Поиск:la la land

One of Europe's most popular alternative / dark wave bands. Lebanon Hanover have over one million monthly listeners on Spotify. Following their first US tour in over a decade, Lebanon Hanover returns with a soul-stirring double A-side single release, marking their first new material since the captivating 2020 album, 'Sci-Fi Sky.' Now, the enigmatic duo of William Maybelline and Larissa Iceglass beckons listeners into unventured sonic domains, intricately weaving folk-driven acoustic dream pop with the vulnerable essence of post-punk in a contemplative exploration of life's ephemeral yet profound nature. Embarking on a Cure-like sonic voyage reminiscent of the 'Head on the Door' and the 'Kiss Me' era, title track 'Better Than Going Under' manifests as a romantic, sombre daydream. William Maybelline's brooding baritone intertwines with sighing back vocals, narrating an ode to life's fleeting yet boundless vistas. The acoustic strums initiate a folk-driven narrative which, when coupled with a celestial choir, crafts a contemplative soundscape of cautious optimism, reminiscent of Echo and the Bunnymen or The Church.. KYIV: Bearing the name of Ukraine's capital, 'KYIV,' voiced by Larissa Iceglass, delves into a narrative reflective of the sorrow and despair entwined within war-torn regions like Ukraine and beyond. The acoustic guitar and drum machine create a Cocteau Twins' 'Treasure'-esque soundscape, evoking a melancholic yet beautiful auditory journey. Iceglass's voice, transitioning from her husky baritone to a more resigned lament, embodies a poignant reflection on the harsh realities faced by those embroiled in conflict-ridden landscap

Alara Music is releasing the new album of OXY, the new stunning electronic project by Ivan Pavlov (COH) and Sasha Galianov (Shortparis).

OXY is a transient project combining talents of Ivan Pavlov, major electronic artist better known as CoH who has collaborated with Coil, and Sasha Galianov, the main force behind the electronic sound of the avant-garde performance collective Shortparis. The two once met at a festival where they performed a semi-improvised live set. The first performance sparked mutual interest in continuing joint experimentation, which, after a series of concerts, eventually led to this studio recording.

The name of the album is constructed of the two titles presented each on one side of the LP. The first side, AETHER, delivers a powerfully charged contemplative exploration, in which the two seem to carefully study the sound of each other's instruments. The search for balance between the analogue and the digital reveals a murky terrain of focused sonic pressure interwoven with potent silence filled with echoes. Towards the end, AETHER, amorphous in the beginning, gains structure and rhythm, as if preparing the listener to its more agitated sequel, GUST.

Side two, starting with trademark minimalistic patterns of CoH quickly picks up in intensity and wanders into the domains of digital heavy-metal, in which Sasha's menacing guitar riffs are meticulously disjointed in favour of power focus. Then GUST takes the listener through a minor apocalypse, past a few relieving joyful moments of temporal enlightenment, and towards a strange peace found in a disorienting, synth-framed collage of acoustic guitar sounds.

AETHER GUST is a record that requires listener's full attention, offering in return a captivating journey though peculiar landscapes at the intersection of the worlds of two adventurous music explorers, exchanging their sonic beliefs and passions. An intense journey through a landscape of contrasts, between the warmth of analogue sounds and the aridity of demanding electro, both minimalist and abundant. This journey, these intersections, but also this permanent encounter between analogue and digital, are magnified by the physical version of AETHER GUST: it comes as a bundle of both Vinyl + CD versions of the album, all in a 12" vinyl sleeve then nestled in a thick crafted carboard black embossed sheath.

Some Justice / Burnin’ Passion ‘93 EP 7"

Serious history business: 'Some Justice' was the first time Micky Finn and Aphrodite joined forces and launched a partnership that would change drum & bass history. Prior to them linking, Urban Shakedown comprised of Aphrodite and Claudio Giussani who had a run of fantastically euphoric hardcore crossover records during that golden rave era. 'Some Justice' landed in 91 and the instantly goosebumping vocal cut 'Burnin' Passion' landed in 93. Both of them enjoyed these touch-ups in 94, which still sound fantastic today. Feel the burn.

Up the mountains, deep in the forest, I found these plants that live on sound and water. They don’t need light and therefore are unlike any other plants on this planet. Their peek of activity is during the night, when they are covered with a thin, black layer of nocturnal light. Night lies on these plants like a thin membrane. Their roots absorb drops, waves of sound and its vibrational intonation. When humans eat this plant they fall asleep and start dreaming instantly.

In this dream they become these plants, who are unnamed, and are able to feel the pulsation of their — now own — roots. Many years ago, when language was more sounds than codes, these plants were everywhere to be found in the planetary landscape. Nobody knows yet why these plants are only to be found in the high mountain in its deep forest. It is said that once you enter this forest it will not be easy to find your way out. Like in a dream, you need to be guided by a strong wave of consciousness to find your way out and back to the ground.

Daniel Land's new album, "Out of Season", is his most ambitious record to date, a series of reflections on history, memory, and post-Brexit Britain, which was inspired by his return to the landscapes of his youth – the rugged, underpopulated west coast of Somerset. The album was written and partly recorded in Daniel’s studio in a static caravan, overlooking the coast, during the period when the UK was tearing itself apart over its relationship to Europe. "I didn't set out to write about Brexit", Daniel says, "I have a kind of horror of political music. But I couldn’t escape the atmosphere of the time – this strange, distorted version of ‘Englishness’ in the national psyche. I’ve always been interested in memory and nostalgia; Brexit illustrates the dangers of taking seductive, possibly false memories at face value”. Songs like “White Chalk”, “Island of Ghosts”, and the album’s title track, represent a series of attempts to reclaim an older, more peculiar idea of England which, Daniel says has been “Lost in the nationalist mythmaking of the past decades” – the island of misfits and outsiders exemplified by the works of Derek Jarman, for example, whom Daniel was rediscovering while working on the album. “I must have read 'Modern Nature' ten times over the years”, Daniel says. “What I love about Jarman is that he had a deep, abiding love for England, but it was a very complicated, critical and a very queer kind of love. That was very much my mood, going into the making of this album”. Like Jarman’s work, "Out of Season" probes national identity whilst also displaying resolutely queer themes throughout. Daniel’s voice – once described by The Guardian as "The spawn of Elizabeth Fraser and Anthony Hegarty” – is less heavily reverbed than before, bringing to the fore his often-confessional lyrics, inspired by the frankness of modern queer poets like Andrew McMillan, Seán Hewitt, and Ocean Vuong. A lyrical highlight is the gorgeous “Southern Soul”, a deceptively straightforward recounting of a decades-old hookup with a closeted guy from his hometown which, Daniel says, “Serves as a metaphor for everything I’m talking about in the album”. And in keeping with the album’s nods to the heroes of gay literature, Daniel’s self-styling of the album as a “Dream Pop Album on National Themes” deliberately references the full title of Tony Kushner’s era-defining play "Angels in America", whose central character is namechecked in the hook-laden “Lemon Boy” – a song which must surely stand as Daniel’s most deliciously pop moment yet. Lauded by Mark Radcliffe, Guy Garvey, Tom Robinson, and many others, Daniel Land makes music that, in the words of BBC Radio 1, "You can't help but think the late John Peel would have loved".

If the genesis of The Big Idea was written both in the corridors of their high school and the surroundings of La Rochelle, the first chapter truly takes place in a big house in outskirts of Paris, where the six boys settled once they got their baccalaureate in 2015. Throughout these five years, The Big Idea hosted every European band playing in Paris with no landing place. The house of Champigny-sur-Marne, almost invisible in the monstrous metropolis, became a central location of the capital’s underground scene.

That creative cyclone within which the band is placed quickly shows results and the band hit it hard with their debut LP “La Passion du crime 3” (2017). This quadruple album, written as the movie score of a police investigation story, affirms something fundamental: The Big Idea is determined not to do things like everybody else. The influences of the great psychedelic rock’n’roll tribes naturally appear, the band release several record, start touring all around Europe allowing them to develop a furious alchemy on stage. But then covid brought everything to a halt. However, the band returned to La Rochelle and plotted a new, mad project.

The Big Idea becomes the first band to record an album on a sailing boat while crossing the Atlantic. Once again, the idea is fabulous, and “The Fabulous Expedition of Le Grand Vésigue” represents both the thirst of adventure of the sextet from La Rochelle, and their yearning for calm, psychedelic horizons. After the release of the documentary film and the big tour that followed this extraordinary adventure, the band decides to reaffirm the most essential part of its identity and announces for February 2024 the releasing of a new record more electric and radical, in the image of their live performance with more and more intensity. “Tales of Crematie” is a story built on a fantasy medieval backdrop, but could have however taken place in our modern era. If the elegant, psychedelics parts have not disappeared, the record’s tone is clearly more rock than what the band has ever created before, and as The Big Idea always likes to go overboard, the album will be released as a double LP in which you’ll hear trumpets as well as pianos, violins, tropical influences, post-punk, and above all, loads, loads of fuzz. Just like a toy chest whose key would’ve been thrown away on purpose, hidden arrangement treasures abound inside of “Tales of Crematie” , along with a violent revolt against the modern archetypes of “too normal music.”

PHILIPP ROLLER produced his album, "Sommer 97," back in 1996 during his student days in his small home studio. Drawing inspiration from acts like Kraftwerk, Orbital, various artists on Warp Records, and computer game music, Roller crafted a unique sonic experience. Initially released on cassette, the album was unveiled to an intimate audience at Künstlerhaus Stuttgart in February 1997. Following the initial release, Roller had the opportunity to sign with a small British label. Unfortunately, circumstances led to the label's dissolution before the record could see the light of day. Despite efforts to secure a new label, "Sommer 97" remained confined to DAT tapes and hard drives for years. Fast forward to 2020 when Michael Kübler and Daniel Varga (Rework) joined forces to establish EXLOVE Records. Recognizing the album's potential, they decided to bring "Sommer 97" out of obscurity and into the world. Philipp Roller, now residing in Berlin and working as a freelance interface designer for music software, has had an illustrious past creating a lot of music not only on his own but even for fashion shows, art and image films, and contributing ideas to Rework's debut track "Anyway I Know You" on Playhouse. In August 2021, Roller released his first single, "Kiss & Tell / Roller Disco," on Exlove Records. Finally, after a remarkable 26-year journey, Roller's legendary "Sommer 97" tape is set to be released as a double album on vinyl.

Roberto Agosta, or just Agosta as he likes to be called, is a Sicilian DJ and producer from Catania active all along the eastern coast of Sicily, a place that proved to be a soulful place and a training ground for a long career, making him an excellent music selector and a reference point in the spread of alternative music.

A soundtrack music enthusiast since he was a child, now a vinyl "serial gathere", Agosta has always put his vast knowledge at the service of a very personal sound that sums many different music styles and contaminations, simple and profound but straightforward and direct at the same time.

Agosta’s eponymous album, released on LP, CD and digital formats, was conceived during the Covid-19 lockdown, thanks to the precious collaboration of friend DJ and producer Massimo Napoli aka Galathea, with whom Roberto has already started another project called AN-AN that will produce a new record for Space Echo at the end of 2022.

This record highlights a typical chill-out aesthetic, thanks to its trip-hop and ambient rhythms and atmospheres, while a deeper exploration reveals the psychedelic essence of the entire work, a daring and exciting journey in the most primitive Sicily, and the energy that sustains all of its ten tracks.

Much of their author and his lifestyle - mainly based on meditation, the search for spiritual elevation, the relationship with nature and the regaining of contact with those particular places and with the people who live there - is revealed by those tracks that constitute a soundtrack for this spiritual but also extremely physical journey.

The song titles are, in fact, intrinsically linked to Roberto’s real life: the Gorna and Ilice mountains at the foot of Etna, the Carricante vineyard and its excellent wine, Unna, Three Chestnuts, Varanni, Don Alfio, Lady G. Each of them represents a pleasant and dreamlike narration and the escape from the complex dynamics of a city like Catania, among echoes of the most dreamy Pink Floyd, the softer side of ’70s krautrock, but also the Massive Attack and Tricky’s Bristol scene.
There’s also an excellent choice of synthesizers and overdubbed guitars, thanks to the talent of the multifaceted musician and producer Salvo Bruno Dub, and of Manuela Amalfitano, Loredana Poidomani and Deran Obika’s voices.

Agosta is an introspective, deep work with a cinematic vocation, perfectly rooted in the territory where it took shape, among sunny landscapes, lush with vegetation but also deserted and arid lands. From Sicily to the cosmos... enjoy!

GALACTICA MUSIC Launches for all Ravers, invaders and techno music Lovers.

After a big success, GALACTICA FESTIVAL decides to create a Record Label where can express his vision of music.

This discographic adventure starts with a V.A. Series called ''ICARIUS'' where great artists with techno cuts on many shades are brought together.

The label presents a 12-track VA (double vinyl) where you can find all the best of the techno scene, ranging from electronic to industrial, acid break and hard techno.
Not a Monothematic V.A., but a right compilation that encloses the essence of techno with all its shadows and variations.

Sylvain Chauveau's debut album "Le livre noir du capitalisme" is a melancholic milestone – and a precursor of what later would become the Modern Classical genre. With his release in 2000, Chauveau created a landmark of contemporary electronic music, parallel to the first releases of Jóhann Jóhannsson and Max Richter.

Inspired by John Cage's reflections on silence and Mark Hollis' solo album of the same name, on "Le livre noir du capitalisme" Chauveau assembles contemplative, repetitive piano and string arrangements with electronic sound layers and discreet field recordings to create an other-worldly but seductive Musique Noir. Midway between ambient, jazz and post-rock, Chauveau lays out a new paradigm of electro-acoustic music that functions as much atmospherically as compositionally, and whose parameters keep the boundaries between academic and non-academic music dissolved to this day.

Originally released on the small French experimental label Noise Museum in 2000, the album got reissued by Type Records in 2008 with the English title “The Black Book of Capitalism”. Being out of print for a while, Sonic Pieces now rereleases the classic with its original French title, plus new remastering by Loop-O and in an ultra-limited, handmade edition with black bookcloth cover on both CD and vinyl.

A white convertible drives off into the sunset to the sound of Save you ft. Surahn and its funky, dance-inducing mantra, the first single to herald this road trip to the edge of space. Whether on cathartic beaches (Breath) or a desolate landscape: First Wave, Shades of Black, Who am I, Stars or Ghosts and its conquering lasers, Peter's music transports us into a cinematic world
(Night Road), where the synth-pop of M83 would have fused with the pop-rock of Supertramp and Fleetwood Mac (Burning House ft. Goldilox). A radiant production, wrapped in folk strumming, orchestrated by strings and keyboards with multicoloured diodes. A record that draws on the roots of timeless songwriting, enhanced by a modern, demanding electronic sound. The voice of Surahn (Empire of the Sun) returns to close the album with Open Your Mind and its flower power adlib: the closing credits of this first opus.

* Following on from the success of the 'Ram Reloaded' repress vinyl series, we are pleased to announce our next project in collaboration with Ram Records. As part of Ram Records’ 30th anniversary, we have put together a series of new remixes and VIP’s of some of the labels biggest releases from the early 90’s.

* For their follow up to the anthemic ‘Valley of the Shadows’ two years earlier, Ant Miles and Andy C went back in the studio under their guise ‘Origin Unknown’. Firmly under the Jungle style of attack, Ant pushed the envelope and broke the mould on bass sounds, creating the first detuned wobble oscillating sine bassline. With the famous vocal from President Nixon on the moon landing, ‘For one priceless moment, all the people on this Earth are truly one’, this track is one of the most cherished and globally appreciated tracks on the Ram roster to this day backed with the haunting roller vibe of ‘Mission Control’. Ant Miles returns to deliver two brand new VIP’s for 2024 which continue the Junglist vibe of both original mixes.

Wir sind mit Groove-Jazz groß geworden, mit Marcus Miller, David Sanborn oder den Brecker Brothers, das ist unsere DNA“ sagt der Altsaxofonist Jakob Manz „aber wir wollten für das zweite Album von The Jakob Manz Project auch neue Inspirationen, die uns herausfordern und weiterbringen.“ Diese lieferten vor allem ein Aufritt beim Papjazz Festival auf Haiti. Die Lebensumstände und die Musik des Landes, sowie die dortige Begegnung dem Pianisten Meddy Gerville aus La Réunion bewegten die Band zutiefst. So hören wir auf „The Answer“ wieder Jakob Manz atemberaubende Virtuosität, die jedoch immer im Dienst der Musik steht. Wir hören von amerikanischem Soul- und Pop-Jazz geprägte Grooves und Melodien. Aber auch neue Farben und Schattierungen, welche die Beschäftigung mit Musiken jenseits der westlichen Welt mit sich gebracht hat. Diese neuen, erweiterten Klangräume erobert sich Manz mit seiner Band bestehend aus Hannes Stollsteimer am Piano, Frieder Klein am Bass und Paul Albrecht am Schlagzeug, nun erweitert um Perkussionisten Karl Degenhardt. Dazu kommen Gäste aus den unterschiedlichsten Richtungen: Lionel Loueke steuert mit Gesang und Gitarre eine faszinierende westafrikanische Note bei, Alexandra Stollsteimer einen klassischen Geigenklang und Matthias Schriefl Trompete und Alphorn - letzteres sicher ein Novum im Groove-Jazz-Genre. Wie so oft ist Jazz auch auf „The Answer“ vor allem ein Vokabular, mit dem Musiker:innen auf der ganzen Welt ausdrücken, was sie bewegt und beeinflusst und ihr Publikum dies miterleben lassen.

Brötzmann arbeitete im Laufe seiner Karriere mit vielen Künstlern zusammen und nahm regelmäßig neue Landsleute hinzu. Der norwegische Schlagzeuger Paal Nilssen-Love wurde zu einem seiner engsten Verbündeten, nachdem der Perkussionist dem Chicago Tentet beigetreten war. Sie arbeiteten in verschiedenen Kontexten zusammen, unter anderem in diesem unerschöpflichen, schlagkräftigen Duo. Die meisten Alben, die sie veröffentlicht haben, waren Live-Auftritte, aber 2015 haben sie diese beeindruckende Studioaufnahme gemacht. Peter hatte sich eine Kontra-Alt-Klarinette zugelegt und war vom Klang dieses Instruments sehr begeistert", so Nilssen-Love in den Liner Notes. Ich hatte auch mehrere koreanische Gongs gekauft, die ich noch nicht benutzt hatte." Im August dieses Jahres trafen sie sich zu einer zweitägigen Session in Antwerpen, und von Anfang an unterscheidet sich das Stück von vielen ihrer Arbeiten. Die Musik ist weniger hektisch und aggressiv als wir es gewohnt sind, da die Musiker ihre Erkundung neuer Instrumente mit einem kontemplativeren Ansatz teilten. Natürlich bringen sowohl Brötzmann als auch Nilssen-Love hier und da die übliche Energie auf, aber es ist eine echte Offenbarung, sie in Echtzeit neue Klänge ertasten zu hören, sei es, dass ersterer die rheumatische Nasalität der Kontra-Alt-Klarinette liebkost oder letzterer in der anhaltenden Resonanz seiner neuen Gongs schwelgt. Doch auch wenn sie neue Instrumente ausprobierten, waren ihre Beziehung und ihr Engagement so stark und tief wie immer. Terminüberschneidungen verhinderten, dass sie die Produktion des Albums jemals abschließen konnten, aber sie begannen bereits während der Pandemie mit den Planungen dafür. Leider blieb es Nilssen-Love überlassen, das Projekt zu Hause zu betreuen, aber das Warten hat sich gelohnt. Dieses Duo-Album ist ein wichtiges Statement der beiden Musiker. Aber es gibt noch mehr gute Nachrichten: Ein zweiter Teil mit Musik aus derselben Studiosession wird 2024 auf Vinyl erscheinen, zusammen mit einer CD mit Live-Aufnahmen.

Marking 25 years since the Curb Records re-release of Sixpence None The Richer's GRAMMY-nominated self-titled effort, the Deluxe Anniversary Edition honors the landmark recording, "Kiss Me", a bona fide worldwide hit plus four bonus tracks complementing the Platinum- certified LP's 13 original selections.

"Sixpence None The Richer" includes next to the Mega-Hit "Kiss Me" the following tracks: "The Waiting Room", "Easy To Ignore", "I Can't Catch You", "Sister, Mother" and more.

Pressed to vinyl for the first time it's Wombo's shapeshifting and genre defying "Slab" and "Keesh Mountain" EPs. In a generation where pop has come to be defined as anything but, Wombo have spearheaded their own definitive sound that avoids genre classification but is impossible not to tap your foot along to. “Usually if the babies like it, we like it”, admits singer Sydney Chadwick, and it speaks to the band’s bass-driven song structures that pivot through a whirlwind of instrumentation at rapid speeds that they are still able to land on a winning formula that strikes the sweet spot between effervescent overload and razor sharp intention. In a careful balance where no one instrument overwhelms, Chadwick’s vocals are the cherry on top of a decadent dessert that explodes with personality and ingenuity.

"Slab / Keesh Mountain" by Wombo includes the following tracks: "Thread", "Ida Mae", "Dreamsickle" and more.

This version of the Album comes as a 1xLP in an Printed Inner Sleeve packaging.

The vinyl is pressed as a cloudy, clear disc.

Double LP on recycled & random-coloured "Re-Vinyl" Return to the unwavering wild in Downpour, where you explore new, harsh lands and survive new predators. As time passed, the slugcat has evolved. With five variants of the species - take advantage of various skills that they possess and explore their own personal tales. Black Screen Records, Videocult and Akupara Games are excited to take you an aural journey into the strange land of "Rain World: Downpour". Two LPs pressed on recycled & random-coloured "Re-Vinyl". The soundtrack is housed in a beautiful gatefold sleeve comes with UV spot varnish. The artwork was created by Kelocitta who has also reimagined the vinyl art for "Rain World". The "Rain World: Downpour" soundtrack is a collaborative work that was made possible by James Primate, Lydia Esrig, Intikus, Ongomato, Connor "12LBS" Skidmore and Progfox. A unique piece of music and very interesting mesh of different styles that truly bring the environment of Rain World to life. It's fully enjoyable without the game itself. The songs of "Rain World: Downpour" are a treat to experience, with some themes referencing the original soundtrack, such as "Threat - Waterfront Complex" or "Reflection of the Moon", and some being whole new, entirely original tracks, such as "Breathing Hyometer", "Fragile" and "Sheer Ice Torrent". Once you've experienced the "Rain World" soundtrack and gotten a feel for the style of the artists who worked on the music, "Rain World: Downpour" is an amazing continuation to experience next.

"He’ll always be a man of his people, but Jamie Webster’s message has cut through hearts all over the land since the folk troubadour’s debut album ‘We Get By’ in 2020. The songwriting may have evolved from those defiant early days on the acoustic guitar, but the hard-hitting storytelling that made his name remains as he continues to give a voice to the masses through towering anthems to hold close through uncertain times.
Though born from frustration and adversity, Webster's music has always managed to encapsulate a sense of unity and togetherness through tough times. Take the breakthrough single ‘Weekend In Paradise’ which distills a living for the weekend ideology of the working classes. An anthem just about everyone working nine to five can relate to, the flagship single speaks volumes of the journey so far as it surpasses 20 million streams on Spotify alone. His second album ‘Moments’ charted in the Official UK Album Chart #3, Indie Chart #2, Official Vinyl Chart #2, Scottish Album Chart #2. The scale of public support for the songs of singular, life-as-he-sees-it-singing, aspirational indie voice of Jamie Webster looks set to reach new heights as he announces the release of his third album, 10 For The People, on Fri 2 February 2024 with Modern Sky UK. While working confidently towards his third Top Ten album chart finish early next year, Webster’s Pied Piper-pull is set to draw a previously unimaginable 40,000 fans to one place as he also announces a HUGE outdoor headline show at Sefton Park, Liverpool on Fri 12 July 2024. "

"He’ll always be a man of his people, but Jamie Webster’s message has cut through hearts all over the land since the folk troubadour’s debut album ‘We Get By’ in 2020. The songwriting may have evolved from those defiant early days on the acoustic guitar, but the hard-hitting storytelling that made his name remains as he continues to give a voice to the masses through towering anthems to hold close through uncertain times.
Though born from frustration and adversity, Webster's music has always managed to encapsulate a sense of unity and togetherness through tough times. Take the breakthrough single ‘Weekend In Paradise’ which distills a living for the weekend ideology of the working classes. An anthem just about everyone working nine to five can relate to, the flagship single speaks volumes of the journey so far as it surpasses 20 million streams on Spotify alone. His second album ‘Moments’ charted in the Official UK Album Chart #3, Indie Chart #2, Official Vinyl Chart #2, Scottish Album Chart #2. The scale of public support for the songs of singular, life-as-he-sees-it-singing, aspirational indie voice of Jamie Webster looks set to reach new heights as he announces the release of his third album, 10 For The People, on Fri 2 February 2024 with Modern Sky UK. While working confidently towards his third Top Ten album chart finish early next year, Webster’s Pied Piper-pull is set to draw a previously unimaginable 40,000 fans to one place as he also announces a HUGE outdoor headline show at Sefton Park, Liverpool on Fri 12 July 2024. "

Life is what happens between curtain rise and curtain fall. And when you’re in the middle of your performance, it can be tough to un-blur, categorize, and interpret the details buried within the perpetual collapsing rubble of past, present, and future. On January 26th, Chayse Porter will release his third studio album, Endless / Boundless via Earth Libraries, nine new musical excavations and epiphanies the Birmingham-based songwriter dug up from life’s bedrock and polished to a shine in his basement lair. How to describe Porter’s solo work...mischievous pop? Cotton candy spun with barbed wire? Beatle-esque, Burt Bacarach-inspired soft rock left to freeze in the warped confines of a funhouse mirror? Whatever your preferred descriptor, Endless / Boundless is a fresher, more direct record than the high-concept psyche excavations of Chay’s Palace, his 2022 sophomore album. Lyrically, Endless ruminates on unrequited love, toxic American exceptionalism, and, in one of the record’s lighter moments, unexpected kindness from strangers. There’s jubilant dream pop (opening stunner “Bleeding Hearts”), shoegaze with threats of violence (“Lead Pipe Cinch”), and a cinematic instrumental centerpiece best enjoyed with eyes closed (“Copter”). With the record on the way and a live band assembled and ready to go, Porter has left listeners a trail of breadcrumbs in anticipation.

Two years after the release of his first self-titled album, DJ producer Massimo Napoli aka Galathea presents the new 'Sacred Love', in which he once again avails himself of the collaboration of his friend producer and bass player Salvo Dub, as well as a combo of respected musicians: singer Kadi Koulibaly - originally from Burkina Faso - already featured on the first album, Giulia La Rosa, author of the lyrics and performer of the title track, pianist Mario Pappalardo, percussionist Sergio Spitaleri and drummer Luciano Cantone.
'Sacred Love' is definitely a more mature, intense and profound journey than the previous album of the same name, which enhances the magical dreamlike and spiritual atmospheres of a certain African culture.
The album guides the listener along a path of multi-ethnic contaminations: "Divinité", "Ouaga" and "Koloko", well interpreted by Kadi, touch on the sacredness and mysticism of the African continent and blend well with the Spiritual Jazz sounds that have evolved in the West.
"Divinité", through the spoken word of French poet Diego Hernandez, tackles the themes of faith, life and the relationship with one's 'self', with references to French chanson productions, in which Kadi's spiritual song, at times 'Saharan', intersects and expands into cosmic space.
The title track, the first single from the album, also released on 7" (45rpm) in two versions, is an Afro-American gospel with a typically afrobeat rhythm, vaguely reminiscent of Nina Simone's 'See-Line Woman'.
North Africa is represented by "Equator", while we climb further north into the middle of the Mediterranean Sea with "Medican Blues", to land in Stromboli with the Deep Jazz of "Ginostra", whose title recalls the village of the marvellous island in the Aeolian archipelago.
Then we have the Cuban track "Caminito", a sort of Cha-Cha with a romantic piano melody (à la Chucho Valdez) well performed by maestro Mario Pappalardo; and then again "Eos", strongly Balearic with a Brazilian mood; "Impression", a dreamy journey of impact; "Sirens", already present on the first album and here reworked in a new Spiritual-Ambient version produced by Agosta.
"Sacred Love" is thus an original and musically borderless album, which expands a certain African sacred culture and naturally blends Afrobeat, Jazz and Blues atmospheres with the Balearic sounds of Mediterranean culture.
Enjoy listening!

"The organ dates back to 1790 and was made by Venanzo Fedeli, who came from a prestigious family of organ builders. This particular organ is tuned in the ancient way at 430 Hz. Tuning relies on pure thirds that aim to create dissonances within the instrument itself.

Since the organ is an instrument modeled according to the principles of nature, the intonation of the pipes was performed according to an incompletely equal system that reflects the natural intonation based on mathematical ratios.

This produces a purer sound for the thirds but slightly harsher and more difficult to listen to. The hardness of the intervals of the organ is a metaphor for the hostile climate that prevails in the Potenza valley during winter and autumn.

The sound of the organ with the register of the flute returns a particularly sweet and penetrating sound but, at the same time, a very complex timbre with intricate harmonic texture, given the numerous fluctuations and beats. The warm tones of the organ reflect the good and welcoming sould of the people who inhabit these lands. The absence of dynamics inside the instrument allows the listener to focus and understand the harmonic texture and timbral differences between the various notes more clearly.

Trombone and trumpet played by Matteo Paggi on track 2 and 3 were recorded during a hot summer day at Elefante Bianco Studio in Rome by Matteo Scarchilli. Sax, effects and noises in track 6 played by Giulio De Asmundis and Pietro Rianna were recorded in Fauna53 studio.

Many thanks goes to Marco and Giuseppe for making this happen. Thanks Federico, Sami, Marisa, Romeo and everyone involved in this project. You know who you are."

Mastered by Alessandro Caldarola.
Photos and color grading by Filippo Corsi.
Graphic project and design by Flavio Mancini.
Vinyl pressed by AFG Record Manufacturing.

Like a complex optical illusion perceived as a banner over the sea horizon, where sight is significantly distorted and changes rapidly, unlike any other ordinary mirage, a true Fata Morgana comprises several inverted and steepled illusions, stacked on one another, showing alternating compressed and stretched sonic lands.

The term named after the Mistress of the Fairies of the Salt Sea, King Arthur's half-sister Morgan le Fay, encapsulates the hallucinatory prowess of the seduction myth, a symbol of incantation and sensorial catharsis among the pleasure and the pain meanders.

Musically the 5 track EP presents an uncharted lysergic soundscape unfolding with hallucinatory electro-glitter and gritty fat notes (Wickbush), evolving like the poisoning stages of a vividly cosmic intake- dub acid darkness (Acid Tears) conveying a magnetic grip, a true obsession which turns to be a spell (Una y Otra Vez), steadily building up a hypnotic subtle theme that takes you as high as an astral trip (Mirage) and slowly descends from the alternate consciousness state on the latter, March 3rd as a premise of the deepen future journey blazing ahead.

In Celtic mythology, Clota was the patron Goddess of the River Clyde. "Almost all the rivers of Scotland were abodes of goddesses, but about many of them there are no surviving stories. The goddess of the Clyde was ‘the purifying one’.. " Donald MacKenzie 'Wonder Tales from Scottish Myth and Legend' (1917) Following the warmly received 'An Garradh', and 'Tarbolton Bachelors Club', Steven Anderson (Letters From Mouse) returns to Subexotic with another emotionally inquisitive, fascinating psycho-geographical work. Although very little is known about the goddess Clota, Anderson intuitively understands the River Clyde provides a rich landscape to explore her legacy. Dominating its environment, and steeped in ancient and modern historical significance, 'Clota' simultaneously reflects on what is, and what has been. Through deft application of modular synthesis, Anderson's trademark ability to weave extraordinary musical dialogues with time and place, conjures new life into this long-forgotten deity.

FOLLOWING THEIR RECENT REUNION, THE DELGADOS REISSUE THEIR FOURTH STUDIO ALBUM HATE ON COLOURED VINYL AND CD TO MARK ITS 21st ANNIVERSARY

Ushering in a new era of emotionally vulnerable and cinematic songwriting for celebrated Glasgow group The Delgados, 2002’s Hate is the group’s most ambitious recorded statement to date. Recorded amidst a backdrop of personal change and international crisis, Hate’s internal alchemy transmogrifies darkness into light. It’s an enclosed universe full of tragedy and magic, a swirling galaxy of lush orchestration, misanthropy dealt with kindness and black humour. Above all it showed a band coming to terms with their fragility with a new power and grace.

In Hate, the band’s ambition saw them striving to reflect the breadth of human experience, both the joy and tragedy of living in tumultuous times. Initially commissioned by The Barbican in London to compose music for a film about artist Joe Coleman, the instrumental music that instigated Hate was laden with darkness from the outset. The Delgados’ worldview has always been informed by nuance, an oblique but incisive lyrical perspective but on Hate a new rawness is woven throughout the songs. Coleman’s original subject matter - portraits of troubled historical figures like Ed Gein, Mary Bell and Jayne Mansfield - influenced the tonality of the music but the songs were written against a backdrop of international tumult and personal life changes for the band members. Beginning writing sessions following a family bereavement in drummer Paul Savage’s family, Hate was then recorded while both Alun Woodward and co-singer/guitarist Emma Pollock were expecting new additions to their young families, the latter with drummer Paul Savage. In the background to the recording process were the attacks on the World Trade Center of September 2001 and their aftermath. In this context, it’s remarkable that an album was made at all, let alone one so grand and compassionate. It’s a masterclass in restraint and imagination.

Hate sounds like the world in all its ugly glory. Recorded in Glasgow and New York with Tony Doogan, Dave Fridmann and the band as producers and using over 20 additional musicians, Hate grabs the baton from the group’s breakthrough critical and commercial success The Great Eastern. Bolder, broader and more all-encompassing than anything the band had previously attempted, the album’s palette is furnished by a string section, brass and reed instrumentation, a choir and electronic elements augmenting the core group of Emma Pollock, Alun Woodward, Paul Savage and Stewart Henderson. Far from being over the top, the group’s skill is in attention to detail, in honing and refining each arrangement, allowing each element its space.

It’s a fine balancing act that pays massive dividends. Woodward’s new lyrical vulnerability is spotlighted on tracks like The Drowning Years, which throws elegiac string arrangements against the narrative of characters living in darkness, punctuated by couplets that bring a real-life documentary feel to the narrative. All Rise brings a black comedy to the idea of a confessional before a transcendent, choir-led refrain brings ecstatic resolution to Woodward’s vocal in its highest register. On the single All You Need Is Hate, Woodward’s trick of subverting the Beatles standard showcases the dark humour at the centre of Hate. Here The Delgados’ perversity is in full flow, nurturing a glowing light from darkness, the resolving melody and Fridmann production recalling contemporaries The Flaming Lips (whose Michael Ivins assisted in mixing) or Mercury Rev. The perversity is the surging serotonin induced by the group while singing the lines “Hate is everywhere, inside your mother’s heart and you will find it there. You ask me what you need? Hate is all you need.”

It’s a dark magic that pervades Hate, indeed it’s almost the driving force throughout the album. Flipping minor to major and back again, Favours is fuelled by fear and violence before blasting into the heavens with the gauche line “and you’re feeling fine,” operating in stark contrast to the verses’ tone. Album opener The Light Before We Land finds Emma Pollock in the aftermath of recent family trauma. Her vocal is effortless; a study in steady restraint against the massive, Fridmann-patented drum sound powering Savage’s playing and Henderson’s instantly recognisable melodic basslines. Coming In from the Cold is Pollock in full flight, lifted to the heavens by wide-screen, instrumental texture. Her presence on Hate highlights her knack for lyrical impressionism, the timbre of her voice lending itself to drama while always retaining a mystique. Never Look At The Sun, inspired by the Coleman painting The Big Bang Theory (itself an explosives-themed study), revels in paranoia, her performance ringing out in the eye of the storm conjured by the swirling arrangements. It reaches the peak of a redemptive arc while seemingly parodying the very idea of redemption.

Hate was the sound of The Delgados completely fulfilling their potential, a fully realised vision buoyed by the weight of coming through a darkness into light. For its 21st anniversary, the album is being reissued on the band’s own Chemikal Underground on coloured vinyl and CD. Hate is all you need

Julian Cannonball Adderley's only Blue Note album, Somethin' Else, would likely forever be famous in music lore if just for the presence of Miles Davis. The iconic composer/trumpeter steps into the role of sideman on the 1958 set, one of just a handful of times he'd make such a move after the calendar passed the mid-1950s. Yet evaluating Somethin' Else strictly on Davis' involvement misses the big picture. Plain and simple, Adderley's jubilant work remains a jazz landmark due to the chemistry of its Hall of Fame personnel, enthusiasm of its participants, and sophistication of its arrangements – not to mention the reference-grade production and inclusion of the definitive renditions of two all-time jazz standards.

Limited to 6,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's merit and includes the bonus track "Allison's Uncle." Offering reference-calibre sonics, this spectacular collector's version provides a clear, transparent, ultra-dynamic, and up-close view of a cornerstone effort that witnesses Adderley and Davis sharing horn duty alone for the only time in their fabled careers – an arrangement that occurred as a result of Adderley having joined Davis' majestic sextet a year prior. The premium packaging and beautiful presentation of the UD1S Somethin' Else pressing befit its extremely select status. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic photos to the gorgeous finishes.

repressed !

EEE are back with another instant head turner, coupling a minimal, sub bass roller with a sampled ‘60s vocal that works oh so well with a shuffling beat behind it. The hype is already at boiling point on this one, so be quick on the trigger when it lands.

12 inch, one sided white label, handstamped and pressed on 180G vinyl.

Orchestral Manoeuvres In The Dark (OMD) return with their 14th studio album Bauhaus Staircase, over six years after the triumph of their Top 4-charting record The Punishment of Luxury. The album was born from the impetus to kickstart new explorations during lockdown when as Andy McCluskey admits: “I rediscovered the creative power of total boredom.”

The album’s first offering as a single is the title track which serves as a nod both to Andy McCluskey’s love of the Bauhaus era & the power of protest art. “I am a huge lover of visual arts especially mid 20th century movements” Andy comments. “The song is a metaphor for strength and artist passion in the face of criticism and adversity. When times are hard there is a tendency for Governments to look at cutting funding for creativity just at the moment when the arts are most needed to nourish our souls. It seems appropriate that the song and its eponymous album were created during Covid Lockdown.”

Ranging further from the beautiful film noir ballad of ‘Veruschka’ and the dance stylings of ‘Anthropocene’ - a term for the current epoch in Earth’s evolution to the sinister ‘Evolution Of Species’ and the hectic ‘Kleptocracy’ - OMD’s greatest straight-up protest song - the new album is a broad electronic sonic masterpiece that lyrically tackles the topics of the future. The record closes on ‘Healing’ - a moment of reflective calm.

By rights OMD should be in semi-retirement performing classics like Enola Gay and Maid Of Orleans on the nostalgia festival circuit like so many peers. Instead they’ve created a landmark album worthy of their finest work. Bauhaus Staircase remains unmistakably the work of a duo who are still perfectly in sync 45 years after their first gig at legendary Liverpool club Eric’s.


“I’m very happy with what we’ve done on this record" McCluskey summarises. “I’m comfortable if this is OMD’s last statement.”

Umweltfreundliches, recyceltes Vinyl. Jede recycelte Schallplatte ist individuell und erhält durch den Recyclingprozess ein eigenes Aussehen. Die aufstrebende Indie-Rock-Band KAFFKIEZ aus Rosenheim schlägt ein neues Kapitel auf: Ab sofort können Fans das zweite Album "EKSTASE" vorbestellen. Sänger Johannes Eisner dazu: "EKSTASE" beschreibt unser aktuelles Leben ganz gut. Es passiert alles. Unser Traum, die Zweifel, die großen Bühnen, die langen Nächte im Studio, alles prasselt auf uns ein und wir lieben es. Das neue Album soll das erzählen." Zwischen Studio, Interviewterminen, Festivalbühnen, Tourbus und mit über 70 Millionen Streams, hunderttausenden Tiktok und Spotify-Follower*innen, der Auszeichnung als MTV PUSH Artist 2022, Auftritten auf renommierten Festivals wie dem Southside, Hurricane und Highfield Festival hat sich KAFFKIEZ als eine der aufstrebendsten Indie-Bands der Musikszene etabliert. Die große Tour im März 2024 ist bereits in vielen Städten ausverkauft, unter anderem in renommierten Hallen wie der Columbiahalle in Berlin, Tonhalle in München, Große Freiheit (2x) in Hamburg oder dem Palladium in Köln. Die Single "Sommer Mit Dir" zeigt eine völlig neue Facette der Band. Ruhig wabernde Key-Flächen, ein emotionaler Text und ein starker, verletzlicher Song, der die Fans abermals begeistert. Die Attitüde der 5 Rosenheimer Jungs, die mitten in die Ungewissheit 2020 ihre Karriere starteten und sich immer nur auf ihren eigenen "fucking Mut" und ihre mitreißenden Songs verlassen haben, ist sonst die einer der mitreißendsten Bands der letzten Jahre. Optimistisch, eingängig, treibend. Dass sie damit offensichtlich einen Nerv getroffen haben zeigt der Erfolg ihres Debüt-Albums "Alles Auf Anfang" 2022 und die Zahlen neuer Hits wie der ersten Vorab- Singles "Alles Nur Gelogen", "Mut", "Scooter" oder Schrei es Raus" die in wenigen Monaten schon weit über 11 (!) Millionen Streams und das Cover der "Wilden Herzen" auf Spotify erreichte. Ein Indie-Märchen. "EKSTASE" liefert eine einzigartige musikalische Reise, die von KAFFKIEZ' unverkennbarem Stil geprägt ist - erdige, raue und begeisternde Indie-Hits, die immer tanzbar, aber nie langweilig sind. Immer zum Mitsingen, egal ob im Radio, dem Festivalslot oder nachts in der Kneipe. Produziert wird das Album wieder von Johann Seiffert. Das zweite Album wird das Ergebnis von KAFFKIEZ' eindrucksvollen Erfahrungen und der steilen Bergauffahrt im Musikbusiness der letzten drei Jahre, darunter die Herausforderungen der Pandemie und der Stress einer neuen Welt, in der sich die Mittzwanziger auf einmal in ein neues Leben als Musiker manövriert haben. In den vergangenen 3 Jahren haben Sänger Johannes Eisner, Keyboarder Johannes "Gotti" Gottwald, Bene Vodermaier, Niki Mayer und Florian "Weiny" Weinberger bewiesen, dass es sich lohnt, an Träume zu glauben. Aus einem Kaff sind sie wortwörtlich zu einer der gehyptesten Indie-Bands des Landes herangewachsen, die im letzten Jahr auf ausverkauften eigenen Konzerten und vollen Festival-Slots bewiesen haben, dass sie gekommen sind, um zu bleiben. "EKSTASE" erzählt diese Geschichte einer Band, die die Gedanken, Sorgen, Aängste, aber vor allem die guten Dinge des Lebens so energetisch vertont, konsequent weiter. Und das tun vor allem die Fans, Medienmacher*innen und Konzertliebhaber*innen des Landes. KAFFKIEZ sind bereit, ihr Publikum mit ihrer mitreißenden Live-Performance zu begeistern. Die jetzt schon zu weiten Teilen ausverkaufte Tour im März 2024 zeigt das: Eines ist sicher: KAFFKIEZ haben noch viel zu erzählen. Wir dürfen uns freuen, dass es endlich wieder eine Band gibt, die ohne großen Schnickschnack einfach mit guten Songs begeistert.

Svaneborg Kardyb are Nikolaj Svaneborg – Wurlitzer, Juno, piano and Jonas Kardyb – drums, percussion a multi award winning duo from Denmark, with a fast-rising international reputation and with an NPR Tiny Desk concert – number one on many artist’s wish lists - in the bag before even the release of their Gondwana Records debut album Over Tage last November.



Their beautiful, exquisite compositions draw on Danish folk music and Scandinavian jazz influences, resulting in a joyful melding of beautiful melodies, delicate minimalism, catchy grooves, subtle electronica vibes, Nordic atmospheres and organic interplay. All of this and more shines through on their NPR session, first broadcast in May 2022 on YouTube. But of course, not everyone watches YouTube and so here, remastered for vinyl and download, is a strictly limited to 1500 vinyl, four tracker - At Home (An NPR Tiny Desk Concert) featuring bespoke artwork from Gondwana Records’ Daniel Halsall.



Here is what Kara Frame had to say for NPR, “Svaneborg Kardyb's Tiny Desk (home) concert was recorded in the countryside of Djursland, Denmark. "You have to drive for a while on a gravel road, and then you come to a lovely old house surrounded by hills and a stream on one side and a very flat landscape on the other, where you can see 10 miles away," the band wrote to us, describing the location of the shoot. It's this place that inspired Svaneborg Kardyb's second album, Haven (or "garden" in English). "Haven celebrates places we like to be," the duo said.



The Danish jazz duo is composed of Nikolaj Svaneborg on the Wurlitzer, synthesizer and piano, and Jonas Kardyb on drums and percussion. Their instrumentation set-up is untraditional, with the drums and keys facing each other, a position that they play in on stage just as they do in Kardyb's kitchen and living room here. They open up their set with the title track from Haven, which begins with a quiet melody over an effervescent loop. The sound mimics the shimmy of leaves in the breeze.”

Kein anderes Konzert wird auf der ganzen Welt mit so viel Spannung erwartet wie das alljährliche Neujahrskonzert aus Wien. In diesem Jahr wird das Mega-Klassik-Event in über 90 Länder übertragen und von mehreren Millionen Menschen verfolgt.Am Pult des Neujahrskonzerts 2024 steht Christian Thielemann, Chefdirigent der Sächsischen Staatskapelle Dresden und künftiger Nachfolger von Daniel Barenboim an der Berliner Staatsoper Unter den Linden. Thielemann ist den Wiener Philharmonikern seit dem Jahre 2000 musikalisch eng verbunden, und 2019 leitete er erstmals eines ihrer Neujahrskonzerte. Darüber hinaus dirigiert er das Orchester regelmäßig in Abonnementkonzerten im Wiener Musikverein, bei den Salzburger Festspielen sowie auf Tourneen in Japan, China, Europa und den USA. Nach der Referenz-Einspielung eines gemeinsamen Zyklus sämtlicher Beethoven-Symphonien begannen die Wiener Philharmoniker und Christian Thielemann noch während der Pandemie mit der Arbeit an einer Gesamtaufnahme der Symphonien von Anton Bruckner, die im Oktober 2023 bei Sony Classical erschien.Bruckner wird auch im Neujahrskonzert 2024 mit einer dortigen Erstaufführung seiner Quadrille op. 212 geehrt.

"The Dive is a 2023 scuba-diving movie, starring Sophie Lowe (Medieval) and Louisa Krause (Billions), with much of the footage – underwater and topside – shot in the popular diving destination of Malta. Directed by Maximilian Erlenwein and written by Erlenwein with Joachim Heden, The Dive focuses on two sisters, Drew and May, whose dive together off the rocky shoreline is abruptly cut short when a landslide above water sends a cascade of boulders down on top of them, leaving May trapped down at 28m by the debris. With dangerously low levels of oxygen and cold temperatures, it is up to her sister to fight for her life. The score to The Dive is composed by Volker Bertelmann & Raffael Seyfried. Bertelmann is a German composer who is also known under the name Hauschka. In 2022, he won an Academy Award and BAFTA for his work on All Quiet on the Western Front. For the soundtrack for The Dive, he teamed up with Raffael Seyfried, who previously scored the acclaimed 2018 drama series Patrick Melrose. The Dive is available as a limited edition on turquoise coloured vinyl."

Dive by Various Artists, released 25 January 2024, includes the following tracks: "Do You Hear That", "Go To The Surface", "Ship", "Are You OK" and more.

This version of Dive comes as a 1xLP.

The vinyl is pressed as a turquoise disc.

Was für ein Glück: Die erfrischendste Wiener Indie-Band zwischen Fuzz Folk, Chanson und Punk, die seit Langem aufgetaucht ist - Endless Wellness ist da, um kollektive Erschöpfung umzuleiten in ein gemeinsames, lautes Aufbegehren.

Da ist eine schrammelnde Westerngitarre zu hören, die übersteuert. Eine Orgel bietet Fläche, manchmal legt sich auch ein düsterer Synthesizer dazu. Es könnte "Fuzz-Folk" genannt oder schlicht dem allumfassenden Indie zugeordnet werden; sie könnten als "Big Thief, nur auf deutsch", die "frühen Tocotronic, aber später" oder als "Isolation Berlin aus Wien" bezeichnet werden - aber ganz so einfach ist das mit dem Vergleichen nicht. Endless Wellness - zusammen sind das die vier Jugendfriends Philipp, Adele, Hjörtur und Milena, die seit der Bandgründung in Wien ein Herz nach dem anderen erobern. Das Debütalbum 'Was für ein Glück' ist wie eine vielschichtige Collage für die Ohren, bei jedem wiederholten Anblick und Anhören kann wieder etwas zuvor Unbemerktes entdeckt werden: von Akustik zu Fuzz, Folk zu Grunge, Wiener-Chanson zu Punk, zwischen isolierter Intimität und beschwörender Mehrstimmigkeit finden auch Vogelgezwitscher und Wellenrauschen ihren Platz.

'Why Black Man Dey Suffer', aufgenommen 1971, wurde von Fela Kuti's damaligen Label EMI ursprünglich als zu kontrovers für eine Veröffentlichung angesehen. Geprägt von der amerikanischen Black-Power-Bewegung und einer neuen panafrikanischen Weltsicht, diente dieses Album Fela als musikalisches Vehikel, um die kolonialen Ungerechtigkeiten und die Korruption der herrschenden Eliten seiner Zeit aufzudecken und herauszufordern.

Der Titelsong "Why Black Man Dey Suffer" ist eine Geschichtsstunde über die Unterdrückung des afrikanischen Menschen. Er beschreibt die Litanei des Missbrauchs, den Schwarze erlitten haben - von der Versklavung bis hin zur Auferlegung einer neuen Kultur durch ein fremdes Volk, das ihnen ihr Land wegnahm, sie bekämpfte und sie gegeneinander aufbrachte.

Der folgende Track, 'Ikoyi Mentality', bringt Felas Identifikation mit den unterdrückten Massen und seine Ablehnung der Lebensweise der herrschenden Klasse im Stadtteil Ikoyi in Lagos deutlich zum Ausdruck.

'Why Black Man Dey Suffer' ist Teil des von Chris Martin und Femi Kuti zusammengestellten Box Sets #5 und ist jetzt endlich auch einzeln erhältlich auf transparent gelbem Vinyl. Inkl. einer bedruckten Innenhülle.

The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighbourhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community. Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity. The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement. The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…). This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music. "Power-Fuerza" is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the

raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage. Embrace the timeless resonance of the Ghetto Brothers’ “Power-Fuerza”, one of the best Latin funk albums ever recorded…

'Why Black Man Dey Suffer', aufgenommen 1971, wurde von Fela Kuti's damaligen Label EMI ursprünglich als zu kontrovers für eine Veröffentlichung angesehen. Geprägt von der amerikanischen Black-Power-Bewegung und einer neuen panafrikanischen Weltsicht, diente dieses Album Fela als musikalisches Vehikel, um die kolonialen Ungerechtigkeiten und die Korruption der herrschenden Eliten seiner Zeit aufzudecken und herauszufordern.

Der Titelsong "Why Black Man Dey Suffer" ist eine Geschichtsstunde über die Unterdrückung des afrikanischen Menschen. Er beschreibt die Litanei des Missbrauchs, den Schwarze erlitten haben - von der Versklavung bis hin zur Auferlegung einer neuen Kultur durch ein fremdes Volk, das ihnen ihr Land wegnahm, sie bekämpfte und sie gegeneinander aufbrachte.

Der folgende Track, 'Ikoyi Mentality', bringt Felas Identifikation mit den unterdrückten Massen und seine Ablehnung der Lebensweise der herrschenden Klasse im Stadtteil Ikoyi in Lagos deutlich zum Ausdruck.

'Why Black Man Dey Suffer' ist Teil des von Chris Martin und Femi Kuti zusammengestellten Box Sets #5 und ist jetzt endlich auch einzeln erhältlich auf transparent gelbem Vinyl. Inkl. einer bedruckten Innenhülle.

Ben E. King's "Don't Play That Song!" remains an essential piece of the R&B and soul music
landscape, showcasing his vocal talent and contributing to the evolution of these genres during the early 1960s. The album continues to be appreciated by soul music enthusiasts and is a testament to King's enduring legacy: his expressive, emotive vocals and the heartfelt themes of the songs set a standard for future generations of soul singers.

Third studio album by Ben E. King, released in 1962, the record is notable for its fusion of soul, R&B, and doo-wop influences, and it includes some of King's memorable songs as "Don't Play That Song (You Lied)," (written by Ahmet Ertegun and Betty Nelson, top 10 on the Billboard Hot 100 chart) and other noteworthy songs such as "Ecstasy," "On the Horizon," "Young Boy Blues," and "Here Comes the Night.”

This release is part of the New Ermitage collection available from December 2023: 18 jazz and soul titles reissued on yellow vinyl with new codes and renewed graphics.

On their debut "Hold Your Horse Is" Hella's style started to transform, organically. Zach was pushing the envelope rhythmically, and Spencer began to simultaneously play both rhythm and melody on the same instrument. 2023 marks the 21st anniversary of HYHI, which is being repressed as a commemorative re-release by KRS, including both the remastered original album and the 3 song demo which landed them their deal with KRS in 2001.

In the ever-evolving landscape of hip-hop, Divine ScienZe emerges with their third album, Divine ScienZe 3, a testament to their unwavering dedication to pushing boundaries and crafting music that is as refreshing as it is organic. As a dynamic duo, Divine ScienZe has consistently strived to redefine their sound, and this album stands as a brilliant showcase of their musical evolution. With this release, Divine ScienZe boldly ventures beyond the traditional boom bap approach, seamlessly merging the contemporary essence of hip-hop with their signature classic sound. The result is an auditory journey that transcends time, capturing the essence of both past and present in a harmonious union. Each track on the album is a testament to the duo's growth and innovation, offering listeners a transformative experience with every press of the play button. At its core, this album is a fusion of diverse elements, meticulously crafted to deliver a multifaceted sonic experience. Divine ScienZe masterfully weaves storytelling, hard-hitting bangers, and lush, soulful vibes into every track. The storytelling invites listeners to delve deep into the narratives, while the bangers ignite an irresistible energy, compelling even the most reserved to move to the rhythm. The lush vibes provide a tranquil oasis within the album, offering moments of reflection and introspection. Divine ScienZe 3 is more than just a collection of songs; it's a testament to the duo's artistic evolution and their unyielding commitment to creating timeless music. With every note, rhyme, and rhythm, Divine ScienZe proves that growth is not just inevitable but essential in the world of hip-hop. This release is destined to become an instant classic, a testament to Divine ScienZe's enduring legacy in the genre, and a must-listen for anyone seeking a musical journey that is both refreshing and profoundly authentic

Celebrated techno producer, sound artist and one half of ORKA, Jens L. Thomsen announces groundbreaking EP ÆÐR, landing 15th December via Kervið. ÆÐR (meaning ‘vein’ in English) is a uniquely atmospheric two-track EP, exploring modernity and post-war freedom through a Faroese lens. Commissioned for Eysturoyartunnil, a 12km subsea tunnel - the largest of its kind - in Jens’ native Faroe Islands, a structural marvel with striking art that has both a voice and aesthetic identity of its own. The EP currently lives as a live audio installation, broadcast around the clock on FM radio for anyone travelling through the tunnel. This is the first time a soundscape has been permanently installed and broadcast via this kind of technical solution allowing the sound to become part of the experience of the space itself. As one half of revered techno duo, ORKA, twice nominated for the Nordic Council Music Prize, who recently released their sixth album, All At Once, and an integral part of Yann Tiersen’s live band, Thomsen has already made a significant impact in electronic music. ÆÐR is an expansion of his work as a composer, which includes several site-specific soundscapes, including NORD which was commissioned by the Southbank Centre and installed across the entire fifth floor of the Royal Festival Hall in London.
On ÆÐR, Thomsen brings his talent for one-of-a-kind environmental sonic experiences to a wider audience. A paean to human endeavour and the developmental history of humanity, the tunnel is at once progressive and ancient: a liminal setting where late-modern and pre-modern longings somehow seem to rub off on each other. These intersecting ideas are translated into a striking soundscape of dark drones, creeping frequencies, bleeping ambience, groaning masses of sound, and pulsating echoes from the hidden world beneath us. The underworld that we somehow are able to move through temporarily in our car under the sea, giving the tunnel and the islands a voice of their own, while exploring the parallels between the tunnel and Faroese society today.
This uniquely immersive and compelling work, previously existing only as a transitory experience for users of the Eysturoyartunnil, is now available on vinyl for the first time to be considered and enjoyed in all its fascinating detail. A thought-provoking and groundbreaking piece from one of Europe’s most exceptional composers and sound artists today