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Soundway presents Circus Underwater’s 1984 self-titled masterpiece. Remastered and extended to a double LP, this deluxe version includes six unreleased tracks unearthed from the original ¼” tapes, and presented with an insert, including never-before-seen photos and the fascinating story behind the music.

Featuring artwork from Grateful Dead collaborator, David Lundquist, the album encapsulates a unique moment in time. Echoing the story of a generation that grew up in the 50s and 60s where music was everything, two friends embark on a journey of experimentation which begins in the beatnik suburbs of Washington DC and travels to the heart of hippie San Francisco.

The result is an opus that fearlessly blurs the boundaries of genres and embraces diverse influences. Elements of prog, rock, ambient and wave music culminate in an odyssey that seamlessly bridges the gap between the spaced-out creativity of the 70s and electronic music of today

Born and raised in the deep outskirts of Mexico City, the Gama brothers are keeping alive the rich legacy of marimba music running through their family with their latest project, Son Rompe Pera. While firmly rooted in the tradition of this historic instrument, their fresh take on the folk icon challenges its limits as never before, moving it into the garage/punk world of urban misfits and firmly planting it in the 21st century.

ENG Dark, atmospheric heavy Americana from Austin, TX, haunting, psychedelic ghost-town sounds for fans of Woven Hand, Russian Circles, and Dead Meadow! Lord Buffalo is a mud-folk band from Austin, TX. They make music together under cover of darkness. Their songs are bricks with which to build a house slowly. They will not be rushed. They will not be quiet. They are the trees clapping, the rocks crying out, the whistle in your snore. Imagine the haunted sensibility of artists like Chelsea Wolfe, David Eugene Edwards (Woven Hand, 16 Horsepower) and Ian Astbury (The Cult) fused with the spacious, expansive psychedelics of Dead Meadow and All Them Witches. Lord Buffalo creates somber, crashy, ghost-town Americana on new album "Tohu Wa Bohu," thick with captivating intensity and brooding heaviness of the soul. 'The sound of Lord Buffalo - that atmospheric diving headlong into the very heart of darkness - is unsettling. And it's magnificent.' _Laurie Gallardo, KUTX Brand new 2023 pressing on sleek transparent coke bottle-green vinyl!

Ende März veröffentlichte die Multi-Platin-Hitmacherin Bebe Rexha die mitreißende neue Single "Call On Me".

Die treibende und ausgefeilte Club-Hymne besticht durch ihre mitreißenden Vocals, die schwindelerregende House-Produktion und den selbstermächtigenden Text. Es ist das neueste Werk des Popstars aus seinem Album Bebe, das am 15. September endlich auf Vinyl erscheint.

Mit insgesamt 16 Milliarden Streams ist Rexha die am längsten in den Charts vertretene Künstlerin in der Geschichte der Billboard Hot Country Charts und wurde diese Woche mit der David Guettacollaboration I'm Good (Blue)" zur am längsten in den Charts vertretenen Frau in den Billboard Dance/Electronic Charts. Sie war 50
Wochen lang auf Platz 1 der Hot Country Songs-Charts und hat gerade 38 Wochen auf Platz 1 der Dance/Electronic Songs-Charts verbracht.

Pretenders haben die Veröffentlichung eines neuen Albums bekannt gegeben. "Relentless" heißt es und ist das insgesamt 14. der englisch-amerikanischen Rockband.

"Relentless" heißt auf Deutsch? ja, was eigentlich? Das Wort hat eine Reihe von Bedeutungen - "unbarmherzig" etwa, "unermüdlich" oder "unaufhaltsam". Auch Bandleaderin Chrissie Hynde mag diese Mehrdeutigkeit:
"Mir macht es Spaß, die verschiedenen Bedeutungen und Ursprünge eines Wortes zu betrachten. Und ich mochte die Definition: 'keine Anzeichen des Nachlassens von Intensität zeigen'. Das ist das Leben eines Künstlers.
Man zieht sich nie zurück. Man wird relentless."
Nach "Hate for Sale" (2020) ist es das zweite aufeinanderfolgende Album, das in Zusammenarbeit zwischen Chrissie Hynde und dem aktuellen Gitarrenhelden der Band, James Walbourne. Produziert
von David Wrench und aufgenommen in den Battery Studios im Westen Londons, stehen die 12 Tracks des Albums für das, was Chrissie als "The Pretenders Collective" bezeichnet.

Auf dem Album kommt es auch zu einer lang erhofften Zusammenarbeit mit Jonny Greenwood (Radiohead, The Smile), der die Streicherarrangements beisteuert und das 12-köpfige Ensemble für den wunderschönen Schlusssong "I Think About You Daily" dirigiert.

Diesen Sommer waren Pretenders zusammen mit Guns N' Roses im Londoner BST Hyde Park und bei großen Outdoor-Shows zu sehen. Im September werden sie beim Reeperbahn Festival auftreten und eine Show im Berliner Columbia Theater spielen!

Im Jahr 1986 erschien in der Bostoner Times eine Anzeige, in der Charles Thompson (alias Black Francis) und Joey Santiago einen Bassisten und einen Schlagzeuger suchten, die sowohl Hüsker Dü als auch Peter, Paul & Mary mögen sollten. Kim Deal (auf den ersten beiden Platten noch als Mrs. John Murphey) und David Lovering meldeten sich auf die Anzeige, und die Pixies waren komplett. Mit ihrem ungestümen Rock, den brachialen Tempowechseln und den sägenden Gitarrenriffs wurden sie zu der Indierockband überhaupt. Kurt Cobain gab zu, dass er einen Song wie "Smells Like Teen Spirit" ohne die Inspiration durch die Pixies nicht hätte schreiben können: "I was trying to write the ultimate pop songs, I was trying to rip off the Pixies". Ob es ihm gelungen ist, sei dahingestellt. Fest steht, dass die Pixies mit "Debaser", "Here Comes Your Man", "Monkey Gone To Heaven" und "Where Is My Mind?" Indieklassiker produziert haben. (aus laut.de)

Rediscover all the pearls of electronic music selected by Radio FG with our emblematic double vinyl collection : Electronic Music Collection !

FOR THIS SUMMER, THE LAST VOLUMES ARE
REISSUED ACCOMPANIED BY A NEW FRENCH TOUCH SPECIAL OPUS! The new volume dedicated to French Touch

features :
JUSTICE - WORAKLS - FAKEAR - GUTS Feat. LERON THOMAS - MYD - MOME - OXIA - DEMON & ALEX GOPHER - KID LOCO - BOB SINCLAR - SUPERFUNK - DJ MEHDI - LAURENT GARNIER

A true surprise success for Paharas Musica, originally written during the end of the pandemic, 'White Isle Memories' captured the loss of not being able to visit the white isle of Ibiza and combines the producer talents of Ridney & Inner Spirit (aka Richard Earnshaw).

A production aimed at the beach bar culture of the island the production duo are joined by multiinstrumentalist, vocalist and loop pedal extraordinaire Michael Sebastian. In it’s original guise the track has racked up well over 1.3 million streams and in that gained the attention of German producer SOMMA (1.7 million monthly listeners), who was keen to grab the stems and deliver a special 2023 remix.

Adding to the package Ridney’s sunset reprise from his Café Mambo Ibiza DJ sets and Inner Sprits own incredible 2023 remix.

DJ Support:

Mark Knight (support on Kiss FM), Purple Disco Machine, Mousse T, Ken Fan (Café Del Mar), Ryan McDermott (Café Mambo Resident), Hector Romero, Des Mitchell (Radio One Mallorca), Mr V, Lenny Fontana, Loeca, Jazzy M, Dario D’Attis, Danny Rampling, Chad Jackson, Brandon Block, Booker T, Black Legend, David Dunne, Graham Sahara, Lizzie Curious, Martyn the Hat.5

Founding member of Buffalo Springfield and folk-rock supergroup Crosby, Stills, Nash & Young, Stills' first solo album, Stephen Stills, earned a gold record, is the only album to feature both Jimi Hendrix and Eric Clapton, and climbed to #3 on the album charts. Stephen Stills’ single "Love the One You're With" became his biggest solo hit, peaking at number 14 on the Billboard Hot 100 and is the first track on this collection. 14 tracks from Stephen Still’s First US Tour, previously unissued and recorded Live at The Berkeley Community Theater in 1971, featuring David Crosby on two songs. In 1971 Stephen Stills embarked on a US tour, opening each show with an intimate acoustic first set, and closing each night with a riveting electric set featuring the Memphis Horns. These historic, previously unreleased recordings took place over two nights at the Berkeley Community Theater, with David Crosby joining him on vocals and guitar for "You Don’t Have To Cry" and "The Lee Shore." These recordings find Stills at peak performance in both vocal delivery and musicianship, effortlessly incorporating alternate instrumentation on his instantly recognizable tracks, including a seamless medley of “49 Bye Byes" and "For What It’s Worth” unexpectedly played on piano. Hand-picked by Stills from his personal archives, this album captures timeless and era defining performances. Fans who were lucky enough to catch his historic debut trek, dubbed “The Memphis Horns Tour,” were treated to the balladeer, the raving troubadour, the acoustic bluesman, the soul driver, and by far the most passionate music maker. Backed by a loyal cast of friends, including his usual steady rhythm section—drummer Dallas Taylor and bassist Calvin “Fuzzy” Samuels—along with keyboardist Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala, these Northern California shows were one of the most unique and intimate stops on the tour This album, rather than being an artifact from a bygone era, sparkles and stimulates. It cajoles you into thinking, feeling and—most importantly—moving. Stephen Stills Live At Berkeley 1971 is a cornucopia of priceless sound—and all of it bears the distinct and loving fingerprint of Stephen Stills.

You can't get Deeper if you're standing still. That's intentional, says the Chicago quartet's Nic Gohl. "Does it feel good when you're listening to this song? Does your body want to move with it?" These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording Careful!, their third record and Sub Pop debut. "I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it," Gohl adds.

"It's pop music, basically." That "basically" qualifier is working pretty hard, as fans of 2020's Auto-Pain might suppose. On Careful!, they're not reimagining their sound so much as testing its limits. If you want to, you can hear echoes of David Bowie's Low in the snapping rhythm and gray-sky synths of "Tele," but you can also hear a bit of Auto-Pain in the nailed-in, stippling lines being spit out by Bhatti's drum programming and McBride's synthesizer.

"Fame" seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper's trademark. "Build a Bridge" pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto.

On "Sub," Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It's festival headliner music that still feels like it was written in a garage. That fraternal interdependence is near the center of Deeper's music. The musical and lyrical devotion to mutuality makes this restlessly curious, stylistically broad album feels like the most coherent portrait of who Deeper is. Or, as McBride ultimately frames it, "Careful! is about looking out for one another."

You can't get Deeper if you're standing still. That's intentional, says the Chicago quartet's Nic Gohl. "Does it feel good when you're listening to this song? Does your body want to move with it?" These are the questions he asked himself as he and bandmates Shiraz Bhatti, Drew McBride, and Kevin Fairbairn were writing and recording Careful!, their third record and Sub Pop debut. "I wanted these to be interesting songs, but in a way where a two-year-old would vibe out to it," Gohl adds.

"It's pop music, basically." That "basically" qualifier is working pretty hard, as fans of 2020's Auto-Pain might suppose. On Careful!, they're not reimagining their sound so much as testing its limits. If you want to, you can hear echoes of David Bowie's Low in the snapping rhythm and gray-sky synths of "Tele," but you can also hear a bit of Auto-Pain in the nailed-in, stippling lines being spit out by Bhatti's drum programming and McBride's synthesizer.

"Fame" seems to stumble together and nearly fall apart, the dialed-up noise making the beat feel maniacal and a little invincible, the whole thing a series of short, snipped, autonomous gestures that are by now Deeper's trademark. "Build a Bridge" pushes in the opposite direction, using a prickly guitar line to launch into big, smeary art-pop, its emotional palette clear, well-defined, and easy to latch onto.

On "Sub," Gohl sings above and below the melody like Ian McCulloch, bellowing and wondering and ruminating and rounding into swaggering confidence that the band rises to meet. It's festival headliner music that still feels like it was written in a garage. That fraternal interdependence is near the center of Deeper's music. The musical and lyrical devotion to mutuality makes this restlessly curious, stylistically broad album feels like the most coherent portrait of who Deeper is. Or, as McBride ultimately frames it, "Careful! is about looking out for one another."

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

Available only n Germany!

ANTI- Records is honored to share a never-before-heard album by Mark Linkous of Sparklehorse titled Bird Machine. Originally recorded in 2010 and mixed by Mark Hamilton (who also worked on It"s A Wonderful Life), Mark"s brother Matt notes "great care has been taken to archive and preserve Mark"s music.

We are very thankful for Mark and the beauty he brought to this world." Sparklehorse was an American indie rock band formed by singer-songwriter and multi-instrumentalist Mark Linkous in the mid-1990s.

Born on September 9, 1962, in Arlington, Virginia, Linkous began playing music as a teenager. Described as an artist who "compelled listeners to heed the beauty of darkness" by Pitchfork, Sparklehorse released many influential records, including the renowned albumsn Vivadixiesubmarinetransmissionplot and Good Morning Spider in the "90s, It"s A Wonderful Life and Dreamt for Light Years in the Belly of a Mountain in the early aughts, and a collaborative album Dark Night of the Soul released in 2010.

Throughout his career Mark collaborated with thought provoking artists like Vic Chesnutt, Daniel Johnston, Tom Waits, Danger Mouse, and David Lynch.

While Mark recorded in various studios, collaborating with other musicians and producers, he did much of his work in his home studio, Static King, often playing and recording everything on his own. He was "very much kind of a working-class guy with a very poetic sensibility, who was drawn to artists like himself, who worked in isolation," said NPR Fresh Air"s Ken Tucker.

"Die Welt soll durch Zärtlichkeit gerettet werden" Fjodor Michailowitsch Dostojewski In von Krisen gebeutelten Zeiten bietet die Kunst allerhand Möglichkeiten, um dem entrückten Lauf der Welt die Stirn zu bieten. Eine davon liegt in der bewussten Umkehrung von Aggression und Rauheit. Für genau diesen Weg haben sich vier Musiker aus Köln entschieden - und folgerichtig ihre Band nach einer herzerfrischenden Tugend benannt: Die Zärtlichkeit lautet das Credo der Gegenwart. Gewissermaßen ist die Gruppe ein Produkt der Pandemie. Allwöchentlich trafen sich Sänger Andreas Fischer und Gitarrist Tobias Emmerich hinter domstädtischen Wänden, um ihren musikalischen Entwurf auszuarbeiten. Zum Vorbild nahmen sie sich den britischen Jangle-Pop der 80er-Jahre: The Smiths, Orange Juice, Felt. Samtweich klangen jene Formationen und wenngleich ihre Melodien durchaus beschwingt daherkamen, wurden sie doch immer aus Empfindsamkeit geboren. So verhält es sich auch bei Die Zärtlichkeit. Im März 2020 erschien ihre selbstbetitelte Debüt-EP, im November des selben Jahres veröffentlichten sie auf "Die Zärtlichkeit II" vier weitere Stücke. An dieser Stelle bleibe nicht unerwähnt, dass sich das Duo seit dem Beitritt von Bassist Merlin Engelien und Schlagzeuger David Dasenbrook zum Quartett erweitert hat. Mit "Heimweh Meisterwerke" ist nun der Moment für den ersten Langspieler gekommen. Ohne Zweifel steht jene Platte in den Zeichen von Anmut und Grazie. Doch Obacht sei geboten: Am Ende von "Reptil" etwa lauert in Gestalt von "Ulalala"-Chören ein gewiefter Spitzbubenstreich. Vorrangig tut es wohl, dass diese Band keine Bange hat vor Romantik. In Gärten tummeln sich von der Welt verlassene Tiere, der Mai lässt die Bäume hastig erblühen. So lieblich, so leichtfüßig die Lieder aber auch dahinziehen mögen - hinter so manch besungenem Himbeerstrauch hat sich der Pathos versteckt. Hört man etwa die folgenden Verse, möchte man vor Rührung vergehen: "Und ich darf mich nicht verraten, ich träume hier von dir. Und während ich hier träume, befreist du mich von mir" "Ein kurzer Weg" heißt das Lied, dem diese Zeilen entnommen sind. Es offenbart, wie schnell sich die Dinge - freilich durch die Liebe - zum Guten wenden können. Auch bei "Star" nimmt das Schicksal eine rasende Wendung, die hier jedoch schnurstracks in den Abgrund führt. Das Stück nimmt sich einen Menschen zum Protagonisten, der den Sternen näher scheint, als der Erde: "Trotz makelloser Hülle scheint dein Inneres verdorben". Gerade deshalb muss er verglühen - zumindest in dieser mit Scharfsinn vorgeführten Fallstudie. Von einem Besuch in den Gefilden der Kindheit erzählt der Titel "Geteilt". Das Licht am Morgen fällt noch immer wie damals vor dem Schulbeginn. Einige Klingelschilder tragen jetzt andere Namen, ein Baum ist verschwunden. Es ist die Geschichte eines Jemand, der sich aufgerieben fühlt zwischen der Vergangenheit und dem Jetzt. Zwischen Ankommen und Loslassen. Als bittersüße nostalgische Verklärung kommt das Schlusslied "In meinen Träumen" daher. Die letzten Zeilen liefern schließlich den Beweis: Am Ende gewinnt Die Zärtlichkeit. "In meinen Träumen bleiben die Menschen und Orte für immer"

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

This song, co- written and produced by Jamie Safir (Kylie, Birdy, Will Young) is from the brand-new collection 'Greek Street Friday' released later this year on all formats. With an ace band, which includes drummer Ian Thomas (George Michael, Van Morrison, Celine Dion) and guitarist David Preston (Melody Gardot, Curtis Stigers), this collection will also feature, on a beautiful new take of Rickie Lee Jones' 'Blinded By The Hunt', the world-renowned saxophonist Iain Ballamy (Everything But The Girl, Hermeto Pascoal, Loose Tubes). 'To Be Held' is a lullaby for our times. The title, inspired by a Truman Capote interview, with Dick Cavett, expands into a beautiful tribute to lost friends, the power of connections, imperfections and navigates the strangeness and beauty of being alive 'on this beaten-up planet of ours'.

Ian Shaw is back with force and with 'the quirks and character tics of every day living, . . . brought into euphoric focus Shaw tours his smart and soulful show' (The Guardian)

After the thematic albums 'True' (2012 inspired by Berlin and David Bowie).

'Desire' (2015, an instrumental opera about longing), 'Goldbrun' (2017 a homage to Europe and Honing's interest in European art music) and 'Bluebeard' (2020, a dark album mainly inspired by the 300-year-old fairy tale of the same name), there is now 'Heaven on my mind'.An album on which the quartet's now decade- long existence undoubtedly pays off. Not only is the almost telepathic way the band members communicate with each other an important feature; this fifth quartet album also clearly shows Honing's love for Charles Lloyd, Pharoah Sanders and the freer acoustic jazz that emerged along with the 1960s hippie movement.

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

Dom of Dom & Roland, (Roland being a machine), has been a drum and bass visionary since the mid 90’s. He remains the only solo artist to have had award-winning albums on both Metalheadz and Moving Shadow. Dom released his ninth album on Overshadow earlier this year. His collaborations range far and wide and have included the likes of Optical, Amon Tobin, and more recently Noisia. Internationally acclaimed for both his records and performance, his epic brand of music has attracted other pioneers along the way, Art of Noise, David Bowie, Laurent Garnier, Goldie, and Clyde Stubblefield, are just a few of the many loyal fans he has collected over the last 30 years. He still travels the world, is not slowing down, and continues to evolve his music to this day.

“Individual” is his new label. Its purpose, in his own words, is “to celebrate the uniqueness and character of individuals or artists, who stand apart from others of the same”

Any questions about any of these products feel free to get in touch and we'll help you out!
albert.preston@sequence.cc

Disco re-edit master Moplen sprinkles his magic on the golden grooves of Jackie Moore’s classic, ‘Holding Back’ for the third release on A’s and Bees backed with the original Breakdown and Chin-Mental mixes from the mighty John Morales and Sergio Munzabai (M&M).

Continuing their run of heavyweight pressings that marry remastered originals with new interpretations of those prized cuts, A’s and Bees look to ’83 with this sensuous slice of disco heat, blending beefy slap bass with a soaring string section and Jackie’s soulful vocal tones. A cover of David Simmons’ 1979 classic ‘Holdin' Back’ penned by Gregg Diamond and Steve Love, Moore’s interpretation is a high energy disco hit from across the Atlantic.

Opening up the release, re-work whiz Moplen was graced with the stems to the original recording, tweaking, finessing and squeezing out all the best bits of the original building the tension across 7 sublime minutes, that balances deftness with full frontal power. Taking the A2, the original vocal mix in all its glory, produced and arranged by MFSB’s Bobby Eli.

On the B side two masterful M&M mixes from the legendary duo of John Morales and Sergio Munzabai in the form of the Breakdown and Chin-Mental versions.

50% of the profits from this release will be donated towards the British Beekeepers Association.

Wewantsounds continues its Akiko Yano series with the reissue of her cult classic 'Ai Ga Nakucha Ne' recorded in 1982 and co-produced by Ryuichi Sakamoto. Featuring Japan, the album includes additional recording in Tokyo with YMO and is mixed by Steve Nye and Shinichi Tanaka. It is the first time the album is released outside of Japan and the deluxe LP features the original artwork with gatefold sleeve and a lavish 24-page colour booklet with sessions photos by Pennie Smith (famous for The Clash's London Calling photo). The reissue also includes a new introduction by Mac DeMarco and a dual interview with Akiko Yano and Steve Jansen by journalist Paul Bowler. The audio remastered from the Original tapes by Mitsuo Koike.

'Ai Ga Nakucha Ne' ('there must be love' in Japanese) is Akiko Yano’s 6th studio album and follows 'Tadaima' in 1981. It continues exploring the electro-pop sound of its predecessor, hot on the heels of her touring with Yellow Magic Orchestra between 1979 and 1980. For this album, Akiko decided to try something new; she enrolled English fellow musicians Mick Karn, Steve Jansen and David Sylvian from Japan and booked the Air Studios in London under the supervision of engineer Steve Nye. ​​Over a couple of weeks, the musicians created a fascinating soundscape full of catchy pop tunes, sung in both Japanese and English. Reminiscing about the studio sessions, Steve Jansen notes "Our music’s different but we maybe had a similar process of working. It was a great environment because the studio was a great place to work. It was very insular. There were four studios and there were always groups working in there 24/7."

The eleven tracks featured on "Ai Ga Nakucha Ne," mostly composed by Akiko - are a great collection of catchy tunes featuring her distinctive vocals and accompanied by the Japan musicians. As Akiko explains about the creative process, "I didn’t think to imitate or to make another Tin Drum. But I had Steve Jansen and Mick Karn, these excellent musicians. They were eager to understand the songs, then they put in everything they had. I knew the material was different from what they usually played in Japan. But it was a great experience working with them.

​There are many highlights on the album, from the pop edge of "Aisuru Hito Yo" to the avant groove of "Another Wedding Song", each song is memorable and the album ends with the superb “Good Night” sung by Akiko and David Sylvian.

The original 1982 LP release included a 24 page booklet featuring many photos by Pennie Smith and Japanese photographer Bishin Jumonji. The booklet is reproduced in its entirety here and the album on top of contributions by Mac DeMarco, a longtime fan of the album, Akiko and Steve Jansen making this release of 'Ai Ga Nakucha Ne' a unique testament to Akiko Yano's greatness.

“Orlando Furioso is a haunting, one-of-a-kind statement, from an important new voice in improvised music.” - Steve Lehman

“…imagining instruments that haven’t been invented yet: space harps, cosmic gamelan, Venusian banjo. It’s the purest distillation of Atria’s musical language, simultaneously grounded and unearthly.” - Stewart Smith for The Wire (November 2022)

“Making liberal use of microtonal harmony and hypnotic, ostinato rhythms – as well as the occasional stylistic smash-cut, reminiscent of John Zorn – Orlando Furioso announced itself on Wednesday as a punchy, creative force on the New York scene. (…) Atria’s rhythms had a welcoming, social propulsion, and the microtonality of his writing for keyboard proposed an individual – even insular – language.” - Seth Colter Walls for The New York Times.

Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st-century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer.

Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands.

Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose - more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence. When every corner of the map has been charted, it becomes difficult to find a new direction in which to travel. One solution I hope to see more often is the one pursued on this record: breaking down distinct musical worlds into component parts and reassembling them into a language. When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own. - Mat Muntz

Orlando Furioso is led by Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance which The New York Times heralded as "virtuosic", "punchy, creative" and "even revelatory."

Winner of the Deutscher Jazz Preis: Best International Debut Album 2023

YMO DRUMMER YUKIHIRO TAKAHASHI'S SOPHISTICATED CITY FUNK CLASSIC FROM 1978 CO-PRODUCED BY RYUICHI SAKAMOTO AND FEATURING HARUOMI HOSONO, MINAKO YOSHIDA AND TATSURO YAMASHITA. RELEASED FOR THE FIRST TIME OUTSIDE OF JAPAN - WITH REMASTERED AUDIO, LP COMES WITH OBI AND FOUR PAGE INSERT

Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah records).
The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.
'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid tempo ambient funk featuring Takahashi's beat backed by Haruomi Hosono's bumping bass line, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar.
The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class arrangements. The perfect soundtrack to an early morning stroll in the Paris streets as illustrated by Masayoshi Sukita's photos featured on the album cover.
A sophisticated album full of glitz and fun, 'Saravah!' gives a unique insight into the versatility the YMO musicians and how funky they could play under Yukihiro Takahashi's influence. This was a key time when the three musicians were just transitioning to a sound that would be dominated by synthesizers and 'Saravah' catch them just at that fascinating moment.

RYUICHI SAKAMOTO'S LANDMARK 1981 ALBUM REISSUED FOR THE FIRST TIME IN DECADES OUTSIDE OF JAPAN. THE ALBUM WILL BE REISSUED IN ITS RARE JAPANESE EDITION TOGETHER WITH A 2-LP LIMITED EDITION FEATURING THE ALBUM PLUS A 2ND LP FEATURING ITS NEVER-RELEASED FULL INSTRUMENTAL MIX, ALL REMASTERED BY BERNIE GRUNDMAN.

Wewantsounds is proud to announce the reissue of Ryuichi Sakamoto's third solo album "Hidari Ude No Yume" (Left Handed Dream), originally released in 1981 on the Alfa label. Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Newly remastered from the original tapes by renowned engineer Bernie Grundman, this LP edition comes with original artwork featuring a striking cover shot by famous photographer Masayoshi Sukita (sourced from the original negative), OBI strip and 4-page insert with new introduction by journalist Anton Spice. The album will also be released as a 2-LP limited edition gatefold including the album's full instrumental mix.
Ryuichi Sakamoto's third album, "Hidari Ude No Yume" was recorded at the legendary Alfa Studio 'A' in Tokyo during the Summer of 1981. it came after "B-2 Unit" in 1980 and his debut album "Thousand Knives Of" in 1978, the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. In the process, they became global stars as the group rewrote the rules of electronic pop and toured around the world, yet Sakamoto was keen to remain active as a solo artist.
?In 1981, the musician decided to record an album rooted in Pop, following "B-2 Unit" which had a more of an experimental edge and his landmark electro debut from 1978. For this new album entitled "Hidari Ude No Yume," Sakamoto invited British producer Robin Scott, who had had huge hit with 'Pop Muzik,' to co-produce. They entered the Alfa studio in July 1981, accompanied by a handful of musicians. These included his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura and American guitarist Adrian Belew who'd played with David Bowie, The Talking Heads' "Remain In Light" and more recently, Tom Tom Club’s debut (co-writing 'Genius Of Love').
?Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant garde and traditional Japanese music, the whole firmly rooted in a solid groove. Sakamoto wanted to give the album a spontaneous feel and decided to let ideas flow and evolve organically during the sessions as musicians would develop them together. From the funk of 'Relâché' to the new wave feel of 'Venezia' and the ambient minimalism of 'Slat Dance,' the album is remarkably consistent while displaying a wealth of global influences as shown by the diversity of instruments featured on the credits: Marimba, didgeridu, traditional Japanese instruments such as the Sho and Hichiriki flutes.
?The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. The sequencing was completely reshuffled and two tracks, 'Saru No Ie' and 'Living In The Dark' were completely dropped while three others, ‘Relâché’, ‘Tell 'em To Me’, ‘Venezia’ were heavily remodelled with english lyrics and became 'Just About Enough', 'Once In A Lifetime' and 'The Left Bank'. Last but not least, a new English-sung track, 'The Arrangement,' was added, making the album nine tracks instead of ten for the Japanese edition.
Altogether this International version called "Left-Handed Dream" was a very different album from the Japanese one and although both were successful at the time and further established Ryuichi Sakamoto as a global solo artist, the Japanese edition of "Hidari Ude No Yume" remains largely unknown to international ears.
Wewantsounds is now delighted to release this original Japanese edition for the first time in decades as a single LP together with a 2-LP limited-edition set adding, as a bonus, its fascinating instrumental mix, discovered in the label's vaults a few years ago (Note that 'The Garden Of Poppies', 'Slat Dance' and 'Saru No Ie' are instrumentals but for the consistency of the album we kept them on the Instrumental Mix). "Hidari Ude No Yume" is an essential album in Ryuichi Sakamoto's rich discography. It is now available in its purest original Japanese form.

Acoustic Bass, Bass Fender – Buster Williams
Composed By – Harold Land (tracks: A1 to A3, B2)
Design Cover – MPI*
Drums – Ndugu (Leon Chancler)*
Electric Piano, Piano – Bill Henderson*
Flugelhorn, Trumpet – Oscar Brashear
Oboe, Tenor Saxophone – Harold Land
Photography By – David Shepard
Producer – Bob Shad
Supervised By – Ernie Wilkins

Originally released: 1972

Black Truffle is pleased to announce The Leisure Principle, a new solo LP from London-based bassist and sound artist Otto Willberg. A key player in the London underground, Willberg is often heard on acoustic and electric bass in free improv settings and bands with Laurie Tompkins (Yes Indeed) and Charles Hayward (Abstract Concrete), as well as the fractured No Wave unit Historically Fucked. His previous solo releases have ranged from extended technique double bass to explorations of the acoustics of a 19th century artillery fort. But nothing Willberg has committed to wax so far prepares a listener for The Leisure Principle, six unashamedly melodic improvisational workouts created almost entirely with heavily filtered bass harmonica and electric bass. On the opening ‘Reap What Thou Sow’, a single-note bass harmonica loop pulses along underneath a roaming bass solo, the side-chained envelope filtering (where the dynamic behaviour of the bass determines the filter for both bass and harmonica) fusing the two instruments into a single stream of burbling shifts in resonance. After several minutes of patient exploration of this low-end landscape, the music suddenly opens up in widescreen with the entrance of Sam Andreae’s graceful melodica chords, spreading out across the stereo field. From this epic opener, each of the remaining pieces goes on to explore a slightly different aspect of the terrain. On ‘Shadow Came into the Eyes as Earth Turned on its Axis’, a similarly buoyant harmonica bass line provides the foundation, but this time playing a soulful descending riff, its almost R&B feel abstracted and half-obscured by the filtering. On ‘Mollusk’, echoed bass arpeggios skitter between elegiac chords somewhat reminiscent of the opening of John Abercrombie’s ‘Timeless’, before settling into a hypnotic groove. On the record’s second half, Willberg pushes further into the possibilities of his idiosyncratic instrumentation. On ‘Wetter’, bass and harmonica come together into a monstrous, growling jaw harp; on ‘Had we but world enough and more time’, the subtly shifting pulsating patterns start to feel almost like a kind of evaporated, drum-less dub techno until an eruption of wheezing bass harmonica gives the piece a comically folkish turn. Willberg’s melodically inventive and virtuosic bass performance calls to mind any number of fusion touchstones, from Jaco Pastorius to Mark Egan’s singing tone in the early Pat Metheny Group—even Anthony Jackson’s work with Steve Kahn. But with its radically reduced instrumentation, The Leisure Principle is also an exercise in minimalism, and the absence of percussion gives even its funkiest moments a strangely abstracted quality. At times, its uncanny blend of the abstruse and the immediate suggests the fried pop experiments of David Rosenboom or the skewed but deeply musical DIY of 80s underground groups like De Fabriek. Both easy on the ear and profoundly strange, The Leisure Principle proudly takes its place among the most eccentric offerings on the Black Truffle menu.

Following on the somnambulant heels of When I See The Sun, our massive, near-complete Codeine overview, comes What About The Lonely?, an eight-track LP recorded at the group's live zenith. Captured direct from the mixing board at a stop on Codeine's November 1993 swing through the Midwest, opening for Mazzy Star, this document finds Stephen Immerwahr, John Engle, and Doug Scharin running through their hits at Chicago's notorious Lounge Ax for a crowd of chatty "120 Minutes" fans. Gastr Del Sol's David Grubbs adds his guitar to two songs, slinking on and off the 24-inch stage with little fanfare, but leaving his signature indelibly on the performance.

Following on the somnambulant heels of When I See The Sun, our massive, near-complete Codeine overview, comes What About The Lonely?, an eight-track LP recorded at the group's live zenith. Captured direct from the mixing board at a stop on Codeine's November 1993 swing through the Midwest, opening for Mazzy Star, this document finds Stephen Immerwahr, John Engle, and Doug Scharin running through their hits at Chicago's notorious Lounge Ax for a crowd of chatty "120 Minutes" fans. Gastr Del Sol's David Grubbs adds his guitar to two songs, slinking on and off the 24-inch stage with little fanfare, but leaving his signature indelibly on the performance.

"All The Old 45s - The Very Best of Deacon Blue" coincides with the band"s UK and Ireland tour of the same name, and charts their multi-million selling history - from bringing "Chocolate Girl" and "Dignity" to life in the corner of a Glasgow basement, to skyscraping, stadium-filling hits like "Wages Day" and "Real Gone Kid", via their swoon-inducing tribute to Bacharach and David ("I"ll Never Fall In Love Again"), their collective favourite single ("Your Swaying Arms"), and one of the most significant songs in the Deacon Blue canon, which followed a split in 1994 and the loss of two original members: 2012"s comeback single "The Hipsters" heralded a new lease of life for the group, and jump-started a second act that"s seen them more fired up, and prolific, than ever.

The album is her first featuring all original material since her 2014 debut, Unstoppable, and shows the 29-year-old "Acoustic Songbird" reaching a new level of maturity. It includes twelve new tracks, all self-penned meditations on love and life except for Chlara's uniquely ethereal reframing of David Bowie's iconic "Heroes" track. Highlights include the recent singles "I Is The Loneliest Letter" and "Come To Bed"; also ear-catching is the blissful chillout groove "Sunburn" and the sensual bedroom ballad "747," where Chlara exudes a smouldering eroticism.

Originally released on may 29, 1969, Crosby, Stills and Nash remains one of rock 'n' roll's most impressive debuts. It was big news in 1969 when former key members of the Byrds, Buffalo Springfield, and the Hollies - three of the finest bands of the '60s - splintered off to form their own trio. Despite their already-proven talents, few could have imagined the gossamer vocal blend that would become the trademark of supergroup Crosby, Stills and Nash. The band's debut effectively provided the soundtrack to the summer of '69. For his part, Steve Stills keeps exploring the progressive folk-rock sound that he'd pioneered with Buffalo Springfield; signature tune Suite: Judy Blue Eyes is an expansive, multi-section affair that makes full use of the group's vocal skills. Fresh from the Hollies, Graham Nash adds an accessible pop sensibility, epitomized by the effervescent ditty Marrakesh Express. David Crosby, always the wild card in the Byrds, here adds rough edges and flashes of mystery with his cutting protest rocker Long Time Gone and the exquisite art-folk of Guinnevere. With this kind of firepower under its belt, it's no wonder csn quickly became one of the biggest groups of their era.

This classic album from 1973 saw its creator, Lee ‘Scratch’ Perry exploring synths and starting to develop his Black Ark sound - the enigmatic producer was at the time in the process of building his famous studio and honing his ideas about dub as a musical form.

The LP opens with the eerie “Kentucky Skank”, Perry’s ode to KFC, complete with frying chicken sounds, spliced between winding tapes, a ghostly trumpet, and futuristic moog synthesizer, overdubbed at London’s Chalk Farm studios.

U Roy’s “Double Six” and I Roy’s “High Fashion” & “Hail Stones” illustrate just how strong The Upsetter’s deejay material had become, while versions of the Chi-Lites’ “We Are Neighbours”, Sam & Dave’s “Soul Man” and a re-working of Al Green’s “Love and Happiness” (retitled “Jungle Lion”) all betray the funky soul influence that was increasingly shaping his work.

The backing tracks illustrate the producer at his best; the audio spectrum is fully differentiated while spatial placement an important component - something it would take years for him to achieve at the Black Ark.

Double Seven is available as a limited edition of 750 individually numbered copies on silver coloured vinyl

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the “Secrets” album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
• The album’s release in 2001 was preceded by the single “All I Ever Wanted”, but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album’s release.
• This 2LP new edition has been expertly mastered by Cicely Balston at AIR Mastering from the original stereo
tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves
groove accuracy and transient information creating an incredibly detailed stereo image with a natural high
frequency response.
• Presented in its original sleeve, pressed on 2 x 180 gram heavyweight black vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics and credits on the 4 page insert.

a 01. All I Ever Wanted Dave Bascombe Mix 3:31

[c] 03. Love Me Madly? [Dave Bascombe Mix] 4:08

RAWAX welcomes Ferdinand Steinbacher aka Brevis Bounce to the artist family! We are very happy to present you this great talent HOUSEWAX. After joining a RAWAX micro GARDEN FESTIVAL with Move D, Ferdinand went home and started (impressed from David's set) to jam. He uploaded the video on social media. Luckily we saw it and asked him to make us some tracks - the result is his first vinyl release called "Vibrant Remedy" which will be out in January.
Highly recommended!

Introducing 'Feel It': A long-awaited release by Rossi., with a remix by Garret David.

After captivating audiences with its irresistible energy and infectious hook during special moments of summer 2021 & 2022, Rossi.’s highly sought-after track 'Feel It' is finally set for release. Created in his infamous garden shed studio in 2020, this long-awaited track embodies raw authenticity and artistic brilliance.

On the B SIDE we have an instrumental version, plus an extra layer of flavour as Chicago-based hero Garret David brings his raw house & garage sound, completing the package with a bumpy remix.


DJ Feedback:

Mason Maynard - really like the remix.
Harrison BDP - Sick ep! Its the garrett david remix for me :)
Scott Diaz - Garrett’s mix is sweet, which obviously is not a surprise at all. Got a real old UK garage vibe to it, kind of quirky like a Confetti record.
Make A Dance - Wicked stuff original is the one for me.
NIKS / BAD / Rinse FM - Garrett David remix :)
Nogla - Garret David remix is wicked
Thabo / Home Again - Liking the remix a lot.
Nicolas Duque - Wicked work from Garret in there, nice vibes, shuffley and still with his chicago vibes, tbf I prefer this one to the og but both are good :)

Das dritte und letzte Album von Altered Images erschien im Juni 1983 und präsentierte einen anspruchsvolleren Klang und als die beiden vorherigen Alben. In einem ungewöhnlichen Schachzug waren zwei etablierte Produzenten für jeweils vier Songs des Albums verantwortlich. Vorausgegangen waren die Hitsingles 'Don't Talk To Me About Love', ein UK-Hit produziert von Mike Chapman (Blondie), und 'Bring Me Closer', produziert von Tony Visconti (David Bowie, T-Rex). In dem brandneuen 2CD-Set zum 40-jährigen Jubiläum enthält CD1 das Originalalbum, während die Bonus-CD drei Non-Album-B-Seiten, zwei erweiterte 12inch-Versionen, einen Live-Track und drei Single-Edits enthält. Die beiden CDs werden in einer brandneuen 7inch-Deluxe-Gatefold-Verpackung präsentiert, inkl einem 8-seitigen Booklet, das alle Texte (einschließlich der drei B-Seiten) und die Credits enthält. Die Vinyl Version kommt als 180Gr. Halfspeed-Master mit OBI-Strip an der Seite und einem 4-seitigen Booklet!

Gitarrenkoryphäe und Tuareg-Folkheld Bombino ist zurück mit einem neuen Studioalbum - 'Sahel'. Es handelt sich um Bombinos erstes komplettes Album seit über fünf Jahren und folgt auf das 2018 erschienene Album 'Deran'. Die New York Times bezeichnete ihn damals als 'Sultan des Shreds'. Vice ging sogar noch einen Schritt weiter und verlieh ihm den Titel des 'besten Gitarristen der Welt'. Es folgte eine GRAMMY®-Nominierung. Die erste für einen Künstler aus Niger überhaupt. 'Sahel' wurde von David Wrench (David Byrne, Frank Ocean, Caribou, The xx) produziert und im Studio HIBA in Casablanca, Marokko, aufgenommen.

Gitarrenkoryphäe und Tuareg-Folkheld Bombino ist zurück mit einem neuen Studioalbum - 'Sahel'. Es handelt sich um Bombinos erstes komplettes Album seit über fünf Jahren und folgt auf das 2018 erschienene Album 'Deran'. Die New York Times bezeichnete ihn damals als 'Sultan des Shreds'. Vice ging sogar noch einen Schritt weiter und verlieh ihm den Titel des 'besten Gitarristen der Welt'. Es folgte eine GRAMMY®-Nominierung. Die erste für einen Künstler aus Niger überhaupt. 'Sahel' wurde von David Wrench (David Byrne, Frank Ocean, Caribou, The xx) produziert und im Studio HIBA in Casablanca, Marokko, aufgenommen.

Der in Texas aufgewachsene Singer-Songwriter und Big Thief-Gitarrist Buck Meek kündigt sein neues Album "Haunted Mountain" für den 25. August an. Seine erste Solo-Veröffentlichung bei 4AD folgt auf das 2021er Album "Two Saviors" und handelt von der Liebe...und etwas anderem. Etwas Größerem, etwas, dass Liebe nicht wirklich herausfordert, eher im direkten Kontrast dazu steht. Eine völlige Erfüllung der Seele. Meek gesteht ein, dass Liebeslieder für ihn die am schwersten zu schreibenden sind. Vielleicht holte sich Meek auch deshalb beim Schreiben Verstärkung in Form der Freundin und langjährigen Heldin Jolie Holland, die bei fünf von elf Songs des Albums Co-Autoren-Credits hat. Die ersten zwei Verse und der Chorus von "Haunted Mountain" stammen von der Texanerin, die diese als Liebeslied für Mount Shasta in Nord-Kalifornien geschrieben hat. Meek fügte den finalen Vers hinzu, in der gemeinsamen Suche nach dem Austausch mit der Natur. "It"s about being humbled by the thing you"re drawing power from only at which point an actual, fair relationship begins", erklärt er. Seit seinem selbstbetitelten Solo-Debüt sind Meeks Band-Kollegen die gleichen: Adam Brisbin (Gitarre), Austin Vaughn (Schlagzeug) und Mat Davidson (Pedel Steel, Bass). Für "Haunted Mountain" stießen noch Ken Woodward (Bass) und Meeks Bruder Dylan (Klavier, Synths) zu diesem eingeschworenen Haufen dazu. Davidson übernahm die Produktion, während Adrian Olsen, der auch die Sound Manipulation mit einem Modular Synthesizer übernahm, das Album innerhalb von zwei Wochen mixte. Der Ansatz war ein hi-fi-Album als Gegensatz zum lo-fi-Ansatz des Vorgängers zu erschaffen, während die Intimität erhalten bleiben sollte. Meek glaubt selbst daran, dass alle großen Liebeslieder noch nicht geschrieben wurden. Zwischen den Zeilen von "Haunted Mountain" hört man, dass Liebe in jeglicher Form die Erschaffung eines Zuhauses ist, von innen - für immer auf der Suche nach dem anderen.