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The Flower-Corsano Duo, the world’s best and only drums / Japan banjo duo return to VHF for their first album since 2009’s monumental The Four Aims. Mick Flower (Vibracathedral Orchestra) and Chris Corsano (frequently seen with Bill Orcutt, Joe McPhee, and other luminaries) work an area that’s not really jazz, not really anything—a stream of endlessly mutating free sound, a unique mind-merge between Corsano’s nimble drums and percussion and Flower’s amplified Japan banjo (also known as a Shahi Baaja, a type of electric Indian zither with both fretted / keyed and drone strings).

Flower cuts a highly original line, playing neither “leads” nor making drone-music. Less amplified here than on the more “heavy” The Four Aims, the strings ring out with distinct clarity in short snippets of melody and a canvas of pleasing electric sound. Corsano’s bag is to charm out a flow of thoughtful percussion engagement, rolling around on his kit, continually varying his attack and approach in conversational free-jazz style. The Halcyon is a precious addition to a tiny discography, a fortunate event even in today’s world of small press overabundance. Thanks guys!

Nach Nino Rotas Meisterwerk „Amarcord“ präsentiert CAM Sugar mit „Profumo di Donna“ einen weiteren
Soundtrack-Klassiker in seiner „Heritage-Serie“.
Der Film von Dino Risi wurde 1975 bei den Filmfestspielen von Cannes gezeigt, im folgenden Jahr fand
er internationale Anerkennung mit zwei Oscar-Nominierungen für den besten ausländischen Film und das
beste Drehbuch. Der anhaltende Erfolg des Films veranlasste Hollywood, 1993 ein Remake mit Al Pacino
in der Hauptrolle zu drehen, der für seine Leistung einen Oscar als bester Hauptdarsteller gewann.
Der von Armando Trovajoli, einem Meister der italienischen Filmmusik, komponierte Score ist eine wunderbare Melange aus Orchesterklängen, Jazz, Easy Listening und sogar einer Prise Disco. Der bekannteste
Track ist „Che Vuole Questa Musica Stasera“, eine von Peppino Gagliardi gesungene Ballade, die Guy
Ritchie in seinem Film „The Man From U.N.C.L.E.“ (2015) erneut einsetzte.
Die Musik erscheint jetzt von den Originaltapes remastered, auf LP mit einem bisher unveröffentlichten
Track und auf CD mit acht unveröffentlichten Songs.

São Paulo-based carnival collective and brass band combine retro horns with cumbia, baile funk, jazz, Michael Jackson & more

A Espetacular Charanga do França started as a political act, part of a recent movement which has seen the people of São Paulo reclaim their streets, turning their city into a revelation of Brazilian carnival. The group takes equal inspiration from the powerful charanga horn and percussion bands that stir the crowds at Brazilian football matches, and the expertly-arranged sounds of 60s

samba, finding that sweet spot between musicianship and music that makes you lose your shit. And they do it with humour, clear as day in their covers of Michael Jackson and pagode pop hits, and the baile funk and Balkan rhythms that sneak their way in to the tunes.

Since forming in 2013 the group have become an iconic staple of São Paulo’s revived carnival, generating crowds 15,000 strong. Though COVID-19 put a stop to them hitting the streets this year, in 2020 they made their way to carnival with over 60 brass players and 30 percussionists, declaring their bloco an anti-fascist zone, their reply to a political climate in Brazil that is suffocating human rights, culture and any hope for equality.

“I like to think that Charanga is an oasis in the middle of all the shit that we live, where you don't have to be worried about who you are, what are your preferences, whether you can be comfortable. If you want to parade with us wearing a tea towel you can, you won't be harassed. And it's also about music, it's about listening to music. We do this thing the whole year, we rehearse all year, we do too much so that people can just get crazy and not care about the music.” Thiago França

The group is the brainchild of saxophonist Thiago França, best known as a founding member of Afro-punk explorers Metá-Metá, and one of São Paulo’s most in-demand horn men, with credits on influential albums by Criolo, Elza Soares, Céu and Lucas Santtana. A

Philadelphia band Stereo League has always been about discovering new genres and working with artists who can bring unique sensibilities to their music. On their latest EP Endless Mirage, the band, comprised of boyhood friends Alex Savoth and Dan King, collaborated with the Synth & Soul record label and production crew Eraserhood Sound. The result is a timeless, shimmering collection of songs which tell evocative tales of loneliness and longing, set against the backdrop of Eraserhood Sound's signature analog production. Stereo League, who have been named Artist to Watch by NPR station WXPN, believe this release to be the clearest and best representation of their vision to date, delivering the soulful sound they have been searching for. Lead single "Money In Your Mouth" is a force to be reckoned with, featuring pulsating "Superfly"-esque drums and percussion, electrifying synthesizer stabs, and a powerful lyric from lead singer Savoth. Follow up single "Miss Me" is a tough as nails r&b burner, and features Saundra Williams (Mavis Staples, Saun & Starr, The Resonaires) providing background vocals that are as sweet as honey. Look for Stereo League to be performing their new EP in Philadelphia and beyond in the coming year, as well as their first 7" vinyl courtesy of Eraserhood Sound in 2022.

Pressed on DJ-friendly 7” vinyl in multiple colors - "Wakanda Funk Lounge” is a svelte four-song slab of hologram funk. Inspired to create a new, unofficial soundtrack to Marvel's Black Panther, SassyBlack says the EP “is about black freedom... Star Trek and Star Wars have always had bars and concerts. There’s no culture without music. And so when M’Baku invites me to come and perform in one of Wakanda’s funk lounges, this EP is the music I'd perform there." SassyBlack has been described as a “blaxploitation, sci-fi warrior queen.” She's also a multi-talented, space-aged songwriter, beatmaker, composer, and singer. Her music has been described as “electronic psychedelic soul,” with roots in experimental hip-hop, R&B, and jazz. Before going solo, she recorded and performed as half of the Afrofuturist hip-hop duo THEESatisfaction. Her music has received attention from Okayplayer, Afropunk, The Fader, Pitchfork, Bitch magazine, and others. The “Wakanda Funk Lounge” EP is a limited-edition, individually-numbered 7” single. Every copy is a different color. The cover was designed by visual artist Wutang McDougal. Drop the needle on any track and discover funky new tunes that remind us Wakanda’s main export is “VIBE-ranium.” This record is perfect for DJs who love 45s.

Tripe. It’s what graces the cover of Cassels’ third album, A Gut Feeling. It looks gross. And Cassels are a rock band who’ve often sounded gross. You know the adjectives. ‘Discordant’. ‘Angular’. ‘Cynical’. Shellac quickly mentioned. I’ve done it already, see?Listening to A Gut Feeling, though, Cassels sound different. Not too different – the molten riff of advance single ‘Mr Henderson Coughs’ puts paid to the idea that the London-based duo have taken a hard 180. But instead of writing as quickly as possible, riding the churn forced on DIY bands by an indifferent ecosystem, the Covid-19 pandemic gave the brothers Beck (Jim, guitar/vocals, and Loz, drums/BVs) some time to mull things over. Instead of sticking with the stripped-back recording approach of previous LPs, Jim and Loz spent time at Tom Hill’s Bookhouse Studios in South London, considering tone, layering tracks, and bringing new instruments into the fold. Lyrically, the approach has changed too. Rather than presented as personal experience, Jim notes that his words this time around “are an intentionally muddy mix of experience, opinion, red herrings and fiction,” adding, “I found that setting myself the brief of writing character pieces offered a nice way of sneaking quite personal things into the songs without being explicitly autobiographical.” The result is the most satisfying and unexpected collection of songs in the Cassels catalogue. Instruments at turns razor-sharp and bludgeon-blunt provide the backing track to a savage, hilarious, and tender collection of short stories. Jim notes that “writing can be a great way of unearthing hang-ups and becoming acquainted with your own anxieties”. Hardly new ground for a rock band, but presented in this third person format – unbiased and filled to the brim with human warmth – these songs are more empathetic than anything the band have written before. You might have been Michael on his daily commute. Perhaps you’re Sarah, or have a mum like her. And many of us will recognise ourselves in the heart-breaking ‘Family Visits Relative’. It’s clear that the band still aren’t afraid to tackle weighty subjects too, with A Gut Feeling picking up where their previous album, The Perfect Ending, left off. ‘Charlie Goes Skiing’ pulls a similar trick to Future of the Left’s ‘Goals in Slow Motion’ – setting a screed against consumerism to one of the most propulsive, catchy tracks on the record. It’s followed by ‘Dog Drops Bone’, a rustling loop overlaid with sad, simple chords reminiscent of a Sparklehorse tune, which uses the internal monologue of a beloved canine companion to question the true depth and sincerity of human relationships. This kicks into the breakneck ‘Beth’s Recurring Dream’ – a track exploring a sexual identity crisis which owes as much to early Los Campesinos! as it does Steve Albini. Of ‘Your Humble Narrator’, the album’s punishing, pulsing opener and A Gut Feeling’s thematic frame, Jim explains: “I liked the idea of introducing an unreliable narrator who frames the album as an exercise in manipulation for personal gain. When a person engages with a piece of art they are invariably being manipulated by the artist to some degree – that’s part of the fun. The artist aims to elicit some sort of emotional response, the audience buys into the conceit at the promise of experiencing some form of escape.” as listeners, we experience that manipulation first-hand on A Gut Feeling. But the fact Cassels have packaged it up as offal feels like another bleak wink. This is far from a stinking by-product, salvaged and sold to maximise profit. It’s nothing less than the most complete, relatable, and fully realised piece of art the duo has produced to date. Emotional response elicited. Conceit embraced.

The Decades Collected compilations are part of the new Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favorite tunes while uncovering new musical grounds at the same time.

Various Artists - Zeroes Collected features Nelly Furtado “I’m Like A Bird”, The Script “Breakeven”, The Black Eyed Peas “I Gotta Feeling”, Alphabeat “Fascination”, T.A.T.U. “All The Things She Said” and Mika “Grace Kelly” amongst others.

- Followup to 2015's Insides. - RIYL: Jacques Greene, Leon Vynehall, DJ Seinfeld, Project Pablo - Features cover art by Salvador Dalí protégé Steven Arnold. - Silver halide (gray + black marble) vinyl limited to 1,500 copies worldwide - Vinyl is housed in a black dust sleeve inserted in to a matte varnish jacket with metallic silver spot color // After a run of critically-acclaimed singles and EPs, British producer Michael Greene, aka Fort Romeau, returns to the full-length format with Beings of Light, the long-awaited follow-up to 2015's Insides and his second LP on Ghostly International. While a prolific DJ who orients many of his productions for the dancefloor, Greene still sees the album as the ultimate statement of intent, "a space to stretch out, to speak in full paragraphs rather than stunted sentences." He has explored several stylistic fragments in recent years (including the summer 2018 anthem "Pablo," hailed a Best New Track by Pitchfork), but when faced with the extended pause to the dance community in 2020, Greene felt compelled to focus on a larger body of work. Embracing a back-to-basics mentality, he amassed over a dozen hours of sounds, asking himself throughout the sessions: "Does the music move you? Is it honest?" He came out the other end with Beings of Light, an expressive collection traversing rainy day ambient, moonlit disco, and dream-like techno in pursuit of the power found within our subconscious. Album opener "Untitled IV" ushers in a sprinting tempo in its exploration of the human voice, a recurring device in the Fort Romeau project. Greene uses it as a compositional layer, disembodied with its context often opaque or reduced to a single phrase. Here the voice is scattered in percussive twitches, colliding with a kick drum to induce a near state of hypnosis as horns sound off in the distance. Propulsive standout "Spotlights'' is Greene's ode to the romanticised New York City that lives in our hearts, nocturnal and carefree. A vocal snippet repeats the title with a breezy poise, reminiscent of classic house cuts. "Ramona'' honors the beloved Robert Johnson club in Offenbach, Germany. Hazy, spacious, and sustained, Greene designed the beat with their system in mind, "also with a strong nod to the more modern lineage of exceptional minimal house music from Frankfurt," he says. Two ambient pieces surround the track, "(In The) Rain" sets the scene and "Porta Coeli" (a Latin phrase which loosely translates to "heaven's gate") soundtracks the comedown. The album's closer, the title track, is an arc constructed with atmospheric textures, euphoric swings of percussion, and a well-placed piano refrain, "Beings of Light" is adaptive; one could imagine it reverberating from a club, scoring the emotional apex of a film, or radiating through the realm of dreams.

30 years as a full-time touring nightclub DJ sounds like one hell of a career, and for Kenny Summit it's as much of a milestone as it is a turning point. Having shared the stage with greats such as David Byrne, Stevie Wonder, Chaka Khan, George Michael, Kylie Minogue and Prince over the years, Kenny took that influence and inspiration and decided it was time for him to get behind the mic too.

‘Burnin’ is a song written, produced and performed by Kenny Summit that speaks on a desire that's been burning inside of him for three decades. Across those 30 years he’s made many an influential friend too, three of which come on board to remix ‘Burnin’ - the late great Paul Johnson, D&B icon DJ Aphrodite and Brooklyn legend DJ Spinna.

"I caught the fever for house in 1990 and by 1992 I was booked for my first DJ gig at New Jersey's famed Zanzibar nightclub where house legend Tony Humphries held court on a weekly basis. Something changed that night, a fire started and its been building, growing inside of me and now it's time to put paper to pen and write my own songs."

Clearly influenced by the artists Kenny's worked with over the years, ‘Burnin’ is a culmination of one man's journey through dance music; from the Nile Rogers-ish 70s guitar riff to the whining Steely Dan-like keys, to the lush strings and synth pop stabs that would make Moroder blush, the track itself is masterfully produced and punctuated with Kenny's unique uplifting vocals, sang in a manner as if David Byrne and Boz Scaggs were put together and yet still very uniquely Kenny Summit.

Up on remix duties the late great Paul Johnson, Chicago's shining star, serves up a dark, very much after house vibe, that still keeps that trademark Paul Johnson sound. Drum & Bass icon DJ Aphrodite applies his unique sound to ‘Burnin’ with a stellar remix the D&B community has been patiently waiting over three years for. And finally, long-time friend, Brooklyn's DJ Spinna steps up, who after hearing the track commented 'this needs a dope DUB! Leave it to me, imma hook you up bruh!'. The Discoelectric Dub does not disappoint.

Lean’s debut EP on Libertine Industries. All the tracks have been written during the first lockdown, inspired by late 80’s - early 90’s cartoons. The EP showcases the young Italian's style, a blend between EBM, Industrial, Acid and Italo Disco.

Born and raised in Detroit but now residing in London, Demi Riquísimo is building a dedicated following and catching the eye of many big-name tastemakers. His distinctive sound, an eclectic beast of acid, disco and italo influence, has gained him wide acclaim across several releases on his own Semi Delicious label.

Divine Reality EP is Riquísimo's first outing with Shall Not Fade, on the established Lost Palms series. It's a headsy affair, opening up with the title track and its driving beat, which pairs well with the blissed out and glimmering pads. You can feel the disco influence on "Local Chain", all subtle strings and pops of guitar over the muted house rhythm that gets feet moving. High-octane B1 "This is The Limit" is an acid roller with clever use of diva vocal samples, maximalist and infectious. The EP closes on "Green Machine", a percussive track that lifts from sound palettes of the 1980s in dramatic and melancholic synth melodies that are completely danceable - a climactic number with instant appeal.

clear w/ black smoke vinyl

It would be easy to say that Molly Nilsson needs no introduction, but These Things Take Time is an introduction. Originally self-released in 2008 on a limited CDR run with hand-folded sleeve, Nilsson's debut album has slowly taken over the hearts of many. In 2014 this modern classic of autonomous, DIY pop and punk-as-you-like attitude is presented on vinyl for the first time in a beautiful edition featuring unreleased bonus tracks across two discs, an exclusive screen printed A2 poster and new sleeve notes from the artist.

Molly Nilsson's first recordings under her own name have grown in stature to occupy a prominent positioning in the global pop underground despite initially only being available on CDr. Though Nilsson's songwriting prowess and commandeering of other genres has grown since 2008, her unique voice is seen in raw form on These Things Take Time. Many of the themes she would develop later were inked first here: the romance of loneliness on The Lonely,' Whisky Sour,' Hey Moon!', the folly and intoxication of youth seen in Joyride,' Poisoned Candy' and dogged self-reliance as on The Diamond Song' or Wounds Itch When They Heal.' Also included here are unreleased recordings from the same period that were left off the original release, a further window into a turbulent, exciting time for an artist just discovering her power to touch and communicate with the listener.

Another quality release on Hotmix Records to be out soon featuring Fabio Monesi, KMTR, NLXLP, Ricardo Baez.

Higly recommended!

First time vinyl issue of this 1997 Mego classic. General Magic, the duo of Ramon Bauer and Andi Pieper, who, alongside Pita, first pioneered the classic Mego sound on the Fridge Trax 12” in 1995. The following year proved to be formulative when Mego released Frantz alongside a slew of game changing releases from Farmers Manuel, Pita and Fennesz.

Originally released as MEGO 010 Frantz presented a thrilling digression from what was in vogue in music at the time. This was the advent of portable computing and the Vienna based label was at the forefront of harnessing the potential of audio within this new technology.

At once smart and playful these releases reconfigured once disparate genres such as industrial, techno, glitch and the avant garde, folding them into a bright, audacious and euphoric new system of sound. The music on Frantz (named after the Austrian skier, Franz Klammer) still pushes the boundaries of acceptable audio constructions with it’s startling fried electricity and twisted sensibility. The sense of joy in the audio discovery is palatable as techno laced explorations unfold a variety of unexpected and unprecedented sonic manoeuvres.

Tyrell launches proceedings as schizophrenic stuttering handclaps simultaneously slice into pieces as it propels forward. The bending of the brain is on display with the likes of ‘Obvious’ and ‘Close, But Not Quien’. Temko skewers digital debris in which a ghost melody comes to the fore. Brazen rhythms mobilize the tracks ‘No Ketting’ and ‘Bonden’ whilst the Official GM Ski-WM Theme is a short stab of priceless pop wizardry skittering about a strange exhilarating melody in homage to the finest of winter activities.

This reissue also includes ‘Die Mondlandung’ which was released as a 12” in 1995 (MEGO 002), and has never been released anywhere, physical or digital, since. This track is based on the live German TV coverage of the moon landing. An apt theme for the abundance of exploration contained within this classic release.

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About Frantz ... and Peter (by Ramon Bauer & Andi Pieper, November 2021):

Listening to the test pressings of the remastered Frantz album for the first time on vinyl, 25 years after the original release on the then still young Mego label in 1997, felt like uncovering an ancient artefact. In those exciting days during the mid-1990s, together with the late Peter Rehberg, we founded a label called Mego to further explore the wonders of electronic music. And that is what we did for the next 10 years until everything became too much with the label in somewhat rough waters. So we dropped out of music business and pursued different things. It was Peter who continued producing and releasing music with the restarted label, now called Editions Mego. Until his unexpected death in July 2021, he developed Editions Mego into the grown-up and much acclaimed outfit for which it is known today. We will forever miss Peter’s inspiring personality and his uncompromising creativity. His legacy will live on in his music and in the vast and rich Mego and eMego catalogues. We are humbled and proud to have played a role in those formative years of the label.

Peter approached us in October 2020 with the idea to do a vinyl reissue of Frantz, just in time for the 25 year anniversary of its release. That came as a complete surprise for us, General Magic had not released any music or performed live for over 15 years. Anyway, we were delighted with the prospect of having that General Magic "classic" remastered (by the exceptional Russell Haswell) and released for the first time on vinyl on Editions Mego.

Frantz is a collection of tracks that we produced in 1995 and 1996 right after recording “Fridge Trax” (with Peter) and “Die Mondlandung” (which comes as a bonus track on this reissue). At that time, we started to migrate our analogue gear to 64 MB RAM computers and used almost every other digital thing that yielded a sound by any means. We even deliberately crashed our then so-called "Powerbooks" and scratched self-produced CD-Rs until they produced previously unheard sounds. Real time audio processing with computers was barely a thing back then (before SuperCollider was released), but cheerful massaging of sound files yielded interesting results and the future looked bright. Listening to Frantz today, with decades of distance, there are some parts that might appear dated by modern standards, but the energy and the general magic of that period is well captured.

All Frantz tracks were produced in Andi's studio in Berlin and at Mego Vienna. The Mego studio/office was a vivid place located in an old factory on the outskirts of Vienna. We shared the place with Tina Frank, who created most of the early Mego covers and videos. Other artists, musicians and friends were hanging out there almost every day. Many ideas on Frantz are a product of that particular environment. “Mimi”, for example, is based on a field recording in the backyard of the factory, where we also shot the video for “Tyrell”. “11.25” contains sounds from the Prague train station we regularly passed through on the night train travelling between Vienna and Berlin. Other sounds were sourced from the early internet and mangled on the computer, carefully preserving those early audio codec artefacts. While working on the Frantz tracks at the Mego Vienna studio, Peter was usually around, as he was literally working and living there. And so, of course, he also made an impact on that album: It might not be widely known but Peter even appeared on Frantz contributing his voice to the choir on “The Official Ski WM Theme”.

Let there be Frantz!

A tasty pair of chunky, beefed and dubbed up disco delights courtesy of the Cardiology label and every bit as likely to get the heart rate pumping as the name would suggest. The Owl's 'Groove Engine' steps up to the breach on the A-side, the slightly slower of the pair but blessed with a thumping framework of four-to- the-floor sturdiness on which funky keys and an almost Afro vibe are tastfully and decoratively hung. Flip track 'I'm Gonna' by C Da Afro is constructed from more archetypically traditional old skool disco ingredients, from the Sister Sledge-esque female vocals to the shooting, strings. There's a nice amount of dub behaviour via the desk, enough to elevate it into orbit but not so much that the song elements of the track are obscured. Nice work all round.

New school techno pioneer Avision will release his debut album ‘In My Mind’ on Ellum Audio this winter.

Avision grew up around the rich club culture of New York City and is now part of a new wave of artists defining the contemporary techno landscape. In just a couple of years, the American has become an absolute mainstay on labels like Drumcode, Machine, and We Are The Brave. His hard-hitting productions have found their way into the record bags of tastemakers like Adam Beyer, Maceo Plex and Chris Liebing. At the same time, he has been featured everywhere, from The Brooklyn Mirage and Time Warp in New York to festivals like Elrow, The BPM Festival, Electric Daisy Carnival and Dockyards. Now he offers up ‘In My Mind’, a widescreen artistic statement across 13 immersive tracks.

Says the artist, “I’m truly proud to share ‘In My Mind’ with the world, as I feel like this is another side of music that people haven’t heard from me. This album touches on a little bit of everything, and I wanted it to represent where I’m from. 90% of the album was written during the time we couldn’t be ourselves and do what we love, but I turned that frustration and disbelief into an album with emotion and meaning. I couldn’t be happier with the final outcome, and I hope everyone enjoys it.”

The LP kicks off with ‘Real Talk’, wasting no time getting going on a lush wave of Detroit-style techno full of hi-tek soul. 'Cut The Rope' features Robert Owens, the legendary house vocalist who lights up the deep, driving house drums with a typically impassioned vocal. The energy levels stay high on 'No Disco' with its oversized hi-hats, nimble bassline and chattery claps, while 'Baby' traps you in metallic techno loops with a playful vocal sample. After the bright lights of lead single 'Contrast,' and grinding peak time weapon 'In My Mind' is ‘Ground Rule’, an atmospheric spoken word interlude about NYC.

The album’s second half kicks off with the far-sighted cosmic pads of 'I'll Take You' with Xander and has you lost in another world. There is angst in the tense synth loops of interplanetary techno cut 'Your Soul' and hands-in-the-air trance energy on 'Where I Want To Be.' The monstrous 'All Night' is another wall of rich synth sound over big drums, and 'Lost Symmetry' then releases the pressure with a more dreamy melodic vibe built on tumbling breakbeats. 'In Your World' closes in an uplifting fashion across eight minutes of cantering techno and epic synth work.

‘In My Mind’ is an accomplished and adventurous album that takes melodic techno in bold new directions.

In the 80's they were on the classic Metal Blade Records! This glorious debut
album by California’s best heavy/ power metal band Tyrant is as dark and
thunderous as the cover. Burning guitar licks and crushing Iron Maiden- esque
beats, mixed in with catchy hooks makes this album one hell of a ride! An album
to discover (or re-discover) in the darkness!"

Kostantyn Isaev the man behind the project Volta Cab and also Rambal Cochet is now part of the Waste Editions family. The St. Petesburg’s colorful artist has just recorded 6 catchy and powerful tunes which are heavily influenced by the new wave/post punk music of the late 80’s , especially by bands like Кино (Kino) and the Soviet space disco as well.

 ‘Charmed Life - The Best Of The Divine Comedy’ is a career-spanning
24 track collection of hit singles and fan favourites, including ‘National
Express’, ‘Something For The Weekend’, ‘Songs Of Love’, ‘Our Mutual
Friend’, ‘A Lady Of A Certain Age’, ‘To The Rescue’ and ‘Norman And
Norma’. It also includes a brand-new track, ‘The Best Mistakes’.
 Remastered at Abbey Road, the new ‘Best Of’ offers a comprehensive
guide to The Divine Comedy as curated by Neil Hannon himself and is
released on his own Divine Comedy Records.
 ‘Charmed Life’ follows 2019’s Top Five album ‘Office Politics’ and 2020’s
extensive ‘Venus, Cupid, Folly and Time’ reissues project.
 The album is released as a 24-track standard 2CD, coloured
heavyweight double vinyl in a gatefold sleeve, black heavyweight double
vinyl in a gatefold sleeve, and as a deluxe 3CD edition containing the 24-
track ‘Best Of’ plus ‘Super Extra Bonus Album’, a bonus disc of new and
unreleased recordings.
 The album cover is taken from a new shoot by acclaimed music
photographer Kevin Westenberg.
 The Divine Comedy will play a 19 date UK and Ireland tour in April and
May 2022, including a show at the London Palladium.
 The release will be supported by an extensive promo campaign,
including play and appearances on radio and TV plus interviews and
features in music magazines, broadsheet titles and online.
 Marketing to support the album will encompass a full cross section of
digital advertising, a substantial outdoor campaign and press advertising
in key titles, plus a fan-driven social media and email database
campaign.

 ‘Charmed Life - The Best Of The Divine Comedy’ is a career-spanning
24 track collection of hit singles and fan favourites, including ‘National
Express’, ‘Something For The Weekend’, ‘Songs Of Love’, ‘Our Mutual
Friend’, ‘A Lady Of A Certain Age’, ‘To The Rescue’ and ‘Norman And
Norma’. It also includes a brand-new track, ‘The Best Mistakes’.
 Remastered at Abbey Road, the new ‘Best Of’ offers a comprehensive
guide to The Divine Comedy as curated by Neil Hannon himself and is
released on his own Divine Comedy Records.
 ‘Charmed Life’ follows 2019’s Top Five album ‘Office Politics’ and 2020’s
extensive ‘Venus, Cupid, Folly and Time’ reissues project.
 The album is released as a 24-track standard 2CD, coloured
heavyweight double vinyl in a gatefold sleeve, black heavyweight double
vinyl in a gatefold sleeve, and as a deluxe 3CD edition containing the 24-
track ‘Best Of’ plus ‘Super Extra Bonus Album’, a bonus disc of new and
unreleased recordings.
 The album cover is taken from a new shoot by acclaimed music
photographer Kevin Westenberg.
 The Divine Comedy will play a 19 date UK and Ireland tour in April and
May 2022, including a show at the London Palladium.
 The release will be supported by an extensive promo campaign,
including play and appearances on radio and TV plus interviews and
features in music magazines, broadsheet titles and online.
 Marketing to support the album will encompass a full cross section of
digital advertising, a substantial outdoor campaign and press advertising
in key titles, plus a fan-driven social media and email database
campaign.

Mit der Veröffentlichung ihres selbstbetitelten Debütalbums veränderten KORN die Welt. Es war ein Album, das für ein ganzes Genre wegweisend war, und der anhaltende Erfolg der Band beweist, dass es nicht nur eine Momentaufnahme war. Seit ihrer Gründung haben KORN weltweit 40 Millionen Alben verkauft, zwei GRAMMYS erhalten, sind unzählige Male um die Welt getourt und haben dabei unzählige Rekorde aufgestellt, die wahrscheinlich nie mehr bertroffen werden.

Sänger Jonathan Davis, die Gitarristen James ”Munky” Shaffer und Brian ”Head” Welch, Bassist Reginald ”Fieldy” Arvizu und Schlagzeuger Ray Luzier haben die Grenzen des Rock-, Alternative- und Metal-Genres immer wieder neu ausgelotet und halten ihren
Einfluss auf ihre Fans und ganze Generationen von Künstlern rund um den Globus bis heute aufrecht.

Das vertritt auch ihr neues Album „Requiem“. Die Band setzt sich hier mit dem Loslassen alter Laster auseinander, dem Auferstehen aus der eigenen Krise und zerschmettert diese mit gewohnt harten Riffs und
Texten. Das dunkle Ablegen und ins Helle treten, sich aus der Krise bewegen und gestärkt heraustreten sind Motive, die wie Symbolbilder unserer gegenwärtigen Welt scheinen. Korn bietet einen unpathetischen Soundtrack für genau diese Zeit nach einer Krise, die uns alle kollektiv und individuell bewegt.

As the sweary, confrontational title suggests, this four-tracker from Detroit hero Omar-S is like a musical expansion pack for his much-discussed recent album, F*ck Resident Advisor. The no-nonsense Detroiter starts in fine fashion with 'Gonna Love You', a jaunty, piano-sporting peak-time loop jam crafted from old school vocal samples and snippets from a killer disco record, before reaching for cosmic synth sounds, lilting melodies and a melancholic mood on the starry deep house jam 'Bread Over Bed'. He subtly doffs a cap to Dance Mania style ghetto-house on the quirky, club-ready cheekiness of 'Shut Up', before smothering a classic house groove with heady hand percussion and snaking synth lines on dense and energetic closing cut 'Sloppy Joe'.

Summer at Land’s End is not an interlude or tangent for The Reds, Pinks & Purples but rather a perfect fourth movement following the albums Anxiety Art, You Might Be Happy Someday, and Uncommon Weather. As with these self-recorded records (the primary work of songwriter Glenn Donaldson), the songs on Summer at Land’s End were crafted slowly and then drawn together to make a unified statement. But here, and more than before, Summer at Land’s End combines Donaldson’s rueful pop sensibility with a parallel musical universe, one composed of pictures, dreams, and feelings without words. Even if the underlying theme of this collection is one of conflict or unhappiness, the vision of the music presents an escape to a new world, always fading in and out of sight.

For listeners who may not be familiar with Donaldson’s corner of San Francisco––the Richmond district––or the current wave of hazy, melodic DIY pop groups performing in the city, Summer at Land’s End pulls in images and scenes that feel like a collision of the mundane and the sublime of this present landscape. But settings such as these are the backdrop for personal narratives, expressed as a struggle with love, with companionship and the conflicts of home. With this record, The Reds, Pinks & Purples give less focus to the vanities of a subculture and more to the challenge of connecting with someone, to the ordinary goals of being human and finding harmony with others.

This deliberate saturation in drama and ambiance, along with some of Donaldson’s best songwriting to date, is what gives Summer at Land’s End its special class in the project’s discography. Of the album’s cinematic mood, Donaldson refers to films like Summer of ‘42 and the influence of the classic 4AD catalogue of the 1990s. This style informs much of Donaldson’s prior and current ventures of course (The Ivytree, Vacant Gardens, and a dozen projects in between) but now The Reds, Pinks & Purples have taken the mantle, embracing this instinct for instrumental or dreamier modes of pop songwriting. It’s a pleasure to experience Summer at Land’s End, as this record finds a thrilling balance between songs and sounds, instruments and voices, and the ironic twin poles of art and life.

Chicago’s dynamic duo Al & Tone (B. Nimble) return with 2 funky disco grooves on a limited 7 inch. The AL side features "All the time" a primetime dance floor tune showcasing serious brass. The Tone side offers the disco funk jam "Run it" which rides a wicked bassline

(Deluxe Gatefold Vinyl 2LP, 12-page booklet with liner notes, lyrics in Spanish / English, rare photographs from that era + DL code). This compilation brings together 24 iconic songs from that era, with a focus on the theme of love songs (A + B side) as well as social political songs (C + D side), highlighting the emotions that this music brought to the popular working classes of Lima, nationwide and the diaspora.

There's naturally much to enjoy on the latest volume in Africa Seven's A7 Edits series, which pairs original - and usually obscure - old Afro-disco and Afro-boogie gems with fresh 21st century edits.

This time round, the A-side is all about Kemayo & K System's piano and horn-heavy disco-funk jam 'Biram', a two-minute blast of dancefloor exuberance that Phillip Lauer cleverly re-imagines as loopy, locked-in chunk of Afro-disco/disco house fusion.

Over on the flip there's a chance to savour Afro National's heavy, low-slung stomper 'Push Forward', a cut that brilliantly adds chanted vocals and Hendrix style guitar solos to a sweaty, non-stop groove. Al Zanders does a great job in ratcheting up the tension and heaviness on his accompanying club-ready extension.

Matasuna's latest tidbit takes us back to the South American continent once again - to Venezuela to be exact. The song "Zambo" by the band "La Retreta Mayor", which was released in 1976 on the self-titled LP, is now available as an official reissue and the very first time ever on a 7inch vinyl single! The 45 is complemented by an excellent rework of the American producer & DJ "King Most" from San Francisco.

The A-side features the original of the song. "Zambo" is a furious mix with versatile influences of Latin, Jazz & Funk. The rich horn section and percussion of the guest quartet bring pure heat to the track - the drums, bass and piano intensify this even more. An absolute heater for any dance floor!

The B-side features the "King Most" Redirection. The talented producer gently takes on the song, keeping the organic vibe of the original but still giving it a different, new side. His re-arrangement and additional in/outro and a new passage in the middle of the song fit exquisitely. Also his crunchy drums and own piano passages are very tasty and give the song an own flavour!

"Alexandro Rodríguez" was born in Caracas in 1952 and is considered one of Venezuela's most important jazz guitarists of the seventies. He studied classical guitar in his early years, played electric guitar in various rock groups and performed at various national music festivals. He also had the opportunity to play as a musician for renowned orchestras such as "Onda Nueva", "Renny Show's Orchestra" on Venezuelan Television and "Radio Caracas TV's Orchestra".

In the late 1970's he recorded two significant works that may be considered a reference in Venezuelan music history. He formed the short-lived band "La Retreta Mayor" to record a self-titled album, which was released as an LP on the Venezuelan label "Discomoda" in 1976. The 10-piece band and numerous guest musicians created a jazz-funk & fusion gem. The band unfortunately broke up right after the recording and did not play live or record any more music.

His self-released album "Busqueda", released in 1978 under his name, was recorded between New York and Caracas and has an excellent reputation not only in connoisseur circles. In 2012, the album was reissued on CD by a Japanese label, proving the influence Alexandro's music still has in the jazz scene today.

Between 1979 and 1982, Alexandro lived in "New York", where he worked as a composer, arranger, performer and orchestrator in the jazz scene with renowned orchestras before returning to Venezuela. Subsequently, his musical career turned to the classical guitar, both as a composer and performer. In 2013, he settled in "Pittsburgh", Pennsylvania (USA), where he continues his activity as composer, arranger, guitarist, bassist and teacher to the present time.

The Norwegian-born/Berlin-based electronic duo Soft as Snow returns with their most powerful statement yet. Their second full length 'Bit Rot' perfectly captures the friction of our contemporary existence in which smooth digital surfaces are locked in conflict with messy physical realities. The crumbling of fantastic European infrastructure is mirrored by luxurious synthwave and ecstatic trance crumbling into nightmarish, corroded cyberscapes.

The songs on 'Bit Rot' create a wide variety of zones in which pleasure and discomfort come together organically and seamlessly. Even as these songs are eaten alive by oppressive atmospheres and destabilizing glitches they never lose sight of their strong melodic underpinnings. Tracks like 'Always On', 'Soft Body Hard Dreaming' and the terrifyingly intense title cut are like visits to a rave inside a paranoid microchipped brain, while 'Rubber Boy' presents electro-industrial funk sung by a caged mutant. On the more restrained tip, fluorescent ballads like 'Hollow' and 'Quiet Anger' evoke the feeling of slipping into a fugue state at an all-night convenience store. This is European nightlife imagined as biomechanical horror.

The album was mixed by Ville Haimala of fellow nordic club destroyers Amnesia Scanner, and the striking cover art features a sculpture by Norwegian artist Camilla Steinum. To further elaborate the album's themes in the visual realm the duo is creating a music video and live A/V show with 3D artist Guynoid, including a special latex suit made in collaboration with AGF Hydra. In this way, 'Bit Rot' grows beyond the album itself into a larger project exploring the fluidity of body and identity when the digital and the physical fuse as one.

Everyone is searching for it and we’ve got it for you.

"Let's Dance The Bugalu/Aprende Mi Tumbao" by The Guantanamo Boys, could be one of the most sought after records in recent times, a jewel produced in the late 1960s by Gabriel Oller, Latin music pioneer in the United States, now reissued by the Gladys Palmera label as its debut title.

The passage of time has in no way lessened the power of this record’s rhythm. On the contrary, today the Afro-Cuban + groove + funk + Latin soul sound that has taken it to cult status among collectors and DJs is connecting more than ever. Just ask the MCs and selectors who say that The Guantanamo Boys is the holy grail of Latin sessions. And its re-release has been a long time coming.

Produced by Gabriel Oller as an EP on his SMC (Spanish Music Center) label, with no cover and scant mention of the participating artists, The Guantanamo Boys’ 7” single was an amazing discovery for the team at the Gladys Palmera Collection, the most extensive collection of Afro-Latin music in the world.

That’s why we´ve reissued this record on vinyl, preserving the original sound and with attention to every detail of the recording, which features multi-instrumentalist Ray Fernández (known in the 1970s for his alternative salsa-funk band Ray and His Court; pianist and arranger Papi Peña (Conjunto Impacto) and singer Rubén Ríos, better known as Mr. Pachanga, Cuban music pioneer in the U.S.

Gladys Palmera Records is the Gladys Palmera label, bringing you this exceptional recording in an exceptional format: 10”. Don’t let it out of your sight, because you won’t tire of listening to its sound, rhythm and sabor.

The Sound Of Love International 004 is a particular poignant collection of rarities, collectables and unearthed gems, pulled together by the Italian DJ and crate digger Budino. For the last two years, the pretty coastal town of Tisno in Croatia has been devoid of the (now) legendary Love International week-long celebration of music, leaving thousands of revellers and regular devotes with only the sounds of Love International to keep the spirits strong until the next time friendships are rekindled and dance resumes under the sun and the stars. Luckily, the fiesta is scheduled for a return to Tisno from 13th – 19th July 2022.

Budino, AKA Valentina Bodini, has a lifelong passion for vinyl, amassing an enviable collection of multi-genre LPs and singles via her years spent in Italy and now in Berlin. As resident DJ for Discodromo’s CockTail d’Amore parties, her enthusiasm for music and digging knows no boundaries, and her instalment into the Sound Of Love International series gives us an aural insight into her musical realm.

Musically, The Sound Of Love International #004 is a smorgasbord of sound. Opening with the glacial tones of Peter Seiler’s 1986 new-age gem ‘Serengeti’, the twelve track selection glides through proto-house, tribal ambience, industrial EBM, balearic dance and so much more. It’s a testament to the ground- breaking nature of these tracks that most of the music here was originally released some 30-40 years ago. Inclusions from Oliver Leib’s The Ambush project, Vibes Of Rhythm and Scott Edward stem from the post house & techno explosion of the early 90s, whilst the early proto-electronic experiments from the likes of Kirlian Camera, Clock DVA, Bourbonese Qualk and Pyrolator are welcomely revived for a new audience. Interestingly, a flexi-disc only release of ‘Hark’ by William Orbit & Laurie Mayer’s early 80s Torch Song project is also included here, elongated by Budino herself in the edit suite. Two brand new productions from DJ Blasy and Budino & Berko ensure that business is brought bang up to date, offering a unique and modern spin on the sounds of Budino, and her tantalising selection on this compilation.

After a steady rise to international recognition through 2 LPS and several EP's already since 2018, Zeitgeist Freedom Energy Exchange joins the Get Together family for their first recording session in Europe. "Prayer For Peace" - A 7 track journey through atmospheric scenes, broken to deep four on floor rhythms and colourful top lines. From the Jazz-funk inspired 'Prayer For Peace' to the infectious Boogie twilight of 'Cadillac' this is a record that is equally well suited to dance floor applications as it is to an intimate night with the turntable spinning and the sensual herbs burning.
This Recording represents the Berlin chapter of the Zeitgeist Freedom Energy Exchange. The curated jam band moniker of Ziggy Zeitgeist, the experiment having emerged from the murky depths of the Melbourne underground. Zeitgeist arrived in Berlin in summer 2019 wasting no time in assembling a talented and diverse group of assorted freaks from many corners of the world to bring their own languages, melodies, rhythms and swagger on this cross continental meeting point.
This session captures the raw energetic fusion of such diverse and innovative musicians scene co-existing in the Techno capital of the world. This city already has its own sound, its own attitude. It's no wonder artists gather from every corner of the world to discover themselves through the lens of the city. That is the sound of the 'Zeitgeist Berlin era' the group explores deeper, darker sounds of the club emerging from their signature hip slinging disco, funk fusion.
For such an occasion the recording was engineered and mixed by platinum producer / engineer Axel Reinemer in the esteemed Jazzanova studios. 3 days of steamy Berlin summer looking over the ring-bahn towards the swamps of the Tegel Forest to the north. Spiritual jazz interludes flirt delicately with bouncing Brazilian rhythms. Psychedelic dub-grooves meander before exploding into bursts of finessed energy, before locking into steady and deep-house rollers.... All live, All together in the room, all real human spirit imbued in every note, with the level of production to easily stand up on the club system This is the kind of record that is as diverse as it is essential in every serious collectors artillery.

Dusky’s Life Signs project for Running Back remixed! The Londoners and their distinct hallmark of euphoric, yet multilayered dance floor dynamite get treated by Cinthie, KiNK and Rumu. Similar to the scope of original artists themselves, their interpretations are a wide choice of styles and suitable for different usages. Berlin’s true school house head Cinthie delivers her tried, tested and desired method of disco bass lines and deep house melodies on „Static“, while everyone’s favorite live act from Sofia turns the sounds of „Fridge“ into a lost mid-90ies techno classic. KiNK’s high-octane take would fit perfectly on every fantasy mixtape of Derrick May or Laurent Garnier of those days. Last, but not least, Dusky very own discovery and 17Steps artist Rumu uses „Lea Valley“ to punch his ticket with the UK bass and breaks fare. These goods sell well!

It’s been ten years since Sadie Dupuis recorded the first Speedy Ortiz songs, a solo experiment that quickly became her full-time band. Since then, Speedy has produced an expansive and critically revered discography, toured worldwide, and inspired next generations of bands with inventive songwriting and advocacy to better the music industry. But in 2011, the younger Dupuis was struggling through concurrent traumas: heartbreak from first love, leaving her hometown of New York for Massachusetts, and the grief of losing several young friends. Speedy’s first songs glowed within the contrast of noisiness and intimacy, raw sonic elements that came with closely processing vulnerabilities and Dupuis’ insistence on performing and recording each instrument alone. As the new project fielded show offers from favorite show spaces like Death By Audio and Shea Stadium, these early tracks became the springboard for the playfully melodic and cleverly distorted style for which Speedy Ortiz as a full band is celebrated. Now, ten years later, Speedy’s first self-released collections will be widely available for the first time and reissued as a double LP The Death of Speedy Ortiz & Cop Kicker…Forever, alongside previously unreleased tracks, reflective liner notes penned by Dupuis, and unearthed photos and journal scans from that era.

The tracks on The Death of Speedy Ortiz & Cop Kicker…Forever were written after student-created prompts while Dupuis was teaching a songwriting class at the same summer camp where she’d first learned guitar. "Hexxy Sadie” was written in an hour, like the rest of the songs, and on Dupuis’ twenty-third birthday; using explosive riffs and distorted harmonies, she explores her uncertain yearning as a twinless twin. "Frankenweenie" came from the prompt “dog,” and over brooding piano, spry tambourine, and eruptive snare, Dupuis sings from the perspective of a dead childhood pet about forgiveness. “Cutco,” which navigates tricky chord changes with deft guitar passages and ironic deadpan, grins at the bitterness of friendships gone awry. These early songs highlighted Dupuis’ remarkable talent at dissecting specific emotions and moments, analyzing the many ways the pieces fit together, and scrutinizing the places where they don’t.

During the recording process, Dupuis was inspired by the impulsive DIY methods of artists like Elliott Smith and Sparklehorse; a mixing note from September 2011 read, “It's important for the 'concept' of this 'album' that I don't redo anything.” The Death of Speedy Ortiz & Cop Kicker…Forever still holds onto the magic immediacy of lo-fi recordings, but this reissue is helped by the technical know-how gained through Dupuis’ solo production work as Sad13 (Lizzo, Backxwash). Remixing in 2021, Dupuis cleaned up edits on her triple-tracked drums, made space for instrumental flourishes performed on eclectic instruments like cello, banjo and timpani, and rewired digital sounds to warm up the layers of intersecting guitars. Co-mixer Justin Pizzoferrato (Dinosaur Jr., Sebadoh), who worked with Speedy on Sports EP, Major Arcana, and Real Hair, further clarified the mix with analog compressors, and mastering engineer Emily Lazar (Liz Phair, HAIM) added a glossy sheen to the stratified bombast.

As Dupuis’ cult-beloved early material finally re-enters the world in a substantive way, The Death of Speedy Ortiz & Cop Kicker…Forever is a seamless fit to the Speedy Ortiz discography that succeeded it, and evidence that Speedy’s biting lyrics, intricate compositions, and daring performances have been inherent to the project since its outset.

After the recent reissue of their first eponymous album, Favorite Recordings proudly presents Vegas, the second LP from Venezuelan band Esperanto. Rare and sought-after for many collectors, it was recorded in between Las Vegas and Caracas and originally released in 1981. Following bandleader Jorge Aguilar in his musical trip to the infamous American city bathing into flashing lights and vivid colors, we're invited to an excursion in Disco, Boogie and Jazz-Funk territories. Finally reissued, fully remastered, Vegas will be available as Gatefold Tip-On Vinyl LP.

With great care and attention to details, Esperanto managed to create a very convincing sequel to their Jazz-Funk debuts. Vegas keeps indeed a perfect balance between various influences. Through energic disco beats with intense funky solos, catchy AOR-influenced songs, where Jorge delivers convincing vocal performance, or sunny jazz-funk slow jams, the album still reveals something quite authentic. And this feeling echoes surely the one that could have been felt by Jorge Aguilar while discovering USA on a trip - where it all started for the music he loves. Like sometimes a foreigner's enriching view on some local specialty, he surely brought with the band all his authenticity and young but vibrant experience while convincing at the same time major labels for distribution.

With certain notoriety coming with the release of their first album, Jorge Aguilar and his drummer Pablo Matarazzo planned to go to Los Angeles for a few gigs. But once there, they realized their contact had to leave for Tina Turner's tour in Europe. Before that, he invited them to come along to Las Vegas and eventually meet musicians there. Luckily, the plan worked perfectly: Jorge came back to Los Angeles with a lot of contacts then moved to Boston and NYC before finally coming back to Caracas. He told: "I was so impressed with this trip that I told myself that one day I would return to Los Angeles and Las Vegas. The first tracks I did them in Los Angeles with Kenny More, James Gadson and other session musicians from that city. Later, I took the tracks to Caracas where the musicians of the band recorded overdubs. After that, I returned to Los Angeles to master with Bernie Grundman who was still working in his small studio at A & M records studios in Hollywood. As can be seen in the title of some of the songs like "Hollywood", "Vegas", "Kenny's Place", were only the translation of my experiences at the time."

Black Vinyl Version Of Angel Dream (Songs From The Motion Picture ‘She’s The One’ previously only available as RSD Release.

Original album sales notes:
To celebrate the 25th anniversary of the film She’s The One, 2nd July will see the release of Angel Dream (Songs From The Motion Picture ‘She’s The One’), a remixed, remastered and re-imagined version of the soundtrack. The original album included several songs that were left off the original Wildflowers album (recently included as the All The Rest disc in the Wildflowers & All The Rest re-issue), so this re-release is an appropriate ending to the campaign celebrating the Wildflowers-era.

Ryan Ulyate (Tom’s long time engineer and producer) has remixed the audio, and the song selection is designed to work as a TPHB album, rather than a soundtrack album. Four unreleased tracks have been added; the rocker “105 Degrees” (written by Petty), a cover of JJ Cale’s “13 Days”, “One of Life’s Little Mysteries” (another Petty original), and an instrumental (“French Disconnection”) in the same vein as the instrumentals on the original album. An extended version of “Supernatural Radio” is also included. The new title is a reference to one of the stand out tracks on the album. The new album will have brand new artwork.

The latest addition to Chick Corea's remarkable discography is Chick
Corea Akoustic Band 'LIVE', the long-anticipated reunion of his beloved
Akoustic Band with bassist John Patitucci and drummer Dave Weckl,
together as a trio for the frst time in more than two decades
Under any circumstances, these thrilling live recordings would be a welcome
addition to Corea's prodigious discography. With the news of his passing still so
fresh in listeners' minds, its release comes as an opportunity for fans to bid
farewell while cherishing the communal energy and playful vigor that made the
pianist a favourite of jazz lovers around the world for nearly 60 years. 'LIVE', the 2-
CD/3-LP set was recorded January 13, 2018 at SPC Music Hall in St. Petersburg,
Florida. The trio's intricate interplay and highwire jousting refects more than 30
years of collaboration between Corea's Akoustic and Elektric Bands and serves as
a celebratory reminder of Corea's singular genius, with more than two hours of
inspired playing and spirited camaraderie.
Chick Corea attained iconic status in music. The late keyboardist, composer and
bandleader was a DownBeat Hall of Famer and NEA Jazz Master, as well as one
of the most nominated artists in GRAMMY Awards history with 68 nods - and 24
wins, in addition to 4 Latin GRAMMYS. From straight-ahead to avant-garde, bebop
to jazz- rock fusion, children's songs to chamber and symphonic works, Chick
touched an astonishing number of musical bases in his career after playing with
the genre-shattering bands of Miles Davis in the late '60s and early '70s

This is the first release of the brand new vinyl label Terra Magica Rec. which was founded by Munich based music producers and DJs Mirko Hecktor and Tom Sprenger in mid-pandemic times of 2021.

The first release hosts two tracks of the label bosses themselves under their moniker Hektisch Sprengen DJs. In German language the term Hektisch Sprengen basically means blowing up things in a very hectic manner. Instead prepare for quite the contrary sound vise. Their tracks Social Rub and Dancing Dust are electronic, analog Slow-Disco-Cosmic-Trance-Tunes containing some SH101 and Korg synth lines with TR-808 beats and some Japanese, African 2 South-American hints. While one track is tracing an ultra rare psychedelic voice sample from Nigeria’s 70’s Highlife scene the other one uses a little boinx gag.

To round things up no other than Dirk Leyers from Africaine 808 did the final mixdown on those tunes.

On top DJ Normal 4 straight outta ‚Pott’ hits full on groove with an uncanny Funk Breaks anthem recalling early 90s Warp and the best of UK-Big-Beat-Acid and conga easiness.

Last but not least Down Under`s DJ Chrysalis jumps into the genre madness on Terra M`s first release delivering a raw UK-Garage-IDM influenced dreamy synth shiver down your spines transcending those fellow e-dancers straight into the golden years of club culture.

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

Svart Records is proud to unleash the debut album from Dutch female Black Metal duo Doodswens! “Lichtvrees” (translation: fear of light) will be unveiled to the world on the 14th of January 2022. Doodswens Black Metal is a bleak, distorted wave of negative energy according to the tenets set by the Scandinavian originators but with their own new organic reflection of darkness. Their name translated as “Death Wish,” Doodswens breathe new life into the dust of the past, inspired by the rawness of the ‘90s and capturing the black hearts of a new throng of acolytes as they ignite the gloom. Founded in Eindhoven in 2017 by Fraukje van Burg (vocals and guitar) and Inge van der Zon (drums), Doodswens initially erupted into the underground scene in 2019 with their demo, which sent a shiver through its decaying corpse. With their debut album “Lichtvrees,” Doodswens opens up the cesspit of the human condition, giving voice to our bleakest emotions through old-school Black Metal like a freshly dug grave. Proudly expressing feelings of inner negativity and depression, Doodswens have taken the promise of their underground roots and crystallized their very own atmospheric war of sound on “Lichtvrees,” making it an enthralling and captivating inception. With deathly conviction and intense passion they bring their music alive on stage, playing at Roadburn Festival and many esteemed nocturnal events, their cult infamy leading them to be picked for a support slot on Marduk’s upcoming tour of Europe. If you like your Black Metal served especially cold, but with wide-screen atmosphere, then Doodswens could be your new moonless catharsis. “Lichtvrees,” is a highly conceptual work which deals with life and death, reaching enlightenment and fulfilling the symbolical “death wish” that Doodswens represents. Cast your shadow in the unholy light of “Lichtvrees” and discover a rising new star in the Black Metal cosmos.