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Wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! // Unlike anything else, this is THE high life music you've always wanted // Ceremonial music played with abandon and extreme intent, honoring the living and dead alike // Recorded on location in SW Madagascar by Maxime Bobo // “Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted - ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations – which last between three and seven days – cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by Maxime Bobo, this vinyl LP includes a 4-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.”

Long awaited, here is the 4th volume of the Mighty Mellow collecon, from the curators of the
seminal series The Mood Mosaic. Mushy funk, abstract jazz, including tacks of Pete Jolly, Annete
Peacock, Dusty Springfield among the others.

Being one of the most popular albums in the history of the label,

Music Brokers is happy to announce the release of Jazz And Beatles in a limited-edition double LP.
The album features 24 stellar Beatles classics reinvented in jazz form that highlight the catalog of the biggest band of all time.
Gems such as “Yesterday”, “Here Comes The Sun”, “Revolu- tion” and “She Loves You” have new life with reworked versions
by many of the biggest names in the nu-jazz move- ment including Jazzystics,
Les Crossaders, The Cooltrane Quartet, Eve St. Jones and Apollinare Rossi. With stellar artwork and remastered sound,
this is another essential addition to your jazz-lounge music collection in vinyl format.

The idea of an acoustic album had long been dismissed by the artist himself. "I"m not a guitarist; I use the guitar to compose", he used to say, reluctant to expose this level of vulnerability. However, in 2023, during the Kyotophonie Festival in Japan, organized by photographer Lucille Reyboz and encouraged by producer Laurent Bizot (No Format!), something changed. Surrounded by the spirituality of a Zen temple and supported by his loyal musicians - Badié Tounkara on ngoni and Mamadou Koné on percussion - Salif agreed to bare himself like never before. The title So Kono, meaning "in the room" in Mandinka, reflects both the simplicity and depth of this album. Recorded in the intimacy of his hotel room, So Kono captures the very essence of Salif Keita: a powerful voice, shaped by trials and travels, elevated by minimalist arrangements. Blending reimagined classics and new compositions, this album resonates as a sincere and timeless work, reaffirming why Salif Keita is considered one of the greatest living singers, across all cultures and continents.

The Crystal Hum is the debut vinyl release by Taiwan-based artist Yuching Huang and her first release for Night School.
A beguiling dreamscape of crackles, spluttering, love-struck Casios presided over by the the spectral vocal and guitar work of Huang, Yuching sings love songs at the end of this world and the beginning of the next. Recorded during a hiatus from her group Aemong (a duo with artist Henrique Uba) in Berlin, these songs elevate Huang’s unique vocal style and grasp of atmospherics. The Crystal Hum deconstructs balladry, Garage, guitar music and reforms it into a
unified ghostly otherworld version of these languages.

The Crystal Hum thrums with buried desire, trails of nocturnal reverb seeping out of apartment windows, diaristic vocal performances and deeply emotive, evocative Western-style strings. Formulated by Yuching Huang after periods of frustration and experimentation, the album is an exercise in minimalism and paring back, with some tracks like JohnJohn featuring little else than an elastic bass, spring reverb trails, an interjecting vocal and swelling, dislocated synths. The effect is spellbinding, the soundtrack to getting lost in the labyrinthine, closed streets of Venice, Taipei, Hong Kong, or mirror versions of them in the imagination.

On opener Fly! Little Black Thing, a subterranean funk bassline roots Huang’s singing, a rudimentary, unreliable beat floundering in whimsy underneath. Demure, dream Dance music, Huang references classic lo fi experimenters Suicide and Arthur Russell as well as Night School label mates The Space Lady and Ela Orleans. In fact, after the release of Aemong’s third album Crimson, Huang credits the direction of The Crystal Hum to being enchanted by The Space Lady’s Greatest Hits,
the landmark lo-fi recording made by Susan Dietrich Schneider in 1990. The new, minimalist approach to her sound world reveals and shrouds in equal measure. On the heart-melter Love, a sultry mid-tempo Casio + bass backing drops into the ether with Huang’s vocal swimming in preternatural void before emerging anew, in awe at the world. Every chord change heralds new perspectives, every guitar flurry swells and drips emotion, nothing is wasted and space billows out from between the grooves.
Huang never reveals more than necessary, making this an in-between love album: the right amount of mystery and darkened mirror shines wanely on The Crystal Hum while remaining fragile and vulnerable in the sweet spots. Turning over in pillowing smoke and night in the dark corners, Huang sings in both Mandarin and English. The songs speak of earthly matters seemingly at the edge of dissipating into nothing. Distorted, beguiling Sambas warble like sweating dancehalls in an imagined Lynchian 60s, as on Thoughts. Closer You, An Illusion warps a classic 60s Girlgroup bassline beloved of the likes of Les Rallizes

Denudes into a slight ballad on the edge of the void, held back by the teary-eyed, wistful and enveloping vocal cooed by Huang. Each song feels like a love song dedicated to the bits between worlds, between beats, the negative space between people where desires, feelings and loss hangs in the air, resolute and unresolved.

"For nearly four decades, Alison Krauss & Union Station have upheld their legacy as one of the most influential and widely celebrated acts in bluegrass and roots music. Krauss is a 27-time Grammy winner and was inducted into the Bluegrass Music Hall of Fame in 2021. Known for an immaculately crafted but endlessly surprising sound that transcends the boundaries of roots, country, rock & roll, and pop, Alison Krauss & Union Station are making their long-awaited return with Arcadia – their first LP since the 2011 masterpiece Paper Airplane—a critically lauded, multiple Grammy Award winning LP that debuted at #1 on the Billboard Country, Bluegrass, and Folk Album charts. This spring, they will embark on a 73-date tour of North America, their first since 2015.

Arcadia was produced by Alison Krauss & Union Station with additional production by 10-time Grammy winning producer Gary Paczosa, who has worked extensively with the band. The players – Alison Krauss (fiddle, lead vocal), Jerry Douglas (Dobro, lap steel, vocals), Ron Block (banjo, guitar, vocals), Barry Bales (bass, vocals), and welcoming highly acclaimed and celebrated tenor vocalist Russell Moore (guitar, mandolin, lead vocal) as the newest member – are five distinct personalities, each of whom also enjoys a flourishing solo career. But when they come together, they transform into a peerless group of musicians who share a singular focus."

Colin Newman & Malka Spigel's Immersion project sees the 3rd Volume of their Nanocluster collaboration series. The third album in the Nanocluster series is a mid-Atlantic melting pot of ideas that have created a brand new third way. The album sees a collaboration between the European post-punk electronic discipline of Immersion meeting the American ambient country band SUSS and their big sky, new world, Americana cinematic soundscapes to create a perfect Nanocluster! It's a perfect combination that fits the Nanocluster vision. Immersion's open-minded approach sees their music spark new textures with the American band who were once described by UNCUT magazine as "Eno's Apollo Atmospheres crash-landed in America's Sonoran Desert," and by Pitchfork as "Neither rawboned nor ramshackle _ their elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots." Suss are composed of veteran musicians Pat Irwin (the B-52s, Raybeats, 8 Eyed Spy), Bob Holmes (numun, Rubber Rodeo), and Jonathan Gregg (the Combine, the Linemen), SUSS combine Pedal Steel, National Steel Guitar, Mandolin, Harmonica, Baritone Guitar, and the Harmonium, which they weave with synthesizers and loops to create their big, lonesome sound.

"Float like a butterfly and sting like a bee" said the famous boxer Mohammed Ali, in reference to his legendary strike. This punchline also works wonderfully in music, listening to Roseaux's third album. A French success story, created with all modesty and honesty by the Parisian trio: Emile Omar, Alex Finkin and Clément Petit.

The three musketeers of sound cultivate their know-how, now acclaimed by critics and an ever-growing audience since their first project in 2012. It took them time to take a step back and gain perspective in order to offer us a return that is both joyful and resounding.

Roseaux takes root on the banks of soul, folk, jazz, and songs from all eras, a cascade of inexhaustible sounds, where the three composers draw their inspiration and merge their experiences.

The leaves of Roseaux soar to the breath of wonderful voices, chosen with precision by the three friends, like that of the American singer Aloe Blacc, present since the beginning of the adventure, essential enchanter of the three episodes.

Conceived as a dreamlike escapade full of emotions, on the fringes of the massive, instantaneous and often disembodied production, Roseaux is a totally artisanal group, a sort of UFO in the French musical landscape, which operates on instinct and above all on desire.

Thus, Roseaux has become an expert in bringing together, for the duration of a record, the artists who specifically form the DNA of their host: captivating voices, a plot on the piano and cello, but also encounters and reunions, in a poetic and deliberately nebulous universe.

A welcoming nebula, where the listener is invited to listen and immerse themselves without hindrance, in a luxuriant, wild, exciting sound forest. This third album is the work of 3 music lovers, capable of switching roles: writing, arrangements, production, from which emerge this time, eleven tracks with chiseled melodies including three colorful and unusual instrumentals.

A journey between melancholy and euphoria, which led Roseaux to the ends of the planet, from the Caribbean to Europe via Africa to unearth other vibrations and unique performers: the captivating Grenadian-British singer Ala.ni, the little English afropop prince from Ghana, Ghetto Boy, and the disturbing Swedish Isabel Sörling, sign here a first flamboyant collaboration with the group.

While the talented Haitian-Canadian Mélissa Laveaux, the hypnotic Scandinavian singer Olle Nyman, the sparkling French-Canadian Anna Majidson and our remarkable national Ben, already present on the second part, still manage to create a surprise by revealing new aspects of their range.

Roseaux's voices are decidedly impenetrable and its magic is renewed today by making the strength of all these scintillating elements dialogue, to be discovered in a setting of softness and voluptuousness.

Nature is full of reeds, this one is unique.

Mr Bongo is proud to present 'The Original Sound of Mali', compiled by Vik Sohonie & David Buttle.
Malian music is arguably deeper, more sophisticated and lyrical than any other form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a
selection of songs from across the country.
Compiled by Vik Sohonie & Dave 'Mr Bongo' Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. A treasure chest of rare finds from around the world! One mix in particular stood out and totally enthralled Dave - le monde à change: a tribute to mali 1970 - 1991. He
already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else! Deep & culled from the collections of some of the heaviest African music collectors in the world, legends like Vik Sohonie, Hidehito Morimoto, Philippe Noel, Gregoire
Villanova, and Rickard Masip. Dave immediately contacted Vik and a journey of discovery tracking down the rights-holders began. He also turned to the font of Malian music knowledge, Florent Mazzoleni. Florent has written the definitive book about Malian music - 'Musiques modernes et traditionnelles du Mali'. He
proposed some incredible tracks to include and provided the back bone of the sleeve notes and photos that are used in the album. No Malian album would be complete without a striking front cover photo, and ours is sourced from the late great Malian photographer Malick Sidibé.
On this album you will find well-known artists sitting next to rarer
discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kanté and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kanté Manfila, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. As an albino Salif has had to face considerable prejudice from society, focussing on his musical career to help overcome this.

A major discovery on the album has been Idrissa Soumaoro et L'Eclipse de L'Ija. L'Eclipse de l'Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household stars, including making an album with Manu Chao.
This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali's rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.
Dedicated to Malick Sidibé.

Members went on to Sinkane, and Pompeii, This Morning. Originally recorded in the
summer of 2005 out west, while on tour, by Vince Tennant. The recording had been
shelved and unreleased. In 2023, Expert Work Records reached out to Sweetheart and
got the recording re-mastered. It will be released on limited vinyl and digital.
This is also a companion piece/ record with EW018 (Sweetheart- The Process of
Making Us Well). We highly suggest getting both records.
Sweetheart's "The Unbearable Tightness Of Being" is one of those records you should
put on your radar as soon as possible. A rediscovered artifact from 2005, the album is
a sonic panorama that intricately incorporates post- hardcore, noise rock, punk,
screamo, and indie elements into an innovative and complex sonic landscape. The
guitars, wielded with finesse, serve as the driving force behind Sweetheart's sonic
assault. From the opening chords to the closing refrains, they deliver a relentless
barrage of riffs that defy predictability. The interplay between the two guitarists
manifests as a dynamic dialogue - a musical conversation that seamlessly transitions
from chaotic dissonance to moments of clarity. Catchy, intricate, and hypnotic chord
progressions unfold, evoking the spirit of At The Drive-In and Fugazi while carving a
distinct sonic identity.
However, it's not merely about sonic assault; Sweetheart infuses the album with a
nuanced approach to melody. Amidst the aggressive riffage, this material treats
listeners with moments of harmonic beauty and unexpected melodic twists. Themes,
leads, melodies, and harmonies intermingle, creating a rich auditory experience that
transcends the boundaries of conventional post-hardcore.
The production quality of this long- lost gem further accentuates its brilliance.
Recorded in 2005 but kept in the shadows due to financial constraints and a desire for
perfection, the album has now found its moment in the sun. Expert Work's decision to
release the LP in 2024 has allowed audiences to appreciate the intelligent
craftsmanship that went into its creation.
"The Unbearable Tightness Of Being" is more than a musical journey; it's a sonic
exploration transcending all the possible sonic boundaries. Sweetheart's commitment
to experimentation and honesty, as emphasized by band members reflecting on their
creative process, is palpable. The act of listening, treated as a discipline, is evident in
the careful construction of each track - a result of repetitive practice, internalization,
and an unwavering dedication to their craft. In the grander narrative of the album's
release, the band's reflections on the passage of time and the meaning of their work
imbue the music with a poignant depth.
"The Unbearable Tightness Of Being" is a mandatory addition to any record collection.
It's not just a revival of the early 2000s scene; it's a sheer example of Sweetheart's
enduring brilliance and a celebration of a significant part of their musical legacy.

Crouching Tiger, Hidden Dragon is a 2000 wuxia film directed by Ang Lee. Taking place in 18th-century Qing dynasty China, the story revolves around a warrior who gives his sword, Green Destiny, to his lover to deliver to safe keeping, but it is stolen, and the chase is on to retrieve it. The film was praised for its story, direction, and cinematography, and for its martial arts sequences. It won the Academy Award and Golden Globe Award for Best Foreign Language Film. The score was composed by Tan Dun, containing many solo passages for cello by Yo-Yo Ma. The track “A Love Before Time” features Coco Lee. This album is released as a limited edition of 750 copies on translucent red vinyl.

11th press limited to 500 copies on brown vinyl. - The early Lorenzo `Baby' Woodrose/Uffe Lorenzen with mates from ON TRIAL! - When released in 2013 the Spids Nogenhat album Kommer Med Fred (roughly translated to We Come In Peace) no one could know it would turn into the most popular release on Bad Afro Records in many years. But it did. The band became very popular in Denmark winning two Danish Music Awards (Grammies) for Best live band of the year and Best Rock album of the year and playing sold out shows. They also received two Steppeulven (the association of critics at the Danish newspapers) awards for Best band of the year and Best Live band of the year. Spids Nogenhat have their own take on how psychedelic rock should sound and are deeply rooted in Danish acid rock of the early 70's that somehow had a special sound compared to what was happening in the rest of the world at the time. The band is featuring members of Baby Woodrose, On Trial, Dragontears and Vilde Græs. - Oh yes, Spids Nogenhat means liberty cap - the most potent mushroom in this part of the world.

Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard

WAST unveils a powerful EP, a sonic journey between Indonesian waves and Breton storms. This essential return to his roots - surfing and the call of the open sea - finds him exploring hardware, delivering organic, hardgroove techno. Danceable yet introspective, physical and deep, it's a reflection of a rediscovered identity.

Yellow & Black Vinyl. "The first three are innocent in a way, because we didn't have an audience when we were making them," Oberst says. "But from Lifted on, I was definitely aware of an audience. Lifted was well-received right away, and then everything happened with Wide Awake and Digital Ash." Those two albums came out simultaneously. And their lead singles - "Take It Easy (Love Nothing)," from the austere, remote Digital Ash, and "Lua," from the warm, folky Wide Awake - debuted in the top two slots on the Billboard Hot 100. "First Day of My Life," also from Wide Awake, would later be voted the Number One love song of all time by NPR Music's reader's poll.Bright Eyes had officially broken through. It was a heady, exciting time, but also fraught and tense, both because of the band's careening new fame, and because of the state of the world. When Bright Eyes made their Tonight Show debut in 2006, they chose to perform none of their shiny new hits, instead delivering a searing, harrowing rendition of their caustic anti-Bush anthem, "When The President Talks To God."These days, Oberst is still amusing himself by messing with the extremes Bright Eyes baked into this era's releases, extremes that reflected the polar, with-us-or-against-us, fractious feel of the times. The reworked Digital Ash tracks, originally so clean and elegant, are, on the companion EP, full of "harmonica and mandolins - folky vibes," Oberst says. While the analogue sweetness of the Wide Awake songs have been put through a detached nihilism filter.

Die schwedischen Punkrocker City Saints kündigen die Veröffentlichung ihres mit Spannung erwarteten neuen Studioalbums an: "Explosiv!" ist das sechste Album der Band seit ihrer Gründung 2012 in Göteborg. Seitdem tourte die Band mehrmals durch ganz Europa und erreichte Millionen von Streams. City Saints haben sich einen Namen gemacht für ihre "take no prisoners "-Attitüde immer auf "High Voltage" und ihren eingängigen Refrains. "Explosiv!" ist da keine Ausnahme. Das Album kann als liebevolle Hommage an die Heimatstadt Göteburg der Band verstanden warden. Sowohl in den Texten als auch durch den musikalischen Einfluß der Göteborger Punkszene der späten 70er und frühen 80er Jahre sind die neuen Songs dazu passend wieder in Ihrer Heimatsprache aufgenommen worden. "Explosiv!" beginnt mit einer Überraschung im von Ennio Morricone inspirierten "Göta Älv". Diese stimmungsvolle Nummer ebnet den Weg für eine Reihe von rasanten, hymnischen Songs wie "Majorna" und "På G", bei denen ein Hauch des Ramones-Spirit sofort spürbar ist. Die Liebe der Band zu ausgeprägt verspieltem Down- und Dirty-Rock'n'Roll mit rotzigem Gesang und voller Tempo ist in "Blod & Bly" und "Kranarnas Stad" deutlich zu spüren. Weitere Überraschungen gibt es in Form des Titeltracks, in dem ein wildes Bass-Solo dem Namen "Explosiv!" alle Ehre macht, und des Outros "Fan Ta Er", einem kurzen Live-Cut, der in einer intimen Umgebung nur mit Gesang und Mundharmonika zum treibendem Beat gespielt wird. City Saints haben für das neue Album erneut mit Produzent Chips Kiesbye zusammengearbeitet, der für seine Arbeit mit The Hellacopters und Michael Monroe bekannt ist. Das Ergebnis ist eine natürlich klingende Platte, die an die reduzierten Produktionen aus dem goldenen Zeitalter des Punkrock erinnert. Die Band nutzte Kiesbyes Talent voll aus und konnte zudem den Sänger und Gitarristen von "Sator" bei "Explosiv!" für die Mandoline und Akkordeon zu einem Gastspiel ins Studio einladen. Die LP kommt als Collectors Edition auf 180gr. Vinyl im Gatefolder und neben klassisch schwarzem Vinyl auch in 2 limitierten farbigen Variationen

Die schwedischen Punkrocker City Saints kündigen die Veröffentlichung ihres mit Spannung erwarteten neuen Studioalbums an: "Explosiv!" ist das sechste Album der Band seit ihrer Gründung 2012 in Göteborg. Seitdem tourte die Band mehrmals durch ganz Europa und erreichte Millionen von Streams. City Saints haben sich einen Namen gemacht für ihre "take no prisoners "-Attitüde immer auf "High Voltage" und ihren eingängigen Refrains. "Explosiv!" ist da keine Ausnahme. Das Album kann als liebevolle Hommage an die Heimatstadt Göteburg der Band verstanden warden. Sowohl in den Texten als auch durch den musikalischen Einfluß der Göteborger Punkszene der späten 70er und frühen 80er Jahre sind die neuen Songs dazu passend wieder in Ihrer Heimatsprache aufgenommen worden. "Explosiv!" beginnt mit einer Überraschung im von Ennio Morricone inspirierten "Göta Älv". Diese stimmungsvolle Nummer ebnet den Weg für eine Reihe von rasanten, hymnischen Songs wie "Majorna" und "På G", bei denen ein Hauch des Ramones-Spirit sofort spürbar ist. Die Liebe der Band zu ausgeprägt verspieltem Down- und Dirty-Rock'n'Roll mit rotzigem Gesang und voller Tempo ist in "Blod & Bly" und "Kranarnas Stad" deutlich zu spüren. Weitere Überraschungen gibt es in Form des Titeltracks, in dem ein wildes Bass-Solo dem Namen "Explosiv!" alle Ehre macht, und des Outros "Fan Ta Er", einem kurzen Live-Cut, der in einer intimen Umgebung nur mit Gesang und Mundharmonika zum treibendem Beat gespielt wird. City Saints haben für das neue Album erneut mit Produzent Chips Kiesbye zusammengearbeitet, der für seine Arbeit mit The Hellacopters und Michael Monroe bekannt ist. Das Ergebnis ist eine natürlich klingende Platte, die an die reduzierten Produktionen aus dem goldenen Zeitalter des Punkrock erinnert. Die Band nutzte Kiesbyes Talent voll aus und konnte zudem den Sänger und Gitarristen von "Sator" bei "Explosiv!" für die Mandoline und Akkordeon zu einem Gastspiel ins Studio einladen. Die LP kommt als Collectors Edition auf 180gr. Vinyl im Gatefolder und neben klassisch schwarzem Vinyl auch in 2 limitierten farbigen Variationen

Die schwedischen Punkrocker City Saints kündigen die Veröffentlichung ihres mit Spannung erwarteten neuen Studioalbums an: "Explosiv!" ist das sechste Album der Band seit ihrer Gründung 2012 in Göteborg. Seitdem tourte die Band mehrmals durch ganz Europa und erreichte Millionen von Streams. City Saints haben sich einen Namen gemacht für ihre "take no prisoners "-Attitüde immer auf "High Voltage" und ihren eingängigen Refrains. "Explosiv!" ist da keine Ausnahme. Das Album kann als liebevolle Hommage an die Heimatstadt Göteburg der Band verstanden warden. Sowohl in den Texten als auch durch den musikalischen Einfluß der Göteborger Punkszene der späten 70er und frühen 80er Jahre sind die neuen Songs dazu passend wieder in Ihrer Heimatsprache aufgenommen worden. "Explosiv!" beginnt mit einer Überraschung im von Ennio Morricone inspirierten "Göta Älv". Diese stimmungsvolle Nummer ebnet den Weg für eine Reihe von rasanten, hymnischen Songs wie "Majorna" und "På G", bei denen ein Hauch des Ramones-Spirit sofort spürbar ist. Die Liebe der Band zu ausgeprägt verspieltem Down- und Dirty-Rock'n'Roll mit rotzigem Gesang und voller Tempo ist in "Blod & Bly" und "Kranarnas Stad" deutlich zu spüren. Weitere Überraschungen gibt es in Form des Titeltracks, in dem ein wildes Bass-Solo dem Namen "Explosiv!" alle Ehre macht, und des Outros "Fan Ta Er", einem kurzen Live-Cut, der in einer intimen Umgebung nur mit Gesang und Mundharmonika zum treibendem Beat gespielt wird. City Saints haben für das neue Album erneut mit Produzent Chips Kiesbye zusammengearbeitet, der für seine Arbeit mit The Hellacopters und Michael Monroe bekannt ist. Das Ergebnis ist eine natürlich klingende Platte, die an die reduzierten Produktionen aus dem goldenen Zeitalter des Punkrock erinnert. Die Band nutzte Kiesbyes Talent voll aus und konnte zudem den Sänger und Gitarristen von "Sator" bei "Explosiv!" für die Mandoline und Akkordeon zu einem Gastspiel ins Studio einladen. Die LP kommt als Collectors Edition auf 180gr. Vinyl im Gatefolder und neben klassisch schwarzem Vinyl auch in 2 limitierten farbigen Variationen

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

20 Jahre The Offenders in 2025! Und zum Jubiläum gibt's keine Nudeln von gestern neu aufgewärmt, sondern das brandheiße, nagelneue Gericht "Storm Over The Mainland" Das 10. Album der Offenders vereint in den neuen Songs alle Einflüsse und Stile der Band aus den letzten zwei Dekaden. Mit treibendem Offbeat des vorab im Januar erscheinenden "Partizani in Budapest" bis zum mit Mandoline untermalten Folk-Punk bei "Off My Chest", vom klasischen straight-foward Ska-Punks "The Way The People Think" bis zu den dominierenden Gitarrenriffs der Punkrock-Hymne "Sixteenth Round", ist es das abwechslungsreichste Album der Band. Ausgeklügeltem Songwriting, sich festsetzenden "catchy chorals" und einem perfekt abgestimmtem "kick-ass"-Sound, der für emsiges Treiben auf der Tanzfläche, vor der Bühne oder lautem Mitgröhlen sorgen dürfte! Von Anfang an engagieren und unterstützen die Offenders mit ihrer Musik und den Konzerten dabei die antifaschistische und antirassistische Bewegung weltweit. Egal ob in autonomen Jugendzentren und anderen Kultureinrichtungen, besetzten Häusern oder der Ultraszene beim Fußball quer durch ganz Europa - ihre Message ist eindeutig und findet sich selbstredend auch in den neuen Songs wieder. The Offenders sind beileibe keine Spaßkapelle, auch wenn ihre Musik davon eben jede Menge zu bieten hat. Vielleicht macht das ja auch ihren Erfolg, Glaubwürdigket und die stetig wachsende Beliebtheit seit 20 Jahren aus: "Storm Over The Mainland" jedenfalls ist jedenfalls ein Album mit Attitüde, wie es für ein Jubiläum nicht besser sein kann. Cheers & Ciao! 2005 wurden "The Offenders" um den charismatischen Sänger Valerio in Cosenza (Italien) gegründet, Ende 2008 zog es die Band in ihre neue Wahlheimat nach Berlin. Zu ihren prägendsten und bekanntesten Underground-Hits zählen unter anderem: "Hooligan Reggae" (ein Dancefloor-Klassiker vom gleichnamigen ersten Album, der weltweit in den Stadien zum Schlachtruf der antirassistischen Fans wurde) und "Marchez" (der rebellische Sound von Class of Nations - mit fast 2 Millionen Streams allein auf Spotify. The Offenders sind unzählige Male durch ganz Europa getourt, haben Russland, China zuletzt in Mexiko (Januar 2024) für ihre Konzerte bereist und sind regelmäßig Gast auf den internationalen Festival-Bühnen wie beim Mighty Sounds (Tschechien) - Rebellion (UK) - Spirit from the streets (DE), Sjock (BE) - Couvre Feu (FR) - Ruhrpott Rodeo (DE) - Los Almiros (GR) - Rudeboys Unity (CH) und viele weitere. Die Bühne teilten sie u.a. mitBad Religion, Nofx, Korn, Flogging Molly, Dropkick Murphys, Social Distortion, Uk Subs, Agnostic Front, Selecter, Discharge, Sick of it All, Real Mckenzies, Cock Sparrer, Slime, Antilopen Gang, Pennywise, Toy Dolls and many more!

Apocalypse Orchestra ist eine schwedische Metalband, die mittelalterliche Melodien meisterhaft mit der überwältigenden Kraft des Doom Metal verbindet und so eine epische und atmosphärische Klanglandschaft schafft, die die Zuhörer in eine ferne Vergangenheit versetzt. Traditionelle Folkinstrumente wie Drehleier, Dudelsack und Mandolen verschmelzen mit schweren, verzerrten Gitarren und donnernden Trommeln. Mit ihrem Debüt "The End Is Nigh" (2017) etablierte sich die Band schnell als einzigartige Kraft in der Metalszene. Auf ihrer zweiten LP "A Plague Upon Thee" graben sie neue Geschichten aus der Vergangenheit aus, mit Erzählungen über eingemauerte Eiferer, Religion und Wissenschaft im Mittelalter und die Plünderung der Hölle.

After 10 years, WOLF HALL returned our screens in 2024 bringing Hilary Mantel's epic saga to its grim conclusion in WOLF HALL: THE MIRROR AND THE LIGHT. Directed by Peter Kosminsky, the six episodes tell the continuing story of Thomas Cromwell (Mark Rylance) and his complex relationship with Henry VIII (Damian Lewis) after the execution of Anne Boleyn,.

The new soundtrack reunites original Wolf Hall composer Debbie Wiseman with The Locrian Ensemble. Debbie Wiseman comments on her return to that world - "The distinctive sound of Wolf Hall is all about immediacy and being in the present with these characters. Drawing on elements from the original Wolf Hall score, new themes have been created for our soprano, Grace Davidson, our viola player, Philip Dukes, and our mandolin player and guitarist John Parricelli. It's been the most thrilling experience composing the score for this production."

Tradition shapes your work. For saxophonist and bandleader Shabaka Hutchings, that's something he's long understood. After years spent in the orbit of London's jazz circuit, he examines and reimagines his influences with a dexterity that's unique. Drawing out the vision underlying his new album, he says, I see energy as being a form of wisdom to be passed down through the ages.'

Unpicking the album's title, he continues, "When we study the music, the lives, the words of our master musicians we obtain a glimpse of that artist's essential energy source. This is the core vitality of the individual which leads them to utilise the musical specifics of their chosen genre in a way that mirrors their inner source of power. This is an intuited wisdom that's handed to us from the legacies of our elders.

The album is a document of sessions combining Hutchings with a group of South African jazz musicians he's long admired. His connection to the group was Mandla Mlangeni (bandleader of the Amandla Freedom Ensemble), whom he'd flown there to play with over the past few years. Recorded across just one day, the group drew on their South African lineage - heroes like Zim Ngquwana and Bheki Mseleku - to bring their own slant to the American jazz lineage which is reconfigured in Hutchings' compositions themselves.

Going beyond the jazz greats Hutchings cites, influences are drawn from plenty of other sources: Caribbean calypso, central African song structures and Southern African Nguni music all play a part. Bringing together those ideas with the contributions of his bandmates is, he explains, crucial to what he sees in the role of an album artist. Even though I wrote all the music, for me, the leader of the project isn't the person who writes all the music but the one who has a vision for how certain musical elements will be combined."

A regular sight on stages around London and beyond, playing - and often leading - groups like The Comet Is Coming, Sons of Kemet and Melt Yourself Down, he's part of a generation whose idea of jazz is pointedly unrefined. That's to say, Wisdom of the Elders comes from an artist interested in the indefinable gaps more than fitting into boxes.

It's another 45 Rocafort treatment!

"If There's a Will, There's a Way" was written by Don Covay and Donny Hathaway and released in 1972 on the American Janus Records label. Covay, a key figure in the 1960s and 1970s soul scene, was known for his gritty voice and songwriting for artists like Aretha Franklin and Wilson Pickett. Hathaway, on the other hand, was an influential soul singer, composer, and pianist often celebrated for his collaborations with Roberta Flack. This song blends both of their distinct styles: Covay's raw, Southern soul vibe and Hathaway's sophisticated, jazz-influenced arrangements. Like Donny Hathaway's live album released that same year in 1972, this track grabs you from the very first notes. A classic soul groove, with a powerful vocal delivery!

Notably, this track was later sampled by Pete Rock in his remix of "Lots of Lovin'" with C.L. Smooth, bringing the soulful essence of the original into the realm of 90s hip-hop.

On the b-side, another track from the fantastic Janus Records catalogue. Harvey Mandel's "Baby Batter," originally released in 1971 is a blend of funky blues and psychedelic rock vibes representing another popular genre from the early 70's in the USA. Mandel's signature guitar work shines throughout the track and the drum break in the introduction will please the hip-hop heads and 45 DJs out there.

Released in 1971, Get Off in Chicago captures the essence of an energetic concert featuring Harvey Mandel and key figures from the Chicago blues scene. Alongside Mandel, known for his innovative guitar playing, are renowned musicians such as John Bishop and Gregory E. Stinson, who contribute their talents on guitar. The rhythm section, with Peter Milo on drums and Nick Tountas on bass, anchors the tracks in a powerful groove. The album shows blazing solos, bold improvisations, and a collaborative spirit that transcends genres. This unique blend of blues, rock, and jazz highlights the collective genius of these talented artists.

Ein verspieltes Album mit klangschönen Träumereien, komponiert für Mandoline und Akkordeon, poetisch und unbändig zugleich. Es ist das erste Mal, dass der stets kreative Komponist speziell für die Mandoline geschrieben hat. Auf dem Album ist auch Vincent Beer-Demander zu hören, dessen Mandoline zu einem Orchester multipliziert wird, um eine einzigartige Klangpalette zu schaffen, die sorgfältig mit dem Akkordeon von Grégory Daltin kombiniert wird.

Mike Patton, der mit Vannier an dem 2019 erschienenen Album 'Corpse Flower' gearbeitet hat, sagt über die Veröffentlichung seines neuen Albums auf Ipecac: „Jean Claude ist ein guter Freund, Mentor und ein wunderbar talentierter und exzellenter Komponist. Eine Legende. Es ist eine große Ehre, mit ihm gearbeitet zu haben. Seine Texte und Arrangements haben eine Vielzahl von Künstlern beeinflusst, und ich kann mich zu den Glücklichen zählen, die seinen Weg gekreuzt haben. Er hat schon bahnbrechende Sachen geschrieben, bevor ich überhaupt geboren wurde. Er hat mich tief beeinflusst und ich bin ihm für immer dankbar und voller Ehrfurcht“.

Jean Claude Vannier, der von der Presse als „the rare bird“ bezeichnet wird, hat in den letzten 60 Jahren unter anderem mit Serge Gainsbourg und Jane Birkin sowie mit Künstlern wie Beck und Sean Lennon zusammengearbeitet. Er hat an unzähligen Soundtracks mitgewirkt, sechs Soloalben veröffentlicht und ist eine Ikone der französischen Popkultur, die für den Eurovision Song Contest komponiert, Videos gedreht, Gemälde ausgestellt, Radiosendungen moderiert und Kurzgeschichten veröffentlicht hat.

Folk musician Seth Lakeman is set to release his self-produced new album The Granite Way, in February 2025 via his own label Honour Oak Records. It’s a collection of songs that was recorded within a week alongside a group of longtime collaborators of Seth’s, staying true to his roots and referring to ancient stories that inspired early West Country storytelling. Seth’s expert grasp of using folk music to convey a multitude of emotions in mere minutes cannot be overstated as he once again explores West Country folklore. ‘I made a point at the beginning of this writing period to stick with a narrative as best I can,’ he explains. ‘Each song feels strongly connected through history to the moors and the sea. I had written the stories and songs beforehand and had the melodic tunes ready for us all to explore when we recorded in the room, and the musical interplay between this lineup really displays their appetite for sounds and subjects within the folk tradition.’ While all the tracks on The Granite Way were written and produced by Seth Lakeman himself, the album was made possible with a group of musicians he has played alongside for many years, and will also be touring with them in early 2025 on his upcoming UK headline tour. They are Benji Kirkpatrick (electric guitar, acoustic guitar, banjo, mandolin and harmonica), Ben Nicholls (double bass and electric bass), Cormac Byrne (percussion and bodhrán), and Alex Hart (vocals), with additional studio contributions from Archie Churchill Moss on accordion and Dany Crimp on whistles.

Folk musician Seth Lakeman is set to release his self-produced new album The Granite Way, in February 2025 via his own label Honour Oak Records. It’s a collection of songs that was recorded within a week alongside a group of longtime collaborators of Seth’s, staying true to his roots and referring to ancient stories that inspired early West Country storytelling. Seth’s expert grasp of using folk music to convey a multitude of emotions in mere minutes cannot be overstated as he once again explores West Country folklore. ‘I made a point at the beginning of this writing period to stick with a narrative as best I can,’ he explains. ‘Each song feels strongly connected through history to the moors and the sea. I had written the stories and songs beforehand and had the melodic tunes ready for us all to explore when we recorded in the room, and the musical interplay between this lineup really displays their appetite for sounds and subjects within the folk tradition.’ While all the tracks on The Granite Way were written and produced by Seth Lakeman himself, the album was made possible with a group of musicians he has played alongside for many years, and will also be touring with them in early 2025 on his upcoming UK headline tour. They are Benji Kirkpatrick (electric guitar, acoustic guitar, banjo, mandolin and harmonica), Ben Nicholls (double bass and electric bass), Cormac Byrne (percussion and bodhrán), and Alex Hart (vocals), with additional studio contributions from Archie Churchill Moss on accordion and Dany Crimp on whistles.

Mit "Nobody Loves You More" veröffentlicht Kim Deal am 22.11.24 auf 4AD ihr erstes Soloalbum. Die elf Songs umfassende Sammlung ist das erste Album der in Dayton, Ohio lebenden Künstlerin unter ihrem eigenen Namen. "Nobody Loves You More" ist Kim Deals Debütalbum, obwohl es nicht das erste Mal ist, dass sie einen Alleingang unternimmt - 2013 veröffentlichte sie im Eigenverlag eine fünfteilige Reihe von zehn Songs, die limitiert als 7" erschienen. Im Einklang mit Deals akribischer Herangehensweise an ihre Kunst, wurde das Album über mehrere Jahre hinweg verfeinert. Die ältesten Songs, "Are You Mine?" und "Wish I Was", wurden 2011 geschrieben und aufgenommen, kurz nachdem Deal von der "Lost Cities Tour" der Pixies zurückkam und nach Los Angeles umzog (frühe Versionen dieser Songs waren in der besagten Vinyl-Serie enthalten). Die letzten Aufnahmen für "Nobody Loves You More" fanden im November 2022 mit dem legendären Tontechniker und engen Freund Steve Albini statt, der den letzten Track "A Good Time Pushed" in seinem Electrical Audio Studio in Chicago einspielte. Auf dem Weg dorthin hat sie eine Vielzahl von Mitstreitern aus der Vergangenheit und Gegenwart hinzugezogen, von den Breeders (Mando Lopez, Zwillingsschwester Kelley Deal, Jim Macpherson, Britt Walford) oder auch Raymond McGinley (Teenage Fanclub), Jack Lawrence (Raconteurs) sowie Fay Milton und Ayse Hassan von den Savages. "Nobody Loves You More" wurde von Marta Salogni gemischt und von Heba Kadry gemastert. Zu jedem Song gibt es eine persönliche Geschichte. Sie handeln von den Winterferien mit ihren Eltern auf den Florida Keys ("Summerland"), einem Hochzeitsband-Cover von "Margaritaville" ("Coast") oder auch der Demenz ihrer Mutter ("Are You Mine?"). Die Platte zelebriert Deals unvergleichliche Kunstfertigkeit, die nicht nur auf die Höhepunkte ihrer Karriere mit gefeierten Bands der Alternative-Landschaft (Pixies, The Amps, The Breeders) verweist, sondern auch auf ihr unverrückbares kulturelles Gewicht, das über Generationen hinweg Musiker und Musikerinnen wie Kurt Cobain und Olivia Rodrigo beeinflusst hat.

A special moment here with this one. This is one of my personal all time favorite tunes since I first heard it just about 20 years ago. Likewise, it’s been on the DKR wish list since the very first time such a list was made. This record has it all - one of the best rhythms of the entire ‘80s let alone the early digital canon, laced with lazers, killer synths, dive bombs, vocoder, screeching across the border, militant lyrics, gigantic drums, perfect claps, the list goes on and on. An absolutely perfect record for the period and for the ages. Hopeton Lindo lets loose an awesome vocal - his salute to the heroes and martyrs of the militant struggle against South African apartheid - Benjamin Moloise, Stephen Biko and of course Nelson Mandela. If you don’t know, read up on these men ASAP. This tune was made at Tubby’s on a wild mix of the original King Tubby’s tempo riddim, and was originally released on the very short lived Aqua label due to some producer runnings back in the day. Now recut from the original master tape, this is one of those joyous occasions where this new issue actually sounds better than the original, which suffered from being made at the notoriously quality plagued GG’s pressing plant. Fans of late ‘80s digital and militant reggae take note - this is your perfect storm. A long time searching for this one, finally here.

Further Conversations with Myself, released on the Verve label in 1967, was Bill Evans' sequel to his 1963 Grammy Award LP Conversations with Myself. As on that initial album, here all the pieces are unaccompanied solos with piano overdubs. On Further, however, he plays just two pianos instead of the three he had previously employed. According to AllMusic reviewer Scott Yanow, "The program is brief, but Evans plays quite well throughout. In particular, his versions of Johnny Mandel's 'Emily' and 'Santa Claus Is Coming to Town' are most memorable. A thoughtful and (despite the overdubbing) spontaneous-sounding set of melodic music."

Paris-based talent Manda Moor arrives on Hot Creations for the first time this May with the three-track The Climax EP, continuing a standout 2022 for the Danish-Filipino artist.

Rustling with tribal undertones and a rolling four-four groove, The Climax instantly transports us to the dancefloor and beyond. Jungle-like melodies live beside infectious lyrical samples before the minimal-sounds of Sandy Groove soon arrive, as fast-paced drums drift beneath a pummelling bassline throughout. Besame rounds things off, ratcheting up the tempo with bell-like percussion and driving kick-hat combos, forming an upbeat, club-ready cut.

Manda Moor has fast-become an esteemed force in contemporary house circles. Racking up acclaimed releases on labels such as Kaluki, Tamango and DJ Pierre’s Afro Acid, her MOOD EDITS series - in conjunction with Sirus Hood - has garnered support from true industry heavyweights, including Pete Tong, The Martinez Brothers and Loco Dice to name a few. Each edition of MOOD EDITS has reached the number one spot on Bandcamp’s House / Deep House / Minimal chart, proof of Manda’s keen ear for production, whilst her club and festival sets include performances at Amnesia, The BPM Festival, Elrow and many more besides.

Though 潘PAN is an entirely new artist - new outlook, new message, new material and name - you may have met the woman herself before. Back in the mid-‘10s, the Taipei-born rapper went by the moniker Aristophanes. After performing a career-changing feature on ‘SCREAM’, taken from Grimes’ celebrated NME Album of 2015 ‘Art Angels’, Aristophanes went on to build a cult fanbase, releasing her debut mixtape ‘Humans Become Machines’ two years later and then her distributor went bust during covid. Signed to Transgressive she re-released her mixtape followed by Reborn and Ghosts EPs earlier this year.

Across a constantly morphing sound palette that moves from metallic, apocalyptic beats to delicate nods to the traditional music of her Asian heritage, via heavy, industrial moments, spacious soundscapes and much more, the thread is Pan’s utterly mesmeric vocal. Performing in a mix of Mandarin and English, she explains that having the two languages to play with is “like featuring another artist who has a different way of describing things”.

Across the releases, confident sexual expression mixes with tenderness, empathy and a particularly feminine sort of strength to create a world that Pan hopes will transcend language and connect her audience via something more innate. “The music is a place to feel safe,” she says. “The message that I want to carry through these two EPs and the album is to demonstrate the strength of accepting your own situations. When you can’t make things right but you’ve done your best, sometimes it’s really hard to admit that to yourself. It takes strength to do that. I use lots of sexual metaphors, but I feel like it’s more about the female need to be seen and heard. I want to build something more delicate and layered and connected to our life experience - to the trauma and the pleasure and the growth.”

In the time since she last stepped into the spotlight, the musician has experienced her fair share of all these things. Now, it’s as an entirely evolved artist that she returns with a new collection of music that revels in it all: the trauma, the pleasure, the growth and the long-awaited rebirth of 潘PAN

Gerson King Combo's 1977 album is a masterpiece of Brazilian soul, emerged within the Black Rio movement, which was recorded with União Black as the backing band. It features the kind of full-on funky sound you'd only expect to hear from a rare few American groups of the time. Its ten songs mix political statements, which primarily address issues of racial pride, and dancefloor-oriented music. The album has achieved cult status over the years, becoming one of the most sought-after Brazilian funk records of all times. Remastered from the original tapes and pressed on 180g vinyl in a gatefold sleeve. This release is part of a new reissue series that will include many other outstanding Brazilian classics

Brought to life in 1976 on his small imprint Stars, In Dub is one of the most sought after Tappa Zukie album. Alongside Man Ah Warrior it is a mandatory purchase for any reggae lover more akin to the spacey reverberation of the studio facilities. With his deep, rumbling bass and the prodigious engineering of King Tubby (the album was cut at his own studio) the record still maintains his adventurous tenure. This crucial re-issue present the complete original tracklist with the addictions of two extra tracks. Dig deep into the ark-eology of dub side.

Jorge Ben is surely one of the world’s greatest all-round musical artists. He is internationally renowned and vastly influential as a vocalist, musician, performer and phenomenal songwriter. Famed for penning ‘Taj Mahal’, which was the source for Rod Stewart’s ‘Do You Think I’m Sexy?’, and also ‘Mas Que Nada’, one of Brazil’s most iconic anthems, Jorge Ben is a powerful musical force. A simple glance at his impressive back catalogue reveals a master of his craft, with a depth and quality that is seldom paralleled.

For 'Tudo Ben' we take a side-step, focusing on Jorge Ben’s songs that have been performed by other artists. Complied by Mr Bongo, Greg Caz and Sean Marquand, this collection features the Brazilian legends Elza Soares, Claudette Soares, and Wilson Simonal, alongside prodigious artists such as Marijô, Os Brazoes, and Doris Monteiro to name but a few. The selection covers a wide range of genres including samba, bossa nova, MPB and batacuda workouts. Many of the songs featured have become staples in Mr Bongo DJ sets over the years and are some of our most loved classics. As with many of history’s great songwriters, Jorge Ben’s songs transcend genres and styles, they can be covered and reinterpreted, yet the quality of the writing holds up to the standard of the original.

In the dark days of the mid to late 2000s when the end of vinyl seemed inevitable, Mr Bongo released 'Tudo Ben' on CD only. Years later, we finally get to put this right and present it for the first time on vinyl with alternative artwork by Mr Krum.

Ashram Sun’, Surya Botofasina's much-anticipated album follows his hugely acclaimed debut ‘Everyone’s Children’ and his first offering since his contribution to ‘New Blue Sun’ and global touring alongside André 3000. It is an ode to Surya’s upbringing and musical teachings in the tradition of Swamini Turiyasangitananda - aka Alice Coltrane, by the spiritual jazz colossus Herself, at Her Sai Anantam Ashram in California. ‘Ashram Sun’ is a deep listening, spiritual masterpiece with close collaborators Carlos Niño and Nate Mercereau, and is produced by the prolific Carlos Niño, whose vision has become a pivotal point for contemporary progressive jazz music.

Ashram Sun features appearances from musical luminaries, including multi-instrumentalist Angel Bat Dawid, Los Angeles saxophonist Randal Fisher, vocalist Mia Doi Todd, as well as collaborations with vocalist MidnightRoba and acclaimed harpist and vocalist Radha Botofasina, among others. The album continues to expand on and conversate with the innovative spiritual-jazz configurations of recent works by Shabaka Hutchings, André 3000 and Carlos Niño —all of which Surya plays on. This evolution follows from his debut album ‘Everyone’s Children’, also produced by Niño, which was one of the earliest offerings of this fresh, spiritual approach. As the keyboardist on André 3000’s New Blue Sun and an integral member of André’s touring group, Surya has already directly brought the legacy of Alice Coltrane/Turiyasangitananda into this rich new current in creative music.

The music on Ashram Sun is tuned into these wavelengths, consolidating a new jazz lineage with energies directly from the source. The album blends improvisation in the creative music tradition with washes of cleanly spiritualised keyboard work, atmospheric percussion, and sanctified vocalisation. As Surya Botofasina explains, "Swamini (Alice Coltrane) and the Ashram have taught me that the only place worth going to, is within… I am always going to be an Ashram Sun."