Suche:d ham

2026 Repress

There's no need to apologise - not when the vinyl in question is as good as this. If you've seen Ricardo Villabos behind the decks of late you'll almost certainly have heard him drop one or more of these superlative edits, as he's been hammering them practically non-stop. You can't blame him. 'Edit 1' is a hypotonic bongo-fest that shimmers and caresses the dancefloor with absolute confidence. 'Edit 2' is a female vocal-led disco-slanted house affair with neatly trimmed, jazzy keys and a perky bassline, while 'Edit 3' looks to the late 70s/early 80s for inspiration with a supercatchy synth motif that Vince Clarke would give his right hand for and some exotic sounding, continental male vocals that round it off superbly. Imagine that Patrick Cowley and Krafftwerk made a tune together and you're in the right area. Put all three together and, well, you've got quite the package.

Nachdem Master's Hammer 2018 die letzte Show zur Unterstützung des Albums »Fascinator« gespielt hatten, schien es, als sei die Geschichte der tschechischen Legende endgültig zu Ende gegangen.

Aber glücklicherweise wurde die Band nicht begraben, sondern ging nur in den Winterschlaf und ist nun nach 7 Jahren mit einem neuen Album zurück! Master's Hammer, die sich nie darum gekümmert haben, sich anzupassen, weigern sich, sich auf bestimmte Genres festlegen zu lassen und nach den Regeln anderer zu spielen, was zu vielen höchst originellen Alben geführt hat, die sich jeder Kategorisierung entziehen. Obwohl »Maldorör Disco« unverkennbar Master's Hammer ist, ist es wahrscheinlich ihr bisher experimentellstes und am wenigsten nach Black Metal klingendes Album.

Founded in Cologne, Germany in 1985, Pink Turns Blue's blend of atmospheric pop informed by European post-punk contemporaries and buzzing punk dissonance of Hüsker Dü (the band is named after the Zen Arcade song) immediately tapped into a new canon of sound that was foundational to the emergence of darkwave. Released in 1987 and now remastered by Josh Bonati for vinyl release through Dais, If Two Worlds Kiss is a seminal offering to the canon of dark wave's DNA - a liquid lesson in melody, mood, and pacing - each track continuously adding to the journey like a unique push pin on a map of melancholy. Defined by their dynamic song-writing, their debut added a new urgency and depth to guitar-driven gothic rock by allowing fast songs such as the lead single "Walking on Both Sides" to possess the same sullen punch and melancholy as slower anthems like "When the Hammer Comes Down", which derives its power on the downbeat. More rhythmic variety is added through beat-driven dancefloor tracks with triumphant singalong choruses like "That Was You", showing they could swing hard - as well as swirl_

Mit ihren stählernen Klängen sind Judas Priest seit vielen Jahrzehnten Garanten für absolut atemlose Hardrock-Orgien. 1990 legten sie mit 'Painkiller' ein furioses Metal-Meisterwerk vor, das sich mit Hammer-Tracks wie ''Metal Meltdown', 'Leather Rebel' und 'A Touch Of Evil' in die Gehörgänge bohrte. Das mehrfach vergoldete Album zählt zu den erfolgreichsten Veröffentlichungen des von Sänger Rob Halford angeführten Quintetts aus der englischen Stahl- und Kohlestadt Birmingham.

CTMF covern The Saints! Featuring Nurse Julie am Lead-Gesang! Die schwarze Vinyl 7" ist limitiert auf 300 Stück! Nachdem Billy ,(I'm) Stranded" gekauft und 1977 The Saints als Vorgruppe von The Jam gesehen hatte, dachte er, dass es eine coole Idee wäre, in naher Zukunft ein paar ihrer Songs zu covern. Schnellvorlauf ins Jahr 2025. Während sie bei einem Mittagessen ihre Silberhochzeit feierten, meinte Billy zu seiner Frau: ,Vielleicht sollten wir ein paar Songs von The Saints covern." Mrs. Childish (die Bassistin von CTMF) nickte leicht und meinte: ,,(I'm) Stranded` und versuchen wir es mal mit ,Untitled`." Ein Aufnahmetag wurde ordnungsgemäß in Jim Rileys berühmten Ranscombe Studios (ein semiprofessionelles Studio am stinkenden Ufer des Flusses Medway) gebucht. Die Childishes, begleitet von The Wolf (Mitglied von The Skins), stellten ihre alten Kisten in einer Ecke auf, probten ein paar Mal schnell durch - um eine Vorstellung davon zu bekommen, wie die blöden Songs liefen - und Jims haarige Pranke (stell dir die Hand eines Werwolfs in einem Hammer-Horrorfilm aus den 60ern vor) drückte auf die Aufnahmetaste und voilà! Jetzt habt ihr genau diese 45er in euren Ohren. Da man klugerweise entschied, dass eine weibliche Stimme diesen beiden Charmeuren eine frische, glänzende Note verleihen würde, übernimmt Mrs. Childish den Gesang, während Billy auf den Hintergrundgesang degradiert wurde. So sieht's aus!

Set against the backdrop of New York City’s high-pressure nightlife scene, Black Rabbit centers on two brothers who are pushed to the brink by their duty to family and their pursuit of success. Jake Friedken (Jude Law) is the charismatic owner of Black Rabbit, a restaurant and VIP lounge, poised to become the hottest spot in New York. But when his brother, Vince (Jason Bateman), returns to the business unexpectedly, trouble soon follows; opening the door to old traumas and new dangers that threaten to bring down everything they’ve built. Black Rabbit is a propulsive thrill ride and character examination about the way an unbreakable bond between two brothers can shatter their world and everything in its orbit.
Black Rabbit is a music-fuelled series featuring a brand new song of RAYE and two songs by The Black Rabbits (Albert Hammond Jr. and Jude Law). Also with the exciting score of Danny Bensi and Saunder Jurriaans a vinyl release is an absolute necessity for the this soundtrack.
Black Rabbit is available as a limited edition on crystal clear & black marbled vinyl.

Zum 100. Geburtstag von Peter Thomas erscheint erstmals eine umfassende Sammlung seiner Musik zur ZDF-Krimiserie DER KOMMISSAR (1969-1976). Die Serie gilt als Meilenstein deutscher Fernsehgeschichte - gesellschaftlich relevant, stilbildend und musikalisch überraschend. Thomas steuerte zu 22 Folgen Musik bei, die von klassischer Filmmusik über Beat und Soul bis hin zu experimentellen Soundcollagen reicht. Die LP/CD enthält erstmals veröffentlichte Titel, darunter Highlights wie "Du lebst in deiner Welt" (Daisy Door), das 1971 die Charts stürmte. Besonders spannend sind die Stücke aus den experimentellen Folgen unter Regie von Zbynek Brynych, in denen Thomas Volksmusik mit Pop und Rock kombinierte. Die Aufnahmen entstanden mit renommierten Studiomusikern wie Jan Hammer, Jiggs Whigham und Olaf Kübler.

Hot off the griddle, Cookin' The Books is the long awaited new album from Australia's kings of Hammond soul, Cookin' On 3 Burners. Their first studio LP in six years finds the trio in top form - deep in the pocket, wide in scope, and stacked with heavyweight collaborators. With a 27-year legacy, global tours, and over 2 billion streams (including the international smash This Girl), Cookin' On 3 Burners remain a defining force in vintage soul, funk, and groove.

Cookin' The Books features a collection of killer collaborators including electrifying live vocalist Stella Angelico, acclaimed soul artist Natalie Slade (Steve Spacek, Katalyst, Simon Mavin), hip hop mainstay Mantra alongside Jane Tyrrell (The Herd), rising alt-soul voice Wilson Blackley, and a sweeping string arrangement from composer/violinist Tamil Rogeon (Aloe Blacc, The Dandy Warhols).

Across the record, the group shifts seamlessly between gritty instrumentals and lush vocal cuts - from the cinematic funk of "Only Words", to the break-beat heavy title track "Cookin' The Books", the bumping bounce of "No Bread For You", and the introspective soul of "Phoenix". Every track reflects the group's deep funk DNA while carving out bold new territory.

With airplay from BBC6's Craig Charles, support from tastemakers (Wax Poetics, Dusty Groove, Rolling Stone Australia), and a world tour booked for 2026, this release is a must-stock for deep funk, soul, and cinematic groove audiences.

Originally released in Feb 2011, next year it will be 15 years young and like every teenager it wants to make a racket. So, in February 2026 the band will be doing just that, with some very special shows celebrating their debut album. Tour Dates for 2026 : Exeter Cavern 12/02/26, Cardiff Fuel 13/02/26, London Lexington 14/02/26, Edinburgh Bannermans 20/02/26, Nottingham Rescue Rooms 21/02/26
"The gauntlet for best album of 2011 is being thrown down early!" Metal Hammer. // “Black Spiders are pure genius, AND, they go onstage on time!” Duff McKagan (yeah, him off Guns n Roses)..// “Their apocalyptic three-man axe assault is awe-inspiring“ Rock Sound..// “Another monolithic slab of thunderous rock. This Sheffield-based quintet have managed to harness the powers of Angus Young and priapic death punks Turbonegro and distil it into a brew fit for Odin himself” KKKK Kerrang. SONS OF THE NORTH was the much anticipated debut album by the United Kingdoms very own rock juggernaut BLACK SPIDERS. Quite literally ten tracks of galloping rock and thunderous roll, heads down, no nonsense, ear splintering, gut wrenching organic, melodic goodness. Classic Rock and Metal Hammer Magazines hailed them as ‘Ones to Watch’, Kerrang, Rock Sound, Big Cheese Magazines, Subba Cultcha and Thrash Hits all reviewed.

Damit eins gleich klar ist: Auf FARIN URLAUBs zweitem Album ist erst mal Schluss mit lustig.
Es dauert ganze vier Verse, und ein unmissverständliches „Feuer frei“ legt einem nahe, den Kopf für den
Rest des Albums lieber unten zu halten … und besser isses, denn es wird fortan konsequent mit der Gitarre
niedergemäht, was nicht in geduckter Haltung hinterm umgekippten Esstisch kauert*. Sogar die SkaAnleihen klingen nach Ska-ta-ta-ta-ta.
Und Pustekuchen für jeden, der glaubt, sich am wohlvertrauten Sound durch das hangeln zu können, was
da auf einen niederhagelt.
Da kommt einer eigenständig – aber diesmal nicht allein. FARIN URLAUB schart erstmals Teile seines
„Orchester voll Dynamit“ um sich, das ihn fortan live begleitet: Zwar spielt er – Bläser ausgenommen –
wieder alle Instrumente selbst ein, doch die Damen vom RACING TEAM leihen ihm diesmal ihre Stimmen.
Kein Wunder also, dass AM ENDE DER SONNE schnurstracks auf die 1 ging.
URLAUB hat ein fieses Album in eine fiese Welt geworfen. Eine Welt, über der ein teilnahmsloser Lichtball
prangt, um irdisches Elend unbarmherzig auszuleuchten („Sonne“). Eine Welt, in der man’s nicht einmal
mehr schafft, das Meer romantisch zu verklären („Unter Wasser“), weil man vom eigenen Haushalt mit
Anlauf aufs Maul kriegt („Dusche“), während einer mit dem Schraubenschlüssel rhythmisch auf die Heizung
hämmert.
Die 180-Gramm-Vinyl-Wiederveröffentlichung von AM ENDE DER SONNE erscheint am 21.11.2025 mit
Downloadcode.
*) Das Album ist nicht nur gewaltig, es ist auch großzügig, denn eventuell gibt’s einen Hidden-Track.

Axel und Joja haben mit »Boogie Woogie Dimensions« ihrer gemeinsamen Leidenschaft ein Denkmal gesetzt. Alle Stücke, davon die meisten Originalwerke, die spontan bei den Aufnahmen entstanden, leben von ihrem außerordentlichen, stilsicheren Ideenreichtum, der in perfekter Harmonie von zart lyrischen Bluesklängen bis hin zu rasenden musikalischen Verfolgungsjagden das ganze Spektrum der Lebensfreude an zweimal 88 Tasten zum Leben erweckt.

Zwei große Konzertflügel, beflügelt durch den Achtelbeat des Boogie Woogie: da eröffnen sich Dimensionen des Spielspaßes, der Improvisationsfreude und freundschaftlicher Tastenduelle, bei denen Stillsitzen einfach unmöglich ist!

Axel Zwingenberger & Joja Wendt, pianos
Rec. at Nullviernull Studio Hamburg, 29.5.2018 & 15.6.2024

South Africa’s June Jazzin returns on his Are You House? label with “Show Up” , a stunning double LP that blends deep and soulful house with warm, organic grooves and heartfelt vocals. The album moves through lush harmonies and a timeless dancefloor spirit, rooted in South African house traditions yet resonating worldwide. Show Up is both intimate and uplifting — a true statement from one of the scene’s most soulful producers. Limited edition pressing.

Debt is a new album by Harvey Sutherland about the cost of doing business in the meme economy. In his first LP since the 2022 debut, Boy, the Australian artist reduces his fusiony disco repertoire to ten microhoused funk essentials. This is minimalism not so much as aesthetic conceit than pressurised container, shaken in the Escherised time and space unique to our overdriven, red-lining present. The album's title nods to the financial contortions necessary to strive/survive/thrive as an independent artist. But Debt is better understood as the ledger of what we owe, and to whom, in the course of a creative life. What's the ROI on being an artist, a son, a friend, a partner, a father? Have we been worth our loved ones' own investments? If that sounds transactional, this is merely the lingua franca of our overwhelmingly digital culture, a grifter's bazaar in which Bob Dylan tunes up over Salt Bae, and Wordsworth's pitch is opposite the Rizzler.

Debt came to life when Harvey Sutherland acquired a freightload of Y2K minimal cargo from Akufen, Ricardo and Baby Ford—courtesy of local Melbourne hero Martin L—which bent the album towards a moreish pointillism. The resulting music's eyes-down minimal gestures within expressive pop shapes feels apt for the apparently contradictory things we can't help craving: immediacy and craft, on-tap "authenticity," life lessons drawn from Reel nonsense. A few years after the "neurotic funk" of Boy, a thorough excavation of interiority that comprised Harvey Sutherland's first LP proper, Debt is his to-the-point response to pressures that manifest outside the self. But in its own way it remains a reflection of Harvey Sutherland's musical innerscapes, which stretch across the grit and glitter of private-press disco and the sensual grids of Metro Area.

A new release from Fox & His Friends Records, Chapters (Screen & Stage Dancefloor Jazz from Yugoslavia 1971-1984) by Ozren Depolo brings to light a trove of previously unreleased music spanning more than a decade of his work in film, theater and television. This gatefold audiophile 180g LP, including a 12-page booklet with archival photos and detailed liner notes, offers for the first time a full album composed exclusively of Depolo's own authorship, drawn from master tapes held in private and institutional archives. Mastering and cutting was done by Frank Merritt from The Carvery Ozren Depolo rarely pursued opportunities to record original material, in part due to a general lack of interest among local publishers in jazz discography. Yet he was more than a gifted composer: he was also an accomplished saxophonist, clarinettist, flutist, pianist, arranger and occasionally, a jazz journalist who contributed articles to specialized programs on Radio Zagreb. Depolo also played in international big bands alongside jazz greats such as Clark Terry, Oliver Nelson and Gerry Mulligan, as well as in formations led by Bosko Petrovic, including the Nonconvertible All Stars and the B.P. Convention Big Band. He was a member of ensembles including The Alfi Kabiljo Orchestra, The Dragutin Diklic Ensemble, Jugoslovenska Pop Selekcija, The Stipica Kalogjera Octet, Vaclav Zahradnik & His East All Stars Band and the Zagreb Jazz Quintet. As both composer and arranger, he produced a significant body of work for large jazz orchestras and small ensembles. He was deeply engaged in jazz improvisation and avant-garde classical music, recording numerous chamber pieces for saxophone. A long-standing member of Acezantez, Zagreb's renowned contemporary music ensemble, he also collaborated with international figures such as Ted Curson, John Lewis, Johnny Griffin, Art Farmer, Leo Wright, Art Taylor, Slide Hampton and Lucky Thompson. This selection also includes his collaboration with Igor Savin and jazz vocalist Zdenka Kovacicek who were played on Karl Lagerfeld's fashion shows. The release demonstrates how Depolo was able to shift fluidly between idioms: from driving big-band passages to intimate chamber-like arrangements, from funk-tinged motifs to lyrical, impressionistic soundscapes. This stylistic breadth, always anchored in his deep jazz and funk sensibility, gave his music an adaptability perfectly suited to the hybrid world of stage and screen. The LP highlights that versatility while also presenting the coherence of his artistic voice, one that had gone unrecognized precisely because it was dispersed across so many contexts.

Old-time and traditional music stay exciting for their contrasts. Exacting instrumentation honed through mentorships and late-night jams at fiddler's conventions tangles with a community-sourced inventiveness that influences variants and new sounds. Joseph Decosimo is a master of this genre for this very reason, blending deep technique with an openness and curiosity that keep his music crackling with life. A "marvelous fiddler" (No Depression) and banjo player who braids "exultation and veneration" (INDY Week) into his music, on his third solo album Fiery Gizzard Decosimo gathers a close-knit ensemble of friends from his musical career to infuse his interpretations of fiddle and banjo pieces with a contagious communal joy. As an artist working with traditional music from the South and Appalachia, Decosimo chooses songs based not only on historical significance and lineage but also his own sensory approach. For Fiery Gizzard, his ear was tuned to otherworldly tones and mystery, sourcing from field recordings such as Virginia fiddler Luther Davis' hypnotic version of "Shady Grove" while amping up the music's psychedelic potential. On the middle Tennessee banjo composition "Flowery Girls," a VHS of bluesman Abner Jay inspired Decosimo to rig up a pickup inside a fretless banjo and play it thr ough a tube amp to capture some of Jay's edge and funkiness. But to round out the sound and keep it kinetic meant galvanizing a genre-eschewing crew to jam out - and not in a "spaced-out drooly" kind of way, he laughs, but as a sort of "responsive conversation." Decosimo has always been a community-minded artist. He began playing as a seventh graderin Tennessee, fostering relationships with older players at jams and in homes, a learning mode natural to his inquisitive nature and desire for musical connection. A folklorist by intuition, he later became one by profession, studying with old-time legend Clyde Davenport, teaching in East Tennessee State University's renowned bluegrass program, and receiving his PhD at the University of North Carolina with a dissertation titled "Catching the `Wild Note': Listening, Learning, and Connoisseurship in Old-Time Music." In North Carolina, Decosimo kicked about in the verdant environment of Durham and Chapel Hill's folk and indie scenes, collaborating with artists including Alice Gerrard, Hiss Golden Messenger, and Jake Xerxes Fussell. This community has influenced his own music, including his "sublime and strangely heartening" (Bandcamp Daily) 2022 release While You Were Slumbering and Beehive Cathedral, Decosimo's 2024 "Appalachian mountain music treasury" (New Commute) trio album with Luke Richardson and Cleek Schrey for Dear Life Records. Continuing on this path, Fiery Gizzard is home base for a loose outfit of mostly Tarheel-based musicians from within and beyond traditional music. Inspired by a tour with fiddler Stephanie Coleman (Nora Brown), guitarist Jay Hammond, and synth builder and multi-instrumentalist Matthew O'Connell, Decosimo assembled studiomates based on close friendships and comfort. Coleman, O'Connell, and Hammond contribute to Fiery Gizzard, along with bassist and producer Andy Stack (Helado Negro, Wye Oak), horn player Kelly Pratt (Beirut, David Byrne), Mipso and Fust's Libby Rodenbough, Joseph O'Connell (Elephant Micah), and trad/experimental artist Cleek Schrey. Decosimo's fiddle and banjo work is virtuosic, intricate and simple simultaneously, a testament to his many years of study. On some tracks, his playing or lovely, plain-hearted singing is the centerpiece, such as on his interpretations of Texan street preacher Washington Phillips' 1929 recording "I Had a Good Father and Mother" or the Eastern Kentucky fiddle barn-burner "Glory in the Meetinghouse," famously played by Luther Strong for Alan Lomax. But there's also a trusting open-door policy, like where Southern Appalachian tune "Ida Red" relaxes into Coleman's sweet, confident fiddling and Hammond's loping guitar. As a bandleader, Decosimo's confidence and enthusiasm for the music reveal the heart of traditional music and how it can come to life through community. Fiery Gizzard is Joseph Decosimo as a powerful champion of traditional music - a sponge who soaks up as much as he squeezes out, a responsive artist who makes his genre accessible, and a magnet who can bring musicians of all sorts into his orbit with his same passion.

"Viva Marina" celebrates the 100th release of Marina Records. The label was founded in Hamburg in 1993 by Stefan Kassel and Frank Lähnemann. Over the years the label released many outstanding albums by artists like The Pearlfishers, Shack, Brent Cash, The Bathers, James Kirk, The Free Design, Malcolm Ross, Ashby, Paul Quinn & The Independent Group, Der Plan, and many many more - incl. the best-selling Beach Boys/ Brian Wilson tribute album "Caroline Now!". "Viva Marina" is the 4th of the label"s acclaimed compilations - following in the footsteps of "In Bed With Marina", "Ave Marina" and "Goosebumps". These compilations have all been elaborate classy affairs with lots of attention to detail (packaging / design / liner notes / photography / mastering). Artefacts of beautifully curated Pop Art. The new compilation continues in that tradition. It features 21 tracks from the Marina roster and kindred spirits like Van Dyke Parks, The Kingfishers, Frank Schmiechen and Michel van Dyke. Featuring many exclusive and previously unissued contributions. Enjoy 21 tracks / 75 minutes of pure aural pop pleasure. Viva Marina!

Gerry raus, kein Ersatz. Zu fünft, Dim Prospects sind zurück zur deutschen Sprache, neues Kapitel. "Abscheu und Neugier": aufgenommen im Winter 24/25 mit Tom Zwanzga im S.T.R.E.S.S. Studio, gemastert in der North London Bomb Factory von Daniel Hajji Husayn.
13 Songs zwischen Punkrock und Hardcore - mal schnell, mal gedrosselt, immer mit Melodie und melancholischem Unterton. Irgendwo zwischen Hamburger "Schiffen", Leatherface und Hüsker Dü. Texte voll Wut und Spott über den täglichen Irrsinn von Konservatismus und Rechtsruck. Abscheu trifft Neugier, Grant trifft Augenzwinkern.

Surf Ride ist ein Album mit Aufnahmen aus den Jahren 1952–54, das ursprünglich 1956 beim Label Savoy
veröffentlicht wurde. Neben Pepper sind auf dem Album auch Jack Montrose (Tenorsaxophon), Russ
Freeman/Hampton Hawes/Claude Williamson (Klavier), Monty Budwig/Joe Mondragon/Bob Whitlock
(Bass) und Larry Bunker (Schlagzeug) zu hören.

In den 1960er Jahren zählten der Hammond-Organist und der Gitarrist zweifelsfrei zu den prägendsten
und populärsten Jazzmusikern. Bei den gemeinsamen Sessions für ”The Dynamic Duo” wurden die beiden
Virtuosen 1966 von einer nicht minder dynamischen Big Band unter der Leitung des Meisterarrangeurs
Oliver Nelson zusätzlich befeuert. Das Album wurde von den Kritikern und Jazzfans mit so großer Begeisterung aufgenommen, dass Verve noch im selben Jahr mit “Further Adventures Of Jimmy And Wes” einen
Nachfolger herausbrachte.

Mona Steinwidder (Museum of No Art) and Mitko Mitkov have spent years exchanging sounds and words across Hamburg's creative landscape - Swimming Pool Reflections is where those exchanges accumulated in Steinwidder's studio beneath the slanted roof of a former barracks. Premiered in November 2024 for Gesa Troch's exhibition "you say water is sweet", the work intertwines Mitkov’s texts (originally composed as emails to members of a swimming club, as imaginary as they are real) with Steinwidder’s clarinet and synthesizer, full of dubby resonance.

Swimming Pool Reflections isn't about swimming. It's about standing at the edge and watching - the way light fractures through water, how shadows play across tile, everything that forms and dissolves in the viewer's eye. The libretto moves through straits where bodies of water collide, small lakes with white slides, pools suspended in generic landscapes generated from uploaded photographs. Binary gods and transparent shadows. Sediment and cosmic hands weaving existence on overdimensional looms.

Across two uninterrupted sides, words float like those oil spots Mitkov describes: "swallowing light, drifting between the waves, forming a strange pattern". The music holds space for these reflections without trying to contain them. Everything stays permeable. Everything keeps moving.

During the past 50 years, tenor-saxophonist Scott Hamilton has been one of the most consistent jazz artists, always taking thoughtful and swinging solos while displaying a warm tone. His 2004 live recording brought a top-notch quartet to the Jazzclub De Tor, Enschede, the Netherlands. Accompanied by pianist Rein de Graaf, bassplayer Marius Beets and on drums Eric Ineke, Scott Hamilton plays six jazz tracks from the set including "Rhythm Riff", a 12-chorus solo that gradually builds in excitement. Live at De Tor is available as a limited edition on silver coloured vinyl, contains liner notes on back of the sleeve by jazz journalist/author Scott Yanow.

Recorded during that unique period in the late ‘60s when jazz, blues and rock musicians found common ground in London’s vibrant subterranean clubs, 1968s Definitely What! was the second of the run of the four ground-breaking Trinity albums. Showcasing Auger's open-minded approach and his masterful organ & piano skills, the album whips up a rich blend of jazz, R&B, psychedelic touches and soulful grooves, complemented by the tight, dynamic rhythm section of Dave Ambrose (bass) and Clive Thacker (drums).

After the previous year’s Open (1967) with its 'Summer of Love' feel and its melting pot of Mod R&B, cover versions of US soul hits led by Julie Driscoll’s inimitable vocals, Auger considered Definitely What! as his first solo album, and so he travelled deeper into jazz territory, balancing original pieces with audacious covers. Tracks include versions of Mose Allison's 'If You Live' and of Wes Montgomery’s ‘Bumpin’ On Sunset’. “I got a letter from Wes's wife,” recalls Auger, “saying that it was Wes' favourite version. Can you believe that, Wes's wife wrote to me!”

Elsewhere, we find a dramatic re-arrangement of The Beatles’ ‘A Day In The Life’ complete with orchestral strings and a punchy horn section, alongside a supercharged version of Booker T & The MGs’ ‘Red Beans & Rice’ . 'George Bruno Money' was dedicated to Auger's drinking pal of the era, Zoot Money, and 'John Browns Body' both combine prime Hammond jazz with the very British surrealist humour that was in vogue at the time. The title track goes further “out” in a sprawling instrumental piece rooted in experimentation. Brian himself specifically states in his sleeve notes that his concept “lies along a straight line drawn between pop and jazz and aims at the 'fusion' of both elements” - ‘fusion’ at that time was not even a recognised musical term, further reinforcing Auger’s credentials as an innovator.

That forward-thinking approach was developed in Open and Definitely What! would come to fruition a year later with the release of Streetnoise (1969) featuring the Trinity and Julie Driscoll. At the time, the move to bring together jazz, rhythm & blues, folk, gospel and pop into a progressive new sound may have annoyed the purists and confused the less open- minded, but these albums stand today as a testament to Auger’s unique position within British music, foreshadowing his future 1970s explorations with the Oblivion Express and beyond. Definitely What! remains a fascinating snapshot of 1960s musical experimentation - raw, eclectic, and unapologetically Auger!

This new Strut reissue is curated by Impressive Collective’s Greg Boraman in partnership with Brian and Karma Auger. The album is remastered by Cosmic Audio from the original tapes, and is packaged in Brian's favourite version of the 3 different sleeves the album was originally issued in.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas— was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness, ” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again, ” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset. ” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead, ” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close, “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz-rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

Acclaimed experimental hip-hop artists Pink Siifu and Turich Benjy are thrilled to announce the release of a limited edition vinyl of their groundbreaking 2023 collaborative album, IT’S TOO QUIET..’!!. This exclusive pressing includes six previously unreleased bonus tracks, offering fans an expanded auditory journey through the duo's innovative soundscape.

Originally released on October 31, 2023, IT’S TOO QUIET..’!! was lauded for its genre-defying fusion of underground hip-hop, alternative trap, and electronic influences. The album showcases Pink Siifu's visionary artistry and Turich Benjy's dynamic versatility, creating a sonic experience that is both immersive and boundary-pushing. The project fea-tures collaborations with notable artists such as Nick Hakim, WiFiGawd, Vayda, Lance Skiiiwalker, and Kamilah, among others.

Critics praised the album's eclectic production and cohesive vision. HipHopDX noted that "IT’S TOO QUIET..’!! is a grab bag of deliriously joyful rap songs that span all sorts of popular subgenres," highlighting the album's ability to blend diverse musical elements seamlessly. In Search of Media commended the album's high energy and eclectic sound, stating that it "combines both their skills as emcees poignantly."

In addition to the original 17 tracks, this special release includes six unreleased bonus tracks, providing listeners with new material that delves deeper into the duo's creative synergy. All packaged in a beautiful 2LP vinyl in gatefold sleeve — don't miss out!





[d] A4. lookin..’!![gorgeous] featuring WifiGawd, Vayda produced by Tony Seltzer, iiye

Wahrscheinlich das erste Album, das komplett in einem Bundesliga-Fußballstadion geschrieben und aufgenommen wurde, nämlich im Millerntor-Stadion des FC St. Pauli in Hamburg. Keine Sorge, es klingt überhaupt nicht nach Stadionrock. Ganz im Gegenteil sogar ... Lo-Fi, ohne spröde zu sein, und minimalistisch, ohne karg zu wirken. Seit 1995 haben sich Swearing At Motorists mit ihrer rohen Energie, ihren herzlichen Songtexten und ihrer unerbittlichen DIY-Ethik eine Kult-Anhängerschaft aufgebaut. Als ,The World's Local Band" bezeichnet, sind sie unzählige Kilometer gereist, um weltweit Konzerte zu geben, und haben die Bühne mit legendären Acts wie Guided By Voices, Songs:Ohia, The Breeders, Spoon, Unwound, Brainiac, The Lemonheads, My Morning Jacket und vielen anderen geteilt. Nach einer zehnjährigen Pause ist die Band zurück. Von Kritikern gefeiert, aber definitiv unter dem Radar geblieben, sind Swearing At Motorists nach wie vor ein beliebter Fixpunkt der Indie-Rock-Underground-Szene.

With HANKY XX, James Eleganz (formerly of Success) and Goulven Hamel (Philippe Pascal, Santa Cruz, The Celtic Social Club) reinvent country music by blending it with sound effects, samples, and a striking cinematic universe. Their debut album, Under A Western Sky, produced by the ZRP label, is a powerful and unique concept album that explores madness, identity, and reinvention. Between poetic narratives and sonic experimentation, HANKY XX surprises with its audacity and originality. The highlight: a completely reinvented cover of Taylor Swift's cult song "The Last Great American Dynasty," already tipped as a hit single. With a vinyl and CD release, HANKY XX offers an album that will appeal to folk and indie fans alike, as well as those curious to discover new musical experiences. A project at the crossroads of genres, tailored to appeal to a demanding audience... and naturally find its place in record stores.

This is a reissue of the original 1963 album El Decano De Los Cantores 4. Chuíto el de Bayamón (Jesús Sánchez Erazo) was a legendary Puerto Rican troubadour and one of the earliest jíbaro singers to appear on the radio, also known as "el decano de los cantores" (the dean of the singers). Known for his witty décimas and lively improvisation, he helped popularize traditional Puerto Rican music. His work influenced generations, including salsa greats like Héctor Lavoe. In the 1940s, he became the lead-singer for cuatro player and composer Ladislao "Ladí" Martínez's Conjunto Típico Ladí, created in New York City. With Ladí, he recorded "Un jíbaro en Nueva York," a controversia with Ernestina Reyes "La Calandria." It was actually Ladí who baptized him as "Chuíto el de Bayamón". From 1949 to 1977 Chuíto collaborated with Abelardo Díaz Alfaro, the famous Puerto Rican author, in the radio program "La vida de Teyo Gracia y su mundo" aired in WIPR. In addition, Chuíto participated in the films "La trulla" (1951), "Preciosa" (1965), and "El otro camino" (1959). Throughout his career Chuíto recorded more than 40 LPs and performed in New York, Boston, Chicago, New Jersey, Hawai'i, Spain, Cuba and other Latin American cities. His repertoire is characterized by its witticism and sense of humor, and sophisticated musical arrangements. Along with Flor Morales Ramos "Ramito", Odilio González and Daniel Santos, he had a huge influence in the singing style of Puerto Rican salsa star Héctor Lavoe. In 1975 and 1976 he was recognized with the "Agüeybaná Gold Album" award. This is the forth edition of Ansonias Chuito reissue series.

"Amir ElSaffar (b. 1977, USA) is a composer, trumpeter, vocalist, santur player, and modular synthesizer artist whose innovative compositions blend elements of jazz, classical, and traditional Arabic music. His newly established label, Maqām Records, released its first album earlier this year, Maqam Al-Iraq, by legendary vocalist, Hamid Al-Saadi and is now following up with an album of ElSaffar’s work, New Quartet Live at Pierre Boulez Saal. Recorded live in Berlin in 2023, the album captures the ineffable magic of ElSaffar’s first encounter with Greek pianist Tania Giannouli, a star on the European jazz scene, alongside his NYC-based collaborators: acclaimed drummer and bandleader, Tomas Fujiwara, and saxophonist Ole Mathisen, who is also a featured member of ElSaffar’s Two Rivers and Rivers of Sound orchestra. The quartet merges Arabic maqām with jazz harmony and features microtonal and prepared piano. In addition to the concert itself, the album features alternate takes that were recorded at Pierre Boulez Saal the next day without an audience.

RIYL: Classic artists: Miles Davis - “Sketches of Spain,” “Kind of Blue,” John Coltrane - “A Love Supreme,” “Ballads,” Don Cherry - “Relativity Suite,” Ahmed Abdul Malik - “Jazz Sahara,” “East Meets West,” Cecil Taylor, John Hassel, Hossam Ramzy, Ziad Rahbani.
Contemporary artists: Vijay Iyer, Ibrahim Maalouf, Ambrose Akinmusire, Rabih Abou-Khalil, Dhafer Youssef"

• Fusion aus Klassik & Moderne – Bach, Mozart und Chopin verschmelzen mit Beats aus Hip Hop, House, Jazz und Pop

• Starkes Live-Programm – Auftritte u. a. in der Berliner Philharmonie, Elbphilharmonie Hamburg, La Cigale Paris und London Union Chapel

• Zeitgeist & Virtuosität – Virtuoses Klavierspiel trifft auf Club-Vibe und macht Klassik für neue Generationen erlebbar

Mit »Classifi ed Fusion« verbindet Levi. sct Klassik und Moderne auf einzigartige Weise. Der Pianist und Produzent mit Millionen Followern weltweit lässt Bach von Beats durchziehen, verwandelt Chopin in House und Mozart in Hip-Hop. Virtuosität trifft auf Club-Vibe, Improvisation auf Zeitgeist. Nach viralen Erfolgen begeistert Levi. sct nun mit einem Album, das Klassik neu erzählt und Grenzen mühelos überwindet.

Downwards present Alexander Tucker in metamorphosis from psych folk to techgnostic bard, aided by notable guests – Justin K Broadrick, Regis, Phew, Karl D’Silva, JJOWDY, and Elvin Brandhi – in a quest for disordered convention and new thrills. One up to Tucker’s outings for Alter and The Tapeworm, and spiritual successor to his »Nonexistant« trio on Downwards, »Clear Vortex Chamber« is an enigmatic take on the brownfield edgelands where the eldritch intersects electronic heck. Decades of work spread between hardcore punk, psych rock, folk, and drone — including work with Stephen O’Malley (Ginnungap) and Neil Campbell (Astral Social Club, ESP Kinetic) — feed forward into this album’s unsteady machine rhythms and cranky junkyard atonalities, where Tucker panel-beats aspects of his previous sound with a newfound industrial thrust and cyber-punky lust that suits him dead well.

A crafty example of how to mutate without losing sight of yourself, the album’s eight parts feel like a cyborg patching itself into modernity. On opener »Udug« Tucker’s signature falsetto peals from a A Scanner Darkly-style scramble suit of stereo-strobing electronics, setting a melodramatic, neo-gothic tension that riddles the album thru the knotted, fractured industrial dancehall bullishness of »Mallets« with Yeah You’s feral gob Elvin Brandhi, via a pair of standout »Fedbck« parts with Tucker’s personal idol, Justin K Broadrick (Godflesh, Jesu, and the rest), featuring the Brum deity’s claw-handed riffs and howl on the first, and smeared with Karl D’Silva’s brass in its noctilucent second part.

Regis also proves a staunch foil for the album’s most robust, club-ready cut »Zona«, hammered out from buzzing metallic drums and monotone bass drones, and pitting his severed vox against Tucker’s own androgynous harmonies to recall aspects of The Ephemeron Loop via British Murder Boys, whilst scene legend, Can and Ryuichi Sakamoto spar Phew (aka Aunt Sally) ideally tempers the flow in a relatively soothing »Sansu«, sharing more cyber-romantic, recombinant sentiments with the channelling of Robert Wyatt gone Funk Bruxaria on »Folded«.

Klavier, Gesang, Percussion: Bodo Wartke
Musik & Texte: Bodo Wartke
außer „Die Klapperschlangen“: Musik von Matthias Kräutli und „Mondscheinsonate“: Musik von Ludwig van Beethoven Produzenten: Bodo Wartke & Sven Schütze außer „Die Klapperschlangen“: Bodo Wartke, Matthias Kräutli Aufgenommen im Juni 2025 in den Clouds Hill Studios, Hamburg.

Studio-Album zum siebten Klavierkabarettprogramm Wunderpunkt. Abera Kadabera! Feiner Sprachwitz, überraschende Reimkultur und virtuoses Klavierspiel – das siebte Programm von Bodo Wartke bietet unterhaltsames Musikkabarett und wortakrobatischen Zungenbrecher-Slam.
Der Entertainer und Poet setzt das Staunen gegen die Macht der Gewohnheit, stellt Humor den alten Mustern an die Seite. Leichtigkeit! – Warum nicht? Bodo Wartke bringt es auf den Wunderpunkt!

Zum 20-jährigen Jubiläum erscheint A Certain Trigger gemeinsam mit der 2006er B-Sides- und Demo-Compilation Missing Songs als hochwertige 2LP auf schwarzem Vinyl im Gatefold-Cover. Die Zusammenstellung enthält seltene B-Seiten und Demo-Aufnahmen aus den UK-Singles dieser Ära und wird ergänzt durch ein beidseitig bedrucktes, farbiges 60 × 90 cm Poster auf luxuriösem Kunstdruckpapier. Ein Sammlerstück für alle Fans des energiegeladenen Indie-Rock-Sounds von Maxïmo Park.

Format: 2LP schwarzes Vinyl, Gatefold, inkl. beidseitigem Farbposter (60 × 90 cm)