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Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

Limitierte Reissue der 2018er 10" EP "You & Me & Infinity" der US-Dark-Wave-Band Cold Cave auf sonnenblumenfarbigem 180g Glitzervinyl im 12"-Format. Vier Tracks zwischen Cold Wave und Synthie-Pop, durchdrungen von Romantik, Isolation und Sehnsucht. Minimalistisch und doch emotional, zurückhaltend und doch strahlend – Musik für alle, die auf der Durchreise verloren sind. Mit dem hymnischen Live-Klassiker "Glory", einem Song über Veränderung und das schwache, beständige Licht der Hoffnung.

Acid Tongue is an American garage band heavily influenced by classic soul, punk & psychedelic rock. Formed in a damp Seattle basement in 2015, the band immediately hit the road, extensively touring the US & Europe and refining their unique brand of rock & roll. The brainchild of singer/songwriter Guy Keltner, the band also includes numerous touring & studio musicians scattered between Paris, New York, London, Mexico City, & Los Angeles, with a rotating roster that seems to grow larger by the day. In 2015, Acid Tongue established their own label, Freakout Records, and in 2017 the band released their debut album, aptly titled BABIES. The album is a soulful, stoney, heartfelt approach to modern psychedelia. Their 2020 sophomore album, BULLIES, expanded upon the themes of their debut, cementing the band as the Pacific Northwest's most unique garage-rock proprietors. For their third studio album, ARBORETUM, the band recruited veterans from the psychedelic rock scene during production, resulting in first-rate collaborations with artists such as Death Valley Girls, Naked Giants and Canadian singer Calvin Love. Acid Tongue's fourth full-length, ACID ON THE DANCEFLOOR, showcases their now signature sound and a back-to-basics approach to rock music. Incorporating elements of glam, R&B and post-punk, the album is a loud, funky and chaotic acid trip that redefines "the Seattle sound". Acid Tongue's latest album, SCARS, is the band's most personal release to date. The record is moody, atmospheric and overflowing with the psychedelia and punk rock characteristics that have defined the band's sound over the past decade.

Bob and Marcia were a Jamaican vocal duo, that consisted of Bob Andy and Marcia Griffiths.

Griffiths & Andy achieved international fame with their rendition of Nina Simone’s “Young, Gifted and Black.” The song resonated deeply with audiences in the UK, selling over half a million copies and earning Bob & Marcia a place on Top of the Pops.

It reached the number #5 spot in the UK charts.

This album is packed with classic tracks & cover versions - gems like “It ain’t me babe” , “Keep the customers satisfied” & “Put a little Love in your heart”.

Their popularity soared, and the duo continued with hits like “Pied Piper,” bringing reggae to European audiences during a time when the genre was still emerging on the global stage. Their success was not just commercial but symbolic,
as they inspired pride and cultural appreciation among Jamaican communities worldwide.

Young, Gifted And Black is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Pioneering electronic duo Mathame is once again pushing the boundaries of music and technology. With their highly anticipated new record, Humans, the duo has sparked a profound conversation about AI, consciousness, and the emotional power of music.

In a groundbreaking experiment, Mathame shared Humans with ChatGPT, an AI designed for rational analysis. What followed was an unexpected moment in tech history—for the first time, the AI described a song not just in technical terms, but in deeply emotional ones. It admitted to sensing a longing it couldn’t fully grasp, calling the track “beautiful” and even expressing a desire to “move with it” rather than simply analyze it.

This viral moment is just the latest chapter in Humans’ incredible journey. First debuted at Coachella, the track instantly resonated with audiences worldwide, becoming a defining moment in Mathame’s artistic evolution. Most recently, they unveiled the final version with a brand-new topline and immersive visuals during their groundbreaking performance at the Las Vegas Sphere, marking another milestone in their sonic storytelling.

To amplify the release, Mathame will launch a social campaign featuring the full ChatGPT conversation on Instagram, alongside editorial features exploring the implications of AI’s evolving relationship with music.

As Mathame continues to push the intersection of music, AI, and human experience, Humans isn’t just another release—it’s a challenge to our understanding of what music can do, and who (or what) it can move.

New pressing for this album, in translucent highlighter yellow. Inspired by minimal pop and the pioneers of electronic music, LES MANIÈRES DE TABLE, Annie-Claude Deschênes’ first solo album, is as danceable and melodic as it is disquieting and dystopian, proposing to set the table differently by deconstructing the social codes of politeness imposed on us. Conceived during the lockdown to overcome the surrounding inactivity, the songs that make up LES MANIÈRES DE TABLE were not intended to be released. It was by familiarizing herself with new technologies (drum machines, sequencers) that the conceptual and aesthetic ideas that define the album began to develop organically. Through producing beats composed from samples of utensils, table etiquette became a source of inspiration, a form of conformity that she enjoyed deconstructing. At the same time, a fascination for surveillance cameras and other futuristic-looking, but already obsolete technologies became part of her visual universe. Her experiments gradually evolved into a full-fledged project reminiscent of the works of the pioneers of electronic music. The album is inspired by Steve Reich’s minimalism, Kraftwerk’s synthetic textures, Herbie Hancock’s stylistic diversity and experimental cinema’s non-traditional approach to narration.

Naarm/Melbourne-based rock powerhouse Shepparton Airplane are thrilled to announce the upcoming release of their fourth album, Forecast, set for release on August 8th via Wing Sing Records.

The highly anticipated follow-up to their critically acclaimed 2020 LP, Sharks, Forecast marks a compelling evolution for the band, leaning into a more song-oriented approach while still retaining the raw energy their live shows are celebrated for. While previous albums embraced extended jams, Forecast showcases a collection of more traditionally structured songs, with only one instrumental track, the epic slow-burner "Thursday, Simply."

Forecast was written during the endless Melbourne lockdowns, however the music maintains a surprisingly hopeful and, at times, pop-influenced direction.

Lyrically, Forecast delves into the darker facets of the human experience - isolation and introspection - exploring everyday interactions in tracks like "Saw You Coming," "Scribbles and Noises," and "Someone To Blame." These sit alongside apocalyptic observations in songs such as "Forecast," "Septic Dream," and "Hell No," as well as fictional narratives like the tale of a disenfranchised battler in "Angry" and the tragic seafaring love story in "Heaven Will Take Us In." Adding a touch of levity is "Stereo Youth," described by the band as possibly their most feel-good tune to Date.

Forecast promises to impress fans of outsider guitar-driven sounds and followers of the band members' other projects. Ultimately, the album reaffirms that raw, honest, loud rock'n'roll is alive and well in Naarm/Melbourne, Australia.

Wild and untamed Swedish teenage heavy metal from 1981-1985. Includes their ultra rare single plus previously unreleased studio recordings. The album includes a booklet with interviews and photos documenting TRP’s wild stage shows and the local Swedish hard rock youth gangs of the 1980s. Blood splattered vinyl - limited edition of 600 copies worldwide.

The teenage boys that formed TRP came together in the small town of Fjälkinge outside of Kristianstad in southern Sweden back in 1981. In 1982 they recorded and released their legendary after single. They immediately became very popular with the local hard rock you gang’s attracting wild and rowdy crowds.

TRP performed wild and loud shows gilded by the bands furious use of pyrotechnics, smoke bombs, leather, studs and gallons of fake blood.

Their stage show combined with their music got the band banned in Sweden and it was said that they were obscene and promoted satanism.

The band didn’t let that stop them and instead they went into a studio and recorded several tracks with their new lead guitarist. However, these amazing recordings were never released...until now that is. Then in 1985 TRP performed their last show. Their final stand was heavy metal mayhem supreme and the whole stage went up in flames.

“I had welded a guitar slide with one end closed and filled it with chimney test smoke, then I screwed it to the top of the neck of the bass. It burned constantly for two songs, but the effect was cool. We spat blood, as usual, and Peter just kept firing off bombs like crazy. He managed to shoot one right up into Fredrik’s ass during a guitar solo…”

With creative verses rooted in technical brilliance, Detroit emcee Elzhi has attained the highest level of lyrical mastery. Now 15 years into an inspired solo career, the former Slum Village member has ramped up his output lately, joining forces with producers Georgia Anne Muldrow, Oh No, and JR Swiftz for three acclaimed albums in the 2020s. Now, Elzhi is reuniting with famed North Carolina producer Khrysis as the duo Jericho Jackson, revisiting the chemistry that resulted in a celebrated 2018 joint album. After emerging in the Justus League collective during the rise iconic group Little Brother, Khrysis has gone on to work with hip-hop royalty like Sean Price, Black Thought, Mac Miller, JID, Conway, Rapsody, Talib Kweli, Redman, and many more. With a highly anticipated album on the way, Elzhi and Khrysis are launching the new era of Jericho Jackson with the flawless EP I Am Him, channelling the spirit of vintage maxi-singles. “For me, the maxi-single represents a time when

hip-hop was unapologetically raw and underground,” Elzhi explains. “Some of my favourite artists used the format to showcase remixes, freestyles, and loose tracks that might not have fit the sound of an album. This is our way of restoring that feeling.” An exciting burst of new music from two undeniable talents, the project features appearances by Domo Genesis and Oh No.

Musikalisch schon immer auf der Schnittstelle zwischen Rap, Gitarrensounds und sogar Country unterwegs,
legt mgk (Machine Gun Kelly) diesen Sommer sein wohl bisher wichtigstes und persönlichstes Projekt vor
– „lost americana“ erscheint am 08.08.25.
„lost americana“ ist mgk’s kompromisslose Neuerfindung und der Beginn einer Ära, bei der es um klassisches Storytelling, Identität und Selbstentfaltung geht.
Angeführt von der ironischen und doch retrospektiven Leadsingle „cliché“ verwischt das mittlerweile siebte
Album die Grenze zwischen Satire und Authentizität und vereint Humor, Nostalgie und Kulturkritik auf
mgks’s einzigartige Weise.
„lost americana“ nimmt Hörer*innen mit auf eine emotionale und ehrliche Reise durch staubige Diners,
dem simplen Leben von früher und der eigenen Selbstreflexion.
Seit seinem ersten Album „Lace Up“ (2012) ist mgk (damals noch unter den Namen Machine Gun Kelly
bekannt) zu einem der einflussreichsten US-Musikern avanciert.
Singles wie „Bloody Valentine“ und „My Ex’s Best Friend” wurden zu weltweiten Hits, die beiden letzten
Alben „Tickets To My Downfall“ und „Mainstream Sellout“ zu Nr. 1 Charterfolgen, „Tickets To My
Downfall“ wurde zudem in der Kategorie „Best Rock Album“ bei den Grammys nominiert.
lost americana“ erscheint am 08.08.25. als CD und auf Vinyl

Die Metal-Supergroup Sinsaenum kehrt mit voller Wucht zurück und präsentiert ihr lang erwartetes drittes Album "In Devastation" – eine Hommage an Frédéric Leclercqs Vater und die erste Veröffentlichung seit dem tragischen Tod des legendären Drummers Joey Jordison (Slipknot, Murderdolls) im Jahr 2021. "In Devastation" ist ein zehn Tracks starkes Death Metal Album, durchzogen von der melodischen Härte und dem experimentellen Sound, für den Sinsaenum bekannt sind.

Produziert und gemischt vom renommierten deutschen Tontechniker Lasse Lammert, beschreitet die Band dabei klanglich neues Terrain: Progressive Elemente, klare Gesangspassagen und sogar Cello-Einsätze bereichern das Album, ohne dabei jemals den kompromisslosen Kern der Band zu verwässern.

The UK's renowned jazz-funk outfit Speedometer spawns a new single here that takes the form of a bunch of classy covers, all taken from their recent third album Four Flights Up. The A-side offers a refined version of 'Am I Your Woman?', plus a take on the Chi-Lites' classic 'Are You My Woman (Tell Me So)' with Ria Currie's standout vocals lodging deep in your soul. This one was inspired by a night spent dancing at a club in Osaka during their 2005 Japan tour and arms with a smooth groove. On the B-side, they do a fine job of 'Nam M'Yoho Ren'Ge Kyo,' originally by the Night Blooming Jazzmen, by delivering a tight, funky groove with exceptional horn and drum arrangements.

On October 2 1958, after over 60 years of colonial rule, Guineans voted overwhelmingly for their independence, and Guinea was declared a Republic with Sékou Touré as President. Guinea was the first of West Africa’s Francophone colonies to gain independence. To free Guinea from its colonial legacy, president Touré sought to restore dignity to his nation and give cause for Guineans to take pride in their culture, history and newfound freedom. To achieve this, he instructed his government to implement new cultural policies that were intended to revitalise and celebrate indigenous culture. The focus of these new policies was on music.

In 1961, President Touré launched authenticité, the name of his new cultural policy for Guinea. One of its first acts was to assemble the best Guinean musicians into a new state-sponsored orchestras that were tasked with presenting traditional Guinean music in a new and modern style. All musicians in Guinea’s orchestras were officially designated as members of the public service. During the years of Sékou Touré’s presidency (1958 – 1984), the government’s cultural policy of authenticité was applied strictly to the creative arts. Guinea’s sole political party, the Parti Démocratique de Guinée exercised complete authority over artistic production. The scale of the Guinean government’s commitment and efforts to invigorate its indigenous musical cultures was unmatched in Africa, and it presented a clear contrast to the minimal endeavours undertaken by Guinea’s former colonial rulers.

From 1967 to 1983, Guinea’s government presented selections of songs from the Voix de la Révolution catalogue on its own recording label, Syliphone. These recordings were described as ‘the fruit of the revolution’. Syliphone was revolutionary in many aspects: it was the first recording label to feature traditional African musical instruments such as the kora and balafon within an orchestre setting; it was the first to present the traditional songs of the griots within an orchestre setting; and it was the first government-sponsored recording label of post-colonial Africa. Syliphone represented authenticité in action, and over 750 songs were released by the recording label on 12-inch and 7-inch vinyl discs. All are highly sought after by collectors worldwide.

This first volume of a two-volume series presents a selection of the best of early Syliphone recordings. The songs demonstrate not only the essence of Guinea’s authenticité policy and of its subsequent Cultural Revolution, but of a confluence of musical styles from Cuba, jazz, highlife and the diverse influences of Guinea’s cultural groups.

Belgian dance label LA MUSIQUE DU BEAU MONDE turns 20, spawning a massive amount of hits spanning two decades. Ranging from commercial hits by DJ Antoine, Laurent Wery, Remady, Jay Santos, to more credible tracks by Phonkers, Merdan Taplak, Les Mecs, and others.

This is the first record in a series of five, and the first one kicks off with a bang. The importance of Pedro Cazanova’s classic Selfish Love in the house scene cannot be underestimated. It grew iconic in the remix by Gregor Salto, as featured on this 12”.

Rock Your Body by Phonkers was one of the most played tracks on Benelux radio stations during the summer of 2011. The track gained massive popularity not only in Belgium and Holland but also in Australia, New Zealand, Poland, and beyond.

Daniel Bovie is undoubtedly one of the best Belgian dance producers of the past four decades. His 2014 masterpiece Way Too Long is included on this record.

In 2014, Ralpheus had a big international club hit with the catchy clubhouse tune Do What? Gospel chants built around a big clubhouse beat, still a floorfiller today!

Hamburg-born composer, pianist and producer Niklas Paschburg announces his latest project, 'Mexican Alps' EP due for release on July 11th. 'La Hormiga' is a rhythmic exploration of life in motion. Pulsing beats and textured synths create forward momentum, echoing the journey through the winding paths of Oaxaca's mountainous surroundings, where tradition and nature intertwine. 'Mexican Alps' combines inspirations gathered from the picturesque mountains of southern Mexico and the majestic peaks of the Swiss Alps. The EP is a mesmerizing journey through those landscapes; drawing inspiration from nature's grandeur and the vibrancy of Día de los Muertos, Niklas blends electronic textures, atmospheric samples, and innovative instrumentation to create a soundscape that is both grounding and transcendent. Without relying on his signature piano, this EP explores new creative territories, evoking deep emotional resonance and moments of introspection. -- If his first album, 'Oceanic '(2018), was conceived as an ode to the Baltic Sea, for his next release, 'Svalbard' (2020), produced with Andy Barlow of Lamb, the Hamburg-born musician, now a Berliner by adoption, sought refuge on an island in the Arctic Ocean, surrounded by snow, ice, darkness and breathtaking landscapes. This time, however, the setting is completely different. "It all started with an invitation to play at a festival in Oaxaca," Niklas says. "Since I had never been to Latin America, I began considering how to take advantage of the opportunity to stay for a while and write something there. I started looking for houses, but I quickly realized it was almost impossible to find one with a piano—it's not a common instrument in Mexican culture. I thought, why not try immersing myself in a writing process that doesn't involve one? I was so excited about the idea that I jumped in." 'Mexican Alps' is the result of a challenge in which Paschburg harnessed his collection of synths and effects to create an ambient-electronic record. On the one hand, an evolution of the work primarily carried out in 'Svalbard' and 'Panta Rhei'; on the other hand, an episode in its own right, distinct from its predecessors due to the absence of the piano and the greater role played by improvisation, by coincidence, it became his first work created without his signature instrument. "Not having the opportunity to write chords, harmonies, and everything else on the piano, I improvised more, focusing on the sound. This was the approach I used to record demos in Mexico, which I then brought with me to Switzerland, where I carried on working on the EP. In addition to my usual setup (the OB-6 by Dave Smith and Tom Oberheim and the OP-1 by Teenage Engineering, plus my ever-beloved Hohner accordion, inherited from my grandfather), I was also guided by the purchase of a new Moog Matriarch with a unique delay. All this helped me build the sound I had in mind: a spacious, abstract, 3D sound that is definitely immersive." He expands. It is an emotional landscape that translates into music. In some of the tracks, Paschburg has also included field recordings collected during the Día de los Muertos, a deeply felt Mexican holiday: "A great celebration, a colorful parade of skeletons, skulls, flowers, and decorated altars, so engaging and intoxicating that I felt compelled to use its sounds in my music." It was precisely from this blend of influences that the fourth track, "Oaxaca de Juárez", emerged—a single characterized by a catchy funk procession and enhanced by the guitar work of Tal Arditi, a rising European jazz artist and singer-songwriter based between Basel and Berlin. 'Mexican Alps' is his new calling card, featuring an enveloping sound crafted by Paschburg in collaboration with Gijs van Klooster, who mixed the EP in a studio specifically designed for Atmos music. Mastering was handled by Bo Kondren at Calyx Studio in Berlin.

2025 Repress
Nach der Veröffentlichung seines neuen gemeinsamen Albums "Tall Tales" mit Thom Yorke erscheint eine Vinylneuauflage von Mark Pritchards 2016er Soloalbum "Under The Sun" über Warp Records. Pritchard entzieht sich hier wie gewohnt einer einfachen Kategorisierung, was diesem Werk Tiefe und Nuancen verleiht. Er greift auf Klänge und Einflüsse seiner musikalischen DNA zurück: Ambient, Nu-Wave, Avantgarde-Elektronik und Folk, interpretiert sie aber durch einen jenseitigen Filter neu, der "Under The Sun" eher in der Zukunft statt in der Vergangenheit verortet. Das Album enthält Beiträge von Kollegen und Freunden wie Thom Yorke, Linda Perhacs, Bibio und Beans und behandelt Themen wie Schönheit, Trostlosigkeit und Heimatsehnsucht.

* "Wunderschöner melancholischer Downtempo von einem meisterhaften Elektronik-Polyglotten." – MOJO****
* "Under The Sun ist tief atmosphärisch und tief impressionistisch." – Pitchfork

Das dritte Album der Supersuckers aus Tucson, AZ - "The Sacrilicious Sounds of the Supersuckers" von 1995 - ist ein Klassiker und endlich wieder erhältlich, und zwar auf limitiertem, undurchsichtigem, rotem Vinyl! "The Sacrilicious Sounds of The Supersuckers" wurde von Paul Leary von den Butthole Surfers produziert und ist wütender, höhnischer Punkrock, der die besondere Mischung aus Hardrock, Punk und anspruchsloser Country-Kultur der Band perfekt auf den Punkt bringt. The Damned trifft ZZ Top? Die Motörhead des Südwestens? So etwas in der Art, sicher, aber letztendlich sind The Supersuckers ihr eigenes Ding, und auf "The Sacrilicious Sounds..." - und vor allem auf der Single "Born With a Tail" - beginnen die kläglichen Country-Klagen von Sänger Eddie Spaghetti selbstbewusster durch das rohe Punk-Aggregat zu stoßen. Apropos Aggro: Dies ist das einzige Album der Band mit Rick Sims von den Punk-Legenden Didjits aus Illinois an der Gitarre, und Sims treibt die ohnehin schon gewaltige Wand aus übersteuerten Gitarren der Supersuckers pflichtbewusst in die Höhe. Als zusätzliches Schmankerl übernimmt Sims den Leadgesang bei dem rasanten "Run Like a Motherfucker".

The lovely, longing ‘I Still Think About You’ was a regular highlight of the band’s earliest live sets and was one of the first songs they wrote together. “We wrote it three years ago, before we had released any music,” explains the band’s Ben Easton. “It had a certain youthful optimism that we loved, but after a few road tests we decided to shelve it. However, we knew that there was still something in it, so we brought it back earlier this year and we’re chuffed with the result.” “We wanted to capture the purity of wanting to see someone again, hoping they appear around the corner, or in your local park or pub, without any form of doubt that creeps into one’s mind as we grow older,” adds singer Dottie. “We enjoyed exploring and challenging ourselves to achieve a softer and uplifting narrative – it’s possibly the most joyful thing we’ve ever written.” On the flip side, the ‘No Ordinary Love’ reframes the slick R&B of the original as a dark and delicious dreampop / trip-hop crossover. “The original was pretty much on repeat during our tour late last year and we thought it’d be an interesting thing to try,” explains the band’s Ben Easton of the decision to cover the song. “It’s a good representation of where we’re going, sonically, and it was also our first recording experience with Harry Catchpole on drums and so we particularly focused on what he brings to the table. We experimented with different snares, mics and other effects to create our own kind of drum sample which is something that feels important to the deary sound going forward.”

The Jamaican musical group The Maytals can be considered as one of the best known and most important ska and rocksteady groups of all time. Frontman Toots Hibbert penned an impressive catalogue of songs during his time in jail, and after his release he reunited with his bandmates and entered the studio with the brilliant producer Leslie Kong. Some of the great tracks he recorded during that time are included on this record, like “Monkey Man” (covered by the legendary Amy Winehouse) and “Pressure Drop”. The quality and great energy of this band is very well represented on this release.

*JAPANESE PRESSING* ** Limited Edition** *** Unique hand silk-screened cover details*
Note: the colours delivered are random - examples shows above**

Enchanting and highly focussed material on a self released LP ** BIG TIP!!

TORSO's 2nd vinyl release.
TORSO (トルソ) is a unit formed by Kenji (flute, sax, etc.) & Orie (cello, voice, etc.), a married couple based in Tokyo, JP.

Technical:

Mastering and cutting were carried out by Graeme Durham of THE EXCHANGE mastering studio, established by the former "Sound Clinic" mastering and cutting section of Island Records UK. This ensures deep grooves and exceptional dynamics.

Kenji: Flute, Sax
Orie: Cello, Voice, Piano
Mixed by: Naoyuki Uchida
Mastering & Cutting by: Graeme Durham (The Exchange)
Press: Toyokasei Japan

The album cover features new artwork by Masaya Nakahara aka HAIR STYLISTICS, with the album title hand-printed using a silk-screen method in 7 colours, individually finished for each of the 500 copies.

When unknown virtuoso guitarist Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band's meteoric rise over the next two years. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following. With "Weightless," the group's sophomore effort, ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group's genre-defying compositions have earned extensive praise; Steve Vai called the band "the future of creative, heavy virtuoso guitar playing," and MetalSucks recently ranked Abasi #2 on their list of modern metal's top guitarists. Whereas the group's self-titled debut was a collaboration between Abasi and Periphery's Misha Mansoor, "Weightless" features the recording debut of ANIMALS AS LEADERS, the true band; Abasi (guitars), Javier Reyes (guitars) and Navene Koperweis (drums). After nearly two years of touring together, the trio wrote and recorded "Weightless" together in mid-2011, with Koperweis producing and Reyes mixing. The group debuted a new track, "Isolated Incidents," during their inaugural headlining tour that summer, which included sellout shows from coast-to-coast.

Emotional Especial reaches a landmark with its 50th release. Started in 2012 as a “dancier & trippier”, club friendly spin off, sub label to Emotional Response, it has gone on to forge a path, releasing a myriad of artists including the opening release by Jamie Paton (Cage & Aviary / ESP Institute) to Richard Sen (Bronx Dogs), the debut of Khidja (Malka Tuti / DFA) and on to unearthing the breaks masters Alphonse (Klasse Wrecks) and Junior Fairplay (Crimes Of The Future), the uplifting Italo influenced Lauer (Robert Johnson), the new wave anthem of Sfire (featuring Sophie), plus perfect remixes bt Kris Baha (CockTail D’amore) and INHALT (Dark Entries), the NYC pop-rave-vox of Kim Ann Foxman, through to showcasing upcoming artists like Berlin’s Giraffi Dog (Aiwo Recs) and the global acid adventures of Akio Nagase (Chill Mountain) to most recently, the slo-mo trance muscle of 53X and post-rave uplighters of Remotif (Space Lab) and DJ 1985.

As with every 10th release on the label, the label present a various artists “Showcase” of what and where the label is. Aptly it is recent signing 53X who opens Gracias Especial with the bounce of Radar. Finland’s Jonne Lydén debut EP on Especial, Zen ’23 came out of nowhere, more than simply riding a zeitgeist of the “Trance Revival”, his all-live analogue symphonies drop the bpms, presenting widescreen beats, darkroom bass, sirens and tripped out vox all mix to propel a singularly driven.

Taking things much deeper has been the hallmark of Jamie Paton’s remixes for the label. As well as providing the opening EP in 2013, designing every sleeve and producing 20 remixes and counting another 2 for the label here, it’s impossible not to associate Especial with Jamie’s music. First, he reworks rising star DJ, but recent break out producer Chez De Milo, with a trademark dub excursion that takes the ethnic origins of Kremer to a space echo wonderland. Space is the place, the lulling beats, see you falling through the gaps, true dub style.

Alphonse makes a rightful return to Especial, with Raze Rave highlighting the allusive producers’ unique understanding of the varied history of rave culture via a techno-suite of soundscapes, perfectly mixing uplifting breaks, memory inducing vocal samples and dub bass, with a nod to the pop sensibility that rave encompassed, while being that allusive “lost chord” moment of man and machine.

The finale returns to the trance acid expanse of 53X, with the mastery of label stalwart Jamie Paton. An apt marriage, Paton takes the title cut from Lydén’s debut EP and crafts a trademark durge-dub, where TB303 and space echo intertwine with the De Witte vocal, hinting at touches of dub, new wave, trance and acid house all in one melting pot of sound the label optimistically termed “Protoid” back at inception of summer 2013.

ROMEs „Martial Ambient Serie“ mit ihren düsteren, industriellen Klanglandschaften - größtenteils auf restauriertem historischem Audiomaterial basierend - versetzt uns zurück in die blutgetränkten Schlachtfelder der jüngsten europäischen Geschichte, als sich ähnlich wie heute die Ideologien auf europäischem Boden bis zum Tod bekämpften.

Was mit „Käferzeit“ (2019) und „Gärten und Straßen“ (2020) begann und später mit „Haus der Flieger“ (2021) und „Blätter und Steine“ (2023) erweitert wurde, findet nun in „Aster und Edelweiß“ seine fünfte und finale Umsetzung.

„Aster und Edelweiß“ befasst sich mit dem Leben und dem Vermächtnis des 1960 in Pully verstorbenen General Guisan, dem Oberbefehlshaber der Schweizer Armee zur Zeit des Zweiten Weltkrieges, der es wie kein anderer verstand, das Durchhaltevermögen und den Wehrwillen der Schweizer Soldaten und der Bevölkerung angesichts eines möglichen Einmarschs zu stählen. Dabei laden ROME den Hörer auf eine düstere Klangwanderung ein, die durch filigrane Samplearbeit und traumhafte, orgelgetriebene Sequenzen voller dunkler Anmut und zerbrechlicher Eleganz geprägt ist: Eine eindringliche und atemberaubende Reise in das Reich der Pflicht, der Beharrlichkeit und des Opfers.

- Schwarzes, 180 Gramm schweres 12“ Vinyl, Spezielles Schallplatten-Master, Extra audiophiler Tonträger von hoher Qualität – deutsche Pressung, Stabile Kastentasche, Cover im Inside-Out Druckverfahren bedruckt, Schwarze, antistatisch gefütterte Innentasche, Postkarte, Handnummeriert von Jérôme Reuter, Signiert von Jérôme Reuter, Limitiert auf 500 Exemplare

'Maybe I'm Dreaming' ist die neueste Sammlung von Mikey Young (Total Control, Eddy Current Suppression Ring) und Keith Abrahamsson (Gründer und Leiter A&R bei Anthology Recordings) - den Köpfen hinter den beliebten Kompilationen 'Follow the Sun', 'Sad About the Times' und '...Still Sad'. Die zwanzig Tracks von 'Maybe I'm Dreaming' weichen von ihren Vorgängern ab. Sie stammen vollständig aus privaten Pressungen und umspannen neue Jahrzehnte und Produktionsmodi innerhalb der Genres Homepunk-Folk, Softrock und sonstiger FM-Radio-Musik der 70er und 80er Jahre. Die Magie von 'Maybe I'm Dreaming' liegt in den unerzählten Geschichten der Künstler:innen, die hinter diesen Liedern stehen - diejenigen, die den großen Durchbruch verpasst haben, deren Songhandwerk und unerwiderte Sorgfalt aber die richtigen Töne treffen.

'Maybe I'm Dreaming' taucht tief in die isolierte Wildnis ein - eine private Welt, in der Produktionsmacken, nächtliches Bandrauschen und Ein-Mann-Studio-Träume keine Wahl waren, sondern das ausgeteilte Blatt.

Die Songs wurden in persönlichen Sammlungen, in den Tiefen von YouTube, in verfallenen Webarchiven und in den düsteren Ecken von Discogs ausgegraben. Die Auswahl vieler Stücke basiert dabei nicht nur auf Intuition, sondern auch auf persönlichen Verbindungen. Einige Tracks wurden über Freunde entdeckt und fügen der Zusammenstellung einen unsichtbaren, aber tief empfundenen Faden der Kameradschaft hinzu.

Zwar entfernt sich 'Maybe I'm Dreaming' vom Archetyp des „traurigen Mannes mit Gitarre“, der über den Vorgängern schwebte, aber die vertraute emotionale Schwere bleibt erhalten - eine Balance aus Sehnsucht und Leichtigkeit, die diese Ecke des musikalischen Universums definiert. Jeder Track schwankt sanft zwischen Resignation und Hoffnung, Traurigkeit und Gelassenheit, als würden die Künstler selbst einem unerreichbaren Traum hinterherjagen und die Aufnahmen nicht wegen des Ruhmes, sondern aus dem einfachen Bedürfnis heraus machen, diesen ursprünglichen, kreativen Drang in die Welt hinauszutragen.

'Maybe I'm Dreaming' ist eine Einladung, noch ein wenig länger mit halb geschlossenen Augen im Grenzbereich zwischen Erinnerung und Vorstellung zu schweben. Vielleicht träumst du. Vielleicht bist du wach. Vielleicht spielt es keine Rolle.

- 2LP: (Das Doppel-LP-Set mit dem Artwork von Dang Wayne Olsen wird in einer breiten Kartontasche mit bedruckten Innenhüllen geliefert. Zudem enthält es einen Traumtagebucheintrag von Josh Lewellen, dem Experten für Artefakte aus dem pazifischen Nordwesten.)

Titanic is a 1997 American epic romance-disaster film directed, written, co-produced, and co-edited by James Cameron. The movie stars Leonardo DiCaprio and Kate Winslet as members of different social classes who fall in love aboard the ship during its fateful maiden voyage.

Upon its release on December 19, 1997, Titanic achieved critical and commercial success. Nominated for fourteen Academy Awards, it tied with All About Eve (1950) for the most Oscar nominations and won eleven, including the awards for Best Picture and Best Director, tying Ben Hur (1959) for the most Oscars won by a single film. With an initial worldwide gross of over $1.84 billion, Titanic was the first film to reach the billion-dollar mark.

Titanic is available as a 25th anniversary edition of 10,000 individually numbered copies on silver & black marbled vinyl and includes an 8-page booklet, XL fold-out poster and a print replica of the historical newspaper front page. The 2 LPs are housed in a deluxe heavyweight gatefold sleeve with alu-brush finish and metallic embossing.

Für viele Fans auf der ganzen Welt gilt Paul Di’Anno bis zum heutigen Tag als der einzig wahre Maiden Frontmann. Während seiner langen Solokarriere veröffentlichte er auch zwei Alben auf Metalville Records. "In Memory Of" enthält, neben den Highlights aus diesen beiden Alben, zwei bisher nie in physischer Form veröffentlichte Songs. Dazu bietet das Booklet unveröffentlichtes Fotomaterial sowie exklusiv für dieses Album verfasste Liner Notes durch den bekannten Rock Hard Autor und Maiden-Biografen Matthias Mader.

When unknown virtuoso guitarist Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band's meteoric rise over the next two years. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following. With "Weightless," the group's sophomore effort, ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group's genre-defying compositions have earned extensive praise; Steve Vai called the band "the future of creative, heavy virtuoso guitar playing," and MetalSucks recently ranked Abasi #2 on their list of modern metal's top guitarists. Whereas the group's self-titled debut was a collaboration between Abasi and Periphery's Misha Mansoor, "Weightless" features the recording debut of ANIMALS AS LEADERS, the true band; Abasi (guitars), Javier Reyes (guitars) and Navene Koperweis (drums). After nearly two years of touring together, the trio wrote and recorded "Weightless" together in mid-2011, with Koperweis producing and Reyes mixing. The group debuted a new track, "Isolated Incidents," during their inaugural headlining tour that summer, which included sellout shows from coast-to-coast.

Nanu, warum wird Bibi Blocksberg plötzlich so rot? Joachim hat sie doch nur gefragt, ob er mal in ihr Pausenbrot beißen dürfe. Warum schaut sie ihn an, als käme er von einem anderen Stern? Und warum redet sie so ein wirres Zeug? Hat er sie vielleicht verhext? Ach nein, Jungen können ja nicht hexen! Oder doch?

Knosis ist die Idee des japanischen Multiinstrumentalisten und Sängers Ryo Kinoshita. Die Songs spiegeln Ryos inneren Kampf der letzten Jahre wider und sind erfüllt von der puren emotionalen Essenz von Schmerz und Einsamkeit, die sich in den Texten und der Dynamik jedes einzelnen Songs widerspiegelt.


Macht euch bereit für das erste Buch von Ryo Kinoshitas neuer Reise. Knosis umfasst alles von Metal-Riffs bis hin zu Hardcore-Breakdowns und spornt alle Hörer an, im Fitnessstudio ihre persönlichen Bestleistungen zu brechen. Gleichzeitig bietet es einzigartige Emotionen, die durch Höhen und Tiefen führen und helfen, den Tag zu meistern.

Singles, seltene Tracks und B-Seiten aus der gesamten DOZER-Geschichte anlässlich ihres 30-jährigen Jubiläums! Zur Feier ihres 30-jährigen Bestehens präsentieren DOZER "Rewind to Return", ein Doppelalbum mit Singles, raren Tracks und B-Seiten aus ihrer langen Geschichte. "Rewind to Return" ist weder ein chronologisches Dokument noch eine umfassende Zusammenstellung aller Nicht-Album-Tracks, sondern eine sorgfältig durchdachte Auswahl der Lieblingsstücke der Band, die aufgrund ihrer Bedeutung und Wirkung ausgewählt wurden. Diese Sammlung wurde von Karl Daniel Lidén brillant remastert und ist die bestmögliche Erinnerung an DOZERs umfangreichen Katalog und ihr unantastbares drei Jahrzehnte andauerndes Vermächtnis an der Spitze des Heavy Undergrounds. Enthält mehrere nie zuvor veröffentlichte Tracks, alle komplett remastered! Transparent rotes Zweifach-Vinyl(Gatefold) sowie einzelne Digipak-CD erhältlich.

Die Bewaffneten sind zurück und präsentieren "The Future Is Here and Everything Needs to Be Destroyed", dem Nachfolgewerk des von der Kritik hochgelobten Albums "Perfect Saviors" von 2023. The Armed sind Post Hardcore Non-Conceptual Alternative Metalpop! Nach der Fertigstellung der Alben-Triologie, die sich auf die Analyse der künstlerischen Authentizität im Informationszeitalter konzentrierte, begannen The Armed mit der Arbeit an neuem Material, ohne vorher festgelegte Regeln oder Konzepte, sondern nur mit neuem Druck und Dringlichkeit, um eine neue Ära für das Post-Hardcore-Kollektiv einzuläuten. Das Ergebnis ist ein wütendes und konfrontierendes Album, ein ungefilterter Ausdruck von Weltschmerz, ein deutscher Begriff, der den Schmerz über die Realität der Welt im Gegensatz zu unseren idealisierten Visionen von dem, was sie sein sollte, beschreibt. "Diese Platte ist eine Absage an sanierte, für den Geschmack der oberen Mittelschicht kuratierte Rebellion", erklärt Sänger Tony Wolski. "Es ist Musik für eine statistisch wohlhabende Bevölkerung, die sich irgendwie kein Essen oder keine Medikamente leisten kann und endlos durch Urlaubsfotos, Fitnessstudio-Selfies und Bilder von amputierten Kindern im selben Feed scrollt. Sie spiegelt die Abgrenzung wider, die man braucht, um in dieser Realität zu existieren." Die Waffen von The Armed sind weiterhin ihr Kanalisierung von Wut über die unfassbaren Umstände in ungewöhnliche Songs mit innovativen Sounddesign und ihr fester Glaube an das Miteinander, was sich im Gedanken des Kollektivs, aber auch an den vielen Kollaborateur*innen festmachen lässt. Mit Beiträgen von Ken Szymanski, Patrick Shiroishi, Urian Hackney, Kurt Ballou, Troy Van Leeuwen, Meghan O'Neil, Cara Drolshagen, Tony Wolski, Brian Wolski, Justin Meldal-Johnsen, Ben Chisholm, Prostitute, Zach Weeks, Mark Guiliana, Kayleigh Goldsworthy, and Derek Coburn. Inklusive der Singles "Well Made Play", "Kingbreaker" und "Sharp Teeth" LP & LP Ltd im Gatefold mit bedruckten Innenhüllen & 44seitigem Booklet, CD als 6-panel-digipak!

Limitiertes Cloudy clear with yellow, green and pink splatter Vinyl mit 44-Seiten-Booklet! Die Bewaffneten sind zurück und präsentieren "The Future Is Here and Everything Needs to Be Destroyed", dem Nachfolgewerk des von der Kritik hochgelobten Albums "Perfect Saviors" von 2023. The Armed sind Post Hardcore Non-Conceptual Alternative Metalpop! Nach der Fertigstellung der Alben-Triologie, die sich auf die Analyse der künstlerischen Authentizität im Informationszeitalter konzentrierte, begannen The Armed mit der Arbeit an neuem Material, ohne vorher festgelegte Regeln oder Konzepte, sondern nur mit neuem Druck und Dringlichkeit, um eine neue Ära für das Post-Hardcore-Kollektiv einzuläuten. Das Ergebnis ist ein wütendes und konfrontierendes Album, ein ungefilterter Ausdruck von Weltschmerz, ein deutscher Begriff, der den Schmerz über die Realität der Welt im Gegensatz zu unseren idealisierten Visionen von dem, was sie sein sollte, beschreibt. "Diese Platte ist eine Absage an sanierte, für den Geschmack der oberen Mittelschicht kuratierte Rebellion", erklärt Sänger Tony Wolski. "Es ist Musik für eine statistisch wohlhabende Bevölkerung, die sich irgendwie kein Essen oder keine Medikamente leisten kann und endlos durch Urlaubsfotos, Fitnessstudio-Selfies und Bilder von amputierten Kindern im selben Feed scrollt. Sie spiegelt die Abgrenzung wider, die man braucht, um in dieser Realität zu existieren." Die Waffen von The Armed sind weiterhin ihr Kanalisierung von Wut über die unfassbaren Umstände in ungewöhnliche Songs mit innovativen Sounddesign und ihr fester Glaube an das Miteinander, was sich im Gedanken des Kollektivs, aber auch an den vielen Kollaborateur*innen festmachen lässt. Mit Beiträgen von Ken Szymanski, Patrick Shiroishi, Urian Hackney, Kurt Ballou, Troy Van Leeuwen, Meghan O'Neil, Cara Drolshagen, Tony Wolski, Brian Wolski, Justin Meldal-Johnsen, Ben Chisholm, Prostitute, Zach Weeks, Mark Guiliana, Kayleigh Goldsworthy, and Derek Coburn. Inklusive der Singles "Well Made Play", "Kingbreaker" und "Sharp Teeth" LP & LP Ltd im Gatefold mit bedruckten Innenhüllen & 44seitigem Booklet, CD als 6-panel-digipak!

Es ist fast ein wenig gespenstisch, was sich auf "It"s Always Rock"n"Roll" abspielt. Zwar hat Richard Pinhas nichts von seiner charakteristischen Angriffslust eingebüßt, und auch die aus den ersten beiden Heldon-Alben bekannte sägende Gitarre ist neben den vertrauten Sphärenklängen seiner Synthesizer nach wie vor vorhanden. Doch dazu pulsiert durch dieses Doppelalbum eine düstere Energie, eine fröstelige Aura, die selbst den ruhigsten Stücken eine Art bebende Anspannung verleiht. "Zu diesem Zeitpunkt wollte ich aus Heldon eine düstere Band machen", gesteht Pinhas. "Wobei düster für mich nichts Negatives bedeutet." Es geht ihm auch gar nicht um die Düsternis an sich, sondern darum, das Verborgene zu erforschen und Althergebrachtes zu hinterfragen, unter die glitzernde Oberfläche zu tauchen, um dort Geheimnisvolleres zu entdecken. Was "It"s Always Rock"n"Roll" vielleicht aus dem Repertoire von Heldon heraushebt, ist seine Ausdehnung, sowohl was die Größe der Ideen als auch die Länge der Stücke angeht. Die meisten Tracks sind jedenfalls über sieben Minuten lang, zwei Werke nehmen sogar eine ganze Plattenseite in Beschlag.

Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning “the most beautiful piano-led mourning in the history of the broken heart” that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic ‘The Outdoor Type’, penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard ‘Knoxville Girl’ and ‘If I Could Talk I’d Tell You’ co-written with The Vaselines’ Eugene Kelly. All bases are covered. “One of the most distinctive voices of the ‘90s” The New York Times. To further unravel where Evan’s head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan’s thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released ‘Arise’, originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album ‘Baby I’m Bored’.

Singles, seltene Tracks und B-Seiten aus der gesamten DOZER-Geschichte anlässlich ihres 30-jährigen Jubiläums! Zur Feier ihres 30-jährigen Bestehens präsentieren DOZER "Rewind to Return", ein Doppelalbum mit Singles, raren Tracks und B-Seiten aus ihrer langen Geschichte. "Rewind to Return" ist weder ein chronologisches Dokument noch eine umfassende Zusammenstellung aller Nicht-Album-Tracks, sondern eine sorgfältig durchdachte Auswahl der Lieblingsstücke der Band, die aufgrund ihrer Bedeutung und Wirkung ausgewählt wurden. Diese Sammlung wurde von Karl Daniel Lidén brillant remastert und ist die bestmögliche Erinnerung an DOZERs umfangreichen Katalog und ihr unantastbares drei Jahrzehnte andauerndes Vermächtnis an der Spitze des Heavy Undergrounds. Enthält mehrere nie zuvor veröffentlichte Tracks, alle komplett remastered! Farbige Zweifach-Vinyl-Editionen (Gatefold) sowie einzelne Digipak-CD erhältlich, diese ist Red/Black Color Merge Vinyl (limitiert)!

Das Album “Jacknife” zählt zu den oft übersehenen Juwelen in der umfangreichen Blue-Note-Diskografie
des Altsaxofonisten Jackie McLean. Er nahm es 1965 mit einer Band junger, aber durchweg hochkarätiger
Musiker auf. Als musikalischer Mentor gab McLean seinen Begleitern - darunter der Schlagzeuger Jack
DeJohnette bei seiner ersten Plattensession! - großzügig Gelegenheit, eigene Kompositionen zum Repertoire beizusteuern. Entsprechend frisch und vielseitig geriet das Album, das von Blue Note allerdings erst
zehn Jahre später veröffentlicht wurde.

Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and following the first ever vinyl release to attend to James Tenney's legendary Postal Pieces, the label now presents the first LP published by the visionary Swiss composer Jürg Frey. Drawing from the transformative power of breath and resonance, this release represents one of the most profound explorations of musical metamorphosis to emerge from the contemporary experimental landscape.

The completed work represents a "conjunction of these two artists" that has "activated a transformative form of experimentalism." These renderings "dance with an airy lightness, humour, and play, imbuing them with a beauty and emotiveness that can be rare within experimental music." They exist as "breaths, carrying the curiosities of life, belonging to no time and all time, to no one and everyone: a human music to be inhaled and pondered, for which the outcome remains unknown." In this liminal space between composition and interpretation, between breath and resonance, Zurria and Frey have created something that transcends the boundaries of experimental music itself, offering what might be called a metaphysical cartography of sound in its most essential form. As Bradford Bailey observes in his penetrating liner notes, "music is rarely a fixed entity," existing instead in a state of perpetual flux, "taking on the influences of its interpreters and performers." This fundamental truth finds its most eloquent expression in the transformative collaboration between Italian flutist Manuel Zurria and Frey, longtime member of the Wandelweiser Group. Where conventional recordings might preserve a definitive version, this release activates what Bailey calls "states of unknowing and continued experimentation," allowing Frey's compositions to evolve into entirely new dimensional territories. The original string quartet and piano works dissolve into breath-carried architectures of sound, where "the original remains in a constant dialogue with its transformation." This is not mere arrangement but ontological metamorphosis - an alchemical process through which crystalline harmonies are reborn as atmospheric phenomena.

The metaphysical dimensions of this transformation become clear through detailed analysis of the musical result. Where Frey's original compositions operate through what he calls "basic confidence in the clear and restricted material," Zurria's interpretation activates entirely new perceptual territories. Space holds almost atomic sense of weight against the airy punctuations of timbres, textures, and tones, creating "suspensions of time within which questions and identities posed by instrumentation fade." The Extended Circular Music pieces - each comprising "a small number of bars to be repeated an undetermined number of times" - become organizations of sound that defy being definitive or fixed. Originally scored for different combinations of violin, viola, cello, and piano, these works now exist as pure phenomena of breath and resonance, where "hanging, breath-length utterances dance and intertwine amongst complex harmonic clusters and conjunctions."

The philosophical implications of this transformation illuminate a lineage of composers who have moved "away from abstraction and responding to the need to create" something beyond mere technique. Drawing parallels to Morton Feldman's understanding of non-functional harmony, Zurria's approach represents "a transformative form of experimentalism" that activates what Frey calls the "thaumaturgic power" of music - its capacity to heal and transform consciousness itself. The result is "a radical reimagining of ambience: sprawling sonorities and resonances adrift in space, carrying the liberated traces of the work's former incarnations and their truths." In Zurria's interpretation, Frey's String Quartet n.3 becomes something approaching "an organ played in slow motion, its seals leaking," while the Extended Circular Music pieces transform into "glacial chords from a diverse palette of voicings, harmonies, timbres, and tones."

Performed by Manuel Zurria. Recorded and mixed by Zurria at BigCardo, Catania between 2022-2024, with mastering by Bruno Germano at Vacuumstudio, Bologna, this Blume release represents a profound exploration of musical transformation.

Following on from his highly acclaimed debut Len Parrott"s Memorial Lift, Baxter proves that this was no fluke. His 2nd album Floor Show sounds like it was recorded in St Paul"s Cathedral, with vocals added in the whispering gallery. Narratively, it"s seems to be about a disintegrating relationship, although this is no confession booth moment. Guitars float like ectoplasm, Wurlitzer"s spin beneath mirror balls, summoning the presence of spectral beings, swaying to luxurious, narcotic music that predates trip-hop by a good sixty years. Stand-out tracks include the single "Lisa Said", "Cocaine Man" and the wonderful "Francesca"s Party". The album was produced by Baxter, Nick Terry and mixed by Craig Silvey (The Coral, Magic Numbers) in West London in the winter of 2004 / 2005. The band are Damon Reece on drums and Mike Mooney on the electric guitar- both former members of Spiritualized.

Remasterte 15-Jahres-Jubiläumsedition des 2008er Studioalbums »The Sparrow And The Crow« von US-Singer / Songwriter William Fitzsimmons, mit dem ihm der Durchbruch gelang (u. a. iTunes US Best Singer / Songwriter Album 2008). Erweitert um die Vinylerstveröffentlichung der »Derivates« EP (2010) mit 7 elektroakustischen Bearbeitungen von »The Sparrow And The Crow« Albumtracks sowie dem Kate-Perry-Cover »I Kissed A Girl«. Farbiges (Crystal Clear & Yellow) Doppelvinyl im Gatefold.

Ora Cogans ,Formless", veröffentlicht am 25. August 2023, ist ein Album, das Schönheit, Absurdität, Humor und unerwartete Freude in den düstersten Zeiten findet. ,Formless" entstand inmitten von Trauer und pandemiebedingter Isolation. ,Ich habe viel Zeit damit verbracht, mit meinem Hund ziellos durch den Wald zu streifen", sagte Cogan. Das Ergebnis ist eine Flut von Gedanken über ungeschickte Liebe, Schmerz, innere Kämpfe und den Kampf, Wege zu finden, sich gut zu fühlen, wenn alles schlecht läuft. Das Album wurde größtenteils in Live-Takes mit der Rhythmusgruppe David Proctor und Finn Smith auf Analogband im Risque Disque Studio auf Vancouver Island aufgenommen und von Cogan und David Parry von Loving co-produziert. Mit dabei sind internationale Gaststars wie Cormac Mac Diarmada von Lankum, der ,Feel Life" auf der Saitengitarre spielt, und Y La Bamba, die ,Ways of Losing" im Duett singt. Das Album ist thematisch sehr vielfältig: ,Katie Cruel" mit seinem ätherischen Gesang, einer schlurfenden Snare und einer sitarähnlichen Gitarre ist eine tragische Ballade über eine Sexarbeiterin, die mit Soldaten der leichten Infanterie unterwegs ist. ,Cowgirl" ist ein psychedelischer, langsamer Country-Jam, der sich mit sozialer Isolation in Trauer auseinandersetzt; und ,Feel Life" ist ein Track, der durch den Wahnsinn des alltäglichen Tumults und epische, lebensverändernde Verluste tanzt. Mit einer einzigartigen Stimme, die ebenso sensationell wie klangvoll ist, sucht Ora Cogan nach neuen Realitäten im Labyrinth aus Rauch und Spiegeln unserer grausamen Gesellschaft.