my productions and releases. Made while moving from Bristol back to London this as a theme pops up throughout the EP.

"Ithaca Vox" is the name of my first ever favourite preset - a CMI-inspired pad from GarageBand which I've been using since I was 11 but never on a release. The track also samples the screeching of Victoria line on my way back from nights out.

"Bubble Trouble" caused many headaches to finish hence the addition of the word "Trouble". The track pops, floats and bursts into the space between simplistic cartoon sound sources and excessively over the top sound design and production.

"Dive" dives further into these production ideas swapping tight space tiny bubbles for wide grinning resonance. The twisting track cuts these resonances leaving a large valley of missing frequencies that gets suddenly filled by an unrelentingly simple bell centring the listeners balance.

"From Window to Wall" gives a not so subtle nod to one of my favourite excessive chart hits as well as a further nod to the source of some of the track samples (see if you spot them).

"Calpohol" is the first collaboration Ive released (another reason to Dog Ear this release). Made from an afternoon of recording with Delay Grounds on his custom Eurorack the track was shaped by us over the weeks that followed.

Some info on the background for the upcoming album, "Police Deranged For Orchestra"."Copeland explains that the “derangement” of The Police’s music “began as the score for a movie I made out of Super8 footage of the band that I had shot during our rise to glory. Film puts capricious demands on music, so I had to carve up the songs to serve the scenes in the movie, and once the scalpel was out, a whole new frenzy of inspiration from Police music began.” He shares that “delving into the multi-tracks of our original recordings and live performances revealed lost guitar solos, bass lines, and vocal improvisations that were just too cool to leave in obscurity... this discovery is what brings us to this performance: Sting’s songs, Andy’s inventions, and my impunity; all on the page for a wild ride with orchestra and unique musicians from around the world to adapt some of the most loved The Police hits for old and new audiences alike.