quête:eur

(Standard black vinyl version) With their anticipated new album, Black Flower delves into the transformative power of rhythm and motion.



Each groove, rhythm and pulse channels raw energy, acting as a disruptor that drives transformation. When the mind feels stuck-cemented in patterns, rigid in its views, overwhelmed by obstacles-Kinetic serves as a reminder that the body's motion can be the force to shatter those confines. To move is to adapt, evolve, and transform.



The album embodies a philosophy of flowing with change rather than resisting it, offering a bold, dynamic statement on breaking free from life's limitations. Kinetic is a call to dance through life's chaos and to harness the power of movement as a tool for liberation.


The album showcases Black Flower's signature blend of Ethio-jazz, oriental influences, dub, and afrobeat. The jazz combo, hailed by tastemakers such as Gilles Peterson, The Gaslamp Killer, and Lefto Early Bird, has performed live sessions on BBC Radio 3 and Worldwide FM. Their previous albums earned widespread acclaim, with glowing reviews from prestigious publications such as MOJO, Stereogum, Q Magazine, and Uncut Magazine. The band has toured extensively across Europe, building a strong fanbase.



File under: contemporary Jazz / ethio jazz

Rich in melody and instantly classic in feel, Luca dell’Orso debuts on CWPT with an extended EP of lush Italo, sensitively summoned from the Netherlands. Having impressed with previous releases on labels including Bordello A Paligiaria and Red Laser Records, these six tracks demonstrate a delicate approach to his studio, flitting between pop songwriting and analog experimentation.

From the soft fanfare that announces ‘Solitair & Solidair,’ ‘Actors’ establishes a confident groove that gently pushes an Alfa Romeo pedal toward Balearic ecstasy. On the instantaneous lead single ‘Dear Rosie,’ dell’Orso blends the signature palette of the vintage Yamaha-X7 synthesizer with longing vocals from collaborator Jolisa. A paean to a special person from a distant past, ‘Dear Rosie’ is blessed with a wistful melody befitting an Eric Rohmer classic, a musical postcard of a treasured connection. From wistful midsummer memories, dell’Orso easily transports listeners to another season entirely with ‘Winter Scent’, a deep meditation reflecting the artist’s walks in the few hours of available sunlight, thoughts beautifully vocoded beneath a heavy sonic layer.

Out of this lavish gloom blossoms the inevitable sound of spring on the driving, optimistic ‘Love by Association’; an enduring recipe of distinct drums and pitch-shifting synthesis, frozen in time for frenetic Eurodisco dancefloors. On ‘Propaganda’, dell’Orso offers a more forceful take on the same instincts, skipping inner-Schengen borders to simmer via industrially-tinted pleasures as revealed in Dusseldorf, 1984. For a sublime finale, ‘This Time (Things Will Be Different)’ takes to the piano, where Luca dell’Orso finds space to demonstrate the elegant minimalism that easily coexists alongside his timeless energy.

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

"Recorded in Jeremy Loops' home studio in Cape Town, South Africa ‘Feathers and Stone’ is an organic response to a world increasingly shaped by digital and artificial sounds, and showcases Jeremy's depth as an artist and a songwriter.

Following on from critically acclaimed albums Trading Change (2014), Critical As Water (2018) and Heard You Got Love (2022), ‘Feathers and Stone’ reflects the balance between heaviness and lightness by mixing both uplifting melodious music with melancholic moments, sophisticated guitar licks and vocal turns. Produced by Will Hicks (Ed Sheeran, Lilly Allen, Bastille), Loops hopes that listeners will feel the depth and honesty in all eleven tracks on the record.

After previous collaborations with industry luminaries like Ed Sheeran, Steve Mac and Edd Holloway, this album includes collaborations with South African choral group and five time Grammy Award Winners, Ladysmith Black Mombazo on the single ‘Coming Home’ and prolific German born folk/pop duo, Amistat on ‘Loveblood’, a powerful and euphoric track which found its feet while they toured through Europe and South Africa with Jeremy.

Previously, Jeremy Loops carved a niche for himself through electrifying live performances, progressing from small bars to selling out 5000-seat arenas globally and earning him accolades and awards at the South African Music Awards and MTV Africa's Best Alternative Artist award and & Best Pop Album."

"Recorded in Jeremy Loops' home studio in Cape Town, South Africa ‘Feathers and Stone’ is an organic response to a world increasingly shaped by digital and artificial sounds, and showcases Jeremy's depth as an artist and a songwriter.

Following on from critically acclaimed albums Trading Change (2014), Critical As Water (2018) and Heard You Got Love (2022), ‘Feathers and Stone’ reflects the balance between heaviness and lightness by mixing both uplifting melodious music with melancholic moments, sophisticated guitar licks and vocal turns. Produced by Will Hicks (Ed Sheeran, Lilly Allen, Bastille), Loops hopes that listeners will feel the depth and honesty in all eleven tracks on the record.

After previous collaborations with industry luminaries like Ed Sheeran, Steve Mac and Edd Holloway, this album includes collaborations with South African choral group and five time Grammy Award Winners, Ladysmith Black Mombazo on the single ‘Coming Home’ and prolific German born folk/pop duo, Amistat on ‘Loveblood’, a powerful and euphoric track which found its feet while they toured through Europe and South Africa with Jeremy.

Previously, Jeremy Loops carved a niche for himself through electrifying live performances, progressing from small bars to selling out 5000-seat arenas globally and earning him accolades and awards at the South African Music Awards and MTV Africa's Best Alternative Artist award and & Best Pop Album."

F.U.N. Is Now Available In A Limited Frosted Shadow Colored Vinyl Pressing!

The latest full length album from Detroit mainstays Slum Village, F.U.N., has now made its way to vinyl. The 12-track project is their first album in nearly ten years and includes fresh collaborations with Larry June, Cordae, Eric Roberson, Robert Glasper , Karriem Riggins, Abstract Orchestra, Sango, Phat Kat, Daru Jones, Earlly Mac, The Dramatics and more. 2015's critically acclaimed Yes! further cemented T3 and Young RJ's ability to effectively carry on the legacy of the seminal rap group, retaining its essence while evolving its sound with fresh new energy. However, with last year's sold out tour in Europe, and the release of the Larry June and The Dramatics-assisted "Just Like You", it was revealed that the duo was back in the lab together working on a new Slum Village album. F.U.N. finds Slum Village expanding on their signature certain sound, but still staying close to their hometown roots: Young RJ explains- “We wanted to just try something new, so we focused on making Disco-inspired music,” and T3 notes that the recording process all “began with collecting old Disco records.” For fans who wonder why the sonic shift, and why the long hiatus between proper albums, T3 says “Slum is still here. We’re still relevant and we’re still trying to push the envelope. Sometimes people put too many rules on music, and without sounding cliche, we wanted to just have fun with this album.” F.U.N., indeed.

Tempat Angker (haunted place) is a Halloween mixtape compiled by music researcher and artist Luigi Monteanni, aka Neurotica Exotica.

To celebrate a second year of fieldwork research in West Java and to bring together the longing for All Hallows’ Eve partying with the archipelago’s richness in local and historical horror folklore tropes, figures, characters and stories, Artetetra’s co-founder cuts up 120 minutes of soundtracks, sound effects and dialogues from the glorious and extensive Indonesian horror movies tradition counting more than 700 titles.

Hear it from speculative horror and sci-fi filmmaker Riar Rizaldi (whole essay in the tape’s leaflet):

“The popularity of cinematic media during the New Order era led to the unprecedented development of more rapid and large-scale production methods. ⁤⁤Genre films, particularly horror and fantasy, emerged as some of the most prolific outputs, with hundreds being produced annually. ⁤⁤The filmmaking process was accelerated, and post-production ᅳ especially sound design ᅳ was completed as swiftly as possible. ⁤⁤Notably, veteran composer and musician Gatot Sudarto, who had worked extensively on drama films in the 1970s, became a regular contributor to studios producing horror and fantasy films in the following decade ᅳ although composer Embie C. Noer was also active during this period, his focus was more on action “sword and sandals” films. ⁤⁤Gatot’s influence in the music departments of these films was significant, helping to create an authentic soundscape. ⁤He adapted many of the compositional techniques used in European horror films (mostly the usage of harpsichord) at the time, blending them with the bass synths characteristic of American horror, while incorporating local and regional instruments to tailor the sound to Indonesian audiences.”

By sampling excerpts from 43 movies spanning the ages from the early seventies to the two thousand and tens, mostly trying to portrait the sound influence of the vintage horror era made popular by the “queen of horror”, actress Suzzanna, Tempat Angker throws you into decades of experimentation in conjuring the sound of Indonesian terror. Unearthly screams, bombastic fights, bamboo music, eighties synthy extravaganza, ominous sound effects, sexy dangdut, evilish pitched vocals, gamelan, eerie laughters from beyond and even calls to prayer fill the air in the spooky month!

Since the late 90"s, Jakob "Dino" Dinesen has become a stalwart of the Danish jazz scene, performing with nearly everyone of note in the country as well as internationally celebrated names such as Kurt Rosenwinkel, Jeff "Tain" Watts, Jakob Bro and Paul Motian. Finding joy and inspiration in the building of bridges between genre boundaries, his career in music has seen him travel and perform all over the world, enriching his sound and soul with every new experience. His new record seeks to convey his dream of a future world at peace with itself. "Slow Flow" is set to release on January 25th on April Records. "I envision a world where people from every corner of the globe come together, dancing, sharing meals, and finding joy through my music. My children are a blend of Africa and Denmark, and I hope they"ll carry the traditions and wisdom of both their mother and father as they navigate their path. I would love for music like this to be the soundtrack to their journey through life." Rooted in the playful live sound of an atypical quintet featuring cello and djembe, Slow Flow sits in a unique space somewhere between earthy, simplistic, and acoustic and contemporary, electronic, and unexpected. The record"s sound is soft spoken and full of compassion-a dark-timbred music where the intimate, warm breath of his tenor saxophone intertwines with the crisp, organic tones of the cello. Together, they float over smooth, analog synths and electronic loops, while the carefully crafted lines of the bass and the gentle rhythm of hands on drum skins carry the music forward. Occasional erratic, quirky bursts from an affected keyboard and weaving improvisations offer moments of energy and contrast. Each of the album"s nine original compositions paint musical pictures of contentment that are dear to Dino, as well as offering musical tributes to four of his heroes in Yusef Lateef, Wayne Shorter, Coleman Hawkins and Eddie "Lockjaw" Davis". Drawing on modern European jazz, African rhythms, Italian circus music, and reggae, Slow Flow plays as a deeply personal exploration of Dino"s identity, whilst providing a dream-like message of global peace that promises to resonate with like-minded people all around the world..

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Brothers Dana and Alden McWayne, along with a troupe of multi-instrumental artists, come together to create jazzy melodies with indie sounds inspired by their unconventional upbringing in Eugene, Oregon. Following the success of their debut full-length album and it's lead track "Dragonfly" (which tracked 300,000 TikTok creations, and over 10 million streams) the brothers recruited Jared Solomon (Sza, Remi Wolf, Teezo Touchdown) to produce their sophomore LP, Coyote, You're My Star. Melding vintage sounds with the aesthetic and experience of existing in Gen Z and the digital age, the new LP has already been met with rousing approval, with airtime on the Zane Lowe show on Apple as well as playlist covers like Spotify's State of Jazz. The band is also set to tour North America and Europe across festivals and headline shows.

With their anticipated new album, Black Flower delves into the transformative power of rhythm and motion. Each groove, rhythm and pulse channels raw energy, acting as a disruptor that drives transformation. When the mind feels stuck-cemented in patterns, rigid in its views, overwhelmed by obstacles-Kinetic serves as a reminder that the body's motion can be the force to shatter those confines. To move is to adapt, evolve, and transform.
The album embodies a philosophy of flowing with change rather than resisting it, offering a bold, dynamic statement on breaking free from life's limitations. Kinetic is a call to dance through life's chaos and to harness the power of movement as a tool for liberation.
The album showcases Black Flower's signature blend of Ethio-jazz, oriental influences, dub, and afrobeat. The jazz combo, hailed by tastemakers such as Gilles Peterson, The Gaslamp Killer, and Lefto Early Bird, has performed live sessions on BBC Radio 3 and Worldwide FM. Their previous albums earned widespread acclaim, with glowing reviews from prestigious publications such as MOJO, Stereogum, Q Magazine, and Uncut Magazine. The band has toured extensively across Europe, building a strong fanbase

*press Release From David Katz*

The Hardest Working Reggae Band In Southern England, Dubheart Is On A Mission To Spread Messages Of Peace, Love, Unity And Resistance Through A Heady Stew Of Contemporary Roots Reggae, Delivered On Live Instruments With A Hefty Dose Of Dub In The Mix. Cool Under Pressure, Their Latest Offering, Is The Band's Most Compelling Set To Date, A 'showcase'-style Album Where Every Vocal Track Is Followed By Its Dub Counterpart, And The Vital Contribution Of The Brassica Horns—from Rising London Ska Band Chainska Brassica—is Another Intriguing Element That Makes This Album Tougher Than The Rest.

Drawing On The Foundations Laid By Jamaican Stalwarts Such As Burning Spear, Dennis Brown And Culture, Dub Pioneers Like Scientist And Jah Shaka, Plus Newer Vanguards Such As Tarrus Riley, Grounation And Conscious Sounds, Dubheart Has Crafted A Distinctly Appealing Style That Is Very Much Their Own, Based On The Organic Presentation Of Their Musical Vision. Indeed, This Fully Self-contained Five-piece Is Firmly Engrained In The Neo-roots Movement Of The Present, With A Sound That Faces Ever Forwards.

The South Coast-based Band Was First Formed Back In 1999, And Slowly Built A Following Through Their Intense Live Performances, Which Always Harnessed A Live Dub Element. Their First Ep, the Solid Foundation Rhythm,' Issued On Their Own Karnatone Label In 2011 And Featuring Dub Mixes By Russ D Of The Disciples, Became A Regular Part Of Jah Shaka's Live Playlists. It Was Followed By The 7' 45, we Chant,' Featuring The Band's Charismatic Bristol-based Lead Singer, Tenja (who Originally Hails From France), The Track Becoming An Underground Anthem In Japan (via Rob Smith, Aka Rsd). Dubheart's First Album, Mental Slavery, Was Released In 2013, A Momentous Year That Also Saw The Band Win The European Reggae Contest Staged By Rototom Sunsplash, Leading To A European Tour With Festival Appearances At Summerjam (germany), Reggae Sun Ska (france), Overjam (slovenia), Sudoweste (portugal), United Islands (czech Republic) And The Sardinia Reggae Festival, As Well As Rototom In Spain. Then, In 2015, Karnatone Issued The Dub Companion To Mental Slavery, Mixed Down In A Heavy Dubwise Fashion By Drummer Gavin Sant, Otherwise Known As Fullness, The Band Was Then Invited To Participate In The Bbc Television Show, The Uk's Best Part-time Band, Leading To Their Ep Of Cover Tunes, 2016's full Time Pressure,' Again With Dub Versions From Fullness. part Of The Band's Appeal Lies In Its Tightness As A Recording And Performing Unit, When You See Them Live, You Understand That This Band Of Brothers Is On A Higher Mission, United In Their Wish To Use Music As A Means Of Upliftment. And That Sentiment Is Entirely Evident On Cool Under Pressure. The Melodic Bass Grooves Of Mark Shepherd Act As The Perfect Buffer To The Furious Rolls And Expressive Drum Patterns Of Fullness, David 'daddy U' Mountjoy Adds Scintillating Melodies On Keyboards, Including Some Delightful Wurlitzer Lines, And Richard Ramsey's Guitar Licks Tend Towards The Understated, Aside From The Occasional Solo Pyrotechnics, As Heard Here On rocky Road.' And On Songs Like can't Wait,' watcha Gonna Do' And The Title Track, The Brassica Horns Add Further Melodic Depth Through Fanfares Of Treble Brass Texture. with The Rhythms Laid Entirely Through Live Recording Sessions Cut At Fullness' Home Studio In Bournemouth (with Horn And Wurlitzer Overdubs Done Elsewhere), Cool Under Pressure Reveals Dubheart As A Band On The Rise, Heading For Unstoppable Heights.

The Dub Deconstructions On The Disc Allow The Listener To Hear The Exceptional Quality Of Their Playing, Emphasizing Each Member's Individual Talent, While The Lyrics Tackle Subjects We Can All Relate To, With watcha Gonna Do' Addressing Social Inequalities, can't Wait' Alluding To The Refugee Crisis, rocky Road' Imploring Everyone To Hold Strong In Trying Times, And rise Up' Calling For Direct Action Against The Unjust System That Rules Our Lands. Overall, The Outstanding Title Track cool Under Pressure' Really Sums Up The Band's Ethos: The System May Burden Us With The Stresses Of Censure And Control, But Our Obligation Is To Stay True To Ourselves And Resist. And The Music Can Help Us To Achieve This.

"Never Exhale" ist der Sound einer Band, die keine Atempause einlegt. DITZ sind seit der Veröffentlichung ihres ersten Albums "The Great Regression" (2023) unermüdlich auf Tour. Die Songs ihres neuesten Angebots wurden in ganz Europa geschrieben, oft an freien Tagen und in geliehenen Proberäumen. Man könnte sagen, dass die Band das Aufnehmen und Veröffentlichen von Musik als nachträglichen Einfall betrachtet. Oft spielen sie Songs Jahre vor der Veröffentlichung live und optimieren sie dabei. Die Songs auf der endgültigen Platte können sich ändern, bevor sie jemals als Teil des Albums zu hören sind.

"Never Exhale" wurde grösstenteils in den Holy Mountain Studios in London während eines eiskalten Januars aufgenommen. Der Prozess war voller Hindernisse, da der ursprüngliche Plan, in Rhode Island aufzunehmen, durch das Angebot einer Support-Tour mit IDLES aufgegeben wurde, obwohl das Album immer noch vom ursprünglich vorgesehenen Toningenieur Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave) gemischt wurde. Das Ergebnis ist ein Werk, das durch den Druck seiner eigenen Entstehung gehärtet wurde. Mühsam, aber nicht geliebt.

Die Themen der LP offenbaren sich beim wiederholten Anhören. Von der Erkundung dessen, wie es wäre, seinen Einfluss auf die Welt abzuwägen, dem heiligen Petrus, unnötigem Hass und Spaltung, Altern, der Trennung des Physischen von der Realität. Es ist politisch, aber letztendlich persönlich. Mehr Genet oder Kafka als Orwell oder Huxley. Soundtechnisch hat "Never Exhale" seine Wurzeln in den üblichen DITZ-Einflüssen, klassischem Noise-Rock wie The Jesus Lizard oder Shellac oder dem stumpfen Post-Punk von The Fall, bringt aber auch frische Einflüsse ein. Der letzte Track "Britney" könnte mit Radiohead oder Mogwai verglichen werden. Insgesamt ist das neue Album eine klare Weiterentwicklung ihres Debüts. Und ein Zeichen der Dinge, die kommen werden.

"Never Exhale" ist der Sound einer Band, die keine Atempause einlegt. DITZ sind seit der Veröffentlichung ihres ersten Albums "The Great Regression" (2023) unermüdlich auf Tour. Die Songs ihres neuesten Angebots wurden in ganz Europa geschrieben, oft an freien Tagen und in geliehenen Proberäumen. Man könnte sagen, dass die Band das Aufnehmen und Veröffentlichen von Musik als nachträglichen Einfall betrachtet. Oft spielen sie Songs Jahre vor der Veröffentlichung live und optimieren sie dabei. Die Songs auf der endgültigen Platte können sich ändern, bevor sie jemals als Teil des Albums zu hören sind.

"Never Exhale" wurde grösstenteils in den Holy Mountain Studios in London während eines eiskalten Januars aufgenommen. Der Prozess war voller Hindernisse, da der ursprüngliche Plan, in Rhode Island aufzunehmen, durch das Angebot einer Support-Tour mit IDLES aufgegeben wurde, obwohl das Album immer noch vom ursprünglich vorgesehenen Toningenieur Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave) gemischt wurde. Das Ergebnis ist ein Werk, das durch den Druck seiner eigenen Entstehung gehärtet wurde. Mühsam, aber nicht geliebt.

Die Themen der LP offenbaren sich beim wiederholten Anhören. Von der Erkundung dessen, wie es wäre, seinen Einfluss auf die Welt abzuwägen, dem heiligen Petrus, unnötigem Hass und Spaltung, Altern, der Trennung des Physischen von der Realität. Es ist politisch, aber letztendlich persönlich. Mehr Genet oder Kafka als Orwell oder Huxley. Soundtechnisch hat "Never Exhale" seine Wurzeln in den üblichen DITZ-Einflüssen, klassischem Noise-Rock wie The Jesus Lizard oder Shellac oder dem stumpfen Post-Punk von The Fall, bringt aber auch frische Einflüsse ein. Der letzte Track "Britney" könnte mit Radiohead oder Mogwai verglichen werden. Insgesamt ist das neue Album eine klare Weiterentwicklung ihres Debüts. Und ein Zeichen der Dinge, die kommen werden.

Wewantsounds is delighted to announce the release of Al-Qasar's new album, "Uncovered", is a side-project from the group featuring covers from the Western and Arabic repertoires, as well as new originals composed by the group. The album was recorded in Europe and Africa and features guest appearances by Alsarah, Mamani Keita, Cheick Tidiane Seck and Sami Galbi. The group, who has recently come out of a US tour will give more concerts in 2025 to support the album and spread further their Arab-futurist psych rock sound.

Studio, the influential project of Swedish musicians Dan Lissvik and Rasmus Hägg, presents their legendary 2006 debut in remastered form, in partnership with Ghostly International. Available in limited edition "Fog Machine Vinyl", CD, and cassette. "One of the finest pieces of electronic music you'll hear this year.” - The Guardian (2006). Included in year-end best-of write-ups by Pitchfork, FACT Magazine, and Rough Trade. Physical copies have long been out of print for West Coast, and the album has also been notably absent from most streaming services until now.

“Somehow, I knew I wanted to make a conceptual record that, although only imaginary at that point, could represent or define how our city sounded,” says Lissvik of Gothenburg's influence on West Coast. Some called Studio, the project of Swedish musicians Dan Lissvik and Rasmus Hägg, “the missing link between The Cure and Lindstrøm,” Pitchfork heard Durutti Column and Can, as the duo’s story became swept up in a loosely developing scene — adjacent first to the label Service (Jens Lekman, The Whitest Boy Alive) and later Sincerely Yours (The Tough Alliance, jj) — and a precursor to the 2010s boom at the axis of electronic and psychedelic music guided by indie greats like Caribou, Four Tet, and Darkside.

West Coast, their seminal 2006 debut, captured a faraway romanticism of Balearic brushed up against Krautrock, disco, dub, and afrobeat, with pop lyricism lifted from new wave, all made modern by two art school grads in Gothenburg. First pressed in a small vinyl-only run via their own Information label, the album has been notably absent from most streaming services, and the internet’s record of its initial impact is all but fossilized from a bygone blog era, while its sound is simply untraceable to any one moment in music.

Outside of three 7” releases, they’d keep the music to themselves for several more years. In 2005, Hägg remembers, “We got our degrees and were kicked out of our studio spaces so all these recordings were just piled up. A year later we dusted them off and started to deconstruct and assemble them in a more drawn-out fashion.” In the same breadth, they cite DJ Screw, J Dilla, and Joy Division, along with early ‘80s European live DJ sets from the likes of Beppe Loda, Dj Mozart, and Baldelli as reference points.

“The anything-goes mentality was very encouraging and was a big cornerstone to the Studio sound,” says Hägg. “But there’s so much more to the picture, we were not that young then and had lots of musical baggage in our suitcases, the new thing was that we finally let it all come through, not bound by any borders that was often the case with music identity in Sweden during the 90s.” In the afterglow of the record’s 2007 reception, Studio receded from view, clouded behind a mountain of remix requests (including one for Kylie Minogue that saw release) and label bureaucracy. “It’s easy to wish we would have done some proper recordings of our own instead,” Hägg reflects. But both artists, now well into respective careers beyond Studio, have come to peace with West Coast as their most enduring effort together. Lissvik adds, “It serves as a good reminder for me to keep to that decision and promise and to continue exploring and growing

Coming up next on Papa Records is something truly special – a limited edition 7” of The London Community Gospel Choir (LCGC) with their uplifting new single, "Rather Be" remixed by talented producer/DJ - Ayce. A release to surely joyously ignite dancefloors.

As one of the most dynamic and inspiring forces in the UK music scene, LCGC is Europe's premier contemporary Gospel choir. Their sound seamlessly blends Soul, Funk, House and R&B while maintaining a powerful message of God’s love, peace, and unity through their refreshing and vibrant take on Gospel music.

LCGC has shared the stage with a long list of music icons, such as Elton John, Madonna, Sam Smith, Ellie Goulding, Jessie J, Adele, Gorillaz, Blur, Gregory Porter, Justin Timberlake, and Mariah Carey, and their collaborations continue to expand.

Originally from Hackney, East London, Ayce 'The Beat Junkie' is a skilled DJ, musician, and producer. His early success as a highly sought-after keyboard player paved the way to working with major artists such as Jessie J, Tinie Tempah, Duffy, Wretch 32, and Paul Carrack, among others. Ayce creates a brand of house music that's soulful and funky, crafted to get you moving. Focusing on powerful, often choral-style vocals in both his original tracks and remixes, his music not only energises but also leaves you feeling uplifted.

LP limited to 500 LP copies. Nina Garcia ’s first solo record widely available via international distribution. Nina has collaborated with artists like Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild, Leila Bordreuil, and supported for bands like Sonic Youth, SUNN O))). After a decade of performing concerts under the Mariachi guise, Nina Garcia has finally unveiled her unique approach in Bye Bye Bird, her first album under her name. Bye Bye Bird is her second solo album. With no pretence or demonstration, the album is a captivating blend of chiaroscuro, melodies, and raw emotion. Nina Garcia’s album takes on an almost documentary-like quality by adopting a simple approach to gesture and sound recording. It offers a candid portrayal of a moment, a lack, a state, and a breathtaking energy. With ostinato as her only credo, Nina Garcia’s music is an experiment in freedom, where the peaks answer the abysses, and the power of movement and the emotion of sound serves as her compass. From very short (01:28) to never very long (07:34), the eight tracks that make up this set explore a moment, a space, a mechanism, an intention or a way of doing things. As a common feature of almost all these pieces (all but one, the last), Nina Garcia explores a new technique. She adds to her instrumentation, reduced to the essentials (a guitar, a pedal and an amp), an electromagnetic microphone which, when held in hand, makes it possible to listen in on the exact zones where the vibration of the string creates a sound amid vast spaces of silence. The guitar is unplugged, and the body/instrument relationship changes in dimension. In this series of variations, you can get caught up in masses of noise seen from very, very close up, evocations of melodies in the making, feedback on ridgelines, pulsations that hold their own, modulations weakened by exhaustion and harmonic bursts that hint at better days to come. Neither hopelessly chthonic nor beatifically ethereal, Bye Bye Bird is a sum of musical pieces that make a whole and give voice to echoes of what has been, the presence of what is and the hope of what will be, a record movement in the form of flight and salvation. Since 2015, Nina Garcia has been researching and creating around the electric guitar, halfway between improvised music and noise. On numerous stages in Europe and North America, she has played occasionally with Stephen O’Malley, Sophie Agnel, Fred Frith, Antoine Chessex, Louis Schild or with Luke Stewart and Leila Bordreuil’s Feedback Ensemble, in addition to more regular formations in which she participates, such as the ensemble Le Un, mamiedaragon, Autoreverse (with Arnaud Rivière), duets with trombonist Maria Bertel and percussionist Camille Émaille, and the installation piece De Haut En Bas, De Bas En Haut Et Latéralement (with Christophe Cardoen, Jennifer Caubet, Etienne Foyer, Anna Gaïotti and Romain Simon). “Nina Garcia has been actively moving the art of noise guitar into surprising and intriguing new spaces. She has been at it for some time now, a bit of a secret weapon all the while hiding in plain sight. As I listen to her music and ruminate upon seeing her perform it brings me to a realization which I have with very few musicians: the ego inherent in making art can be transcended through a purity of direct action. At least that’s the feeling I have when experiencing Nina’s music which comes across as serious and radical and wholly engaged in the moment of its creative impulse.

Unfettered by studio time limitations with their own home base of Echo Canyon, SYR 2 shows Sonic Youth chasing the shadows of predecessor SYR 1 and the series' distinct aesthetic: total exploration of freedom and further discovery. While the cover art evokes European contempo classical releases of yore, Sonic Youth distinctively reinvent their own personal output potential the way those kinds of records revolutionized a previously defined genre. Their ethos of utilizing the roots of the Ramones, Television, VU, Stooges, and No Wave to shape their first decade now find the band in later years bullet-pointing fascination in AMM, MEV, improvised music, free jazz and other outer-limit/organic refractions of traditional rock. While Sonic Youth's spontaneous-creation moments had long been showcased in their recordings, Peel Sessions, and live, SYR 2 sums up the band's state in 1997: rolling lots of tape, fine-tuning ideas and presenting great moments of exciting new directions, allowing deep-listener type fans to gain better insight into their sound process. Add to that the alchemy of Jim O'Rourke's gradual entry into the core band which would soon be fully on display for SYR 3, and this series is an X-ray of evolution, dissection and reconstruction.

Maria Callas was born to a Greek family in New York in 1923. Her vocal training took place in Athens, where her teacher was the coloratura soprano Elvira de Hidalgo, who had sung with Enrico Caruso and Feodor Chaliapin. After early performances in Greece, Callas’s international career was launched in 1947 when she performed the title role in Ponchielli’s La Gioconda at the Arena di Verona in Italy.

Her voice defied simple classification and her artistic range was extraordinary. In her early twenties she sang such heavy dramatic roles as Gioconda, Turandot, Brünnhilde and Isolde, but over the course of her career her most famous roles came to be: Bellini’s Norma and Amina (La sonnambula); Verdi’s Violetta (La traviata); Donizetti’s Lucia di Lammermoor and Anna Bolena, Cherubini’s Medea and Puccini’s Tosca. Though her timbre was not always conventionally beautiful, Callas’s musicianship and phrasing were in a class of their own. She brought characters to vivid life with her skill in colouring her tone and making insightful use of the text.

She is credited with changing the history of opera: by placing a perhaps unprecedented emphasis on musical integrity and dramatic truth, and by transforming perceptions – and reviving the fortunes – of the bel canto repertoire, particularly Bellini and Donizetti.

The 1950s marked the height of Callas’s career. Its base lay in the opera houses of Italy, and she became the prima donna assoluta of Milan’s legendary La Scala – notably in the productions
of Luchino Visconti – but her operatic appearances also encompassed London’s Royal Opera House, the New York Metropolitan Opera, Paris Opéra, the Vienna State Opera, and the opera houses of Chicago, Dallas, Houston, Lisbon, and, in the early 1950s, Mexico City, São Paolo and Rio de Janeiro.

From 1959, when she started a life-changing love affair with the Greek shipping magnate Aristotle Onassis, her performing career slowed down and her voice became more fragile. Her final stage performances came in 1965, when she was only 42.

There were many plans for a return to the stage – and for further complete recordings – but they never reached fruition, though in 1974 she gave a series of concerts in Europe, North America and Japan with the tenor Giuseppe di Stefano; he had partnered her frequently in the opera house and in the studio, not least in the 1953 La Scala Tosca under Victor de Sabata, considered a landmark in recording history. Callas died alone in her Paris apartment in September 1977.

Macht Euch bereit, Elwood Stray’s Debütalbum auf einem ganz neuen Level zu erleben: “Gone With The Flow“ ist auf einer brandneuen Vinyl-Pressung erhältlich, jetzt zusätzlich mit den Tracks ihrer “Triality”-EP. Jede Platte ist ein handgefertigtes Kunstwerk in rot-grauem Splatter, was jedes Exemplar zu einem echten Unikat macht.

Limitierte Auflage, immer einzigartig - Sichert Euch ein Stück Elwood Stray-Musikgeschichte!

Die aus Essen-stammende Band liefert eine energiegeladene Mischung aus Post-Hardcore, Rock und Metalcore. Wenn man ihren Sound beschreiben sollte, würde man es wahrscheinlich mit den Worten schlicht, unaufgesetzt und natürlich tun. Kein technischer Schnickschnack, nur das Wesentliche: Handgemachte Musik.

In ihrer kurzen Zeit in der Branche haben Elwood Stray bereits die Bühne mit zahlreichen internationalen Künstlern geteilt, darunter Bad Omens, The Plot In You, The Ghost Inside, Landmvrks und The Word Alive, und haben nennenswerte Festivalauftritte beim Summerbreeze, Full Force und Takedown hinter sich. Nach ihrer gemeinsamen Europa Tour mit Novelists Anfang 2024, sind Elwood Stray bald mit dem US-Metacorel-Powerhouse Stick To Your Guns unterwegs und unterstützen diese auf ihrer Record Release Tour durch Europa.

20 mins+ EP on 10" vinyl (black), ltd. 400 copies. "The Underground Youth blend the sounds of shoegaze, post-punk and psychedelic rock with their own hauntingly beautiful twist." The Underground Youth is the name under which Manchester's underground poet, Craig Dyer, has produced his records since 2009. In 2011, Fuzz Club Records started putting out his prolific catalogue, bringing to light a number of LPs and singles that had only circulated virally on the Internet. Since then, The Underground Youth, with Craig and Olya Dyer as the core of the band, have expanded to a four piece, gaining a solid international fan-base and touring all around the UK and Europe. Gideon Coe has spinned their single "Juliette" on BBC6 and they took part to the "Reverb Conspiracy - Volune One", curated by Fuzz Club and Austin Psych Fest. In June, they rocked up the Eindhoven Psych Lab and they are set to headline Paris Psych Fest in July. Drown In Sound said of their Eindhoven set: "combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force".

Repress!

LOUIE VEGA RE-IGNITES THE DISCO CLASSIC 'DANCE (DISCO HEAT)' BY SYLVESTER
Grammy awarding winning producer & 5 time Grammy nominated Louie Vega continues to send dance floors into a peak hour frenzy with his remixes of disco classics on Nervous Records. The inspiration to delve into masters from this era began when he started remixing masters from the SAM Records catalogue, which is owned by Nervous Records, and with whom Louie has a long history going back to Nervous' early 90's origins. Louie is that unique producer who has had success in multiple genres of music including House, R&B, & Freestyle and he has brought that talent to help re-ignite New York disco classics like Vicky D's "This Beat Is Mine" and Convertion's "Let's Do It" featuring Leroy Burgess, as well as charting topping disco hits from John Davis & The Monster Orchestra "Bourgie Bourgie" & "Up Jumped The Devil".
This time, Louie put his focus on a track outside of the SAM Records catalogue, and one that was an international disco hit that also crossed over to becoming a 1978 pop hit, namely Sylvester / Dance (Disco Heat). Using elements from the 1978 version and combining them with his own original musical and percussion contributions, along with new vocal performances from renowned singer Cindy Mizelle, Louie has refashioned and reignited this 39 year-old production into a 2018 club anthem.
This past year has seen Louie continue to fortify his position as one of the industry's most prolific producers. Remixes from his Grammy - nominated best dance album "Louie Vega Starring...XXVIII' have consistently sold out on its vinyl release and hit number 1 on charts on multiple digital platforms. 2018 will see collaborations with Kenny Dope under their legendary and world-renowned Masters At Work and Kenlou monikers, as well as co-productions with The Martinez Brothers and Joseph Capriati.
Louie along with Anané Vega recently created one of the summer's premier club destination at their Ibiza summer residency The Ritual with Anané & Louie Vega at Heart. He continues to cross the globe from Europe to South Africa to Asia and back as one of the world's most sought after DJ's, and incredibly is able to maintain a weekly radio show on WBLS for the last 8 years and his NYC residency at Cielo under The Roots NYC moniker for over 13 years.

Anathema's phenomenal live album with the Plovdiv Philharmonic Orchestra reissued on vinyl.

'A band that have mastered the art of aural seduction'- Metal Hammer

In May 2012 Anathema released 'Weather Systems', which became the most acclaimed and successful album of the band's celebrated career. The album

scored high in numerous critics end of year polls around the world and cemented the band's reputation as one of the most exciting and progressive

band around. Following the release of the album the band embarked on a lengthy tour. The European leg opened with a triumphant one-off show at the ancient Roman

theatre of Philippopolis with the Plovdiv Philharmonic Orchestra in September 2012. This incredible show was recorded, and the results were later released in

2013 on Kscope as 'Untouchable'. It is now reissued on double vinyl in a wide spine sleeve. The release of 'Untouchable' follows an extensive worldwide headline tour,

including performances at Download Festival, ArcTanGent and Wembley Arena with Opeth in support of their 2017 studio album 'The Optimist'. The release

won the Album of the Year at the Progressive Music Awards '17, reached the top 10 in the Polish charts, top 20 in Germany, top 40 in the UK, and has 6

million track streams on Spotify. This built on the success of their previous Kscope material, which also won at the Progressive Music Awards, including

Album of the Year, Live Event of the Year & Multimedia Package of the Year for 2010's 'We're Here Because We're Here', 2012's 'Weather Systems' and 2013's 'Universal'.

'A beautiful bit of live magic' - Kerrang

'Sumptuous live recording of a band at their zenith' - Prog

Back in 1986, the Italo Disco community welcomed the first release by Virgin on Time Records, 'Tell Me Why', including the vocals of Italian songbird Tiziana Negrello. As time passed, the sound of Virgin evolved into Eurobeat with several different vocalists. Today, the team at Iventi d'Azzurro are delighted to team up with the original Virgin vocalist Tiziana and the talented Mirko Hirsch to deliver the latest Virgin hit 'Let's Dance', a must have in any Italo Disco collection.

Super sweet sleepover core from the turn of the millennium. When not at the mall or elementary school, Jessica, Ayden, Janet, and Mary created a suburban Spice World all their own, singing, dancing, and making videos in anticipation of a global pop takeover. Summer 2000 expands their home-burned Y2K CD-R Stardust, encapsulating girl group R&B, trip hop, Eurofunk, and pool party heartbreak into a revealing portrait of millennial girlhood. Party til 2, sleep til 1, come on baby let's have some fun.

Das Ende von DARK FORTRESS war unausweichlich. Ihre turbulente Reise vom ersten Vertrag beim amerikanischen Label Red Stream Records im Jahr 2001 bis zur The Cosmic End Tour (mit The Spirit und Asphagor) im Jahr 2023 war dabei voller Höhen und Tiefen - wobei die Höhepunkte ganz klar überwogen. Letztendlich zeichnete sich das Ende von DARK FORTRESS schon mit der Veröffentlichung ihres viel gelobten letzten Albums "Spectres from the Old World" im Jahr 2020 ab. Wobei ein selbst ge-wählter Schlussstrich immer eleganter ist, als am Tropf zu siechen und langsam in Vergessenheit zu geraten. Kaum jemandem war jedoch bewusst, dass das letzte Album den frühzeitigen Nekrolog der Band bedeuten sollte. DARK FORTRESS hinterlassen dabei mit "Anthems from Beyond the Grave" ihr einziges Live-Album und gleichzeitig pechschwarzes Testament.V. Santura sagt dazu: "Ich hätte nie gedacht, dass DARK FORTRESS jemals ein Live-Album machen würden. Nachdem ich mir Monate nach der letzten Show die Mehrspuraufnahmen aus Rotterdam und Bochum angehört hatte, traf es mich wie der berühm-te Blitz: 'Heilige Scheiße! Wir klangen echt unglaublich gut.' Und ich bin selten zufrieden mit unseren Shows. All unsere harte Arbeit hatte sich auf dieser Tournee endlich ausgezahlt. Als Century Media das Material hörte, stimmten sie sofort zu: 'Wir müs-sen es veröffentlichen - es ist zu gut, um es ungenutzt verschwinden zu lassen!' Wenn das unser Ende ist - und das ist es defini-tiv - dann ist es ein würdiges Ende für DARK FORTRESS.""Anthems from Beyond the Grave" ist nicht nur ein Live-Album, sondern funktioniert auch als perfektes Best of inklusive Linerno-tes, welches auf die 29jährige pechschwarze Geschichte der Band zurückblickt.DARK FORTRESS ist tot, lang lebe DARK FORTRESS!

ALARMSIGNAL – Dieser Bandname ist seit nunmehr 25 Jahren unüberhörbar Programm. Eine Zeit, in der sich die Band, nicht zuletzt durch den
Charteinstieg auf Platz 20 mit dem letzten Album "Ästhetik des Widerstands" und zahlreichen ausverkauften Shows, auch über die Grenzen des
Deutschpunks, einen Namen gemacht hat. Schon der Titel "Insomnia" beschreibt treffend die schlafl osen Nächte, die viele von uns in den aktuell unruhigen Zeiten haben. Sänger und Bassist Steff erklärt: "Auf politischer und sozialer Ebene raubt uns Vieles den Schlaf: die Dummheit, die Ignoranz, der Egoismus, der Hass und die Rückwärtsgewandtheit der Menschheit. Wir haben 2024 und anstatt aus der Vergangenheit zu lernen, rückt Europa immer weiter nach rechts." – All' dies und die selbstverständlichen, persönlichen Baustellen wirken auf das Schaffen von ALARMSIGNAL und fl ießen in die Entstehung des neuen Albums "Insomnia" ein.

Following her incredible ‘Trilogy’ tour comes a repress of the 5 year old ‘K-12’ album – released on Half Baby Pink & Half Milky Clear Vinyl and in a Gatefold sleeve with 32 page 12x12 booklet.

The Trilogy Tour visited the US, Europe and UK and saw Melanie Martinez bring her unique theatrical visually daring 3 hour show to Arenas and saw her playing to over 50,000 people in the UK alone.

K-12 is a Gold selling album in the UK having originally charted in the UK Top 10 albums chart and includes the tracks ‘Teacher’s Pet’ and ‘High School Sweethearts’ which have over half a billion combined streams on Spotify alone.

Black Truffle is thrilled to begin 2025 with a rare solo release from Konrad Sprenger, alias of elusive Berlin composer-producer-instrument builder Jörg Hiller. A prolific collaborator, Sprenger has worked extensively with icons of American minimalism such as Ellen Fullman (with whom her recorded the gloriously eccentric song album Ort) and Arnold Dreyblatt (as a core member of the Orchestra of Excited Strings since 2009), as well as releasing their music on his impeccably curated label, Choose. As an instrument builder and installation artist, he has overseen the creation of a computer-controlled multi-channel electric guitar and, with Phillip Sollmann, a modular pipe organ system designed to be reconfigured from space to space.

In much of Hiller’s work, a scientific approach to acoustic phenomena co-exists with a pop sensibility and a sly sense of humour. Nowhere is this unique combination more in evidence than in his slim body of solo work, beginning with the startling diversity of instrumentation and compositional approaches heard on the short pieces of Miniaturen (2006) and Versprochen (2009), followed by the more single-minded exploration of the computer-controlled electric guitar on Stack Music (2017). Set brings together these various strands of Sprenger’s work into a wildly infectious, playful epic, performed by the composer and the mysterious Ensemble Risonanze Moderne. On the LP’s second side, we are also treated to a guest appearance from longtime collaborator Oren Ambarchi, on whose recent solo releases Simian Angel and Shebang Sprenger has made key production contributions. Ambarchi’s signature stuttering, swirling harmonics weave through a sparkling assemblage of electric guitars, acoustic instruments, percussion and electronics—though, given the deft use that much of Sprenger’s recent production work makes of midi-controlled sampled instrumentation, it’s anyone’s guess where the acoustic ends and the digital begins here.

As soon as the needle drops on the first side, we are inside a musical world that Set will inhabit for its 33 minutes: sparkling guitar harmonics and palm-muted notes, tuned percussion, crisp electronic drum hits, flashes of horns, and untraceable bursts of synthetic sound are arranged into a skittering polyrhythmic framework calling up the detail-rich percussive constructions of contemporary techno filtered through the pointillism of the post-serialist European avant-garde. Behind this shifting mist of particulate sound, winds and strings sound out held chords, reminiscent of Arthur Russell’s Tower of Meaning in their epic yet seemingly aimless drift. The relationship between elements is mysterious, appearing both carefully considered and almost random. Though never straying too far from where it begins, as the piece moves along, it spotlights increasingly bizarre instrument choices (shakuhachi and steel drums, anyone?) as well as momentary liftoffs into motorik propulsion. Set is a fascinating, mercurial thing: at once propulsive and fragmented, essentially static in form yet ever-changing in detail, unabashedly egghead in its construction yet sure to get the feet tapping.

Rufus Wainwright’s Dream Requiem is an extremely prestigious project, the result of a commission from major cultural institutions in the US, UK, and Europe. This world premiere recording features a new composition by the legendary, Grammy-nominated musician, who has collaborated with the who's who of the pop music world. With narration by Meryl Streep.

Established in 2014, These Wicked Rivers are Derby’s entry to the new wave of rock and roll that is sweeping across the United Kingdom. Drawing influence from the well of rock legends and blues greats, the band have made quite an impact since their inception with their unique brand of blues-infused modern rock steadily picking up plaudits for their gutsy live performances across the UK and beyond.

The ensemble received a slew of positive reviews for their debut EP ‘The Enemy’ back in 2015 and followed it up with 2017’s ‘II’, gaining them attention within the emerging UK rock scene as well as airplay on Planet Rock radio. Debut album ‘Eden’ was released in May 2020 and brought new levels of critical acclaim, including a Classic Rock Magazine ‘High Hopes’ feature as well as a coveted ‘Track of the Week’ accolade.

On the live circuit the lads have forged an ever-growing fan base through supports with the likes of Massive Wagons, Those Damn Crows, Kris Barras and Hayseed Dixie, as well playing stand-out performances at festivals such as Planet Rockstock, Steelhouse Festival, Stonedead Festival and Giants of Rock. 2024 has proven to be their busiest year yet, kicking off in January with a hometown show that sold out in just 5 hours. Eden's highly anticipated follow up, 'Force of Nature' dropped 1st March 2024 via Fat Earth Records, reaching no. 3 in the UK Rock Charts which called for an almighty (sold out) celebration at Matlock Bath's Grand Pavilion. The band ventured to Europe for the first time in April, delivering 'Peace, Love & Lampshades' to sell-out crowds across France, Germany and The Netherlands before another successful UK tour in May which saw the 'Rivers "Family" of fans continue to grow

With his Electric Blues All-Stars, Kai Strauss has made a name for himself all over Europe with dynamic, driving live shows and award-winning CDs, featuring an individual style that’s based on the urban blues tradition, but taking in big chunks of soulful and funky grooves. And this band knows how to rock the house!
For “Wailin’ In Vienna”, Kai has realized his long-standing plan to record an old-school blues album, going back to his roots and beyond. And the results are nothing short of spectacular, with 15 self-composed songs that cover lot of traditional ground: swinging R&B, 50’s Chicago blues, instrumental shuffles, even some bluesy jazz, a minor-key cha-cha and a tribute to Bill Doggett and his guitarist Billy Butler.
Although the shadows of T-Bone, the three Kings and others loom large over the proceedings, Kai Strauss never fails being his own man. Of course it helps when you can realize such a project with a team comprising some of the best players in this style: Dani Gugolz and Peter Müller have been a steadily swinging rhythm team for 35 years. Pianists Dave Ruosch and Andreas Sobczyk combine tasteful chordal work with cascading treble runs. Sax Gordon has been a first-call R&B horn man for decades. Gerry Lülik’s is one of Austria’s foremost bluesharp players. Pianist Christian Dozzler, who came up in Vienna but has long made his home in Texas, can be heard with the likes of Anson Funderburgh when not doing his own thing. Finally, the two guitar greats heard alongside Kai hardly need much introduction: Rusty Zinn and Alex Schultz have been among the top tier of traditional blues string-benders since the 1990’s. Here, they are mostly heard in a supporting role for their friend and colleague, but ready to step out in style when called upon.

- 2025 Repress
- Black Bio vinyl
- Cut at 45RPM for optimum sound
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker

Blue Lake's new offering 'Weft' sees its creator Jason Dungan unearth new musical terrain
with a mini-album which presents the projects evolution. Finding inspiration in the craft of weaving and embracing a collective spirit as a band leader, all while readying a new studio album expected later in 2025.

It follows the lauded album 'Sun Arcs' (2023) with Pitchfork naming it (Best New Music, 8.3), amongst numerous other accolades. Blue Lake is the ongoing musical project of American born, Copenhagen based musician Jason Dungan which serves as his artistic platform as composer and collaborator. Developed over the period of 2024 and witnessed at live performances across a swath of European cosmopolitan cities and festivals, the project stands at a new creative juncture. The earthy title track 'Weft' emerges with a sense of ease and familiarity as looping guitar riffs in open tunings bed in around a warm cello pulse that provides the essential heartbeat. These interlinking parts align to create his most explicit version yet of an American writing country music in Scandinavia. Dungan named the release 'Weft' as a reference to the weaving practice of his partner, Danish visual artist Maria Zahle, whose work "Torso" is featured on the album's cover. With her works providing a constant source of inspiration to his music and practice as an instrument-builder, Dungan found a symbiotic connection between their mediums, which is reflected in the music on 'Weft'.

'Weft' is a collection of new works that casts a net into new sound territories with distinctive timbres yet always channelled through the refined lens of Dungan's prism. Infused with an ongoing connection to nature, it furthermore expands his unique meld of off-kilter folk, jazz, country and left-field experimental ambience. 'Weft' then is an accomplishment of growth, of bolder objectives and of collaboration with like minds. The Blue Lake project takes a dynamic step forward venturing into new creative spaces while leaving some clues along the way.

Das sechste Studioalbum der schottischen Band Franz Ferdinand!

In The Human Fear geht es um das Menschsein und die Ängste, die uns dazu machen, aber man hätte es auch kühn nennen können. Kühn auf eine Art, wie wir es gerne sind. Es ist ihr sechstes Album, das sie mit dem Produzenten Mark Ralph hauptsächlich in Schottland aufgenommen haben, mit ein paar Overdubs in London und Paris. Bob Hardy und Alex Kapranos gründeten die Band 2002, Julian Corrie und Dino Bardot kamen 2016 dazu und Audrey Tait 2021. Dies ist die erste vollständige LP mit Dino und Audrey, obwohl sie auf den letzten Singles mitgewirkt haben und mit der Band ausgiebig getourt sind. Unsere Ängste definieren unsere Menschlichkeit. Wir finden unseren Charakter und unsere Persönlichkeit, wenn wir unsere Reaktion auf sie verstehen. Was sie auslöst. Es ist nicht unbedingt die Angst selbst, die uns menschlich macht, sondern das, was wir mit ihr machen oder was wir zulassen, dass sie mit uns macht. Was wir nicht wählen können und was wir können. Unsere Ängste sagen uns, wie wir menschlich sind. Jeder Song hängt an einer anderen Angst. Es geht darum, in den Abgrund zu blicken und dann zu sagen:
"Scheiß drauf... ich kann genauso gut noch einen trinken, bevor ich hineinfalle." Es gibt klangliche Überraschungen und verschiedene Perspektiven auf dem Album, aber wenn man die Band kennt, weiß man, dass sie es gemacht hat. Die es genossen haben, es zu machen. OK, einige der Themen können ein wenig düsterer werden, aber es gab Licht und Freude beim Zusammenstellen.
Das Album beginnt mit dem Track "Audacious" der als Vorabsingle den Ton für das Album angibt. Die zweite Single, die im November erscheinen wird, ist "Night Or Da"y, die sowohl in den Texten als auch in der Musik die Spannung zwischen Angst und Spaß darstellt. Das klangvolle Synthie-Stück "Hooked" zeigt eine andere Seite des Albums und wird unser Fokus-Track bei der Veröffentlichung sein. Das Album wird Mitte September zusammen mit einer Reihe von Live-Terminen in Großbritannien und Europa angekündigt und am 10. Januar 2025 veröffentlicht. Die Band wird außerdem im Oktober und November für Live-Shows nach Mexiko und Südamerika reisen.

--The fourth outing on Spray’s Punctuality imprint comes in the form of the much anticipated Ode to Beachball EP by Eoin DJ. The release is a fully realised vision of moods and grooves inspired by Nalin & Kane’s 1997 chart topper ‘Beachball’.

Sparse, organic percussion, simple basslines and lush atmospherics form the bedrock of the EP, placing it firmly at the intersection of starry-eyed euphoria and heads-down club-stomp, lending the tracks a timeless but contemporary feel.

Those with their ears to the ground will know that the title number has been somewhat of a sleeper hit for the past two summers. Ode to Beachall’s understated stabs, rolling bass and transcendental vocals have soundtracked many sunsets and have bore the brunt of numerous failed shazam attempts via spins in mixes by trendsetting auteurs like Job Jobse, Sally C and label head Spray.

Bliss Inc’s remix turns up the energy dial with a club-focussed remix of Ode To Beachball, adding extra dynamics to the rhythm and low end, propelling the original into a modern hard-house roller complete with big-room breakdowns and euro-centric stabs, firmly aimed at the dancefloor.

On the flip both Infinite Well and On Lilac Skies stick to the beachball brief- swung bongos and congas, undulating low end and mercurial vocal chops add to the balearic beach techno mood of the entire EP. Both tracks are exemplary practices in dancefloor restraint and are sure to be staples in bags and sticks of discerning DJs for many summers ahead. Another stellar release from Irish atlantean Eoin DJ.

Finally! The first Sally Shapiro album re-issued. Almost 20 years later sound as fresh as the first listening.

When Sally Shapiro’s iconic debut LP, Disco Romance, hit the European scene in late 2006 (and the following year in North America), it created a bit of an earthquake, the vibrations of which the duo of Sally Shapiro and Johan Agebjörn are still riding today. Pitchfork awarded it “best new music” and an 8.5 review. Nearly 2,000 music fans on the big RateYourMusic forum ranked it the top Italo Disco album of all time. It wasn’t that it was the only Italo Disco revival album. However, Disco Romance was notable for the particularly high quality of the songwriting and production, for Sally’s ethereal vocals, and for the depth and breadth of the album’s scope.

February 2014 saw the band release their 'Back To Bagarmossen' EP on London/Stockholm indie label PNKSLM Recordings. The 10' vinyl received huge praise both internationally and at home, even picking up mainstream TV coverage on Sweden's TV4. Following the EP, Les Big Byrd are now preparing to unleash their debut full length release, 'They Worshipped Cats', on Anton Newcombe's A Records ,Anton has co written & plays 2 tracks on the album . They are supporting the Brian Jonestown Massacre on their European tour . When Anton recently visited Stockholm with his band The Brian Jonestown Massacre, the guys accidentally ran into each other at a local record shop, and started talking about music. Anton invited the band down to his studio in Berlin to record and jam for a few days and it was there that a big part of "They Worshipped Cats" was conceived and recorded. Les Big Byrd was formed in Stockholm by Joakim Åhlund and Frans Johansson a couple of years ago. They each eventually joined different rock bands that brought them out of Sweden and into a different world. Frans' band Fireside, got signed by Rick Rubin to his label Def American and Jocke had a taste of international success with 60's-influenced garage-pop outfit Caesars, as well as his other, more electronically flavored project Teddybears. They decided that they still - in spite of everything - had their love for music intact, and the dream in common to get the perfect band together and give it one more shot. They recruited Jocke's former bandmate, drummer Nino Keller and keyboardist Konie and started jamming and rehearsing. Joakim had been running a recording studio in Stockholm, writing and producing for Swedish and international artists, including Robyn and Håkan Hellström, and had also directed music videos for prominent Swedish exports such as Bob Hund, Refused, Broder Daniel and The International Noise Conspiracy. Keyboardist Konie also runs a studio in Stockholm, where he's been recording a number of film scores as well as many of Swedens most interesting black metal acts.