Search:do bass

British rock legend GRAHAM PARKER returns with his first album of new material since 2018. LAST CHANCE TO LEARN THE TWIST finds the veteran singer-songwriter in top form, offering up thirteen new compositions with exquisitely tasteful backing by The Goldtops (bassist Simon Edwards, drummer Jim Russell, guitarist Martin Belmont and keyboard player Geraint Watkins) and frequent contributions from the Easy Access Orchestra horns and backing vocal duo The Lady Bugs. It's a dazzlingly diverse album: sweet classic soul grooves and roots rock sounds dominate, framing lyrics dripping with Parker's vintage "Wicked Wit" (as one song title has it) and his inimitable, impassioned vocal delivery. Two early singles have hinted at the record's depth: the devastatingly stark "We Did Nothing" with its heartbreaking examination of the cost of inaction on both the personal and global stages, and the delightfully playful reggae-tinged "Them Bugs." The beautifully bittersweet ballad "It Mattered To Me" is set to follow, while the folk-informed meditation on mortality "Last Stretch Of The Road" has proven an instant fan favorite at recent solo performances. But there's much more waiting to be discovered on the full album, which is at once one of Parker's most relaxed and boldest statements to date.

Jeder, der genau hinschaut, kann erkennen, dass Cincinnati, OH, derzeit eine wahre Brutstätte musikalischer Kreativität ist, und die drei Mitglieder von The Serfs - Dylan McCartney (Gesang, Perkussion, Gitarre, Bass, Elektronik), Dakota Carlyle (Elektronik, Bass, Gitarre, Gesang) & Andie Luman (Gesang, Synthesizer) - und ihre jeweiligen Nebenprojekte (The Drin, Crime of Passing, Motorbike) sind unbestreitbar im Zentrum der New-Underground-Szene von Cincinnati. Nach der Veröffentlichung von Alben auf dem Berliner Minimal-Synth-Label Detriti und dem in Seattle ansässigen DREAM Records im Jahr 2018 bzw. 2022 macht die Band für ihr drittes und bisher bestes Album den Schritt zu Trouble In Mind. "Half Eaten By Dogs" gibt dem modernistischen Twitch von Future-Forward-Bands wie Total Control oder Cold Beat sowie dem post-industriellen Dancefloor-Grime von Skinny Puppy, Dark Day, This Heat oder Factrix einen entschiedenen Midwestern-Spin. "Half Eaten by Dogs" ist ein Blick durch ein Fernrohr in eine dystopische Vision, in der eisverkrustete Synthie-Harmonien triefende chemische Rhythmen und aufgebohrte elementare Rockformationen beherrschen. Die Musik ist eine Mischung aus düsterem Drum- und Synthesizer-Industrial und stygischen Gitarreninstrumenten, mal mit vorsichtiger Paranoia, mal mit melodischem Trotz und Ausgelassenheit (und in manchen Momenten mit Mundharmonika, Saxophon oder Flöte). "Half Eaten By Dogs" fasst erfolgreich alles zusammen, was The Serfs bisher erreicht haben, aber mit weitaus größerer Absicht und Zielsetzung als ihre vorherigen Alben. Es gibt Songs zum Tanzen und Songs, die man während eines Sturms oder beim Fahren durch die Straßen der Welt in sich aufnehmen kann. Es mag für die Band ein weiterer Schritt hinunter in die Katakomben sein, dabei aber auf dem Weg zu etwas Höherem.

Jeder, der genau hinschaut, kann erkennen, dass Cincinnati, OH, derzeit eine wahre Brutstätte musikalischer Kreativität ist, und die drei Mitglieder von The Serfs - Dylan McCartney (Gesang, Perkussion, Gitarre, Bass, Elektronik), Dakota Carlyle (Elektronik, Bass, Gitarre, Gesang) & Andie Luman (Gesang, Synthesizer) - und ihre jeweiligen Nebenprojekte (The Drin, Crime of Passing, Motorbike) sind unbestreitbar im Zentrum der New-Underground-Szene von Cincinnati. Nach der Veröffentlichung von Alben auf dem Berliner Minimal-Synth-Label Detriti und dem in Seattle ansässigen DREAM Records im Jahr 2018 bzw. 2022 macht die Band für ihr drittes und bisher bestes Album den Schritt zu Trouble In Mind. "Half Eaten By Dogs" gibt dem modernistischen Twitch von Future-Forward-Bands wie Total Control oder Cold Beat sowie dem post-industriellen Dancefloor-Grime von Skinny Puppy, Dark Day, This Heat oder Factrix einen entschiedenen Midwestern-Spin. "Half Eaten by Dogs" ist ein Blick durch ein Fernrohr in eine dystopische Vision, in der eisverkrustete Synthie-Harmonien triefende chemische Rhythmen und aufgebohrte elementare Rockformationen beherrschen. Die Musik ist eine Mischung aus düsterem Drum- und Synthesizer-Industrial und stygischen Gitarreninstrumenten, mal mit vorsichtiger Paranoia, mal mit melodischem Trotz und Ausgelassenheit (und in manchen Momenten mit Mundharmonika, Saxophon oder Flöte). "Half Eaten By Dogs" fasst erfolgreich alles zusammen, was The Serfs bisher erreicht haben, aber mit weitaus größerer Absicht und Zielsetzung als ihre vorherigen Alben. Es gibt Songs zum Tanzen und Songs, die man während eines Sturms oder beim Fahren durch die Straßen der Welt in sich aufnehmen kann. Es mag für die Band ein weiterer Schritt hinunter in die Katakomben sein, dabei aber auf dem Weg zu etwas Höherem.

Move into the Luminous is the debut album by the trio Makushin.

Double bassist Jon Thorne (Lamb, Yorkston Thorne Khan), guitarist Peter Philipson (Jane Weaver, Fenella) and singer Nancy Elizabeth (Leaf Label, James Yorkston) lead this inspiring collective whose work explores the intersection between folk, jazz and ambient music.

The album also features contributions from Andrew Wasylyk, Raz Ullah, David A Jaycock and more.

Nancy Elizabeth is a singer and multi-instrumentalist who has released three chamber folk albums under her own name on the Leaf Label. She has also previously played with James Yorkston and recorded with the late ambient composer Susumu Yokota.

Jon Thorne is a double bassist best known as a member of the pioneering electronic band Lamb and, more recently, Yorkston Thorne Khan. He has worked with many other musicians, including Jon Hopkins, Robert Fripp and his mentor Danny Thompson, as well as releasing his own music.

Peter Philipson is a guitarist who has previously performed with Jane Weaver as her guitarist for a decade and has collaborated with her and Raz Ullah on two ambient albums under the artist name of Fenella. He has also released a number of instrumental guitar albums under his PJ Philipson guise.

Jeder Song auf HOWLING GIANTs zweitem Album "Glass Future" erzählt seine eigene Geschichte. Doch auch ohne ein übergreifendes Konzept scheinen alle Storys der Amerikaner in ein und demselben Universum zu existieren. Die ausgeklügelten lyrischen Weltentwürfe der Amerikaner gehen auf ihre Liebe zu Fantasy und Science Fiction Literatur zurück. "Glass Future" könnte leicht ein Buch oder eine Graphic Novel inspirieren. Musikalisch bietet "Glass Future" eine Fortsetzung und Weiterentwicklung all jener Elemente, die bereits das Debütalbum "The Space Between Worlds" (2019) zu einem durchschlagenden Erfolg werden ließen. HOWLING GIANT lassen klassischen Metal und Hardrock dynamisch mit spacigen, Prog-lastigen Passagen, Desert und Psychedelic Metal-Momenten, Rock-Orgeln und eingängigen Hooks interagieren. Grandiose Stimmharmonien setzen ihrem Sound die Krone auf. HOWLING GIANT kommen aus Nashville, Tennessee, USA - einer legendären Musikstadt. Obwohl der Ruf der Stadt zuletzt etwas durch Fließband-Country Pop gelitten hat, bleibt Nashville ein geschichtsträchtiger Ort, an dem brillante Songwriter und virtuose Studiomusiker diverse musikalische Vermächtnisse am Leben erhalten. Aus diesem fruchtbaren Boden sprossen HOWLING GIANT als herausragendes Stoner Power Trio, das ganz bewusst die Nähe dieser Traditionen sucht. In den letzten zwei Jahren integrierte die Band ihren neuen Bassisten Sebastian Baltes, den Sohn des ehemaligen ACCEPT-Bassisten Peter Baltes, als Co-Autor. HOWLING GIANT gelingt mit "Glass Future" ein gewaltiger Sprung nach vorne.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 2 contains a wealth of notable tracks and slept-on gems. These include Q’s ‘From Within (Body Mix)’, a lesser-known cut from the trio better-known as Quazar (Gert van Veen, R.o.X.Y co-founder Eddy De Clercq and Eric Cycle), Eric Nouhan’s melodic masterpiece ‘Technobility’, which is appearing on vinyl for the first time since 1994, and a rare collaboration between regular production partners Maarten van der Vleuten and Mike Kivits (better known as Aardvarck), which was initially released on a special R&S Records’ offshoot set up by the label’s co-founder, Renaat Renaat Vandepapeliere (Integrity II’s ‘Living In Fantasy’).

Other highlights include Exposure’s ‘Love Quest’, a highly sought-after 1991 track by The Hague-based DJ/producer Maurits Paardekooper, and an ambient-infused Andrew Weatherall favourite originally released by Stealth Records in 1993, Hole In One’s ‘Spiritual Ideas For Virtual Reality’.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 1 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Through 35 hedonistic highlights stretched across three volumes, Music For The Radical Xenomaniac delivers the first ever deep dive into The Netherlands’ colourful house sound of the 90s and the under-celebrated producers and record labels whose music soundtracked a countrywide cultural movement.

Plenty of books and documentaries have celebrated the riotous raves, legendary clubs, high profile DJs and promoters who shaped The Netherlands’ hedonistic house scene throughout the 90s. Music For The Radical Xenomaniac dares to challenge these narratives by shining a light, for the first time, on those who created the scene’s kaleidoscopic, game-changing and globally influential soundtrack.

Leading the charge were a disparate group of key creators who not only forged links with their counterparts in Detroit, Chicago, New York, Belgium, Germany and the United Kingdom, but also became celebrated figures on the worldwide electronic underground (Eric Nouhan, Aad De Mooy, Orlando Voorn, Stefan Robbers and Steve Rachmad). Alongside key underground imprints (Stealth Records, Basic Energy, ESP, Prime and Outland Records included) and lesser-known producers, these pioneers gave flavour to a radical musical movement via open-mindedness, unheard-of creativity and a genuinely futuristic ethos. All of these artists and labels are represented throughout the series.

So, what defined this hedonistic house sound from The Netherlands? Stylistically, it was varied – as the series so emphatically proves – but was defined by a set of distinctive sonic characteristics: emotive musical motifs, high-frequency synth sounds, mellow basslines, pulsating rhythms and more than a touch of hallucinatory intent.

Volume 3 is packed with in-demand tracks and hard-to-find gems, including a previously CD-only cut from Dutch techno originator Orlando Voorn (1999’s ‘Still’), a genuine rave classic from The Hague by hardcore DJ Charly Lownoise as Fluxland, and a killer cut from prolific producer – and genuinely influential pioneer – Aad De Mooy AKA D-Shake. He’s represented on this volume by Paradise 3001 cut ‘Surfin The Cuban Waves’, which first appeared on ESP Records in 1993.

Other highlights include Direct Movement’s ‘Natural Chemistry’, a sought-after slow house cut produced by Dennis Buné, who had an enormous impact on the Dutch house scene as Jaimy, and ‘Delphi (Rewaxed)’ by NYX, a highly regarded and hard to find single from former new wave and synth-pop producer Bart Barten, and occasional studio partner Hanz Meyer.

Packed full of forward-thinking 90s gems remastered for today’s dance floors by Alden Tyrell, Music For The Radical Xenomaniac Volume 3 is a life-affirming celebration of a distinctly Dutch musical movement, whose rich textures and melodies are still inspiring new generations of DJs and dancers today.

Gotthard Gründer und Gitarrist Leo Leoni und seine Bandkollegen präsentieren ihren Fans das erste CoreLeoni Livealbum. Die Songs zu "Alive" wurden im März 2022 im Rahmen der "Rock Generation Tour 2022" aufgenommen.

"Alive" ist die reine Rock & Roll-Quintessenz welche viele der frühen Gotthard- und aktuellen CoreLeoni Hits vereint, wie "Standing in The Light", "Firedance", "Purple Dynamite", "Let Life Begin Tonight" und viele mehr.
Die Band liefert auf der Bühne 100 % Energie und Erfahrung ab. Sänger Gent Bushpepa versteht das Publikum mit seiner einzigartigen Persönlichkeit, seinen Fähigkeiten und seiner Technik zu überzeugen, indem er die Songs, die wir alle lieben, respektvoll interpretiert.

Jgor Gianola, ehemaliger U.D.O- und Gotthard Gitarrist, hat die Zeit zurückgedreht, um sich perfekt an den einzigartigen Stil von Leo und Gotthard anzupassen. Er verbindet unvergessliche Erinnerungen, musikalische Kompetenz und Sounds, die sowohl alte als auch neue Fans zu begeistern wissen.

Schlagzeuger Alex Motta und Bassist Mila Merker vervollständigen den CoreLeoni Sound mit unschlagbarem Groove und Energie und halten so den Motor der Band auf kraftvolle Weise am laufen.

Nach drei international hochgelobten Studioalben, ist "Alive" das Sahnehäubchen für alle, die die frühen Gotthard und den klassischen CoreLeoni-Sound lieben.

Sea Blue in Coke Bottle Clear Vinyl.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

Sea Blue in Coke Bottle Clear Vinyl LP + artist signed art print. Only 200 available.

Because Hold, Jack Tatum's fifth album under the moniker Wild Nothing, was written in the aftermath of new parenthood during the pandemic, it was probably inevitable that it would be searching and existential music. But during the recording process, the artist known for synth-pop tastefulness used it as an opportunity to reach for a new sonic maximalism and wider set of influences. With contributions from longtime collaborator Jorge Elbrecht, Tommy Davidson of Beach Fossils and Hatchie's Harriette Pilbeam, first single "Headlights On" features an acid house-worthy bass groove and breakbeat that prove Tatum is playing for the rafters. Tatum produced the rest of the record on his own, partially out of necessity, due to the challenges of the pandemic. The songs were eventually brought to Adrian Olsen at Montrose Recording in Richmond to begin recording drums and filling in the gaps. While largely a product of isolation, Hold also reflects the things Tatum has learned from collaborators, both on previous records and during his acclaimed work with Japanese Breakfast and Molly Burch. The rest of the record was mixed by Geoff Swan, who listeners might know for his work with Caroline Polachek and Charli XCX. Swan put Tatum's vocals high in the mix, and throughout the album, he embraces playful vocal processing like never before. Tatum moved from Los Angeles back to his home state of Virginia about five years ago in search of a scaled-back lifestyle. The relatively suburban environment - and the occasional regret it inspired - proved to be great artistic fodder. It's the paradox of modern America - the suburbs are supposed to be stultifying to art, but they are so full of human desperation perfect for dramatizing. On "Suburban Solutions", he presents an anti-jingle with an acidly bright synthesizer melody, imploring you to sign on the dotted line, put your feet up, and embrace sweet oblivion. Adding to the song's menacing cheeriness is a chorus-sung bridge, made with assistance from Molly Burch and Tatum's wife, Dana, It was loosely inspired by the classic Martika song "Toy Soldiers" and the long-ago pop craze for children's choirs, and he embraces the trend's less-than-stellar reputation. By design, Hold dwells in uncertainty and fear, but in a package that encourages meditation and a bit of fun. "In the face of the pandemic, I think being a parent really forced my hand," Tatum said. "I felt that I had no other choice but to have a positive outlook on the world. Because if I were to give in at any moment and say, "Oh, everything is horrible," then I'll feel as if I've lost and I've given up on my son being able to thrive in this world."

In March of 2020, after learning that a dear friend’s life was coming to an end, Johansing sat down and in one sitting wrote the song “Daffodils”. An elegiac tribute to someone facing death with grace and curiosity, the lyrics confront Johansing’s own mortality by observing the brief lifespan of a Hlower. Only a week later when the world came to an abrupt standstill, she soon found herself processing this recent loss while trying to make sense of a new global reality. Across the ensuing months, Johansing found herself increasingly untethered by a world of isolation and political upheaval.

Having been a frequent touring member of bands like Hand Habits and Fruit Bats, and often being called into the studio to lend her harmonies and multi-instrumental talents to records, Johansing’s phone no longer rang. Living in Los Angeles she feared her musical community was vanishing, as friends and collaborators continually announced they were leaving the city. It was in returning to her piano nightly that she found the greatest solace, feverishly writing the songs that would be collected on her next album. Resulting from this new sense of time and focus was a deepening of her songwriting. As Johansing recalls, “I felt like a metamorphosis happened during that time. There was a lot of personal growth and healing.”

Throughout Year Away Johansing traverses uncharted emotional landscapes brought upon by the changes occurring all around her. The forced self-reflection of the moment is aptly captured by “Old Friend”, featuring an aching melody and swooning production that recalls the best of Harry Nilsson. The epic piano and saxophone-driven “Smile with My Eyes” addresses the loss of community as friends became distant and political divides between family grew. On “Smile” Johansing pushes her vocals further than ever, expanding her range and using her peerless voice as the singular instrument it is. Facing the loss of a family home due to environmental destruction, “Shifting Sands” is marked by soaring Hlutes, Hield recordings and glassy synthesizers that nod to Japanese New Age.

“Daffodils”, the stunning album centerpiece, is built from a pastiche of looping samples, swirling Mellotron and dazzling vibraphone. “Keep your heart open wide, you never know your time / Keep your heart wild, true Hlower child”, Johansing sings as she says goodbye to an elder, while the band reaches a grief-stricken crescendo of woodwinds and chiming bells. On the title track, Johansing takes listeners on an eerily meditative journey of collective experiences. “I wanted to keep the progression simple and repetitive so that musically we could add new elements little by little, while the emotional tone of the lyrics becomes increasingly more strained and expressive”. The song grows to a fever pitch as Johansing sings higher than she thought possible; the tension of the repeating chords Hinally resolving into a hopeful coda as multiple soloists weave around each other.

Amidst heavier themes, Johansing still leaves room for her love of irresistible pop melodies and lush production. The driving “Last Drop” and mid-tempo “Valley Green” are two of her catchiest songs to date. On the former Johansing sings the anthemic chorus, “As if it were the last drop, and nothing ever lasts forever / As if it were the last stop, too far out to come back ever”, longing for a love that she’ll never take for granted, while also admitting that she doesn’t always know how good she has it. “Valley Green” features shimmering layers of 12- string guitars, stacked horns and an impeccable solo by co-producer and multi- instrumentalist Tim Ramsey (Vetiver, Fruit Bats), hinting at a love for bands like NRBQ.

Having been eager to capture the initial spark of songwriting, Johansing booked time at Highland Park’s 64 Sound Studio the week that it reopened. Over the course of three days, she and her band gathered basic tracks for 10 songs, before returning home to Hinish the record with Ramsey. Setting forth to make an album that paid homage to the music that kept them company during the months spent alone together, the duo pulled inspiration from a wide net including Burt Bacharach, John Carroll Kirby & Haruomi Hosono. Ramsey’s newfound love of early digital synthesizers dovetailed effortlessly with Johansing’s fondness for classic 70’s horn and string arrangements, creating a sound that is distinctly modern yet warm and familiar.

Once again Johansing called upon some of the Hinest players of Northeast Los Angeles’ vibrant music community to lend a hand with the record. The 70s R&B-folk of “Watch It Like a Show” features an electric guitar solo from Hand Habits’ Meg Duffy, while album closer “Endless Sound” boasts backing vocals from electronic musician Kaitlyn Aurelia Smith and swooping Indian-inspired violins from Amir Yaghmai (HAIM, The Voidz). The record shines brightly thanks to an ace mix from veteran producer Rob Schnapf (Beck, Elliott Smith, Cat Power), woodwinds from Logan Hone (John Carroll Kirby, Eddie Chacon), and a featured rhythm section of drummer Josh Adams (Jenny Lewis, Bedouine) and bassist Todd Dahlhoff (Feist, Devendra Banhart). Recorded across multiple studios including LA’s famed Sunset Sound, the album remains steadfastly buoyed by the adept engineering of Tyler Karmen (MGMT, Alvvays).

Though born of turbulent times, Year Away is ultimately interested in moving forward. The album ends with “Endless Sound,” where Johansing laments seismic global changes, (“The water is hotter, the mighty thaw / The current’s reversing, the last are lost”) but vows to keep going (“No storm can take me down / Endless light, endless sound”). It’s Year Away’s resilience that shines through despite the darkness. It’s a sound all her own and Johansing’s most cohesive set of songs yet.

Combo Aspik is a session band project founded and led by musician, producer and DJ Magic Manfred. The bass player teamed up with some of Berlin’s finest session musicians to produce a self-titled debut album fusing live music and club culture. The tunes are heavily influenced by Boogie and Jazzfunk of the late 70s and early 80s such as the music of Bernard Wright, Don Blackman or any underground Disco gems.

Musical innovators, Red Snapper, have announced that they will release a new album on Lo Recordings on the 20th of October 2023.

‘Live at The Moth Club’, the follow up to 2022’s acclaimed ‘Everybody Is Somebody’ long player, features nine tracks from a vast and impressive back catalogue on Warp Records and Lo Recordings and captures perfectly the energy of their celebrated sold out London show from May 2022 in Hackney.

With an incredible and genre bursting career that spans nearly thirty years, the new album demonstrates the band’s ability to constantly rework classic and new tracks, keeping them impassioned, experimental and relevant. The collection includes a version of ‘Suckerpunch’ which originally appeared on their 1998 album ‘Making Bones’ and will now be released as a single on the 15th of September 2023.

Notorious for casting convention aside, and remaining one of the UK’s most forward thinking and rule breaking live bands, Red Snapper embrace a unique blend of live, euphoric Afro-Jazz, Future Funk, Dub, Dark Hip-Hop and fragile soundscapes.

Formed in 1994, the original line up of Rich Thair (drums), Ali Friend (double bass) and David Ayers (guitar) released three EPs on Rich Thair and Dean Thatcher’s label Flaw Recordings. The first EP ‘Snapper’ featured Beth Orton on vocals.

Over the initial years the band released the sonically pioneering albums; ‘Reeled and Skinned’, ‘Prince Blimey’, ‘Making Bones’ and ‘Our Aim Is To Satisfy Red Snapper’ (Warp records), touring globally and supporting the likes of Massive Attack, Bjork, The Prodigy, De La Soul and The Fugees. They also acquired a reputation for innovative and expansive remixing – reworking tunes by Trouble Funk, David Holmes, Sabres of Paradise, Garbage, Lamb, S-Express and Edwyn Collins amongst others.

Since then the band have released the eponymous ‘Red Snapper’ and ‘A Pale Blue Dot’ on Lo Recordings followed by ‘Key’ on V2 Records which featured the track ‘Spikey’ which was on the soundtrack for El Camino, the Netflix Breaking Bad film directed by Vince Gilligan in 2019.

In 2013 Red Snapper composed a new soundtrack to the 1970’s Senegalese, psychedelic road movie Touki Bouki which had been restored by Martin Scorsese. The band toured Europe performing the soundtrack live to the film, culminating in the celebrated sell-out show at The Queen Elizabeth Hall on London’s Southbank. In 2014 the album ‘Hyena’ was released on Lo Recordings featuring all the music from their original film score.

Inspiration kann ein komponierender Jazzmusiker - und das sind streng genommen alle, bedeutet Improvisation doch "instant composing" - aus den unterschiedlichsten Quellen schöpfen: aus den Charakteristika seines Instruments, aus der Musik seiner Vorgänger, aus dem Erleben der Welt, ob als Erinnerung oder als aktueller Eindruck und mehr als in jedem anderen Genre, aus der Begegnung mit anderen Musikern. Beim ersten Duo-Album des Akkordeonisten Klaus Paier und des Bassisten Florian Dohrmann kann man den seltenen Fall erleben, dass alles zusammenkommt. Wie immer taucht Paier, so sensibel wie kein anderer, in den Klang seines Bandoneons und seines Akkordeons ein und Dohrmann merkt man ein besonderes Gefühl für die dicken Saiten seines Basses an - perfekt illustriert schon durch das aus einer Bass-Saite und einer Akkordeon-Tonklappe bestehende Kunstobjekt auf dem Cover. Ihre Themen finden die beiden Virtuosen in Standards von Ellington und Mingus ebenso wie in eigenen Kompositionen und Improvisationen. Ein Kaleidoskop an Motiven, Klangfarben und Rhythmen spiegelt ihre Gedanken und Gefühle wider. Und über allem thront der mitreißende Fluss ihres Zusammenspiels, das nur aus seiner musikalischen Seelenverwandtschaft jenseits aller Stile und Genres kommen kann. Ein Duo und ein Album, für das man keinen besseren Titel hätte finden können als: "Inspired Rendezvous".

With the label MPS, post-war musical history was written in Germany: noble music productions with many international greats come from the Black Forest and are timelessly legendary. In this tradition, HGBSBlue releases selected projects on high-quality vinyl.

The DLW trio has been working together for twelve years now and is now setting the tone in the modern European music scene, as the trio has long since left the boundaries of jazz behind. DLW, that is the sound-painting vibraphonist Christopher Dell, the virtuoso Danish bassist Jonas Westergaard and the German star drummer Christian Lillinger.

Time and again, the three jazz musicians from Berlin play together with artists from classical or avant-garde music. "Supermodern"
is the project that brings the three DLW musicians together with US pianist Bob Degen. This music is also unikal. It is a reverence
to the legendary Modern Jazz Quartet (MJQ), which in the 1950s was the link between chamber jazz and European classical music.
With "Supermodern," this reference to the MJQ is illuminated from the perspective of European avant-garde music, rather than
its African-American roots, which nevertheless resonate respectfully throughout.
DLW has "developed a concept based on repetition and difference. The starting point for a piece is always a single bar, which is
rhythmically interlaced and repeated trance-like until the smallest irregularities occur, which are written down and creatively
processed further. From this "superimposed combinatorics" (Christopher Dell) a perpetuum-mobile-like sound movement
develops, which is further radicalized on record by sound alienations and cut-up techniques." Thus respectfully wrote the Neue
Züricher Zeitung in August 2023.
Word has long since spread outside the German jazz scene that the DLW projects are always musically new. This is also the case
with the double LP "Supermodern 2", with recordings made in 2021 in analog at the MPS studio in the Black Forest. Together
with US pianist Bob Degen, who has been one of the creative voices of the German jazz scene for about 50 years, they play highenergy music, with sparkling virtuosity and close communication. A musical treat, further enriched by the immensely present
analog sound of this recording.

180g milchig-klares Vinyl, Gatefold-Jacket, bedruckte Innenhülle, inkl. Download-Karte Das amerikanische Instrumental-Trio Verstärker hat sich von den Klängen von Krautrock, Post-Punk, No Wave und Drone inspirieren lassen und vereint Sound und Visionen im Streben nach motorischer Weltraumforschung. Nach ihrem ausverkauften Debütalbum "Aktivität" aus dem Jahr 2015, mit dem sich die Band einen schnell wachsenden Ruf im Psych-Underground erspielte, erscheint Verstärkers zweites Album "Jenseits" am 27. Oktober 2023 bei Fuzz Club. Mit fünf Tracks, die sich über 45 Minuten erstrecken, ist "Jenseits" die Antwort der Band auf die moderne dystopische Welt, in der wir heute leben - mit einem schwereren und noch dunkleren Ton als bei den Vorgängern. "Überall fühlt sich alles am Rande des Zusammenbruchs an. Wir finden unsere Hoffnung in der Musik und der Kunst. Das ist die Zukunft, nach der wir streben." Auf "Jenseits" treffen dicht gewickelte Motorik-Bässe, harte Percussion und effektgeladene Gitarren auf düstere atmosphärische Drones in den seltenen Momenten, in denen das rasante Tempo der Platte nachlässt. Gitarrist J. Vitatoe erklärt über das Album: "Jenseits als Präposition bedeutet 'jenseits' oder 'auf der anderen Seite von', und als Substantiv bedeutet es 'das Jenseits' oder 'die nächste Welt'. Diese doppelte Bedeutung ist das Konzept, das sich durch die Platte zieht. Beim Motorik-Beat ging es schon immer darum, auf den Horizont zuzusteuern, um das Gefühl des immerwährenden Vorwärtsdrangs. Aber irgendwann erreicht man die Sollbruchstelle und stößt auf die andere Seite vor - man geht über den Horizont hinaus. Das ist es, was wir mit dieser Platte klanglich erreichen wollten.

Orange vinyl, 100 only

Cardiff-based, DIY-folk-pop collective, Quiet Marauder, are set to release their 5th album at the end of October 2023. This follows on from their madcap 111-song debut album, MEN (2013), as well as the more recent Tiny Men Parts (2020) and The Gift (2021), and continues their long-established relationship both with their label, Bubblewrap Collective, and Canadian collaborators, The Burning Hell.
Recorded in a Snowbird Studios pop-up in Lourinha, Portugal, Introducing Malcolm Del Monte continues the band’s fascination with high concepts and musical, album-length storytelling. At its core, it is an album about self-identity, isolation, and our innate fluctuations as human beings. Set during the pandemic, the album's a very loosely autobiographical (read: almost entirely false) account of band leader Simon M. Read's day-to-day life during Covid lockdowns with partner, Kadesha Drija, and imaginary friend, Malcolm Del Monte.
Choosing to largely avoid the topic of the pandemic altogether, Introducing Malcolm Del Monte instead charts the highs and lows of these living arrangements. These range from outrageous daytime drinking (high) to disagreements on the nature of perversion (low), with the first half of the album covering Malcolm’s emergence and ultimate expulsion from the house. With his absence being sorely felt, the second half sheds light on the alternative voices looking to fill that Malcolm-shaped space: a murderous green giant; a despondent Milk Tray Man; and a broken-necked, hypersexual Jet from Gladiators.
As with their previous story-based albums, the foreground narratives act to enable background allusions to other core concerns: the power of nostalgia; advertising and cultural consumption; well-being and isolation; balancing acts of the self. Ultimately, the album’s message is of striking a balance between self-questioning and improvement, and most of all, not being too hard on yourself when things don’t feel quite right.
Sonically and seamlessly ranging from alt-folk to industrial synth to melodic indie-pop, Introducing Malcolm Del Monte covers a lot of ground. Injected with the musicality of Quiet Marauder themselves, as well as Canadian kindred spirits, The Burning Hell, instrumentation includes flute, piano, chunky bass, acoustic and electric guitar, programmed beats, synthscapes, bamboo clarinet, bongos, and a heap load of vocals. Indeed, alongside the main lead voices of Simon M. Read, Kadesha Drija and Malcolm Del Monte (Rowan Liggett) there are guest performances from My Name Is Ian and The Burning Hell’s Mathias Kom.
The album will be preceded by lead single and video Momma Mia! I Made You Some Sangria! on 22nd September,

There's a new band in town! comforter2 is the new baby of Meetsysteem, Tammo Hesselink & Marianne Noordzij. Born from a residency space in Arnhem as they we're being snowed in over the pandemic, comforter2 is a band for club heads and a club act for band heads. Sometimes two worlds meet - and through this conversation love is found - that's a quote from the album > there's a lyric sheet included with the cassette so you can read along. If you're familiar with their solo projects you won't be surprised by the size of this debut; 16 fresh, club-leaning, indie pop/rock tunes that we'll release on cassette as well as digital. The tracks are formed by all members: Tammo's knack for bass and rhythms, Meetsysteem's song- writing skills (the album is sung in English) and together by Marianne's designs and voice, adding a touch of blissful psychedelia. It's an honest, upfront album about the highs and lows of modern life, seen through the eyes of a raver at their peak. It lends their sound a sense of alluring melancholy, a beautifully bittersweet sense of mood that stays with you long after the rhythms have finished. Like lullabies, for the dancefloor.

His much-anticipated second album, Steady Away, moves inward and takes on a more self- reflective quality, whilst retaining glimmers of soaring figures and pastoral imagery.

Brain's distinctive warm vocal and finger- picked guitar style are sustained alongside expansive strings and delicate piano arrangements, taking shape through evolving and introspective impressions on tenderness, loss, pain and awe in nature.

The album was recorded at The Nave, an old refurbished church which is now a studio. Glancing off The Nave's eaved ceilings with natural reverb, Steady Away's 11 tracks, recorded by Tom Orrell, capture the intimacy of Chris' songwriting.

Musicians appearing with Chris on the album are, on piano - Simeon Walker, violin - Mary-Jane Walker and on double bass - Alice Phelps.
Steady Away further embeds Chris Brain within the contemporary folk scene, whilst gesturing towards the folk tradition. His commitment to folk is only deepened by the two folk clubs and folk festival in Leeds that Chris founded and runs, attracting a wide range of audiences and musicians alike.

Having performed in- demand Christmas shows at Jazz at Lincoln Center and around the world, Sands offers such classics as "Let It Snow, Let it Snow, Let It Snow," "Do You Hear What I Hear," "Sleigh Ride," Have Yourself a Merry Little Christmas," "Silent Night," "Jingle Bells," and "God Rest Ye Merry Gentlemen" as well as a few surprises.

Joining the NAACP Image Award nominee is vibraphonist Stefon Harris, saxophonist Jimmy Greene, guitarists Max Light and Marvin Sewell, bassist Yasushi Nakamura, percussionist Keita Ogawa and drummer Ryan Sands.

The sixth UFOs outing is another intergalactic adventure in sonic form and this time at the buttons it's New Balaance, a Mexican artist at the heart of a new wave.

Space Jungle though is an apt title for this EP, which kicks off with some stylish breaks and nimble basslines overlaid with lush cosmic arps. 'Space Jungle' (feat Parallax Modulators brings a more pensive mood thanks to the sustained chords and deeper grooves, but subtle acid and chattery perc bring it to life.

'Grantourismo' is a lively and dynamic cut with more swirling synth work while 'Redemption' closes down this quartet of excellent explorations with a mix of 90s prog, techno and breakbeats all imbued with plenty of colour.

Supported by Roger Gerressen, Andrey Pushkavev, E.Wan, Hermanez, youANDme, Philipp Priebe, Ohm, Jason Kendig, Barbara Preisinger

French Berlin-based producer and DJ Anthony Georges Patrice returns to his own Ausblick imprint this October with 5NRG accompanied by a remix from the much loved Playhouse artist LoSoul.
Throughout the past decade France's Anthony Georges Patrice has been steadily unveiling his productions on the likes of Berlin's Lossless, Ghetto Rhythms Records and of course his own Ausblick where he returns here, all the while honing his skills as a DJ through regular appearances on his adopted home turf of Berlin and further afield to Amsterdam, Paris and beyond.
Here, Anthony makes awelcome return to Ausblick with a new 12" release and leading the way is on the a-side is the original mix of ‘X5NRG’, a DJ tool like clubcut fuelled by trippy vocal loops, murky atmospherics, a throbbing bass groove and resonant synth sweeps all underpinned by a crisp4/4 rhythm.
On the flip-side Germany's groove maestro LoSoul flips the original with his own unique twist, laying down a near twelveminutes of subtly unfurlinghypnotisminhis signature fashion. Fragments of the originals atmospherics and vocals are dubbed out while LoSoul's raw, skippy rhythmic style and unfaltering drive keeps listeners locked in
throughout.

The Spanish-Dominican label led by the Spanish Sergio Parrado and the Dominican Jee Bear presents its Lmtd series, where art, design and music go hand in hand. A collectible series where each reference is a piece of a mural by the Argentine designer Lucien Le Grub, this being the first of four.

This first reference is the work of Chilean Alejandro Vivanco (Cadenza, Melisma) who joins forces with fellow Chilean Dorian Chavez (8bit, Viva Music) to bring us this incredible “Dabtrack”.

The original cut (A1) is to go back in time, return to the essence of the mid-2000s where artists like Luciano or Ricardo Villalobos put the Andean country in the eyes of the world with their organic micro house. “Dabtrack” is about this, but with a renewed sound, where the organic and the digital embrace to create an intense track, with fat basses that will make the sound system rumble. Special synths that catch you to create a magnificent sound collage.

The A2 is for the master master and lord of the deep sound. We are talking about the Romanian Mihai Popoviciu, who brilliantly reinterprets the track and takes it to his own terrain, but without neglecting the essence of the original and giving it his particular groove that works so well late at night. The groove, together with the set of synths, which elaborates it magnificently, makes his remix of Dabtrack” an indispensable work in the DJ's suitcases.

Now it's time to close this incredible album. For this we have reserved the entire B-side for one of the Chilean artists who has left the most mark in the last two decades on the international electronic scene: Pier Bucci. He takes us on a 12-minute journey through his signature style where anything can happen. Little more to say, we invite you to discover it for yourself. Because it is a work of art.

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

Repress!

Last year's release of "The Midlands Roots Explosion Volume One", saw the culmination of many years work spent tracking down artists and tapes to shine a light on one of England's greatest, yet most overlooked musical scenes, the home grown take on reggae that briefly flourished from the mid-seventies and had almost disappeared little more than a decade later.

Volume Two starts off in exactly the same way as its predecessor with Handsworth's biggest musical exports, the legendary Steel Pulse and "Bun Dem produced by the legendary Dennis Bovell. Our first act new to the series are Natural Mystique with their 1982 single "Generals" whilst tracks 3, 4 and 5 round off the missing A and B sides from some of the most popular artists we included last time with Iganda's "Mark Of Slavery", Carnastoan's "Sweet Melody" and yet another Generals, this one from Musical Youth featuring the same line up that caused so much surprise and positive feedback with their inclusion on Volume One.

"Africans" from Bass Dance featuring a second appearance from former Steel Pulse guitarist/vocalist Basil Gabbidon, is the first of four previously unreleased tracks. The other three that we've managed to track down on long forgotten tapes, are Leicester's Groundation with "Rebel" recorded a few years before "Fa Ward" which we included last time, "Cannot Take It Away", another lost gem from Handsworth's Mystic Foundation and "Equalisation" another lost slice of early eighties roots from Wolverhampton's Capital Letters.
The late Linton Haughton is another new name with his scarce Shield label 12" cut "Hustling Man". Also making their first appearances, are Afrikan Star with "Run And Hide" originally issued in 1980 on Black Vinyl Records and from the Crucial Music stable, Sledge Hammer with "Ruled By The Stone" released as a 7" single on the Crucial Music Inc. label. The remaining three tracks are provided by label favourites and key players in the Birmingham scene, Black Symbol, Sceptre and Eclipse and showcase songs from the individual albums we've previously released by each band.
British roots reggae at its finest.

McCombs is one of the most highly regarded bassists/guitarists working today, known for his pioneering band Tortoise, his bass playing in Chicago"s Eleventh Dream Day, and his innovative instrumental group Brokeback. He has released albums with guitarist David Daniell, and collaborated with the likes of Tom Zé to Yo La Tengo, Stereolab to Daniel Lanois. In addition to being the touring bassist for The Sea and Cake, McCombs has somehow found time to form a new trio Black Duck with guitarist Bill MacKay, and percussionist Charles Rumback. Douglas McCombs" VMAKMcCombs" debut solo album is a mix of improvisation, textural explorations and recurring melodic themes. Taking after Brokeback"s classic Morse Code in the Modern Age: Across the Americas, "Two To Coolness" is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer/guitarist/synth player Sam Prekop (also of The Sea and Cake). "Green Crown"s Step" was largely improvised working through melodies and patterns. The stately "To Whose Falls Shallows" reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album. On the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs" work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. This is an absolute essential for followers of McCombs and newcomers alike, as the album lays bare his influence on each of his groups as well as firmly stakes McCombs as a force all his own.

American jazz bassist, composer, and producer Jaco Pastorius was a member of Weather Report during the Seventies and also recorded albums as a solo artist. As of 2017, he is the only electric bassist inducted into the Downbeat Jazz Hall of Fame and has been lauded as one of the best electric bassists of all time.

He recorded five albums in total with acclaimed drummer Brian Melvin, including the 1989 Jazz Street. This body of work is one of Pastorius' last studio dates and features session musicians Rick Smith, Jon Davis, Paul Mousavi, Bill Keaney and Keith Jones. Together they recorded cover versions of jazz classics; Joe Henderson “Out Of The Night”, John Coltrane “Miles Mode”, and three Jon Davis tracks, “Wedding Waltz”, “No Slack” and “Drums Of Yadzarah”.

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

A Tonic For The Troops have, after extensive touring, established themselves as a tight collective with high octane performances providing enjoyable and accessible jazz. After several ‘top of the year’ lists for their debut album Ambush, ATFTT are joining forces again for their second album! The ingredients still consist of straight ahead post-bop with a modern and contemporary sound, but ‘Realm of Opportunities’ also opens up a more lyrical and emotional approach. Ellen Brekken has established herself as one of the most versatile bass players in Norway today. In A Tonic For The Troops we can see her evolution as a composer as well, with a firm grasp of melody and development, demonstrated in cinematic and suite-like tunes.The band utilises the strengths of some of the most energetic performers on the Norwegian jazz scene today, leading successful bands in their own right. Espen Berg (piano), Magnus Bakken (sax) and Magnus Sefaniassen Eide (drums) all bring great solo contributions too, but the band´s real secret weapons are both their playful interaction and also their openness to using a melting-pot of musical ideas. A Tonic For The Troops demonstrate once again with 'Realm of Opportunities' that their energy and motivation are at their peak, showcasing a life-affirming band in top shape!
Ellen Brekken (double bass) Magnus Bakken (tenor saxophone) Espen Berg (piano) Magnus Sefaniassen Eide (drums)

A1 - Theia

Opening his Spatial account in an historic release for the label and a moniker dormant for over 25 years, JLM Productions opens the EP with Theia - a track which will take you right back to early Progression Sessions days - delicately introduced with blippy effects and hi hats, ushering in crisp metallic beats and relaxing padwork. The track develops continually with soothing melodies and amens added into the mix, resulting in a stunning and varied collage of finely tuned elements that never sound too busy to the ear - JLM Productions, welcome back!

A2 - Derealization

Changing things up while still showcasing the ability to combine a crazy level of detail into a cohesive mix, Derealization is a suspenseful, slightly moody track with JLM Productions laying down distinctive snappy breakbeats and sudden, fierce bassy hits, with tension rising from the eerie synthwork to envelop the listener throughout a track which demands repeated listens and will surely do damage on the discerning dancefloor.

AA1 - Quadrature

With a vibe reminiscent of his output in the mid-90's Reinforced era, JLM Productions drops Quadrature which takes that inspiration and brings it right up to date for Spatial in 2023, effortlessly combining synthetic breaks with understated echoing bongos, restless wavy notes and old school melodies punctuating the immersive atmosphere of the piece. This one thoroughly deserves pride of place in the "old school brand new" club.

AA2 - Translight Velocity

Continuing the old school theme, Translight Velocity quickly shows it's intent with inspired off-key notes before a lesson in joyous 90's style breakbeats leaps out of the speakers - not a single head in the room will be still with this on deck! Bouncy basslines and finely crafted drums from a variety of break samples jump around chaotically, sending your mind to the dancefloors of old in a way that feels incredibly fresh today

Words by Chris Hayes

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Nachfolger des von der Kritik gefeierten, selbstbetitelten Debütalbum, Vambo mit ihrem 2. Studioalbum. Zwölf Tracks dienen als Schaufenster für das beeindruckende musikalische Talent und die energiegeladenen Auftritte der Band. Die Songs bieten eine Mischung aus melodischen Refrains, knallharten Riffs und dynamischen Gitarrensoli und versprechen ein aufregendes Hörerlebnis. Das Album lässt sich sowohl von "klassischen" Rock-Sensibilitäten als auch von zeitgenössischen Einflüssen inspirieren und präsentiert eine frische und innovative Herangehensweise an das Genre. Produziert von Ray Stiles, ehemaliges Mitglied der 70er-Jahre-Glam-Rocker Mud und langjähriges Mitglied von The Hollies. Jack Stiles Gesang, mit seiner fesselnden Präsenz und kraftvollen Stimme, ist eine magnetische Kraft, an der Gitarre entfesselt Pete Lance eine donnernde Energie, die die Aufmerksamkeit des Publikums vom ersten Powerchord an auf sich zieht, David Flitt, ein dynamischer Schlagzeuger, der die treibende Kraft hinter Vambo ist, der Kraft und Subtilität verbindet. Schließlich noch James Scotts provokante Basslinien verleihen Vambos Musik Tiefe und Kraft. Wie in der "High Hopes"-Strecke des Classic Rock Magazine zu sehen ist, haben sich Vambo als aufstrebende Kraft in der Rockszene etabliert, die nicht zu übersehen ist. Als Live Band ausgiebig auf großen Festivals unterwegs, z.B. das Download Festival, das Isle of Wight Festival und das Stone Free Festival und als Support für Acts wie Jared James Nichols, Y&T, Praying Mantis, Stray und Cats in Space.

Brian Auger’s Oblivion Express was the phoenix that rose from the ashes of sixties combo The Trinity. Fusing R&B, jazz, soul and funk, keyboard maestro Brian Auger created a new breed of music that took the US and the UK by storm. Auger’s unique experimentation culminated in rhythm-infused jazz funk that united Black and white ’70s audiences. The 6 studio albums that make up Complete Oblivion illustrate the group’s diverse musical influences and progression, from the 1970 self titled debut’s heavy jazz-rock to the jazz fusion, latin and disco tinged Reinforcements from 1975 - this process no doubt powered by the groups’ evolving line up, which included guitarists Jim Mullen and Jack Mills, drummers Robbie McIntosh & Steve Ferrone, bassists Barry Dean and Clive Chaman and vocalist Alex Ligertwood. The musical highlights within Complete Oblivion are many, but particular highlights to mention have to be Total Eclipse (Oblivion Express), Fill Your Head With Laugher (A Better Land), the blistering cover of Eddie Harris’ Freedom Jazz Dance (Second Wind), the Barry Dean composition Whenever You're Ready, the version of Marvin Gaye’s Inner City Blues (Closer To It), Beginning Again (Straight Ahead) and the mind bending keyboard tour de force Brain Damage (Reinforcements). Given the groups legendary status among fellow musicians such as Zucchero and Herbie Hancock, DJ’s like Kenny Dope and Gilles Peterson and Auger’s legion of fans worldwide - that mission was fully accomplished - or to put it another way, in the words of super fans The Beastie Boys: “Those who remain oblivious to the obvious delights of Brian Auger’s Oblivion Express do so at their own risk!”

On My Own Terms / Time, a new non-label created for Yorobi's self-released projects.

The first ep "Projection Palace" features 4 tracks across various genres and tempo's.
From bass heavy breaks and house to sound along the hardcore jungle continuum.

The name of the ep refers to a psychological principle of "projection", whereby you project certain (negative) qualities onto others without them being necessarily right.
Quite often the projections say a lot more about the person who's doing the projecting rather than the person on the receiving end.
The idea then was to make an EP that revolved around this theme. The palace bit being a metaphor as if you were a house which would show you all these mirrors which are wonky and distorted, like a fun house on a fairground

Eine neue Band aus der aufblühenden norwegischen Metal Szene. Sänger David Rosario war auf der Suche nach jemandem, mit dem er seine Songs aufnehmen konnte. Die Chemie mit Gitarrist Stein Hjertholm und Schlagzeuger Per-Helge Bruvoll war perfekt , also nahmen sie ein 3-Song-Demo auf und die Idee von Rozario war geboren. Das war kurz vor der Pandemie und natürlich waren alle Aktivitäten sehr eingeschränkt. Sie nutzten ihre Zeit und konzentrierten sich auf das Songwriting und die Suche nach der Richtung der Band, wobei alle drei Songwriting-Beiträge beisteuerten. Rozario tat sich dann mit dem Produzenten Trond Holter (Wig Wam, Holter, Jorn etc.) zusammen. Während der Aufnahmen wurde die Besetzung der Band durch den jungen Gitarrenvirtuosen Johan Jamtfall und den Bassisten Anders Halsan Engum komplett

Fresh from supporting Blur at Wembley Stadium this summer, Sleaford Mods are getting set for some of their biggest ever UK and Europe dates this autumn with the release of new six track EP, More UK GRIM, on 20 October. Recorded at the same time as their acclaimed 2023 album, UK GRIM, the freshly released songs not only continue Andrew Fearn and Jason Williamson's current dancefloor dominance, but with a mix of insight and wit, outrage and compassion, they critique and celebrate our turbulent times.à Lead single Big Pharma, shares a 'take no prisoners' lyrical approach with the band's recent album as it casts a doubtful eye down the 'truther' wormhole, although entwined around a slinky bass riff the track confirms the two-piece at their most dexterous musically. Big Pharma, which sets the tone for the More UK GRIM EP, is accompanied by a sharply satirical animated video directed by Sean Sears, who has applied his distinctive, stylised 2D vision to examining the consequences of a health 'philosophy' that prizes drinking urine over carefully researched medical treatments.à "Big Pharma was written in the opening chapters of autumn 2022 when Covid kicked in again. It carries a lot of the normal Sleaford Mods absurdism but also looks at the ongoing fascination with trying to find truths in information wholly pushed by very questionable people," explains Jason Williamson. Alongside the lead single, the More UK GRIM EP also features Under The Rules, Old Nottz, PO Crazeh and My 18hr Girdle, all previously unavailable.

It’s been a hot moment, so we can’t wait to finally announce the next EP on our Awkwardly label, “a hack is a foul“ by dadan karambolo.

Safe to say he’s been on our radar for a while, so we’re mighty excited to welcome the Wroclaw-based producer on AWK005. After a strong debut release on his co-owned SPLOT imprint, an equally solid LP on Regime Brigade as well as contributions to various compilations, dadan is back with his signature moody, bass-bin shaking sound.

Hitting the sweet spot somewhere between dubstep, grime, breaks and ambient techno, these 4 tracks provide a somber yet seductive quality that invite the listener to get lost in a hazy amalgamation of stylistic elements. Rest assured, this combination of low end and rhythm heavy explorations contains the right formula to cause some damage on the dance floor.

DJ picks ups and plays by: DJ Voices, EMA, Ehua, Kassian, HAAi, Ila Brugal, Jaye Ward, Mani Festo, mi-el, Nala Brown, Om Unit, Peder Mannerfelt, Pinch, Stenny, Sybil, Tom Ravenscroft, Toumba et al.

Industrial music by two key figures of the Swedish scenes for metal, doom, prog rock, and experimental music: keyboardist Carl Westholm (Carptree, Avatarium, Krux, Candlemass) and bass player Gustaf Hielm (who has played with Pain of Salvation, Meshuggah, Mats/Morgan, Tiamat, and many more). For this album, instead of relying on their main instruments, they gathered a vast array of
synthesizers, machines, and other unpredictable electronic devices and sound sources. Coincidences and pure chance, rather than traditional composing, led the way to the result — a highly unique and
musically complex album. A much more ominous creature than they had ever expected, Westholm and Hielm had no option but to let ”Claim" have its way with both of them. Now it is coming for you. ”Claim” is published digitally, on CD, and on a very limited LP edition.

Appleton, Wisconsin’s Dusk may seem to have fallen from the sky. Surrounded by a music climate of destination festivals and instagram celebrity, they’ve remained reclusive, yet focused on the proverbial
carrot on the end of the stick that’s hard for so many working musicians to define. For the past four years, they’ve maintained a steady schedule of recording and “hitting the dirt,” as they say: spending weeks on the road playing dives and basements. The group was conceived in 2014 as a casual recording project between vocalist and bassist Amos Pitsch and drummer Colin Wilde. Amos had just
completed recording Predatory Headlights, the critically acclaimed double album by his other group, Tenement, and with the new found down time, he and Colin arranged their own versions of vintage
soul songs. The intention was to treat the project like a revolving door for collaborators, but soon the permanent additions of vocalist/pianist Julia Blair, lead guitarist Tyler Ditter, and Ryley Crowe on pedal steel, rhythm guitar, and vocal duties would cement the band into a connsistent rock and roll ensemble; informed by soul music, country, jazz, and beyond.