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Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

Neon Green Vinyl, limited to 500 copies. Bob Balch from FU MANCHU here. The idea for the SLOWER project started around four years ago. I was teaching a student how to play "South Of Heaven" by SLAYER but she was a beginner so we slowed it down. I thought that sounded cool so I tuned down to B standard and tried it. I added some drums and thought "someone in the doom community should do this and name it SLOWER." A few years later I befriended Steven "Thee Slayer Hippy" Hanford, best known for his work as the drummer in the influential Oregon punk band Poison Idea. He was backstage at a FU MANCHU show. Oddly enough I was wearing a POISON IDEA shirt and he told me that my shirt sucks. I asked who he was and why he was in our backstage. He told me and I felt stupid. We started drinking whiskey and talking about music. We stayed in touch over the next year or so and during Covid I told him about my SLOWER idea. He asked me to send him tracks. I waited too long because the day I sent the tracks he passed away. Totally tragic. I'm glad I got to know him even for a few years. He was a monster musician with a giant heart. He will be greatly missed. I shelved the project for a while after that. One day Esben from MONOLORD posted about musical collaborations. I love MONOLORD so I thought what the hell. I sent him some tracks and he killed it on drums. So I sent more. Then more. Shortly after that we started reaching out other musicians to get them involved. That's how we ended up with this lineup. Everyone that contributed completely knocked it out of the park and I can't thank them enough. This project has been a long time coming and I'm beyond stoked on how it turned out. Without all of the players involved, Steven Hanford and my baritone Reverend guitar it wouldn't have happened. Thanks to everyone involved and I hope you dig it! I'm a giant SLAYER fan so it's been a treat to dig into these classic songs. Hopefully we can do another record in the near future. Look out for shows because they will happen! Esben Willems - When Bob first approached me with the idea and I heard his scratch guitars, my first thought was "This is genius". Those iconic tracks we all know by heart suddenly unveiled an unexpected dimension. I'm really proud of how this turned out. Peder Bergstrand - "This might be blasphemous considering the circumstances, but when Bob reached out and asked if I'd want to play bass on sludged-out Slayer covers, I had to admit some of these tracks were brand new to me. That made the experience even more special though, hearing and playing on the Slower version first, and then comparing to the original. Bob has really transformed these songs into something totally their own, and on a personal level I feel the rest of the band's insane performances pushed me to my most inspired playing to date. So incredibly stoked for people to hear this album."

Gianni Brezzo (213k Monthly Listeners on Spotify), the jazz affiliated band / studio project led by Cologne-based producer maestro Marvin Horsch, has a diverse musical profile that is reflected both in his genre-hopping as well as his creative output. Along with producing for Cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, including 2021’s “The Awakening” which featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s 2022 LP “Tutto Passa,” released on Jakarta Records, was a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani and Armando Trovajoli to more recent work by Sven Wunder. This was quicklya followed up with EP “Amoria,” an extension of the themes grown from “Tutto Passa,” along with the groovy baroque-jazz of LP “Soundscapes Vol. 1 – Music for Harlequins.” Gianni’s tracks have consistently placed on Editorial Playlists including Spotify’s “State Of Jazz” (908k Likes), “Lounge Jazz” (75k Likes) “Jazz-Funk” (316k Likes) and more, and most recently was synced in an episode of Gossip Girl for HBO US. Gianni Brezzo’s new project, “Filigrani” is a testament to the continued sonic growth and experimentation that pushes the music to new heights. The tracks, meticulously crafted, were born live in the studio, capturing the raw energy and creativity of Brezzo's jazz-driven genius. "Filigrani" introduces a unique fusion, seamlessly blending jazz progressions with touches of ambient electronics. Brezzo weaves a tapestry of sound, inviting listeners into a world where guitar melodies intertwine with subtle drum beats, dreamy harps, and the enchanting whispers of saxophones and flutes. The result? A groovedriven masterpiece that expands the boundaries of sonic artistry. The single and LP artworks by the esteemed Jason Jagel (MF DOOM, Madlib, JJ Whitefield) provide the perfect accompaniment to Gianni’s ever shifting grooves. The albums lead single is eponymous “Filigrani” due out Wednesday, November 22nd with LP pre-order announcement the following Friday, December 1st. This is to capitalize both on Gianni’s upcoming festival appearance at Linecheck in Milan on November 22nd and Bandcamp Friday on December 1st. With a guitar + drum progression that will have you swaying along, the track ebbs and flows as if your ears are gently skiing down fresh sonic powder. Recorded live in studio, the tracks lush horns and tranquil synth pads slide to and fro, combining the best of Khruangbin-style acoustics w/ Gianni’s unparalleled creativity. 2nd single is the lush, late-night vibes of “Milan Nights” out December 13th. Perfect for cozy evenings around the fire and slow dances with that special someone, the tracks harp, guitar, saxophone and slow, yet light and driving drums are a perfect groove to fall into the holiday vibe with. All you need is snow. Focus track is the effortlessly smooth, soulful jazz-funk piece, “Dreams of Sudden Clarity.” Certified 100% fresh, it’s a perfect way to kick off the year. The progression gives you a euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find. Promotion will be handled via the label and artist profiles, along with further promotion by external agencies within Italy where Gianni has upcoming live events.

"Vor ein paar Jahren, nach einem Konzert in irgendeinem zentral-niederösterreichischem Club, vielleicht Melk, vielleicht Krems, vielleicht Sankt Pölten, kam ein schöner junger Mann zu mir. Er heiße Thomas Gravogl, sagte er und schenkte mir in ansonsten wortkarger Grandezza eine Schallplatte. Das Cover zeigte eine Krähenfeder, "Gravögl" stand drauf, und der Titel: "In da Finstan". Das Ganze war ein schöner Moment. Als ich die Platte anderntags hörte, war ich begeistert, und mehr noch, nach dem zweiten oder dritten Hören dauerhaft ein bisschen zum Besseren verändert. Der Dichter und Sänger Thomas Gravogl und seine Band, die Gravögl, stellte sich heraus, waren vier Zauberer aus dem bergigen Süden Niederösterreich, dort, wo sich Pielach- und Traisental durch sonnabgewandte Hügel immer höher in die waldigen Ostalpen schlängeln, in Richtung der Madonna von Mariazell und des mächtigen Ötschers. Wie diese wilde Gegend ausschaut, so klingen die Gravögl-Songs in ihrer weit zurückgelehnten Virtuosität. Es sind Outlaw(berg)balladen, Lieder, wie sie überall möglich sind, wenn auch überall nur ganz selten, und, yeah, halt auch in den Wäldern hinter Lilienfeld. Seit unserer Begegnung in diesem Club, an den ich mich nicht mehr erinnere, haben Thomas Gravogl und ich immer wieder darüber gesprochen, einmal miteinander "was zu machen". Jetzt veröffentlichen Charlie Bader und ich das zweite Album der Gravögl: Imma is irgendwos. Es ist eine Lieblingsband. Es ist eine Freude."

Das Fieber-Mixtape auf Vinyl. 19 Anspielstationen inklusive Skits und mehreren Gästen. Gepresst auf schwarzem Gold, mit Inside-Out gedrucktem schwarzen Front- und Backcover. Erhabene Hochprägung auf dem Cover. Ein Zahn mit Heißfolienprägung in Silber. Giftgrüne „Schach“-Innentasche und „Schach“-Labels auf der Vinyl selbst. Der Rücken der Vinyltasche ist um 5 mm verstärkt und mit einer „Abriss“-Lasche verschlossen. Entweder als Sammlerstück verschlossen halten oder Aufreissen und das Fieber ausbrechen lassen! Für das totale Mixtape-Hörerlebnis ohne Kennrillen gepresst. Die Nadel läuft auf jeder Seite an einem Stück durch. Inklusive (gefaltetem) Poster (600x900mm) in der Vinyltasche.

Das Fieber-Mixtape auf Vinyl. 19 Anspielstationen inklusive Skits und mehreren Gästen. Gepresst auf schwarzem Vinyl, mit Bordeaux-rotem Front- und Backcover. Erhabene Hochprägung auf dem Cover, alle Zähne und „Fieber“-Schriftzug in Silber. Schwarze „Schach“-Innentasche und „Schach“-Labels auf der Vinyl selber. Der Rücken der Vinyltasche ist um 5 mm verstärkt und mit einer „Abriss“-Lasche verschlossen. Entweder als Sammlerstück verschlossen halten oder aufreissen und das Fieber ausbrechen lassen! Für das totale Mixtape-Hörerlebnis ohne Kennrillen gepresst. Die Nadel läuft auf jeder Seite an einem Stück durch. Inklusive (gefaltetem) Poster (600x900mm) in der Vinyltasche. Limitiert auf 2000 Stück. Nur solange der Vorrat reicht.

Top-rated West Coast garage sounds from the vaults of maverick genius Gary S Paxton. Acknowledged classics, tantalising obscurities and several previously unheard gems, all from the original master tapes, including tracks by Limey & The Yanks, The Avengers, The Whatt Four, The Buddhas_ among many others. Vintage garage rock is only one of the many tributaries of popular music that the maverick Gary S Paxton recorded and produced in his 1960s heyday, and compared to other genres, the off-kilter genius behind 'Alley Oop' and 'Monster Mash' was hardly prolific with it. But for a producer-engineer of his repute, it was inevitable that Paxton would cross paths with the sudden surge of teenaged rock groups that emerged in the wake of the British Invasion. We've gathered the best of them on "Lost Innocence", and for any aficionado of the genre, a treat is in store. As well as a brace of acknowledged Californian punk classics present and correct for the first time direct from master tape, this rockin' little disc also shares further booty from the Garpax vaults, including some obscurities well worthy of re-appraisal, along with completely unreleased nuggets of note. Counting among the well-known are the Avengers, Bakersfield's top dogs in the punk bracket thanks to snot-nosed missives such as 'I Told You So' and the controversial 'Be A Cave Man'. Ken & the Forth Dimension and Limey & the Yanks serve up the highly regarded items 'See If I Care' and 'Guaranteed Love' respectively, with a trio of ear-opening unissued tracks from the latter as a bonus. Riverside's Whatt Four weigh in with the popular ear-burners 'Our Love Should Last Forever' and 'You're Wishin' I Was Someone Else'. And the Buddhas' title cut is still the most eloquent ode to carnal knowledge in the entire 60s punk pantheon. Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

Soul To Burn features highly inventive and memorable avant-rock songs by trio of celebrated musicians, Reciprocate. The germ of the notion that would flower into Soul To Burn came when Reciprocate’s vocalist/guitarist Stef Kett reflected on the idea of funk rock. It ought, he thought to himself, be the best of genres but so often in practice it ends up being the poorest. True enough. Kett decided to approach the problem from a fresh angle, multiple fresh angles, grinding angles, creating an “alt-soul” in which the soul gets to stretch and burn, applied with the power of a rock’n’roll trio but dynamism and agility, rather than cumbersome bulkiness. Reciprocate is a super-group made up of highly celebrated musicians from the UK DIY music scene – their singular, searing-hot power conjured by Stef Kett (Shield Your Eyes) in tandem with drummer Henri Grimes (Shield Your Eyes, Big Lad) and Marion Andrau (The Wharves, Underground Railroad) on bass. The result is the excellent Soul To Burn, which proceeds at a cadence all of its own, halting and blasting, ducking and weaving, zooming away from its distant cousins: Taste era Rory Gallagher or Mr Zoot Horn Rollo of Captain Beefheart’s Magic Band. That’s particularly evident on “Self Regarding Floor Sweepings”, with echoes of “When Big Joan Sets Up” from Beefheart’s Trout Mask Replica, especially with Kett’s added harmonica as the trio hit the winding dirt track, slaloming and swerving. Here is an album of full throttle soul, an avant-rock made up of ear worms so intoxicating they borrow from deep in the mind down deeper into the heart – it’s the cool, weighty groove of Tony Joe White leathering it at full throttle, fuelled by virtuosic back beats that remind of somewhere between the rolling rock of Mitch Mitchell and the fractured noisebeat of Lightning Bolt’s Brian Chippendale: immediate, innovative, virtuosic, exhilarating. Key to the impact of Soul To Burn is Grimes’ drumming, a force unto itself, which sometimes feels like it’s engaged in a creative and playful tussle with Kett’s virtuosic vibrato guitar. Take “Rhodia”, which sounds initially like a radical reworking, an anagram of Free’s “All Right Now”, on which Grimes doesn’t so much hit the groove as hammer it into the ground. Reciprocate tend to be averse to mere repetition, too full as they are of ideas, possibilities. But they know how to hit a riff, as on “Pissed Hymn”. Kett’s vocals are unconventionally impassioned - no vibrato or performative hollering. Rather they climb, up and and again up from the pit of the soul. There’s a sense throughout that this music is hard wrought, squeezed through small apertures, produced against the odds, born to trouble as the sparks fly upwards. There are quieter moments, however, such as the exquisitely beautiful “Ressypressocate”, which affirm the ultimately tender place from where this album proceeds, notes plucked like black flowers, twisted and cherished. Reciprocate demonstrate an astonishing virtuosity, nuance and musical sensitivity manifested through their deep mutual understanding and synergetic interactions. There are moments of sync and camaraderie that remind of the very late Beatles, those rare moments during the Let It Be Era when they loosened up, reassumed their old understanding. But then Kett’s lets fly with a long, looming note and suddenly we’re somewhere else again. With Soul To Burn, Reciprocate set out their stall of intoxicating, super catchy good-time, big heart music – a human album delivering a human message of love and love lost. By the album’s end, you’ll feel pushed and pulled through the mill, wiped out, blissfully exhausted, strangely serene

Señor Sapo is a character created based on the Mesoamerican deity Quetzalcoatl:

while capturing Sr. Sapo atop The Pyramid of the Sun at Teotihuacan
in The Valley of Mexico; dawn…

Augie Robles (the photographer) spotted an elementary school class of around 25 children with two teachers suddenly appear scaling the momentous stair case behind our subject!

They shouted;

“Sr. Sapo! Sr. Sapo!”
the name has stuck! they wanted to have their pictures taken with Sr. Sapo? however; they did not want to touch him as they thought his skin might be “viscoso” or “slimy”?

“Q’uq’umatz” (as it is known amongst the K’iche’ Maya) goes back to the Olmec culture and represents the duality of flight to reach the skies; whereas the reptilian (in most cases a snake) represents the ability to mingle amongst other creatures of the Earth;
Among the Aztecs he was related to the gods of wind; of the dawn; of merchants and arts; crafts; knowledge and the planet Venus: as well as their patron god of the priesthood…

THE FUTURE S0UND 0f YESTERDAY is as well a construct of the imagination; a fictitious “orchestra” with many imaginary characters; KENT CHESTERFiElD; LEE NAilZ; PHATTITUDE; EPiPHANY TALEUR; ThE ClARKETTES (they actually exist in the “real” world)…

The titles:
“0de to A Tree”;
is the culmination of a night out in Berlin; “…met a young man in a bar close to the “atelier”; he said he wanted to play something on a piano; we go to the place and he plays this melody over a rhythm though not in rhythm?
…basically edited none of it; then used a series of tone generators and filters to change the sound into all the soundscapes you hear in the final piece; the title was simply a tribute to the trees…” Eric D. Clark

“is it good for Ya’?”;
is a slow pumping House song with a message in the form of a question; “is it good for you?” as in “I could do it; however; should I? you know; look in a mirror and ask the question”…
the Music came about as an experiment at NADEL EiNS Studio in Berlin; Heavy bass at around 116bpm plus Erix’s cheeky vocal stylings weaving in & out of frame (as well key) deliver a unique aural experience!

the final track:
“Elsewhere playback”
is literally the playback of a track Eric did under the guise of KENT CHESTERFIELD for a party series he did in Sacramento CA with AJ Sachs…
it’s really just a tool; the good thing is you can drop -8 (or -16 assuming your tables are tuned) to bring it to a tempo one could easily rap over OR push it up to +8 and have a dry Tech number? Either way it BANGS! Dub Plates & Mastering did a swell job!!

overall a must for any Dance Music aficionado’s collection out on October 10th on SHADDOCK RECORDS !

Lucy Kruger ist eine Singer-/Songwriterin aus Kapstadt, Südafrika, die kürzlich nach Berlin gezogen ist. Ihre Performance konzentriert sich auf das Pure, Nackte eines Songs, langsamer psychedelischer Folk, der sowohl intim als auch ambient ist. Drones gepaart mit Traumlandschaften lassen die Geschichten treiben und abtauchen, einschlafen und aufwachen. Lucy Kruger & The Lost Boys' erste LP »Summer's Not That Simple« wurde in Zusammenarbeit mit dem südafrikanischen Indie-Label Permanent Records veröffentlicht. Das Album enthält ein Meer von Gitarren im Gespräch mit fast geflüsterten Gedanken.

Nun wird sie ihr zweites Album »Sleeping Tapes For Some Girls« bei Unique Records veröffentlichen. Das neue Album ist ein leiser Begleiter für unruhige Abende. Das Album wurde aufgenommen, kurz bevor Lucy im Mai letzten Jahres von Kapstadt nach Berlin gezogen ist. Während dieser Zeit hatte sie leise ein weiches Netz von Liedern gesponnen und wollte deren Gefühl vor dem Umzug einfangen. Die Aufnahmen wurden für einen ganz bestimmten Zuhörer gemacht. In den Jahren davor ist Lucy zu Bett gegangen und hat sich dabei mit Geschichten und Klängen anderer Songwriter umgeben, die zu engen Begleitern geworden sind, die sie herausforderten, förderten und schließlich beschenkten. Sie wollte denen, die es brauchen könnten, dasselbe geben. Die Arrangements sind minimal und lassen Platz für Lucys Stimme und Gitarre, die überall präsent sind - reflektieren, widerstehen und versuchen, mit widersprüchlichen Gedanken zu argumentieren.

Lucy Kruger ist eine Singer-/Songwriterin aus Kapstadt, Südafrika, die kürzlich nach Berlin gezogen ist. Ihre Performance konzentriert sich auf das Pure, Nackte eines Songs, langsamer psychedelischer Folk, der sowohl intim als auch ambient ist. Drones gepaart mit Traumlandschaften lassen die Geschichten treiben und abtauchen, einschlafen und aufwachen. Lucy Kruger & The Lost Boys' erste LP »Summer's Not That Simple« wurde in Zusammenarbeit mit dem südafrikanischen Indie-Label Permanent Records veröffentlicht. Das Album enthält ein Meer von Gitarren im Gespräch mit fast geflüsterten Gedanken.

Nun wird sie ihr zweites Album »Sleeping Tapes For Some Girls« bei Unique Records veröffentlichen. Das neue Album ist ein leiser Begleiter für unruhige Abende. Das Album wurde aufgenommen, kurz bevor Lucy im Mai letzten Jahres von Kapstadt nach Berlin gezogen ist. Während dieser Zeit hatte sie leise ein weiches Netz von Liedern gesponnen und wollte deren Gefühl vor dem Umzug einfangen. Die Aufnahmen wurden für einen ganz bestimmten Zuhörer gemacht. In den Jahren davor ist Lucy zu Bett gegangen und hat sich dabei mit Geschichten und Klängen anderer Songwriter umgeben, die zu engen Begleitern geworden sind, die sie herausforderten, förderten und schließlich beschenkten. Sie wollte denen, die es brauchen könnten, dasselbe geben. Die Arrangements sind minimal und lassen Platz für Lucys Stimme und Gitarre, die überall präsent sind - reflektieren, widerstehen und versuchen, mit widersprüchlichen Gedanken zu argumentieren.

The birth point of ecstasy in British music is usually credited to acid house and the second summer of love: a cemented vision of kids sweating and vibrating in clubs, fields and warehouses in 1988, united by universal empathy and mind-popping sounds. However, in 1981, a couple of young men from Leeds went to New York, discovered the drug in its infancy, fused its’ gritty synth pop to acid house’s squelchy 303 groove and recorded an album: Soft Cell’s Non-Stop Erotic Cabaret. The rest, as they say, is history.

Shortly before that Soft Cell’s debut single Memorabilia was born. Originally recorded a decade before the explosion of acid house and rooted in predominantly black NYC, Chicago and Detroit gay clubs, Memorabilia is a seminal early prelude to rave culture. Merging a

strutting disco bass line with a futuristic proto acid-techno beat, Marc Almond has past described Memorabilia as “the first acid house techno record ever”.

Dave Ball remembers: “Memorabilia got to about number 99 in the charts, but the clubs picked up on it. In NME or Sounds they had a chart for the Danceteria in New York, and we were in it. Our label Phonogram saw this and thought: ‘why is this weird little duo from Leeds that no one’s heard of suddenly getting played in one of the hippest clubs in New York?’ So I think they thought: ‘we’ll give them another chance’.”



Berlin’s very own upcomers Wally Funk round off the remix package, upping the original tempo slightly, while combining elements the of original production with the later Non-Stop Ecstatic Dancing version to create a new hybrid, best played extremely loud!

Ltd Edition! Augustus Muller (Boy Harsher) kündigt die Filmmusik für den Film My Animal an, unter der Regie von Jacqueline Castel feat. Amandla Stenberg (The Hunger Games, Star Wars) und Bobbi Salvör Menuez (I love Dick, Something In The Air).
Die Filmmusik ist Mullers Debüt als Spielfilmkomponist.
My Animal (Premiere auf dem Sundance Film Festival 2023), Drehbuch von Jae Matthews (Boy Harsher), erzählt die Geschichte von Heather, einer starken, aufmüpfigen jungen Frau, die in einer ländlichen Stadt im Norden lebt und unbedingt in der örtlichen Hockeymannschaft spielen möchte. Sie lernt Jonny kennen und verliebt sich in ihn, einen Eiskunstläufer, der neu in der Gegend ist. Ihre Beziehung gedeiht trotz Heathers versteckter persönlicher Probleme mit ihrer alkoholkranken Mutter, ihrer nicht akzeptierten sexuellen Orientierung und einem familiären Fluch, der sie, ihre Zwillingsbrüder und ihren Vater einmal im Monat in wilde Wölfe verwandelt. Das Stelldichein von Heather und Jonny gerät bald in Konflikt mit ihrer kleinen Gemeinschaft, bringt die Wahrheit ans Licht und führt zu einer leidenschaftlichen, gewalttätigen Nacht der persönlichen Verwandlung. Augustus Muller schrieb und nahm die Filmmusik in seinem Heimstudio in Northampton, MA, auf, wobei er hauptsächlich Hardware und analoge Synthesizer verwendete. Gemeinsam mit der Regisseurin Jacqueline Castel huldigt Muller Klaus Schulzes Musik für "Angst" und John Carpenters "Assault on Precinct 13" als Haupteinflüsse. Muller begann seine Karriere als Komponist im Jahr 2019 mit der Erstellung von fesselnden Filmmusiken für zwei Kurzfilme für die Erwachsenenfilm-Website "A Four Chambered Heart". Die Partituren mit dem Titel "Machine Learning Experiments" wurden 2020 veröffentlicht und stellten mit ihren innovativen Klangwelten sein Talent unter Beweis. Im Jahr 2023 arbeitete Muller erneut mit "A Four Chambered Heart" zusammen und komponierte zwei weitere Partituren mit dem Titel "Cellulosed Bodies".

Das bahnbrechende Album von Decca aus dem Jahr 1966 - John Mayall's Bluesbreakers with Eric Clapton - wird neu aufgelegt und reproduziert originalgetreu die monoaurale Veröffentlichung von Decca Records UK aus dem Jahr 1966. Es wird auf hochwertigem
180g Vinyl gepresst. John Mayall stammte aus Macclesfield, Cheshire, und wuchs in Cheadle Hulme auf.

Er hatte sich bereits einen Namen in der Blues-Szene von Manchester gemacht, bevor er 1963 auf Drängen von Alexis Korner nach London zog. Eric Clapton schloss sich Mayall von den Yardbirds an, enttäuscht von der poppigen Richtung, die die Gruppe einschlug,
weg von seinem geliebten Blues. Als Ergebnis wurde Blues Breakers With Eric Clapton zu einem Eckpfeiler der Blues-Rock-Szene der Mitte der 60er Jahre, angefangen beim ikonischen Cover (ein desinteressierter Clapton, der das Comic-Magazin The Beano liest);
es war eine ernsthafte Hommage an die Musik, die die Musiker so inspirierte, und schuf einen schweren, warmen Sud; eine unverkennbar englische Interpretation einer amerikanischen Form. Es stellte auch einen chartbrechenden Durchbruch dar und erreichte im Juli 1966 Platz 6.

Diese Neuauflage reproduziert originalgetreu die monoaurale Veröffentlichung von Decca Records UK aus dem Jahr 1966 und wird auf hochwertigem 180g Vinyl gepresst.

Featuring exclusive performances by Donnie Emerson and Noah Jupe, score selections by Leopold Ross, plus vintage classics from Donnie & Joe Emerson -Includes the original version of the cult-classic hit, "Baby" -LP release housed in a gatefold jacket -Mastered by John Baldwin at Infrasonic Sound -Directed by Bill Pohlad, Dreamin' Wild, stars Casey Affleck, Zooey Deschanel, Beau Bridges, Noah Jupe, Walton Goggins, and Chris Messina // Acclaimed label Light in the Attic proudly partners with River Road, Zurich Avenue, and Roadside Attractions to release Dreamin' Wild Original Motion Picture Soundtrack. The film follows the real-life story of brothers Donnie & Joe Emerson, whose teenage dreams of rock stardom suddenly came true 30 years later. The soundtrack blends vintage recordings by Donnie & Joe (including the cult favorite "Baby") with exclusive new performances by Donnie Emerson, Nancy Sophia Emerson, and actor Noah Jupe, plus original score selections by composer Leopold Ross (Black Mirror, A Million Little Pieces). Jupe, who portrays a young Donnie Emerson, re-recorded several of the duo's classic songs for the film, including their debut single, "Thoughts in My Mind." The wistful ballad, which was written and recorded while the brothers were still in high school, was originally released in 1977 on their own Enterprise & Co. label. The soundtrack also includes "When A Dream Is Beautiful," a new song by husband-and-wife duo Donnie Emerson and Nancy Sophia Emerson, and recorded in Nashville by the film's music producer and multi-GRAMMYr winner Dave Cobb. Also available are Donnie & Joe's 1979 album, Dreamin' Wild, as well as the acclaimed 2014 collection Still Dreamin' Wild: The Lost Recordings 1979-81, which culls highlights from the brothers' prolific collection of songs. Additionally, fans can find exclusive Donnie & Joe merch at DonnieAndJoe . Adapted from a profile by journalist Steven Kurutz and written, directed, and produced by Oscarr and Emmyr-nominee Bill Pohlad (whose extensive credits include Brokeback Mountain, 12 Years a Slave, and the Brian Wilson biopic Love & Mercy), Dreamin' Wild stars Academy Awardr winner Casey Affleck, Emmyr-nominee Zooey Deschanel, Emmyr-nominee Walton Goggins, Chris Messina, Noah Jupe, Jack Dylan Grazer, plus Emmyr and Grammy Awardr-winner Beau Bridges. A true story of love and redemption, Dreamin' Wild centers around Donnie Emerson (Affleck/Jupe), a middle-aged singer-songwriter who learns that a record label is interested in reissuing the album that he and his brother recorded as teens in rural Washington State. Suddenly, the Emerson brothers find themselves thrust into the spotlight, as their 30-year-old album is hailed as a lost masterpiece. While the album's rediscovery brings hopes of second chances, it also unearths long-buried emotions as Donnie, his wife Nancy (Deschanel), brother Joe (Goggins/Grazer), and father Don Sr. (Bridges) come to terms with the past and their newly found fame. Named for the brothers' 1979 debut album, Dreamin' Wild is a River Road - Innisfree Production, produced by Academy Awardr-winner Jim Burke, Academyr and Emmyr-nominee Pohlad, Kim Roth, Viviana Vezzani, and Karl Spoerri. Casey Affleck served as executive producer, alongside Emmyr-nominee Christa Workman, Dan Clifton, Steven Snyder, and Tobias Gutzwiller. More about Donnie & Joe Emerson: Brothers Donnie and Joe Emerson grew up on a 1600-acre farm in Fruitland, WA with dreams of musical stardom. Far removed from the punk and disco scenes of the late '70s, the boys' inspiration primarily came from a tractor radio, which they listened to for hours on end while working the fields. In between farm duties and high school, the brothers spent their remaining time on music, with Donnie serving as the primary songwriter, vocalist, guitarist, and keyboardist, and Joe holding down the beat on drums. Donnie & Joe's parents encouraged their sons' talents - so much so that they leveraged the family farm in order to build a state-of-the-art recording studio, where the brothers self-produced their debut album, Dreamin' Wild. Released in 1979 on their own Enterprise & Co. label, the album offered a lo-fi blend of FM rock, pop, soul, and funk - evoking such contemporaries as Marvin Gaye, Hall & Oates, and the Brothers Johnson in songs like "Good Time," "Dream Full of Dreams," and "Baby." Despite the Emersons' passions, however, Dreamin' Wild wasn't the bestseller that they envisioned. In fact, it tanked, nearly bankrupting the family in the process. Donnie and Joe's dreams did actually come true though. It just took three decades and a heavy dose of kismet. Around 2008, record collector, actor, and Out of the Bubbling Desk blogger Jack Fleischer discovered a copy of the LP at a Spokane antique shop. Initially intrigued by the jacket image (which features the boys in flashy, Elvis-style jumpsuits), Fleischer was blown away by what he heard. Before long, word began to spread about the Emerson brothers, while their soulful ballad "Baby" became a viral hit, eliciting multiple cover versions (most popularly by Ariel Pink & Dâm-Funk). Since its digital release, the track has been streamed over 30 million times on Spotify. In 2012, Light in the Attic brought Dreamin' Wild to the masses, giving the Emerson brothers a second chance at stardom and an outpouring of long-overdue accolades, including features in the New York Times, Los Angeles Times, and The Guardian, a shout-out from Jimmy Fallon, and praise from the likes of Pitchfork, which called the 1979 album "A godlike symphony to teen-hood." The Emersons' inspiring story caught the ears of writer, director, and producer Bill Pohlad, who recently told PEOPLE, "Being able to go deep to explore this amazing family was the real reason that I was drawn to this material. Dreamin' Wild ultimately became a story about family, faith and forgiveness for me."

An album crammed full of rare & unreleased tracks from the vaults of swell map founder Jowe Head. o Swell Maps formed out of various bedrooms in the mid -70s and became the pioneers of DIY punk. o Swell Maps founding members were Nikki Sudden, Epic Soundtracks, Jowe Head & Phones Sportsman o Includes demo versions of 2 of the bands Singles "Dresden Style" & "Read about Seymour". o Exclusive Liner notes by Jowe Head o Exclusive artwork originally designed by Epic Soundtracks & Jowe Head in 1977 o 2 Lps with printed inner bags in extra wide spine LP sleeve with cover sticker

In the corner of your vision, there’s a daydream on a mission” says Russell Edling in the beginning of “Park (Rye)”. Humming vibrations crescendo around the words floating inthe air and a listener may visualize a flower growing in fast motion, or a dog running backwards, lava flowing, children jumping rope in the evening sun. Suddenly these visions plumet and new frenetic images appear as drums, percussion, and full accompaniment burst into space. The band has arrived, a theme recurrent in Golden Apples’ new record, Bananasugarfire.

A listener might hear echoes of the Velvet Underground, Stereolab, Stone Roses, Yo La Tengo, but there is more going on than just a studied homage to indie rock’s progenitors. The themes of doubt and bewilderment found on previous albums are still present, but they are thrown into a kaleidoscope with beams of positivity, hope, and optimism.

Wenn man wie keine andere Band klingt, ist es immer eine Herausforderung, eine Musikrichtung für Presse, Bandinfo und Veranstalter*innen zu definieren. Die Dorks sind zu räudig für Metal, zu melodisch für Hardcore, zu wenig 90er für Crossover, zu anspruchsvoll für Deutschpunk. Unermüdliche Kreativität, Reisebereitschaft und ein Albumrelease - inmitten der von allgegenwärtiger gesellschaftlicher Resignation gezeichneten letzten Jahre - brachten den DORKS im Jahr 2021 mit ihrem Album "Die Maschine von Morgen" genereübergreifende Aufmerksamkeit, sowie hervorragende Rezensionen in renommierten Musikmagazinen ("Meilenstein" - OX Fanzine, Rock Hard, Album der Woche bei Coretex, Süddeutsche Zeitung, u.v.m.). Und weil Stillstand nicht ihr Ding ist, kommt jetzt ihr neuestes Album.

Flora Yin Wong’s ravishing interiority finds lucid expression on an absorbing second album for Modern Love, manifesting her instrumental storytelling in a syncretic bind of supernatural themes with hyperrealist, concrète sound design.

Through ten parts, Flora crystallises the ennui that followed an uncanny, disorienting trip to East and Southeast Asia. “On an unexpected stopover in Hong Kong after five years away, my friends took me to a Bazi reader one night - something I was curious about, but much of a ritual for them - ” Flora recalls. “My father told me that when I was born, he had obtained an auspicious reading that since stayed like a guiding talisman with me. It was almost past midnight but people were still lined up, rather shaken and visibly upset, to see the old man. He had kind eyes and asked me why I was there and I said I was at a crossroads. He asked me my time and date of birth, and told me to pick one of his four little white canary birds as a vessel for divination.”

This was the final stretch of an ultimately aimless few months across the continent, including a 20 year overdue return with her father to his adoptive family in his hometown Kuala Lumpur - for many reasons, ended up as a strange and uncanny trip. She spent solitude in a haunted house during the quiet snowfall of Kyoto, where she might have offended some spirit... and nights in mountain temples with South Korean monks, and an equally strange feeling return to the Island of the Gods.

“It culminated in what felt like a final disillusionment with Asia - sudden deaths and a breakdown in beliefs - somewhere I never really have or will be able to connect with. The process of the reading summoned a final blow to my gut - an overwhelming sense of rootlessness, and understanding that all there is is emptiness and entropy. No birth-divined protection, just a measurement of the night sky based off nothing and everything.”

Heavy with a sense of nightmarish dissociation and grief, Flora read about Giuseppe Tartini’s ‘Violin Sonata in G Minor’, aka the Devil’s Trill Sonata, a notoriously tricky c.18th composition which attempted to transcribe music heard in a dream, which the composer felt he could never fully bring into reality. It’s this soporific motif that binds and underpins ’Cold Reading’, finding Flora chasing the dragon of fleeting fantasy through passages of etched melancholy, pinched with hypnagogic jerks that linger in the memory.

From her use of the ‘Devil’s Trill’ Sonata in ‘All My Dreams are Nightmares’ through evocations of subtropical humidity in the Bryn Jones-esque, resonant hand-played percussion of ‘Konna’ and ‘Banjar’, to a breathtaking dreampop denouement ‘Nectar Dripping’ and the Enya-like lush of ‘Beautiful Crisis’, Flora blooms her ideas with an openended ambiguity so often missing from so called Ambient music, ushering the listener into a soundworld that disturbs and displaces, just as much as it calms.

If there’s anything that defines SUDS, it’s friendship. Meeting through their love of the DIY scene currently emerging in Norwich, the band quickly found themselves gravitating towards writing songs together, and by Autumn 2021, Jack Ames (drums/vocals) joined Maisie Cater (vocals/guitar) and Dan Godfrey (guitar/vocals) to form a line-up that felt inherently natural. Stepping in on bass duties came Harry Mitchell, and things seemed to click instantaneously. Driven to keep the spark going they all upped sticks from their far flung edges of the county, pooled together to get a touring van and set to work. Just like their 2022 debut EP, In The Undergrowth, SUDS ventured down to Kent to record with producer Ian Sadler (Roam, Anavae), ready to explore the next chapter of their story. Step forth debut album The Great Overgrowth, a record brimming with addictive melodies and gorgeous moments of optimism. Their evocative and sometimes literary approach to lyrics takes inspiration from midwest emo and the 1960s Greenwich Village folk scene - Cater and Ames would regularly distract themselves while writing, gazing between the pages of books by Woody Guthrie, Allen Ginsberg, Bob Dylan and Brontez Purnell - which appears across their songwriting and would quickly become the foundation for their sound. Finding a delicate balance of sensitive lyricism dripping in warmth and killer guitar hooks, The Great Overgrowth follows on from the EP, telling the next part of the tale, as a tight knit group of twenty-something year old friends struggling and floating through life, to becoming more confident in their everyday lives and friendships while embracing change. The band are already off to a flying start, conquering sets at 2000 Trees Festival, The Great Escape and Truck Festival, as well as sold out shows with Spanish Love Songs, Pool Kids and Martha. Their talent for achingly intelligent, relatable lyricism and a heft for devil-may-care creative output already puts them heads above the rest. SUDS might be fresh faced but have the maturity and drive to become one of the most exciting emerging artists of 2023.

The latest album release by acclaimed Norwegian band Erlend Apneseth Trio is made in collaboration with renowned experimental composer and vocalist Maja Ratkje. Their impromptu concert together in 2022 was a glorious kick-off for a five-day festival and was luckily put on tape. After reworking and reimagining the recorded material with their steady collaborator Jorgen Træen, the result is a refreshing take on improvisations-turned-compositions. Featuring innovative soundscapes with archival material and an engaging transitory state. Listening to the album is akin to being on a voyage of discovery, in and out of the dream state. From the very beginning, the listener is met by ancient voices on tape, surrounded by distorted and dispersed sounds. Like stars on a moonless night, the sounds fall in and out of perceptibility, most twinkling, some falling. You suddenly wake up on a speeding train. As it enters a tunnel, ghostly voices sing a lullaby. The music gradually unfolds from mesmerizing melancholia to a ritualistic blowout. The music always takes the route of the unexpected and reaches momentums which shows why this is one of Norway's most unique constellations. Orbiting sounds gather around and assemble themselves into scenes, forming uncanny rooms collectively dreamed up by the artists. The album's first track Tre Vegar follows an enthralling pathway layered with field recordings and intensified by noise, suddenly plunging into a delightful stream of chords fleeting in mid-air. The variety of sounds that make up this glorious and aptly named 'Collage' is astounding. Elemental sounds range from the howling wind and soft-bright ringing of sheep-bells to the timeless trickling of a small stream of water. Strings of many timbres soar over animated croaks and quacks, assembling into a swampy symphony. The well-balanced diversity of acoustic and electric sounds has become the band's trademark. It is ever-present, complementing and creating new improvisatory trails to follow. Erlend Apneseth: Hardanger fiddle Stephan Meidell: baritone acoustic guitar, live sampling, modular synth Oyvind Hegg-Lunde: acoustic & electronic drums, percussion, timpani Maja S. K. Ratkje: voice, electronics

Auf dem neuen Album SUCKER liefert das kreative Mastermind Jilian Medford aka IAN SWEET ihre stärksten und persönlichsten Songs ab – voller Verzweiflung, Verletzlichkeit und Reue. Aufgenommen im Outlier Inn mitten in den Catskill Mountains im Süden des Bundesstaates New York und gemischt von Al Carlson (St. Vincent, Weyes Blood, Jessica Pratt), beweist die LP Medfords Fähigkeit, wunderschöne Popsongs zu schreiben, die das Herz berühren, während gleichzeitig Schichten benommener Synthesizer und dröhnender Gitarren explodieren. Diese Songs sind voller Kummer und Sehnsucht – eine Traurigkeit, die Medford in ihrem zweifellos bisher besten Album direkt thematisiert.

1988 in Hamburg gegründet (und 1991 wieder aufgelöst), war die Kolossale Jugend neben OZSWMK und Cpt. Kirk eine der ersten maßgeblichen Bands, die der so genannten "Hamburger Schule" zugeordnet wurden. 1989 erschien beim Label L'age d'or die erste LP "Heile Heile Boches" und 1990 folgte das zweite Album "Leopard II". Die dritte LP des Boxsets enthält Raritäten (Sampler-Beiträge, Single-Versionen) und Aufnahmen eines bislang unveröffentlichten Live-Konzerts aus dem Forum Enger (22.9.1989). "Heile Heile Boches" erschien 1989, im Jahr des Mauerfalls. International gab es zwar Hip Hop, Crossover, Hardcore und Alternative-Punk; in Deutschland lediglich deren Simulation oder Imitation, und außer einem inzwischen längst redundanten, wenn auch unverwüstlichen Deutsch-Punk nur wenig, das in der Musik als Bollwerk gegen den neu aufkeimenden Nationalstolz hätte dienen können. Aber es gab die Kolossale Jugend. Seit jeher am reingrätschen, nerven, ständig sich austauschend, vorantreibend und völlig immun gegen Versuche der Politik, Wirtschaft und Volksgemeinschaft sie für die heraufbeschworene Pop Nation Deutschland zu vereinnahmen. Schicksalsjahre einer Kaiserin: die Wendezeit. Das zweite Album, 1990, wurde folgerichtig "Leopard II" betitelt. Mithin sind Musik und Text auch denkbar schlecht für eine groß angelegte Verwertung geeignet; sie passieren in einem irrwitzigen Tempo. Die Texte sind maßlos, schwer zu fassen und immer einen Schritt voraus. Scheinbar ohne Anfang und Ende prasseln und hämmern sie so gewaltig drauflos, wie die Band auf ihre Instrumente drischt. Wir hören, wie jemand denkt und seine Kollegen verschaffen ihm den musikalischen Nach- und Ausdruck, den das Denken in so intellektfeindlichen Zeiten damals wie heute verdient. Aber das hat mehr mit Rockmusik zu tun, als das eingangs erwähnte, auch wenn man damit glaubte, nah am Original zu sein, denn die Reduktion und die Leerstellen sind kolossal. Und doch stand die Kolossale Jugend - die Band, die vom Himmel fiel, weil sie aus keiner klar definierbaren Tradition kam - am Anfang von etwas Neuem. Als sie sich 1992 auflöste, konnten sich weitere Akteure in und außerhalb Hamburgs an neuen Referenzrahmen mit Überschriften wie "Halt's Maul Deutschland"* oder "What's so funny about L'Age Poly d'Or" ** orientieren. Pascal Fuhlbrügge gründete und verließ L'Age d'Or, machte danach Musik mit Erneuerbare Energien, Sand 11 oder 8, sowie für Theaterproduktionen. Heute entwickelt er neben der Musik eigene Theaterstücke und spielt sie auch. Christoph Leich war dann lange Schlagzeuger bei Die Sterne und ist heute in der Musikbranche im Bereich Logistik tätig. Klaus Meinhardt zeichnete das L'Age d'Or Logo, gestaltete die Jugend-Cover, war Gitarrist beim Heinz Krämer-Werner Hornig Sextett und arbeitet als Illustrator. Kristof Schreuf starb völlig überraschend am 9. November 2022, er war Bourgeois with Guitar, Autor, Sänger und Texter der Band Brüllen. Seine Texte u.a. für taz, Jungle World und die Süddeutsche Zeitung waren Ereignisse. Die vorliegende Wieder- und teilweise Neuveröffentlichung ist ihm gewidmet.

Shrouded in darkness for over a decade, ever since the disturbing events that lead to the band's inception, B R I Q U E V I L L E have been bewitchingaudiences with a hypnotizing dirge that evokes the heaviest elements of doom metal and post-rock before mixing them with eerie field recordings, found sounds and haunting traditional instrumentation. On November 3rd, 2023, as winter takes back the night, B R I Q U E V I L L E will unveil `IV' - their latest exploration into the darkest depths of the soul. The Belgian collective's pulsating, repetitive rhythms and penetrating, guttural guitar work return alongside a more prominent vocal presence with ethereal melodies and brooding lyricism further exploring the deeper, richer sonic palette first heard on 2020's `Quelle.' Drawing from members of different local scenes, B R I Q U E V I L L E first assembled with the ambition of improvising around a single, droned note. Having latched onto something raw and powerful, the band suddenly found themselves confronted by a stranger telling tales of a hatred years in the making. Floored by such a fateful meeting, B R I Q U E V I L L E have anonymised themselves behind sweeping black robes and occult golden masks ever since; unifying the collective as one sound, a singular faceless force hellbent on converting audiences around the world. With `IV' however, B R I Q U E V I L L E are beginning to lift the veil. Alongside the aural despair that the band have been handcrafting ever since their eponymous debut full-length in 2014, `IV' is imbued with an intriguing duplicity. Within the mournful melancholy and grinding, icy orchestration is the faintest glimmer of hope as the collective explores the idea of creativity free from the confinement of morals, expectations and time. `IV' sees subtle, tonal shifts and brief periods of warmth and richness now intersperse the band's fearsome outbursts of unrivalled heaviness in a new, intoxicating transformation of their formidable sound. DO be careful though, B R I Q U E V I L L E may be stepping out of the shadows, but they can easily drag us back. FFO Sleep, Bong, ISIS, Pelican, Mogwai, Sunn O))), Godspeed You! Black Emperor, Amenra Ltd Single Coloured XX Edition Vinyl, sleeve w/ gold foil embossing!

Second release of Berlin-based Shiver records.

DJ Seen takes you through a field of mesmerizing frequencies. The record's A-Side opens up for the waves of relaxation & dream. The title track Hypnotique lushes you into a continuous state of trance-induced easiness emphasised by a plain repeating chant.

Adam Collins’ remix takes you into a bubbling dreamworld underlined by a soft acid bed and a heavy deep neverending blanket of warmth.

The B-Side performs a natural switch, activating the brainwaves & inducing a woke state while trying to understand the sudden synth-explosions hailing through the tribalistic grooves of Bandicoot.

The trip ends with a burst of Insight at 6 am. A hymn to the frequencies of dance before it all settles down again.

Mia Gargaret” is an ambient, (mostly) instrumental album by Chicago, IL singer, songwriter, multi-instrumentalist & producer Gia Margaret. It’s also not the follow-up she intended after the critical success of her 2018 debut, “There’s Always Glimmer”. But after she suddenly found herself without use of her primary instrument, she had to rethink her methods, at least temporarily. Gia explains: “After having to cancel tours because of illness, I was unable to sing for nearly half of the year. This left me feeling like a shell of myself, so I turned to my synthesizer for comfort. These compositions helped me hold onto my identity as a music maker. At times this music helped soothe my anxiety more than therapy or anything else could.” Documenting her self-healing and without singing or lyrics to steal the focus, the instrumental tracks on “Mia Gargaret” shine a light on Gia’s skills as a musician, composer & producer. Spare but immersive arrangements of synthesizer, piano & acoustic guitar simultaneously ache & soothe, building emotional landscapes that rise & recede like scenery through a train window. “Mia Gargaret” is a gorgeous experiment & a memorable meditation on the healing power of music. This version is a limited edition of 200 – pressed on pale blue vinyl with an exclusive lithograph print.

Am 27. Oktober erscheint ihr neues Album "Chronicles of a Diamond" bei ATO Records. Produziert von Quesada und hauptsächlich abgemischt vom sechsfachen Grammy-Preisträger Shawn Everett (Alabama Shakes, The War on Drugs), übernimmt Burton auf den zehn Songs die Rolle des Co-Produzenten und lässt seine freigeistige Musikalität in jeden Track einfließen.

“It felt like a metamorphosis in a way that was both beautiful and difficult, but in the end feels more true to who we are as collaborators“, erzählt der Sänger. Die Songs entstanden zwar im Studio, fangen aber definitiv auch die verrückte Energie ein, die während den Live-Shows der beiden entsteht. Das endet in einem besonderem Hybrid aus Soul und symphonischem Pop, der verrückter und extravaganter als sein Vorgänger komponiert wurde. Inklusive unerwartete Ausflüge in Jazz-Funk und psychedelische Gefilde samt hypnotischen Rhythmen, wilden Gitarrenriffs und stimmungsvollen Mellotron-Melodien, die eine tranceartige Euphorie ausstrahlen. „With this album I felt very free in my vocal performance, which has a lot to do with Adrian hearing something in my voice and helping me to explore that”, ergänzt Burton.

Als Black Pumas 2019 ihr selbstbetiteltes Debüt veröffentlichten, löste das Duo aus Austin eine Reaktion aus, die fast so außergewöhnlich und mitreißend war wie ihre Musik selbst. Gefeiert von den Medien, hagelte es insgesamt 6 Grammy Award-Nominierungen (darunter Best New Artist und Album of the Year). Neben Live-Auftritten bei den genannten Grammy Awards, spielten die Black Pumas außerdem bei der Übertragung des NFL Drafts sowie zur Amtseinführung von Joe Biden. Sie tourten durch ganz Europa sowie Nord- und Südamerika und waren bei bekannten Late-Night-Shows wie Jimmy Fallen, Jimmy Kimmel, Ellen DeGeneres oder Stephen Colbert zu sehen. Ihr Album verkaufte sich über eine Millionen Mal, alleine ihre Single "Colors" steht inzwischen bei über 450 Millionen Streams. Nun ist es an der Zeit, das zweite Kapitel der Band aufzuschlagen.

WRWTFWW Records is thrilled to announce the official reissue of Daisaku Kume's original soundtrack for the highly acclaimed 1989 Japanese crime/drama movie Violent Cop. Available for the first time outside of Japan, the album comes in a limited edition of 500 copies worldwide with a 45 rpm cut providing full audio pleasure and an iconic record sleeve featuring the movie director and star: the one and only "Beat" Takeshi Kitano!

Violent Cop marks Kitano's directorial debut - a gritty neo-noir in which he stars as a rogue detective fighting a sadistic crime syndicate, only to discover widespread internal corruption in the police force. Poetic, minimalistic, with a superb balance between small soothing moments of beauty and vertiginous sudden violence, the film spearheaded a superb international career for the multi-talented filmmaker, actor, and comedian, which includes works such as Sonatine, Hana-Bi, and Battle Royale. The release of the soundtrack on vinyl presents an excellent opportunity for fans to explore the musical underpinnings of one of Kitano's earliest creations.
Daisaku Kume, known for his work as the keyboardist for late 70s fusion bands T-Square and Prism, showcases versatile musical prowess on the soundtrack, taking listeners on a sonic journey through a blend of genres including magnificent Erik Satie re-interpretations, melancholic smooth jazz sometimes reminiscent of Taxi Driver, ambient-classical, and modern Western atmospherics. It's the perfect setting for Kitano's stoic but tormented lonesome urban cowboy character. Raw power mixed with timeless elegance.

Violent Cop (Original Soundtrack) by Daisaku Kume follows the recent release of the soundtrack from another groundbreaking Japanese movie, Shin'ya Tsukamoto's Tokyo Fist (1995), with music by industrial visionaries Chu Ishikawa & Der Eisenrost, also currently available on WRWTFWW Records.

Last summer the idea came up that the material of the Chillum Trio live act, which had been matured for years by then, would deserve a release on its own. The concept was to try to reproduce the experience of the live performances as close as possible, so a semi-mixed album was created, on which the seven tracks work separately, but the effect is best when listening to the record in its entirety. The musical world of Random Rituals is crazy dense and colorful, similar to Chillum Trio's previous releases, an exotic mix of contemporary electronics, world music and club sounds;s still, it has a unified character, which is due to the fact that it has grown from a live set that has been constantly developing over the years. Genre-wise, it is characterized by low-tempo, organic desert house, tropical acid drops, deep dub, hypnotic tribal beats and psychedelic episodes. Just like genres, eras and cultures are mixed as well: from the jazz-funk of the 70s, via tribal trance of the 90s to modern deep house, from Peru to Pakistan, from Sudan to Senegal: a real musical journey through space and time.


Géza Szekeres, the heart and soul of Chillum Trio, summed up the essence of the record as follows:
"Random Rituals shows me the paradox that recharges can be planned and ad-hoc at the same time. Rituals are characterized by a predictable scenario, but the effect can also be unexpected, so that events spin without a score. You don't walk into the ritual, but it comes to you, creating the same state that then fills you up."

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

'I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album 'Jazz, Jazz Jazz' ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Vinyl version comes with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.

Some Sudden Weather” finds Products Band sharpening their focus on presence of mind in a culture of noise. For each pummeling wave of distorted guitars, a tender, melodic vocal floats over its crest.
With every winking, deadpan lyric comes a genuine admission of desire, shame, or hope. These songs faithfully represent the diversity of Products Band’s musical influences.

From high-energy, airtight punk’n’roll to intricate, groove-driven pop, “Some Sudden Weather” refreshes rock vocabularies by sculpting them within the band’s unique perspective. Whether you crave
dancefloor-ready bass hooks, spiderwebbed guitar skronk, or interwoven vocal duets, this is an essential listen for all fans of contemporary post-punk, guitar pop, and thoughtful Midwestern charm. FFO: Ought, Television, The Replacements, R.E.M.

Repress!

Collaboration between French writer Ingrid Astier, actor Pierre Richard and JB Hanak from the band dDamage (Planet Mu, Tsunami-addiction).
JB Hanak is on guitar, bass, synth and rhythmic programming, consumed with a desire to reveal with each changing track a different facet of this imagined nocturnal universe. Ingrid Astier directs the actors as well as the writing of the lyrics, very much as would be found in the cinema.
And then, there is Pierre Richard. At one moment a dreamer, the next a cowboy, suddenly Mafioso and then a nocturnal animal. Thinker, lover, philosopher, astronaut or sandman. Pierre Richard is an actor, an actor of immense presence confined too often to comic roles. “Nuit Jour” offers him roles he has not had in the movies ... And it is breath-taking, both in its register and in a sense of deep renewal.

Eins ist schon lange klar: U.D.O. machen keine halben Sachen und haben auch nach über 35 Jahren Bandgeschichte kein Stück Kraft verloren! Durch hunderte von Shows weltweit - bis hin in die entlegendsten Gebiete Russlands oder Südamerikas - und einer Diskografie von über 20 Alben, hat die Band jedes Mal bewiesen, dass sie nicht nur in den nationalen, sondern internationalen Metalolymp gehören. Alben wie „Steelfactory“, „Man And Machine“ oder „Animal House“ sind zeitlose Alben - präzise, druckvoll, eingängig und kraftgeladen. Fast jedes Album schaffte es in die deutschen Albumcharts mit der ein oder anderen Platzierung in den Top 10! Nicht umsonst sind nationale und internationale, prominente Kollegen wie Doro oder Lordi Anhänger und Unterstützer von U.D.O.'s Musik.
Keine Frage, dass man dem Propheten des deutschen Metal einen weiteren Tribut zollen muss und die Highlights dieser erfolgreichen Karriere auf einem Tonträger zusammenfasst. Insgesamt 33 Tracks von Alben wie Mastercutor, Holy, Solid oder Game Over gepaart nostalgischen Fotos machen nicht nur für alte Fans der Band diese Compilation zu einem Muss im Platteschrank.

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

Mo" Horizons enter their seventh album chapter andremarkably, celebrate 25 years of their exultant andglobally enriched, forward-thinking, electronic sound. Featuring a cast of guest singers, including Ghanaianlegend Gyedu-Blay Ambolley, Mango, is a fiery andsample-heavy blend of future-funk, balearic, highlife,Brazilian drum "n bass and lo-fi hip hop, set to bereleased on their long-standing label Agogo Records.

Spanning over three decades, German DJ andproduction duo Mo" Horizons, led by Ralf Droesemeyer,& Mark Wetzler have been a relentless force on theglobal groove scene. For 25 years, the pair havecontinued to grow their international audiences,testament to remaining on-point, ignoring the fashionand tribalism of scenes like big beat and broken beat,that thrived but then morphed and went off radar.

Nach dem internationalen Erfolg von "Planet" und "Letter" veröffentlicht der französische Star-Pianist Sofiane Pamart am 20. Oktober 2023 sein neues Album "Noche". Während „Planet“ eine Reise um die Welt abbildete und "Letter" ein Liebesbrief an sein Publikum war, entführt er uns auf seinem dritten Album, das komplett in Südamarika entstanden ist, in die Untiefen der Nacht. Sofiane Pamart gehört 2023 zu den zehn meist1gestreamten Künstlern klassischer Musik weltweit und verkaufte als erster Pianist überhaupt die legendäre Accor Arena Bercy aus (20 000 Zuschauer).

Limitierte Auflage Neon Violet Vinyl! Kari Faux ist nicht zu bremsen. Die aus Arkansas stammende Künstlerin kehrt mit ihrem dritten Album REAL B*TCHES DON'T DIE! zurück, einer 12-Track-Ode an ihre Südstaaten-Wurzeln. Die LP verwebt Karis knackige Produktion mit ihrem lässigen und herrischen Flow, gleitet mit Leichtigkeit durch ihre Dirty South-Wurzeln und verweist auf Outkast und UGK als Einflüsse, während die Femcee ihre Macht behauptet. Die Rapperin und Singer-Songwriterin hält den regionalen Vibe mit ihrer unverschämt dominanten Energie im Herzen ihres neuesten Werks authentisch. Karis Exzentrik wurde auf ihrem 2020 erschienenen Album Lowkey Superstar hervorgehoben, auf dem sie die Hörer mit ihrem verführerischen, aus Arkansas stammenden Akzent und ihren schwungvollen Arrangements faszinierte. Auf REAL B*TCHES DON'T DIE! hat sich Karis einzigartiger Blick auf die Welt und ihre Vision nur noch erweitert, was die Künstlerin auf die Verfeinerung ihres Handwerks zurückführt. "Lowkey Superstar felt very Southern - it was me getting super-immersed back into southern rap and gospel music," sagt sie und fährt fort "Since I've been in this space for over two years now, it's like, Let me keep refining this and making it better." In der gegenwärtigen Hip-Hop-Landschaft stehen weibliche Rapperinnen unangefochten an der Spitze. Methodisch in ihrer Herangehensweise an die Musik - und selbstbewusst in ihrem Ansatz, authentisch zu leben - fühlt sich Kari in der wachsenden Wiederauferstehung von Frauen im Rap zu Hause. Auf REAL B*TCHES DON'T DIE! erinnert Kari Faux die Hörer an eine unbestreitbare Wahrheit: Der Süden hat etwas zu sagen.

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'

Baby Queen veröffentlicht ihr Debütalbum „Quarter Life Crisis“.

Das Album stellt für die leidenschaftliche Künstlerin ein Zeichen ihrer Reise als Künstlerin dar. Mit ihrem „Bedroom-Pop“ Sound begeistert die gebürtige Südafrikanerin, welche 2016 nach London zog, Fans auf der ganzen Welt. Ihren Durchbruch schaffte die talentierte Sängerin mit der Netflix Serie „Heartstopper“ für welche sie den Titelsong „Colors Of You“ schrieb. Des Weiteren wurden in der erfolgreichen Serie ihre Hits wie „Want Me“ & „Dover Beach“ aufgenommen. Baby Queen kreiert ihren eigenen Stil in dem sie Pop Sounds mit einer punkigen Aggression kombiniert.

Das Album ist als CD und Vinyl erhältlich.