quête:jus now

German heavy metal legends U.D.O. are back at the starting line with album #19 (!), titled „Touchdown“, which is scheduled for release on August 25th. It’s astonishing, how iconic singer Udo Dirkschneider and his band, who just celebrated two important anniversaries last year (Udo’s 70th birthday, as well as 35 years of U.D.O. band history) now already come up with such a fresh, inspired new piece of heavy art – unmistakably making clear that slowing down has never been an option for them: U.D.O. continue their triumphant success and „Touchdown“ is another impressive addition to the band’s rich legacy.

'Farewell to Faraway Friends' finds Lauvdal at her Wurlitzer, captured by two mics in the room, with no additional overdubs or edits. Her set of hushed, jazzy flourishes and pregnant pauses is so well realised that it’s hard to believe they were improvised, while the “kitchen feel” of the room recording (as Marhaug describes it) enhances a sense of brittle intimacy. Much in the same way that Dominique Lawalrée imbued his ostensibly naive music with glimpses into a multifaceted inner life, Lauvdal explores an ocean of feeling through the most humble components, transporting us through some alchemical act of emotional teleportation.

Lauvdal avoids meandering flights of fancy, instead exposing a filigree level of detail and beauty through the cracks of her spartan recordings. There are no arbitrary found sounds, no sound design or overdubs, just Lauvdal and her Wurlitzer, occasionally singing at a barely perceptible volume in the background. If there's melancholy, it's not self absorbed or effacing, but trapped behind sunny rays and poetic, romantic phrases.

One of those effortlessly impactful records we’ve not been able to stop listening to for a while now, ‘Farewell to Faraway Friends’ is apparently the first in an ongoing series. Here’s hoping.

The Tallest Man On Earth - the project of Swedish musician Kristian Matsson - presents Too Late For Edelweiss, an album of new covers out ANTI. With Too Late For Edelweiss, Matsson weaves together a sparse collection of home recordings made in Sweden and North Carolina, captured fresh off a 39-date run with the adrenaline of tour rattling through his veins. The songs on Too Late For Edelweiss have been with Matsson since he started playing music as The Tallest Man on Earth in 2006. In those early years, Matsson used to perform "Lost Highway" by Hank Williams before he had enough songs to flesh out a full set. In July 2022, Matsson released a cover of Swedish super star Håkan Hellström"s "För sent för Edelweiss," a precious song that has been The Tallest Man"s walk-on music before every performance for over a decade and what inspired the title of this covers album. Since then, in the lead-up to this announcement, he has quietly released other selections, including Lucinda Williams" "Metal Firecracker," Yo La Tengo"s "Tears Are In Your Eyes" and now "Lost Highway." Mattson explains, "When I was a teenager I borrowed a Hank Williams album at the local library, and "Lost Highway" has been haunting me ever since. Many vocal sound checks throughout my career have heard Hank"s advice." As much as Too Late For Edelweiss feels like a scrapbook, an intimate memento with the ghosts of The Tallest Man"s earlier, sparser sound hovering at the edges, it"s also just the artifact of a moment - a flash of joy, of feeling recharged, of feeling good. These are the songs that happened to be in Matsson"s head at the time he sat down to record It came together so simply and easily - and in that way, it"s the purest distillation of making music - and being a fan of it, charting the connective tissue of a songwriter"s life.

Formed in 1999 by founder & chief songwriter Bruce Soord, The Pineapple Thief
have continued to evolve & refine their sound ever since. They're now seen by
many as one of the most interesting & innovative rock bands the UK have
produced in recent years. Over the last half-decade, bolstered by the involvement
of master drummer Gavin Harrison, the band has rapidly ascended to the upper
echelons of Europe's Alternative Rock scene.
The band's anthemic 2020 release 'Versions Of The Truth' garnered worldwide
acclaim, earning TPT their highest chart positions to date. Immediately affected
by lockdowns, the album eventually led to extensive European & American
headline tours.
Prior to working on a new studio album, 2023 has seen the band turn to revisiting
its vast & impressive catalogue, with this edition of '10 Stories Down' (originally
released in 2005 on the Cyclops label) the latest in a series of early classics
remixed & remastered for release on LP.

Close your eyes and merge into Benedikt Frey’s 'Fastlane'. Imagine sitting in the driver’s seat of a an automobile, one with exceptional horsepower and torque, as you stare out the windshield at the red light, warping in fata-morgana a mile down the road. It’s a straight-away, a black top with two lanes, and against your better judgment you decide to floor the gas. No hesitation in your muscle, your ankle or the ball of your foot, which you now realize is some kind of universal pivot, the first point of contact fusing your body with the will of machine. In this moment you’re in awe that you, a human, an animal, grew from pond scum into something so advanced as to engineer this thing, a mechanical beast capable of overwhelming power and exhilaration. But you also feel a seductive dread, an outside force diverting you from caution toward a dangling carrot of curiosity, asking yourself, ‘How far can I take this thing?’ The dread, now a constant, is numbed, equalized by an adverse intoxicating gratification. You feel both sensations in real time, however, rather than take responsibility for yourself, friends, family and innocent bystanders, you cement your foot to the floor and lean your head back. Noise around you fades to mute. Smell the benzene-scented air, feel the wind on your face, the menacing vibration of the vessel you control beneath you and every grain of asphalt under its tires. This mile has now lasted an eternity and you’ve left your body for some objective view, as if watching climax of a film. Past the point of no return, you embrace abandon and lean into fate. The film becomes slow motion, a crawling pace so mesmerizing you convince yourself of an option to eject yourself from this madness, but as you finally let go of your last morsel of fear, you run the red light head-on into the nucleus of a fantastic glistening sculpture of torn metal, glass, oil, broken dreams and heartache. 'Fastlane' may be just drum machines and synthesizers if you’re timid, but listen harder and know the catastrophic reality of existence, a wreckage so gruesome we dare not rubberneck, but afterall it is our nature to stare.

Octave One return with Never On Sunday Vol.2, an EP with new remixes from Orbital and Giorgia Angiuli next to three standout recent tracks.

The Detroit duo’s Never On Sunday alias was born in the nineties with a view to making a mix of downtempo, deeper and more thoughtful electronic sounds. After just two EPs, it lay dormant until last year when the new EP The Bearer on their own 430 West label brought it back to life to a great reception. Then came the Octave One Presents Never On Sunday album this year that collected together a wealth of originals and remixes which are now coming on 12".

First up is legendary brotherly duo Orbital - a UK antecedent to the Burden brothers who have been crafting pioneering electronic sounds for decades. Their remix of ‘Price We Pay’ feat. Karina Mia is deep house excellence. It has a bouncy groove, elastic bassline and simmering vocals that send shivers down the spine and the sci-fi synths twinkle up top. Italian multi-instrumentalist Giorgia Angiuli has long been innovating in the techno world, drawing on her classical background to craft standout sounds for the likes of Kevin Saunderson’s KMS label. Her remix is six uplifting minutes of synth arpeggios, soulful techno drums and epic breakdowns that will captivate any dance floor.

The b-side features three cuts from the Never On Sunday (Deluxe) album and opens up with 'Lifelike', a slow, pulsing dub with mysterious melodies and sinewy synths reflecting light like stars in a night sky. A textured bassline arrives to bring a real sense of tension to the melodic beauty. 'Soon After' is another cosmic cut that rides on hammering bass beneath lush synths capes and rays of hope that pierce the darkness. The blissful 'Mona' closes down with heavenly and expansive pads that shimmer and shine as rich bell sounds and choral pads bring a warm sense of atmosphere.

Never On Sunday Vol.2 is another package of deeply emotional electronic sounds.

Ivory colored vinyl, limited to 150 copies. "When did time start flying by so fast? It's getting harder to recall the past." The opening lines of As Friends Rust's upcoming album Any Joy are a fitting start for a band that has existed in one form or another for over 25 years (minus a hiatus from 2002-2008). Originally formed in the late `90s, As Friends Rust has been through a few iterations, but it is the core line-up of vocalist Damien Moyal, guitarist Joseph Simmons, guitarist James Glayat, and drummer Timothy Kirkpatrick that are creating thought-provoking melodic punk music for the modern age. With three EPs, two 7 inches, and a full-length in their history, As Friends Rust already have a lifetime of work in their pocket, but the seven songs on Any Joy might just be their most striking yet. Originating in Gainesville, Florida and now spread across the country, As Friends Rust wrote, recorded, and produced Any Joy mostly from the comfort of their own homes. Vocals in Ann Arbor, MI, guitars in Gainesville, FL and Brooklyn, NY, with the exception of the drums, which were recorded in a studio by John Howard in Gainesville. Not currently having a permanent bassist, the band called upon friend Andrew Seward (of Against Me!) to play bass on most of the record, with additional contributions from Simmons. Mixed by James Paul Wisner in Orlando, FL and mastered by Matthias Lohmöller in Germany, the creation of the album was truly a collaborative and international effort. Working in separate spaces allowed the band to experiment more as the songs came together, resulting in a familiar but fresh sound that has more bite than past releases. It's more focused, more direct, more confrontational, more catchy, while still staying true to the band's melodic punk and hardcore roots. Lyrics tackle everything from the emptiness of emoticons as a form of communication on "Positive Mental Platitude" to the need for political and social activism versus the occurrences of daily life on "??No Gods, Some Masters."

Earthly Measures' second vinyl release of the year sees them team up with the talented & mystical producer & multi-instrumentalist Sidirum - bringing you Balearic & Downtempo flavours from Argentina - sounds that haven’t always been associated with his style. An EP that fills you with euphoria & nostalgia, trying to find those sounds that can take you to another time just by listening to them - as he puts it, "rhythms from the past".

For Sidirum this release is about the beauty of chance. Samples that he has found from near & far over many years of producing finally find a home. 'Donde' in particular is a special track, he says "it is the track where I found my voice again. I have not used it in a song for almost 10 years." 'Ex-Plane' is heavily influenced by his love for Reggae, which runs throughout the whole track. 'Total Interior' is a perfect dance-floor ready track - with the help of multi-instrumentalist Pedro Alvide, the track builds a musical progression that dives into perfect sunset vibes with uplifting energy - ready for a peak time festival set.

After a number of other releases, 'Iris' is an EP where Sidirum feels that he has finally found himself again musically. In a way it's a summary of the places he’s been in the past, intertwined with his ideas in the present, making for a truly unique & pleasant listening experience.

Nick The Record - This is ruddy bloody gorgeous!!!!!!!!!!!!!!! Only problem is choosing a favourite tune

Dom Servini - Gorgeous White Island moments on here! Beautiful.

GK Machine - Nice reggae vibes on Ex-Plane...Total Interior and Donde up my street too

Bill Brewster - V nice esp. total interior

Paul Cottam - In my head now

Jaye Ward - wow!! what a release! super deep very left of the field. deep AF brilliant thing indeed

Oscar Arroyo - Nice one.

Thomas Jackson - I like Donde!

Das Drängen der Fans war so groß, dass Big Time Rush sich dazu entschieden haben, ihr neues Album digital schon früher als geplant zu veröffentlichen. Am 02. Juni 2023 erschien mit "Another Life" ihr erstes Studioalbum seit 10 Jahren. Nun folgt am 18.08. auch die CD und LP dazu!

Die Band um Kendall Schmidt, James Maslow, Logan Henderson und Carlos PenaVega wurde 2009 durch den Start der Nickelodeon-Fernsehserie Big Time Rush über Nacht zur Sensation. In ihrem Mittelpunkt: die Hollywood-Abenteuer von vier Eishockeyspielern aus
Minnesota, nachdem diese ausgewählt wurden, eine Boyband zu gründen. Die Serie war ein durchschlagender Erfolg und katapultierte die gleichnamige Band ins reale Leben, wo sie drei Studioalben veröffentlichte und weltweit Konzerte gab. Nach einer fast siebenjährigen Pause veranstalteten Big Time Rush 2020 eine überraschende virtuelle Reunion, um das 10-jährige Jubiläum ihres Hits "Worldwide" zu feiern.

Die Wiedervereinigung führte zu einer Massenhysterie unter ihren Fans und wurde zu einem globalen Medien-Spektakel. Im Jahr darauf wurden alle Staffeln der Serie auf Netflix eingestellt, und die Band ging erneut viral. Die Resonanz übertraf alle Erwartungen und bewies die Macht ihrer treuen Fangemeinde. Es folgten neue Musik und ausverkaufte Tourneen.

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.

Fünf legendäre Charlie-Parker-Klassiker in einem luxuriösen LP-Set!

Würde man diese Alben als Original-LPs kaufen wollen, müsste man einen Kredit aufnehmen. Deshalb erscheinen die legendären Charlie-Parker-LPs jetzt als Special Collector’s Edition Box-Set! Fünf der größten (und meist-verkauften) Bebop-Alben aller Zeiten als Neuauflage im Original-10-inch-Format.

Neu gemastert von Alex Abrash bei AA Mastering, 180g- Vinylpressungen, originalgetreue Reproduktionen des Original Artworks von David Stone Martin. Im Schuber befindet sich auch ein 10x10-inch großes Buch mit neuen und exklusiven Linernotes von Ethan Iverson, einem neuen Aufsatz von Autor David Ritz und vollständigen Track-by-Track-Notizen.

Die Alben: „Charlie Parker With Strings“ (1950), “Bird & Diz” (1952), “Plays South Of The Border” (1952), “Charlie Parker With Strings Vol. 2” (1953), „Charlie Parker” (1954)

Die Grammy-nominierte amerikanische Schauspielerin, Sängerin und Songwriterin erregte mit ihrem mit Platin ausgezeichneten Debütalbum „So Real“ erstmals 1999 Aufmerksamkeit. Es folgten Hauptrollen in Film + TV und eine Reihe weiterer äußerst erfolgreicher Pop-Alben. Für die Hauptrolle in der gefeierten TV-Serie ”This Is Us” erhielt sie Emmy- und Golden Globe-Nominierungen.

Vom Teenager ist Mandy Moore zur erfolgreichen erwachsenen Künstlerin gereift. Noch immer lässt sich prächtig streiten: ist sie eine singende Schauspielerin oder eine schauspielernde Sängerin? Fakt ist: Moores achtes Studioalbum „In Real Life“ ist erneut ein gelungenes, erwachsenes Pop/Rock-Werk und ein weiterer
künstlerischer Schritt für die inzwischen 37-jährige, die einst mit Teenage-Pop-Hits berühmt wurde.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Ceremonie hail from France and have an '80s-inspired sound that hits differently. Their songwriting reaches new levels and draws on well-chosen, well-designed sounds with a wonderful sense of melancholy and just the right balance of drama and subtlety.

After an indie-pop leaning cassette a few years ago they now land on Enfant Terrible with a contemporary take on retro new wave and synth-pop. Three of the tunes are originals, one is a cover of French 1980s new wave band Message and there is a whole new album in the works, apparently. Great stuff.

Limited purple coloured vinyl. First time reissued, includes the original cover artwork. Out of print in any format for 30 years. Most of us likely missed MUDHONEY’s ‘Five Dollar Bob’s Mock Cooter Stew’ when it first cratered here on Earth in late 1993, but we can ALL learn from our previous mistakes RIGHT NOW!!! Out of print in any physical format for 30 years (!), here is their Reprise mini-LP for all to devour in real-time and roll in its naked glory. Initially recorded by the band as an offering for their fans to devour while they were between full-length albums, the majority of ‘Five Dollar’ was recorded in one short, inspired burst on August 1, 1993, between the hours of 9:30 and 10:15 PM (with friend and Fastback Kur(d)t Bloch egging them on from the production booth). They smashed this out in just 45 minutes. It might be the band at their most ‘Stooge-esque’ since there is no flowery imagery; nothing to misinterpret; just in-your-face blunt despair (in that department, Black Flag’s ‘Damaged’ LP comes to mind, especially in Mudhoney’s gleefully punishing highlight: ‘No Song III’). Within two seconds of any of these songs hitting your mind (maybe even within one second), you knew it could only be Mudhoney. You can instantly recognize it, because they truly own it/you/the universe. Track listing: 1 In The Blood 2 No Song III 3 Between Me & You Kid 4 Six Two One 5 Make It Now Again 6 Deception Pass 7 Underide

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.

The high demanded release from 2010 - now in the rebound!

Svart Records presents a very limited vinyl edition of Kivimetsän Druidi's two full length albums. Never before available on vinyl, Shadowheart (2008) and Betrayal, Justice, Revenge (2010) are limited to 400 copies on pitch black vinyl. Newly remastered for vinyl, both come with spectacular 12 inch booklets. Kivimetsän Druidi (The Druid Of The Stone Forest) play metal that is both adventurously original and filled with elements that sound familiar. Part of the Finnish folk metal movement, which also spawned bands like Korpiklaani and Turisas, Kivimetsän Druidi's music stems from a similar origin but is more complex and symphonic. Their two albums to date were released by Century Media and are now being made available on limited vinyl courtesy of Svart Records.

Svart Records presents a very limited vinyl edition of Kivimetsän Druidi's two full length albums. Never before available on vinyl, Shadowheart (2008) and Betrayal, Justice, Revenge (2010) are limited to 400 copies on pitch black vinyl. Newly remastered for vinyl, both come with spectacular 12 inch booklets. Kivimetsän Druidi (The Druid Of The Stone Forest) play metal that is both adventurously original and filled with elements that sound familiar. Part of the Finnish folk metal movement, which also spawned bands like Korpiklaani and Turisas, Kivimetsän Druidi's music stems from a similar origin but is more complex and symphonic. Their two albums to date were released by Century Media and are now being made available on limited vinyl courtesy of Svart Records.

Multiple GRAMMY® Award winners Bruno Mars and Anderson .Paak are releasing their award-winning album An Evening With Silk Sonic on vinyl for the first time on 12th August 2022. The track list includes the hits “Skate”, “Leave The Door Open” and “Smokin Out The Window”. Silk Sonic won International Group of the Year at the 2022 BRIT Awards and are set to open the 2022 GRAMMY Awards. The album entered the UK Album Chart at #9 and remained in the chart for 16 weeks. The focus track on album launch “Smokin Out The Window” peaked at #12 on the UK Singles Chart.

Their debut single “Leave the Door Open,” earned them Best Group at the 2021 BET Awards, entered the UK singles chart at #20 and is now certified Gold in the UK. They released the live version “Leave The Door Open (Live)” and serenaded audiences three times over at the GRAMMY® Awards, iHeartRadio Music Awards, and the BET Awards. The track was followed by a hugely popular social media campaign, #LetSilkSonicThrive and was immediately welcomed by unprecedented critical acclaim. “What’s new, smooth as silk on the ears, and features two stars of R&B?” wrote Billboard, praising Silk Sonic as “a groovy duo” and the single as “lounge at its heart.” Consequence of Sound enthused, “Mars has a voice like a liquid whip, while .Paak raps and sings through a foggy haze. They sound like smoke on the water.”

ABOUT SILK SONIC:

The seeds of the collaboration were planted in 2017 when Anderson .Paak and Bruno Mars toured together on the European leg of his 24K Magic World Tour. One late-night jam session on the road unlocked immediate chemistry. Just before the world slipped into quarantine, Bruno called Anderson: “Remember that idea we had back in 2017? Let’s do it.” One studio session grew into to a months-long collaboration, culminating the “setlist of doom.” Legendary Bootsy Collins christened Silk Sonic and came in as the “special guest host” for An Evening With Silk Sonic, their debut album.

Silk Sonic was finally set free on March 5th, 2021. Within less than a month, their debut single “Leave The Door Open” cracked over 230 million streams, and currently sits at 2 billion streams with over 510 million official video views. It reeled in rave reviews, including Variety who noted it “could be a Best R&B Song GRAMMY® winner from 1974.” After petitioning the GRAMMY® Awards to #LetSilkSonicThrive, they made their debut performance with “Leave The Door Open” and served up a powerful tribute to Little Richard.

Rare 1986 Funk/Soul From Alabama.

Originally released as a private pressed cassette tape only.

First Time On Vinyl.

Released in collaboration with the Numero Group.

180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.

Armed with little more than his Peavey T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!

The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.

Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.

Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.

Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.

The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham.

New album from West Virginia based singer-songwriter, William Matheny, set for release on Tyler Childers' Hickman Holler Records. While That Grand, Old Feeling is a document of Matheny’s own journey as a seeker, he hopes that the album can inspire anyone else out there searching for meaning in their own lives, whether they’re searching at a truck stop or in an album of old photographs.“I feel like I've just been trying to recapture that youthful excitement my entire life, trying to regain that clarity and that feeling of purpose,” he says. “And it comes and goes. I mostly seem to be looking for it at gas stations and rest areas and at gigs. But I think a lot of people are probably looking for it in a lot of places like that, too. Pilgrim to pilgrim, I hope you find it.”

Decades Of Devil Worship
HIGHLIGHTING OVER 25 YEARS SINCE THE BIRTH OF THE UK EXTREME METAL GREATS, WITH A STORMING LIVE SATANIC ASSAULT OF CLASSICS FROM AKERCOCKE'S EARLY REPERTOIRE

Throughout the years, Akercocke has become known for its savage & prodigious
live work. And now, with a stunningly produced & meticulously delivered torrent of
high-octane blackened death metal captured live in at the Underworld in London
in 2007, Akercocke blast through a collection of tracks lifted from the classic
debut, 'Rape Of The Bastard Nazarene' & follow-up album 'The Goat Of Mendes'
for a night of pure satanic magic with 'Decades Of Devil Worship', a hellish &
eclectic journey through the ritualistic & the profane.
Towering above most nefarious contemporary noisemakers, London's Akercocke
erupted across the consciousness of the UK metal scene in the late '90's,
wielding a fiendishly inventive blend of death, black & progressive metal. Their
distinctive, smartly-dressed demeanour & eloquent preoccupation with all things
dark & Satanic marked them out both as ferociously individual artists &
enlightened students of the pitch-black sonic code. Immediately embraced by the
British faithful upon the release of debut album 'Rape Of The Bastard Nazarene',
Akercocke spent the following decade leading the creative charge for their entire
native scene.
Akercocke received widespread acclaim for follow- up album 'The Goat Of
Mendes' (Peaceville, 2001) & despite enjoying furious momentum over the
following years, the release of fifth album 'Antichrist' in 2007 signalled the end of
the first chapter of the Akercocke story, when the band retreated into the
shadows & remained dormant for the best part of a decade until a triumphant
return was marked with the stellar Peaceville return, 'Renaissance In Extremis',
released in 2017.

Imagine a world in which you are permitted, by a warlock, to go back in time to use an advanced yet primitive submarine to investigate the deepest waters in and around Japan, for the first time in human history. You are not permitted, but two Japanese scientists were allowed on such an aquatic adventure!

Here we have an underwater in-submarine field recording of their adventures, intermixed with a slippery-watery score, that surely represents the lurking fresh surroundings of the deep as they retreat further and further to the bottom of the ocean. The cameras, the retracting mechanical sea tentacle, their communication devices, are all audible now for you, as Deep Sea Animals is played out as a fresh digital radio play. All the audio has been preserved at Studio Isabellalei, by Milan W. from the original laserdisc, which was a part of the cinematic curatorial program at the opening for Spencer Clark’s album Avatar Blue, in Antwerp, Belgium.

With a purchase of the vinyl album of Deep Sea Animals on Pacific City Discs, you not only return to the prehistoric times of 1986, when two brave Japanese submarine pilots were to record deep underwater creatures, but you are also thus thrust back in time to Antwerp 2018, to a romantically titled, Event Horizon Cactus Cooler Laserdisc Theater. Just as well, the proceeds of this disk, tirelessly edited by Spencer Clark, will be donated to the preservation of the ocean, via the inspiring Sylvia A. Earle’s foundation, Mission Blue. Its not that you may or may not believe what I am now discussing with you, its that you can believe, because this disk is real, and thanks to Pacific City and Discrepant we will ride further into the super-natural realms of real life.

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

These days, singer-songwriter and actor David Blue tends to be remembered only in relation to Bob Dylan. A member of the supporting cast in mid-60s Greenwich Village and The Rolling Thunder Revue. Yet to categorise Blue in this way is reductionist, and does him an injustice. He was something of an archetype of the 60s generation of Greenwich Village singer-songwriters. Yet, esteemed by his peers, he was overlooked. He released seven albums in a decade, and his acting career was shaping up when he died suddenly at the age of just 41. His passing was barely noted in the rock press, and in the subsequent years Blue was all but forgotten. Of late, though, that’s changed. His albums started to reappear on CD on small labels and, in 2020, both Rolling Stone and Mojo magazines published major reappraisals. Blue – at last – was getting the attention denied him in life.



It wasn’t until 1965 that Blue, as Dave Cohen, released his first recordings – three songs on Elektra’s Singer Songwriter Project. All betrayed a debt to pre-electric Dylan. But then again, so did much else coming out of Greenwich Village at the time. Elektra contracted Blue to do his own album, and in 1966 David Blue was released – his first recording to appear under that name. Electric folk rock with a garage band attitude, somewhat in debt to Highway 61, it didn’t sell well. Shortly after the album’s release Blue formed and toured with The American Patrol, a four-piece rock band, recording an album for Elektra that was never released.



Now, for the first time, Hanky Panky and Mapache release those historical abandoned American Patrol recordings, along with the three tracks included on Elektra’s 1965 LP Singer Songwriter Project, as David Blue And The American Patrol The Lost 1967 Elektra Recordings & More and David Blue, his self-titled 1966 debut album, on two exclusive vinyl editions limited to 500 copies

Betty Davis was a musical maverick with vision. Image, substance, sex, and grit combined with a badass band that could deliver the funk bed backbone to the sultry music between the sheets. After cutting two notorious discs for the Just Sunshine label (Betty Davis and They Say I’m Different), and Nasty Gal for Island Records, Davis went to work on her most personal and expressive record yet. After capturing 10 hard-hitting tracks in 1976 at the remote Studio In The Country (Louisiana), a creative difference with her then label caused the platter to be unexpectedly shelved. Davis would cut one final album and soon retreat from the music business, completely disappearing from the public eye.

Is It Love Or Desire is a little-known gem in the Davis catalog. Mastered from the original tapes, and untouched for over 30 years, this release features detailed liner notes, the originally intended artwork housed in a lavishly packaged digipak, rare photos, archival material, and recent interviews with Davis and her skin-tight band Funk House.

Never bootlegged, never released, never heard until now, the secret story of this lost album will finally enter the history books and cement this bold soul sisters contributions to music and popular culture. Its time to get down…

‘Mellifluous’... is a word you won’t hear much when conversation turns to early Pooh Sticks records. But ‘noise pollution’, sure: that comes up. I’ve even used it myself. So look away now if you must: ‘Straight Up: Noise Pollution C88-90’ is a selection of some of the most loved/despised/ignored tracks released by The Pooh Sticks on however many records it was before it all went wilfully ‘American’ sometime around dotted-lining for BMG mega-corp in 1991.
The record has highlights and lowlights. You and me, we’d probably agree on most of them. We chose a reasonable cross-section, I think (although there could’ve been more tambourine), including:
- “On Tape” - zeitgeist-nailin’ strum and strangle.
- “I Know Someone Who Knows Someone Who Knows Alan McGee Quite Well” - long title
- “Teenage High” - breathy sweetness sneaked onto the depraved Sympathy For The Record Industry label.
- “Dying For It” - the Vaselines cover which beat Nirvana by a full two years (though theirs sold better).
... and more! It’s like Christmas (no, blocking up the chimney won’t help: we’ve cut spare keys). And all of this in a nice gatefold sleeve, and on Steve McQueen’s- eyes blue vinyl. And there’s even a repro poster for the March ’89 Pastels/Pooh Sticks/Vaselines gig up London way (“I swear I was there”, people say).
On behalf of the group, I hope you enjoy it. No, really. It was all a long time ago but I remember we had fun. Maybe you were even there having fun with us.

The Tribe co-founder’s debut, lacquered directly from his master tapes in an all analog transfer by Bernie Grundman. The definitive reissue of this Spiritual Jazz album which set the stage for his Vibes from the Tribe The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos.

In the words of the collective themselves, “Music is the healing force of the universe.” Included in an extensive, oversized booklet, Larry Gabriel and Jeff “Chairman” Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe’s mid-1970s heyday.

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Dexys are back! 11 years since the release of their last album of original music, the acclaimed One Day I'm Going to Soar, the band return with a stunning new record, The Feminine Divine, out July 28th on 100% Records.

The Feminine Divine’s arrival is heralded by today’s release of the glorious first single ‘I’m Going To Get Free’, soaked in horns and with a heavy dance-hall feel. "The character is optimistically breaking free from internalised trauma, depression and guilt," Kevin Rowland said of the track.

The Feminine Divine is Dexys’ fifth album of original material produced once again by Pete Schwier, along with acclaimed session musician and producer Toby Chapman. After taking some time out to refocus his energy, Kevin Rowland came back to music with a fresh perspective and new-found positivity. A personal, if not strictly autobiographical, record portraying a man whose views have evolved over time. Not just on women, but the whole concept of masculinity he had been raised with: an education and an un-learning that is traced across the arc of The Feminine Divine with dizzying effect.

With two tracks on the album with Goddess in the title in ‘My Goddess Is’ and ‘Goddess Rules’, it’s no surprise Kevin chose to use a painting inspired by Pele, the Hawaiian goddess of fire and volcanoes, for the artwork.

Dipping into the archives for a song he’d originally written in 1991, the album’s opener, ‘The One That Loves You’, is a tough-guy feint before he lifts the curtain on “what I really feel”, as announced by a classic bit of Kevin spoken word that leads into the second track, ‘It’s Alright Kevin (Manhood 2023)’.

The record’s first half is full of music hall-esque swagger, much of it written with original Dexys’ trombonist Big Jim Paterson. The second side of the record is like nothing Dexys have done before. A saucy, synth-heavy cabaret, written in collaboration with Sean Read and Mike Timothy. It’s steamy, fizzing and sultry, at times doom-laden and heavy and at other times raunchy and funky. Quite a heady mix.

Today the band is more of an “organic” assemblage – Kevin, Jim (a non-touring band member), Sean Read and Mike Timothy. “It’s always just natural with me,” says Kevin. “The inspiration comes first, I think about what I can do, what songs I’ve got, then approach the band.” He describes their current lineup as “very much the nucleus, these days.”

With over a billion worldwide streams, three top 10 albums in the UK, two number 1 singles, a Brit Award and a multi-platinum selling album with their sophomore release Too-Rye-Ay (as Dexys Midnight Runners), Dexys are as vital and exciting today as ever. With live shows set to be announced shortly in support of the record, The Feminine Divine marks a new chapter in a book that just keeps getting better and better.

“I’ve been doing this a long time,” says Kevin. “But I feel I’ve got to it now.”

Spanish producer Vilchezz debuts on slash with one of KI/KI's longest awaited dancefloor hits to date. The title track Camelo's is doing rounds in her DJ sets for a couple of years and is easily the highlight of many gigs, finally the day is now there to present it on her own slash label.

It all started just with a Soundcloud demo a year ago when Fasta Danza crew member Vilchezz shared some of his new music with KI/KI. Now residing in Budapest, his new EP also marks a significant change in styles for Vilchezz, with his new works leaning more towards energetic, trance tinged hard grooves. And that's exactly the sweet spot where he meets KI/KI and her slash imprint. After playing the Camelo's demo inside-out around the world a full release is now finally formed. A full pack backed with another original Eskorbuto - which feels like a future classic uplifting trance drifter - and three remixes another chapter on slash is there.

For the remixes KI/KI and Vilchezz invited Oslo based trance producer and UTE.REC label co-owner Filip Storsveen aka Oprofessionell. He turns Camelo's into a magnificent introvert eyes closed club weapon. Where Glasgow's Animal Farm resident AISHA comes in fierce with a powerful early 00's twist combined with an impeccable psy drive. And to finalize the pack, fast rising star CAIVA reworked Eskorbuto by adding her own vocals to the original and by doing so she adds an impressive, emotive festival banger to a well rounded set of modern trance gems.

Wildfire was a household name in Tropical Island music circles due to their excellent albums and performances throughout Trinidad, Tobago, the Caribbean & US Virgin Islands and French Guadeloupe. In 1962 they started off as ‘The Sparks’ (a well-respected Calypso outfit who released a bunch of successful singles) but with the release of their hit single ‘Come On Down’ from 1975, they exploded into Wildfire.

Wildfire had a very fruitful career and released four top full-length albums and a vast amount of singles before calling it quits. Led by bandleader Oliver Chapman (bass & guitar player, vocalist, arranger, producer and co-writer for the majority of the bands’ songs) and comprised out of high talented musicians, Wildfire was out there with the big boys in the niche they carved out for themselves.

On the album we are presenting you today (Time Is The Answer from 1980) you’ll find the perfect mix of funk, soul and disco, basically the popular sounds of the day, and all tracks are originals. The album is FUNKY and the production quality can rival with any of their peers and records produced/recorded in the US. The performance of Wildfire on this album is beyond excellent. This release was also the first time the group took control over production and getting their album out in the world. Also included is the hit single ‘Say A Little Prayer For The Children’ which is just one of those songs that will be stuck in your head forever.

Besides virtuoso Oliver Chapman: the talent that was featured on ‘Time Is The Answer’ is exceptional. Anstey Hamilton carries around a rich noticeable tenor voice. Arthur Byron who also did vocals on the album, has a beautiful rasping tone that can knock you out anytime he gets into his act. Fitzroy Isaac on keyboards and Donald Leid on drums are the guys that were responsible for keeping the groove tight. Clifford Wilson like Oliver had been with band since the start. He is calm in his approach, he played the bass guitar and sung background vocals, he also chipped in with Oliver whenever they wrote songs together. Finally we have Cyllan Charles, who was known as the Wildfire voice. Cyllan had been doing most of the lead vocals since he joined the group in 1972, he was the most experienced of all the members, and can really take you to higher heights anytime he gets into doing his thing both on stage and on wax.

“Time is the Answer" by Wildfire is a scarce and increasingly sought-after LP. Filled with hit-bound songs it comes as no surprise that the album has now become a much-wanted item due to its addictive and original-sounding nature. This is a must-have for any self-respecting record digger!

Celebrate Hip-Hop At Fifty and Bad Boy records with the ground-breaking self-titled album by the R&B group, 112. Double Platinum Debut Album from 112, who carry the distinct honour of being one of the 1st R&B records released on Bad Boy.
With chart-topping hits like "Cupid," "Only You," and "Peaches & Cream," this album is a collection of timeless classics that will have you singing along and reminiscing about the magic of love. Whether you're in the mood for slow jams or upbeat grooves, 112 has you covered with their diverse range of soulful tracks.

Besucher:innen des Newport Folk Festivals wurden im vergangenen Sommer Zeugen eines ganz besonderen Momentes: Joni Mitchell kehrte am 24. Juli 2023 nach 20 Jahren auf die Bühne zurück und spielte ein eindringliches Set, das einige ihrer großartigsten Songs
beinhaltete.

Es war das triumphale Bühnen-Comeback der Frau, die nicht wenige für die größte Singer-Songwriterin aller Zeiten halten.

Erhältlich ab 28. Juli als CD-, 2-LP, außerdem gibt es eine Version in durchsichtigem Vinyl im Indie-Handel ++ Produziert von Brandi Carlile und Joni Mitchell (mit Linernotes von Cameron Crowe )

'The Long Stuff' was originally issued in 2002 as a CD-only limited edition of 110 copies for members of 'The Bevis Frond Online Community'. It comprised a select batch of lengthy, previously unissued tracks. Some of these were home demos featuring just Frond frontman Nick Saloman on all instruments and vocals. There was also an unused track recorded for the 1995 album ‘Superseeder’ featuring Ade Shaw on bass and Andy Ward on drums. Since then, ‘The Long Stuff’ has never been re-issued in any format. It is therefore with great pleasure that Blue Matter are re-releasing it for the first time, and now as a vinyl double album and limited double CD. Due to certain circumstances, one of the original tracks could not be used, so that has been replaced by a different unheard demo called ‘Here’s a Little Love Song’. Also, we have added three further unissued tracks, another home demo called ‘Skyline Commander’, plus a leftover song from the sessions for the recently released ‘Little Eden’ album called ‘Yet Another’. Finally, we felt compelled to add a storming 24 minute live version of the classic track ‘Superseded’ recorded at Cardigan’s Doctor Sardonicus festival in 2019. So, to sum up, the first album of this double set features all bar one of the tracks that were previously on the original ‘Long Stuff’ CD in 2002, while the second album entirely comprises previously unreleased material. The LP will be housed in a full colour sleeve

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.

LP includes Poster.

When Sacred Bones first began their Mort Garson reissue project in 2019 with a proper reissue of Plantasia, the Garson-naissance began in earnest. Soon after, you could hear Mort Garson and his Moogs bubbling up on TV shows, documentaries, podcasts, hip-hop tracks, or anywhere else, the man a cultural phenomenon once more.

Like a perennial that returns with each new spring, the Mort Garson archives have brought to bear yet another awe-inspiring bloom.

Journey to the Moon and Beyond finds even more new facets to the man's sound. There's the soundtrack to the 1974 blaxploitation film Black Eye (starring Fred Williamson) alongside some newly unearthed music for advertising. Just as regal is "Zoos of the World," where Garson soundtracks the wild, preening, slumbering animals from a 1970 National Geographic special of the same name.

The mind reels at just what project would have yielded a scintillating title like "Western Dragon," but these three selections were found on tapes in the archive with no further information. The crown jewel of the set is no doubt Garson's soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That's one small step for man, one giant leap for Moogkind. But for decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive.

So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort's many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole.

Maybe at the time it scanned as crass and opportunistic for Garson to apply his keyboards to subjects like astrological signs, the occult, hippiedom, houseplants, or the moon landing. But more than most other electronic music pioneers of his ilk, Garson foresaw the integration of such electronics into our daily lives, how they would allow us to engage with the world.