Cerca:j cast

The groundbreaking 2015 PlayStation® 4 game Everybody’s Gone to the Rapture tells the story of the inhabitants of a remote English valley who are caught up in world-shattering events beyond their control or understanding. Made by The Chinese Room - the studio responsible for the hauntingly beautiful Dear Esther - this tale of how people respond in the face of grave adversity is a non-linear, open-world experience that pushes innovative interactive storytelling to the next level. This story begins with the end of the world. The game has already won GameSpot’s Best of E3 and was nominated for Best in Show and Best PS4 game by IGN.

The soundtrack features the music by Jessica Curry, who is also joint Studio Head of the developer The Chinese Room. The music was recorded at the famedAIR Studios in London and features solo vocal performances by renowned Welsh soprano Elin Manahan Thomas, ethereal choir, and a tragically beautiful orchestral accompaniment. With her compelling soundtrack, Curry took home the BAFTA Games Award for Best Music.

Everybody’s Gone To The Rapture is available as a 2LP limited edition of 500 individually numbered copies on translucent red coloured vinyl and includes a
4-page booklet.

Pan Daijing's exhibition-performance Tissues premiered in the Tanks at the Tate Modern in autumn 2019. A five-act immersion in performance, sound, movement, space, and most of all emotion in its most distilled and conflicted states, Tissues engaged with the conventions of opera and tragedy to present a searing representation of the embattled human psyche in space and time. While the ambitious multi-sensory artwork made use of the range of Daijing's artistic capabilities, music, particularly the voice, was at its formal and emotional core. The vinyl and digital release of Tissues on PAN serves as a record of that work, in the form of an hour-long audio excerpt: an invaluable archival document from Daijing's expansive live practice. Tissues is both a solitary work and a formal study in relation. Composed, directed, designed, written, and performed by Daijing (alongside a cast of twelve dancers and opera singers), the work_its libretto written in a mixture of old and modern Chinese_lingers inside a single human perspective. Daijing conjures states that are by turns delicate and severe, the tension between opposing modes animating the work as it unfolds. And yet, for all its interiority, Tissues foregrounds an intimate relationship with its audience through details like its engulfing visual landscape and its rattling, confrontational narrative arcs. Daijing uses the opera form as a prism through which to question the boundaries of music itself: perhaps, she proposes, music is much more than simply what is heard. It is in the relationship between voice and electronics that this limit is most clearly breached. Across the four acts gathered in this documentation, a counter-tenor, a soprano, a mezzo-soprano, and the artist herself voice a mixture of stunning laments and cries over an instrumental landscape, built out from industrial texture. Meant to be heard in a single listen, rather than track by track, the work unfolds through tender hollows and agitated peaks. At its crescendo, the operatic vocals melt away and the synthesizers themselves seem to howl with grief. Daijing uncovers an essential, sometimes painful, music in all that surrounds us, inviting something like catharsis but also a greater understanding of the thing she and her cast conjure and draw close. A tissue, after all, is both a disposable object one uses to wipe away a tear, and the building block of our fleshy human forms. Daijing reaches and excavates the roiling core of what it is to be alive and full of feeling. Music from Tissues, an opera of five acts at Tate Modern, London on Oct 2nd, 4th and 5th, 2019 Composed, written, produced and directed by Pan Daijing. Performed by Anna Davidson, soprano ; Marie Gailey, mezzo soprano, Steve Katona, countertenor and Pan Daijing, additional vocals. The recording is mixed by James Ginzburg , Jan Urbiks and Pan Daijing, mastered by Rashad Becker. *2xLP comes in a gatefold cover, and includes an obi strip and a booklet containing images from the performance & liner notes, as well as a postcard granting access to exclusive video documentation*

"The dazzling symphonic album he always threatened to produce" UNCUT 5/5
"A soulful symphonic masterpiece" ROLLING STONE

Originally released in Japan only on CD in 2002, Plush's Fed lives up to the cult-like adulation it has garnered ever since. A stunning symphony of Bacharach-inspired pop, Toussaint-swing andMelody Nelson-era-Gainsbourg, it's an album bound together by Liam Hayes' maverick genius, an uncompromising Brian Wilson-esque quest for sonic perfection. Positively indulgent in every way, this sumptuous record has long deserved to be treated to a deluxe vinyl edition. Lovingly overseen by Hayes and recent collaborator Pat Sansone (Wilco/The Autumn Defense), it will finally be available on the format it should've always been, this Record Store Day 2018. Remastered and presented as a double LP - cut specially at 45rpm - it comes housed in a beautiful gatefold jacket with expanded artwork throughout.

Its expansive, singular vision infamously took years to realise, involving Earth Wind & Fire's horn arranger (the legendary Tom Tom MMLXXXIV) amongst other elite personnel. Recorded with five different engineers (including Steve Albini and John McEntire), Hayes meticulously extracted every ounce of pop from each note. A long list of renowned studio ringers (including soul drummer Morris Jennings) and Chicago regulars (McEntire, Rizzo, Parker) among many others provide playing of demonstrably professional precision. As such, Hayes' complex, meandering melodies are rendered far more coherent and satisfying than they otherwise might have appeared, bringing his epic, anguished pop to a rarely seen level of perfection and depth. This unstinting dedication to the overarching vision was rewarded handsomely - artistically, at least.

However, as might have been expected, his deluxe approach resulted in a bill too steep for any American or European label to ultimately support. It has since seemed unlikely that it would see the light of day on either side of the Atlantic. Yet we were determined not to allow Hayes' lifetime achievement to go unnoticed or let music fans across the world miss out on one of the finest albums of this century.

A wide-eyed opus of stunning intensity, Fed oozes Hayes' impeccable influences without ever becoming overwhelmed by them. Incredibly, it touches upon Blaxploitation soul, Boz Scaggs-soft-rock, hints of jazz and blues, timeless baroque and skewed pop. In one long minute, the stabbing, soulful "So Blind" moves through five different melodic segments, horns shift easily from haunting backdrop to explosive forefront, smoothly giving way to strings as Hayes' voice casts its bewitching spell. The ambitious soul of "Having It All" has been described as the diffident cousin of Marvin Gaye's "Save The Children" whilst the breezy "Greyhound Bus Station" is pure 70s AM Gold, evoking the easy warmth of Jimmy Webb's beloved Land's End period. The sublime resignation of "No Education", a beautifully slow number that begins, "Never read a book in my life/ But I feel just fine" is post-rock ballad heaven. Arriving towards the end, the title track arrives as a majestic suite, moving from a horn-and-guitar-led instrumental via shifting melodies to Hayes' compelling vocal bursts.

An album of such brilliance, Fed can comfortably sit alongside such staggering statement pieces as David Bowie's Young Americans, Randy Newman's 12 Songs or Harry Nilsson's Nilsson Schmilsson. Indeed, for all the sprawling elements that went in - lengthy guitar builds, exploding horn sections, solemn strings, female backup chorus - it is a deeply personal and original record. Employing a distinct "more is more" aesthetic, he demonstrates remarkable restraint in producing an album of such intimacy. "My creation has drowned me," he memorably sings on languid opener "Whose Blues", yet he navigates the shifting styles and ideas with enviable ease.

"Verdant returns with an intriguing release and continues to follow its unique, meandering path through the electronic music landscape.
The label's tenth record invites listeners to explore rich, enchanting, ambient textures and the sonics for which the Verdant name was first associated with decades ago. Naturally, the line up and music is overflowing with quality and its 4 artists are afforded an expansive 20 minute, untitled, single cut each. One of the UKs cherished electro producers, Reedale Rise, graces side A with a rare excursion into beatless space. Next, Out.lier casts an imaginative spell before talented live and recorded musician Jo Johnson captivates with cascading synthesis. Romanticise The World (who appeared under an alias on Verdant before) closes, assembling Detroit Escalator Inspired landscapes to fall into.
Ambient music how it needs to be experienced on vinyl."

For fans of Blue Öyster Cult, Blue Coupe, and Classic Rock! Albert Bouchard is best known as one of the founding members of Blue Öyster Cult. The original band sold millions of albums for Columbia Records with such classic songs as “Don’t Fear the Reaper” and the #1 hit on the Billboard Mainstream Rock chart “Burnin’ For You”. As a songwriter, he wrote many BÖC songs including the very popular “Astronomy” (which was covered by Metallica on their 1998’s release Garage Inc) and the live staple “Cities on Flame with Rock and Roll”, which he also sang lead vocals. “Imaginos 2 – Bombs Over Germany (minus zero and counting)” sees Albert continuing the Trilogy of Imaginos, a concept album about an alien conspiracy that is brought to fruition during the late 19th and early 20th century through the actions of Imaginos, an agent of evil. The album weaves scripts and poems by the late Sandy Pearlman. It features guests Ross The Boss (Dictators), Joe Cerisano (Silver Condor, TSO), and reunites original Blue Öyster Cult members Eric Bloom, Donald “Buck Dharma” Roeser and Joe Bouchard, as well current BOC member Richie Castellano, who all contribute to this latest installment. The album also features reworks of classics like “Cities on Flame with Rock and Roll”, “The Red and the Black”, and “Dominance and Submission”. Due to the overwhelming response to Imaginos II, we are now releasing a Double LP gatefold version which includes an extended version of “Independence Day”, plus the bonus “When War Comes (Instrumental Mix)”.

Enraptured Records presents a Limited Edition RSD Coloured vinyl LP titled 'Coldharbourstores Remixed', it's an exclusive LP of remixes all appearing on vinyl for the first time ever, released especially for RSD 2022. All remixes were commissioned especially for this album (except L-Shape's remixes of Castle and ZERO) and are outstanding with each guest remixer adding their individual flavour to the mixes.

The glacial distillation of Pan•American aka Mark Nelson’s “romantic minimalism” achieves unique fruition on his latest Kranky collection, The Patience Fader.

A suite of solo guitar instrumentals accented with lap steel, harmonica, and twilit atmospherics, the strings smear and sparkle in elegant, windswept swells, a guitar mode once described by Brian Eno as “Duane Eddy playing Erik Satie.” These are elegies as much as songs, lulling and lilting in private currents of beauty and bereavement. Nelson speaks of the notion of “lighthouse music,” radiance cast from a stable vantage point, sending “a signal to help others through rocks and dangerous currents.”
Composed during the highly isolated summer of 2020, the pieces took shape as meditations on “roots and mourning, trying to connect with those deep hidden rivers that lead to a greater communality.” There’s something ageless, scarred, and American about this music, both displaced and devotional, the ghost of rust belts and dust bowls looming in a horizon of deepening dusk.

Auf seiner ersten Piano Trio Einspielung für ECM gelingt Kit Downes im Zusammenspiel mit Bassist Petter Eldh und Schlagzeuger James Maddren eine besondere Gratwanderung zwischen lyrischer Sorgfalt und eruptivem Momentum. Der Pianist und seine langjährigen musikalischen Vertrauten begegnen sich auf eine Art und Weise, die – kreativ und verdichtet zugleich – bewährte Idiome des Formats mit eigenen Ideen in einem diesem Dreigespann exklusiven Stil vereint. Downes schlägt auf Vermillion, im Auditorio Stelio Molo in Lugano festgehalten, ein neues Kapitel auf.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Kicks & Hugs, a multi-disciplinary platform established in 2017 to hold space for like-minded creators, now launches its own label showcasing emerging sonic spheres that reach beyond momentary hype and trends alike. Based in Berlin, the foundation of Kicks & Hugs lies at intersectional crossroads of music and art, with their first record establishing a definite attitude towards contemporary artistry. Kicks & Hugs celebrates an immersive spectrum of talent across different mediums and promotes ideas composed of color to challenge a steady current of long exhausted black & white patterns within the realm of electronic music. The debut EP available on black & limited edition colored marble vinyl assorts a kinetic flow of ideas produced by a seemingly divergent roster. Completely ecstatic & exhilarating maze of rhythm by The Lone Flanger, additionally reworked with Varg2TM versus contrasting yet innovative dancefloor mechanics by Bertrand., ending with a hypnotic mix by Dasha Rush, the record is an absorbing material of dynamics that subtly surprise and leave nothing but an ambitious statement for what’s yet to come. KH01 is dedicated to a musical shape-shifter, a paramount figure, ephemeral talent & a dear friend – Andrew Smith. To end in his own words, Keep It Fungki. The Lone Flanger was an audio-visual project from the artist Jasen Loveland also known as Andrew Smith (1980-2021). Dedicated to exploring the intersection of music and visual arts in the expanded dimension, the work of TLF picked up where Loveland’s eponymous acid-based project left off, aspiring for a kind of transcendence that takes the listener beyond the previously known concepts to experiments with the possibility of creating a resonant bridge between frequencies, worlds and dimensions. The work of TLF questions, obfuscates and complexifies notions of rhythm, melody and musical genre… even our ability to rely on our senses for accurate information about the work in question Varg2TM also known as Jonas Rönnberg casts a cryptic shadow from the North over contemporary aesthetics, continuing to create in his largely collaborative and always thrilling approach. Tempering a caustic rhythmic sensibility with a pneumatic palette for high definition synthesis, his unique embrace of risk tests the reliability of the forms he works in as well as the genre borders he surveys. Bertrand.’s work as a producer incorporates a wide spectrum of influences and aims to create beyond the common means of electronic dance music. Bertrand.’s restless nature and desire for technical perfection bleed into his productions of bass-heavy futuristic soundscapes often juxtaposed with playfully intense dancefloor fundamentals. Dasha Rush constructs a rather wide assortment of electronic music and arts projects. She sees the genre as a starting place, not a destination. Rush brings up a mixture of rather rare electronic experimentation more akin to the brief movement of underground music. Credits: Mastering and mastercut by Andreas LUPO Lubich at Loop-O Cover artwork by Fredrik Altinell Graphic Design by Marta Braga Inner label artwork by Tommy Dwane Vocals by Kawala Bravo

Generation '22: Chanson mit Seele

Wenn andere Jubiläen begehen, dann schwelgen sie in Erinnerungen. Le Pop ist anders:
Unsere Nummer 10 schaut nach vorn. Sie ist jünger, femininer und souliger als ihre
Vorgänger. Und stellt 16 neue Namen vor, die zuvor auf keiner anderen Ausgabe zu finden
waren. Die neuen Stars heißen Emma Peters, Iliona, UssaR, P.R2B, Ariane Roy und
Clou. Viele dieser Namen stehen am Anfang ihrer Karriere, haben bisher erst eine EP, ein
Album oder ein paar Singles draußen und doch ist spürbar, dass diese neue Generation das
Nouvelle Chanson prägen wird. Nicht alle sind Newcomer, aber Künstlerinnen und Künstler
wie KCIDY, Voyou, Malik Djoudi und Laura Cahen haben in den letzten 4 Jahren (so lange
ist Le Pop 9 schon draußen) eine so fulminante Entwicklung gemacht, dass wir sie diesmal
unbedingt vorstellen wollten. Dazu gesellen sich Schauspielerinnen wie Edwige, Elisa Erka
und Suzanne Lindon, die sich zum ersten Mal als Sängerinnen präsentieren. Ganz
besonders erwähnenswert: Camélia Jordana – einerseits als Musikerin in der Charts-Welt
etabliert, anderseits César-prämierte Schauspielerin, trägt sie in dieser illustren Runde sicher
den glamourösesten Namen.

Doch was macht sie aus, diese neue Generation? Zuerst einmal das Offensichtlichste: Nur
vier der hier vorgestellten Stimmen sind männlich. Das Chanson wird weiblicher und
orientiert sich damit an den Erfahrungen der letzten 20 Jahre. Denn meistens waren es die
Frauen der aktuellen Szene, die sich in der Breite auch im Ausland durchgesetzt haben (man
denke nur an Zaz, Coeur de pirate und Angèle). Le Pop 10 ist nicht nur femininer, die neue
Generation ist auch viel stärker durch die Präsenz von HipHop und R'n'B geprägt. Ein
richtiges Crossover findet zwar nicht statt, dafür merkt man, dass das heutige Chanson
grooviger geworden ist, soul-lastiger auch und punktuell tatsächlich Rap-Anklänge mitliefert.
Besonders deutlich wird das bei P.R2B, die gelegentlich in den Sprechgesang wechselt, bei
Emma Peters, die sogar ein ganzes Album mit Coverversionen von französischen Rap- und
R'n'B-Hits veröffentlichte, bevor sie eigene Songs aufnahm und bei UssaR, der als
Bühnenmusiker auch Rapper wie Kery James und Youssoupha begleitet. Vielleicht nicht
ganz so deutlich, aber wunderschön und subtil binden Iliona aus Belgien (was für eine
Entdeckung!) und Ariane Roy aus Kanada Soul-Elemente in ihre Musik mit ein. Selbst bei
Uptempo-Nummern wie "Le confort" von Voyou ist ein Hauch Motown zu spüren.
Selbstverständlich fehlt auch diesmal nicht der Einfluss von britischem Pop und Americana.
Die Band Palatine etwa ist gitarrenlastig, bringt Folk-Elemente mit und verbindet dies sehr
elegant mit Chanson-Tradition. Bei Laura Cahan finden wir Einflüsse der Cocteau Twins,
Kate Bush aber auch Anklänge an Camille oder Keren Ann. Eine erstaunliche Entwicklung
legte KCIDY hin, die nach einer längeren Phase des Experimentierens mit Elektro und Wave
auf einmal einen mit Vocal-Harmonien, Kraut- und 70ies-Elementen veredelten Gitarrenpop
aus dem Hut zaubert, der nur theoretisch aus der Zeit zu fallen scheint und sich doch ganz
harmonisch in den Gesamtklang der Compilation einfügt.

Und dann ist da auch noch Edwige, eine belgische Schauspielerin, der es nicht mehr
genügte gelegentlich auf Theaterbühnen zu singen. Sie hat ein traumhaftes, in dezenten
Gitarrenarrangements ausgekleidetes Debüt-Album aufgenommen, das im Herbst 2022
erscheinen soll. Ihren Song "Corps & Ame" hat sie uns vorab exklusiv für diese Compilation
überlassen. Den Tipp, uns mit Edwige zu beschäftigen, bekamen wir übrigens von Albin de
la Simone (seit Le Pop 2 immer wieder vorgestellt), der auch schon ein Duett mit ihr
aufgenommen hat.

Mit De La Simone, seit seiner Arbeit für Carla Bruni und das Durchbruch-Album von Pomme
(Le Pop 9) einer der meist gebuchten Produzenten der Szene, sprachen wir anlässlich
seines Konzerts bei der Kölner Reihe "Le Pop La Série" über junge Künstlerinnen wie Iliona,
Clou, Emma Peters und über deren Karrierewege. Dabei machte er uns auch auf Ariane
Roy aufmerksam. Wie sie sind viele der hier vorgestellten Namen Labelmates oder Protegés
etablierter Künstler.

Das sind nicht immer zufällige Beziehungen. In Frankreich erntet das neue Chanson zudem
immer mehr die Früchte des Casting-Show-Booms der letzten 15 Jahre. Hier bekommen
viele Teilnehmer irgendwann die Chance mit renommierten Musikern zusammenzuarbeiten.
Carla de Coignac zum Beispiel flog zwar noch vor dem Finale bei "Nouvelle Star" (2017)
aus dem Wettbewerb, trotzdem nahm Louane (die bei der Konkurrenz-Sendung "L'école des
stars" entdeckt wurde) fünf Songs in ihr Repertoire auf, die die Aussortierte für sie
geschrieben hatte. Teilnehmerin der gleichen Show war auch Camélia Jordana, allerdings
schon 2009. Jordana scheiterte damals im Halbfinale, bekam aber beim Major Sony einen
Vertrag. An ihrem Debüt-Album arbeitete sie mit Jean Felzine (Mustang, auf Le Pop 8
vorgestellt), BabX (Le Pop 8), "L" (Le Pop 7) und Mathieu Boogaerts (seit Le Pop 1 dabei)
zusammen. Inzwischen ist Jordana in der Musik- und Filmwelt etablierter Star und Celebrity.
Wir lernten sie abseits glamouröser Welten bei einer "sièste acoustique" kennen, einem
speziellen Konzertformat in Paris, bei dem das Publikum tatsächlich Siesta hält. Dort trat sie
mit Le Pop-Künstlern wie Armelle Pioline (Holden), BabX und Siesta-Gastgeber Bastien
Lallemant auf. An diesem Beispiel sieht man einmal mehr, wie durchlässig die französische
Szene geworden ist. Jordana ist heute ihre eigene Songwriterin – bei dem hier vorgestellten
Song, dem wunderbar groovenden "Jusqu'au bout des cils" stammen Musik und Text aus
ihrer Feder.

Der Mainstream zeigt sich immer wieder offen für Impulse von Indie-Acts, Kooperationen
zwischen diesen scheinbar gegensätzlichen Szenen sind inzwischen nahezu
selbstverständlich und verschaffen dem Underground zusätzliche Unabhängigkeit.
Le Pop 10 zeigt die Vielfalt dieser Welt auf authentische Weise und formt daraus eine
kohärente Einheit. Wie immer hat auch diese neue Ausgabe keinen Anspruch auf
Vollständigkeit. Wir lassen bewusst Künstler außen vor, die manche Fachleute hier erwarten
würden, die aber nicht "unsere Tasse Tee" sind. Im Vergleich zu ihren Anfängen ist die
Szene heute dynamischer und diverser. In den 50er und 60er Jahren haben Jazz und Brazil
ihre Einflüsse im Chanson der Gegenwart hinterlassen. Zu Beginn der Le-Pop-Reihe waren
es Indie, Electro und Reggae. Heute sind darüber hinaus die Einflüsse von HipHop und R'n'B
zu spüren. Das neue Chanson ist in Bewegung und wird es sicher auch in Zukunft bleiben

These words by legendary bassist/composer Charles Mingus are a touchstone for Little Big, the quartet led by pianist Aaron Parks. The band’s new recording, Little Big II: Dreams of a Mechanical Man, communicates with a clarity and simplicity that belies its ultimate depth. “I want to cast a spell,” explains Parks, “to lull you into a trance where you think you know where you’re going, and then take you somewhere unexpected, almost without realizing how you got there.”

This new music continues the band’s cultivation of a musical language that marries creative improvised music to more groove-centered music—electronica, indie-rock, hip-hop, and psychedelia—but without a trace of mannered “fusion” or a sense that the music is cobbled together from disparate styles. Rather, it feels seamlessly integrated, whole in and of itself.
Dreams of a Mechanical Man is Little Big’s second release on Ropeadope Records, recorded after more than two years of touring for Parks, guitarist Greg Tuohey, bassist David “DJ” Ginyard, and drummer Tommy Crane. One primary distinction of this new album, according to Parks, is that “today, the band operates as a single organism. The first record was about the tunes and the aesthetic. This album keeps that focus and also captures the chemistry we’ve developed on the road, the way this band feels as it makes music in the moment.”

"Turn To See Me" is yet another step forward for The Dining Rooms, an artistic duo that never lacked creativity. This ninth album of theirs is a further confirmation: an intense record, inevitably influenced by the events of the last two years and therefore imbued with dark and melancholy sounds, but at the same time positive and aimed at a hopefully better future. Once again, there are numerous collaborations and blends of various musical genres (hip-hop, folk, jazz, electronic, trip hop) that do not, however, betray the 'cinematic' trademark of the Milanese outfit.

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

Years in the making – ‘Hillbillies In Hell’ (13) presents 16 timeless tribulations - a Lovecraftian clutch of Ancient Terrors, Sinful Seductions, Grinding Poverty, Debilitating Disfigurement, Hell's Eternal Maze of Hardships and God's Blazing Light of Redemption.

A misty shroud of marginal 45s - some of these sides are impossibly rare and are reissued here for the very first time. All for your cautionary listening pleasure.

SEE Little Richard Miller witness THE FIRE CAME DOWN! HEAR Dee Mullins declare I AM THE GRASS! ATTEST to Eddie Noack's brutal final fate in BARBARA JOY!

The Carter Family - 2001 (Ballad To The Future), Henson Cargill - Skip A Rope, Porter Wagoner - Julie, Eddie Noack - Barbara Joy, Waylon Jennings - The Road, Sammi Smith - Birmingham Mistake, Norma Jean - One's On The Way, Wendy Bagwell And The Sunliters - This Train, Dee Mullins - I Am The Grass, Hank Thompson And The Brazos Valley Boys - I Cast A Lonesome Shadow, Porter Wagoner - Lonely Comin' Down, Henson Cargill - The Pain Will Go Away, The Carter Family - Poison Red Berries, Bobby Bare - When I've Learned, Roger Miller - I Know Who It Is (And I'm Gonna Tell On Him), Little Richard Miller - The Fire Came Down

A new 6-track mini album from a musician with a long list of credits including South African trumpet legend Hugh Masekela, afrobeat co-creator Tony Allen and Ethiopian jazz originator Mulatu Astatke as well as many Brit-jazz and international roots artists. "It's Time" blends spiritual Afro-jazz groove with free improv, spoken poetry and other-worldly atmosphere, with lyrics and titles hinting at unorthodox takes on reality and the times we live in.

Phil Dawson is a top London guitarist who has worked and schooled himself extensively in many different African, Latin and Brazilian music traditions together with styles that more typically cross the radar of someone with a similar British background: roots reggae, punk rock, blues, soul, R'n'B, jazz and funk. As a sideman, he's played with a host of living legends of Afro-fusion music including South African jazz trumpet giant Hugh Masekela, Nigerian afrobeat co-creator Tony Allen, Ethiojazz pioneer Mulatu Astatke, the Algerian "king of rai" Khaled, and London based Ghanaian afro-rock dons Osibisa. Heavy company for sure.

Now he's releasing a new mini 6 track album of original compositions under his own name and band - Phil Dawson ٤-tet - and he's joined by a stellar cast of London's finest players who include Rowland Sutherland (flutes - Airto Moreira, David Murray, Carla Bley), Khadijatou Doyneh (spoken word - The Heliocentrics, Danny Keane), Gaspar Sena (drums - Alfa Mist, Maria Chiara Argiro), Marius Rodrigues (drums - Oriole, Hermeto Hermeto Hermeto), Lekan Babalola (percussion - Cassandra Wilson, Ali Farka Toure) and Matheus Nova (bass - Antonio Forcione, Ed Motta, Jazzinho). Phil himself features on guitars, Fender Rhodes and piano.

'This is great' - Gilles Peterson, BBC Radio 6 (on 'It's Time)

'Beautiful' - Kassin (producer Caetano Veloso, Sonzeira etc) (on 'It's

Time')

'Rapid-fire guitar work with variety and energy' – The Guardian, UK

'A great guitarist' – Tony Allen

'An absolute killer - irresistible' - Snowboy (on 'Gnostic Hilife')

'Phil Dawson and his (quintet) are really smoking at the mo. No wonder the London jazz young guns are ripping it up with bands

like this leading the way. Miss them at your peril' – Russ Jones (Future World Funk)

Jazzwise Review

The British guitarist Phil Dawson is a fixture of a plethora of Brit-jazz bands and international roots outfits; his nuanced stylings have graced the work of A-listers from Ethio-jazz guru Mulatu Astatke to such late African greats as Tony Allen and Hugh Masekela. Like any an in-demand session player worth his chops Dawson also fronts his own trio/quartet/quintet, all of which allow him to stretch out and do his own thing, which – with his quintet - he does to pleasing effect here.

Buoyed by flute, bass and percussion, It's Time is a six-track brew combining free improv and spoken word with Afro-spiritual groove and a far-out esotericism befitting these strangest of times. Opener 'It's Time (Radio Edit)' is a psychedelic romp through a beneficent cosmos where ringing chords and woodwind trills underpin Khaditjatou Doyneh's pathos-laden musings on love and the universe and one of three variations on a theme. Over three minutes longer at 9:34, 'It's Time (aka Ougama)' is a freewheeling instrumental made dazzling by Dawson's silver-fingered guitar work; Doyneh resumes her pronouncing on the more dissonant but equally mind expanding 'It's Time (Fully Spoken)'. Then there's 'Gnostic Hilife', whose three interpretations each juxtapose the structures of this West African lingua franca in ways tight, spacious and inventive

Luzifer wurden im Jahre 2009 von L. Steeler (Bass) und S. Castevet (Gesang, Gitarre, Schlagzeug) in Hamm/Westfalen als Nebenprojekt der im Underground gefeierten Vulture gegründet. 2015 erschien die "Rise"-EP, 2018 gefolgt von der "Black Knight" 7" Single auf High Roller Records.

Mittlerweile ergänzt Vulture-Drummer Gereon Deceiver die Besetzung von Luzifer, der auch auf den sieben Songs des ersten vollständigen Albums "Iron Shackles" zu hören ist. Stefan Castevet erklärt: "Mit Gereons Einstieg bei Vulture hat sich das im Laufe der Jahre so ergeben. Gereon übernimmt so auch bei Luzifer die Drums, macht bei den Background-Chören mit und hat sich am Songwriting beteiligt. In die finale Phase der Vorbereitung hat er viel Energie mit reingebracht, und da ich eh seit vielen Jahren nicht mehr richtig hinterm Schlagzeug gesessen habe, ist er ein echter Segen für die Band (lacht)."

"Soundmäßig wollten wir auf dem Album so klingen wie Quartz bei 'Satan's Serenade' und da zusätzlich so 'ne Sommer-Note reinkriegen wie in Rockers 'Mighty Thor'", umreißt Stefan das stilistische Koordinatensystem von "Iron Shackles". "Ob uns das gelungen ist, weiß ich gar nicht unbedingt. Vieles hat sich im Aufnahme- und Mixing-Prozess dann verselbständigt. Große gezielte musikalische Einflüsse besitzen wir in dieser Form gar nicht. Zumindest nicht bewusst. Viel 70er-Kram und dazu dann sowas in Richtung Heavy Load trifft's vielleicht am ehesten."

Neben "Der goldene Reiter", eine in Eisen gegossene Coverversion des NDW-Hits von Joachim Witt, ist auf dem Album noch eine weitere Nummer mit deutschen Texten zu finden, nämlich "Hexer (In drei Teufels Namen)", von dem Stefan Castevet zu berichten weiß: "Wir hatten auch schon auf unserem ersten Release einen Track auf Deutsch. Wir finden das einfach sehr charmant. Damals war's DDR-Heavy-Metal, den wir abgefeiert haben, diesmal hatten wir schlicht Lust drauf. Machen halt nicht so viele. Der Text stammt übrigens von unserem Freund Ela von Iron Kobra. Der kann sowas einfach besser als wir!"

Luzifer wurden im Jahre 2009 von L. Steeler (Bass) und S. Castevet (Gesang, Gitarre, Schlagzeug) in Hamm/Westfalen als Nebenprojekt der im Underground gefeierten Vulture gegründet. 2015 erschien die "Rise"-EP, 2018 gefolgt von der "Black Knight" 7" Single auf High Roller Records.

Mittlerweile ergänzt Vulture-Drummer Gereon Deceiver die Besetzung von Luzifer, der auch auf den sieben Songs des ersten vollständigen Albums "Iron Shackles" zu hören ist. Stefan Castevet erklärt: "Mit Gereons Einstieg bei Vulture hat sich das im Laufe der Jahre so ergeben. Gereon übernimmt so auch bei Luzifer die Drums, macht bei den Background-Chören mit und hat sich am Songwriting beteiligt. In die finale Phase der Vorbereitung hat er viel Energie mit reingebracht, und da ich eh seit vielen Jahren nicht mehr richtig hinterm Schlagzeug gesessen habe, ist er ein echter Segen für die Band (lacht)."

"Soundmäßig wollten wir auf dem Album so klingen wie Quartz bei 'Satan's Serenade' und da zusätzlich so 'ne Sommer-Note reinkriegen wie in Rockers 'Mighty Thor'", umreißt Stefan das stilistische Koordinatensystem von "Iron Shackles". "Ob uns das gelungen ist, weiß ich gar nicht unbedingt. Vieles hat sich im Aufnahme- und Mixing-Prozess dann verselbständigt. Große gezielte musikalische Einflüsse besitzen wir in dieser Form gar nicht. Zumindest nicht bewusst. Viel 70er-Kram und dazu dann sowas in Richtung Heavy Load trifft's vielleicht am ehesten."

Neben "Der goldene Reiter", eine in Eisen gegossene Coverversion des NDW-Hits von Joachim Witt, ist auf dem Album noch eine weitere Nummer mit deutschen Texten zu finden, nämlich "Hexer (In drei Teufels Namen)", von dem Stefan Castevet zu berichten weiß: "Wir hatten auch schon auf unserem ersten Release einen Track auf Deutsch. Wir finden das einfach sehr charmant. Damals war's DDR-Heavy-Metal, den wir abgefeiert haben, diesmal hatten wir schlicht Lust drauf. Machen halt nicht so viele. Der Text stammt übrigens von unserem Freund Ela von Iron Kobra. Der kann sowas einfach besser als wir!"

Sdban Records is delighted to announce the reissue of this genre-defying jazz album originally released on library label Selection Records in 1972.

Delving into the story of the American pianist and composer Phil Raphaël reveals more questions than answers. He was born in New York where he played with Charlie Parker, Jon Eardley and Howard McGhee, but a 1951 recording with Red Rodney for Prestige Records is the single remaining trace of his bebop days. Raphaël appeared under unknown circumstances in Belgium in the 1960s, playing among others at the 1966 Jazz Bilzen festival, and he eventually settled in Brussels. A multifaceted musician, he did not limit himself to jazz and also worked in pop groups, directed the music for the spectacle Hair, and even had a brief residency at Pol's Jazz Club where he played the music of Johann Sebastian Bach four nights per week.

His album 'Stop, Look, Listen', which was recorded with the rhythm section of Babs Robert's group, consists of four long genre-defying tracks colored by the dreamlike vocals of opera singer Rose Thompson. A surreal blend of genres, hard to pin down. It's highly imaginative jazz, that much is sure. Raphaël shifts from serene late night piano jazz to more free or even spiritual passages, magnificently paired with the otherworldly vocals of Rose Thompson. The LP was put out by Selection Records, a label that primarily issued library music at the time, and thus went largely unnoticed upon release. The recording makes clear that Phil Raphaël was a highly gifted artist whose talent will forever remain undervalued, since it was his only effort as a leader. Raphaël's passage through the Belgian nightlife was just as mysterious as his music, and few people seem to remember him. Drummer Bruno Castellucci describes him as remarkable, both as a musician and as a person: "He was a hippie before there were hippies. He wasn't part of the system but he had a system of his own."

With some of the best DJs and selectors there is a certain mysterious sound or underlying feeling which unites the music they play, regardless of genre, year or tempo Luke Una is a master of telling a story through music and this compilation is a perfect example of his musical alchemy in action. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, it is a collection of new, old, rare and under-discovered music from around the world, all united by Luke under the banner of "E-Soul Cultura".It's best described by Luke himself, who writes: "As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura.

Music from exotic tear jerkers, Afro- spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B- sides, £1 bargain- bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33BPM pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer- space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul- de- sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again."

Ltd to 100 copies

Presented in a double vinyl gatefold edition with two beautiful paintings by Tenerife painter Sema Castro.

For fans of Sun Ra, Alice Coltrane and every single mystic brother and sister carrying the free spiritual jazz torch! Dive DEEP!

Spectacular mystical jazz infused psychedelics from Canary Islands’ cult band GAF.

Using a series of different add-ons to their (already obscure) band acronym GAF (Grifa Ambient Factory) such as Love Supreme Arkestra or GAF & La Estrela de la Muerte amongst a few, the Tenerife based band illustrate clearly what mutation or influence they’re feeding through (their mind) by the judicious use of these referential add-ons. Rotating around the vision of local lynchpin, Mladen Kurajica aka Bonni, Keroxen label head, festival organizer, producer and musician with numerous projects including helming the GAF outfit. The Love Supreme Arkestra variation here being the more Coltrane leaning (Alice rather than John) and Sun Ra- esque influenced thematic of the 6 piece band. Over a series of 7 huge sounding themes, we can hear twirling saxophones, trumpets, marimbas, modulars and rhythmic sections intertwining like flying spiral snakes over a burning sea of lava.

Recorded live and freely over a completely improvised jam session on a sunny afternoon in the mountainous region of La Esperanza in Tenerife, the band lets rip free of any previous albums particular sound choosing instead to purge into a world of musical liberation by embracing the aforementioned pioneers of the genre whilst unconsciously absorbing in their surroundings - as an additional inspiration for musical freedom.

The result really shines through its 74 mins of mind blowing adventurous music. A journey to the peaks of the Teide Volcano and down the green valleys, into the blue and black volcanic coasts of liberation!

This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, and Terry’s letter to H.C. Westermann about the songs; and a high-res download code. Deluxe CD edition features a trifold jacket and inner sleeve. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen’s masterpiece Lubbock (on everything), the feral follow-up Smokin the Dummy is less conceptually focused but more sonically and stylistically unified than its predecessor it’s also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. Following the 1973 Whitney Biennial, in which songwriter and visual artist Terry Allen and fellow iconic artist Horace Clifford “Cliff” Westermann both exhibited, Allen maintained a lively long-distance correspondence and exchange of artworks and music with Westermann, whose singular and highly influential art he admired enormously. In a February 1981 letter to his friend and mentor, written shortly after the late 1980 release of his third album Smokin the Dummy, while he and his family were living in Fresno, California, Terry explains the genesis of the album title: Westermann died shortly after receiving this letter, enclosed with a Smokin the Dummy LP, the minimalist black jacket of which Allen suggested that Cliff fold into a jaunty cardboard hat if he didn’t like the music. That response was unlikely, since Westermann loved Terry’s music, calling his debut record Juarez (1975) “the finest, most honest and heartfelt piece of music I ever heard.” The Panhandle Mystery Band had only recently coalesced during those 1978 Lubbock sessions, Lloyd Maines’s first foray into production. Through 1979, they honed their sound and tightened their arrangements with a series of periodic performances beyond Allen’s regular art-world circuit, including memorable record release concerts in Lubbock, Chicago, L.A., and Kansas City. Terry sought to harness the high-octane power of this now well-oiled collective engine to overdrive his songs into rawer and rockier off-road territory. His first album to share top billing with the Panhandle Mystery Band, Dummy documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. Alongside the stalwart Maines brothers co-producer, guitarist, and all-rounder Lloyd, bassist Kenny, and drummer Donnie and mainstay Richard Bowden (who here contributes not only fiddle but also mandolin, cello, and “truck noise theory,” the big-rig doppler effect of Lloyd’s steel on “Roll Truck Roll”), new addition Jesse Taylor supplies blistering lead guitar, on loan from Joe Ely (who plays harmonica here). Jesse’s kinetic blues lines and penchant for extreme volume were instrumental in pushing these recordings into brisker tempos and tougher attitudes. Terry was feverish for several studio days, suffering from a bad flu and sweating through his clothes, which partially explains the literally febrile edge to his performances, rendered largely in a perma-growl. (By this point, he was regularly breaking piano pedals with his heavy-booted stomp.) Like the album title itself, the songs on Smokin the Dummy ring various demented bells. The tracks rifle through Terry’s assorted Obsessions especially the potential energy and escape of the open road, elevated here to an ecstatic, prayerful pitch and are populated by a cast of crooked characters: truckers, truck-stop waitresses, convicts, cokeheads, speed freaks, greasers, holy rollers, rodeo riders, dancehall cheaters, and sacrificial prairie dogs, sinners seeking some small reprieve, any fugitive moment of grace. A reigning deity of a certain kind of country music since the mid-70s. – The New York Times // The kind of singular American artist who expresses the fundamental weirdness of his country. – The Wire

Towards The SeaVery Limited new pressing on Orange/White Galaxy vinyl. This is for Indies only. Chelsea Wolfe's sound is best described with broad strokes: elemental, intense, radiant, ancient yet modern, intimate yet expansive, dark and sparkling. Hues of black metal and deep blues inform her ever-evolving electric folk—a warm force that wraps itself around the listener, encouraging uplift, seeking triumph. Her voice similarly haunts and soothes, with words that illuminate life's darker corners in order to reveal the unlikely truth and beauty hidden within. Originally hailing from Northern California, Wolfe's formative years were spent tinkering in her country musician father's home studio, however, she long lacked the confidence to share her work. Then, in 2009, an overseas excursion as part of a nomadic performance troupe ignited her passion for performing and initiated a renewed interest in writing and recording. After performing in cathedrals, basements and old nuclear plants to whoever would listen, she returned home with a new drive. She began toting around an 8-track and recording as the mood hit, eventually editing her findings into a breathtaking debut album, 2010's The Grime & the Glow. Marrying the gentle intimacy of folk, the atmospheric voodoo of death rock, and the bleak, sullen nihilism of black metal, Wolfe's sound effectively cast a genre all her own: a cavernous rumble, marked by stuttering drums, ethereal synths, and a wash of guitar, all very much in the service of one of the most hypnotic, celestial voices in modern music. Described as both healing and harrowing, enchanting and narcotic, the album established Wolfe as a force on the rise. Inspired, Wolfe then relocated to Los Angeles and recorded her second album, 2011's Apokalypsis, which found her in an actual studio with her live band. The songs captured therein maintained the strikingly visceral elements of her debut, further showcase Wolfe’s unique songwriting ability, while adding a serious heaviness of sound that balanced eloquently with her transcendent voice. Its release was subsequently met with critical adoration, and rightly landed on numerous best of 2011 lists.

Ex RSD LP on transparent red vinyl, gatefold sleeve with lyric inner sleeve and DL card. Final copies now reduced to £7.99. The tracks on this album have never been officially released before now. The eight songs on this album were recorded in 1978 on a 2-track stereo Revox A77 tape recorder. The recordings are unashamedly analogue, using one microphone and guitars plugged directly into the tape recorder. Bouncing down tracks irreversibly as they went on, forced to make creative decisions that could not be undone. Some hard choices had to be made with the mix, but with no record company meant no record company agenda. TV Smith & Richard Strange could write and record whatever they wanted – and did! It has been an enormous pleasure to rediscover these recordings, the result of a friendship of two artists emerging from broken bands and each about to embark on a lifelong adventure in words and music. TV SMITH - I wasn’t having a lot of fun in 1978 when Richard asked me to collaborate on a song he was writing called “Summer Fun.” I was in the final stages of songwriting for the second Adverts album “Cast Of Thousands,” a project that already seemed doomed to failure given an unenthusiastic record company, a band in the throes of falling apart, and a dwindling audience - but my creative juices were in full flow and I was ready for something different. I already knew Richard, of course, from the Doctors Of Madness, who I’d followed in the years before punk when I was still living in Devon and they were one of the few bands to come and play in the area. I considered them a warped poetic glam band with gothic leanings, and was slightly surprised when the song I’d been invited to work on turned out to be a kind of California surf pastiche. But I was game to get involved, and after we’d finished it and ventured forward with regular writing and recording sessions over the following weeks it soon became clear that “Summer Fun” was just a gateway drug, and the songs that were emerging from our combined forces were going to quickly become much deeper and much darker // RICHARD STRANGE - Watching the remnants of a musical dream being swept away by the juggernaut of corporate punk rock in 1976, I felt a combination of jealousy and resentment towards many of the key players who had been responsible for our demise. The Sex Pistols had supported my band Doctors of Madness early in their career and nicked not only our future but £12.00 from a pair of trousers in our dressing room in Middlesbrough Town Hall! The Jam, who supported us over four shows at London’s fabled Marquee Club, were how I imagined The Who would be if they’d joined the Young Conservatives. Warsaw, our go-to support band in Manchester, had just changed their name to Joy Division, and Johnny and the Self-Abusers, our Scottish flag wavers, had become Simple Minds. All were being feted by the all-powerful music press, while we were being buried. But there was one punk band for whom I never had anything but the greatest affection…The Adverts.

"I wrote the album in a tiny apartment, at a time when everything felt big and overwhelming," says poet and songwriter Jenny Berkel about her new album, "These Are the Sounds Left From Leaving"

She was living in a brownstone walk-up full of radiant light and the ever-present soundscape of a leaky bath faucet. It was a sudden move at the time - a spontaneous departure from touring, bustling city life, being many things to many people'that landed Jenny in a space of self- imposed stillness. "The songs themselves are a study of proximity, bringing big fears into small spaces," says Jenny, reflecting on the album. "They're intimate examinations of a world that often overwhelms." The album features contributions from critically acclaimed folk duo Kacy & Clayton, and string arrangements by Colin Nealis (Andy Shauf) - the record was co- produced by Jenny alongside Dan Edmonds and Ryan Boldt (The Deep Dark Woods). Warm and dark, soft with stabs of madness, "These Are the Sounds Left From Leaving" is a cohesive collection of spare songs that bloom
lushly with detail. Whether you're reading Jenny's poetry or listening to her songs, you'll experience her drawing layers of far- reaching concern into particular moments, like concentric waves rippling inward toward a lone cast stone. "These Are the Sounds Left From Leaving" showcases the perspective of a unique storytelling artist, with an evocative practice that hinges powerful narratives on the intricacies of a multifaceted musicality. A songwriter immersed in poetry, a poet immersed in music'her work in all its forms is an invitation into a world of relatable introspection, in which even absences can be sculpted into vividly memorable verse.

JOYFULTALK returns with its third album for Constellation; another vibrantly divergent stylistic take on the analog materiality and sensibility of electronic composer-producer Jay Crocker, whose previous two records forged trance-inducing polyrhythmic intricacy, each from a distinct angle and sound palette, each enlisting a single instrumental collaborator. Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo_still shot through with JOYFULTALK's singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman's harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years_an element in this polyvalent artist's chemistry set that hasn't appeared prominently in his own music for over a decade. Familiar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker's own dexterous guitar appears on several cuts. Familiar Science also poignantly features samples from live recordings by the late Calgary saxophonisticonoclast Dan Meichel, catalysing some of the album's heaviest contortions. Crocker weaves all these raw materials into exuberant compositions that blur the line between sizzling corporeal combo and sampledelic futurist jamz, variously conjuring (leftfield) Flying Lotus, (later) Tortoise, BADBADNOTGOOD and Squarepusher's Music Is Rotted One Note. The rubbery hyper-compression of boom-bap opener "Body Stone" initiates the séance, and the album offers a panoply of skittering grooves and soaring melodic pathways thereafter, through quags of heady jazz alternately streaked with dayglo delirium and other more vaporous states of revelry. Crocker's own wordless stacked vocals are the giddy secret sauce on several cuts, and his lead guitar work (in kinship with the lean progressions of Mary Halvorson or Jeff Parker) features on "Take It To The Grave", "Stop Freaking Out!" and the album's title track. More honeyed passages on songs like "Blissed For A Minute" and "Ballad In 9" center around Miller's bouyant alto sax and flute. Familiar Science is a rousing feast of noise-tinged polychrome electronic avant-jazz: richly harmolodic compositions teeming with intersecting textures and turbulences; exploratory, exhilarated and indeed joyful.

One part War, two parts Santana, and a dash of Motown, immersed in a rich Puerto Rican stock, Los Nombres were the undisputed kings of Northern Ohio’s Rust Belt barrios. Following successive explosions of brown-eyed and Latin soul in Los Angeles and New York during the mid and late ’60s, Willie Marquez led a rotating cast of Latino teens through numerous underfunded recording sessions for the Day-Wood, Beth, and Lorain Sounds imprints. “Trivialities” was initially recorded in 1972 for release on Beth label and was again re taken in 1977 for the Lorain Sound imprint. Both releases are today as rare as Caribbean pirate’s doubloons and were backed on the flipside by the incredibly groovy barrio banger “Todos”. Here we present the 1977 version of Trivialities and the only existing take of Todos, finally at an affordable price.

Often when music is constructed with synths and other electronically generated sound makers, their level of exactitude and control is such that the vocalist will either wittingly or otherwise seek to emulate the relative artifice of the soundscape. This is often done to great effect, think Kraftwerk. But what if there was a unit whose music was synth-generated but the vocals were coming from a hot-blooded, singing-for-the-cheap-seats approach? If done well, it’s a case of two great tastes that taste great together, which brings me to System Exclusive.

Their multi genre / time period collision is like a car accident where all parties walk away not only unscathed but sure they had a great time, like two different recording sessions sharing the same space and making it work. Vocalist Ari Blaisdell (previously of Lower Self, The Beat Offs) co-exists excellently amidst the driving beats and synth waves and her guitar further helps to jailbreak the tunes from the often sterile entrapments that synths provide. Matt Jones (previously of Male Gaze, Blasted Canyons, and continuing Castle Face behind-the-scenesman)’s smart use of live drums bring great juxtaposition against the machines. Ari’s irony-free sincere delivery is the perfect closer on this very cool record, recorded ably by Enrique Tena Padilla (Osees, Wand, Beach House) in their backyard studio mid-pandemic and adorned with original artwork by Miles Wintner (L.A. Takedown, Mr. Elevator, Devon Williams). If you don’t get this slab of goodness, well, that act of non-compliance will confirm you as the pain-in-the-ass that many have described you to be in great detail during Zoom chats. How dare they! Prove them wrong! Reduce their snark to mere pseudo-intellectual piffle! Your lifeline arrives in March. Grab it. — Henry Rollins

For their ninth iteration, Hamburg's The Press Group punches back in with the sizzling hot debut to a VA series bound to scout and shed a broader light on exciting artists from various territories and backgrounds.
Pulsating to the bone, "Future Prospects vol.1" showcases a quartet of heaters courtesy of Germany-based Robert Dietz and Aii PS on the A-side and Kyiv-based Vlad Stuparenko & Ghetto Sunrise plus Sasha Zlykh on the flip. Either sides of the
disc inbound for optimal and non-pareil impact on the dance floor. Dietz's "Salbung" paves the way old-school style, grinding everything from lethal breaks to rowdy drums, via lysergic synth flights straight out a wild sci-fi scenario.
Aii PS' bouncy and oneiric contribution "Donteven" is more of a low-slung affair with its mischievous fusion of filtered synths and acid-informed bass spurts painting the sky all shades of radioactive green.
Flip it over and Stuparenko/Ghetto Sunrise's stealth, aqueous weapon "Pine Water" ushers us in a corridor of groove-enslaved echolocation, delayed stabs and propulsive bleepin' n bloopin' from the depths. A further dusty, shuffling affair
blazing with clanky hats on a Chicagoan tip and futuristic electroid inflections, Zlykh's "Pidozepam" tops it all off in implacable fashion, casting a spell of exquisitely thrilling menace upon the ravers.

Neil Young announces the release of the fourth installment in his Official Release Series (ORS): a box set that includes his classic ‘80s records Hawks & Doves, Re•ac•tor, and This Note’s for You, as well as his Eldorado EP, previously released only in Japan and Australia. Both vinyl and CD box sets will be available for pre-order today and out on April 29th.

The ORS Vol 4 collects an eclectic set of decade-spanning sounds. Hawks & Doves (1980) revisits his folk roots and explores some of his most country-leaning offerings; the blistering Re•ac•tor (1981) showcases a stomping set of heavy, overdriven rock with Crazy Horse; and This Note’s for You (1988) casts Young as a big band leader, belting out intricately arranged blues. The Eldorado EP (1989) is full of feral distortion and earthy crunch featuring Young backed by The Restless (Chad Cromwell and Rick Rosas). It includes two thundering tracks — “Cocaine Eyes” and “Heavy Love”— not available on any other album.

ORS Vol 4 collects a large swath of his diverse and compelling ‘80s work, testifying to the legendary songwriter’s gift for sonic shape-shifting.

Randomly packed vinyl in various colours.

Oxbow is a band that is legendary and notorious, and their rich musicianship and history precedes them. Originally started as a recording project in 1988 from the ashes of Bay-Area punk rock band Whipping Boy, their 30-plus year history has unlike any other in contemporary music, bar none.
A cast of characters that have no problem “making you a part of the show” if you cross them, their shows have been known to push the limits of comfort, crossing over into sometimes downright dangerous. Never gratuitous though, Oxbow has always done it with class.
In 1995, the band released their Steve Albini-recorded opus, “Let Me Be A Woman” on European indie label Brinkman Records. With cover art by the amazing Jim Blanchard, and a few rounds of reissues on CD and vinyl overseas, the album has not once seen the light of day as a US Release, ever.
Until now.
Having just joined forces with Mike Patton’s Ipecac Records for the release of their upcoming new album ‘Love’s Holiday” coming in 2022, we here at Blackhouse Ltd. are proud to present also what will be the first North American release EVER of “Let Me Be A Woman” on a limited vinyl run.
Completely remastered by none other than mastering legend John Golden, the album will see multiple colored vinyl variants and completely restored artwork.

Marta Sanchez's creative voice is strikingly original - circling rhythms,
elaborate forms and criss-crossing counterpoint distinguishes her sonic signature on the crowded New York contemporary music scene

Following three critically acclaimed quintet releases, the Madrid- born pianistcomposer presents 'SAAM (Spanish American Art Museum)' on Whirlwind Recordings, an album driven by emotional candour and boundary- pushing compositions. A talented cast realises her knotty, technical writing - frontline partners Alex Lore and Roman Filiu meet Sanchez, Rashaan Carter and Allan Mednard on backline duties.'SAAM' riffs on the Smithsonian American Art Museum, on an album that's an exhibition of Sanchez's life in musical form: "It's made up of all the elements of society from both countries Spain and America that impact my life and make me who I am." Matters internal and external are realised in musical expositions of complex feelings. The pieces took shape in lockdown, as Sanchez exchanged fortnightly composition tasks with a pen- pal.

"Those compositions express all the phases I was going through at that time. I was reflecting super deeply on what's important, and how we might give some sense to life."

Recorded at a show in February 1992, Ann Pebbles and the Hi Rhythm Section on a bill with Otis Clay called an Evening of Classic Soul. The show was spectacular as the Hi Rhythm Section locked in as they did when they recorded her albums. joining her that night was a crack horn section and her background singers including the equally soulful David J. Hudson. They cruise through hit after hit with Ann showing why she was one of the all time great female vocalist.

The Hi Rhythm Section is Leroy Hodge (bass), Charles Hodges (keyboards), Howard Grimes (drums), Thomas Bingham (guitar).
As you listen to Ann and the amazing supporting cast it's clear that this was An Evening Of Classic Soul.

"Every now and then, a singer comes along with a heart of gold who seems to contain the entire world's sorrow and can express it in just a couple of lines of a song."- Far Out Magazine

First volume – though the 2nd never happened – of this ongoing collaboration between post-punk stalwarts Cherry Red and home of the western dub On U Sound. Adrian Sherwood obviously sitting behind the desk and a cast of marvelous artist leading the way for a reggae renaissance. Stolen and contaminated songs, we may take this as a reference point for 12 unreleased tracks showing the best of the UK underground rhythms. A further development of the Jamaican heritage, with handmade electronics and a forward thinking production. Mothmen ‘Afghani Dub’ is one of the leading track here, with future members of Durutti Column and Simply Red on board, this is a mystical post-industrial trip through upbeat rhythms. Along the way you’ll find the over the top vocal performance of Judy Nylon – more akin to certain no wave expressionism – futuristic vibes from Sun Of Arqa, contribution from New age Steppers supergroup and Creation Rebel teaming up with the so-called Jamaican ‘Voice of Thunder’ Prince Far I. All in all a (natural) mystic experience.

After the 2020 album "Lieder Für Geometrische Stunden", Sankt Otten finally make us happy again with a new release at the beginning of 2022. "Symmetrie Und Wahnsinn" (Symmetry and madness) fits here skillfully, both creatively and musically, in an album series with geometric context.

The album starts unusually buoyant with "Hymne Der Melancholischen Programmierer" (Hymn for sentimental programmers). A Kraut-Pop pearl, which could go on forever with its Motorik swing and with its catchy melody the track doesn't come across as melancholic as the song title predicts. You have to listen twice to not succumb to the illusion that it was composed in Düsseldorf at the end of the seventies. Here (and on the track "Sei Symmetrisch Zu Mir"), Sankt Otten were supported in the studio by drummer friend DIRK PELLMANN.

The drum machine in rumbling funky mode. "Die Glücklichen Unglücklichen", the secret hit of the album? They bend the beat into geometric shapes, let the bass play in circles and cover the song with ghostly choirs. The echo of a spinett-like sound overlays the sound, spitting out a deceptively cuddly dream world.

The 10 minute long "Die Ordnung Des Lärms" could be called an Ambient-Kraut symphony without hesitation. An enormous swelling to ecstasy, a guitar sings distantly in the background. Silence. Synthetic strings pave the way and are supported by choirs. A crackle that suggests a rhythm until it is taken over by a drum computer in the main part of the track. Bombastic mountains of synthesizers pile up and yet a catchy melody finds its way through this mishmash of hypnotic electronics. Fourth movement - Kosmische-choirs in suspension over a bass synth and an Ebow guitar. Is this already Prog-Rock? The question doesn't arise, in the end everything merges into reverb. "Luftspiegelung Der Sentimentalitäten" begins cautiously with a gentle sequence and a discreet kick drum. The mini-Moog sounds like a guitar. Anyway. A surface floats by and returns, layers and shapes build up. At last, everything melts into perfect harmony with a plaintive-sounding synth. This track was composed as a stripped back reprise of the first track from the last album "Sentimentale Sequenzen". A hypnotic Motorik-beat of an 808 that encourages head nodding and could almost be danceable. True to style with warm analog 80s electronic sounds and a loose echo guitar. This is "Angekommen In Der letzten Reihe". Man and machine hand in hand as a homogeneous musical unit and the connection of tradition and vision.

Sankt Otten like images of infinity. In the religious sense of meditative mantras, or also in the mathematical sense of an elongated curve that eventually returns to its starting point. "Bis Das Helle Licht Uns Holt" goes exactly in this direction with its classical use of sequencers and a sound carpet of choirs. Sound worlds that, through a clever repetitiveness, barely noticeably guard the constant changes in the compositional mesh like a secret and only reveal what is to be discovered by listening closely and letting it be seen. Such a thing is probably called Berlin School?

The Osnabrück duo Sankt Otten, founded in 1999, has been releasing on Denovali since 2009. With their now 12th album they give us again a gem of timeless instrumental music. The holy trinity of Krautrock, Ambient and contemporary Electronics, but always stylistically confident and unmistakable Sankt Otten. For the mastering New York based RAFAEL ANTON IRISARRI could be won. Also with the cover layout again good taste is proven. As part two of a cover series, this extraordinary die-cut cover artwork was again created by designer DANIEL CASTREJÓN.

The JB's 45' seem to be a RSD occasion now, with this third instalment seeing ‘Jimbroski’ and ‘On the Run’ from the Straight Out the Jungle getting an airing together on 7" for the first time, marking the 35th anniversary of their release. DJ Red Alert and Tony D produced gems from the golden era of Hip Hop, of which the Babe Ruth and Jimmy Castor Bunch sampling ‘On the Run’ is seen to be a formative track in the dawn of the Native Tongue scene. Black Vinyl in a Picture Sleeve Limited edition for RSD.