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To mark three decades of Classic, this special edition double vinyl comes housed in a raw reverse board sleeve, calling back to the very first ‘Season’s’ release on the label. The inner sleeves feature stunning orange and pink GMUND card stock, complete with embossed detailing—a tactile nod to Classic’s design-led legacy and attention to craft.

Volume 1 of the 3-part compilation series dives into Classic’s most cherished moments—spanning both foundational tracks from the label’s early years and key highlights from its post-2011 rebirth.

Record One celebrates some of the first outings of Classic's original era.

It opens with Matthew Herbert’s sought-after 1996 cut ‘Got To Be Movin’—a raw, Chicago-inspired groover that captures the sound of Classic’s roots.

Also featured is the monumental ‘Somewhere Between Distance and the Impossible’ by Chris Nazuka (of Rednail Kidz with Derrick Carter), a 1997 masterpiece steeped in atmosphere and widely regarded as one of the label's most transcendental releases.

Flip to Side B for Blaze’s legendary ‘Lovelee Dae’, remixed into a club ready, ethereal dreamscape by Jon Marsh of The Beloved.

To finish we have Gemini’s hypnotic ‘In My Head’, transformed by prolific remixers on Classic - Freaks (Luke Solomon & Justin Harris) into a dubbed-out vocal trip that oozes character.

Record Two picks up the story with Classic’s reawakening in 2011.

Seven Davis Jr’s ‘The One’ (Live Edit) was the track that caught Luke Solomon’s ear, paving the way for his Friends EP and long-standing connection with the label.

Red Rack’em’s infectious and eccentric ‘Wonky Bassline Disco Banger’ found its perfect home on Classic in 2016, quickly becoming one of the most talked-about records of the year.

Then there’s Eli Escobar’s ‘Happiness Pt. 2’—a rich, emotive standout from his Classic album work, showcasing his skill at blending deep grooves with raw soul.

Rounding out the release is the iconic ‘Play the Game’ by Kenny Hawkes & Louise Carver. A pillar of UK house history, this essential track was reissued in 2019 with a powerful remix from his best buddy’s The Space Children (Luke Solomon, Jonny Rock & Leon Oakey), honouring Kenny’s lasting influence.

Prolapse wurden Anfang der 90er Jahre in Leicester gegründet, heute sind die Bandmitglieder über ganz Großbritannien und Skandinavien verstreut. Nach wie vor verfolgen sie ihren ganz eigenen Sound der stetigen Wiederholung, kombiniert mit verdrehten Melodien und vereinen dabei Einflüsse von Post-Punk über Krautrock bis hin zu Folk. Zu ihren bisherigen Veröffentlichungen gehören zahlreiche Singles sowie vier Alben bei unterschiedlichsten Labels, darunter Cherry Red und Radar. Mick Derrick und Linda Steelyard liefern sich intensive Gesangsduelle, kombiniert mit heftigen, dreifachen Gitarrenattacken und stampfenden Rhythmen. Das fünfte Prolapse-Album "I Wonder When They"re Going to Destroy Your Face" erscheint bei Tapete Records und stellt die ersten neuen Aufnahmen der Band seit ihrem letzten Album "Ghosts of Dead Aeroplanes" dar, das vor 26 Jahren veröffentlicht wurde. In mancher Hinsicht aber fühlt es sich an, als hätte es überhaupt keine Zäsur gegeben. Vom ersten ununterbrochenen Riff von "The Fall of Cashline" an machen Prolapse klar, dass sie wieder da sind - immer und immer wieder (und immer und immer wieder).

Large Music proudly presents the long-awaited reissue of David Brown – “Feel Love”, originally released in 1994 and now making its triumphant return on vinyl for the first time in decades. Cataloged as LAR010, this essential piece of Chicago house history has been lovingly remastered and pressed to wax, reaffirming its legacy as a cornerstone of the genre.

Produced by Sherman Rogers and Darren Brandon of the acclaimed Black Ice Productions, “Feel Love” is a quintessential expression of the raw, soulful energy that defined the Windy City’s deep house scene in the early '90s. Blending hypnotic rhythms, warm synths, and David Brown’s emotive vocal delivery, the track captured the hearts of underground dancefloors from Chicago to the world.
Adding to the release's weight is an all-star lineup of remixers who need no introduction:
• Ralphi Rosario, one of house music’s original architects and a member of the legendary Hot Mix 5, brings his signature peak-hour intensity and timeless groove.
• Derrick Carter & Chris Nazuka, operating under their cult alias Red Nail, deliver a raw, stripped-back interpretation, dripping with analog grit and deep, jacking flavor.

This reissue isn’t just a nod to nostalgia—it’s a powerful reminder of house music’s roots and enduring spirit. Whether rediscovered or experienced for the first time, “Feel Love” stands tall as a classic slice of Chicago house, as relevant on today’s dancefloors as it was over 30 years ago.

Zum 100. Geburtstag von Peter Thomas - der Kult-Soundtrack neu aufgelegt! Zum Jubiläum des 1925 geborenen Komponisten Peter Thomas erscheint einer seiner größten internationalen Erfolge erneut auf Vinyl: Bruce Lee: The Big Boss (Revised) - die alternative Filmmusik zum gleichnamigen Martial-Arts-Klassiker von 1971. Die ursprünglich 2020 veröffentlichte und längst vergriffene LP wird nun als 180g-Vinyl in schwarzer Pressung neu aufgelegt und ist ab sofort wieder im Handel erhältlich. Die Musik - ein mitreißender Mix aus Big-Band-Sound, Funk, Space-Age und psychedelischer Elektronik - wurde vom deutschen Verleih als westliche Alternative zur Originalmusik in Auftrag gegeben und entwickelte sich zur offiziellen internationalen Filmmusik des Films (außerhalb Chinas). Das aufklappbare Gatefold-Cover wurde vom renommierten Künstler Adrian Keindorf gestaltet und verbindet Retro-Ästhetik mit modernem Design. Diese Veröffentlichung ist der Auftakt einer Reihe, die dem Werk von Peter Thomas (1925-2020) gewidmet ist. Bereits erschienen sind:

Winnetou und sein Freund Old Firehand
Steiner - Das eiserne Kreuz 2
Edgar Wallace
Derrick & Der Alte
Ein Muss für Soundtrack-Sammler, Bruce-Lee-Fans und Liebhaber außergewöhnlicher Filmmusik.

Man @ Work Volume 2 is the sequel to his 2002 best seller, Man @ Work, and offers
fans an impeccable set of favorites from across Hay's rich catalog, including Men at
Work classics, solo album highlights, and new material. The album opens with "Into
My Life," featuring Gregg Bissonette (Ringo Starr and His All Starr Band) and Cecilia
Noel. The song originally appeared on Hay's 1990 debut solo album, Wayfaring Sons,
and exploded in Brazil in the 90s as the theme song of a popular soap opera, growing
to rival the anthemic "Down Under" as Hay's most popular song in South America. Hay
reaches back to Men At Work's 1983 release, Cargo, for a new recording of the reggae
infected "Blue for You," which segues into a stripped-down version of the infectious
"Come Tumblin' Down" from his 2017 release Fierce Mercy. Other standout tracks on
the album include "We the People" featuring rapper Derrick "Solpowa" Rice, which Hay
was inspired to write in the midst of the polarizing US presidential election in 2024,
and with a haunting performance of "Next Year People" from the 2015 album of the
same name. This version of the song features Hay on acoustic guitar and vocals,
augmented by a string quartet.

[c] A3 Factory Girls; Engineer [Lucinda Williams Vocals] – Derrick O'Brien*; Featuring, Vocals – Lucinda Williams









[m] B5 The Spoken Wheel; Vocals [Guest] – Noel O'Donovan

[o] B7 Don't Let Me Die Still Wondering; Engineer [Horns] – Jake Posner; Horns – Lee Thornburg

Karpenters, the latest album from Kool Keith, produced by Grant Shapiro, stays true to the essence of Hip-Hop: boom bap beats, clever samples, and heavyweight guest features. Hip-Hop legends like Tash (Tha Alkaholiks) and Marc Live (Analog Brothers/Black Elvis) add to the project, complementing Kool Keith’s signature eccentric flow.

This marks Kool Keith’s first official album since the cult classic Black Elvis 2—a long-awaited release for dedicated fans. The album boasts mixing by J-Styles (Keith’s in-house engineer) and mastering by Grammy winner Steve “Steve B” Baughman, ensuring top-tier sound quality.

Leading the charge is the official music video for "Super Hits," directed by Wayne Campbell—known for his work on Kool Keith’s Love Infringement and videos for artists like Benny The Butcher.

With executive production by Kool Keith and distinctive, hard-hitting beats from Grant Shapiro, Karpenters is a project fans have been craving—raw, authentic, and unforgettable.

(10x12" box set, limited to 1000 copies, with premium finishing, uniquely numbered, incl. 10 records in individually printed sleeves, a booklet detailing the club's history & exclusive stickers) Boccaccio has secured its place among legendary venueslike Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond.



Belgian label Music Man Records presents Boccaccio Life 1987-1993, a new compilation offering a fresh perspective on the legacy of the iconic Belgian club Boccaccio - often associated with the short-lived New Beat movement. The 40-track compilation highlights the raw and futuristic early house and techno sounds that were heard in the pioneering club.

Located in rural Destelbergen (Belgium), just a stone's throw from Ghent, Boccaccio has secured its place among legendary venues like Paradise Garage in New York and The Hacçinda in Manchester. Its bold fusion of emerging electronic genres such as New Beat, Acid, House, and Techno was way ahead of its time, drawing music lovers and clubbers from across Belgium and beyond. Sundays at Boccaccio were unlike anywhere else-offering sounds you couldn't hear anywhere else.

Boccaccio Life 1987-1993 is carefully curated by resident DJ Olivier Pieters and club regular Stefaan Vandenberghe, standing as the ultimate testament to a club that was more than just a venue. For those who experienced it, it was a community - a way of life. Hence the club's full name: Boccaccio Life.

This compilation stands as a testament to an innovative time in electronic music, capturing the raw, futuristic sounds of early house and techno. It sheds light on another side of Boccaccio, one that goes far beyond the short-lived New Beat scene. A carefully curated selection of 40 tracks, resonating with those who were there by offering familiar classics, while also reaching a new generation-those who never experienced it firsthand.

With tracks from Blake Baxter, Virgo, Frankie Knuckles, Tyree, and A Guy Called Gerald, the unmistakable influence of black American pioneers is clear-the originators of the firstanalog house and techno sounds. On the other hand, UK sound innovators such as The Orb and LFO bring both sharp textures and rough breakbeats to the table.

Club staple tracks include dreamy excursions from Roger Sanchez under his Egotrip moniker, the relentless basement house of Circus Bells by Robert Armani on Dance Mania, an uplifting take on a hip-house cut from The D.O.C. (Portrait of A Masterpiece in the CJ Ed-Did-It Mix), a timeless remix of UK Formation's Age of Chance from 1994, and an alternate take on The Tape by Boccaccio club regular and Belgian producer Frank De Wulf, taken from his B-Sides project.

While not always the obvious hits, these tracks have gracefully withstood the test of time, and were exclusive to Sundays at Boccaccio. Now, they are finally available to experience together in one collection, offering a timeless snapshot of a unique era.

Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.

Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.

We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....

To Celebrate its 60th release, Syncrophone proudly presents 'The Syncrophone Remixes Vol. 1' by Rolando. Featuring electrifying reworks of Derrick Thompson, Zadig, and Malvito, this collection brings a powerful, Detroit-inspired sound that echoes the future of techno. Available soon—don’t miss these exclusive remixes. Vol. 2 is just around the corner, promising even more groundbreaking surprises.

'BOSTICH PT.1' – A hot Chicago House flip on this legendary classic by Swiss synthpop band Yello! Some unexpected editing surprises in this one! The groove will have you from the start! 'OPTIMO' – A highly energetic rework of this classic from American dance-punk band Liquid Liquid, with a percussion section that uses the snare drum, bass kick drum, cowbell, and claves that all combine for insane repeated drum rolls! A hot sure shot for the dancefloor!

Cratebug is a Chicago Dj, Producer & Remixer. His remixes and edits are hot gold and have found their way into the mixes and live sets of COUNTLESS djs all over the world. Most notable and well-known among fans & supporters of Cratebug’s work include: Derrick Carter, Jamie 3:26, Honey Dijon, Frankie Knuckles (RIP), Louie Vega, Scott K., Kenny Dope Gonzalez, Dimitri From Paris, Boris Dlugosch, Francois Kevorkian, Danny Krivit, Moodymann (Kenny Dixon Jr.), Theo Parrish, Master Kev, Moon Boots, Jackmaster (Jack Revill), The Martinez Brothers, Doc Martin, Mark farina, KON, Detroit Swindle, Radio Slave, Moodena, Luke Solomon, Jimpster, Alton Miller, Juan McClean, James Murphy, Alton Miller, Horse Meat Disco, Gene Farris, Jack The Box (Tyree Cooper & Bobby Starr), The Black Madonna, Jojo Flores, Marques Wyatt, Terry Hunter, Ricardo Villalobos, Kiko Navarro, Ted Patterson and MANY MORE!…

SAUCY LADY's groove-infused 4th LP highlights her signature blend of funk, disco, & boogie that has funkdafied listeners since 2011. 7 soulful tracks feat. top drummers JAY MUMFORD (DU-RITES) & DERRICK MCKENZIE (JAMIROQUAI), and a duet with MIDNIGHT RIOT maestro YAM WHO?. Full pic sleeve.

The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.

Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.

Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.

The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.

However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.

Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.

Acht Jahre nach dem riesigen Erfolg des ersten Teils kehrt Vaiana auf die Kinoleinwände zurück! In
”VAIANA 2” begleiten wir die selbstbewusste Heldin, den schelmischen Halbgott Maui und eine Crew
ungewöhnlicher Seeleute beim aufregendsten Wellenritt des Jahres!
Die Regie von ”VAIANA 2” wurde vom US-amerikanischen Regisseur und Storyboard-Künstler Dave Derrick
Jr. übernommen. Der Soundtrack zur musikalischen Untermalung des Films stammt unter anderem von
den Grammy-Gewinnerinnen Abigail Barlow und Emily Bear sowie dem dreifachen Grammy-Gewinner Mark
Mancina und umfasst 16 neue Songs.
Der Soundtrack von VAIANA hat seit der Veröffentlichung 2016 weltweit über 20 Milliarden Streams
erreicht und Hörer und Hörerinnen mit Songs wie „Voll gerne“ (engl.: „You’re Welcome“) sowie der PowerHymne „Ich bin bereit“ (engl.: „How Far I’ll Go“) verzaubert. „You’re Welcome“ von Dwayne Johnson,
der dem Halbgott Maui im Original seine Stimme leiht, wurde insgesamt sechsmal von RIAA® mit Platin
ausgezeichnet und ist mit über 1,6 Milliarden Views das meistgesehene Video auf DisneyMusic VEVO. In
Deutschland erreichte der Soundtrack mit über 180.000 verkauften Einheiten Goldstatus.

Phonica AM proudly introduces the latest release from upcoming Irish-born producer and DJ, Rhythms Of Prescott. For fans of Pepe Bradock and Derrick Carter, this record is a must-have.

The A-side kicks off with 'Beat Heat', a driving filter house monster underpinned by dubbed-out percussion, playful vocal interjections, and infectious disco stabs. Following up is 'RGRT', which delves into a deeper vibe with slick jazz samples and a pulsating filtered bass line. The B-side brings 'The Instigator', a tension-filled mind melter perfect for early morning trippiness, featuring Rhythms Of Prescott's masterful sample manipulation and unique wonkiness.

This release showcases Rhythms Of Prescott's raw approach and jackin' sample manipulation to rock any dancefloor.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

Limited metallic silver/white "disco ball" splatter vinyl available while supplies last.

Oakland's Naked Roommate have been slinking around the Bay Area lighting up stages, shaking asses & confounding listeners since 2018, when the group - originally just the duo of real-life partners Andy Jordan & Amber Sermeno (both formerly of The World) - self-released a cassette of demos (2018's "Naked Roommate"). Members Michael "Mig" Zamora & Alejandra Alcala (Blues Lawyer) joined soon after to augment the sound & live band with their proper full-length album "Do The Duvet", co-released in September of 2020 via UK label Upset! The Rhythm & Trouble In Mind. 2024 finds the lineup expanded even further to incorporate the horn section of Geoff Saba & Jeanne Oss on tenor & alto saxophones as well as percussion & marimba as the band readies their sophomore effort, the dizzyingly ecstatic "Pass The Loofah" Recorded by members Andy Jordan & Mig Zamora from 2021-2023 as time & restrictions allowed, "Pass The Loofah" retains the wild energy of their debut, but leans into the rhythmic throbs perpetuated by forbears like Kid Creole & The Coconuts, Lizzy Mercier Descloux & ESG; the signature sound of UK's On-U Sound & NYC's 99 Records, but with a decidedly West Coast irreverence & a knack for absurdist exposition. Make no mistake, this is music designed to make your body MOVE & Naked Roommate won't stop until they 've made sure every ass is shook. The band freely incorporates elements of the dancier side of post-punk (think A Certain Ratio or Liquid Liquid) as well as disco, funk, & house music. However, the group's uplifting melodicism belies a deeper subtext, understanding the importance of the sense of community of dance music & the culture surrounding it and leaning into a Neo-socialist lyrical context. Shit is fucked, & we get thru it by helping one another & acknowledging & addressing the failures of disaster Capitalism & tech-bro hegemony (a state the band is all-too familiar with, living in The Bay Area) Take the first single "Bus"; a four-on-the-floor banger & salutary paeon to the ups & downs of the people's transport that throbs & pulses with a late-night sashay (and a bridge that launches the tune into the stratosphere). Elsewhere, "Fight Flight "s funky horn stabs and Sermeno's slinky vocals swoon over Numan-esque synth squiggles that are fortified & funkified toward the dance floor. "Broken Whisper " edges into new territor y for the group, adding a Caribbean flavor a'la Kid Creole or The Specials that punctuates the persistent & synthetic beats underneath. Meanwhile instrumental interludes like "Ducky & Viv", "G-Y pt. 1" & "G-Y pt. 2" oscillate into zones of sci-fi meets soap opera soundtracks, sounding not unlike the electronic experiments of UK industrial pioneers Chris & Cosey. Album closer "I Can't Be Found" might be the album's secret weapon; It 's swooning synth melody & processed vocals recall early Daft Punk or MGMT by way of Derrick Carter & The Au Pairs. It 's a beautiful song; perfect for the late night (or early morning) car ride home from the club. "Pass The Loofah" is released worldwide on October 25th, 2024 via Trouble In Mind Records digitally via most DSPs & on black vinyl & limited "disco ball " silver vinyl.

DJ Support: Derrick Carter, Mark Farina

Whiskey Disco #74 follows up Michael The Lion’s stellar single with a return to classic Whiskey Disco form; a mix of somewhat recognizable samples tweaked for the floor or the poolside.

Summer is in full swing and so are the artists on the latest Whiskey Disco ode to summer parties. The A side showcases a long lost gem from Cole Medina that never quite saw the light of day. It’s a longtime honour to be able to put this song on the label and we can’t wait to have a loud 45 side in our hands to drop at the choicest of rooftop parties, poolside, beachside, or to break the tension after a dirty underground session. On the flip, we see Love Athletics breaking out with All of My Love, a cheeky vocal sample underpinned by a rocking bass groove and high hats that are more than a nod to Sex Shooter. The flanged groove will be perfect for day or night tie parties. Closing out, label boss, Sleazy McQueen provides an all analog cut up with palpitating drums and hypnotic grooves, with a nice surprise to break things up a bit.

repress !

Network’s 30th Anniversary celebrations continue with the re-issue of the debut release from the iconic label. The launch of the logo with Neal Howard “Indulge” in 1990 caused a sensation, with the track being instantly acclaimed as a Classic, and Network noted as a new label to watch.

“Indulge” hails from Chicago, but sounds like its’ DNA is Techno City Detroit.
A futuristic call to dance from Windy City mystery man Neal Howard, whose previous releases “The Gathering” and “To Be Or Not To Be” had already reached cult status. Those gems, and “Indulge” were recorded by Chicago label Phuture Sound. Plans were being laid for the transformation the Kool Kat label - the UK outlet for Kevin Saunderson, Derrick May and Juan Atkins - into Network, but the dilemma was finding something “really really special” for the first release. That search for the perfect beat ended when Network’s Neil Rushton on a visit to Chicago heard the just mixed “Indulge” on a cassette played by Phuture Sound boss Terry Baldwin, who after prolonged negotiations agreed to cancel a USA release so the new UK label could have an exclusive.

The label design for this release is a replica of the original DJ Promo 12” that introduced Network to the World with exactly the same tracks; Terry Baldwin’s much loved Club House and Deep House mixes of “Indulge”, coupled with “To Be Or Not To Be” remixes by Chicago’s Bad Boy Bill and Detroit’s Derrick May. network - it is what it was...

Principal member Keith Finch linked up with reggae manager and publisher Othman Mukhlis at Stanley House Studio in 2001 and began a series of projects featuring there love of retro reggae. JA13 worked with major reggae stars of the sixties on the ‘Heroes of Kingston’ project, Alton Ellis, Derrick Morgan, Dave Barker Dave and Ansell Collins Winston ‘Mr Fixit’ Francis, Denis Alcapone, Owen Grey, BB Seaton Gaylads and legendary trombonist Rico Rodriguez. [Which lead to two solo albums with Rico Rodriguez]. Project championed by David Rodigan and Ranking Miss P. Music in films and TV including Hawaii 5-0, various US films, BA, Tesco, various BBC, latest and currently they have many tracks on BBC most successful export ‘Death in Paradise’. They also feature two tracks in the forthcoming Shaggy documentary Other reggae artists projects include Bob Andy, Joseph Cotton, General Saint and Clint Eastwood, Don Campbell, J C Lodge, Susan Cadogan, Glen Adams [Upsetters] Pat Rhoden [first artist on Trojan] Tippe Irie, Tenor Fly, Spanna Banner, FYA [Platinum in Japan], Bounty Killer, Elephant man, and many more on ‘Bar Mitzvah riddim’ which was co written and produced with Skatta Burrell. Written for UK pop reggae band Madness on last two albums, and on the project ‘Charge of the Dance Brigade’ with Lee Thompson [Madness] and Jennie Matthias Belle stars singer] with Brazilian jazz accordionist/pianist Chico Chagas. And a host of other top musicians. [Which he co wrote, produced, engineered and nurtured] JA13 have featured on many reggae projects and remixes, the latest offering is ‘World Radio Dub – Chapter One’

DJ Support: Mark Knight, CJ Mackintosh, Mousse T, Dr Packer, Eric Kupper, Lenny Fontana, Ricky Morrison, Laurent Garnier & many more.

Michael Gray’s star has been firmly in the ascendant in recent years, with a string of chart-topping, floor-filling productions and remixes under his belt. The excitement is therefore palpable for his soon come album Optimism, which sees Michael pour both his heart and his three decades + of experience into what will be one of THE albums of the year.

'This album has been a year and a half in the making,' states the ‘Weekend’ hitmaker and one half of legendary disco house pioneers Full Intention, clearly now keen to release his career-defining magnum opus out into the world.

In these confused and often frightening times, we need musical communion more than ever. Only too aware of this, Michael has 'set out to make an album full of positivity.' Needless to say, the resulting 'hybrid of classic disco mixed with modern disco and soul' hits the spot and looks set to provide a soulful summer soundtrack to lift spirits and fill dancefloors.

In an era of often generic, over-computerised sounds, Michael returns to the source of his lifelong musical inspirations. 'Most of these productions have involved working with live strings and horns,' he enthuses. The musicians include live drums by Derrick Mckenzie from Jamiroquai, percussion by Russ Tarley from Incognito and string arranger Stephen Hussey, known for his work on Soul II Soul’s early hits.

Michael’s much-needed musical missives for the ages are masterful manna from the heavens. Things just got optimistic.

Few years before the international hit Uptown Top Ranking', made with his friend Donna, Althea Forrest recorded Hey Mister' for famous producer (and singer) Derrick Harriott.

Mid 1970's, Derrick Harriott is the best reggae-soul producer in Jamaica. He's made tons of US soul cover with Jamaican artists. Hey Mister' was recorded at Federal studios (Tuff Gong nowadays) and didn't get an international audience, not even in Jamaica, probably because it was not a cover!

For the first time since 1976, Hey Mister' is now available on a Maxi vinyl 12'' to offer the best sound quality. Thanks to Derrick Harriott's master tapes and to the original artwork, now you can play this tune in the perfect condition.

Special Guests on the record include: Mark Cisneros, Joe Lally, Derrick Decker, Bob Berberich, Clint Walsh, Dave Grohl, Onam Emmett, John Goetchius, Jerry Busher, Amy Pickering, Ian MacKaye, Amanda MacKaye, Brian Baker, Randy Austin, Martha Hull, Michael Reidy, Nate Bergman, Bobby Madden.

Scream formed in 1979. Drummer Kent Stacks, bassist Skeeter Enoch Thompson and the brothers Pete and Franz Stahl attended school together in Bailey’s Crossroads, Virginia, when they began to discover the punk and new wave scene in DC and the provocative power of making music.

Like most of the punk bands in DC, they were influenced by the Bad Brains, but their rock and roll sensibilities set them apart. In 1982, they went into Inner Ear Studio with Ian MacKaye and Eddie Janney to record Dischord's first full length album, Still Screaming.

Scream followed this with a second full length album, This Side Up, in 1984. The band toured throughout the US and were one of the first US hardcore bands to tour Europe and the UK. In 1987, they released Banging the Drum, which was recorded at both Southern Studios in London and Inner Ear. In 1988, No More Censorship was released on reggae label RAS records. Scream returned to Dischord to release Fumble in 1993.

They made a few line-up changes along the way, including the addition of their friend Harley Davidson on second guitar, and, when Kent Stacks (RIP) left the band to start a family, they asked a young local drummer, Dave Grohl, to take over. After a number of years with "the Scream team," Dave went on to join Nirvana and form The Foo Fighters.

In 1996, at a Christmas reunion show, Kent Stacks returned as Scream’s drummer; the show was recorded and released as the CD “Live at the Black Cat.” Over the next few years, everyone branched out in different directions – Franz joined the Foos for a short period and Pete played with Goatsnake and earthlings? The band returned as a unit, with Clint Walsh on second guitar, in 2011 to record the Complete Control Sessions, which was released as an EP on Side One Dummy and was, until now, the band’s most recent release.

Scream’s newest album, DC Special, will be released in the fall of 2023 on Dischord Records. For this record, Scream invited their extensive music community to help create a unique project that weaves the history of music in Washington DC into the story of the band. Recorded by Don Zientara just weeks before his studio was evicted from its longtime location, the record is rich with both the sounds of Inner Ear and those of friends and musicians who influenced Scream and who shaped DC music over the past six decades. DC Special embodies the same sense of community and politics that inspired Scream from the start and is a truly special collection of new music that speaks to the present and also tells the story of DC music, Scream, and the influences that shaped them.


Bonus Download Tracks
Faces
Politics is Entertainment
Black and White
Lifeline Redux
Smile and Bleed
I Saw Ya (Wanna Be Like Captain)

The immediate successor to ska, the soulful, melodic sound of rock steady first developed during the long hot Jamaican summer of 1966 and reigned supreme thereafter for two glorious years before finally being superseded by the more energetic style of reggae.

Despite its relatively brief period as the island’s national sound, the rhythms of many of its biggest hits have continued to influence and inspire music-makers to the present day, resulting in renewed interest in the sub-genre among record buyers in recent years.

This superb 2xLP vinyl collection features 24 of the most popular recordings of the rock steady era, including the UK hits, ‘007’, ‘Train To Skaville’ and ‘It Miek’ and The Maytals’ anthemic dance-filler, ’54 46 That’s My Number’.

Pressed on high quality 140gm vinyl and presented in a stylishly designed sleeve, the album not only provides the ideal introduction to this hugely popular and influential sound, but is also a must for established fans of the Jamaican sub-genre, with many of the tracks appearing on vinyl for the first time in decades.

Take a trip to Jamaïca with this selection of the finest tunes played by the masters of Reggae. A nice 5 LP vinyl boxsett with Bob Marley, Lee " Scratch " Perry, Max Romeo, Black Uhuru....

Originally released in 1986 ‘Power’ was the work of Philly producer Derrick Graves and vocalist Terrance T. The machine lead production on ‘Power’ was part of an emerging wave of post disco producers embracing a dub aesthetic that proved to be the precursor to the emergence of house music. The vocal harmonies from Terrance were influenced by Cameo and Prince and combined with the powerful production results in a dancefloor bomb in the Larry Levan style, stripped back and dubby with a strong song at its core. This level of musicality and production was no fluke, Derrick was a seasoned session musician who worked extensively with the likes of Sister Sledge, Dexter Wansel & Donny Hathaway. Derrick had a clear understanding of emerging studio trends “Music production was evolving into a new phase where home studios were developing and it was becoming more possible for real recordings to be made! From there, I eventually enhanced my production skills by learning how to compose using sequencers, computer software (DAWs), and midi instrument implementation in the 80's and 90's. I went from a 4-track to eventually a 24-Track 2" tape machine setup!”.

The fully remastered 12” includes the essential Instrumental mix.

DJ Support: Louie Vega, Kenny Dope, David Morales, Dimitri From Paris, Dave Lee, Simon Dunmore, Michael Gray, Brian Tappert, Melvo Baptist, Seamus Haji, Terry Hunter, DJ Spen, Hector Romero, Dr. Packer, Kenny Carpenter; Jellybean Benitez, Husky, Birdee, Derrick McKenzie.

Legendary Italian producer Gianni Bini Debuts on Groove Culture with 'The House Of Glass' LP. With an inimitable CV and discography that includes over a thousand production credits to his name, hundreds of singles under renowned pseudonyms including Bini & Martini, Fathers Of Sound, The Goodfellas, Subsystem and two Worldwide hits as Eclipse and House Of Glass, Gianni is one of the most revered producers of disco-house, defining each genre with a signature sound. Always looking to push the boundaries of what it means to make music, his latest project sees Gianni return to deliver an epic disco record that takes the sound back to its roots in every way possible. Backing up live drums, live bass, live guitars, live strings with catchy vocals and enough groove to level a discotheque, it’s this Disco-Pop energy that Gianni has captured and expertly delivered with 'The House Of Glass'LP.

One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, 'The Rhythm Master', is finally given a legitimate release.

The original title for this long playing release was initially advertised on the label of the seven inch release of 'Determination Skank' as 'The Sannic Sounds Tommy McCook', however the album was released in Kingston in 1974 in very limited quantities on a white label in a plain recycled cover rubber-stamped 'Tommy McCook Dub'. Three years later the set was released through Grounation in London, once again on a white label and without a cover, where it was known as 'Horny Dub'. It gave music lovers a fascinating opportunity to compare and contrast the work of Tommy McCook, one of the architects and builders of the Jamaican sound, with Glen Brown's role in taking and breaking it into pieces...,

Dub Store Records is the Ska, Rocksteady, Reggae, Roots and Dancehall reissue label run by the eponymous Tokyo based record store. The label aims at accurately covering the 50-plus years of Jamaican music, and pass on many rare and magnificent recordings, which are non-commercial and highly artistic. Carefully handing down the tradition of reggae music, Dub Store Records has so far issued recordings from labels and artists such as Studio One, Federal Records (Federal, Kentone, Merritone), Bunny Wailer's Solomonic, Familyman's Fam's, Jammys, King Tubby's Firehouse, Derrick Harriott, Kiddus I, Redman International, BMN and much more to come.

Repress

A third and final volume of Jamaican doo wop & R&B records taken from the late 50s and early 60s.

These records represent a period in which sound-systems were beginning to dominate the island, with Duke Reid and Sir Coxsone Dodd stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Alton Ellis, Derrick Morgan, Derrick Harriott and more, and provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably prolific and unparalleled for an island of it's size.

Extremely sought after and supported by the likes of DERRICK MAY, TIMMY REGISFORD, THEO PARRISH, DANNY KRIVIT and BOO WILLIAMS, the next SJU MUZIC release GU'S JAZ COLLECTIVE's "AFRO GENTE" and "FUEGO DE SANGRE" are 2 powerful percussive modern Latin fusion classics!

EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!


Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.

By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.

The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.

Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.

1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.

Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.

Vibraphone presents another huge release. This time it's Silicon Minds - IHY (Interstellar Hypnotic Yama -Biko) With an timeless Mayday Tribute Mix by the one and only Derrick May!
Highy recommended!

Iconic french punk band Ludwig Von 88 celebrates its 40 years birthday with a 4LP/CD box set including their recent albums "L'Hiver des Crêtes", 'L'Ete du No Future", "Le Printemps du Pogo" & "L'Automne de L'Anarchie".

Who managed the artistic feat of composing 56 cosmic hits in one year, recording them, engraving them with chisels on plastic discs that are not at all environmentally friendly, and packaging them in a magnificent box, with marvellous illustrations and sleeves of a taste that surpasses perfection? Who did?

Look no further than the Ludwigs, who could do it. And since they had no plans for 2023, apart from celebrating their fortieth birthday over a tasteless cake in a dingy old flat in a godforsaken suburb in the forbidden zone, they did it. And they're proud of it.

56 tracks. One album per season. The Mozart of pogo becomes the Vivaldi of stakhanovism!

Good rough punk, ska, swing, reggae, cumbia and even yodelling. What a gift to the universe before its final destruction.

Listen and enjoy. Sing along and get your groove on. After the Ludwigs, the music will have the flavour of a rosewater romance declaimed by Garou in Birkenstock and the colour of the cosmic void after his encounter with André Rieu's five poodles.

2023 Repress!

DJ Mo Reese excites crowds with his unique brand of House music. A Detroit native, his music is steeped in the tradition of his hometown and blended with his own soulful, funky style.

Influenced by such legends as Dennis Ferrer, Kevin Saunderson, Todd Terry, Derrick May, Roger Sanchez, and Terrence Parker, DJ Mo Reese has entertained around the world for over 25 years. Most recently, he performed at Tresor, in Berlin, Germany and Kitsch in Eindhoven, Netherlands. A crowd of over 100,000 was blown away as he performed his special four turntable set at the Detroit Movement Festival. He banged the box at the Cornerstone Event near Chicago before a crowd of 600+. DJ Mo Reese shined at the Winter Music Conference in Miami, and has been featured on stations WGPR, WJLB and won the Mixidome contest on WHYT. As a performer/producer, DJ Mo Reese inspires audiences with his uplifting and soulful style of House music.

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Sowohl 2021 als auch 2022 schlossen die Veröffentlichungen von Dream Unending und Worm das Jahr bei 20 Buck Spin ab. Im Jahr 2023 erscheinen die beiden dem Untergang geweihten Titanen nun gemeinsam auf einer überragenden Veröffentlichung der kosmischen Dualität, "Starpath", um den Jahresend-Hattrick zu komplettieren.

Da beide Bands in den vergangenen zwei Jahren ein Hauptwerk nach dem anderen veröffentlicht haben, sind sie in der Fantasie der Fans untrennbar miteinander verbunden. Und obwohl sie musikalisch kaum weiter voneinander entfernt sein könnten, gibt es doch viele Gemeinsamkeiten in den Grundpfeilern. Und so beenden Dream Unending und Worm einmal mehr den 20 Buck Spin-Veröffentlichungsplan für das Jahr, dieses Mal zusammen.

Die neuesten Tracks von Dream Unending, "So Many Chances" und "If Not Now When", führen die Goth-/Post-Punk-Elemente, die in den früheren Veröffentlichungen vorhanden waren, logisch weiter und bauen auf ausgedehnte Gitarrenpassagen, nachdenklich-schweren Riffs und Justin DeTores donnerndem Gebrüll. Phil Swanson, der auf "Song of Salvation" als Gastsänger auftrat, kehrt hier wieder zurück. Diese beiden ausgedehnten Stücke stellen die bisher am besten ausgefeilte Inkarnation dessen dar, wohin Derrick Vella und Justin DeTore das Schiff steuern.

Worm, wie sie mittlerweile genannt werden, sind nach wie vor ein sich ständig wandelndes Gebilde aus purer, virtuoser Schwärze. "Ravensblood" bietet vampirischen Black Metal mit eisigen Keyboards und unheimlichen Friedhofsmelodien. Das schaurig-atmosphärische 'Midwinter Tears' beschwört eine schneebedeckte Gothic-Stimmung herauf, und das abschließende 'Sea of Sorrow' bringt das nekromantische Geschredder von Lead-Gitarrist Wroth Septentrion über Phantom Slaughter's eigenwilligem Black Doom und unsterblich spukenden Gruftbeschwörungen zum Ausdruck.

Zwei Bands, zwei einzigartige Ansätze, ein abgrundtiefes Lichtspektrum von strahlender, leidenschaftlicher Schöpfung bis hin zur abgrundtiefen Dunkelheit des Vergessens. Dream Unending und Worm präsentieren jeweils über 20 Minuten neuer Musik, die speziell für die gemeinsame Veröffentlichung von "Starpath" geschaffen wurde.

- Unglaubliche Split-Veröffentlichung zwischen zwei der größten neuen Namen im Underground-Metal.
- Jede Band bietet mehr als 20 Minuten neuer Musik, die speziell für diese Veröffentlichung geschaffen wurde.
- Die Vinyl-Edition enthält ein großes Poster
- Cover-Artwork von Mark Riddick, der für "Starpath" sein erstes Gemälde seit Jahrzehnten geschaffen hat
- FFO: Anathema, Evoken, Tiamat, Opeth, Trouble / (frühe) Katatonia, Abigor, Thorns of the Carrion, Christian Death, Limbonic Art, King Diamond, Death, Emperor, Obtained Enslavement

Nach Veröffentlichung von drei Alben innerhalb von drei Jahren und einer anschließenden vierjährigen Pause sind Tomb Mold auf ihrem vierten Album "The Enduring Spirit" wiedergeboren worden, ein durch und durch unverfrorener Schritt in neue Gefilde. Doch bei all dem frenetischen Wagemut und kühner Erkundung ist "The Enduring Spirit" nie etwas anderes als unverkennbar TOMB MOLD!

Während neue Strukturen die TOMB MOLD Architektur um neue Einflüsse bereits auf dem im letzten Jahr selbst veröffentlichten Tape "Aperture of Body" erweiterten, insbesondere beim letzten Stück "Prestige of Rebirth", treten sie bei "The Enduring Spirit" deutlich in den Vordergrund. Die Zeit, in der Derrick Vella mit Dream Unending im Doom-Genre erschuf und ausbaute, ist zweifellos in Tomb Mold eingeflossen- ganz zu schweigen von Payson Power und Max Klebanoffs Erkundungen in ihrem eigenen Projekt, Daydream Plus.

Mit dem Album-Opener "The Perfect Memory (Phantasm of Aura)" kommt das kantige, Dimensionen verschiebende Riffing der Band sofort zum Vorschein, während der Track durch verschiedene Stufen des progressiven Death Metal und einige der bisher extremsten Stücke der Band wandert. "Will Of Whispers" beginnt mit einer jazzartigen Fantasiesequenz, bevor es in ein blendendes weißes Lichtfeuer, geschmackvolle Gitarrenleads und zurück in ein verträumtes Serpentinenmuster kippt, das in seiner fast 7-minütigen Laufzeit ganze Universen umspannt.

Die hintere Hälfte des Albums setzt die Reise in das fort, was innerhalb der Death Metal-Normen möglich ist, und erreicht den Höhepunkt mit dem über 11-minütigen Albumschlussstück "The Enduring Spirit Of Calamity", einer jenseitigen Reise in einen Strudel, in dem alle Dinge in Raum und Zeit zusammenlaufen und den Baum des Lebens durch eine leuchtende himmlische Komposition bildlich greifbar machen.

Nach vier Jahren Pause war es für eine Band mit grenzenloser kreativer Energie, wie Tomb Mold es sind, eine Selbstverständlichkeit, den Umfang ihrer Vision zu erweitern - auf "The Enduring Spirit" haben sie ein Album mit einer cineastischen Umgebung geschaffen, die unbegrenzte Möglichkeiten der Erforschung bietet, sowohl für sie selbst als auch für den Hörer.

- Tomb Mold werden auf dem November 2023 Cover des Decibel Magazins zu sehen sein (erscheint Ende September)
- Beide früheren Tomb Mold-Alben gehören zu den 20 Buck Spin-Bestsellern aller Zeiten
- Artwork von Jesse Jacobi, der auch das Artwork von Planetary Clairvoyance gestaltet hat
- Aufgenommen von Sean Pearson (Tomb Mold, Dream Unending) und gemischt und gemastert von Arthur Rizk (Tomb Mold, Dream Unending, Kommand, Gravesend, Power Trip)
- Die Vinyl-Version enthält ein 4-Panel-Insert und ein riesiges 36x24-Zoll-Poster.