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African Music that will move your mind to this special combination of highlife, funk and jazz

Zwei Tracks aus dem aktuellen Album von The Mobile Homes werden von zwei der Größten der Szene geremixt: 'Once Upon A Time I Was Handsome', geremixt von Pete Gleadall & 'The Sorrow Stays For Good', geremixt von Albin Myers.
Pete Gleadall hat mit Künstlern wie den Pet Shop Boys, George Michael, David Bowie, Robbie Williams, Madonna, U2, Kylie und Take That gearbeitet.
Albin Myers ist bekannt für seine Remixe und Arbeiten mit Künstlern wie AVICII, Foo Fighters, David Guetta & ODZ, um nur einige zu nennen, aber
aber auch für seine eigene Musik, die weltweit über Millionen von Streams hat.

Drum Chums Vol. 5 marks the arrival of Captain Attractive, an international man of mystery, head-nod hero and edit expert whose many masterpieces inspired us to pick up the scalpel in the first place.
Last seen leaving Berlin on a world tour, this legend parked the Red Motorbike outside Talking Drums HQ and treated us to a lesson in San Fran sleaze, hippie disco and MPC bump.

The A side opens with the sticky funk of 'It's More Fun 2 Make Love', a pitched-down disco cruiser extended for the tantric dance floor and mastered on an old porno VHS. Sultry, slinky and rated X.
We're always hungry after the act and graciously Captain Attractive is on hand with a donut called 'Memories' to close out the A-side, looping some sweet soul into the kind of hypnotic hip hop as house romper which defined beatdown way back when.

The Captain takes the yacht to the Med on the B1 with the super Balearic groove of 'Dreamer', an astounding combination of dexterous bass, choral vocals and rolling piano, all set to the shimmy of hippie percussion. It could be a Laurel Canyon memory, an Xtian obscurity or something much deeper, but it's definitely twelve minutes of sunset bliss - just wait until my guy flips the script after seven minutes!
The dude drops the curtain with another bitesize portion of MPC mastery, cutting up some thick wax guitar and cool keys over a swung groove for 'Ghana Do It'.

Captain Attractive taking you where you want to go.

100% Drum Fun Guaranteed.

Als renommierter Produzent, der für seine innovativen Produktionen und sein Gehör gelobt wird, ist Pete Rock weithin als einer der einflussreichsten Hip-Hop-Produzenten aller Zeiten anerkannt. Als Pionier der Verschmelzung von Jazz, Funk und Soul im Hip-Hop gilt er für viele als Wegbereiter einer gefühlvollen Produktion im Hip-Hop. Er revolutionierte die Rap-Produktion mit seinen Studiotechniken, machte Remixe wichtiger als Originalsongs, etablierte Ad-Libs als Standard für Aufnahmen ... und die Liste geht weiter. Pete Rock hat mit großen Namen wie Run-D.M.C, Public Enemy, J Dilla und Busta Rhymes etc. zusammengearbeitet und seine Arbeit als Produzent hat sich in über 25 Millionen verkauften Alben weltweit niedergeschlagen.

Radio Mars is really happy to present you this new artist on the red planet !

Tomas is a punk at heart (a real one)

For this release he was able to mix all styles because he is not linked to any and that’s what makes his charm! His music appropriates the space in a particular way because it bewitches you and never lets go. Melancholic melody, devastating kick a kind of perverse decadence in which the poetic song is linked. Her soft voice comforts you in her sequences of Electro, ghetto, breaks, feverish techno in which you can guess the heat of sweaty bodies…A real job in transitions and choices…

DJ Frankie by his remix gave his hot and nasty side, he respected the original while putting his touch to it, a high-flying track that will easily turn any dance floor. Well done Frankie

This record is a marvel!

Longtime Daptone Hammond ace, Adam Scone was seduced when his travelling performances brought him from Brooklyn, New York to Brooklin, Brasil, where he found a trove of new love and music. Produced by Bosco Mann, and featuring Jimmy James (True-Loves, Delvon Lamarr Organ Trio) on guitar and Neal Sugarman (Sugarman 3, Sharon Jones and the Dap-Kings) on tenor sax the group took this newfound inspiration into the studio and tracked some of the freshest soulful music we've heard in some time.

With help from his intergalactic choir, the opening track, "Cold 40's", leaps out of the speakers with the screaming organ sound that has put Scone on the short list of goto organ players. The Hammond then gives way to a dreamy, funky groove that's perfectly seasoned with ethereal background vocals that will transport you to a place where summer is on repeat. "Brooklyn to Brooklin” brings you deep into a fever-dream of tropical rhythms and seductive flourishes of psychedelia, sure to delight dancers and dreamers alike. Come take a trip!

Tracklisting

DJ Steve's third EP for Klasse Wrecks delves deeper into the sonic universe of the Sheffield producer's arsenal, a slow but deliberate progression can be traced from the previous EPs. Whereas 'Secret Touch' and 'Mainline' ploughed a path made more by the lighthearted genres of UK Hardcore and Yorkshire Bleep, 'Reality' sinks lower into heady vibrations of psychedelia and heavy acid hallucinations. The producer again shows off his musical flair and control of his machine kingdom, every sound perfectly placed on the sound canvas. Classic 303 lines writhe under 101 basslines whilst 808 hihats shuffle over recognisable breakbeats, proving some things never go out of style.

Back In The World of Adventures Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Retropolis Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Stardust We Are Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Stardust We Are’ was the bands third studio album, and first double-album. It features the epic 25-minute title track which has since become one of the bands signature songs. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork. Flower Power Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Flower Power’ was the bands fourth studio album, and second double-album. It features the nearly 60 minute epic ‘Garden of Dreams’. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork.

Back In The World of Adventures Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Retropolis Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. First up are 1995’s Back In The World of Adventures & 1996’s Retropolis, which both featured the line-up of Roine Stolt, Tomas Bodin, Michael Stolt, Jaime Salazar, Hasse Fröberg, Ulf Wallander and Hasse Bruniusson. They will be available as Ltd CD Digipak & Gatefold 2LP+CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork and photo material from that period. Stardust We Are Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Stardust We Are’ was the bands third studio album, and first double-album. It features the epic 25-minute title track which has since become one of the bands signature songs. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork. Flower Power Swedish progressive rock legends The Flower Kings, and longtime label-partners InsideOutMusic, will begin an extensive reissue campaign in 2022, which will see the entire catalogue of the band reissued on CD & Vinyl in remastered editions, with it being the first time many of the albums have been available on wax. ‘Flower Power’ was the bands fourth studio album, and second double-album. It features the nearly 60 minute epic ‘Garden of Dreams’. They will be available as Ltd 2CD Digipak & Gatefold 3LP+2CD & LP-booklet, both featuring remastered and partly remixed audio and expanded artwork.

Something Else bietet 13 klassische britische Popsongs
von The Kinks. Diese konzentrieren sich auf nostalgische
und sentimentale Themen und ziehen sich von den
psychedelischen und modischen Haltungen, die die
Rockwelt beherrschten etwas zurück. Something Else
klingt wie nichts anderes aus dem Jahr 1967. Die Kinks
schalten auf diesem Album einen Gang zurück und
bevorzugen akustische Balladen, Dancehall-Nummern und
gemäßigten R&B. Von dem martialischen stampfenden
"David Watts" bis zum lieblichen, schimmernden
"Waterloo Sunset" gibt es keinen schwachen Song auf
der Platte. Und ebenso beeindruckend ist das Auftauchen
von Dave Davies als Songwriter. Sein dylaneskes "Death
of a Clown" und der
bluesige Rocker "Love Me Till the Sun Shines" können
mit Rays Meisterwerken mithalten und tragen dazu bei,
dass Something Else zu einem faszinierenden Album
geworden ist.

2022 Repress !!

2x12" 180g Vinyl LP w/ Download Card.
The dub master Radikal Guru returns to the trusted Moonshine Recordings to deliver his third album, which highlights his refreshing take on the beloved, dub sound of 2016. A selected few of the cuts involve exciting collaborations that are not to be missed.

Similar to King Yoof's recent album endeavour called 'Homage To The King', Radikal Guru exerts his speciality in various tempo ranges with the 'Dub Mentalist' LP. The result is just as exciting as his existing back catalogue; all mastered to meet the requirements of the true Moonshine vibration.

The polish producer once again shows appreciation to both the dancefloor fans and the more meditating listeners. Fusing his compelling sound in dub, reggae and dubstep with timeless, old school samples makes every release a reminiscing journey. The amount of dread and energy will most definitely spark a riot across the globe.

Radikal Guru executes his mix-up of dub by incorporating a dose of happiness and psychedelics. The effects take over the mixes in wild fashion; delays spin off the tasty spring reverberation tails, delivering a comfortable setting. Radikal's horns, including the trumpet, saxophone and trombone joined the Radikal Guru's live melodica to complement each other in rhythm and sound.

The collaborations featuring Moonshine familiars Jay Spaker, Echo Ranks, Solo Banton, Violinbwoy and Earl 16 bless the righteous sound waves, as the bassweight, immersive vocals and tight arrangements speak for themselves. Whether it is the bass weight, vocal parts or simply the rhythms, you know exactly when Radikal Guru's music is being played on a true sound system.

The contribution of the polish dub genius, to the healing of the nations and to global dub culture trembles, as he immediately reveals why his 'Dub Mentalist' LP forms an important chapter in our history of Moonshine Recordings material.

Ltd.Gatefold black 2 x 180 g LP+CD & LP-Booklet
Die schwedischen Progressive-Rock-Legenden The Flower Kings und ihr langjähriger Labelpartner InsideOutMusic starten 2022 eine umfangreiche Reissue-Kampagne, in deren Rahmen der gesamte Katalog der Band auf CD und Vinyl in remasterten Ausgaben neu aufgelegt wird, wobei viele der Alben zum ersten Mal auf Vinyl erhältlich sein werden. Das nächste Album in dieser Reihe ist das fünfte Album der Band, 'Space Revolver', auf dem Jonas Reingold am Bass zu hören ist. Es wird erhältlich sein als Ltd. CD Digipak & Gatefold 180g 2LP+CD & LP-Booklet (zum ersten Mal!), beide mit remastertem und teilweise neu abgemischtem Audio und neuem Artwork.

THE BOBBY LEES, fresh off an extensive European tour that
included the Woodstock, NY-based band’s first stint in the UK,
wowing audiences and critics alike (“screaming feedback,
howling vocals, and a thumping beat suggest that rock’n’roll is
still very much alive” - The Arts Desk), the Sam Quartin-led
quartet announce the release of their Ipecac Recordings’ debut
album, ‘Bellevue’.
 The 13-song album, which was recorded live in-studio, was
produced by Vance Powell (Jack White, Chris Stapleton, The
Raconteurs).
 Iggy Pop, Debbie Harry, Henry Rollins… these are just a few of
the punk icons who have shown support for the band. Sam
Quartin (vocals, guitar), Macky Bowman (drums), Nick Casa
(guitar) and Kendall Wind (bass) make music that is punk in
spirit and soul; unfettered and resolutely honest. To say their
sound is wild and untethered is an understatement. It’s the kind
of aural exorcism any listener can tap into, something that
struck a chord with Henry Rollins who brought them to Ipecac
Recordings where Mike Patton and Greg Werckman signed
them.
 Two European tours in the past year plus their first ever UK tour
in Summer 2022.
 “THE BOBBY LEES’ music, with its Sonic Youth-ian freakouts
and barebones grit, is kind of like the best bad trip ever.” -
Consequence
 “... deliciously sleazy garage rock ‘n’ roll. It’s an old-school
adrenaline rush, overrun with jagged guitar work and vocals that
recall the spit and vigor of CBGB’s in the ’70s.” - Guitar World

Kinda Kinks ist das zweite Album der englischen Rockband the Kinks, das 1965 veröffentlicht wurde. Aufgenommen und veröffentlicht innerhalb von zwei Wochen nach der Rückkehr von einer Tournee in Asien. Das Album ist ein großer Schritt nach vorne in der Fähigkeiten von Ray Davies und der Band. Sie sicherten sich einen ersten Platz in den britischen Single-Charts mit "Tired of Waiting for You", das gesamte Album stieg auf #3. Ursprünglich veröffentlicht von Pye in Großbritannien am 5. März 1965 und jetzt von BMG auf schwerem
schwarzem Vinyl im Jahr 2022 wiederveröffentlicht.

Das Album enthält auch die Kult-Lieblingsstücke 'Look For Me Baby", "Come On Now", "Something Better Beginning" sowie sowie "Nothin' in This World Can Stop Me Worryin' 'Bout That Girl", mit dem sie in Sachen Ernsthaftigkeit ganz vorne in der der British Invasion in Bezug auf Ernsthaftigkeit und Komplexität, vor vor den Beatles oder fast allen anderen Mitbewerbern Konkurrenten Anfang 1965, aber das hinderte sie nicht dara zum bluesigen "Naggin' Woman" überzugehen.

Ltd.Gatefold black 2 x 180 g LP+CD & LP-Booklet

Die schwedischen Progressive-Rock-Legenden The Flower Kings und ihr langjähriger Labelpartner InsideOutMusic starten 2022 eine umfangreiche Reissue-Kampagne, in deren Rahmen der gesamte Katalog der Band auf CD und Vinyl in remasterten Ausgaben neu aufgelegt wird, wobei viele der Alben zum ersten Mal auf Vinyl erhältlich sein werden. Das nächste Album in dieser Reihe ist das sechste Album der Band, 'The Rainmaker'. Es wird als Ltd. CD Digipak & Gatefold 180g 2LP+CD & LP-Booklet (zum ersten Mal!) erhältlich sein, beide mit remastertem und teilweise neu abgemischtem Audio und neuem Artwork.

The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).

Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:

Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).

Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .

The album Oracle' was recorded on one day, only first takes were used!

We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).

Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.

Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.

Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.

From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.

Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.

Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.

Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.

“I think it’s a mistake to equate ‘perfection’ with flawlessness. To be human is to be perfectly flawed,” Johanna Warren observes while describing the joys of analog recording. Her new LP Lessons for Mutants was tracked live with a band to two inch tape—a revelatory new way of working for Warren. “Tape forces you to commit to a performance, eccentricities and all. The little glitches and anomalies that we’re tempted to ‘correct’ are often what make a thing magical.”

Lessons for Mutants is the prolific songwriter’s sixth solo LP and her second for Wax Nine/Carpark Records. The album’s running theme of metamorphosis (the title of the closing track, “Involvulus,” is Latin for “caterpillar”) reflects major changes in Warren’s personal life: after a decade of relentless touring, as the world was closing its borders, the American multi-instrumentalist unexpectedly found herself quarantining in rural Wales, where she’s now permanently homesteading.

Though tracking for the new album began in New York in 2018 in tandem with the sessions for 2020’s Chaotic Good, the majority of Lessons for Mutants was recorded in the UK surrounded by sheep, cows and a forager’s paradise of wild edible plants—a far cry from the urban jungle of LA that Warren had most recently called home. The body of work that emerged from this dramatic about-face is Warren’s most dynamic to date, shapeshifting seamlessly from searing punk screams to sparkly psych-folk soundscapes, from the bootleg ambivalence of Dylan’s Basement Tapes to cosmic stoner grooves reminiscent of Black Sabbath’s acoustic moments.

“Sometimes I can relate to myself/ I disassociate more than I’d like to, but what can you do?” Warren croons in “Tooth for a Tooth,” a wistful piano ballad that conjures the grainy romance of some smoke-filled 1940s jazz club. This kind of to-the-bone lyrical honesty has always been one of Warren’s strong suits, but these latest reflections are especially unflinching. Being forced to stop touring brought no shortage of self-examination for Warren, who quickly came to view her history on the road as an addiction from which she’s been detoxing. This sentiment dances through opening track “I’d Be Orange,” a drum-driven indie rock number replete with Beatles-esque male backing vocals: “Thirst for power, hunger for fame/ Always was a junkie for pain,” Warren confesses. This exploration of masochistic ambition and artistic martyrdom overflows into grunge anthem “Piscean Lover”: “It’s alright, we’re not ok/ We burn out not to fade away.”

“There’s this unspoken rule in modern music—modern life, really—that everything needs to be Auto-Tuned and ‘on the grid,’” Warren concludes. “This record is an act of resistance against that. There’s beauty and power in our aberrations, if we can embrace them.”

Anthology introducing the first of a series of albums based on the concept of Aquapelago.

‘’ Since the earliest days of the planet there has been a rhythm of tides that creates coastal interzones where humans have foraged and pursued various livelihoods. Developing boats to fish from and technologies that enabled them to immerse themselves deep underwater, the aquatic realm has been one explored, experienced and imagined in various ways. In an effort to express the vitality and richness of this environment I coined the term aquapelago in 2012. The wordplay was deliberate. The neologism was designed to distinguish the liquid inbetweenness of this space from the dry, scattered, lands of archipelagos.

The concept of the aquapelago coalesced around themes taken from various places. Epeli Hau’ofa’s idea of an Oceanic “sea of islands’” was formative but a number of songs were also inspirational. Torres Strait islander Seaman Dan captivated me with his experiences of pearl diving in the Darnley Deeps in his song ‘Forty Fathoms’ and Norfolk Islander singer Kath King imaged how sea-turtles might have experienced ecological change in her song ‘Tech me how fer lew’. Other reflections on watery realms also appealed. Debussy’s solo piano piece ‘La cathédrale engloutie’ soundtracked me as I researched myths of lost Lyonesse while Mike Cooper’s Kiribati, an ambient exoticist album about the imperilled archipelago (recently re-released on Discrepant), caused me to reflect on the social and cultural impact of sea level rise before that topic became a high-profile concern.

This compilation album takes the concept of the aquapelago into new depths and breaches it on fresh shores. The tracks are soaked with the aquatic. Bassy sonorities boom as if heard deep underwater. Bubbly textures breach the surface, water drips and seabirds soar high above waves. Sugai Kei samples fragments of text concerning the Ningen, a fantastic humanoid/whale that reflects the ‘aquapelagic imaginary’ of modern Japan and its preoccupation with industrial whaling. Andrew Pekler continues the orientation of his Phantom Islands project - a sonic atlas of imaginary places - with a soundscape as if heard by a swimmer just offshore, mixing sounds of the island and the sea together. Mike Cooper’s sonic reflection on Hong Kong’s Lamma Island is similar, combining the island’s ubiquitous barking dogs with the slurp of waves on rocky shores, conjuring a languorous time before Chinese crackdowns on the territory.

Taking another tack, the Dead Mauriacs gleefully water-ski through collage of tropical island exoticisms, replete with glitchy orientalism, while Babau combines skittering idiophone melodies with resonant glissandi. Vica Pacheco moves between dense and airy sounds, as if crossing between surf lines and the space above. Yannkick Dauby’s track is also imbued with in-betweenness, evoking ambient sounds heard through a ship’s hull. Sculpture’s ‘Froth Surfer’ realises its title, with bubbling sounds and rhythms that evoke Hawaiian surfing filtered through layers of time and distance. Reminding us of the shore necessary for aquapelagic spaces, Franceso Cavaliere and Tomoko Sauvage’s composition anchors the album, centred around shaken rhythms and resonant ringing tones and drones.

Taken together, the album sketches the contours of the aquapelago as it might be imagined and conjured in sound – an endless oceanic realm that laps on to beaches and crashes against cliffs. The performers navigate this space under alternately starry and cloudy skies, orientating themselves with sounds, textures and sonic samples of their terrestrial homes while we float with them. ‘’
Philip Hayward December 2021

Acht neue Songs von Okkervil River Frontmann Will Sheff. Produziert von John Congleton (St. Vincent, The War On Drugs), Matt Linesch und Marshall Vore (Phoebe Bridgers). Ein bemerkenswertes Album und Sheff’s Solodebüt.

Inspiriert von den Texten von King Crimson, Joni Mitchell oder Bill Fay sowie den Bergen, Wüsten und Seen Südkaliforniens, seiner neuen Wahlheimat, jedoch überschattet vom Tod seines Freundes, Okkervil River-Drummer Travis Nelsen, besticht 'Nothing Special' mit teils verspulten Arrangements, die subtile Überraschungen enthalten und Verweise nahelegen auf barocken Pop, verschwommene Synthie-Balladen und Sci-Fi-Psychedelia der 70er und 80er Jahre. Eine emotionale Reise, die von Trauer und Verlust handelt und dem Versuch, sich einer transzendenteren Realität zu öffnen.

Unterstützt wird er dabei von alten und neuen Freunden, Gitarrist Will Graefe und Bassist Benjamin Lazar Davis, Singer/Songwriter Christian Lee Hutson, Dawes-Schlagzeuger Griffin Goldsmith und Death Cab For Cutie-Pianist Zac Rae sowie Cassandra Jenkins und Eric D. Johnson (Fruit Bats, Bonny Light Horseman).

Acht neue Songs von Okkervil River Frontmann Will Sheff. Produziert von John Congleton (St. Vincent, The War On Drugs), Matt Linesch und Marshall Vore (Phoebe Bridgers). Ein bemerkenswertes Album und Sheff’s Solodebüt.

Inspiriert von den Texten von King Crimson, Joni Mitchell oder Bill Fay sowie den Bergen, Wüsten und Seen Südkaliforniens, seiner neuen Wahlheimat, jedoch überschattet vom Tod seines Freundes, Okkervil River-Drummer Travis Nelsen, besticht 'Nothing Special' mit teils verspulten Arrangements, die subtile Überraschungen enthalten und Verweise nahelegen auf barocken Pop, verschwommene Synthie-Balladen und Sci-Fi-Psychedelia der 70er und 80er Jahre. Eine emotionale Reise, die von Trauer und Verlust handelt und dem Versuch, sich einer transzendenteren Realität zu öffnen.

Unterstützt wird er dabei von alten und neuen Freunden, Gitarrist Will Graefe und Bassist Benjamin Lazar Davis, Singer/Songwriter Christian Lee Hutson, Dawes-Schlagzeuger Griffin Goldsmith und Death Cab For Cutie-Pianist Zac Rae sowie Cassandra Jenkins und Eric D. Johnson (Fruit Bats, Bonny Light Horseman).

Ambolley is revered as the Simigwahene in Ghana – The King of Simigwa-Highlife. Because of his deep, soulful, and funky Highlife sound, he is also sometimes referred to as the “James Brown of Ghana.” And not without reason. His blend of Highlife, Funk, Jazz, Soul, and proto-Rap was and is still exhilarating. He learned music from outstanding artists like Sammy Larteh and Ebo Taylor, with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. Now, after more than 40 years active in music and his numerous albums, Gyedu-Blay Ambolley is a living legend, too. Gyedu-Blay Ambolley exploded on the music scene in 1973 with a jazzy, funky, and soulful Highlife sound he called SIMIGWA-DO. Building his own Simigwa style and leaving traces around the world, today the versatile, irrepressible and highly revered singer, composer, bandleader, multi-instrumentalist, producer, and “musical-life-force” has more than 30 music albums to his credit. On his new album "GYEDU-BLAY AMBOLLEY AND HI-LIFE JAZZ" you can hear his versions of some classic Jazz tunes like "Round Midnite", "Love Supreme", Footprints" and "All Blues" as well as some new compositions by the Simigwa - Man himself.

For most of us, life is a series of human interactions; some good, some bad, some happy, some sad. But what would life be without those peripheral characters who plant themselves into our worlds through the sheer force of their presence? Whether we speak to them or not, those vibrant contrasts to the everyday tide of ordinary people are a magical part of the human experience. Oddballs and misfits, flamboyant instigators or low-key game changers, we all clock them on our own hectic journeys, and they make the day a little brighter. Everyone has their favourite people.

Following the runaway success of their first one-shot single in 2020, Favourite People reconvene for a full-length of blues-tinged cuts stemming from sessions at Selva Studios in Brooklyn. The project’s roots predate the studio, from scattered jams and sweaty nights in New York nightspots to impromptu recordings on cruise ships, but the flashpoint of inspiration that truly set the album in motion was the arrival of a blonde 1960s Fender Telecaster. From there, the motley crew of sharp-shooting string slingers and sticks men set about crafting paeans to those striking souls who make the world a more colourful place.

The emphasis here is on the kind of forward-facing, electrically charged mix you felt (whether you realised it or not) hearing early Sabbath or Priest for the first time. With their undeniable bias towards vintage soul, Favourite People are far from heavy metal, but the same lineage of blues and by extension jazz informs the music, while the tonal crunch of that 70s era guides the sound. Feasting on tasteful overdrive and leaning on the unmistakable flavour of tape for much of the recording, the deal was sealed on this purposeful exercise in vibe thanks to the near-mythical texture of Guy Davie’s EMI Nigeria console at Electric Mastering.

Across the album there are mellow shades and bursts of good-time get-down exuberance, but the lead singles capture the essence of the band in no uncertain terms.

‘Promise Of Nibbles’ brings the Favourite People MO into sharp relief with a low-slung, hard swinging blues confection full of overheating organ and duelling guitars in pursuit of Southern-stewed boogie (im)perfection.

‘We’ll Be Late To The Party’ turns up the tempo and dials in the fuzz, striking an anthemic note which lands somewhere between urgent highway escapism and euphoric communal revelation.

‘Mass and Mustiness’ leans in on the funk dimension of the group’s sound with the sweetest licks and chops on that fabled telecaster backed up by an acutely angled beat and the slinkiest of b-lines.

These are but three of the vibrant vignettes laid down by this quietly unassuming collective of heads down jammers, loose groovers and vintage sound freaks –heavy grooving instrumentals pulled from their own moments of pure musical magic and captured on disc for your listening, dancing, living, loving pleasure.

In the autumn of 2003, Flunk - then consisting of producer/vocalist Ulf Nygaard, singer Anja Øyen Vister, guitarist Jo Bakke and drummer Erik Ruud - booked in at the Hotel de Roubaix in Paris. The framework for their second album "Morning Star" was recorded during a busy week in the Paris hotel room, before being worked out and finished in their Oslo studio early 2004.

The album was licensed to Kriztal Recordings in the USA the following year, and their version of the album included five tracks not on the original Beatservice Records versions, and omitting the Kinks cover "All Day and All Of The Night".

On this expanded edition of the album, all of the US bonus tracks are included to the original Beatservice Records tracklisting, making it a 14 track album.

Two cover song are included: The Kinks' "All Day and All Of The Night", performed as a duet by Anja and Ulf. The cover is the most up-tempo track on the album, capturing the energy of the original Kinks' classic in Flunk's slightly odd way. There is also an acoustic live-in-studio version of New Order's "True Faith". But most of all "Morning Star" includes very strong original material. Both the title track "Morning Star", and the singles "On My Balcony" and "Blind My Mind" showcases the songwriting talents of Flunk.

The track "Play" didn't make it on the original release of the album. But the band did a total makeover of it for the US release, and the track ended up as the feature song in an episode of the show "The O.C.", and on the fourth "The O.C." compilation album.

Other tracks included from the US version of "Morning Star" are the beautiful "Probably" (originally recorded for the debut album "For Sleepyheads Only"), the New Order classic, "True Faith" (a different version than the b-side to "On My Balcony"), the poppy "Skysong" and the lush "All My Dreams On Hold".

"Folk electronica" has been used by a.o. american press to describe Flunk, and on the "Morning Star" album, they have evolved this further. The album is pure indie pop, less electronica - all tracks built around Jo's trademark guitar sound and the voice of Anja Øyen Vister.

"Morning Star" is an instantly tuneful pop injection, now further expanded and with a new superb sounding 2022 24-bit re-master.

Long time supporters of Kniteforce will be well aware of the truly amazing series, Remix Records & Kniteforce presents ‘The Remix’s’, and here we have Part 17! All the records in this series are insanely good and this EP does not disappoint. To start we have the mighty Bay B Kane taking one of Phuture Assassins newer tracks and turning it into an amazing jungle track, using the original vibe and cranking it up to the maximum with a proper early Bay B Kane style. Next is an absolutely mental remix from Heavy Systems Inc. of an already mental track! One of NRG’s most insane tracks gets the rough and raw treatment that HSI is known for, drawing on the underground sound of 1992. The action doesn’t stop on the other side either! The living legend that is Austin takes an already hugely popular track from Sunny & Deck Hussy and absolutely sprinkles it with awesome. This is Austin at his best, and it shows how he has not missed a step in 3 decades of music production. Rounding out this installment is The BradderCase remix of Stu Chapman’s Rude Boy. The duo of BradderCase, aka Paul Bradley and The Lowercase, took this Stu Chapman track and flipped it on its head. Extracting the energy from the original and lighting a fire under it, showing that hardcore can be fun and serious at the same time.

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a prolific phase of collaboration for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material.

Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, »Tan-Tan Therapy« was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and the excellent »Live Wanderus« (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group’s extended musical family. It opens with one of Tenniscoats’ signature songs, the pop fantasia of »Baibaba Bimba«, with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in »Baibaba Bimba«: uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy.

From there, »Tan-Tan Therapy« explores many hues of lustrous blue. »Oetu to kanki no Namoriuta (Given Song of Sob and Joy)« is an aquatic arbour, the musicians’ gentle performances growing together like vines and seaweed as Saya’s voice swims through the waterway. »Umbarepa!« is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. »Abi and Travel« floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; »Good B.«, an extra track originally only available on the Japanese edition of »Tan-Tan Therapy«, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido.

Throughout, you can sense the deep empathy the members of Tenniscoats and Tape have for one another. It’s a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness, with each of the players contributing to the community of sound they’re building. There’s an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of »Marui Hifo (Everyone)«, which echoes the seaside drift of Bristol post-rock group Crescent, and the following »One Swan Swim«, a dreamsong redolent of the sleepy sensorium of Robert Wyatt’s »Rock Bottom«.

The freedom and liberty at the heart of Tenniscoats is something Tape and their friends have picked up on, beautifully so, and run with during the entirety of »Tan-Tan Therapy«. This is music with its wings outstretched, wanting to take to the air, ready to fly.

”Omnium Gatherum” bietet mit seinen 16 Tracks ausweitläufigen Prog-Jams, schwindelerregenden PopNuggets, gummibeinigen Hip-Hop-Odysseen und reinen Thrash-Metal-Passagen sowohl für Gizzard-Fans als auch für Neulinge jede Menge Stoff zum Kauen.

Typischerweise verfolgen Gizzard-Alben ein einziges Thema oder einen Stil - zum Beispiel die Öko-Metal-Barrage von ”Infest The Rat’s Nest”, der New-AgeTrance-Pop von ”Butterfly 3000” oder die endlosen Garagen-Prog-Verrenkungen von ”Nonagon Infinity” -
ein Teil des Nervenkitzels von ”Omnium Gatherum” wiederum war für die Gruppe die Möglichkeit, neue Ideen zu entwickeln, ohne sich zu verpflichten, ein ganzes Album in dieser Richtung zu liefern.


Es ist der perfekte Einstiegspunkt für Neulinge und ein solider Leckerbissen für treue Fans. ”Omnium Gatherum” war als Kompendium unveröffentlichter Songs gedacht, die auf früheren GizzardAlben keinen Platz gefunden hatten, und schon bald schrieb und nahm die Gruppe neue Songs für das schnell wachsende Album auf. Die Tracks wurden im Gizz-Hauptquartier, aber auch in ihrem legendären, inzwischen verlassenen Clubhaus in der 253 Lygon Street aufgenommen.

Textlich sind die Themen vielfältig, doch die Sorge der Gruppe um das ökologische Wohlergehen des Planeten bleibt eine Konstante. Einige
Tracks kehren zu den Synthie-Psych-Visionen von ”Butterfly 3000” zurück, andere greifen die fiebrige Thrash-Metal-Attacke auf, die Gizzard auf dem 2019er Album ”Infest The Rat’s Nest” prägte.

Geboren in Ipswich, England, als Sohn eines Vaters, der beim Militär war, und einer Opernsängerin, verbrachte Bartees Leon Cox Jr. eine bewegte Kindheit, bevor er sich schließlich in Mustang, Oklahoma, niederließ. Bartees spielte in diversen Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und später in der Umweltbewegung arbeitete. Seitdem er seinen Weg als Solokünstler eingeschlagen hat, hat Bartees Strange zwei hochgelobte Platten in kurzer Folge veröffentlicht: eine EP, die Songs von The National neu interpretiert ("Say Goodbye To Pretty Boy", 2020) und sein Debütalbum "Live Forever" (2020). Während sein Debütalbum sich als persönliche Landkarte der Orte, die den Musiker geprägt haben (Flagey Brussels, Mustang Oklahoma) darstellte, stehen dieses Mal die Personen im Fokus, die Bartees am nächsten stehen und seine Reise bis hier hin mit ihm bestritten haben. Gleichzeitig hinterfragt sich der aufstrebende Musiker darauf stetig, um nicht seine eigene Herkunft zu vergessen. Somit zelebriert er auf 10 Songs die eigene Vergangenheit, richtet sich gen verheißungsvolle Zukunft und genießt den Augenblick.

Geboren in Ipswich, England, als Sohn eines Vaters, der beim Militär war, und einer Opernsängerin, verbrachte Bartees Leon Cox Jr. eine bewegte Kindheit, bevor er sich schließlich in Mustang, Oklahoma, niederließ. Bartees spielte in diversen Hardcore-Bands in Washington D.C. und Brooklyn, während er in der Regierung von Barack Obama und später in der Umweltbewegung arbeitete. Seitdem er seinen Weg als Solokünstler eingeschlagen hat, hat Bartees Strange zwei hochgelobte Platten in kurzer Folge veröffentlicht: eine EP, die Songs von The National neu interpretiert ("Say Goodbye To Pretty Boy", 2020) und sein Debütalbum "Live Forever" (2020). Während sein Debütalbum sich als persönliche Landkarte der Orte, die den Musiker geprägt haben (Flagey Brussels, Mustang Oklahoma) darstellte, stehen dieses Mal die Personen im Fokus, die Bartees am nächsten stehen und seine Reise bis hier hin mit ihm bestritten haben. Gleichzeitig hinterfragt sich der aufstrebende Musiker darauf stetig, um nicht seine eigene Herkunft zu vergessen. Somit zelebriert er auf 10 Songs die eigene Vergangenheit, richtet sich gen verheißungsvolle Zukunft und genießt den Augenblick.

If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music.
Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

For Fans Of: Aasha Puthli / Grace Jones / Minnie Ripperton/ The Supremes/ Love Apple / Kendra Morris. Previous debut 45 garnered much acclaim from KCRW, the BBC, Albumism, and countless more. The band consists of Piya Malik (El Michels Affair, former 79.5 and backing singer for Chicano Batman), Nya Parker Brown (former 79.5), and Sabrina Cunningham. Housed in a spot-glossed LP with exclusive lyric / photo insert. The highly anticipated debut LP from Say She She, the all female discodelic soul band that will transport you with their dreamy harmonies, catchy hooks and up tempo grooves! The band's sound is a hat tip to late 70’s girl groups with the three strong female lead voices of Piya Malik (featured in El Michels Affair, and backing singer for Chicano Batman), Nya Gazelle Brown, and Sabrina Cunningham - whose vocals soar through a set doused heavily with funky bass lines, rhythmic wah guitar, melodic synths and lilting bansuri flute lines, bursting into a seamless blend of dreamy harmonies and catchy hooks. A multicultural, multi-instrumental, collaborative melting pot, pulling sounds and styles from all corners of their record collections. The largely self-produced debut album ‘Prism’ features contributions from Dap Kings Joey Crispiano & Victor Axelrod, Max Shrager (The Shacks) Bardo Martinez (Chicano Batman) Nikhil Yearwadekar (former Antibalas) Andy Bauer (Twin Shadow) and Matty McDermot (NYPMH). “The funkiest sh*t we’ve heard in a while” (KCRW) // “A glorious overload of joyful elation and spiritual elevation”

Star Feminine Band: a 2020 debut, first journey and a 2022 return! Though not exactly a world music label, Born Bad took up the challenge and released Star Féminine Band's debut album in late 2020. Heaps of acclaims and praise and the whole shebang, then boom: the tour that was to materialize, live, all of the band and its entourage's hopes got cancelled due to Covid. After a long delay, the band finally managed to get to Europe, performing on the Transmusicales Festival, as well as for TV stations like Arte, TV5 and BBC to much acclaim. "Once they played, Born Bad and the band clearly had a "mission accomplished" feeling - that all the energy put into this was worth it, starting with the critics who abounded at the Transmusicales to weigh the phenomenon. They left convinced, just like the audience, enthralled by the direct, live formula. The sequel to the adventures of these new ambassadors for Unicef? They persist and sign with a feverish and energetic soundtrack in which nabo, peulh and waama are enlivened with drum lines and spiced up with more "modern" sounds, spreading words of tolerance and kindness. Simple and direct, they speak of their reality, of the ills of young women who don't always have a choice. Often out of school and destined to selling peanuts, bananas or gari on the roadside, most of the girls around there don't have a future. Forced marriage, precocious pregnancies_ "These kids are heroines!", continues Born Bads JB who, by welcoming them in a record studio, allowed for the formula to be sharpened into a sort of garage band with an afro twist. Thanks to the English lessons that their manager Jérémie Verdier has been providing every Sunday night for two years over videoconference, the girls even experimented with English lyrics in "We Are Star Feminine Band" and "Woman Stand Up". In Paris is the happy outcome of that challenge. Vinyl LP in printed under sleeve with French + UK linernotes + Download code * Digipak CD includes 12 pages booklet with French + UK linernotes.

Gustav Ejstes has always been on his way to someplace else. The Swedish musician has been making records as Dungen for two decades now, and while he’s lauded as one of the sharpest and most adventurous musicians in psychedelic music since 2004’s breakthrough Ta det lungt, for Ejstes psych has always been only a starting point. Or maybe it’s something more like an ethos—psych with its promise of exploration, the way it prioritizes seeking out new sounds, of leaving the old self behind, of setting into the ether to see what else might be out there. En Är För Mycket och Tusen Aldrig Nog (One is Too Much and a Thousand is Never Enough) is the first Dungen record since 2016’s Häxan and the first proper Dungen studio album since Allas Sak was released in 2015. If we’re thinking of psych-rock as a genre, with its readymade tropes—fuzz guitars, shimmering harmonies, pastoral textures—it’s possibly the least psychedelic record Ejstes has ever made. But if psych is really about transcending what’s come before in favor of new ways of seeing and hearing, then the opposite is true. And that means En Är För Mycket och Tusen Aldrig Nog goes further out than any Dungen record before it. There are classic psych rave-ups, of course, and the kind of brilliant vocal harmonies Ejstes has long made his trademark. There are soft, shuffling grooves that transform into wide-eyed cosmic revelations. There are intimate songs guided by Ejstes and his piano, which he plays so gently it sounds like he’s trying not to wake someone in the next room.

Ginger Wildheart & The Sinners’ self-titled debut album is an energetic album that celebrates rock’n’roll and as Ginger explains it is in “the spirit of the music that we all collectively love, from childhood to the present day. The latest single, "Six Years Gone" by Georgia Satellites is the first song Ginger wanted to play with the band back when this was just an idea. “I became a bit obsessed with the song while in LA for Lemmy’s funeral, and carried it around in my heart from then until we all congregated at the studio.” Ginger Wildheart & The Sinners were formed in August 2019 when Ginger joined forces with Neil Ivison and Nick Lyndon from the band Stone Mountain Sinners. The line up was completed with drummer Shane Dixon (Tri-City Fanfare) and as Ginger explains “Me and The Sinners met for the very first time in the studio, in preparation for recording an album together. We figured out that if we can’t get along with each other then the music would be ultimately worthless. So we went to the pub and got drunk together. The next morning the music started flowing with ease. This is the sound of friendship.”

“If you can imagine a late 1960s folk-rock approach allied to a doomy atmosphere with added touches of lo-fi psychedelia, then you’re getting close to the timbre of Finland’s Hexvessel. There are clearly nods towards King Crimson, Black Sabbath, the Beatles, HP Lovecraft and The Doors, but what the band have managed to do is create something that belongs specifically to them.” – Malcolm Dome, Prog Magazine Hexvessel’s fan-favorite album from 2012, No Holier Temple, gets a luxury 10-year anniversary reissue via Svart Records! No Holier Temple was Psychedelic Forest Folk band Hexvessel’s second full-length album, released to critical acclaim, cult status and some of their biggest sales figures to date. The Finnish “mushroom-devouring pixies” follow up to 2011’s critically acclaimed debut album, Dawnbearer, was described by Roadburn Festival as “a passionate, urgent and gorgeously strange musical spell.” Hexvessel’s break-through album No Holier Temple reached new heights for the band with two Emma Gala (Finnish Grammy Awards) nominations. No Holier Tample also won two Femma awards, which is the Alternative Finnish Grammy Awards. Hexvessel played the prestigious Roadburn Festival in The Netherlands for the first time that year in the church venue of Het Patronaat. The festival sold out in 7 minutes. No Holier Temple also landed in the Main Finnish Charts at #20 and in Alternative charts at #7. No Holier Temple fuses the acoustic 70s folk vibe of its predecessor into a more psychedelic, electric, doom-folk sound with Manzarek-like keys, screeching rhythmic Velvet Underground violins, Miles Davis trumpets and hypnotic freakouts. Weaving the uncanny songs together are the narrative vocals of Mat McNerney, who on this album has matured into the bastard child of Burke Shelley, young Jon Anderson and Paul Simon. Inspired by the progressive, spaced-out haze of bands like Amon Düül II, Van Der Graaf Generator and Ultimate Spinach, whose song “Your Head Is Reeling” they cover with religious abandon. Their sound now expands outward from their eerie, signature, ritual-esque intros into a genre-twisting cauldron of otherworldly rock and the late-night, dreamy spoken-word of artists such as Jim Morrison (An American Prayer) and Ken Nordine.

The sophomore offering from the 'DeaThrash' trailblazers CARRION VAEL. Melodic Death Metal collides with furious Trash in an essential offering for fans of Alterbeast, The Black Dahlia Murder, At The Gates and Benighted!

New single by Pittsburgh, PA-based band The Commonheart. "They pay soulful tribute to the soul gods without disrespecting their exhumed remains." - No Depression Live and in the studio, the Pittsburgh-based collective is offering feel-good positivity, Golden Rule messaging, and sweat-soaked performances that nimbly ease through blues, vintage soul, and rock. The band is bonded by familial-like ties and a desire to foster spiritual uplift. Among its ranks are female backup singers, drums, bass, guitar, a horn section, and keyboards. Out front is Clinton, a lightning bolt charismatic frontman with dynamically expressive pipes that effortlessly traverse bluesy pleading, and honeyed balladeering. "Hustler" is an anthem for perseverance. Told thru the eyes of a street hustler's mindset; this song offers their interpretation of what it takes to make a living in this world thru the hardest times. The narrative runs parallel for anyone that's finding their way thru life with grit, fearlessness & drive. The new album, produced by Steve Berlin, saxophonist, keyboardist, and record producer, best known as a member of the rock group Los Lobos, entitled 'For Work or Love' will be released on September 16th, 2022.

Dreamers is the new project from the legendary British saxophonist and composer Mark Lockheart featuring Elliot Galvin (Dinosaur, Elliot Galvin Trio), Tom Herbert (Polar Bear, The Invisible) and Dave Smith (Robert Plant). Stylistically free and psychedelic in nature, the release of Dreamers signals a new trajectory for the musician who has already featured on a wide ranging and diverse catalogue of albums including Radiohead's Kid A. As a founding member of Loose Tubes and Polar Bear, Mark Lockheart has always remained ahead of the curve and has constantly explored new directions in his own music. Dreamers epitomises this adaptation and evolution, allowing the music to speak beyond the boundaries of genre and predictability. Mark has created an album which is direct and unpretentious but also surprising and unexpected.

Ray Davies reifte als Songwriter, und hat ihren rauen
frühen British-Invasion-Sound mit anspruchsvolleren
Texten und einer durchdachten Produktion versehen.
Kinks Kontroversy ist voller kraftvoller Raver wie dem Hit
"Til the End of the Day" (der ein weiteres "You Really Got
Me"-artiges Riff verwendet) und das raue, von Dave
Davies gesungene Cover von "Milk Cow Blues", aber
aber auch Stücke wie das Calypso-Pastiche "I'm on an
Island". Weitere großartige Songs auf diesem
unterschätzten Album sind "Where Have All the Good
Times Gone?", die klagenden Balladen "Ring the Bells"
und "The World Keeps Going Round" sowie die von Dave
Davies gesungene Unabhängigkeitserklärung "I Am Free".