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High Roller Records, reissue 2023, bone vinyl, ltd 250, 425gsm heavy cardboard cover, insert, printed inner sleeve, 2 posters, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

Die norwegische Band Kvelertak hat sich in den letzten zehn Jahren zu einer echten Größe in der Metal-Szene entwickelt. Die Band, die von Rolling Stone und Stereogum mit wohlverdienten Auszeichnungen bedacht wurde, hat weltweit Hunderttausende von Fans und über 50 Millionen Streams auf DSP's angehäuft. All dieser Erfolg hat zu mehreren Nummer-eins-Alben und Spellemannprisen Awards (Norwegens Antwort auf die Grammys) in ihrem Heimatland geführt.

Bei früheren Alben arbeitete die Band unter anderem mit der Hardcore-Legende Kurt Ballou (Converge) zusammen und arbeitete mit Musikern wie Troy Sanders (Mastodon) zusammen. Die Band war auch schon mit legendären Bands wie Metallica und Slayer auf Tour.

Auf ihrem fünften Album "Endling" klingen Kvelertak größer und kreativer als je zuvor. Bewaffnet mit massiven Riffs, Black-Metal-Wildheit und ihrer bisher ambitioniertesten Instrumentierung beherrschen sie die Kunst, moderne Metal-Klassiker zu kreieren, die sowohl heftig sind als auch Spaß machen. Nach 15 Jahren in ihrer Karriere sind Kvelertak so unaufhaltsam wie eh und je.

Nach einem vielversprechenden Debütalbum im Jahr 2017 waren die dänischen Hardrocker JUNKYARD DRIVE bereit, 2018 mit ihrem zweiten Studioalbum "Black Coffee" in der Szene zu explodieren. Das Timing war richtig, die Band war irgendwie heiß, aber niemand konnte die erstaunliche Sammlung von Songs erwarten, die das Kollektiv für das Album schreiben und aufnehmen würde.Das Album war ein sofortiger Erfolg, mit Hits wie "Where I Belong", "Sweet Little Dreamer" und "Way Too Long", die massives Airplay im dänischen Radio erhielten, die Streaming-Charts anführten und Junkyard Drive Spots auf den wichtigsten Festivals und in Dänemark und den Start ihrer internationalen Karriere gewährten. Heute ist "Black Coffee" eines der meistgehörten dänischen Hardrock-Alben im Internet, mit über sieben Millionen Streams auf den wichtigsten Plattformen. "Where I Belong" ist sogar der beliebteste Junkyard Drive-Song mit mehr als drei Millionen Streams auf Spotify.Jetzt, nach Jahren des Ausverkaufs, wird "Black Coffee" endlich eine neue Vinyl-Edition bekommen. Es wird auf lila 180-Gramm-LP erhältlich sein, limitiert auf 500 Exemplare und handnummeriert. Ein klassisches Format für ein modernes klassisches Hardrock-Album, das sich die Sammler nicht entgehen lassen werden.

High Roller Records, reissue 2023, black vinyl, ltd 300, 425gsm heavy cardboard cover, insert, poster, bonus track, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

“Tropic” is Edouard Salier’s new movie, out in France on August 2nd, 2023. Edouard Salier, French director previously did many short films and music videos (Massive Attack, Justice, Air, 30 Seconds To Mars..

Movie synopsis : France, two trained astronaut twins go through a lot when one of them is contamined with a mysterious residue from space.

High Roller Records, reissue 2023, black vinyl, ltd 200, 425gsm heavy cardboard cover, insert, printed inner sleeve, poster, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Radio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Faradjallah” was among the items they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information. What we knew was that the music was incredible and very unique. Gnawa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles further south than Morocco. We started asking around whether anyone knew the band with no immediate success until we asked Tony Day, a musician from Morocco who helped us during our search for Fadoul’s family. His sharp memory came through once again, remembering all the names of the Attarazat Addahabia band members and even how to contact the bands singer and leader Abdelakabir Faradjallah. After visiting him at his home in Casablanca with our Moroccan colleague Sabrina multiple times, he shared his personal story. His father arrived in Casablanca from Aqqa at the age of six and his mother came from Essaouira. Abdelakabir was born in the neighbourhood of Benjdia in 1942. Abdelakabir Faradjallah studied fine arts in Casablanca, graduating in 1962. He also played soccer in the second team of "Jeunesse Societe One". His brother-in-law Ibrahim Sadr worked for one of the biggest football teams of the time in Morocco called "Moroco Sportive Union", which allowed him to travel to France occasionally. While Ibrahim was never part of the band he brought along a few instruments from trips.


Yet the majority of the instruments they could not afford to buy were build by Faradjallah and Abderrazak, Faradjallah's brother who passed away early. For instance they had built a Spanish guitar and a drum made of wood barrel and sheepskin by themselves.During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in 1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first interaction with the genre in the streets of the Dern neighbourhood, where he used to go to elementary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. The lyrics tackle a global (im)balance of power and the question of social status in this course. The band Attarazat Addahabia was formed in 1968. The original line-up included 14 members, all from the same family. They played their first small concerts here and there starting in 1969. Later in 1973 they performed bigger shows for instance at the Municipal Theatre followed by the "Al Massira Show" at Velodrome Stadium in downtown Casablanca. Their first album "Al Hadaoui" (the one you are listening to) was recorded at Boussiphone studios in 1972 and was never released before. Nobody seems to remember the exact reason why Boussiphone ended up deciding not to put the album out. The album's title track also served as the basis for Fadoul's "Maktoub Lah", who frequented the same circles as the band for some time.

Their shows sometimes could go as long as 12 hours, starting at 5pm in the afternoon, with an occasional break here and there. In the 1980s the band took a brief break. Faradjallah recalled the reason for that break like this: "Zaki, the bands drummer, had fallen in love with a young girl from Mohammedia. Soon after, he fell very ill. The group members were convinced that the girl had given him ‘s'hor’ (a kind of local Moroccan version of "black magic"). For four years, the whole group stopped playing. It was unthinkable to find another drummer to replace Zaki, even temporarily." So they waited four years for Zaki to "get back on his feet" before going back on stage. Apart from very few gigs here and there Faradjallah stopped playing music in the mid 1990s. Some members from the younger generations formed a new band and still play frequently to this day. Faradjallah runs a television repair shop coupled offerings beverages and snacks in the Belevedere /Ains Sbaa district of Casablanca. While Faradjallah was primarily a musician, he would work for the local cinema and paint their posters for new movies by hand and he designed all artworks and cover posters of the band.

And this eventually led to him participating actively in our first exhibition dealing with Habibi Funk’s work in Dubai 2018. He helped us by creating calligraphic complementations on large photo prints for that show.

Mit ihrem Debütalbum "Portal To Darkness" öffnen UNBLESSED DIVINE ein einzigartiges Portal in die Geschichte brutaler Musik.
UNBLESSED DIVINE kombinieren klassischen Death Metal aus den 90ern mit Elektronik, wie es noch keine andere Band zuvor im Extreme Metal getan hat, und entfesseln so ein einzigartiges Album, das Dunkelheit in unsere Welt bringt.
Die 8 Tracks des Albums beinhalten sowohl schnelle und kompromisslose Songs, als auch epische Songs, die dem Hörer etwas bieten, das er nicht vergessen wird.
Aber lasst euch nicht täuschen, das ist Death Metal in seiner rohesten und brutalsten Form, gepaart mit einem beunruhigenden Hauch von Endzeit-Stimmung.

High Roller Records, reissue 2023, viole(n)t vinyl, ltd 300, 425gsm heavy cardboard cover, insert, printed inner sleeve, poster, A5 photo, mastered for vinyl by Patrick W. Engel at Temple of Disharmony, original 1984 sound

Baxck in stock! PRESSED ON RED & GREEN OPAQUE VINYL! De La Soul and A Tribe Called Quest may have been more commercially successful, but the afrocentric, jazz political rap movement and unfadeable Native Tounge Massive started with the Jungle Brothers. Their debut full length “Straight Out the Jungle” opened up many doors that are walked through by today’s artists like Mos Def, Common and even Kanye West. Their taste for jazzy horn samples helped kick-start the entire jazz-rap movement, and their James Brown fixation was one of the first. Plus, the group’s groundbreaking collaboration with legendary house producer Todd Terry, “I’ll House You,” paved the way for numerous hip-house hybrids that shot up the dance and pop charts over the next few years and appeared to be a staple on every East Coast Rap Album from ‘88 until ‘92. The opening track “Straight Out the Jungle” samples the classic Bill Withers drum break as the JB’s tell you where they are coming from. “Black Is Black” (featuring a young Q-Tip) and “Sounds Of The Safari” introduces the pro-black edge, while the sexually subtle classics “Jimbrowski” and “I’m Gonna Do You” are funny, clever and timely. Hard, smart, fun, clever and brilliant, Mike G., Africa Baby Bam and Sammy G may not have realized it but they crafted a classic rap album that stands the test of time. Available here on high grade, loud pressed, double vinyl for the first time ever!

This comes for the first time on 180g vinyl in a gatefold sleeve. Re-mastered for vinyl.This 22 track compilation spans the years 1995 - 2004 featuring key tracks from all their albums as well and live recordings and many unreleased tracks.BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Alle, die New Wave und/oder Metal aus den 80ern lieben, tretet aus dem Schatten hervor, denn eure Zeit ist gekommen! Denn JAMES RIVERA'S METAL WAVE präsentieren ein neues Genre: Metal Wave!
James Rivera kommentiert:
"Natürlich liebe ich bis heute jeden dieser Songs in seiner ursprünglichen Form, aber ich muss zugeben, dass es jetzt, da wir sie auf unsere eigene Art interpretiert haben, schwer für mich ist, sie so zu genießen, wie sie einmal waren. Und ich weiß, dass wenn sich diese New-Wave-Klassiker im Metal-Wave-Stil in dir festgebissen haben, auch du sie nie wieder auf die gleiche Weise hören willst!"
Freut euch auf dunkle, epische und euphorische Versionen von Songs einiger der größten Bands der New Wave/Dark Wave-Ära im Metal-Gewand!

Yasushi Ide, the Japanese Street Music Icon Unleashed "Cosmic Suite 2" in a Revolutionary Blend of Genres.

Yasushi Ide, the revered figure in Japanese street music, has recently unveiled his latest musical opus titled "Cosmic Suite 2," a rebel music masterpiece that pushes the boundaries of musical genres.

This groundbreaking album features collaborations with esteemed pioneers including Afrika Bambaataa, Don Letts, Josh Millan, Jeff Mills, DJ Krush, Tony Allen, and more. By transcending the limitations of time, genre, and even mortality, Ide has crafted a truly unique and eclectic street music experience unlike anything seen before.
Notably, Ide enlisted the expertise of Grammy-winning sound engineer Steven Stanley to embark on the reconstruction of "Cosmic Suite 2" using his renowned dub mix techniques. The outcome of this collaboration is the birth of "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," a mesmerizing rendition that showcases the genius of both artists.

Hailing from Jamaica, Steven Stanley is a highly regarded sound engineer and producer whose illustrious career spans several decades, primarily in the realms of reggae, dub, and rock music. Having worked with acclaimed acts such as Talking Heads, Black Uhuru, and Tom Tom Club, Stanley has solidified his status as a living legend within the industry. His contributions to Tom Tom Club's "Genius of Love" and his Grammy-winning work on Black Uhuru's "Anthem" further exemplify his unparalleled expertise. Additionally, Stanley has collaborated with notable artists including Grace Jones and B-52's.

In "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub," Stanley expertly integrates elements from the original "Cosmic Suite 2" tracks, employing his unique dubbing techniques to enhance the sonic experience. Through the addition of his signature dubby reverb and other distinctive sound manipulations, Stanley elevates the album to an entirely new dimension.
"The Battle" Transformed into an Enchanting Disco Dub Experience, Infused with Stanley's Horn Section Effects for a smoky ambience.

In the mesmerizing track "Galactic Beats," the legendary Afrobeat pioneer Tony Allen's powerful drums take center stage. Skillfully applying his dub effects, Stanley adds vibrant layers and new dimensions to the composition, further enhancing its sonic palette.
Another standout is the dub version of "LAVA," featuring acclaimed Japanese singer UA. The track, which was already a fan favorite in its original form, undergoes a remarkable transformation in this dub rendition, further accentuating its appeal.

"Outer Space" Transcends Time and Genre with a Dream Collaboration Between the Late Legendary Reggae Drummer Style Scott and Japan's Turntablist Extraordinaire, DJ Krush. While the original track exudes a stoic and deep cosmic dub essence, Stanley ingeniously reimagines it as a nostalgic old-school dancehall masterpiece.

"Sumimasen" is a track that exemplifies Stanley's mastery, where the unique Japanese word "Sumimasen" (meaning "I'm sorry") is transformed into a psychedelic and deeply immersive dub journey. The track features captivating echoes on the vocals and twisted synth elements, transporting listeners to a cosmic realm of sonic exploration.
Furthermore, it is crucial to highlight "Hear, There, and Beyond," a collaboration between Yasushi Ide, Kan Takagi, the pioneering figure of Japanese hip-hop, and RECK, the bassist from the legendary punk rock band FRICTION. This reconstructed version takes the original track to unprecedented heights. With a remarkable shift to tribal drums in the midst of the song, the energy intensifies, resulting in a wild and exhilarating musical experience.
The reconstruction of this album evokes memories of Mad Professor's "No Protection," a renowned dub reconstruction of Massive Attack's work that remains an enduring masterpiece in the genre. With its exceptional craftsmanship and artistic vision, "Dr. Steven Stanley Meets Yasushi Ide - Cosmic Disco Dub" has the potential to be regarded as another timeless dub reconstruction masterpiece, solidifying its place in music history.

Alle, die New Wave und/oder Metal aus den 80ern lieben, tretet aus dem Schatten hervor, denn eure Zeit ist gekommen! Denn JAMES RIVERA'S METAL WAVE präsentieren ein neues Genre: Metal Wave!
James Rivera kommentiert:
"Natürlich liebe ich bis heute jeden dieser Songs in seiner ursprünglichen Form, aber ich muss zugeben, dass es jetzt, da wir sie auf unsere eigene Art interpretiert haben, schwer für mich ist, sie so zu genießen, wie sie einmal waren. Und ich weiß, dass wenn sich diese New-Wave-Klassiker im Metal-Wave-Stil in dir festgebissen haben, auch du sie nie wieder auf die gleiche Weise hören willst!"
Freut euch auf dunkle, epische und euphorische Versionen von Songs einiger der größten Bands der New Wave/Dark Wave-Ära im Metal-Gewand!

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

The 1974 debut album Ojinga’s Own and single Basa Bongo/Black Pepper by Guyanese Afro-Folk band The Yoruba Singers has been remastered for vinyl and digital.
The Yoruba Singers formed in Georgetown, Guyana in 1971. Despite their name they were not from Nigeria, but identified strongly with the area from which so many of the African diaspora in Guyana and neighbouring regions were originally descended.

The group started adapting Guyanese traditional folk music as well as writing their own - blending a mixture of protest, social commentary, blues, and genres inspired by the times. Beginning with about 12 people sharing vocal duties, most of the early repertoire was inspired
by folk songs that started life on plantations or in religious settings accompanied by a few sparse musical instruments.


Integral to the Yoruba Singers’ sound are echoes of Obeah traditions which are very closely related to the Santería religion of Cuba and the Orisha and Shango traditions of Trinidad and Tobago. Calypso and steel band culture from nearby Trinidad and Tobago was to some extent part of the musical DNA of the group, but they were naturally also influenced by the massive volume of rocksteady and roots-reggae coming from Jamaica.

After the success of the first volume, the second SOUL FINGERS’S tribute compila&on is released on double vinyl too.

SOUL FINGERS is a wandering black music dancefloor that in 2023 reaches to celebrate 10 years lifelong. Soul Fingers mixes soul, disco and funk, with rap and La&n rhythms. In this brand new compila&on there are some pieces that have really marked great par&es since 2013.

This time featuring some carefully selected dancefloor music bombs directly from the hands of Claudio Cavallaro, the leader of the Soul Fingers console!

This new album compiles several songs made in the years following Black To Comm's classic "Alphabet 1968" album. Originally released on the seminal Type label in 2009 (and to be reissued on Cellule 75 this year) "Alphabet 1968" combined the sound of vintage shellac and vinyl loops with broken electronics and field recordings, the press release mentioning disparate influences "ranging from Moondog to Basic Channel by way of Bernard Herrmann". In a beautiful one-page review in The Wire magazine (later reprinted in his book Ghosts Of My Life) Mark Fisher compared Richter's music to JF Sebastian’s miniature automata in Blade Runner ("with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister"), ETA Hoffmann's inventor-magicians and Auguste Villiers de l'Isle-Adam's 1886 tale of Thomas Edison's (fictitious) construction of an artificial human.

Now titled "Coh Bâle" (inspired by a strange dream) these recordings were supposed to become a follow-up to said album but for reasons unknown it never materialized and the album seemed forever lost. At the time Richter started to dive deeper into several strains of (so-called) world music aka the folk music of Southeast Asia and Eastern Europe as well as liturgical and medieval music, the Kraut-Electronica of Harmonia and several certain Mediterranean experimentalists from the 1980's who started to merge their mostly electronic and field recording based compositions with traditional musics from all over the world by way of new sampling technology.

Many of the songs for the album were recorded while travelling and at various residencies around Europe: a detuned piano in a Thessaloniki basement (Richter played at a children's birthday party there), vintage synthesizers in the GRM studios in Paris, decaying acoustic instruments found in an old Black Forest mansion, childrens' voices at a workshop in Karlsruhe's ZKM Institute; then mixed on headphones in the ICE trains running between these places and his hometown Hamburg.

"Coh Bâle" is taking inspirations from old Nonesuch Explorer and Ocora LP's, Crammed Records, 80s Mediterranean Ambient (Nuno Canavarro, Roberto Musci) combined with the DIY spirit of Deux Filles and Flaming Tunes and the playfulness of Asa Chang & Junray. The songs are both mysterious and transparent, intricate and frugal, vibrant and patient. One of the album's unexpected climaxes is a gorgeous (artificial) berimbau version of the Welsh traditional "Iechyd o Gylch".

No two songs feature the same instrumentation and many acoustic sources (pianos, flutes, wood percussion, viola, tablas, autoharp) were disassembled and later coalesced into new configurations or used as virtual instruments; later combined with samples, field recordings, electronics and (on a few tracks) autotuned vocals reminding of recent works by the likes of Claire Rousay or More Eaze.

We had to wait for a worldwide pandemic for Richter to dig deep into the vaults and finally bring these recordings to light. This is the 2nd release from his archives after the "Diode, Triode" LP which presented Musique Concrète/Acousmatic recordings made at INA/GRM and ZKM. Another massive Double-CD (MM∞XX Vol. 1 & 2) was released last year featuring collaborations with 33 artists such as Andrew Pekler, Richard Youngs, Eric Chenaux, Maja Ratkje, Radwan Ghazi Moumneh of Jerusalem In my Heart, GRM boss François Bonnet (Kassel Jaeger), Felix Kubin, Timo van Luijk (In Camera, Af Ursin), Luke Fowler and many others, showing Richter's versatility and his willingness to reinvent himself for every new release.

Marc Richter is widely known under his Black To Comm moniker, having released (at least) 12 albums under this alias in the last 20 years. He is currently signed to the Thrill Jockey label. Richter composes soundtracks for film and has worked with visual artists such as Mike Kelley and Ho Tzu Nyen. He also records as Jemh Circs and Mouchoir Étanche for his own Cellule 75 label (named in tribute to the late Luc Ferrari).

VENDETTA bleiben ihren Thrash- und Speed Metal Wurzeln treu und liefern ein Album ab, das dafür sorgen wird, dass eure Nackenmuskulatur ordentlich trainiert werden wird!
Schon von Beginn an ist der musikalische Stil von VENDETTA im Thrash und Speed Metal verörtet, was die ersten beiden Alben, die in den späten 1980ern veröffentlicht wurden, eindrucksvoll beweisen.
Vor einigen Jahren kam frischen Blut - in Form von Gitarrist Jan Hüttinger und Drummer Domi Bertelt - zur Band und man begann, am neuen Album zu arbeiten, welches während der Pandemie aufgenommen wurde.
VENDETTAs ehemaliger Sänger/Gitarrist Achim "Daxx" Hömerlein schrieb zusammen mit Bassist/Gitarrist Klaus Ullrich die Song und schrieb zusammen mit Sänger Mario Vogel die Texte.
Nun präsentiert die Band "Black As Coal", ihr bestes Album seit langem!

VENDETTA bleiben ihren Thrash- und Speed Metal Wurzeln treu und liefern ein Album ab, das dafür sorgen wird, dass eure Nackenmuskulatur ordentlich trainiert werden wird!
Schon von Beginn an ist der musikalische Stil von VENDETTA im Thrash und Speed Metal verörtet, was die ersten beiden Alben, die in den späten 1980ern veröffentlicht wurden, eindrucksvoll beweisen.
Vor einigen Jahren kam frischen Blut - in Form von Gitarrist Jan Hüttinger und Drummer Domi Bertelt - zur Band und man begann, am neuen Album zu arbeiten, welches während der Pandemie aufgenommen wurde.
VENDETTAs ehemaliger Sänger/Gitarrist Achim "Daxx" Hömerlein schrieb zusammen mit Bassist/Gitarrist Klaus Ullrich die Song und schrieb zusammen mit Sänger Mario Vogel die Texte.
Nun präsentiert die Band "Black As Coal", ihr bestes Album seit langem!

BLACKSCAPE ist der Schlag ins Gesicht, nach dem du dich sehnst. Verschwende keinen Gedanken an den Schmerz, wenn du dich dieser musikalischen Lawine hingibst, denn du wirst reichlich belohnt werden!
"Suffocated By The Sun", das Debütalbum des schwedischen Trios ist vollgepackt mit schweren Riffs und einer Mischung aus Thrash Metal und Death Metal, die dich mit ihren majestätischen Melodien in ihren Bann ziehen und dich mit einer heftigen Dosis Metal fertig machen wird.
Die eingängigen Kompositionen des Albums beinhalten eine Fülle an innovativer Gitarrenarbeit, halsbrecherische Drums, kreischende Soli und brutalem Leadgesang.
Taucht tief in die Lyrics ein und erforscht die inneren menschlichen Konflikte in absurden Realitäten und schmerzhaften existenziellen Erweckungen.
Die Tracks des Albums verkörpern Metal in Perfektion und markieren den Beginn einer neuen skandinavischen Metal-Macht, die man im Auge behalten muss: BLACKSCAPE.

With absolute electricity at every turn as well as the rough 'n' ready charisma of frontwoman Stacey Savage, Savage Master strutted and surged with a power and poise redolent of early '80s US metal. Uniquely, the hooded Louisville quintet put a concertedly occult spin on everything, making them stand out amongst all those trying to reignite a 'Metal Massacre'. Swift and succinct were the eight songs
across the half- hour 'Mask of the Devil'; for however much "star power" was already here early on, Savage Master knew that heavy metal ultimately lived or died on the strength of songs - and they were just beginning to realize their massive potential.

Könnt ihr euch noch daran erinnern, wie es euch weggeblasen hat, als ihr das erste Mal Metal gehört habt?
"Fight Or Fall" ist eine konsequente Rückkehr zu schnellem und druckvollem Heavy Metal mit schrillen Vocals, knackigen Gitarren und Hooks, die dich daran erinnern lassen, wie gutes Songwriting klingen muss.
Dies Album ist kein fröhlicher Spaziergang durch einen Wald voller Elfen - es ist das Schlachtfeld, auf dem Metal lebendig ist, und die mitreißenden Vocals beschwören die Geister, die den Metal zu der Macht gemacht haben, die er heute ist!

Könnt ihr euch noch daran erinnern, wie es euch weggeblasen hat, als ihr das erste Mal Metal gehört habt?
"Fight Or Fall" ist eine konsequente Rückkehr zu schnellem und druckvollem Heavy Metal mit schrillen Vocals, knackigen Gitarren und Hooks, die dich daran erinnern lassen, wie gutes Songwriting klingen muss.
Dies Album ist kein fröhlicher Spaziergang durch einen Wald voller Elfen - es ist das Schlachtfeld, auf dem Metal lebendig ist, und die mitreißenden Vocals beschwören die Geister, die den Metal zu der Macht gemacht haben, die er heute ist!

Released on RCA Records - new album from singer/songwriter/actress/US superstar. This collection is Miley’s eighth studio album and the follow up to 2020’s 'Plastic Hearts'. 2023 finds Miley the strongest and most confident she’s ever been, with the music and imagery of 'Endless Summer Vacation' serving as a reflection of that. Recorded in Los Angeles and produced with Kid Harpoon/Greg Kurstin/Mike WiLL Made-It/Tyler Johnson, Miley describes the album as her love letter to LA. The full tracklisting has not yet been revealed, but does of course include the massive #1 single 'Flowers'. Extensive promo/marketing activity across all media outlets. Upcoming UK promo trip plus nationwide TV ad campaign. Formats are standard black vinyl LP and standard CD.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

High Roller Records, black vinyl, ltd 500, A4 insert, Cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020 / January 2022. Artwork and text restoration and extension by Alexander von Wieding.

Smoke M2D6's boundary-pushing musical production and Jedi-like audio engineering have earned him wide and enthusiastic artistic acclaim, as well as a host of awards. As an MC, Smoke M2D6 has toured the country, performing in all of the lower 48 states, and was one of the original founding members of Northwest super-crew OLDOMINION. Though Smoke M2D6 has not released an album since the 2006 opus Bleed, he has been super-busy creating beats and producing other artists including many of his Oldominion crew mates Onry Ozzborn, Nyqwil, IAME and JFK. The global pandemic finally cleared the deck, allowing Smoke M2D6 to get back to doin' his thing: "When the quarantine started I found an old JFK verse from 2013 where he was talking about a pandemic - 'I've got to build on this,' started cutting it up." We start with an overwhelming feeling of being at the beginning of societal collapse: Quarantine Heart Throb, a mass pak of apocalyptic art. Featured are several NW hip hop legends and mainstays, artists Smoke M2D6 has either "mixed for them, produced for them or is a fan of them." If you are a fan of Smoke M2D6 and have been waiting since 2006 for this album, "You will not be disappointed - - - Quarantine Heart Throb shows my growth as a person, a producer, an engineer and as a rapper." Far out. Smoke M2D6 also appears on (and produced) the K Northwest hip hop compilation All Your friends Friends KLP255.

High Roller Records, reissue 2023, black vinyl, ltd 250, 425gsm heavy cardboard cover with 5mm spine, poster, insert, mastered and partially restored by Patrick W. Engel at Temple of Disharmony

Die 2006 im nordspanischen Bilbao (Baskenland) gegründete Melodic-Death-Metal-Band Rise To Fall hat sich in den vergangenen 17 Jahren ihren wohlverdienten Platz in der Metal-Szene etabliert.

Mit einem konstanten Output und zahlreichen Live-Shows und Festivalauftritten sind Rise To Fall für die Bereitstellung von Musik auf höchstem Niveau und ihre verheerenden Live-Shows bekannt geworden. Mit der Veröffentlichung von vier Studioalben hat die Band die Messlatte immer höher gelegt, was nicht nur zu zahlreichen Tourneen durch Europa, sondern auch zu Headliner-Touren in Japan und China sowie zu Tourneen mit Soilwork führte! Rise To Fall, die 2022 bei Noble Demon und Massive Music Booking Agency unter Vertrag genommen wurden, bereiten sich derzeit auf die Veröffentlichung des mit Spannung erwarteten fünften Studioalbums "The Fifth Dimension" vor, das am 9. Juni 2023.

Also macht euch bereit für das nächste Kapitel von Rise To Fall, das wieder einmal ihre eigenen Maßstäbe setzt und ihre Musik auf der ganzen Welt verbreitet!

High Roller Records, reissue 2023, blue jay/ white splatter vinyl, ltd 250, 425gsm heavy cardboard cover with 5mm spine, poster, insert, mastered and partially restored by Patrick W. Engel at Temple of Disharmony

Thantifaxaths zweites Album Hive Mind Narcosis ist nicht nur ein großer Sprung für die Band, sondern auch für den zeitgenössischen Extrem-Metal insgesamt. Von den ersten Tönen an entsteht ein Gefühl der Transzendenz jenseits des Genres und der Szene.Früher als Avantgarde Black Metal bezeichnet, übertrifft Thantifaxath solche banalen Presse-Etiketten und zaubert stattdessen ein ausladendes, disharmonisches und bewusstseinsveränderndes Gebräu hervor, das niemals nur Black, Thrash, Death oder Doom Metal Psychedelia ist.

Vollständig von der Band selbst produziert, haben Thantifaxath ihren Sound auf erdrückende Perfektion zugeschnitten - eine Produktion, die so gewaltig ist, dass der Hörer sich bis zum bitteren Ende nicht zu bewegen wagt. Genau wie die Musik ist auch Hive Mind Narcosis eine lyrische Mischung aus zwei gegensätzlichen Idealen: "Das Album besteht aus zwei Ebenen, die im Gegensatz zueinander stehen. Auf der einen Ebene gibt es einen starken Widerstand gegen etwas, und auf der anderen gibt es eine totale Akzeptanz derselben Sache. Darüber hinaus überlassen wir es der eigenen Interpretation."

In der Karriere jeder wirklich bahnbrechenden Band gibt es einen Moment, in dem sie sich von der Masse abhebt und eine Insel wird. Für Thantifaxath ist Hive Mind Narcosis ein solches Album. Dieser unheilige kanadische Gral des zeitgenössischen Black Metal wird über Dark Descent Records veröffentlicht.
Das Cover von Hive Mind Necrosis zeigt das Gemälde "Hexenflug" (1798) von Francisco Goya, eine Lizenz des Museo Nacional del Prado.

Thantifaxaths zweites Album Hive Mind Narcosis ist nicht nur ein großer Sprung für die Band, sondern auch für den zeitgenössischen Extrem-Metal insgesamt. Von den ersten Tönen an entsteht ein Gefühl der Transzendenz jenseits des Genres und der Szene.Früher als Avantgarde Black Metal bezeichnet, übertrifft Thantifaxath solche banalen Presse-Etiketten und zaubert stattdessen ein ausladendes, disharmonisches und bewusstseinsveränderndes Gebräu hervor, das niemals nur Black, Thrash, Death oder Doom Metal Psychedelia ist.

Vollständig von der Band selbst produziert, haben Thantifaxath ihren Sound auf erdrückende Perfektion zugeschnitten - eine Produktion, die so gewaltig ist, dass der Hörer sich bis zum bitteren Ende nicht zu bewegen wagt. Genau wie die Musik ist auch Hive Mind Narcosis eine lyrische Mischung aus zwei gegensätzlichen Idealen: "Das Album besteht aus zwei Ebenen, die im Gegensatz zueinander stehen. Auf der einen Ebene gibt es einen starken Widerstand gegen etwas, und auf der anderen gibt es eine totale Akzeptanz derselben Sache. Darüber hinaus überlassen wir es der eigenen Interpretation."

In der Karriere jeder wirklich bahnbrechenden Band gibt es einen Moment, in dem sie sich von der Masse abhebt und eine Insel wird. Für Thantifaxath ist Hive Mind Narcosis ein solches Album. Dieser unheilige kanadische Gral des zeitgenössischen Black Metal wird über Dark Descent Records veröffentlicht.
Das Cover von Hive Mind Necrosis zeigt das Gemälde "Hexenflug" (1798) von Francisco Goya, eine Lizenz des Museo Nacional del Prado.

XLR8R: "great release as one would expect"
Hunee: "everything is going up in smoke and descending lightly and gently like black feathers falling on snow"
Sven Vath: "catches my heart"
Ame: "great”
Esther Duijn: "outstanding”
Darko Esser: "mindboggling EP”
Pitchfork: "nice apocalyptic vibes”

Black smoke coming from the chimney; we have a blast off! Intergalactic Gary launches massive 4 tracker from his his lab.

Factory Benelux presents a limited edition 180gm vinyl singles collection by Marcel King, best known for his sparkling 1984 dance single ‘Reach For Love’ on Factory Records, as well as the youthful vocalist on ‘SadSweet Dreamer’ by Sweet Sensation, a UK number one back in 1974 Limited to just 1000 copies, Reach For Love: Singles 1983-88 features both sides of the infectious electro single co-produced by Bernard Sumner (New Order) and Donald Johnson (A Certain Ratio) and released as Fac 92 in April 1984, as well as a previously unreleased demo for ‘Love To Shine’, the planned follow-up single on Factory produced by Tony Henry of 52nd Street. (NON-RETURNABLE).

The album also features ‘Hollywood Nights’, a later single cut by Marcel with Gee Bello of Light of the World, along with a rare US remix of ‘Reach For Love’ by noted New York DJ Mark Kamins, and extended dub and instrumental versions.

King was invited to record for Factory in 1983 by Joy Division/New Order manager Rob Gretton, a devotee of soul and black music, and prime mover behind the famous Hacienda nightclub. ‘Rob was a massive fan of Marcel and thought he was as good a singer as Michael Jackson,’ explains Tony Henry. Not just a gifted and
plaintive soul singer, King also wrote both sides of his Factory single, ‘Reach For Love’ and ‘Keep On Dancin’, both paeans to perseverance and enduring Hacienda classics.
A classic video clip for the single, filmed at The Hacienda with local breakdancing crews, is available in.

Alas ‘Reach For Love’ was destined to remain an underground hit rather than a chart topper. Rob Gretton blamed Factory’s disdain for conventional promotion. ‘At Factory we still basically believe that you don’t have to hype a group in any way, and that a record should success on its own. But it’s getting increasingly difficult.
We put a record out by Marcel King and it’s hardly sold at all. The charts are wide open to hyping and marketing.’

Adds Bernard Sumner: ‘Marcel was an incredibly talented guy, but a tragic figure. He used to sleep in a car in Moss Side and was a bad heroin addict.’ A troubled but pioneering artist, Marcel sadly passed away in 1995 after suffering a brain haemorrhage.
1000 copies only of FBN 47 will be available on Record Store Day on 22 April 2023, pressed on 180gm black vinyl. The sleeve is based on original artwork for the Factory single and also includes a press interview with Marcel from 1984.

“Crystal Motion” were a vocal quartet of Cape Verdean descendancy from New Bedford Massachusetts. The group’s original members being lead vocalist “Kevin Gomes”, Kevin’ s cousin, Rodney “Skeeta” Santos, Daniel “Buddy” Monterio and John Paris, the man responsible for coining the group’s eventual performing name “Crystal Motion”.

Entering a local now defunct recording studio “Metcalf’s” the grouped recorded the Kevin Gomes penned demonstration song, the sweet soul ballad “There’ll Be Another”.

A copy of this song was eventually submitted to the recently formed Independent Recording Studio, “Omega Sound Productions” in Philadelphia, PA. The label was owned by Frank Fioravanti who having just hit paydirt with William DeVaughn’s smash hit “Be Thankful For What You Got” continued with his policy of supporting up and coming talent and upon hearing Crystal Motion’s demo decided to offer them a recording contract. Although deciding against using their submitted demonstration song (which was to remain unissued) Fioravanti chose to record the group on a song he had co-written with another Philly writer and recording artist Pal Rakes, the title of the song was “You’re My Main Squeeze (Part 1 & 2)” an exciting disco dance orientated song that Frank released on them in 1975 on his Sound Gems label imprint. The song became a minor hit in Boston MA, Providence RI and Philadelphia areas also receiving extensive airplay in Atlanta GA and Houston TX. John Paris was to leave the group being replaced by a longtime friend of the other group members Douglas “Dougie” Mendes. With attention coming from the producers of “American Band Stand” and “Soul Train” the group toured the East coast circuit throughout 1975 and 1976 in preparation for an upcoming album project which was never finished before lead singer Kevin Gomes left for unforeseen personal reasons and ultimately the group broke up. Little did “Crystal Motion” know at the time but their solitary 45 release was finding a new audience across the pond in the UK with “You’re My Main Squeeze” being championed by inspirational DJ Colin Curtis in the hallowed halls of Blackpool Mecca, a timeless classic that never fails to bring a smile to the listening audiences faces even to this day.

Returning to the groups unfinished Sounds Gems album project only one track was ever completed, the Fioravanti/Rakes composition “Million Dollar Baby” which along with “There’ll Be Another” has been licensed from their respective owners and paired together for a long overdue 45 release for your delectation. With ‘Crystal Motion’s’ “You’re My Main Squeeze” cult and anthemic status being forever assured with Northern/Modern Soul devotees we’d like to think the discovery and release of these two slightly differing Sweet Soul offerings will garner and enhance the group’s wider appeal with the growing aficionados of the Chicano, Group Harmony and Lowrider genres, Enjoy.

High Roller Records, black vinyl, ltd 300, insert, Mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2021.

Back with his second full-length release of 2022 and follow-up to the wildly successful album, “FACE,” Babyface Ray gifts fans with “MOB,” an 18-track album featuring tightly selected appearances by Lil Durk, Blxst, Ninja, Doe Boy, Samuel Shabazz,King Hendrick$ & GMO Stax. 2022 was a banner year for Ray, with him being named to XXLs Freshmen class of 2022, as well as being elected to be part of the 2022 class for YouTube Music’s Black Voices Fund. He also embarked on his first sold out nationwide headlining tour, and appeared at several notable festivals, including Rolling Loud, Lyrical Lemonade's Summer Smash, Made In America, Wireless Fest, Broccoli City and others. After making a late night appearance on Jimmy Fallon, Ray announced his second headline tour slated for 2023, entitled “Courtesy of the MOB.” If one thing is clear, it’s that Babyface Ray is a force to stay for years to come.

High Roller Records, evergreen/ white splatter vinyl, ltd 200, insert, Mastered for vinyl by Patrick W. Engel at TEMPLE OF DISHARMONY in October 2021.