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Ein kammermusikalisches Cool-Jazz-Juwel aus dem Jahr 1955 von einer der letzten bedeutenden Bands
des West Coast Jazz. Auf dem Album stellte der Schlagzeuger und Bandleader Chico Hamilton ein neues
Quintett in der damals ungewöhnlichen Besetzung mit Saxofon, Gitarre, Cello und Bass vor. Mit seinem
einzigartigen Klang und seinen nuancierten, einfallsreichen Arrangements errang das Ensemble, das in der
derselben Konstellation noch zwei weitere Alben einspielte, schnell beträchtliche Popularität.

In South London members Alan Lancaster (bass) and Francis Rossi (guitar) were the original members and founders of Status Quo. _x000d__x000a_Formerly known as The Spectres and later renamed to Traffic or Traffic Jam they settled for Status Quo as their band name in 1967. _x000d__x000a_The following years they were joined by John Coghlan (drums), Roy Lynes (keyboard) and Rick Parfitt (guitar)._x000d__x000a_Status Quo’s first hit record "Pictures of Matchstick Men" was released in 1968 .The single reached #7 in the UK, and remains the band's only major hit single in the US, where it reached #12. Their debut Picturesque Matchstickable Messages from the Status Quo soon followed. It features several covers, including "Green Tambourine" by The Lemon Pipers and "Spicks and Specks” by The Bee Gees. _x000d__x000a_Another highlight from the album is their second single, "Ice in the Sun." Even if this is not the most representative album from Status Quo, it is a good psychedelic pop exercise ._x000d__x000a__x000d__x000a_Picturesque Matchstickable Messages from the Status Quo is now available as a numbered limited edition of 1000 copies on turquoise coloured vinyl_x0009_

Originally out as a free Net-7inch on Jahtari in 2008 to pay respects at the shrine of arcade machine fighting games, these undying hiphop-infused martial arts Dubs by disrupt are finally reaching their intended destination: white blood-splattered 7inch vinyl (attention: not actual blood!).

"Samurai Showdown" (which eventually became Solo Banton's classic "Kung Fu Master", from his Music Addict EP in 2010) is taking place at sunrise, of course, when two master swordsmen are matching blades in a battle to the death. Can the wave-cutting technique of the Jahtari-school prevail?

The B-side is the meditation after the battle, mentally re-creating the epic struggle move by move and in slow motion...
So draw your Katana and prepare for beats as sharp as a battle sword, deadly moves of Ninja swiftness and basslines coming straight from the six paths of hell.

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

Los Angeles trio Faetooth sophomore album Labyrinthine is a deeply felt exploration of emotional weight: grief, memory, uncertainty, and the quiet work of growing around your own wounds. Following the band's 2022 debut Remnants of the Vessel, which introduced the band’s signature blend of heaviness and mysticism, Labyrinthine pushes further inward. True to its name, the album winds through a maze of feeling and form, where meaning is never handed over easily. It’s rooted in self-discovery through disorientation, the idea that understanding comes not from escape, but from getting lost. Ari May (guitars and vocals), Jenna Garcia (bass and vocals), and Rah Kanan (drums) manage to stay grounded in the immediate in parallel with fantasy themes of the band's namesake. Labyrinthine holds space for this contradiction; tenderness and intensity, restraint and release. The band's self-branded “fairy doom” sound fits between shoegaze, doom, and grunge. It isn’t just texture; it’s a framework for navigating the unsaid. Like the myth that inspired its title, Labyrinthine doesn’t end in victory, but in confrontation—not with escape, but with the Minotaur. Only here, the Minotaur isn’t a monster. It’s something quiet and more familiar: unresolved feelings, old memories, and sadness that refuse to stay buried. The album winds like a maze, sometimes heavy, sometimes hushed, always intentional. Faetooth isn’t chasing catharsis. They’re creating space to reflect, to feel, and maybe to get a little lost along the way.
Artist quote: "White Noise" emerged from a diary entry, and is a relentless and intense reflection on inner turmoil. We’re often drawn to the familiar, even when we don’t realize we’re reaching out for it. It is an emotional upheaval, carrying harsh truths that weigh heavily on the heart. Guitarist, Ari May mentions, “Performing the song always takes me back to a specific place, even if just for a moment.”
“Riffs and melodies brimming with loneliness and longing… this band’s incantations affect my mood the whole day after listening.” — The Sleeping Shaman
“Bringing otherworldly hazy doom goodness… dreamy clean vocals, echoing harsh vocals, entrancing riffs, meditative shoegaze melodies.” — Nine Circles
“Slow, lumbering behemoths of great weight… couched in a melancholy atmosphere and explosions of crushing heaviness.” - Where Strides The Behemoth

The album introduced a lush, complex dream world that the singer, composer, and producer created and inhabited largely on her own. She produced all the songs, and wrote and performed everything on the self-released collection outside of a re-imagined cover of Pink Floyd’s “Green is the Colour” and 2 other tracks (“The Time,” “Give It Back To You”), which started as instrumentals written by Survive’s Kyle Dixon (who composed the Stranger Things soundtrack with his bandmate Michael Stein), to which Ainsworth wrote melodies and added lyrics. Ainsworth, who’s relocated to Los Angeles from Toronto since 2017’s Darling of the Afterglow, explains that the collection revealed itself to her “as a play taking place in Mother Nature’s vanishing home,” aka Phantom Forest, and that she’s singing from 3 perspectives: herself, Mother Nature, and Greek Chorus. For instance, of the album’s opener, “Diamonds Cutting Diamonds,” she explains: “The Greek Chorus sets the scene, narrating and offering direction on how to enter Phantom Forest. It’s my hope that the listener will imagine the narration to be directed to them as well, as they begin the journey of the album.” You’ll get a sense of this from the collection’s edenic cover art and the playful, pastoral video for the album’s first single, “Can You Find Her Place.” Its inspiration came from Ainsworth’s love for Italian Renaissance painter Botticelli’s 15-century masterpiece “Primavera,” an allegorical representation of the burgeoning fertility of the earth in spring. She notes: “The video features the Greek gods of the painting in a choreographed Baroque style dance.” Keeping with the personal feel of the collection, her sister Abby Ainsworth directed the clip. In line with the classical and historical depths of Phantom Forest, Ainsworth, who holds a Masters Degree in film scoring composition from NYU and studied composition as an undergrad at McGill, notes that although the album might be considered pop, she approached it as an orchestrator. “Even if I’m dealing purely with synths,” she says, “The songs are like a score, each one an evolving journey. I love to use strings so I’ve included my string arrangements on ‘Tell Me I Exist’ and ‘Can You Find Her Place.’ I recorded live musicians on drums, bass, and guitar on ‘Edge of the Throne,’ ‘The Time,’ and ‘Floating Dream,’ and wove those live elements into my programmed elements.” Phantom Forest is a beautiful, vast collection that mixes the historical and the hands on, with hooks about the apocalypse and people obsessively using face-recognition software to see what paintings their face match with, in search of some kind of connection. It’s a journey that holds up to close listening (and lyric reading) and to dance floors, but that can also exist on a purely emotional plane. In all cases, it asks that you listen, and take some kind of action.

Leon Michels ist still und leise zu einem der gefragtesten Produzenten der Musikszene geworden. Sein unverwechselbarer Sound hat die Aufmerksamkeit des Mainstreams auf sich gezogen und inspiriert gleichzeitig weiterhin die Underground-Szene. Seit dem 2023 erschienenen Album Glorious Game von El Michels Affair & Black Thought war Michels als Produzent für andere Künstler aktiv - darunter Norah Jones' Grammy-prämiertes Visions, Clairos Grammy-nominiertes Charm, Kali Uchis' ,Moonlight" sowie Alben für seine Labelkollegen Brainstory, Derya Yildirim & Grup Simsek, Thee Heart Tones und Liam Bailey. Sein neues Album 24 Hr Sports markiert die langersehnte Rückkehr unter seinem eigenen Namen: El Michels Affair.24 Hr Sports wurde inspiriert von Mode und Grafikdesign der Sports-Illustrated-Magazine der 80er- und 90er-Jahre, MF DOOMs Special Herbs-Alben, den dort verwendeten Sample-Quellen und Gospelmusik à la Pastor T.L. Barrett. Die Summe dieser Einflüsse, gepaart mit Michels' unfehlbarem kreativen Gespür, ergibt ein Rezept für einen Instant-Klassiker - ein Werk, das zweifellos zu den meistgefeierten Veröffentlichungen des Jahres 2025 zählen wird.Der Album-Opener ,Drum Line" ist ein hymnischer, mitreißender Track mit Marschband-Schlagzeug und donnernden Bläserarrangements, die sofort alle Aufmerksamkeit auf sich ziehen und den Ton für das folgende Album setzen. 24 Hr Sports bedeutet eine deutliche Abkehr von der bisher überwiegend instrumentalen Musik im Katalog von El Michels Affair. Mit einer Vielzahl von Gesangsfeatures spiegelt das Album das schwer einzuordnende Genre seiner Musik wider.Das erste dieser Features ist ,Mágica" mit dem brasilianischen Künstler Rogê, der die ohnehin energiegeladene Nummer mit seinen fußballinspirierten Lyrics auf ein neues Level hebt. Weiter geht es von Brasilien nach Ghana: In ,Say Goodbye" feiert Florence Adooni ihre Individualität mit lässigem Selbstbewusstsein und wechselt mühelos zwischen Frafra und Englisch, besonders eingängig im Refrain: ,never gonna find a girl like me_".Labelkollege und weltbekannter Trompeter von The Roots, Dave Guy, veredelt den 70er-Jahre-Groove von ,Oakley's Car Wash" mit seinen charakteristischen Bläserlinien, bevor der Track in ein Dub-artiges Outro übergeht. Vom wilden zum sanften Klang: ,Anticipate" mit Clairo knüpft an die musikalische Chemie an, die das 2024er-Album Charm hervorgebracht hat. Clairo gleitet über die typischen EMA-Arrangements, während sie sich nach unerreichbarer Liebe sehnt - getragen von einer perfekt eingespielten Band.,Eastside" ist ein Stück, das einen Sonnenaufgang am Meer vertonen könnte - Leon Michels' Sinn für Raum und Arrangement wird hier besonders deutlich. Aus Japan ist der Suginami Children's Choir auf dem üppigen Track ,Clean The Line" zu hören - sie singen ein Lied über den Mond, die Sonne und Vögel. Danach reißt ,Cortex" mit verzerrten Gitarren und donnernden Drums die Tür auf - ein Moment purer, filmreifer Intensität in der Mitte des Albums.Leon Michels übernimmt selbst den Lead-Gesang auf ,Shining", einem Song über die Suche nach einem Freund, mit dem man die Freude eines sonnigen Tages teilen kann. Der international gefeierte Shintaro Sakamoto ist auf ,Indifference" zu hören - ein lässiger Song mit federnden Basslinien und gefühlvollen Flöten, in dem Sakamoto zwischen Gesang und gesprochener Poesie über eine vergängliche Liebe reflektiert.Das Grammy-prämierte Duo Norah Jones und Michels kommt auf ,Carry Me Away" erneut zusammen: Jones' honigsüße Stimme schwebt über einem schwer einzuordnenden, aber sofort liebenswerten Track. Michels lehnt sich hier wieder mehr in Richtung El Michels Affair-Stil, der sich klar von seinen bisherigen Produktionen für Norah Jones abhebt. ,Take My Hand" stellt den Gospel-Einfluss in den Vordergrund - mit dem Fabulous Rainbow Singers Choir im Refrain und einem Saxophon-Solo der verstorbenen Jazzlegende Rahsaan Roland Kirk.,Open Season", ein Piano-getriebener Midtempo-Track mit Gruppenrufen wie ,we want the gold, we want the gold_", könnte den perfekten Soundtrack für eine Slow-Motion-Highlight-Reel liefern. Der treffend betitelte Albumabschluss ,Victory Lap" schließlich ist ein traumhafter, euphorischer Ausklang, der dem gesamten Werk würdig ist.Am Ende spricht die Trophäe auf dem Albumcover Bände: El Michels Affair ist Champion Sound - und 24 Hr Sports macht das unmissverständlich klar.

Andre Zimmer Unveils 'Saved My Life EP' on his “Big Trouble Records” imprint.

The EP features four original tracks each showcasing Zimmer's unique influence of 90’s house and rave.

"Saved My Life" EP captures the vibrant and euphoric essence of '90s rave culture, seamlessly blending progressive energy with classic elements like pianos, robust basslines, and uplifting synthesizers. Utilizing Korg analog synthesizers, Zimmer crafts a contemporary fusion of tech house, trance, and progressive house, resulting in a cohesive and fluid collection of tracks.

"Back in print with a brand new 2024 cut by Carl Saff at Saff Mastering, pressed on striking Transparent GOLD colored vinyl and topped off with a collectible “Footlong” OBI. NPR calls “Angherr Shisspa” a “vital reissue of a punk-prog opus”.

Japan's Koenjihyakkei blend progressive rock, jazz fusion, symphonic rock and neoclassicism with the energy of hardcore punk, the volume of metal and the attitude of rock in opposition.

Tatsuya Yoshida’s (of the renowned bass and drum duo RUINS), progressive rock powerhouse is Area and ELP at their most excessive; Deus Ex Machina with tempo changes multiplied by 100; and Magma at their orff-ian choral, fusion jazz, overcharged gospel peak.

“Angherr Shisspa”, the band’s landmark fourth album explodes with glittery keyboard lines, speedy bass/drum workouts, emotive reed respites, and operatic female vocals that take the listener from sheer exuberance to absolute apocalypse... all performed with superhuman technique in confoundingly catchy, complex arrangements.

“...towers over most modern progressive rock because of an attention to detail and an almost overwhelming force of conviction. No irony here: this rocks with the teeth and heart to cut through scenes and the ""overground"" like a knife."" - PITCHFORK"

Rivet’s new album for Editions Mego is an uplifting and joyous affair coming in the wake of tragedy and disenchantment. It is yet another rebirth from an artist willing to take a step back and reprise the current situation he is in. Mika Hallbäck has a long credible history in the Swedish underground. First recognised for his industrial techno works under the Grovskopa moniker he worked privately on more experimental works that eventually came out as On Feather and Wire, an album released on Editions Mego in 2020. After much acclaim for this bold new direction that blended electronic abstraction, pop and industrial forms into a heavy synthetic trip two tragedies struck. One was the passing of label boss Peter Rehberg and then the passing of his dog Lilo, who was as close as a companion one could have. These events led to the release of the more unsettling follow up L+P-2 (Lilo and Pita minus two) on Midnight Shift Records in 2023. Peck Glamour sees Rivet return to the reawakened Editions Mego with an album of optimism inspired by reconciliation with loss and further explorations of new mental/sonic realms.

Hallbäck defines his approach as not being married to any particular machine, instrument, process or genre. However he holds a particular affinity to sampling, of which, he says, provides the dirt and grit amongst what would otherwise be pristine, generic machine music. The contemporary crate digging method of scouring obscure download music bogs for unique sounds was his preferred research practice.

Peck Glamour is an album full of tracks brimming with the excitement of exploration. It's the results of a mind informed by punk, industrial, techno, dancefloor, disappointment, trauma and rebirth. Here the synthetic and authentic is viewed simply as the same means of human rationale and expression.

The opening, ‘Catch Up to Light’, sets the scene with ecstatic and odd fluorescent vocals sliding amongst crystalline likembe whilst synths swirl amongst the external festivities. ‘Orbiting Empty Cocoon’ is somewhat a homage to the alien sound worlds of The Orb, one which takes the listener deeper into a mind melting array of teased potential as visual elements are executed in a mask of audio wizardry and euphoric staccato rhythms, the later being a nod to Singeli music. ‘Patitur Butcher’ is more dance frontal utilising the Ghatam drum and a YouTube rip of a Chinese language lesson. ‘Plastic Bag Putain’ was made during the beginning of Russia's invasion of Ukraine and should be clear of its intent. ‘All that Heaven Allows’ is a marimba cover of an imaginary Love Parade anthem. 'Kyrie Geire’ potentially briefly fills the void left by the demise of Coil. The entire trip of Peck Glamour is sewn up with ‘We left before we came’ whereby extraneous recordings of double bass player Gregory Vartian-Foss (tuning/strumming/moving the bass) are superimposed with local field recordings to create a gorgeous bed of sounds acting as an exciting exit music to this sharp collection of cinematic ear excursions.

* 180 gram audiophile vinyl
* Includes insert
* Guest performances from Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx and Mick Mars (both of Mötley Crüe) and many more
* Featuring the hit-singles "Hey Stoopid" and "Love's a Loaded Gun"

Hey Stoopid Is The 19th Studio Album By Rock Singer Alice Cooper, Released In 1991. After His Smash 1989 Hit Album Trash (movlp1862), Cooper Continues His Success With This Follow-up Album, Which Features Guest Performances From Slash, Ozzy Osbourne, Vinnie Moore, Joe Satriani, Steve Vai, Nikki Sixx And Mick Mars (both Of Mötley Crüe).

Hey Stoopid Was The Last Music Album To Feature Bassist Hugh Mcdonald Before He Joined Bon Jovi As Their Bassist In 1995.

The Song "feed My Frankenstein" Features Famed Guitar Duo Steve Vai And Joe Satriani Playing Together, Accompanied By Nikki Sixx On Bass. In 2014, "dangerous Tonight" Was Featured In The Video Game Watch Dogs.

Obsolete is the third studio album by American industrial metal band Fear Factory, released in 1998. It was produced by Fear Factory, Greg Reely and Rhys Fulber, the latter of whom wrote, arranged and performed all of the album's keyboard parts, and this was the band's first full album to feature bassist Christian Olde Wolbers.

Musically, the album saw Fear Factory experiment with their sound and it was the band's first fully fledged concept album. Obsolete revolves around a story penned by vocalist Burton C. Bell, "Conception 5", set in the year 2076 where machines have taken over mankind.

Obsolete would break Fear Factory into the mainstream and remains their highest selling album.

Obsolete is available as a limited numbered edition of 3000 copies on crystal clear & black marbled vinyl and contains a 4 page booklet

2019 Repress !

Featuring Sim Simmer on the A Side in a cheesy electek track - "Get a little fizzee"/ On the B "The vinyl tune" - a message of hope for all you vinyl headz out there and "sounds of the intergalactic undeground" a space bass number which actually includes samples from real live aliens!!!!

Collecting Orders for 2025 Repress

Takafumi Noda aka Mystica Tribe and Legowelt with their second Noda & Wolfers album on Nightwind Records

Once more, Japanese digital dub legend Takafumi Noda, aka Mystica Tribe, and Dutch synth wizard Danny Wolfers aka Legowelt reunite for their highly anticipated second album under the Noda & Wolfers project on Nightwind Records. EVIL FADES IN ECHO offers a unique concoction of digital dub, raw lo-fi electro and acid hall influences, creating a deviant captivating sound. Wild untamed synths clash with raw sloppy rhythm boxes. Seductive spring reverbs dissolve into clouds of space echo. Heavy intense bass crumbles on decaying fuzzy tapes while Noda's haunting melodica melodies elevate this LP to new heights!

Pascal Garnier aka Krewcial is back on Local Talk, this time with a raw 4-track 12" EP dripping with that deep basement, 90's New Jersey House sound we all love.

Combining all four tracks, you'll hear the Kerri Chandler inspiration shining strong throughout the EP.
All the key references are there, bumping (not pumping) 4/4 beats, killer basslines, dark chords, deep strings, and a big slice of electronic funk

Music for basements and house dancers!

Animalia's natural evolution into new regions & sounds comes with the introduction of Sub Basics to the label. For the first iteration in a new series of releases by the London based artist, Sub Basics brings his signature blend of minimal UK bass, with prismatic percussion loops & spaced out, psychedelic grooves, meeting a tech-house adjacent score that underpins the release. Immersive yet functional, the release is versatile by nature, timely and fitting for both the autumnal shift in the southern hemisphere, and the welcoming of spring in Australia.

A multidisciplinary artist, and avant-garde icon in her own right, Little Annie leaves little room for an introduction that is worthy of her prolific career. She has remained relevant for over four decades through her innate spirit of experimentation and the multiplicity of her genre-bending collaborations with artists traversing the globe such as Adrian Sherwood, Swans, The Wolfgang Press, Kid Congo, Current 93—the list goes on!

For this release, Noir Age is proud to present a 7” single of new material from Little Annie in collaboration with South Florida-based producer and label owner Richard Vergez, recording here under the moniker of Night Foundation. Annie and Richard met back in 2016 after a gig at the ICA in Miami through their mutual friend: Drew McDowall of Coil.

Sharing a requited spirit for visual art and music, they became fast friends and began collaborating, conjuring what you hear on this release: Inertia.

Edition of 300 records, each housed in a silkscreened, custom black 7" envelope jacket with newsprint insert.

Reviewed in The Wire magazine:

"Night Foundation is one of the current electronic projects envisioned by Florida's Richard Vergez. In this instance, his work is smooth and bassoid enough to have a vague dancefloor-friendly feel without being overtly prancy. This notion is enhanced by the presence of a dub B side, so things are not as dark as with most of Verge's projects. But they're still not sunny. Of course, Little Annie's lyrics and casual vocals have more in common with urban menace than sunshine pop, so the pairing works quite well."

Marja Ahti is a Swedish artist living in Turku, Finland. She works with found sounds, objects and electronics, creating auditory assemblages that reveal a profound sensitivity to sound’s tactile potential. This new record sees her palette expand to include more recognisable acoustic instrumentation, albeit working in collaboration with musicians who are already reconfiguring how those instruments can sound.

Touch This Fragrant Surface of Earth has its roots in a tape piece presented at Lampo in Chicago. Ahti then started working with Isak Hedtjärn (clarinet), Ryan Packard (percussion) and My Hellgren (cello) at the electronic music studios (EMS) in Stockholm. Incorporating recordings from those sessions, Ahti presented a new iteration of the work at the Seventh Edition Festival for Other Music in February 2024 with the trio performing live on stage whilst Ahti helmed the mixing desk, spatialising a specially made tape part through the INA GRM’s Acousmonium speaker orchestra. The piece has since gone through several further iterations before arriving at the version we have here on the LP's B-side where immense bass pressure and high frequency tones buffer restless amplified breath and scrape that folds over itself with extraordinary dynamics and subterranean activity before giving way to gorgeous resonant forms and passages of ritual purpose and sheer, unmistakeable beauty.

The A-side is Touch This Fragrant Surface of Earth’s gentle double. Still Life with Poppies, Mirror and Two Clouds offers a companion reconfiguration of Ahti’s resynthesised percussion sustain and the same recordings of Hedtjärn and Hellgren from EMS, but here they’re nestled in a sonic landscape of calm and restraint that gives them a wholly other character. Ahti also draws on older recordings she’d made of Sholto Dobie’s diy pipe organs and uses these to create repeating patterns and flourishes of sliding pitches that emerge unexpected out of cycling passages of Ahti’s clear struck metal, destabilising electronic interventions and minimal piano figures.

Marja Ahti: “I’ve been fascinated with the kind of elemental quality the sounds I'm using have such as airy sounds or earthy, wooden sounds. These qualities can also be found in wind instruments and percussion and the musicians I worked with on Touch This Fragrant Surface of Earth are really good at enhancing these qualities in their playing. I wanted to have this connection between found sounds, field recordings, or pre-recorded sounds, objects, and material, and see where these sounds might meet each other, and hopefully blend is a natural way without a divide between instrumental music, or acoustic music, or electronic music. But also, when you bring in people they come with their personalities and their ideas which is also energizing and brings surprising things into the collaboration that I couldn't come up with myself. I was really interested in making this a proper collaboration and not just coming up with the piece and giving it to them. We had the sessions at EMS where we could share ideas and Isak, Ryan and My could bring in their own ideas. Making recordings there gave me time to process these ideas and to also approach them in the same way that I would work with any other sound.”

Here we go with the 3rd vinyl release of Wicked Records.

Available in green and black vinyl

New Digital Fidelity steps up with his ‘For The People’ EP on Four Framed Music this september, delivering four standout original cuts that showcase his deep, groove-driven signature sound.

Paolo Aniello aka New Digital Fidelity is a London-based producer and DJ originally from Bari, Italy. Deeply rooted in deep and Detroit house, he made his vinyl debut in 2011 as Peter JD and later co-founded a Detroit techno label with Nico Lahs. Since launching NDF in 2017, he’s released on Snuff Trax, Moods & Grooves, and more, collaborating with artists like Chez Damier, Fred P, and Byron the Aquarius. His music has been featured on HÖR, Balamii, Rinse FM, and NTS. In 2023, he founded Scopic Records, home to his latest EPs and remixes for legends like Hanna.

With For The People, New Digital Fidelity delivers a timeless EP packed with soulful house grooves and club-driven energy. The A-side opens with Believe It, an uplifting house track full of character, driven by a snappy groove and a powerful vocal sample that pulls you straight into the vibe. A soulful statement that sets the tone from the get-go. Next up is In Love With You, a deep and sultry roller where a sensual vocal meets delicate melodic layers. This one breathes emotion and late-night intimacy, perfect for the more introspective moments in a set.

On the B-side, the EP shifts clearly into more club-focused territory. Move Your Body is a straight-up floorfiller with crisp percussion, a hypnotic bassline, and a stripped-back vocal hook that sticks with you. Finally, Step Up closes the record with punch and attitude, a raw groove laced with jackin’ energy, making it the perfect tool for peak-time or late-night sessions.

Bassist Pino Palladino hat als gefragter Studiomusiker mit vielen Giganten gespielt, darunter Elton John,
Tears for Fears, David Gilmour, D’Angelo und Adele. Sein Jazz-Talent spielte er mit Manu Katché, Dominic
Miller u.a. aus. 2021 erschien auf Impulse! Records „Notes with Attachments“, seine erste gemeinsame
Produktion mit dem Gitarristen und Multiinstrumentalisten Blake Mills.
Beider Mischung aus Jazz, minimalistischem Funk, Indie Rock und subtilen Melodien kam bei Hörern
und Kritikern an und wurde sogar mit Joni Mitchell’s “Hejira” und Miles Davis’ “Bitches Brew” verglichen.
Jetzt kehren Palladino und Mills mit ihrem zweiten gemeinsamen Album auf Impulse! Records zurück, das
ihren ganz eigenen Sound fortführt und weiterentwickelt.

Ruben Rada played a pivotal role in the development of Uruguayan music. By blending Afro-Uruguayan traditions with rock, soul, jazz, and funk, he paved a new musical path that began in the 1960s and continues to evolve today. Throughout his career, he has consistently been surrounded by talented musicians who have been integral to his sound. This was especially true with Daniel "Lobito" Lagarde, bassist and founding member of the iconic band Totem in the early 1970s; Ricardo Nolé, keyboardist, arranger, and musical director of Rada's band in Argentina during the 1980s; and Nelson Cedréz, the drummer who has been by Rada's side since the 1990s. In 2016, these three musicians reunited to form Rada's Old Boys, releasing an album of jazz-infused reinterpretations of Rada's songs that earned rave reviews. Now, they return with Manos, a bold new album that reimagines Rada's works from every phase of his career, featuring deeply personal renditions and a special guest appearance from Rada himself on one track.

After seven years away, Detroit's supergroup 3 Chairs aka Kenny Dixon Jr., Marcellus Pittman, Rick Wilhite and Theo Parrish, returned in 2013 with 'Demigods', a superb EP that now gets repressed. Known for their loose, free-flowing jam style, the collective blended their distinct individual influences into four unique tracks. The title cut delivers raw, dynamic acid, 'Elephant Ankles' radiates Parrish's jazzy, polyrhythmic soul, '6 Mile' channels Moodymann's mechanical edge with playful bass and 'Celestial Contact' drifts into minimalist, atmospheric territory. The release captures the crew's spirit of freedom and experimentation and proves this cult outfit can craft music that's as fun to make as it is to hear. It's the sound of four producers at ease yet still pushing new creative edges.

15th anniversary of Ozzy Osbourne’s 2007 album 'Black Rain'. Available for the first time as a stanalone LP (the record was previously only available on vinyl as part of the 'See You On The Other Side' boxset), pressed on standard black vinyl. This was Osbourne's 10th studio album and featured guitar player Zakk Wylde, drummer Mike Bordin and bass player Rob Nicholson. Promo/marketing activity.

Das neue Album von HENGE aus Manchester liefert einen Sound, der einen Raum irgendwo zwischen Rave und Prog-Rock einnimmt, von dem niemand wusste, dass er existiert - mit Robotergesang, donnernden Trommeln, Hyperdrive-Bass, roher Gitarre und schwebenden Synths, die sich zu einem euphorischen Soundtrack für einen Weltraumstart vereinen. Während die 2CD im ausgefallenen Gatefold die Tracklist mit zwei verschiedenen Enden präsentiert, lässt sich die B-Seite des limitierten Ecomix-Vinyls auf zwei unterschiedlichen Rillen abspielen, die die beiden unterschiedlichen Enden enthalten. Ausserplanetarisch!

"Reflection Code" is an EP that delves into the multifaceted aspects of human reflection through a collection of immersive musical compositions, each inviting the listener on a unique sonic journey.

The Practice of Desire — A deep techno track featuring enveloping pads and modulating metallic cosmic sounds, reminiscent of heavy matter from outer space. Accompanied by a lecture from Gangaji, this track adds an extra layer of depth and meaning to the musical experience.

Port Del Compte — Inspired by memories of Spain's stunning landscapes and a performance at the Parallel festival, this track transports the listener to picturesque settings, filling their heart with joy and harmony.

Bad Trigger — This track offers a profound reflection on life events, utilizing an expressive electronic soundscape with a compelling bass line at 144 bpm. It creates an atmosphere conducive to introspection and self-discovery.

Green Frequency — A shamanic sequence infused with forest vibes and the calls of an electronic bird. This composition immerses the listener in nature, evoking a sense of unity with the surrounding environment and the inner self.

"Reflection Code" invites listeners to explore their inner reflections and connect with each composition on a profound level, creating a unique auditory landscape that lingers long after the music ends.

Toki Fuko music can be described as mechanical signals are structured in a hypnotic substance. Their constant musical experimentation actor perceives as an analysis of the surrounding world.

Crafted for the depths of the club, the album pulses with raw analog energy - warm, gritty, and immersive. Each track is designed to resonate through concrete walls, blurring time and space, guiding listeners through dark corners and waves of bass.
But Lost Echoes goes beyond the dancefloor. It's a journey into the invisible - a sonic excavation of forgotten memories and buried emotions. Some echoes are loud and shaping, others faint whispers lost in the flow of time. This album revives them, layer by layer, melody by melody.
A deeply personal and physical experience, Lost Echoes invites you to dive into sound, movement, and memory - to lose yourself and perhaps find something long forgotten.

Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers. For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy.

The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail.

The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP. This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music.

Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.Miles Davis' Final Collaboration with Arranger Gil Evans Yields Watershed Innovations: Flamenco-Themed Sketches of Spain Spins Graceful Webs of Sound and Emotion Mobile Fidelity's UltraDisc One-Step 180g 33RPM LP Set Brings Out the Record's Full Spectrum of Color: 65th Anniversary Edition Pressed at Fidelity Record Pressing and Strictly Limited to 5,000 Numbered Copies 1/4" / 15 IPS analogue master to DSD 64 to analogue console to lathe Miles Davis and Gil Evans bridged styles and collaborated on high-concept projects three different times during their celebrated careers.

For their final act, they created Sketches of Spain, a peak moment in each luminary's legacy. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' lyrical methods in a tender ceremony that resonates more than six decades after its original release. Part of Mobile Fidelity's Miles Davis restoration series, this 1960 landmark has been afforded the ultimate white-gloves treatment for its 65th anniversary. Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing, this UltraDisc One-Step 33RPM 180g LP set dramatically expands the soundstages and eradicates a dryness that many critics found inhibitive to the record's enjoyment. You can now hear the full-range responsiveness of the woodwinds, strings, and percussion, all of which come alive with superior definition and detail. The beautiful presentation of this UD1S set befits the record's historical importance. Housed in a deluxe slipcase, it features a special foil-stamped jacket and faithful-to-the-original graphics that illuminate the splendor of the 1960 LP.

This reissue is made for discerning listeners who desire to fully immerse themselves with the album. And who wouldn't want to go deep with Sketches of Spain? Whether it is the somber mood piece "Concierto de Aranjuez," renowned for Davis' flugelhorn performance, or the folktale-based "Solea," Sketches of Spain transfixes with playing, ideas, and innovations exclusive to this incomparable effort. It's one reason why Mobile Fidelity's engineers took all available measures to insert listeners into the space originally occupied by Davis, bassist Paul Chambers, drummer Jimmy Cobb, percussionist Elvin Jones, and an 18-piece orchestra. The results are as breathtaking as the music. Multi-note motifs, brief improvisational solos, fanfare sweeps, and contrapuntal exchanges inform flamenco-spiced pieces. Davis' famous Harmon-muted trumpet is complemented by an assortment of bassoons and French horns. Heard together, they create pleasing contrasts and sounds (pp, mf, ppp) that get to what resides at the heart of Sketches of Spain: color. Seldom, if ever, did Davis ever so expressively and liberally paint with color. And in Evans, he has a likewise-minded partner to help draw out tones, shades, layers, and textures. What they achieved continues to draw praise from the global music community in the 21st century. Ranked #358 on Rolling Stone's 500 Greatest Albums of All Time, deemed "a work of unparalleled grace and lyricism" by noted scribe J.D. Considine, bestowed a five-star review from DownBeat, and noted by Q to have taken "jazz in a new direction," the Grammy Award-winning effort has never been better.

Suburban Architecture are pleased to announce the sixth instalment in their 'Architecture Dubs' series of limited edition 10" vinyl releases. While previous editions have seen some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material, this final release from the series sees the remix duties handled by the duo themselves.

Following on from the now sold out release of Architecture Dub #001 to #005 (featuring remixes from Peshay, Blame, Nookie, Ray Keith and 4Hero among others), edition #006 features a pair of VIP versions, previously only heard in Suburban Architecture DJ sets.

The A-Side features a rework of the track that started it all, 'Visions '96', the title cut from the duo's 2019 debut EP. The familiar pitched Rhodes pads, ominous vocals and intricately chopped Apache breaks of the original are all present, but new layers of atmospherics, tougher drum programming and a full, deep bass all serve to elevate the track in this 2025 rework.

On the flip, 'Future Jazz '95', originally featured on the duo's 2020 sophomore EP 'Alternative Futures', gets a musical rework. Maintaining much of the structure of the popular original, the original vocals and some of the drums remain while, Rhodes, Bass, Atmospherics and more are all replaced, delivering a cut which manages to feature largely new material while retaining the feel of the original.

Pressed on 10" vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK's dancefloors in the 90s.

This is where it all starts. Without any reminiscing about their former band Operation Ivy, Matt Freeman (bass) and Tim Armstrong (guitar/vocals) blast through their debut without any hints of ska or blatant Clash plagiarizing. On the contrary, this album rips through 15 tracks of high-energy punk that"s accompanied by heavy bass leads and Armstrong"s permanently slurred vocals. And to top it all off, the lyrical content deals with urban blight and the lifestyle of being a public nuisance. With this trademark sound, Rancid provides the perfect soundtrack for any car chase that includes massive property damage; is it a wonder MTV wouldn"t touch this? -Mike DaRonco

2024 Repress

The brilliant initial outing from Kerri Chandler on Large Music gets a re-issue and sounds just as fresh and influential as it did in 1995. Darker and more minimal than Kerri's output at the time on labels such as King Street and Freetown, this four track ep set the tone and sound of Large for most of the late 1990s. All four tracks feature the trademark Chandler bassline, jazzed-out trippy chords, and chopped up vocals. This is a timeless classic and a must have for any serious House vinyl connoisseur.

Pharoah “Farrell” Sanders was a leading figure in the world of jazz and his tenor saxophone playing earned him a legendary status among jazz circles.

This 2LP compilation Welcome To Love features the master saxophonist playing straight-up jazz ballads and includes the bonus track “Moonlight In Vermont”. Sanders is accompanied by William Henderson on piano, Stafford James on bass and Eccleston W. Wainwright on drums.

Welcome To Love is available as a limited edition of 1000 individually numbered copies on yellow coloured vinyl.

Die richtigen Songs, aneinandergereiht, geben eine belebte Vision unserer Umgebung, als ob frische Augen allein durch Rhythmus gewährt werden können, neue Formen für das verwitterte Drahtgerüst der Welt finden und die Schatten sehen, wie sie mit dem Licht des Tages tanzen. Animal Hospital, die neue LP der Chicagoer Art Punks Ganser, ist ein Monument der Beobachtung, ein Wälzer verirrter Gedanken, die aufgesammelt wurden, während sie sich durch eine Menschenmenge bewegten, die sich zu einer kollektiven Betrachtung der absurden Widersprüche von vorbeiziehenden Leben zusammenfügte. Animal Hospital ist das dynamischste Album von Ganser, das die Grenzen ihres Sounds in neue Bereiche ausdehnt und die elastischen Grenzen des Klangs testet. Der Kern der Band, Alicia Gaines, Sophie Sputnik und Brian Cundiff, bleiben unbeirrt treibenden Mustern treu; Schlagzeug, das mit exakten Beats auf das Herz schlägt, Puls, der von Bass und Gitarren beschleunigt wird, Synthies, die die Nerven beruhigen. Ein endloser Rhythmus unter Füßen, die sich im Takt auf einer Tanzfläche bewegen oder auf einem Bürgersteig. Was hier zusammengetragen wurde, ist eine Sammlung von Beobachtungen, Erinnerungen an die Minuten, die zu Tagen wurden, die damit verbracht wurden, zu beobachten, wie sich die Menschlichkeit in den Menschen verändert und in neue Richtungen dreht. Die Menschen haben ihre Streifen und Flecken gewechselt, oder vielleicht haben sie nur die Zeichen gezeigt, die sie schon immer hatten. Das Leben wurde auf Distanz gehalten. Die Masken wurden straff gezogen. Die Erforschung der surrealen Wahrheiten, die in unseren Herzen schlummern, hat etwas Tiefgründiges, dass das Traurige und Alltägliche so mühelos mit dem Absurden und dem Schönen spielen kann, um etwas Eindringliches, etwas Auffallendes zu schaffen, Lieder, die stechen und aufsteigen und gleichzeitig zum Tanzen auffordern. Aufgenommen in den Jamdek Studios von Doug Malone (mit zusätzliche Aufnahmen von Nick Broste bei Electrical Audio) und produziert in Partnerschaft mit dem langjährigen Verbündeten Angus Andrews (Liars) zwischen Januar und März 2025, ist Animal Hospital ein Meisterwerk von Gansers Handwerk. Songs, die ihr Leben als Notizen begannen, die bereits im Jahr 2020 gekritzelt wurden (mit Ausnahme von ,stripe", einem Demo, das 2021 überarbeitet wurde), wurden hier auf Band geschliffen und in Wachs gepresst. Ganser haben ihren Sound ausgebaut, Mauern errichtet, die sich zu neuen Höhen auftürmen, und Charlie Landsman und Dove Hollis haben sich auf dem Album zusammengetan, um das Fundament zu stützen. Die Zeit auf Tour mit Künstlern wie IDLES, Mclusky und Ted Leo, sowie Shows mit Amyl & The Sniffers, Bikini Kill, Viagra Boys und so vielen anderen haben das unauslöschliche Talent, das in allen Ecken von Gansers Arbeit lauert, nur noch mehr geschärft. Musik, die sich weigert zu glauben, dass irgendetwas wahr ist, dass stattdessen alle Dinge Kraft und Geheimnisse in ihren Schatten bergen, und dass wir nur dann die unausweichliche Schönheit aller widersprüchlichen Dinge verstehen können, wenn wir uns alle auf den Boden begeben und uns einen Sinn geben.

„Rivière Noire“ ist das erste Album von Reginald Omas Mamode IV auf dem Kölner Label Melting Pot Music und sein erstes Solo-Projekt seit 2022.
Reginald Omas Mamode IV ist ein anglo-mauritischer Sänger, Produzent und Multiinstrumentalist. Geboren und aufgewachsen in Großbritannien, pflegt er eine enge Verbindung zur afrikanischen Insel Mauritius, der Heimat seines Vaters. Seine musikalischen Wurzeln reichen von Süd-London bis zu den Maskarenen-Inseln (Réunion, Mauritius und Rodrigues), wo seine Familie einst an den legendären „Electric Sega“-Aufnahmen der 1970er beteiligt war. Musik liegt den Mamodes im Blut: Auch seine Brüder sind als Musiker aktiv.
Reginalds Stil vereint Elemente aus Golden Era Hip-Hop, Jazz, Soul, Afro, Funk sowie den traditionellen mauritischen Stilen Sega und Maloya. Man hört Einflüsse von J Dilla und D’Angelo, aber auch den Spirit von Sly Stone, Shuggie Otis oder Lee Perry. Mit vier Soloalben auf dem Londoner Label Five Easy Pieces sowie zahlreichen Kollaborationen gehört Reginald zu den prägenden Stimmen der britischen Beat- und Jazzszene. Seit 2012 wird er regelmäßig von BBC-Legende Gilles Peterson unterstützt, der seine Musik seither kontinuierlich spielt.
Gemeinsam mit seinen Brüdern Mo Kolours und Jeen Bassa sowie langjährigen Weggefährten wie Al Dobson Jr. und Tenderlonious zählt Reginald zu den Mitbegründern der 22a-Kooperative. Das US-Magazin The FADER beschrieb deren Sound einmal als „ein kaleidoskopisches Patchwork aus Hip-Hop-, House- und Groove-Explorationen – verbunden durch den zeitlosen Glauben an Rhythmus als universelle Sprache.“
„Rivière Noire“ markiert eine künstlerische Weiterentwicklung – fast schon eine Wiedergeburt. Zum ersten Mal verzichtet Reginald vollständig auf Samples. Stattdessen spielt er sämtliche Instrumente und Gesangsspuren selbst ein. In seinem bescheidenen Studio erschafft er organische Grooves aus Live-Drums, Drumcomputern, Perkussion, Gitarre, Fender Rhodes und Synthesizern.
Seine Musik ist Ausdruck einer tiefen Sehnsucht nach universeller Liebe und Mitgefühl. Sie reflektiert globale Herausforderungen ebenso wie persönliche Erfahrungen: wachsende Armut, politische Spannungen, ethnische Spaltungen – aber auch alltägliche Beobachtungen. „Rivière Noire“ ist Reginalds Aufruf an die Menschheit, sich ihrer Verbundenheit bewusst zu werden.

Cody Currie with a new EP! Jamiroquai in the studio with Masters at Work and Todd Terje and u got the vibe!

The London super soul talent did 5 more tracks for his label Toy Tonics. Being part of the Toy Tonics crew since day one almost.. he has been sharing studio, stages and free time with the Berlin label bunch for more than 5 years now. The new EP shows his talent as a musician who plays bass, guitar and keyboard on the highest level again as well his skills as a superb electronic producer. The new sound for the edgy dancefloor of 2025. It's not dancefloor tools, it's real music for dancers. Taste & quality.

The album C.Q. was originally released in 1968 by the Dutch Nederbeat band The Outsiders, featuring Wally Tax (vocals), Ronnie Splinter (guitar), Leendert "Buzz" Busch (drums), and Frank Beek (bass guitar)._x000d__x000a_The Outsiders, hailing from Amsterdam, were a key figure in the Dutch Nederbeat movement—a local interpretation of beat music inspired by the British Invasion. Though the album C.Q. initially struggled commercially, it has since gained recognition as a psychedelic and garage rock masterpiece._x000d__x000a_C.Q. is available as a limited edition on yellow coloured vinyl and packed in a gloss laminated gatefold sleeve.

Mit nur 14 Jahren begann Trelane als Backgroundsängerin bei Billy Childish und CTMF und sprang bei einer BBC6 Session als Leadsängerin für einen Ramones-Song ein. Als die Band Trelanes großartige Stimme hörte, beschloss sie, ihn bei einigen Monkees-Covers als Leadsängerin auszuprobieren. Trelane kam auf die Idee für den Bandnamen. Weitere Aufnahmen sind geplant. Der folgende Text steht in englischer Originalsprache auf der Rückseite der ersten 7"-Single der Band... "Wir trafen Trelane zum ersten Mal im Jahr 2267 n. Chr. während einer Versorgungsmission zur Kolonie Beta VI. Trelane war jung, mutig, trug knielange Mokassins - angeblich aus dem Besitz eines gewissen Peter Tork - eine Cowboyjacke mit idiotisch langen Fransen und ,hippe" Hosen. ,Steht ihr auf die Monkees?", fragte Trelane. ,Natürlich", antworteten wir. ,Groovy", lachte Trelane, ,ich taufe euch auf den Namen The Squires of Gothos. Habt ihr ein Cembalo?" ,Nein, tut mir leid." ,Keine Sorge, ich zaubern eins her - und hier ist ein Studio. Jetzt hört auf, rumzualbern, und lasst uns aufnehmen!" Und so kam es, und hier ist das Ergebnis. Dig!!!" - Mister Schneider: The Vincent van Gogh-Gogh, Malibu, LA Lead-Gesang - Trelane The Squires of Gothos: Bass / Backing-Gesang - Jableeta Schlagzeug - Ginger Chunks Gitarre - Sir Quentin Gaydish - eine Childish Produktion!

White vinyl. The record is housed in a gatefold jacket, designed as your own personal treasure chest. Akupara Games and Black Screen Records are over the moon (and down in the crypt) to announce the soundtrack release of the game hit Cryptmaster on vinyl. For the music, sound expert Surasshu, part of the duo Aivi & Surasshu (i.a. Steven Universe), has teamed up with Stemage and Catton Arthur to virtuously solve the puzzle of a perfectly fitting game score. SAY ANYTHING in this bizarre dungeon adventure where words control everything. Fill in the blanks with text or voice to uncover lost abilities, embark on strange quests, and solve mindbending riddles. Can you conquer the crypt and uncover the mystery at the heart of Cryptmaster? In the ancient past, four brave heroes banded together to destroy a terrible evil, giving their lives to save countless others. But now their eternal rest has been disturbed by the Cryptmaster, a capricious necromancer in whose thrall they must ascend through the buried strata of the city above them - the gloomy Bonehouses, mysterious Sunken Sea and freakish Downwood. With the enigmatic Soulstone in hand, the four adventurers must recover their memories, solve whimsical puzzles and defeat outlandish enemies. From fishing and card games to bardic rap battles, finding the right word is the key to success. Who knows, maybe you'll even remember a little more than you bargained for. Surasshu, veteran of television and game music, brings out the best in the Cryptmaster soundtrack, featuring his peers Catton Arthur on bass and Stemage on guitar. From laid back accordions of the Bonehouses, to the shredding guitar of battles, to the piper's haunting melody, this album features enough musical morsels to keep all kinds of dungeon-crawling deviants tapping their toes.

Wayne Shorter war ein amerikanischer Jazz-Saxophonist, Komponist und Bandleader. Er wurde 1959 als
Mitglied von Art Blakey’s Jazz Messengers bekannt, für die er schließlich der Hauptkomponist wurde. Er
trat 1964 dem Second Great Quintet von Miles Davis bei und war 1970 Mitbegründer der Jazz-Fusion-Band
Weather Report. Als Bandleader nahm er mehr als 20 Alben auf. Viele Shorter-Kompositionen sind zu
Jazz-Standards geworden, darunter „E.S.P.“ und „Footprints“. Seine Musik wurde mit 12 Grammy Awards
ausgezeichnet. Der Musikkritiker der New York Times, Ben Ratliff, bezeichnete Shorter 2008 als „den
wahrscheinlich größten lebenden Small-Group-Komponisten des Jazz und einen Anwärter auf den größten
lebenden Improvisator“.
Das Debütalbum des legendären Jazz-Saxophonisten, Introducing Wayne Shorter, wurde ursprünglich 1960
auf Vee-Jay veröffentlicht. Es enthält 5 Shorter-Originale und eine Coverversion von „Mack The Knife“,
wobei Shorter von Lee Morgan (Trompete), Wynton Kelly (Klavier), Paul Chambers (Bass) und Jimmy
Cobb (Schlagzeug) begleitet wird. Diese Neuauflage des Albums erscheint als Teil der Original Jazz Classics
-Serie auf 180-Gramm-Vinyl, das bei RTI gepresst wurde, mit analogem Mastering von den Originalbändern
bei Cohearent Audio und einem Stoughton Tip-On Jacket.