Cerca:hearts hearts

Factory Benelux presents a limited (500 copies only) orange vinyl edition of Retrofit, the seventh studio album from post-punk trailblazers Section 25, originally released in 2010. First time on vinyl.

Recorded before the untimely death of founder member Lawrence Cassidy in February 2010, Retrofit saw cult Factory Records group Section 25 revisit key tracks from their 1980s back catalogue, remade and remodelled for the 21 st century using an appropriate mix of new and old technology.

‘Gathered here is a selection of Section 25 faves, re-recorded and re-thought. The idea is born from their invigorating live set – compelling use of technology to lift them (almost) free from the familiar shards of 80s underground. Shockingly, this newattack works. All this tightening appears to have tugged the band into a sense of Now, gloriously at odds with the contemporary norm’ (The Quietus)

‘Audacious and innovative’ (Record Collector)

‘Section 25 might just be the best band in the world. Since 1980 they’ve been forging music that is as beautiful as it is challenging, from the monochrome psychedelia of their first album through Zen guitarscapes, electronic epiphanies, the arguable invention of Acid House, and on to an unexpected rebirth in 2006. Even within the narrative of such an unusual band, Retrofit is an odd confection: not a best-of or remix album, but a retrospective in which tracks are remodelled as gleaming technosculptures with the most human of hearts.’ (Glasgow Herald)

Now released on vinyl for the very first time, FBN 140 is limited to just 500 copies pressed on orange vinyl. The digital copy contains 5 bonus tracks, including a blistering re-boot of Looking From A Hilltop by Stephen Morris of Joy Division/New Order.

Kombinat 100, the suspiciously band-like live act from northern shores, are set to unleash their eagerly awaited debut album ‚Wege Übers Land’ (ways across the land). Here, everything we know and love about these notorious dancefloor smashers reemerges from the studio, squeaky clean and freshly rinsed, polished and arranged. An irresistible retrospective of Kombinat 100’s countless live gigs, there is no other way this album could have come about: All of the four Mecklenburgers’ tracks have their origins on stage.

So don’t be surprised if you find yourself moshing along from beginning to end! Kombinat100’s eclectic mix and match of influences touches on more genres than you could possibly think of, from techno, house, dub and pop to jazz and beyond, interspersed with plenty of lovingly crafted moments of homemade bliss. And it is precisely those moments, when the boys reach for their acoustic sidekicks, from accordion and melodica to congas and hammond organ, that our hearts miss a beat. Unafraid to flaunt grand emotions, melancholic opener ‚Flieg kleine Taube’ (fly away, dove’) and the sun-drenched sounds of ‘Hanne Nüte’ meet their match in the rocking grooves of ‘Out Of My Space’. In-between, the boys invariably return to their gig-inspired dancefloor roots – ‘Woterfitz’, ‘Del Maritim’ and ‘Der Pomel’ are set to move your heart, feet and mind. So, finally: a breath of fresh, Open Air for your living room!


Kombinat 100, der bandverdächtige Liveact aus dem Norden, veröffentlicht nun mit "Wege übers Land" sein lang erwartetes Debüt- Album. Das, was bisher den Dancefloor zum Einstürzen brachte, bekommen wir nun sauber im Studio aufpoliert und arrangiert. Dabei handelt es sich um eine Retrospektive der unzähligen Live-Gigs der vier Jungs aus Mecklenburg. Ihre Tracks entstehen auf der Bühne, sind für die Bühne konzipiert. Deshalb muss es auch niemenaden verwundern, wenn man von Anfang bis Ende mitgeht. Kaum ein Genre wird ausgelassen, wenn Kombinat 100 seine Einflüsse aus Techno, House, Dub, Pop und Jazz reflektiert. Aber auch die heißgeliebten handgemachten musikalischen Augenblicke dürfen natürlich nicht fehlen. Denn genau dann, wenn sie ihre akustischen Instrumente, wie Akkordeon, Melodika, Conga`s und Hamond Orgel zum Einsatz bringen, schlägt unser Herz am höchsten. Diese Tracks stehen zu ihren großen Gefühlen, wie der melancholische Opener-Track "Flieg kleine weiße Taube" oder das sonnenverwöhnte Stück "Hanne Nüte". In der Mitte wirds dann mit "Out Of My Space" shufflig und rockig. Dominiert wird das Album jedoch durch die Tracks "Woterfitz", "Del Maritim" oder "Der Pomel", welche ganz klar für den großen Floor zugeschnittenen sind. Endlich: Kombinat 100 gibt uns ein Stück Open Air-Feeling für's Wohnzimmer!

Whitney did more than turn Whitney Houston into a pioneering sensation known around the world by her first name. Originally released in June 1987, the singer's blockbuster sophomore record became the first album by a female artist to debut at No. 1 on the Billboard 200 chart — a position it claimed for a total of 11 weeks en route to selling more than 10 million copies in the U.S. The Diamond platinum effort also contains four No. 1 Hot 100 hits that, when combined with the three chart toppers from her 1985 debut, gave her seven consecutive No. 1 singles — an accomplishment that no other artist has accomplished. Commercially and creatively, Whitney stands on hallowed ground — especially now that the record plays with a sound that puts into perspective just how extraordinary, engaging, and vital Houston's music remains.


Mastered from the original master tapes and pressed on MoFi SuperVinyl at RTI, Mobile Fidelity's 180g 33RPM SuperVinyl LP of Whitney invites listeners to experience the Rock & Roll Hall of Fame inductee's pivotal album in audiophile quality for the very first time. Free of the dynamic limitations and tonal flatness prevalent on prior vinyl and CD pressings, it lets the music breathe and reveals the copious detail, nuance, and texture within the immaculately produced songs. MoFi's SuperVinyl profile offers further advantages in the forms of a nearly inaudible noise floor, dead-quiet surfaces, and superb groove definition.

In addition to featuring extreme clarity and immediacy, this numbered-edition reissue does wonders for the attribute that inspired more than 20 million people around the globe to add Whitney to their record collections: that inimitable voice. Houston's trademark mezzo-soprano — an acrobatic instrument equally capable of taking off on fantastic flights and unwinding for hushed meditations — benefits from the fantastic airiness and transparency afforded by this meticulously restored edition. Whitney has never sounded or looked better. The crossover landmark deserves nothing less.

Issued just two years after Houston's breakthrough debut, Whitney immediately signalled the genre-defying singer's intent to continue to push ahead and expand her palette. Shot by photographer Richard Avedon, the album cover depicts an iconic image of Houston — captured with a gleaming smile, bright eyes, teased-out afro, toned arms, and a right hand that appears to wave a friendly hello — whose active, athletic profile stands in contrast to the extremely formal sit-down shot of her that graces her '85 record. The change is telling: Whitney overflows with unfettered joy, rhythmic vibes, and deep-seated emotions that forever endeared her to the hearts and minds of countless listeners — and which set the standard for the wave after wave of divas that followed in her footsteps.

It's no coincidence that the first track on Whitney is the declarative "I Wanna Dance with Somebody (Who Loves Me)." Like Michael Jackson's "Billie Jean" and Madonna's "Material Girl," the feel-good smash is one of the quintessential '80s gems — a lithe, melodic, celebratory release of pent-up energy and loneliness that glides across club floors, shouts to the rooftops, and shrugs off any concerns about vulnerability or embarrassment. Houston's swooping voice moves in sync with the sleek beats and dipping-and-diving synths. She practically takes her fellow musicians by their hand and leads them in a blissful dance that nobody would dare sidestep. Focusing on Houston's singing — a task made challenging only because of the impossible-to-ignore hooks and grooves — showcases the virtuosic facets of not only her register but her control, discipline, smoothness, and warmth.

That she replicates those feats for the entirety of the nearly 53-minute-long album makes Whitney that much more special. Houston reaches back and channels her childhood gospel training on the R&B-flared "So Emotional"; effortlessly slips into Quiet Storm mode on the duet with her mother, gospel great Cissy Houston, on "I Know Him So Well"; flirts with smooth jazz and collaborates with tenor saxophonist Kenny G on the lush "Just the Lonely Talking Again"; conjures dreamscapes and shadow-boxes with supple funk on a romantic cover of the Isley Brothers' "For the Love of You"; and, for the majestic power ballad "Didn't We Almost Have It All," displays the sky-scraping reach of her vocals amid a grand arrangement made even bigger by Houston's sweeping performance and triumphant finish.

Houston's once-in-a-generation talents weren't lost on the adoring public, radio deejays, or industry experts. In addition to harbouring four No. 1 hits and receiving nominations for four Grammy Awards, Whitney generated another Top 10 success in the guise of the Afro-Cuban-leaning "Love Will Save the Day." The album also netted Houston four American Music Awards; two Billboard Music Awards; back-to-back People's Choice Awards; a Soul Train Award; and various other accolades. It all makes the crux of the Washington Post's July '87 review of the album appear prophetic: "Her voice sounds stronger still and the songs are varied but so consistent she could garner 10 Top 10s out of a field of 11."


That claim still holds true. A brilliant fusion of pop, R&B, smooth jazz, and soul, Whitney is a showstopper – and one of the key reasons Houston is the most-awarded female artist of all time.

Bob Dylan was at several crossroads in the mid-1970s. Artistically, he was largely written off as being past his prime. Emotionally, he was suffering through a painful divorce from his then-wife Sara Lowndes. Creatively, he appeared at a stalemate, his previous decade's unprecedented run of transformational brilliance finished. Then came Blood on the Tracks.

A start-to-finish cycle that documents a lover's pursuit of, entanglement with, and loss of a woman, the bracingly intimate 1975 effort remains one of the most encompassing break-up albums ever made and ranks as the most personal statement of the Bard's career. To hear it is to experience the agony, frustration, trauma, highs, lows, confusion, sadness, and, ultimately, requisite redemption associated with intimate relationships gone astray. Dylan maintains it's a work of fiction, but it's evident close-vested autobiographical premise is what helps make it universal: It's the icon singing through tears, going out of his mind, battling hallowing emptiness, firing shots across the bow, and accepting culpability. It is, in short, a consummate expression of love's darker sides and the consequences of what happens when dreams unravel.

As part of its Bob Dylan catalogue restoration series, Mobile Fidelity is thoroughly humbled to have the privilege of mastering the iconic LP from the original master tapes and pressing it on dead-quiet LP at RTI. The end result is the very finest, most transparent analogue edition of Blood on the Tracks ever produced – and the first-ever proper analog reissue. Fantastically presenting both the solo acoustic and band-supported songs with the utmost clarity, dynamics, presence, immediacy, spaciousness, imaging, and balance, this version shines a high-powered light on the fluid vocal phrasing, timbral shifts, functional rhythms, and inward-looking strumming that contribute to every song here serving as a wound-exposing confessional.

For all the melancholic pain, unresolved questions, shattered memories, wasted times, unrequited dialogues, and weary regret within, Blood on the Tracks remains as daring as it is reflective. Rather than follow for a monotone caustic vibe, Dylan's songs burrow into the subconscious for the manners in which they are even-keeled, mellow, and occasionally, even peaceful. Dignity, honour, poignancy, and fairness – all traits uncommon in any situation in which partners dissolve histories, change hearts, and attribute blame – instil the record with equilibrium on par with the consistency of the flowing melodies.

Throughout, tunes come on and proceed as if they could continue forever, Dylan spinning poetic verses and conversations amidst finely tied knots of acoustic notes, chords, and fills, the deceivingly simple architecture conjuring the intertwined refractions of a bezeled jewel, various angles, colours, and textures conjoining into a gorgeously inseparable whole. Backed by Tony Brown's flexible albeit subtle bass, Buddy Cage's country-streaked pedal-steel guitar, and Paul Griffin's soul-baring organ – an instrument used to shadow, tuck-point, and illuminate here as effectively as any time in rock history – Dylan pours soulful emotion, open his veins, and bleeds.

Ranked 16 on Rolling Stone's list of the 500 Greatest Albums of All Time, and replete with existential thought, piercing directness, raw singing, and majestic arrangements,

Given the sonic and artistic merit of this album, we anticipate huge demand.

In a career spanning 50 years, Leo Sayer has sold more than 80 MILLION records worldwide.
• 'Silverbird' is Leo’s incredible debut album, originally released late in 1973, reaching #2 in UK Albums Chart and includes
the debut single ‘Why Is Everybody Going Home’ and the hit ‘The Show Must Go On’ (#2).
• Co-produced by Adam Faith and David Courtney, ‘Silverbird’ was recorded at several locations including Virgin Records’
Manor Studios, The Who’s lead singer Roger Daltrey’s Barn Studio and Apple studios.
• Following another successful UK tour in Autumn 2022, Leo Sayer has recently been on tour in the USA for the first time in
decades; a country that took him to their hearts with two #1 Singles and a GRAMMY Award and although he now has
Australian citizenship, Leo remains one of the UK's great singer/songwriters and performers of all time.
• This 50th Anniversary celebratory half-speed master version has been newly mastered by Phil Kinrade, and expertly cut
using transfers of the original audio tapes using precision half-speed mastering by Barry Grint at AIR Mastering, London
and is pressed on heavyweight 180g vinyl, with a 4-page insert containing the lyrics.

Yetsuby lands on London label Third Place with her 'Water Flash' EP this July.

Seoul-based artist Yetsuby is best known as one half of electronic super-duo Salamanda, who have won hearts and minds with their light and floaty new-age electronica via releases on Good Morning Tapes, Human Pitch, and Métron Records. As a solo act, she has released her own music on the Taipei-based 禁 JIN as well as through the Seoul store The Internatiiional amongst self-released delights on her Bandcamp.

Turning to Will Hofbauer's playful Third Place imprint for her latest 12', Yetsuby delivers four bubbly tracks. On the A-side, the title cut 'Water Flash' leads with airy synths and textured percussion, while 'Electro Union' ups the energy with choppy vocal samples, punchy drums, and twinkling arps. On the flip, subtle synths wriggle alongside low-key percussion on 'Commercial Noisy Day', making for a heads-down affair, before the gorgeous finalé '물먹는하마' rounds out the B-side with delicate keys and detailed yet muted drums.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Chain Of Flowers return with their lofty and long-simmering sophomore full-length, rich with reckonings, reverb, and redemption: Never Ending Space. Despite some of the songs dating back a few years, the record first began materialising in earnest during the pandemic, by which point most of the band had relocated from Cardiff to London.

Reunited and rejuvenated, they picked up where they left off, booking two multi-day sessions at Hackney hub Total Refreshment Centre with producer Jonah Falco. In this time they successfully channelled their kinetic chemistry into 10 full-blooded anthems of torn dreams, poetic delirium, and “hope stretched too far.” Musically, Never Ending Space skews notably more maximal than the group’s previous work, fleshed out with trumpets, saxophone, synth, percussion boxes, and spoken word. (Smith jokingly calls them The Chain Of Flowers Orchestra).

Yet the songs still swing and soar with a charged heart, ripe with hooks, drama and ragged melody. Opener “Fire (In The Heart Of Hearts)” stirs to life on a tide of wiry guitar and defiant horns, facing down the embers of love that still glow in the wake of pain: “Peace came tumbling like a shower of bricks / The mind twists slowly till everything fits.”

A tense energy ripples throughout – from the nocturnal rush of “Serving Purpose” and “Amphetamine Luck” to the bruised battle cries of “Torcalon” and “Old Human Material.” Outliers like “Praying Hands, Turtle Doves” hint at proggy possible futures, while instrumental vignette “Anomia” offers an intriguing glimpse at a lesser heard facet of the band: swaying, shadowy, subdued. The album’s title track is also its closing cut, a stomping, sparkling ode to “the wrong side of the night, where time goes to die.” Smith describes the scene: “Everyone’s talking, screaming, trauma bonding, but no one’s listening. Broken dialogue. Shouting over each other. You want to switch off, but everyone’s too fucked.” The guitars spiral and slide towards the oblivion of dawn, the chance to crash and do it all again.

Das aktuelle Album der legendären US-Alternative/Indie Formation um Jeff Tweedy nun auch als Vinyl-Edition erhältlich.

Schon früh, als sie aus Uncle Tupelo hervorgingen, gab es die Idee, dass Wilco eine Country-Band sei, oder zumindest eine alternative Country-Band. Und es gibt Beweise dafür - "in allem, was wir je gemacht haben, gab es Elemente von Country-Musik", sagt Jeff Tweedy.
"Wir haben uns nie besonders wohl dabei gefühlt, diese Definition zu akzeptieren, die Idee, dass ich Country-Musik mache. Aber jetzt, nachdem wir ein paar Mal um den Block gegangen sind, finden wir es aufregend, uns innerhalb der Form zu befreien und die einfache Einschränkung zu akzeptieren, die Musik, die wir machen, Country zu nennen."
Cruel Country besteht fast vollständig aus Live-Aufnahmen, mit nur wenigen Overdubs. Alle - Tweedy, John Stirratt, Glenn Kotche, Mikael Jorgensen, Pat Sansone und Nels Cline - waren im Raum und spielten zusammen im The Loft in Chicago, ungetrennt durch Schalldämpfer.

Es ist eine völlig andere Art, Platten zu machen, die Wilco seit Jahren nicht mehr verwendet hat - vielleicht nicht mehr seit Sky Blue Sky.

"When the call came from WDR Rockpalast, we were thrilled - And the joy
grew from day to day," says Peter Bursch, head of the German Krautrock
legend Broselmaschine, founded in 1968 by "Germany's most famous
guitar teacher".Back in 1968, the Heinrich-Robert coalmine in Hamm was
still in its full bloom
Coal had been mined there since 1901, the year in which the Heinrich and Robert
shafts - as they are called in miners' jargon - were "abgeteuft", followed by the
Franz shaft in 1923. On November 10, 1997, the colliery closed its doors forever.
In the colliery's former wage hall, where the miners used to receive their
envelopes with their weekly wages, Broselmaschine rolled out carpets, plugged in
cables and set up their instruments on April 20, 2021. The high-ceilinged rooms
not only provided a matchless scenery, but also the basis for a unique ambient
sound. The perfect setting for Broselmaschine. But Corona had almost
completely paralyzed public life at this point; the pandemic was taking its toll on
the entire cultural scene. Spectators were not allowed to the events. The artists
and bands gave concerts anyway, sometimes from their flats, rehearsal rooms or
in small, empty clubs, and then came to the fans' homes via live stream. This also
applied for the WDR's Rockpalast with its "Offstage" series. The makers of
Rockpalast organized concerts with performances by artists in special places
that were deserted during the lockdown. That had its own charm and was
something very special.
This was also the case with Broselmaschine. The band played almost exclusively
songs from their latest studio album "Elegy" from 2019, as well as the title track
of the previous album "Indian Camel" and as a finale the Marc Bolan cover of
"Children Of The Revolution". Broselmaschine put on a great performance, no one
missed the audience that was not physically present. But it was there, this
audience. And it was in the hearts of the musicians. You can feel this with every
note this outstanding band was playing. Never were Broselmaschine more
musically valuable than on that special occasion.But judge for yourself.
Unique Rockpalast concert OFFSTAGE from the Corona era, recorded on April 20,
2021 at Heinrich-Robert colliery in Hamm, Germany - also available on vinyl

The year is 1989. Techno’s second generation has begun to permeate the globe leading a young Carl Craig to a tiny village in the countryside of Belgium. It is here, undistracted and determined to break out, that Craig encounters one of the country’s only drum machines, an Alesis controlled midi-808. In a single session he composes and mixes a handful of records that are still to this day regarded as some of his most raw and explosive contributions to the fabric of electronic music history.

Carl revisits this fateful chapter through the lens of a famed cut from his Psyche alias ‘From Beyond’, with a ‘C2 2023 Mix’ and remixes from Seth Troxler, Ataxia and Admn, out July 14 on Planet E Communications.

The Psyche alias, known for early Transmat releases like ‘Crackdown’ and ‘Elements’, embodied a stripped back, less sample based yin attitude to the yang of Carl’s more aggressive 69 and sample-forward BFC and Paperclip People identities. ‘From Beyond’, first released in 1990 via the ‘Crackdown’ 12” on Transmat, offers an eerie glimpse into the simplistic production that came through Carl’s mastery of the 808 and the sonic value of restricting himself to this movement defining tool.

This new ‘From Beyond’ package sees Carl lift and bend the original in his ‘C2 2023 Mix’ alongside a package of remixes from artists near to the hearts of Detroit and the Planet E fold. Seth Troxler brings a subdued acid tinge to the package, while label regular Ataxia pays homage to the source material with a renewed percussive energy, followed by a soulful rework by Admn.

Whether it be through the 30 year repertoire of his seminal Planet E, his Party / After-Party sound and light installation now on display at Los Angeles’ MOCA, or his continuous work as a champion of Black-led creativity, the Carl Craig mission remains the same: to always rep Detroit and be the realest mutha f***a alive.

Ltd Coloured Vinyl - Indies Only!

Die Punkrock- und Metal-Superhelden MUTOID MAN - bestehend aus CAVE IN-Sänger/Gitarrist Steven Brodsky, CONVERGE-Schlagzeuger Ben Koller und dem neu hinzugekommenen HIGH ON FIRE-Bassisten Jeff Matz - haben ihr neues Album angekündigt: "Mutants", erscheint am 28. Juli via Sargent House! Brodsky und Koller, die eine fast telepathische Chemie besitzen, haben sich schon immer dadurch ausgezeichnet, dass sie ihre eigene, einzigartige Art von rasendem, hyperfokussiertem, dynamischem und exzessivem Griffbrett-versiertem Metal kreieren. Wenn man zwei Musiker nimmt, die in der Hardcore-Welt aufgewachsen sind und schnell die technischen Anforderungen übertrafen, um selbst die anspruchsvolleren Varianten dieses Sounds zu spielen, und sie dann dazu bringt, sich gegenseitig spielerisch in unverschämte und eingängige Gefilde zu drängen, erhält man eine grobe Annäherung an den MUTOID MAN-Sound. Aber mit dem neuen Bassisten Jeff Matz im Schlepptau hat man nun ein Dreiergespann von Prog-Level-Spielern, die sich dem Metal mit punkiger Respektlosigkeit nähern, auf "Mutants", einem Album, das ihre bisher gelungenste und verblüffendste Leistung darstellt. Nach dem Erfolg ihrer Debüt-EP "Helium Head" (2013) legte die Band in den nächsten vier Jahren eine manische Arbeitsmoral an den Tag, brachte die beiden Alben "Bleeder" (2015) und "War Moans" (2017) heraus, tourte unermüdlich durch die USA und Europa und wurde nebenbei so etwas wie eine De-facto-Hausband des angesagten New Yorker Metal-Clubs Saint Vitus. Mit Tourdaten im Vorprogramm von Acts wie MASTODON und DANZIG schien es, als sei MUTOID MANs Eintritt in die Oberliga der Heavy Metal-Helden unvermeidlich. Doch zwischen Besetzungswechseln, einem Exodus aus Brooklyn, einer Reihe anderer musikalischer Projekte und einer Pandemie wurde die Band inmitten ihres Aufstiegs auf Eis gelegt. Aber nach einer sechsjährigen Aufnahmepause sind MUTOID MAN zurück, um mit "Mutants" ihren Thron zurückzuerobern

Written and produced by landyhill.

More lost recordings of landyhill (Timex Social Club) Bay area funk featuring Jamie Vallo on vocals, previously unreleased. PPU is slowly making its way through the depths of demos, more coming soon.

*Very limited LP reissue on blue vinyl*

Canadian crooner star Calvin Love’s long sold out debut album ‘New Radar’ now as a repress for its 10th year anniversary on blue vinyl.
New Radar’, Love's debut album, blends memories of the late '80s cassette/analog era, '90s cable-TV generation, and 'aughts social media confessionalism into a satisfying collage of evocative and moody yet familiar and comforting music.

From the simple synths of "Magic Hearts", which bemoans love gone wrong, to the frustrating relationship detailed in "Waiting On You", Love's music is both catchy and emotionally resonant. In "Treasure Hunters", a flirty yet laid-back bubblegum rock and roller, Calvin Love invites us to share our secrets. while in "Missions", snarky, wailing guitars duet with Love's vocals in a noisy wash of exchanged frequencies. Throughout, Love relies on throwback synths and jangly guitar sounds to pick out unorthodox melodies, driven by a dutifully clicking drum machine. The overall effect of New Radar is a uniquely nostalgic yet forward-looking sound, at once evocative and comforting.

Calvin Love's music is distinctively characterized by its sparse yet focused arrangements, featuring thin guitars, electronic drums, and vintage synthesizers that impart a warm and wooly electronic texture. The lo-fi, cassette, 4-track recording quality creates an ambiance that feels both retro and futuristic, as if transmitted from an intimate and isolated space. Despite the arena-rock hooks, Love's use of primitive home-recording gear lends his music a folksy quality indebted to artists ranging from Ariel Pink to Unknown Mortal Orchestra.
About Calvin Love:

This live recording of Sentenced's last live performance in 2006 has been only briefly available on vinyl previously in a very small edition. This official new edition by Lipposen Levy ja Kasetti with Svart Records is officially licensed from Century Media. Split over three LPs, this is the full two hour show with 26 tracks. The pressing is limited to 700 copies.

Second album from Elias Mazian.

While his debut album Vrij Van Dromen hinted at the work of a bedroom producer, Elias Mazian never was the person to hide. After becoming a resident DJ at the now gone club Trouw ten years ago, he spent many nights playing records at clubs, and today he is as visible during the day as selector and host on FM radio. With this follow-up record he does one more step out of obscurity: moving from low to high fidelity, into more sincerity.

The songs on Alleen Bij Mij comfortably sit next to the songs he shares with friends on Private Hearts, Mazian's radio show dedicated to pop melodies. Like classic sixties records, the LP clocks just above thirty minutes, while also sharing their harmonic approach. Additional influences can be traced back to seventies krautrock, Dutch disco dub from the eighties and the storytelling of mid-2000's Dutch rap. Channeling these sounds into his own after hour tales, Elias Mazian created the perfect album for late bike rides and night trains alike.

Seconded by his good friend and multi-instrumentalist Anton Pieete and the all-knowing engineer Eelco Bakker, the album is produced and mixed for Mazian's melodies to shine. Combining observations from daily life with the big themes of pop music, this mixture results in eight songs ready for radio play.

In loving memory of Darrell - you will be missed. "On Wednesday the 15th of June we lost our best friend, our Bobby. Words can’t describe how shocked and heartbroken we are. The joy, or what he would call ‘hot sauce’, that he brought to our lives has left a massive hole in our hearts. This is a photo taken at our last show on Saturday night. After we finished our set, he said “that was fucken sick, I think that was the best show we have ever played.” Darrell, we will love you forever." Love always, Greg & Steph x Eora/Sydney 3-piece Display Homes are back with new music! The asymmetric guitars, bass grooves and dynamic drums we’ve come to love on their previous two EPs are all there brighter than ever on forthcoming debut album What If You’re Right & They’re Wrong?. It’s raw but sharp, minimalist and danceable. Their pop sensibilities make it accessible while their post-punk leanings make it exciting. We’re calling it now as one of our favourite albums of the year! When I put this on I listen all the way through. The other day two times in a row. Unbelievably catchy. I will love this even years and years from now, for sure. Can’t pick a favorite song. This sounds like it could have been released in any of the last 5-6 decades. Solid, tight songs that warm the soul. I’m picking up on a wide diversity of sounds, from The Pixies to Blondie. Really glad to have stumbled across these guys! Extremely catchy, every song is a bop.

After the white cover of the first volume and the silver one of the second volume, the third new chapter was to be dressed in the golden one.

This brand new "golden edition" double LP includes only rarities and '77/'78 Baia’s heritage hymns.

In the inner case we can find the iconic comics of the "antibaia", made entirely by Andrew Joseph Corsaletti, Andrea for friends. These comics were a regular appointment for all fans of "The Baia's Time", the Baia degli Angeli’s newspaper.

For Fans Of… Charles Bradley, Sharon Jones & The Dap-Kings, Lee Fields. Debut album from Bobby Harden & The Soulful Saints. Produced by Dala Records Founder Billy Aukstik. Featuring members of Charles Bradley, Dap-Kings, Antibalas. Recorded to 1” analog tape at Hive Mind Recording Studios. Bobby Harden & The Soulful Saints are proud to announce their debut album, “Bridge of Love.” The album’s ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B (‘Played a Fool by You’) to throw-back psychedelia (‘One Tribe’), svelte seventies pop (‘One Night of the Week’) and some seriously sophisticated ballads (‘Wounded Hearts’, ‘Bridge of Love’). Together they document Bobby’s life journey in song. Through youthful self-doubt in the opening track ‘It’s My Time’, to confirmation on the exuberant finale ‘Raise Your Mind’, Bobby proves that faith and hard work can pay dividends. “Life is a joy when you free your soul.” Throughout the album, Harden’s voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.

7A Records are proud to announce the reissue of Dave Edmunds’ 1979 Rock Album, Repeat When Necessary, released on vinyl on August 25.
The Album
Originally released on Led Zeppelin’s Swan Song label in 1979, Repeat When Necessary went on to become Dave Edmunds’ biggest album. The album was not only his first to chart in the U.K. but his first to make the U.S. Billboard 200. Its lead single, the Elvis Costello-penned Girls Talk, became Dave’s biggest hit single since his revival of “I Hear You Knocking,” an international smash in 1970.
Dave Edmunds and his Rockpile colleagues (including Nick Lowe, who is also featured on this album) epitomized the back-to-basics approach of Great Britain’s pub rock scene. The band also incorporated strong power pop and rockabilly influences and paved the way for new wave. This fusion was arguably never more potent than on this album.
7A Records were granted full access to the original master tapes and the album has been remastered for vinyl by Roger Béchirian, who was also the studio engineer for the original release. The album comes in a gatefold sleeve featuring extensive sleeve notes and song lyrics and is pressed on Red 180g Audiophile Vinyl.

Repress coming!

High Focus Records is proud to present 'Put That Soul On Me' a brand new 3 track offering from arguably one of the best voices to emerge from these shores in recent years : Rag N Bone Man.
Since having been introduced to the world via High Focus Records in early 2013, Rag N Bone Man's career has flourished in an incredible way and it has become a widely known fact that, as cliche as it may sound, he is the next big thing. From gathering attention from the likes of tastemakers Zane Lowe, Rob Da Bank, Mistajam & getting daytime radio play on BBC Radio 1 among others to working with Hip Hop legend DJ Premier and touring all over the country with chart toppers Bastille, it is a proven fact that Rag N Bone Man's voice has the power to touch the hearts of millions no matter what genre of music you are into. With such a universally recognised talent, its going to be hard for nay sayers to deny the infectious flute grooves of 'Put That Soul On Me' or the slow pounding bass of 'Across The Sky'.
Dirty Dike, normally known for his outlandish lyrics and larger than life provocative character takes the back seat on this release, allowing his signature crunchy production to do the talking. Dirty Dike's instrumentals provide the perfect back drop for the smooth rumblings of Rag N Bone Man, the pair complement each other perfectly as the beat and the voice are just as heavy as one another, both putting on a fantastic display of skill and raw talent which has been synonymous with all High Focus Releases.
The title track, 'Put That Soul On Me' is a catchy celebration song, a festive underground tune praising 'that neat sweet soul' whilst denigrating those 'wack ass drums and played out synths' over swirling flutes. Following the festivities we have 'Across The Sky', a bass heavy downtempo number which explores the side effects of different drugs, upon which our protagonist asks for a helping hand before the heart wrenching saxophone kicks in. High Focus Records fans will be pleased to see that the infamous Rag N Bone Man 'exclusive Bars' from the HFTV channel is finally seeing an official release. 'My Business', which set the internet on fire upon its release on the channel, getting retweeted by the likes of super producers DJ Premier and 9th Wonder, is the third track on this project and features a guest verse from Contact Play legend Ronnie Bosh. With these three unmissable tracks on one piece of wax, The 'Put That Soul On Me' 12'' is going to be the soundtrack to your summer.

Verbz & Mr Slipz have been jumping on the train (52m, 0 changes) between Croydon and Brighton to reconnect on ‘Where It Started’; a 10-track EP that does everything (and more) you have come to expect from the duo.

Shimmering with nostalgia, but with one eye firmly on the next motive, ‘Where It Started’ offers a front row seat to the trials and tribulations of Verbz & co. doing what they did (and still do) to thrive and survive on the streets of Croydon, expertly scored by the meditative swing of Slipz’ 100% sample-free production.

Think classic hip hop aesthetics, beautifully reincarnated; chunky MPC drums, deeply personal multi-syllables, tales of loss, heartache, learning the hard way but coming back stronger. 5 x vocals and 5 x Instrumentals, Where It Started’ is a 50/50 deep dive into the hearts and minds of Verbz & Mr Slipz; perfectly poised as a duo, the EP is an unmissable trip down memory lane.

Little Beat More, Do It Youssef, Not a Pub & Un Rêve Nu labels are glad to introduce ÈCH's latest work, a stunning display of musical mastery that will capture your heart and soul.
Led by Heddy Boubaker, the Toulouse-based band has created a sound that defies categorization, blending elements of free jazz and psychedelic afro-latin rhythm, and more to create a truly unique musical experience which they self described as "post-pfunk-afro-voodoo-weird-free-rock".

With 'Au nombre de joie' and 'Le bonheur des uns fait le malheur des autres', the ÈCH make up two little gems of music that take us back to a time when every note, every instrument was carefully thought out, down to the last detail, a time when music was made simply right.
The EP's artwork, created by painter, trumpeter and percussionist Walkind Rodriguez, represents with colors and shapes blending together to create oneiric flames, archetypal symbol of the band's soul, whose name is derived from a Hebrew word meaning 'fire'.

If you love music done with care, of musicians who pour their hearts and souls into every note, then you won't want to miss out on ÈCH's latest release. So sit back, close your eyes, and let the sound wash over you.

Released on RCA Records - new album from singer/songwriter/actress/US superstar. This collection is Miley’s eighth studio album and the follow up to 2020’s 'Plastic Hearts'. 2023 finds Miley the strongest and most confident she’s ever been, with the music and imagery of 'Endless Summer Vacation' serving as a reflection of that. Recorded in Los Angeles and produced with Kid Harpoon/Greg Kurstin/Mike WiLL Made-It/Tyler Johnson, Miley describes the album as her love letter to LA. The full tracklisting has not yet been revealed, but does of course include the massive #1 single 'Flowers'. Extensive promo/marketing activity across all media outlets. Upcoming UK promo trip plus nationwide TV ad campaign. Formats are standard black vinyl LP and standard CD.

Theory Of A Deadman return to Roadrunner Records with their 8th studio album ‘Dinosaur’ releasing on 17th March on CD and Digital with the vinyl version following in July. It features the single and title track from the album ‘Dinosaur’ that was released late 2022 and was A Listed at both Kerrang and Planet Rock Radio as well as brand new single ‘Ambulance’.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

For the third time to the house of Sakskøbing we are witnessing return of a close friend to the label, Portland-based Aaron Carlson who goes by the moniker ac$. This legend of a human being has crafted a 5 audio pieces which has been made on his modular machines at his home studio and showcases a good range of what I believe we call house music. With the first release he has done for the label that went out in the year 2017 and marks a 6-year friendship between the artist and all of us fellas who hold his music dear to the hearts. The record turned out to be warm, personal and true to the artist’s vision you’ll agree if just like us you have been following the man’s sound output over the years. Very importantly it teaches that bean curd is not only good for your body but for the mind as well and let’s not even start to count how many things you can do with it. You know what they say…

A few years ago, a very interesting relationship began to develop. A bridge was built out of Jaubi's releases on Astigmatic Records and the increasingly frequent collaborations between musicians from Europe and Asia - out of Latarnik's trip to Pakistan resulting in the widely acclaimed album Nafs at Peace and Zohaib, Dhani and Ali's revisit to Poland, which has been recorded as the EABS meets Jaubi In Search of a Better Tomorrow longplay.

Wrocław and Lahore are almost 7,000 kilometers apart. And despite this immense distance that separates the EABS and Jaubi musicians,
the two bands find a surprising amount of common ground that determines their musical explorations. These include both a strong attachment to locality and respect for tradition, a penchant for weaving in some hip-hop elements, and the basis of a love of improvisation and spiritual jazz. It was therefore only a matter of time before they joined forces. And so, they proceeded to build a (cross)cultural bridge between Poland and Pakistan.

A bridge whose pillars are Hindustani ragas, polish jazz understood in a variety of ways, and brotherhood in sound. This merger's finale is surprising to such an extent that it is difficult to pigeonhole this collaboration in any way.

Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash ‘In Brine’, their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, ‘In Brine’ showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy’s warm but urgent vocal range, as at home around the campfire as it is in the club. The pair’s meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single ‘Bringer of Brine’ thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy’s vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of ‘I Was The First Tetrapod’ bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it’s also a positive, joyful rebuke to the despair of the world around us. “Growing my legs...”. The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-“I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine.” ‘Fox Again’ opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking ‘In Brine’ as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. As opening track ‘Lift (Come In)’ positively opines “Going up!/Just want to keep going up!”. It’s time to get in on the ground floor

Ruhig verlief die Karriere von Sieges Even nicht. Nach den ersten beiden Alben verzeichneten sie den ersten Besetzungswechsel auf der Sängerposition, auf den Album „Sophisticated“ (1995) und „Uneven“ (1997) betrieben die Holzwarth Brüder (Bass und Drums) die Band weiter.
Doch man fand sich wieder mit Gitarrist Markus Steffen zusammen
und rekrutierte den Ausnahmesänger Arno Menses, der zuvor als Schlagzeuger aktiv war. Mit diesem Line Up eroberte man die Herzen der Progfans, aber auch die von anspruchsvollen Metalheads. Erneut waren Sieges Even zum richtigen Zeitpunkt am richtigen Ort.

„The Art Of Navigating By The Stars“ wurde in dem Black Solaris Studio von Uwe Lulis (heute auch bekannt als Gitarrist von Accept) aufgenommen und erschien bei InsideOut Music, damals im SPV Vertrieb. Es folgten traumhafte Kritiken, auch für die im Anschluss stattfindende Tournee.

Natürlich war 2005 nicht an Vinyl zu denken, so dass diese Wiederveröffentlichung bereits von vielen Fans erwartet wird.
Aber auch die CD ist seit einigen Jahren „out of print“, so dass auch hier Handlungsbedarf bestand. Die Grafiken der Doppel-LP im Gatefold wurde vom Originalkünstler Thomas Ewerhard erstellt und das Audiomaterial getrennt für Vinyl und CD remastert.

Das Konzept rund um „The Art Of Navigating By The Stars“ begeistert heute noch ebenso wie die sowohl vertrackte und harte, aber eben auch gefühlvolle Musik. Hier waren Sieges Even einfach die deutschen Großmeister.

Sieges Even‘s career has not been quiet. After the first two albums, the band had its first change of singer. On the albums „Sophisticated“ (1995) and „Uneven“ (1997), the Holzwarth brothers (bass and drums) kept the band going. But they ended up with the guitarist Markus Steffen and recruited the outstanding singer Arno Menses, who was previously active as a drummer. With this line up, the band has won the hearts of prog fans, but also of demanding metalheads. Once again, Sieges Even was in the right place at the right time.

„The Art Of Navigating By The Stars“ was recorded in the Black Solaris studio by Uwe Lulis (also known today as Accept‘s guitarist) and released by InsideOut Music, then distributed by SPV. This was followed by dream reviews, also for the tour that followed.

Of course, there was no question of releasing a vinyl in 2005, so this reissue is already expected by many fans. But the CD has also been „out of print“ for a few years, so it was also necessary to act in this context. The graphics of the double LP in gatefold were made by the original artist Thomas Ewerhard and the audio material was remastered separately for the vinyl and the CD.

The concept of „The Art Of Navigating By The Stars“ is still exciting today, as is the music, which is both complicated and hard, but also full of emotion. In this sense, Sieges Even were simply the great German masters.

FÜR FANS VON: DEEP PURPLE, STATUS QUO, LYNYRD SKYNYRD, MOLLY HATCHET

Nach neun Jahren Pause sind KICKHUNTER zurück, um wieder besten Kick-Ass Rock’n Roll abzuliefern. Im Jahr 2000 von Gitarrist Stefan Aurel und Schlagzeuger Karsten Kreppert gegründet, hat die in Hamburg ansässige Formation bisher vier Alben veröffentlicht. Mit ihrem Debütalbum "Hearts & Bones" tourten sie 2003 gleich mit DEEP PURPLE und LYNYRD SKYNYRD durch Europa und gewannen viele neue Anhänger. Der international hochgelobte Nachfolger „Little Monsters“ erschien 2007. KICKHUNTER veröffentlichten im Sommer 2010 ihr drittes Meisterwerk „All In“. 2013, kurz bevor sie ihr viertes Album „Southern Kicks“ veröffentlichten, begleiteten sie die US-Southern-Rock-Legende MOLLY HATCHET auf ihrer Deutschlandtour.

Jetzt melden sich KICKHUNTER mit ihrem 5. Album „Now Or Never“ zurück. Produziert von der Band und gemischt und gemastert
von Eike Freese (DEEP PURPLE, EISBRECHER, GAMMA RAY u.a.) und Dennis Ward (PINK CREAM 69, MAGNUM, KYHMERA u.a.). Das Album enthält auch einen Gastauftritt von keinem geringeren als Gründungsmitglied und HELLOWEEN-Bassisten Markus Großkopf! Markus, der durch sein Engagement bei HELLOWEEN zeitlich sehr eingeschränkt ist, kann KICKHUNTER im Moment live leider nicht unterstützen. Für ihn konnten die fünf verbliebenen Originalmitglieder Tim Schwarz (XANDRIA, HARDBONE) als neuen Bassisten gewinnen. Außerdem gibt es mit Gitarrist Gerd Lehmkuhl einen Neuzugang an der Gitarre, der die Triple-Axe-Attack komplettiert!!! Wer nach echter handgemachter Rockmusik mit dreckigen Riffs, kraftvollen Hammond-Sounds und groovigen Drums sucht, der wird KICKHUNTER lieben!!!

Sieges Even‘s career has not been quiet. After the first two
albums, the band had its first change of singer. On the albums
„Sophisticated“ (1995) and „Uneven“ (1997), the Holzwarth brothers (bass and drums) kept the band going. But they ended up with the guitarist Markus Steffen and recruited the outstanding singer Arno Menses, who was previously active as a drummer. With this line up, the band has won the hearts of prog fans, but also of demanding metalheads.

Once again, Sieges Even was in the right place at the right time. „The Art Of Navigating By The Stars“ was recorded in the Black Solaris studio by Uwe Lulis (also known today as Accept‘s guitarist) and released by InsideOut Music, then distributed by SPV. This was followed by dream reviews, also for the tour that followed.

Following the devastating loss of close friend and founding member Ole Sletner in 2019, Norway's finest return with restorative riffs for heavy hearts! Norway's heavy and hard-hitting power trio Saint Karloff return this June with their new album Paleolithic War Crimes on Majestic Mountain Records

Sound Like: Black Sabbath, Fu Manchu, Kyuss

Windowseeker is Lukas Oppenheimer and ‘Spiral 2 Success’ is his Transatlantic debut. It revels in the transcendent power of pure ¦lth. It’s a yellow-eyed union of decadence and depravity and a corrupted testament to pure, oppressive darkness. This is music designed to make you the bad person you need to be to get to where you’re going. ‘Aspire+’ casts a smeared, neon pall over everything it touches, like a
dirt-caked strobelight §ickering in the void. It drives and propels relentlessly, a pacemaker for cold hearts. Flipside ‘Play With Me’ is a work of teeth-grinding hyperfocus, an ouroborosian bass buster that guides its listener further and further away from the comforting glow of virtue. ‘Spiral 2 Success’ contains reckless music for goal-oriented
hedonism: the sound of vicious circles that wind their way ever and in¦nitely higher. Embrace the downward ascent

Pinky Perzelle, aka Sonny Rooney's debut 'No Games' featuring Eda Eren, is a true labour of love and an ode to his total passion and dedication to multi instrumental record creation without compromise. Almost every instrument was recorded and played by Perzelle at his home studio. Featuring the utterly unique, impassioned and reassuring vocals of British-Turkish artist, Eda Eren, and additional drums from world renowned Malcolm Catto (The Heliocentrics). The lead track is a timeless, heartfelt, funk-ladened portal into a world reminiscent of a cinematic movie scene or an undiscovered gem from another era all-together. The hypnotic 'Remix' from Velvet Season & The Hearts Of Gold aka Gerry Rooney & Joel Martin, introduces subtle electronica and dubbed out instrumentation. A true lesson in after hours, left-field Balearica. Pinky's own 'Electronic Mix' references early house music and broken-beat electronic drums. Showing yet another side of Perzelle's approach to music making.

DJ Feedback

Gilles Peterson:
"Great stuff! Loving the Turkish twist on No Games. Whoooop!"

Dj Harvey:
"Definitely a jam I’ll play in Ibiza for my summer season!"

Francios K:
"I have the Original Mix and love it!"

Tim Sweeney (Beats in space):
"Great job with this. Definitely supporting! Added to BIS playlist."

Colleen Cosmo Murphy (WWFM):
"Now here’s a great new song. A debut song from Pinky Perzelle aka Sonny Rooney. Also a great remix from Velvet Season & The Hearts Of Gold!"

Charlie Bones (Do You):
"Dangerously sexy."

Apiento (Test Pressing):
"A killer song put together with an overall vision from someone that knows where they want to be. An artist to watch. Respect."

Nancy Noise:
"I haven’t stopped listening to it! I mean it! Well done!"

Laurent Garnier:
"Playlisting Original Mix on PBB Radio. Thanks a lot!"

Luke Howard (Horse Meat Disco):
"Bravo, great job. Keep up the good work. Always happy to hear real music with new melodies and ideas!"

Leo Mas:
"Pinky’s Electronic Mix’ is great! Great job, bravo!"

Ashley Beedle:
"I’ll be putting this in August’s show. Sounds wicked."

Jonny Rock:
"This is great! Intense emotion dancefloor bomb! Big up the Perzelle."

Mehmet Aslan:
"Nice ones, I like! Added to Spotify ‘Track ID’s’ playlist."

CC Disco:
"Sick release! Was not what I was expecting. Even better!"

Patrizio Cavaliere (Mixmag Asia):
"A sublime statement of intent."

Third release in the 'first time on vinyl' trilogy, following the quickly sold out 'Pink Lady Lemonade - You're From Outer Space' (REPOSELP102) & 'Myth Of The Love Electrique' (REPOSELP111)
Here we have the bands classic 2007 double album 'Acid Motherly Love' pressed on vinyl for the first time.

This 2LP set is pressed on transparent orange vinyl, and comes housed in a fully redesigned gatefold sleeve complete with obligatory nudity.


'Acid Motherly Love' is another OUT-THERE ride through Acid Mothers weird and psychedelic world. Guitars howl, riffs grow BIGGER with each minute and brains get fried along the way. Recorded under falling ash and burning roof tiles, 'Acid Motherly Love' features every dimension of their legendary underground sound - from wild riff heavy jams, to quieter acoustic passages and spoken monologues, all capped by the trance inducing 15 minute-plus epic 'Santa Sanrodriguez'.