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For it's 46th outing, Klasse Wrecks recruits the Brooklyn based producer Gee Dee to it's ranks. Gee Dee aka Greg Droggitis turns in a wonderful and fully fledged collection of tracks that burst to the brim with atmosphere and sunny vibrations. True to the label's ethos, the music is as always, hard to pin down under one specific genre but instead slyly calls on various classic House, Electro and Acid tropes. The overall sound is one that is both universal and transcendent, feeling familiar but still surprising. 'Dream In Colour' is indeed an apt title for the EP as it spans the musical spectrum and is a lucid and vivid trip into the imagination of this new and exciting producer.

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.

RAWAX proudly welcomes Losoul to the artist family!
We are more than happy to present you his upcoming release
which comes on the RX-series, called "Urban Works"!

RAWAX proudly welcomes Losoul to the artist family!
We are more than happy to present you his upcoming release
which comes on the RX-series, called "Urban Works"!

The Search for God is a wake-up call for a troubled world that’s still worth saving, animated by a belief in the power of small connections to add up to big changes. At 10 songs delivered in a brief 15 minutes, Jimmy Whispers’ long-awaited sophomore album feels present in a way that feels brand new for the cult auteur. Like many of us, Jimmy has been affected by the pressure of the past few years. After embracing sobriety in 2019, and now as a filmmaker sharing the stories of lesser known Los Angeles community members, he’s brought his dreaming down to earth, while turning its direction even further out.

Recorded with his longtime friend Ziyad Asrar of the band Whitney (and re-recorded after a hard drive incident destroyed the original files), The Search for God was created in the wake of Jimmy’s COVID isolation, and returns to some teen influences that are out of step with the chill/lo-fi LA indie rock scene he’s found himself lumped in with. Created mostly with two vintage synths, a single Roland CR5000 drum machine, and a busted karaoke machine, it channels Midwestern emo, the Beach Boys’ Smile, subtle nods at hyper-pop production, and forgotten jewel-box era college radio of the early aughts into a pure pop sound that transcends easy categorization.

The album’s standout single—and its statement of purpose—is “Hellscape,” which packs more into a minute and 40 seconds than you’d think possible: multiple immediately-unforgettable hooks, kaleidoscopic keyboards, and a bracing reminder that even the most transcendent moments are rooted in a world full of suffering. “This is a fucking hellscape,” Jimmy sings. “This is real life / this is happening.”

That may sound like punk nihilism, but The Search for God is anything but. Every lyrical acknowledgment of how fucked things are right now comes with a promise that we can still make positive changes. Jimmy calls it “God”; you might call it Love or Peace or A Place In the Universe That Makes Some Kind of Sense.

Will The Search for God deliver whatever that is to you? Of course not. At its heart, it’s still just a really good pop album. But maybe that’s enough. For a minute or two at a time, Jimmy’s music cracks open a space where the divine can enter our lives. The utopia we’ve all been dreaming of is already here if we’re just willing to build it. Jimmy Whispers is there, ready to add his voice, whenever we want to reach out.

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

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

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

Ein in Zukunft nicht mehr vergessenes Stück deutscher Rockgeschichte!

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

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

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

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

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

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

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

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

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

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

JAG PANZER not only are one of the most important US Heavy Metal bands, but also one of the first ones. The band was formed in 1981 in Colorado, and released their debut album entitled "Ample Destruction" just 3 years later, in 1984.

Today, almost 40 years later, the album – which already presented the band’s very own and unique style - is known as one of the pillars of American Heavy Metal, and is often referred to as the trailblazer of the Power Metal scene. In the last few decades the Heavy Metal scene was going through ups and downs, and so was the band’s career.

Nevertheless, JAG PANZER managed to release 10 more studio albums, and earned the status of an absolute legend of the genre. Yes, they are being called legends, they are being called veterans – but it absolutely doesn’t mean that the band sounds outdated. Exactly the opposite applies:

Their new concept studio album entitled "The Hallowed" of course includes all trademarks and sounds like a classic JAG PANZER album. But it also includes an impressive dose of energy and high-octane in-your-face attitude that will please both old school die-hard fans and young enthusiasts of the genre alike!

Angel Deradoorian and Kate NV are Decisive Pink - Ticket To Fame is their highly anticipated debut. After teasing the single 'Haffmilch Holiday' the duo amassed a rapturous response, with The Guardian calling it "a space-age-dancefloor swoon that brings to mind Kate Bush's Waking the Witch" and the New York Times highlighting the single as "substantive and thoroughly hypnotic". On their first LP they do not disappoint, calling on Kate NV's experimental pop leanings and Angel Deradoorian's taste for atmosphere and otherworldliness, Decisive Pink have created a playful and abstract album designed for escape and enchantment. Electronic pop at it's finest, the debut points to the fact that life is a puzzle, but you can still get a lot from living it. 'Destiny' is a smart take on the nature of belief, built on a question-and-answer format, where Angel plays a role as the seer, and Kate the enquirer. The poppy beat is reminiscent of Talking Heads' 'The Great Curve', from Remain in Light. There again, it could be a sinister take on Will Powers' 'Kissing with Confidence'. The synth squeaks, squelches and toots sound like the timid affirmation of the initiate. Ticket to Fame is also unashamedly romantic in atmosphere and tone. Romance is to be found in the simple pleasures, such as listening to a blackbird on the instrumental 'Rodeo', where warm synths, a melancholic guitar pattern and hissing rhythm combine with some vocal snippets to form a soothing contemplation. Then there is 'Ode to Boy'; a perfect pop track. The walking into the room of "more than just an ordinary boy" (doubtless "drunk with fire") allows a set of initially different, and shortened synth patterns to build to a glorious affirmation of the power of love. "Perfect pop music" Marc Riley, BBC6 Music And guess what? The vinyl comes in pink!

Repress!

N0!zy blighter Russell Haswell returns to Diagonal 5 years after his label debut with a spontaneously combusting follow-up to ’37 Minute Workout’ generated again from a mix of analog/digital synths and modular systems edited on a computer. It was inspired by a visit to CERN, The European Organisation for Nuclear Research, in Geneva; and dinner with Ted Nelson, whose theories of interwingularity and transclusion chimed with the direction recordings took.There are few artists who can genuinely make music that sounds like your needle and/or record is melting, but Russell Haswell is one of them. His 2nd volume of extremely kinky calisthenics is a potent example of daring to be different in a world where exponentially increasing production options are leading producers of all stripes to the exact same conclusions. But, with thanks to Russell’s iconoclastic intent, restless nature and ascetic aesthetics, he still sounds quite like nobody else, and, even better yet, doesn’t give a shit if you like it or not. For the record (this one in particular), we’re all over it like a hot rash.
Since reincorporating his early love of freestyle electro and Industrial dance music into his patented n0!ze matrices circa the 1st volume of ’37 Minute Workout’, Russell has steered that rhythm-driven style into a string of fizzy bangers for Diagonal and even applied it to his production for Consumer Electronics with typically radical results. Russell’s 2nd volume of ’37 Minute Workout’ is cut from similarly (but never the same) ragged material as the first batch, and spits, kicks and claws with equal amounts of eething, pent energy and rambunctiousness ready to jab the ‘floor in the eye or dissolve a party where needed.
Crowbarring cues ranging from the Latin Rascals to Incapacitants and Jeff Mills into 7 wickedly awkward designs, Haswell keeps his avant aerobics radically irregular as he hops from the tendon-twitching angularity of ‘The Wild Horses of the Revolution have arrived Without Knight’ to steel-hoofed clatter in ‘Central Crisis Management Cell’ and the lacquer-eating dynamics of ‘Painful
Memories From The Past Need To Be Acknowledged’, before toning a proper nasty acid special in the UR inversion ‘Dancing on the Head of an Eagle’, and seemingly sucking your brain out thru a straw with ‘Starting Something You’re Not Able To Finish’, with the dry witted, skeletal jazz-funk squirm of ‘Diplomatic Cocktail Circuit’ closing the party down in style.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

All Her Plans, the third album from Melbourne, Australia's Cable Ties, finds the trio of Jenny McKechnie, Shauna Boyle, and Nick Brown at their punchiest and most assured. The ferocious, kraut-influenced blend of post-punk and garage rock of Merge debut Far Enough remains, but McKechnie's lyrics invite the listener closer than ever before. The urgency and fury that have marked Cable Ties' output thus far is more nuanced on All Her Plans.

The unfettered rage of their calls to action endures tackling subjects like broken mental healthcare systems and the burden of familial care that is largely placed on women…while holding space for gratitude, love, and acceptance. All Her Plans is a breakthrough moment for Cable Ties. It is the sound of a group that is exhilarated to be making music together again, both a celebration of their resilience and a massive step forward into a future they can finally claim as their own.

- 2024 repress -

Wye Oak, das Duo bestehend aus Jenn Wasner und Andy Stack, veröffentlicht mit Every Day Like The Last eine Sammlung brandneuer Songs und bereits veröffentlichter Singles, mit der die Band neue Wege beschreitet. Die neun Songs auf Every Day Like The Last stammen aus einer Zeit, in der sich Wye Oak nach mehr als einem Jahrzehnt kontinuierlicher Albumveröffentlichungen und Tourneen im Umbruch befanden. Die musikalische Partnerschaft von Jenn Wasner und Andy Stack erblühte in der Ungewissheit dieser Zeit, wann immer sie spürten, dass Wye Oak etwas zu sagen hatten. Sie gingen dazu über, schnell EPs und Singles zu schreiben, aufzunehmen und digital zu veröffentlichen. Klanglich kehrten Wasner und Stack zu den Grundlagen zurück. Sie balancierten das Organische und das Künstliche aus und nutzen Elektronik und Programmierung, um neue Texturen hinzuzufügen. Für Stack gibt es einen roten Faden, der sich durch das scheinbare Chaos zieht: "Freude im Untergang der Welt zu finden". Every Day Like The Last tut genau das, indem es den Hörer an die neuen Höhen erinnert, die Wye Oak seit 2018's The Louder I Call, The Faster It Runs erreicht haben, während es einen Blick ins Ungewisse wirft, was vor uns liegt. Der Titel dieser Sammlung erkennt diese Dualität an, indem er sie wie eine Frage stellt: "Jeder Tag wie der Tag davor" oder "Jeder Tag wie der letzte Tag auf der Erde"? "Beide Bedeutungen treffen zu", sagt Wasner. Es gibt keine einfachen Antworten.

Wye Oak, das Duo bestehend aus Jenn Wasner und Andy Stack, veröffentlicht mit Every Day Like The Last eine Sammlung brandneuer Songs und bereits veröffentlichter Singles, mit der die Band neue Wege beschreitet. Die neun Songs auf Every Day Like The Last stammen aus einer Zeit, in der sich Wye Oak nach mehr als einem Jahrzehnt kontinuierlicher Albumveröffentlichungen und Tourneen im Umbruch befanden. Die musikalische Partnerschaft von Jenn Wasner und Andy Stack erblühte in der Ungewissheit dieser Zeit, wann immer sie spürten, dass Wye Oak etwas zu sagen hatten. Sie gingen dazu über, schnell EPs und Singles zu schreiben, aufzunehmen und digital zu veröffentlichen. Klanglich kehrten Wasner und Stack zu den Grundlagen zurück. Sie balancierten das Organische und das Künstliche aus und nutzen Elektronik und Programmierung, um neue Texturen hinzuzufügen. Für Stack gibt es einen roten Faden, der sich durch das scheinbare Chaos zieht: "Freude im Untergang der Welt zu finden". Every Day Like The Last tut genau das, indem es den Hörer an die neuen Höhen erinnert, die Wye Oak seit 2018's The Louder I Call, The Faster It Runs erreicht haben, während es einen Blick ins Ungewisse wirft, was vor uns liegt. Der Titel dieser Sammlung erkennt diese Dualität an, indem er sie wie eine Frage stellt: "Jeder Tag wie der Tag davor" oder "Jeder Tag wie der letzte Tag auf der Erde"? "Beide Bedeutungen treffen zu", sagt Wasner. Es gibt keine einfachen Antworten.

Balearia series stunning with a more groove-driven tracks made for the dancefloor. Starting with four new dancefloor tracks, a combination of 90s underground energy with modern grooves, a summer feelings the sea spoils you just like good wine and lots of sun... Includes Ricky Montanari remix

Latincore is a musical journey that begins with this compilation. latincore is a virtual club. latincore is an attempt to reflect with artists whose origins share the same soil.

This compilation brings together 14 sound propositions, offering a snapshot of a latinx, political, migrant and diasporic underground scene. Curated by Marion Stucky Callañaupa and Juan José Moreno Izquierdo.

Apparently Unaffected is the third album by the Norwegian singer-songwriter Maria Mena. It was especially popular in the Netherlands where three of the album's singles made it in Dutch chart listings, including "Miss You Love", "Just Hold Me" and "Our Battles". The album was produced by Arvid Solvang, who also worked on previous albums by Maria Mena.

Hibotep is of Somali ancestry. Born and raised in Ethiopia, she currently lives in Kampala, Uganda. A walking, breathing example of the diversity of Kampala’s arts and culture scene, Hibo Elmi is, amongst other things, a DJ, filmmaker, fashion designer, installation artist, rapper and producer. A self described cultural nomad, pushing forward a genre she calls Industrial Shamanism.

Charlton with his own unique style returns on Tar Hallow with a banging 4 tracker.

History has proven that when the world is in flames, it ignites the empathetic artists to siren their words, music, and rhythm, to blanket our society"s fury and nurse scorched souls. The seemingly endless years of pandemic lockdown and social distancing, coupled with the turbulent plague of civil unrest and racial injustice, called on Vintage Trouble to step into their battle wear. Like so often before, they have spun records to drop onto the fighting grounds, with the intent to freeze the frame long enough to momentarily halt the warring world. And while at ease, we can freely choose to think before we strike or decide to retreat, rather than thoughtlessly charge into repeating history. This collection of heavy hymns is from the heart, and it provides a necessary rise to our ever reckoning.

Farbige Neuauflage des Best-Of-Albums Follow Your Bliss (2012) der US-Post-Hardcore-Band Senses Fail zum 25-jährigen Jubiläum - mit sämtlichen Fan-Favoriten der ersten vier Studioalben plus vier zusätzlichen Tracks, produziert von Brian McTernan (Thrice, Turnstile, Hot Water Music), die zum Zeitpunkt der Veröffentlichung 2012 noch unveröffentlicht waren.

Limitierte, handnummerierte Splatter-Neuauflage des Best-Of-Albums Follow Your Bliss (2012) der US-Post-Hardcore-Band Senses Fail zum 25-jährigen Jubiläum - mit sämtlichen Fan-Favoriten der ersten vier Studioalben plus vier zusätzlichen Tracks, produziert von Brian McTernan (Thrice, Turnstile, Hot Water Music), die zum Zeitpunkt der Veröffentlichung 2012 noch unveröffentlicht waren.

Limitierte Neuauflage des Cavetown-Albums 16/04/2016 (2016) auf rotem Vinyl. Robin Daniel Skinner aka Cavetown ist ein englischer Singer-Songwriter, Musikproduzent und YouTuber. Sein Stil verbindet Elemente von Indie-Rock, Indie-Pop und Bedroom-Pop mit sanften, weichen Ukulelen-Balladen.

*BLACK VINYL* Eight years in the making, Santa Cruz, California’s reclusive sons of tectonic riffage Mammatus return with Expanding Majesty, a sixty-nine minute magnum opus of kaleidoscopic guitars, soaring analog synths, wall-ofamps fuzz bass and one hundred feet drums. Four sidelong pieces unfold across a double album in unstoppable riffs that span the meditative and joyful un-earthed flight of ’70s kosmische godfathers like Popol Vuh and Tangerine Dream to the kinds of sub-surface thunder pioneered by Melvins and Sleep.

Urban Desire is Genya Ravan creating music on her terms after artistically successful work with producers Richard Perry, Jimmy Miller, and Jim Price, along with the three strong albums she recorded with Ten Wheel Drive. As producer of the prototypical punk band the Dead Boys and their classic single "Sonic Reducer," Ravan was an essential part of the new wave explosion of the '70s, which was a blend of punk rock and power pop. Urban Desire is the quintessential new wave album, and though it caused a stir, it has never fully been recognized as the groundbreaking work it is. A driving cover of the Supremes hit "Back in My Arms Again" has guitarists Conrad Taylor and Ritchie Fliegler fragmenting Deep Purple's "My Woman from Tokyo" riff under Ravan's brilliant New York party atmosphere. That comes right after her duet with Lou Reed, a tune called "Aye Co'lorado," one of the album's highlights written by Ravan and keyboard player Charlie Giordano. Classic girl group vocals, blues sensibilities, and the hard edge of underground rock & roll are the ingredients that propel "Jerry's Pigeons" and "Cornered," while a John Cale signature tune, "Darling, I Need You," becomes a barroom brawl -- and that's thanks to the band assembled for this: Bobby Chen on drums, Don Nossov on bass, along with the aforementioned Fliegler, Taylor, and Giordano. Ravan's harp playing pushes "Messin Around," which keeps up the intensity -- and volume. Joe Droukas, who would author the successful "Junkman" duet with Ian Hunter on Ravan's next outing, ...And I Mean It, brings the disc to a close with his third composition on Urban Desire, a tune called "Shadowboxing." Genya gets mellow with this performance, which feels like Ten Wheel Drive meets the Rolling Stones at the "Memory Motel." A bit of a different groove from the equally profound ...And I Mean It, which was released a year later. -Joe Viglione, AllMusic

Urban Desire is Genya Ravan creating music on her terms after artistically successful work with producers Richard Perry, Jimmy Miller, and Jim Price, along with the three strong albums she recorded with Ten Wheel Drive. As producer of the prototypical punk band the Dead Boys and their classic single "Sonic Reducer," Ravan was an essential part of the new wave explosion of the '70s, which was a blend of punk rock and power pop. Urban Desire is the quintessential new wave album, and though it caused a stir, it has never fully been recognized as the groundbreaking work it is. A driving cover of the Supremes hit "Back in My Arms Again" has guitarists Conrad Taylor and Ritchie Fliegler fragmenting Deep Purple's "My Woman from Tokyo" riff under Ravan's brilliant New York party atmosphere. That comes right after her duet with Lou Reed, a tune called "Aye Co'lorado," one of the album's highlights written by Ravan and keyboard player Charlie Giordano. Classic girl group vocals, blues sensibilities, and the hard edge of underground rock & roll are the ingredients that propel "Jerry's Pigeons" and "Cornered," while a John Cale signature tune, "Darling, I Need You," becomes a barroom brawl -- and that's thanks to the band assembled for this: Bobby Chen on drums, Don Nossov on bass, along with the aforementioned Fliegler, Taylor, and Giordano. Ravan's harp playing pushes "Messin Around," which keeps up the intensity -- and volume. Joe Droukas, who would author the successful "Junkman" duet with Ian Hunter on Ravan's next outing, ...And I Mean It, brings the disc to a close with his third composition on Urban Desire, a tune called "Shadowboxing." Genya gets mellow with this performance, which feels like Ten Wheel Drive meets the Rolling Stones at the "Memory Motel." A bit of a different groove from the equally profound ...And I Mean It, which was released a year later. -Joe Viglione, AllMusic

The continuing growth of Maik Krahl as a melodic improviser, bandleader, and composer is distinctly evident in this new release. In-Between Flow, Krahl’s third outing as leader, is a portrait of a young artist who has gone through many years of dedicated hard work, study, experimentation, and refinement in order to achieve this level of instrumental and artistic progress. Krahl belongs to a new generation of improvisers who have acquired a breadth of technical and theoretical facility, while not losing the spontaneity and rawness of this music we call jazz. As a bandleader, he chooses his colleagues wisely and for this date is joined on a few tracks by the visionary guitarist Kurt Rosenwinkel, whose brilliant playing adds a cherry on top of this already delicious line up.

The title In-Between Flow refers to ever evolving progression of our human condition. As in nature, the human spirit can expand and unfold, maturing to a new state where it may settle for a while until some new impulses inspires another transition. These transitions, sometimes subtle, sometimes abrupt; as well as the times of contentedness and serenity are the inspirations for this music.

The record opens up with an ode to the town Krahl calls home. Cologne 4 AM, begins with a haunting melody by Krahl’s soft yet powerful horn before settling into a perfect vehicle to display his command of melodic and motivic story telling. There is something about the time of 4 AM that seems to permeate literature and music, and this track will add to the canon of artistic references to this magical time where the night meets the morning.

Mr. Rosenwinkel joins the band for Slosetta, which is a great example of Krahl’s ability to craft a tune. As is to be expected, Rosenwinkel weaves through the changes with grace and mastery, obviously enjoying the communication with the rhythm section, who are undeniably inspired by his harmonic, rhythmic and melodic ingenuity.

Jakob Kühnemann, a Bandleader and composer is his own right, has been an in demand bassist on the German and European scene for several years, and his contribution to this record is proof of why that is. Although Krahl takes the lead on Drizzle Counter, in a great display of technical virtuosity, it is Kühneman who stands out on this track. It is not only in his improvisation, but more so in his poly rhythmic pulses dancing up from the deep and the harmonic insinuations in his accompaniment of Krahl’s solo that demonstrate his musical mastery.

Rosenwinkel joins again for No Claim Claim, a composition so balanced that I would not be surprised to hear other artists recording or performing it in the future. After Krahl’s melodically inventive statement, Rosenwinkel shifts the band to the next gear building the intensity towards the out head.

Constantin Krahmer has been Krahl´s piano player since his debut record, Decidophobia. His patience, ingenuity, and big ears make him a perfect accomplice to Krahl, and his sensitive yet powerful approach and accompaniment on Reconstruction of a Dream as well as his harmonic and melodic inventiveness on Vinaceous Clouds (where he plays Fender Rhodes) make it clear why he is an integral part of this unit.

Ms Ludgate is a funky composition with angular melody that is another feather in the cap of the band leader. Kurt Rosenwinkel is back, and seems more than willing to engage in some rhythmic dialogue with the spectacular young drummer on the date, Fabian Rösch. Throughout this entire record Rösch is subtly but strongly guiding the band, playing his role as a supportive and interactive proponent to the music. We will surely be hearing much more from this young man with such a refined sound and clear rhythmic conception.

Flawless Sunday, a perfect closing statement for this record. The melody is another great example of Krahl’s growth as a composer. The whole rhythm section really shines on Krahmer’s choruses, where the three colleagues push and dare each other rhythmically as well as harmonically before Krahl enters and brings the record to a close with his beautiful rich tone and melodic playing.

It is a great pleasure to hear the growth of a young artist with such dedication and vision. Hearing how Krahl and his band mates navigate through the vicissitudes of this music is an inspiration that can be mirrored in everyday life. A lesson in accepting the ever changing flow from one state to another. Growing, learning, and evolving into a new state, until the process begins anew. In-Between Flow.

Mike Parker is one of underground Techno's most vital luminaires. His hypnotic aqua-pulsing, live hardware approach has undeniably influenced the direction of Techno since the late 90's and spurned some of the genre's definitive tracks.

Sabre-Tooth sees Mike Parker arrive on Samurai with 4 tracks that follow on from his essential Devils Curators series for Donato Dozzy & Neel's Spazio Disponible label where he unveiled his initial experiments with the 85/170 BPM tempo.

Sabre-Tooth is a stylistic re-calibration of Mikes's machine funk hinted at with his remix of Presha's Mainliner in 2022 but previously unheard in stand-alone tracks.

Steadfast cyber-rhythms, precision percussion, and trademark oscillating analogue waves are the magic ingredients on each track. Sparse elements honed to maximum effect, the Mike Parker science.

2023 Repress

Snoop Dogg is a legendary personality. He burst on to the scene in the early 90’s and stole the show with his appearances on Dr. Dre’s classic album, The Chronic which cemented him as a prominent figure within the halls of hip hop. Since then he has gone on to release multiple platinum albums, star in major motion pictures, and even host a TV show with the one and only, Martha Stewart! In 2017, Snoop releaed the album, Neva Left which was a call back to the style that gained him notoriety. Packed with features from the likes of Too $hort, Wiz Khalifa, K CAMP, Nef The Pharoah, Devin the Dude, KRS-One, Redman, Method Man, BADBADNOTGOOD, Kaytranada and more.

For the third time to the house of Sakskøbing we are witnessing return of a close friend to the label, Portland-based Aaron Carlson who goes by the moniker ac$. This legend of a human being has crafted a 5 audio pieces which has been made on his modular machines at his home studio and showcases a good range of what I believe we call house music. With the first release he has done for the label that went out in the year 2017 and marks a 6-year friendship between the artist and all of us fellas who hold his music dear to the hearts. The record turned out to be warm, personal and true to the artist’s vision you’ll agree if just like us you have been following the man’s sound output over the years. Very importantly it teaches that bean curd is not only good for your body but for the mind as well and let’s not even start to count how many things you can do with it. You know what they say…

Ltd Edition!

John Cale kündigt "Mercy", sein erstes neues Album mit eigenen Songs seit einem Jahrzehnt, für den 20. Januar über Double Six / Domino an und präsentiert eine neue Single mit Video, "Storys Of Blood feat. Weyes Blood".

Wieder einmal hat Cale die Art und Weise, wie seine Musik gemacht wird, klingt und sogar funktioniert, neu definiert. Sein fesselndes 12-Track-Album "Mercy" bewegt sich durch echte Dark-Night-of-the-Soul-Elektronik hin zu verletzlichen Liebesliedern und hoffnungsvollen Überlegungen für die Zukunft. Trump und Brexit, Covid und der Klimawandel, Bürgerrechte und Rechtsextremismus - Cale ließ die schlechten Nachrichten des Tages in seine Zeilen einfließen, ob das nun bedeutete, über die Souveränität und den rechtlichen Status des in polnähe schmelzenden Meereises nachzudenken oder über die ungelenke Bewaffnung der Amerikaner.

Für "Mercy" hat Cale einige der neugierigsten jungen Köpfe der Musikwelt um sich versammelt: Animal Collective, Sylvan Esso, Laurel Halo, Tei Shi, Actress. Sie sind nur ein Teil der erstaunlichen Besetzung hier, brillante Musiker, die in Cales vollendete Vision der Welt hineinklettern und ihm helfen, sie neu zu gestalten.

Format:

- Limitierte 140G transparent-violette Doppelvinyl im Gatefold Sleeve inkl. bedruckten Innenhüllen

Champion Sound crew returns with the long delayed but eagerly awaited Southern Connextion EP. The lead track features deep and thoughtful piano with tearing chaotic amen workouts, and enormous bass to destroy any sound system. The whole EP covers that early 90s jungle sound with aplomb, showing there is new life in an old sound, and a new generation of producers taking it to its zenith...

Percussionist Takashi Nakazato is well known for his work with Jazztronik and Kyoto Jazz Massive and is now back on Ten Lovers Music with a stunning new Japanese Latin Jazz EP.

The Takashi Nakazato Set are the following musicians featuring over the four tracks; Willy Calderon (Timbales), Yu Hagiwara (Alto Sax/Soprano Sax), Kei Ishi (Baby Bass), Miwa Kashima (Rhodes/Piano), Ryo Kawasaki (Electric Bass/Double Bass), Takahiro Miyazaki (Tenor Sax), Oli Savill (Congas), Ayumi Suzuki (Vibraphone/Marimba), Mitsuru Tanaka (Trumpet), Hayato Yamazaki (Drums) and of course Takashi Nakazato himself (Batá Drums, Cheqere, Cowbell, Claves, Wind Chime, Chaworó, Congas, Bongo, Catá, Iyá, Vibra Slap, Cymbal).

The EP was mixed by Eiji Hirano at Studio Happiness in Japan and mastered by Jose Rico in Madrid, Spain. All four tracks are quality pieces of music in their own right and we were more than happy to commit this to vinyl.

Finally Repressed!
MR. KINCY GETS HIS OWN SERIES CALLED GEMINI TRAXX!

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

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

In March 2020, Jack reached out to Lee “Scratch" Perry to produce a dub remix album based on Jack’s most loved recordings. On 8/29/21 the project was brought to a halt as Scratch departed this physical world. In ‘22 Jack and Subatomic Sound System, Perry’s band of the last decade, connected directly and discovered they had all the pieces to bring Lee “Scratch” Perry’s 3 creations to completion. The LP also features dubs from Dennis Bovell, Scientist, Mad Professor, Nightmares on Wax & more.

After a short hiatus, Headstrong is back with Hard 2 The Power of Core from Clouds. True to form, the pairing of Liam Robertson & Calum Macleod drop four devastating, hyper-produced tracks. From the chamber-psytrance of lead track Doom Tune serving as a sidestep to the classic Clouds sound, to the hard hitting and rave infected Braincellz & System 4 (Hard To The Power of Core). Each track packs a punch with their modern take on the UK hardcore sound.