quête:kin

*INSTOCK AND SHIPPING* The North-West’s legendary electro-prog-pop experimenalists a.P.A.t.T. are back with their first studio album in 6 years. a.P.A.t.T. are an English ensemble generally known for their avant-garde music and multimedia works. Redefining notions of failure and success with electronic art pop. Since their first release, (e.p.) in 2002 a.P.A.t.T. have released over 7 albums, numerous singles, 100’s of music films; received commissions from a Smörgåsbord of leading arts organisations, created a feature-length film and even starred in and composed for a BBC TV Sitcom. The last album Fun with Music (2016) saw the band more refined and focussed than ever… “Their most accessible work yet..in a freaky kinda way” said BBC’s Stuart Maconie. This album discusses the ‘I’ the ‘WE’ and the confusing notion of self. 6 years since the release of the last a.P.A.t.T. album and the world seems to have changed. “It’s different now” muses General MIDI when asked, “We were all doing something pretty similar in some respect. We changed. We struggled. We adapted. We grew. We felt more collective than ever…maybe?” ‘We’ is an adventurous collection of passing thoughts, barely laughable references, pop songs andsonic experiments. It’s a look at people. It’s a look within.

After a decade of a break, in 2001 Iasos returned with a new, first in a new millennium, album – “Realms of Light”. Here you will hear 8 masterpieces of heavenly music that takes you to other-worldly realms just filled with Love and Light. This album continues where “Elixir” 1983 left off! Journey into heavenly celestial realms with a master of inter-dimensional music. Ecstatic planes of existence filled with love, light, color, fragrance, and sacredness. Unearthly sparkling beauty. There are a few guest musicians who beautify the album: Joie Favier from Cybervixen, legendary violinist Steven Kindler who was one of the forerunners in playing multi-string electric violin, and another new-age music legend Sophia Roberts. To summarize, this album is intensely full of heavenly feelings that will make your heart glow.

Fünf Jahre nach "Footprints In The Rock" melden sich die unbesungenen NWOBHM-Helden TRESPASS mit einem großartigen neuen Album namens "Wolf At The Door" zurück. Das Album umfasst Themen, die ihnen am Herzen liegen - insbesondere Umweltthemen - und wurde von Gründungsmitglied, Gitarrist und Sänger Mark Sutcliffe in seinem Heimstudio geschrieben und später in den Crooks Hall Studios in der Wildnis von Suffolk aufgenommen. Nigel Palmer (Raging Speedhorn, Satan's Empire) gab dem Ganzen dann in Lowland Masters den letzten Schliff. Diese typisch britische Umgebung half Trespass dabei, ihren charakteristischen NWOBHM-Zwillingsgitarren-Sound beizubehalten, während die Rhythmusgruppe
einen Drive und eine Energie an den Tag legt, die sie direkt in die 20er Jahre zurückversetzt. Das Artwork von Mark Wilkinson (Iron Maiden, Judas Priest) gibt dem Album den letzten Schliff und wird sowohl die Fans der alten Schule als auch die neuen nicht enttäuschen. Trespass wurde 1979 in Sudbury, Suffolk, von Mark Sutcliffe (Gitarre, Gesang) und seinem Bruder Paul am Schlagzeug gegründet. Die Band hatte Anfang der 80er Jahre als Teil der New Wave of British Heavy Metal Erfolg und wurde von der Kritik gelobt, obwohl sie nur ein paar Singles und eine EP - die kultige Bright Lights" von 1981 - veröffentlicht hat. Songs wie "One Of These Days", "Stormchild" und "Bright Lights" haben sich einen Namen gemacht.

Mysterious Argentinian Deep Spectrum delivers an EP with synthpop and italo influenced music for the pool/porn movie set/dance floor/living room. Yes that's right, this is universal music, suitable for all kinds of situations. Forever Free could be an instrumental b-side of a Soft Cell or Vicious Pink record while Para? so Fiscal (fiscal paradise) holds the middle ground between an 80s soundtrack and an underground italo jam. Punch Line on the flip is a smooth dance track where this talented new artist takes it to an even more sensual level. Fans of sleazy electronic futurism and early Legowelt should not sleep on this release!

Flower Storm is a new multi-disciplinary project from the minds of Sepehr and Kasra V -- recontextualizing classic Iranian sounds and folklore, with the modernity of each artists aural palettes to create a sharp-edged musical sword. Birthed from the desire to combine contemporary club culture with the deep roots of their nationalities and motherland, Flower Storm is a simultaneous deep dive into the history of their ancestors as well as a nod to underground electronic soundscapes. Their debut EP entitled 'Yek' (translates to the number 1 in Farsi) is a fierce, four track collection of music alluding and akin to the mythical journeys of ancient stories like Shahnameh. New and classic sounds interlay and converse with each other in an explosive yet intimate manner, like flowers raining from the sky.

re:discovery records is proud to release for the first time, a vinyl edition of 'Two Zeroes' by Grain for it's 25th anniversary.

Grain was a west coast project that emerged out of the psychedelic music and art scenes in Los Angeles in the early 1990s. After a few of their tracks were featured on the key chill out compilations United State of Ambience 1&2 and Excursions in Ambience
and many local live performances, they released two ep's on local labels. Shortly after in 1998, 'Two Zeroes' the full length project appeared. A west coast chill out classic that unfortunately did not get much disribution outside the west coast let alone to the world.

To classify this album is very hard. Think early Jammin Unit with a touch of the Orb and dash of west coast breakbeat and chill out styles and you still can't fully pin it down. A unique album that sonically, was leaps and bounds ahead of most albums in this style thanks to sound designer, audio instalation architect, scientist and artist Jimmy Johnson along with illustrator and fellow sonic artist Peter Ehrlich. Featured on double vinyl with updated artwork by the original designer, Kevin Hanley and presented on beautiful gatefold with a shimmering silver vinyl to match. This could be one of the discoveries of the year for those that have never heard this album. Dare to Dream with us.

* 300 COPIES FOR UK/EU* With a friendship stretching back nearly 20 years, it strangely ended up being a couple of childhood photographs that finally brought Ben Chasny and Rick Tomlinson together as collaborators. Both have rich musical backgrounds: Chasny being a member of the psych-rock outfit Comets on Fire but probably best known for his solo project, Six Organs of Admittance, while Tomlinson has released numerous records as Voice of the Seven Woods/Thunders and under his own name. “A mutual acquaintance, Jamie Tugwell, took me to go see Rick play live around 2005,” remembers Chasny. “Jamie kept saying how Rick was sort of an ornery fellow and that I would like him a lot. He was right. I loved his guitar playing right away, which seemed so far from what a lot of players were doing. We had drinks and hit it off. We remained friends over the years.” Chasny became a regular visitor to Tomlinson when on tour in the UK and one particular stay unearthed something serendipitous that would kickstart the making of a joint album. “I was staying at Rick’s house after a show and I looked over and saw a photo of him in a Halloween costume as a box of matches,” Chasny recalls. “It cracked me up because I have a similar photo of me as a robot and I tried to explain to him how it matched his photo.” About 6 months later Chasny found it and sent it to Tomlinson to show him the uncanny likeness of their childhood outfits. “Pretty soon after that we realized we needed to do a duo record and have those photos be on the cover,” says Chasny. “The entire record comes from the photos on the cover.” Tomlinson adds: “It was a pretty odd coincidence. Even down to us both standing on flags with a conifer behind us. We obviously had no option but to use these for the sleeve.” Recorded at Tomlinson’s house in Todmorden over three days one June, initially the pair didn’t quite know where they wanted to go with their musical direction. Tomlinson kept pulling out super rare records from his vast collection for inspiration and they sat and listened to the solo piano recordings of Popol Vuh’s Florian Fricke but they knew they needed to land on something that was intrinsically them. “We knew we wanted to do a record together but we weren’t sure what direction to take,” says Chasny. “When we first sat down to work out some ideas it was pretty much just us getting down to finally having a guitar showdown where each of us tried to outdo each other with flashy moves and ridiculous riffs and playing. After we got that out of our system, we were able to settle down and concentrate on a mood for the record to focus on.” The result is 6 instrumental tracks that capture beautifully fluid and interlocking guitars played with deft grace and skill but also a subtle looseness. On the 9 minute-plus ‘Wait For Low Tide’, the sparse and spacious back and forth playing becomes utterly hypnotic, neatly capturing the kind of natural and intuitive playing that can only come from music made between friends who understand the crucialness of leaving space for one another. While acoustic guitars are the primary means of expression on the record - from the soothing and gentle ‘i’ to the intricate playing of ‘Waking of Insects’ - the pair delve into ambient drone tape loop territory on the humming 16 minute ‘Paths of Ocean Currents and Wind Belts’, which further adds to the deeply textural, spacious and immersive feel of the album. All the tracks were recorded in one take, with the titles all stemming from translations from the Chinese book, The Dream Pool Essays, and then mixed in London at Jimmy Robertson's SNAFU studio, with additional mixing and mastering from Andrew Liles. The laid back, breezy and spontaneous approach to making this record is one that was reflective of the pair’s friendship and camaraderie, with their relationship ultimately driving the tone and feel of the finished album. “We hiked around the countryside, climbed into church bell towers, drank delicious beer in the middle of sunny afternoons, and had fantastic dinners,” says Chasny of the three-day recording period. “I think all of that wound up in the music. I really had the best time in the world.

B From E is a Happiness Therapy mainstay. Just last month the Dane remixed Mogan’s Monstera Tears, on the label’s lauded HT17 release. Now he follows this up with his first full Happiness Therapy EP in Just At Night. Featuring a remix by fellow Danish regular Niles Cooper, it marks a highlight occasion for the thriving Copenhagen talent.

Balancing a well-established career in Denmark with an international tour schedule is no mean feat, but in B From E’s case, that’s exactly what the Danish mainstay has been up to over the years. From Traxx Underground to Happiness Therapy, to being head of his own label Buddahood, his productions are downright infectious. Resident Advisor described it best: “Lean and smart, they're the kind of garage-tinged groovers loved by almost every house DJ on the planet,

Autokinetic’s techno roots reach back to 1993 when Mike McClure and John Golden formed Auto K in Minneapolis, forming the vibrant MPLS rave scene alongside Freddy Fresh, Woody McBride, and DVS1. Auto K then changed their name to Auto Kinetic, and now Mike McClure is ripping hypnotic modular techno in hyperspace solo as Autokinetic. These tracks have been secret weapons in DVS1 sets for the past couple years.

“great stuff as always” - Decoder
“Very cool” - Justin Cudmore
“It bangs!” - CMD
“Really good” - 2Lanes
“Great release!” - PlayPlay
“Sounds great!!” - Golden Medusa
“Big blend potential with these trax!” - Escaflowne


The A side consists of “Sidewinder” and the cheekily titled “Didgeradont”. Both of these are bonafide heady techno hits. I mean, the production on these…higher consciousness inducing dancefloor rolling mania. For the old ears and fresh feet alike.

The B side opens up with “File003”, which has a robotic restraint and up-beat bassline to keep you locked in for the never ending tunnel ride of a track. “Wakeword” ends the EP with a proper, slightly acidic challenger to meet all late night crowds with taste. But no chin scratching here. This is techno at its tastiest. Mike is a pro who knows how to kick and punch with full peak euphoric power. He’s been in the game for three decades at this point, and is still pushing his craft and himself to new heights.

300 copies pressed worldwide. Not to be missed out on.
Produced and performed by Mike McClure in MPLS, MN USA
Mastered by Dietrich Schoenemann.
Design by Nick Owen.
Distributed by One Eye Witness.

As NuNorthern Soul eases into its second decade, the label welcomes back a familiar face: Benjamin J Smith, a multi-instrumentalist, songwriter, and pro-ducer whose emotive, colourful and atmospheric compositions are the very definition of ‘Balearic’.

Famously, it was Smith’s The Movedrill Projects album that kicked off the NuNorthern Soul story way back in 2012, and he’s periodically returned to the imprint on numerous occasions since. It’s fitting, then, that Smith is stepping up once more, with NuNorthern Soul found-er Phil Cooper selecting to showcase two overlooked gems from his bulging back catalogue.

Both tracks are taken from Smith’s digital-only album Mojave (Vintage Californian Dreams), a set of thor-oughly gorgeous, West Coast-inspired library music compositions smothered in sumptuous strings and in-formed by the artist’s love of jazz-funk, languid jazz-rock and the kind of luscious, sunset-ready soundscapes that defy neat categorization.

Opening proceedings, and sitting on side A of the vinyl release, is the breath-taking ‘Marina Del Rey’, where layered, reverb-laden harmonic vocalisations, twin-kling electric piano improvisations, lazy guitar licks, spacey synth flourishes and sultry strings slowly rise above a toasty bassline and gentle, Latin-tinged beats. Smith cannily adds layers of sound throughout while moving the musical story forwards, leading to a mem-orable, awe-inspiring conclusion.

In contrast, ‘Big Sur’ sees Smith take an imaginary road trip through the driest, dustiest parts of the Cali-fornian countryside. Psychedelic rock style organ mo-tifs, sustained Hammond B-3 chords and glistening West Coast rock guitar solos dance atop a rubbery bassline and intoxicated, loose-limbed drums, with Smith’s eyes-closed vocalisations – drenched in reverb and delay – adding extra layers of aural loveliness. Like ‘Marina Del Rey’, ‘Big Sur’ is a vivid, widescreen con-coction tailor-made for soundtracking films that have yet to be made.

Smith was involved in the music business from an early age; at the age of 8, he was a deejay for the local sound Observer. Like many other great reggae musicians, Smith learned his musical skills from a combination of sound system culture and schoolwork. At age 15 he sang in school with Nadine Sutherland, who urged him to move to Kingston to pursue a singing career. It took five years for Smith to follow this advice as he had difficulty leaving his mother, with whom he had a very close and loving relationship.
Arriving in Kingston at the age of 20, Smith was thrown into the digital revolution of reggae music. His first track, "Indian Lady," was released on George Phang's Powerhouse label, Final Mission LP on the extremely popular version the old Heavenless riddim recorded by Sly & Robbie (the riddim from Half Pint's Greetings). Though it didn't become a major hit, producers discovered Smith's unique and convincing singjay talent. During the next five years (from 1985-1990) Smith put out a long line of tunes. His biggest hit was the 1988 tune "Dangerous," released on the progressive Redman label. A cheering audience watched him perform the song live at Sting '88. This song was even adopted by a British boxer called Nigel 'The Dark Destroyer' Benn and used as his entrance music, a tune that sounded out his intentions in any forthcoming fight.

In the words of Bill Brewster - DJ History

‘At the turn of the 1990s, there were few more successful New York house producers than Victor Simonelli. Under a dizzying array of aliases – Solution, NY’s Finest, Groove Committee, Critical Rhythm and Cloud 9 being amongst the better-known – the Brooklyn-born DJ/producer delivered a string of underground club hits during the city’s early ’90s house boom.’

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release - 2 X 12’s in each Vol

Launching the first Behind The Groove collectors edition vinyl series is New York’s finest Victor Simonelli with ‘The Early Years Vol 1 & 2’ double Vinyl releases. Featuring seminal house tracks such as Cloud 9’s ‘Do You Want Me’, Solution’s ‘Feel So Right’, Instant Exposure’s ‘Wanna Be With You’ and rare mixes of Raiana Page and EZ-AL, this collection brings together classic and rare Victor Simonelli cuts that reflect the early raw energy and buzz of the New York House scene. With ‘Vol 2” scheduled to follow shortly after, this is the most comprehensive collection of rare Simonelli cuts that firmly establishes his esteemed role in 90s House Music as well as introducing new fans to his inimitable sound.

Victor Simonelli is one of the early kings of NYC sampling In house music. The real deal - Victor danced at the legendary David Mancuso’s Loft sessions and developed a serious appreciation for good music. He interned for Arthur Baker at his renown Shakedown Studios (where Arthur worked with the iconic Afrika Bambatta on the seminal dance floor ’Planet Rock’ track) and went on to release hugely influential releases on seminal NYC labels 4th Floor and Nu Groove. Victor’s music was championed by the hugely celebrated iconic House Music DJ pioneers, Larry Levan and Tony Humphries at Paradise Garage & Zanzibar/WBLS/Kiss FM respectively.

Revered as a New York house heavyweight and prolific producer since the turn of the 1990s, Victor Simonelli grew up in Brooklyn, NYC, nurtured by a music loving family, with an avid record collecting father who also worked as a local party DJ. He took music lessons in piano, drums, guitar and bass, before discovering his first love, tuning into NY’s Radio Mix Shows on WBLS, WKTU and WRKS,98.7 Kiss FM) where he discovered the art of mixing and in his own words, ’I just simply got lost in the music’.

Graduating from NYC’s Centre For Media Arts, Victor got an internship in the legendary producer, Arthur Baker’s Shakedown Studios. Soon graduating to editing, mixing and then producing he worked for artists David Bowie, Quincy Jones, Debbie Harry, Sinead O’Connor and Talking Heads. Teaming up with fellow NYC producer Lenny Dee to become the Brooklyn Funk Essentials, they released records ‘Critical Rhythm’ and ‘Subliminal Aurra’ on 4th Floor before Victor went solo as Groove Committee releasing the classic ‘I Want You To Know’ on the legendary Nu Groove Records. Paradise Garage legend, Larry Levan broke ‘I Want You To Know’ rocking 2 copies on his last tour of Japan whilst King of NY House Music,Tony Humphries broke Victor’s new ‘Feels So Right’ across New York on his WBLS/Kiss FM Mastermix show and at his legendary Zanzibar club sessions. It was only a matter of time before Victor’s name became synonymous with quality House music ensuring a worldwide platform for his productions.

In the early 90s alongside his own productions, Victor Simonelli worked on high profile projects, including James Brown’s album, “Love Overdue” BeBe and CeCe Winans single featuring Mavis Staples “I’ll Take You There” and Quincy Jones’ “I’ll Be Good To You” featuring Chaka Khan and the legendary Ray Charles. Never straying too far from his clubland roots, Victor worked with Danny Tenaglia on his classic “The Harmonica Track”.

DJ gigs across the world started flooding in and Victor found himself recording for a dizzying array of labels including Tribal America, Sub-Urban, Bassline, King Street Sounds and Vibe, under a wide range of aliases. He also produced, wrote and remixed for artists such Nile Rodgers (Chic), Afrika Baambata, Hall & Oates, Frankie Knuckles, Kerri Chandler, Madonna and Michael Jackson. Famed for his own productions “It’s So Good” by Creative Force, “I Know A Place” as Sound Of One - the first release on Roger Sanchez One Records -, “Dirty Games” as well as the “Street Players Vol 1 EP”, Victor went on to set up Suburban Records with Tommy Musto and Bassline Records with two other partners. Notable releases on this label include “Do You Feel Me”, Connie Harvey’s gospel inspired, “Thank You Lord”, Urban Blues Project’s “Deliver Me”, Colonel Abrams “Not Gonna Let”, and Mone’s “Better Way”. Never ceasing to produce, DJ, run his own label and host radio shows like Groove Lift, Victor has worked with virtually every NYC producer and has nurtured a next generation talents including Angel Moraes, Jazz ‘N’ Groove, Urban Blues Project, Harlem Hustlers, Jay Jay and Julius Papp. Victor’s releases have also been used on M&S’s “Salsoul Nuggett” hit and Eddie Amador’s underground smash ‘House Music’.

In the late 90’s Victor launched his new Westside Productions, notable for the “Latin Impressions 1 & 2” releases, opened up a studio in Italy as he found himself increasingly working in Europe and now divides his time between New York and Italy. Suffice to say his unique sound of uplifting and spiritual music has kept him at the forefront of House Music and he is credited as one of its leading exponents with his string of classic releases and remixes.

Behind the Groove, branches out from its digital platform to embark on a programme of releases from the iconic pioneer producers of House Music. Esteemed for their high quality features and mixes that continue to explore, celebrate and venerate the contributions of highly respected, scene-shaping Labels, Artists, DJs and Special Events, BTG seeks to bring these talents and tales to the attention of the wider community. Unlocking the stories surrounding the pivotal roles they played and continue to play today in shaping the underground music scene we have come to know and love.

BTG presents “Victor Simonelli: The Early Years Vol 1” a collectors edition double Vinyl release, released on May 12th 2023. ‘Vol 2” follows on May 26th 2023 . These releases are the most comprehensive collection of rare Victor Simonelli cuts that firmly establish his esteemed role in 90s House Music and introduces new fans to his carefree sound.

Following my recent phone call with Prof. Benson, I left him to continue his 92nd birthday celebrations with his family. We'd talked about his life, his music, his achievements. Throughout our conversation it struck me what a kind, humble and pleasant man he was. I felt that I was in the presence of greatness – not the egotistical greatness that emanates so often from high achievers, but that of someone who had simply won at life.

"I was a music teacher. I wasn't trying to make a record to compete, I was trying to make a record so the students would have something to remember the experience that we had... I was doing it for the kids."

It was 1973 that Prof. James Benson had self-funded his private press LP for the benefit of the teenage musicians he tutored at Cal Poly, California. The album was a momentous achievement for him and his young protegees, something they were all proud of, and rightly so. Taking inspiration from their recent trip to Africa and blended with the radical jazz associated with the young minds of early '70s black America, the Gow-Dow Experience is a unique foray into the enthusiastic mindset of up-and-coming jazz musicians, as encouraged by their mentor Prof. Benson.

We present the album as it was released in 1973 with a heavyweight tip-on jacket and 180g vinyl or on CD. We also include an insert with liner notes and photos provided courtesy of Prof Benson. The LP and CD come with 4 additional tracks taken from the recording session. Until now these tracks have never been heard since the day they were recorded - believe me, they're worth the wait!



Made with love from Jazzman - because we love to dig deeper!

Aptly titled, ‘Welcome’ is the debut album from Don Glori. A kaleidoscopic free dive into his world, featuring 8 recordings of revolving jazz, Brazilian, soul and funk inspired compositions spinning together and blurring into a genre bending slew of new music.

There is an intangible element of joy and connection sitting just outside the grasp of description or definition that can be felt throughout this album. Each song on this album captures the spirit and irrepressible energy that underpins the core of the Don Glori project.

Imperfections are captured along with the moments of transcendence. Layers of vocal harmonies oscillate next to pulsating samba rhythms while spiritual overtones permeate throughout. Congas and percussion form a holy union with the drum kit, co-piloted by Don Glori’s own bass lines.

Saxophones, horns and flutes flutter in between the musical canyons carved out by the piano and vibraphone. When you press all of these forces together you can start to feel the intangible; the intrinsic human elements existing in the creases. The sweat, excitement and willingness of each musician to dedicate their spirit and take risks on every track of this album.

It’s clear from the outset that this is an expansive body of work, from the spiritual jazz opener ‘Maiden Waters’ to the bubbling street party that is ‘Dlareme’, and ending on the unashamedly seductive ‘Commodore’. This is the kind of record that will translate equally well to both the dance floor and the lounge room rug.

Defamator is the long-time-coming debut project of 24-year-old Chloe Gallardo. It tells a story of betrayal in love and friendship and the painful reality of overcoming love lost and former heartbreak.


Drawing influences from artists such as Broadcast, Grouper & My Bloody Valentine Gallardo adds her own haunting, folk-style vocals and hyper-specific lyrics to create a sonic unique to her. A style that she describes in her words as “dark shoegaze bedroom indie pop”.

Album opener “Bloodline” epitomises this bittersweet modus operandi. 15 seconds into its dainty acoustic strum , Gallardo adamantly sulks “I’m fucked up” - the salvo of a lyric about feeling like a family disappointment. As the track lifts up into a cascading gaze-pop rush, recalling the likes of Bachelor and Snail Mail, we’re blessed with a pristine elegance that belies the song’s raging core.
“I have always written music this way.”, she says of this fundamental contradiction. “It’s funny because I try so hard to write darker sounding songs and they always come out way too pretty. So, I’ve resorted to writing the most gut-wrenching and intense lyrics to compensate.”

Written mostly during peak-pandemic times in Gallardo’s bedroom - (“you can hear how scared and alone I was.”) - the songs that made their way onto Defamator arose from a concerted period of healing. Drawing from the teachings of therapy, the songwriting process gave her the means to channel some deeply entrenched emotional scars.
This venting of anger is implicit throughout the record. The album’s title - Gallardo’s own neologism - uses the concepts of “defamation” and “defamatory speech” to innovate a kind of pejorative accusation. As a result, it is like we are actively listening to Gallardo forcefully take command of her past. Of the title track she explains: “The song Defamator is about someone who spoke untruthful things about me in order to manipulate me and the way people perceived me and I felt that was an underlying theme in most of the album.”

Recorded at Jazzcat Studios in Long Beach California with Jonny Bell (Hanni El Khatib, Adult Books, etc.) Defamator marks Gallardo’s first time in a “legitimate recording studio”. And it shows. Bell’s production is vital moving part here. There’s more stripped back affairs - ‘There Will Be Blood”; ”The Way’ - songs which gently seethe and purr like Grouper’s spectral dream-pop; Gallardo’s fluttering folk-ish voice gloriously pushed to forefront.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

Der Gitarrist Jesse J. Heikkinen (The Abbey, Iterum Nata) und der Sänger King Aleijster de Satan (King Satan, Saturnian Mist) haben sich zusammengetan, um ein bewusstseinsveränderndes, progressives Black-Metal-Projekt zu gründen: HENGET. Inspiriert von der Welt des Okkulten und den Wegen des alten Schamanismus, beschreibt 'Beyond North Star' eine gewaltige halluzinatorische Reise in die Tiefen des Geistes und darüber hinaus - mit psychedelischen und synkretistischen Aussichten.

FFO: Imperial Triumphant, Oranssi Pazuzu, Dodheimsgård, Blut Aus Nord, Enslaved

Der Gitarrist Jesse J. Heikkinen (The Abbey, Iterum Nata) und der Sänger King Aleijster de Satan (King Satan, Saturnian Mist) haben sich zusammengetan, um ein bewusstseinsveränderndes, progressives Black-Metal-Projekt zu gründen: HENGET. Inspiriert von der Welt des Okkulten und den Wegen des alten Schamanismus, beschreibt 'Beyond North Star' eine gewaltige halluzinatorische Reise in die Tiefen des Geistes und darüber hinaus - mit psychedelischen und synkretistischen Aussichten.

FFO: Imperial Triumphant, Oranssi Pazuzu, Dodheimsgård, Blut Aus Nord, Enslaved

Schottlands hottest Superstar Lewis Capaldi meldet sich mit seinem langersehnten 2. Album zurück - nachdem er mit seinem Überhit ”Someone You Loved” 2019 alle UK Rekorde knackte und sein Debüt ”Divinely Uninspired To A Hellish Extent” weltweit wie heißeste Semmeln über die Ladentheken ging (7fach Platin in UK, Gold in DE und aktuell wieder #4 in den UK Albumcharts).

”Broken By Desire To Be Heavenly Sent” enthält neben der Uptempo Single ”Forget Me” auch die aktuelle Ballade ”Wish You The Best”, die Lewis zum mittlerweile das fünfte Mal auf den UK Singlechart Thron
katapultierte.

Nahezu täglich nimmt er seine über 6,5 Millionen Instagram Follower auf unterhaltsamste Art und Weise mit auf seine Reise und beherrschte zuletzt sogar wochenlang die #1 der UK Netflix Charts mit seiner sehr berührenden mental health Doku ”How I’m Feeling Now”.
Niemand vereint herzzerreißende Songs, eine einzigartige Stimme, Humor und die Zerbrechlichkeit aufgrund andauernder mental health und Tourette Erkrankungen wie der 26-Jährige. Trotz aller Widrigkeiten spielt er weltweit in den größten Hallen und mit befreundeten Kollegen wie Niall Horan, Sam Smith, Jonas Brothers und zählt u.a. Elton John und Harry Styles zu seinen Fans.

After more than a decade of non-stop touring, acclaimed Austin songwriting duo, Kelsey Wilson and Alexander Beggins, quietly stopped touring as Wild Child. Headed in different sonic directions, the pair didn't know if they would ever make another Wild Child record. Then, what felt like the "end of the world" brought them back together. Pandemic lockdowns closed stages and drained bank accounts. As artists from all backgrounds took their shows to the internet, Wild Child was no different. Wilson and Beggins got together to practice for a series of online performances for devout fans, and within 30 minutes they wrote the first single for what would accidentally become Wild Child's fifth album, End of the World. Mixed by Matt Pence (Jason Isbell, Elle King) and including contributions from guitarist Charlie Wiles (Paul Cauthen, John Moreland, Orville Peck), End of The World sees the pair find catharsis in art amid compound disasters. As Wilson describes it, "I just started signing about things that were freaking me out. Wearing a mask for a year. Global warming. There's no heat, no water. It was like a dirge to begin with. But by the end we were all screaming and laughing that, yes, this might be the end of the world, but we're all together right now, making music in my living room by candlelight. It's all OK."

Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention. They are emblematic of a particular time and place that doesn't really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs_hundreds of them _ through all the weirdness of the past few years, but he wasn't exactly sure who he was writing them for. "I spent years figuring out in my mind, `What is my musical life going to look like?'" he says. "I just kept writing." Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. "I'm like, `Whatever you can do to keep this thing going, do it,'" Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm's musical life was going to look like: The Big Mess. The first sounds on The Big Mess are the title track's coiled guitars and thumping drums, building into the kind of outsize, choral rock anthem artists like Tanlines were almost a reaction to. It is warm and nostalgic, and Cohen likens a lot of the prevailing mood to "a sepia filter on a digital photo." He continues, "we were pretty intentional about making this the first song on the album, underlining the way that this is a new phase of the band." Cohen says. The moody, scintillating "Burns Effect" serves as one of the biggest pushes forward for the Tanlines sound, and for Emm as a lyricist. He says that the song is "deep and dark and dangerous, but in a fun way. It's one of the more personal tracks on the album where this ungrounded part of my personality surfaces, but with an over-the-top machismo, almost an ironic character." Other tracks like "New Reality" and closer "The Age of Innocence" are also demonstrably guitar-forward in ways that wouldn't seem obvious for Tanlines (despite Emm's pedigree in austere avant-garde math-rock outfits Storm & Stress and Don Caballero), but Emm is less sure The Big Mess is a total departure. "I'm trying to make these absolutely simple things," he says. "I think of these songs as Rothko paintings: They're big and they're bold and they're seemingly straightforward, but they have a lot of depth and they engage with you and make you feel something."

"After breakthrough releases in labels like Kindergarten, Shubzin and Pressure Dome, New York duo Sha Ru lands on Jupiter4 for a Bass infused, Half Time impressive release. Early support from Darwin, Simo Cell & Laksa"

Bekannt für ihre Zusammenarbeit mit internationalen Künstlern wie Iggy Pop, John Parish, Nick Cave oder Hugo Race, hat sich Catherine Graindorge mit dem Bassisten David Christophe und dem Schlagzeuger Elie Rabinovitch unter dem Namen Nile On Wax zusammengefunden. Die Musik des Trios lässt sich nicht klassifizieren, sie hat eine unverkennbare intensiv und nahezu neblige Identität. Eine Atmosphäre irgendwo zwischen Post-Rock, Jazz und Psychedelischen Sounds. Der Soundtrack für einen Western oder einen nächtlichen Stadtspaziergang. Nach drei von der Kritik gefeierten Alben ("Nox", "Freaks" und "Bell Dogs"), Kompositionen für Tanz (Charleroi Danse) und Kino (Hal Hartley, Karim Ouelhaj) und zahlreichen Konzerten in Belgien und im Ausland erscheint nun das neue Album "After Heaven" .

Former In the Woods... members deliver epic Norwegian Black Metal to takes you into the night sky!

It’s the moment just after the tree-root thick tangle of guitars come in and the luminous clean vocals light up the sky while the keyboards suddenly shine from below: when the singing enters on ‘Astrologer’, the first track of Nattehimmel’s first album “Mourningstar”, that one might actually hear a continuation from In The Woods...’s legendary “Omnio” album from 1997. None of the 5 members are strangers to one another, having met before in bands such as In The Woods... and Strange New Dawn.
We guarantee that the members regard “Omnio” pretty highly.
Enough to revere it though? The similarity is not likely to be incidental, and anyway proves fleeting in the context of the 8 songs on “Mournigstar”, this new union turning out
very creative in shaping their Black Metal with a variety of elements. Primarily, the vocals set Nattehimmel apart from many other acts of this nature by including a variety of tropes from harsh growls to monkish groans to undead rasps, plus other backing parts that overlay the slightly echoey production with a ton of reson.

ASIA ist eine englische Rockband, die 1981 in London gegründet wurde und 2021 ihr 40-jähriges Bestehen feierte. Als Band schafften ASIA, was nur wenige aus der Prog Rock-Ära geschafft haben: stromlinienförmige Pop-Hooks in sehr anspruchsvollen Songs zu
kombinieren. Diese 2LP-Veröffentlichung des klassischen Reunion-Albums PHOENIX von 2008 enthält alle vier ursprünglichen Sänger/Bassist John Wetton von King Crimson, Gitarrist Steve Howe von Yes, Keyboarder Geoff Downes von Yes und Schlagzeuger Carl Palmer von Emerson, Lake & Palmer.

buen clima is the solo project of producer, composer and DJ Felipe Castro (Santiago, 1993). Under that alias, he makes a sometimes clean, sometimes dirty mix of techno, house and electro, among other styles, with a soft spot for high BPMs, big, glossy pad sounds and interlocking rhythms. With a background in classical music and free improvisation, his productions and live performances often bring into them unexpected moments of noise, unusual influences and, above all, humour.

« This EP is comprised of five tracks written between 2020 and 2022, and it's got quite a bit of contrast among them, as well as some common threads. Some are gritty and noisy, some are a bit more amiable. However, they all show signs of recurring obsessions with certain rhythms, certain synth sounds, and share a sense of fun and humour. Each is an exploration of different production and synthesis techniques.

Big Butibit Chess Master Pro v.3.5 is on the lighter side, with some big warm pads and jazzy drum sound. It's kind of a sunny ghettotech cut, if that makes any sense. The synth part has a spontaneous feel, it was recorded pretty much in one take.

>:) Is a heavier club track, made to go a little evil, a little mischievous. It's full of squelchy sounds and has a drum part that sounds like a never ending Street Fighter combo, or a bunch of beer bottles being opened one after the other.

Forma/Contenido is also on the darker side, with a droning, oppressive mass of sound that accumulates and evolves all throughout the track. It's very much inspired by the piece "I am sitting in a room" by Alvin Lucier, and is, in fact, a sort of live version of the same premise, a long feedback loop of the voice and the beat recorded and played in the studio.

Arturito is how we call R2D2 in Latin America (or at least in Chile), and it's also my father's name. We both love the original Star Wars and this is a little tribute to that. I had a lot of fun making this track, using only Ableton's Operator synth to make 90% of the sounds. It's a bouncy, evolving electro cut with a lot of quirky bleeps and bloops.

Pequeña midi is definitely the heart of the EP, a slower track made for my cat, who's sitting in my lap as I'm writing this. The rhythms and the sounds are a musical representation of how I imagine her life is like, and of her little games, running around the house. In terms of style I feel like this is what it would sound like if Yellow Magic Orchestra did a slowed down footwork track (play it at 160 BPM if you don't believe me!). »

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

Power, Pain, Privilege is Specimens fourth album & most personal work to date, it follows up on his collaboration album ‘Intersections’ with Peter Broderick, Benoît Pioulard, Midori Hirano & Emilie Levienaise-Farrouch.

Power, Pain, Privilege is a commissioned piece by London’s Southbank Centre and is an abstract sonic exploration of biracial identity, in its historicity as well as through the lens of Ives’ own personal experience of being British-Jamaican. The album is a departure from his largely ambient work and explores haunted and twisted dancehall rhythms, industrial drones, and spoken word pieces that track a course through painful incidents of imposter syndrome, shame, privilege & racism.

The album opens with a computerised robotic voice reading excerpts of the 1930s Fletcher Report: “an Investigation into the Colour Problem in Liverpool and other ports” a report which heavily stigmatises children and mixed heritage families of African and European origin. It could be deemed the official outset in defining Liverpool's ‘half castes’ as a problem and blight to the “British way of life”. Ives’ states “this track sets the tone to the album, the cold analytical and dehumanising approach to reports like this, whilst over 80 years old set the standard for viewing biracial families and to have used a Human voice to recite these pieces of text would have been to give it too much life”

The album is accompanied by a film directed by the photographer & director Lucie Rox which was live scored at The Southbank Centre in London and in Paris at 3537.

Ein ganz besonderes Disney-Erlebnis: weltberühmte Film-Ohrwürmer in Interpretationen einiger der größten Pop-Jazz-Stimmen!

2016 erschien erstmals ”Jazz Loves Disney”, nach dem großen Erfolg dann 2017 der Nachfolger ”Jazz Loves Disney 2 - A Kind of Magic”.
Beide Doppel-LPs waren viele Jahre vergriffen und sind nun endlich in Neuauflagen wieder erhältlich.

1st Science (Henrik Helenius) Has Been An Online Man Of Mystery For Some Time, And You'd Better Believe He Supplies The Goods Whenever He Resurfaces!

In The Early 1990s, Out Of The Uk's Rave Scene, 2 Genres Known As Breakbeat Hardcore And Jungle Were Spawned. A Decade Later, And A Modest Online Community Began To Try And Revive The Genres In The 2000s Within A Scene Dubbed "Hardcore Breaks". Henrik Became One Of Its Most Influential And Creative Contributors, Bagging Himself Appearances On The Likes Of Right Touch Records, Bat Beat Recordings (The Precursor To Renegadegenius's Paranoid Recordings) And Hardcore Lives, As Well As Becoming One Of The First Serious Juggernauts Of Sharing Music Online.

Based In Stockholm, In The Words Of Strictly Nuskool Blog, Henrik Swiftly Earned Himself The Title Of "The Swedish King Of Hardcore" Amongst Junglists... And That's A Tough Title To Pinch!

Skip Ahead To The Year 2023, And 1st Science Is Far From Done. Hell, Didn't You Know He's Only Just Started Tuning Up The Bunsen Burner? From The Ones Who Brought You "You Time" And "First Sign Of Trouble", Yes Yes, Erupt Proudly Presents A Shiny New Ep From The Man, Featuring 5 Of His Finest Tracks On Wax For The First Time. If You're Familiar With The Earlier Digital Release Of This Ep, Don't You Worry, For Being Patient You Get The Exclusive Bonus Track "Everlasting Night" Here.

So What Are You Waiting For? 1st Science Invites You To Participate In An Experiment Which Requires Your Subwoofers. An Absolute Treasure Trove For Any Techno, Breaks, Or Uk Retro Rave Lover.

Ein ganz besonderes Disney-Erlebnis: weltberühmte Film-Ohrwürmer in Interpretationen einiger der größten Pop-Jazz-Stimmen!

2016 erschien erstmals ”Jazz Loves Disney”, nach dem großen Erfolg dann 2017 der Nachfolger ”Jazz Loves Disney 2 - A Kind of Magic”.
Beide Doppel-LPs waren viele Jahre vergriffen und sind nun endlich in Neuauflagen wieder erhältlich.

So habt ihr Def Leppard noch nie gehört: mit dem Royal Philharmonic Orchestra interpretieren die britischen Heavy Metal Ikonen ihre größten Hits und persönlichen Favoriten neu. ”Drastic Symphonies” enthält die besten Songs von Def Leppard größer und mitreißender als je zuvor und erscheint nun in mehreren Vinyl- und CD-Versionen.

”Wir wollten nicht einfach nur das Orchester über unsere bisherigen Aufnahmen klatschen”, erklärt Gitarrist Phil Collen. ”Wir haben neue Parts eingespielt, bestehende Sounds neu abgemischt, teils
unsere Instrumente rausgenommen, um dem Orchester Raum zum Atmen zu geben – also buchstäblich ein neues Album gemacht.” Ein ganz besonderer Clou: an einigen Stellen duettiert Sänger Joe Elliott sogar mit seinem 22-jährigen Selbst!

Das Album ist nun als 1CD, Ltd. 1CD + Blu-ray und als Ltd. Edt. 2LP erhältlich.

New album from Jason Isbell and the 400 Unit, tackling issues such as gun violence, the opioid crisis, and women's rights all through Isbell's signature songwriting lens. Weathervanes is a collection of grown-up songs: Songs about adult love, about change, about the danger of nostalgia and the interrogation of myths, about cruelty and regret and redemption. Life and death songs played for and by grown ass people. Some will make you cry alone in your car and others will make you sing along with thousands of strangers in a big summer pavilion, united in the great miracle of being alive. A Jason Isbell record always lands like a decoder ring in the ears and hearts of his audience, a soundtrack to his world and magically to theirs, too. Weathervanes carries the same revelatory power. This is a storyteller at the peak of his craft, observing his fellow wanderers, looking inside and trying to understand, reducing a universe to four minutes. He shrinks life small enough to name the fear and then strip it away, helping his listeners make sense of how two plus two stops equalling four once you reach a certain age - and carry a certain amount of scars. Jason Isbell has established himself as one of the most respected and celebrated songwriters of his generation. The North Alabama native possesses an incredible penchant for identifying and articulating some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry through song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty. The record features the rolling thunder of Isbell’s fearsome 400 Unit, who’ve earned a place in the rock ‘n’ roll cosmos alongside the greatest backing ensembles, as powerful and essential to the storytelling as The E Street Band or the Wailers.