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Re-mastered from the original master tapes.
Limited edition 2000 copies.
180 gr vinyl pressed by Optimal in Germany.
Facsimile reissue using the original photos on front and back by Herman Leonard.
Double insert using an original photo by JP Leloir.
Each record has been visually checked to prevent defects.

The last album of Dead Cat In a Bag on vinyl! 180g + downloadcode.

"Do you know it? Ennio Morricone, Nick Cave, Mark Lanegan, Tom Waits and Zach Condon walk into the bar, and there are all the seats occupied by the Dead Cat In A Bag musicians. Really." - this is how Jarek Szubrycht started the review of the last album of the Italian group Dead Cat In Bag in Gazeta Wyborcza. And he was right. Really.
Yes! Dead Cat In A Bag is back! They are back with a new album "We've Been Through".

After exploring several so called Neo-Folk regions, flirting with Folk Noir, mostly with Traditional Folk in a modern perspective, for example Americana to Tex-Mex and Balkan Music to Alternative Country, on this third record the ensemble drifts to a cinematic landscape, focusing on the theme of overcoming.

We've Been Through puts together World Music elements incorporating an almost soundtrack experience for a journey into both Day and Night, Hope and Disillusionment and telling stories of broken romances and shipwrecks.

Utilizing banjo and theatrical vocal delivery, together with with classic and odd instruments, the band remap the original charts but still set sail the desired destinations. And if, about the previous records, critics were prone to recall the prowess of Waits, Cave, Lanegan, Cash and Tindersticks, this time it will be harder to name the grandfathers.
Now there is a Morricone (or was it Badalamenti?) guiding spirit and a dreamlike universe full of memories, from the dry electric blues of a stream of consciousness duet in Duet For Nothing to the unexpected crooning vocals provided by Liam McKahey (CousetauX) in Lost Friends (a banjo droven dirge dealing with electronics and a bassoon, with steal percussions and a music saw for a frame), from the rendition of the traditional Wayfaring Stranger, balancing between electric guitars and Bluegrass, to the intimate cover of Leonard Cohen's Hunter's Lullaby, from the rock-(swamp)blues of The Cat Is Dead (enriched by Italian bass hero Gianni Maroccolo, from Litfiba and C.S.I.) to the soft meloncholy of the string quartet in Between Day And Night, from the dark cabaret of Fiddler, The Ship Is Sinking to the soft porch song, between Willard Grant Conspiracy and Kris Kristofferson, of the final title track.
You can hear a shrawn and a blues harp, whispers and choirs, love and dudgeon as the record goes. This is the sound of an orchestra playing on a sinking ship: what else could a fiddler do? And what can we do, in the end?

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, 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 renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

White Vinyl LP. RIYL: Aldous Harding, Jenny Hval, Marlon Williams, Joni Mitchell, Leonard Cohen. Revered Sydney songwriter Laura Jean returns with new album Amateurs, her first record since the much-celebrated Devotion in 2018. Amateurs is a stunning, string-laden album, set at a mystical midway point between the deep synth-pop of Devotion and the folkier sounds of Laura’s earlier work. The album features backing vocals from Aldous Harding and Marlon Williams on three songs (Teenager Again, Amateurs and Folk Festival). Laura worked with producer Tim Bruniges around Sydney’s long 2020-2021 lockdowns. Erkki Veltheim (Gurrumul, Cat Power) arranged gorgeous strings for the album, which were recorded in Melbourne by Devotion producer John Lee. Amateurs is an album about anti-art and anti-intellectual culture in Australia (but applies equally to other parts of the world). It sees Laura questioning her role as a songwriter and examining the reality of her choices to prioritise art over other parts of her life. It is also a warm hearted, humorous and sonically breathtaking album. “Amateurs means to do something for love, not money, and somehow it’s become a dirty word, shorthand for a failure,” says Laura. “These songs arise from my acceptance that I will always be an ‘amateur’.” 2018 album Devotion had superlative reviews from Pitchfork, Gorilla Vs Bear and elsewhere, and made it into end of year lists for Spin, Idolator, Apple Music and more. Laura also acquired some high-profile fans such as Lorde and actor Brie Larson. She did two UK/Europe tours in 2018-19 with Courtney Barnett and Aldous Harding. Laura has twice been shortlisted for the Australian Music Prize and has recorded with Jenny Hval as well as Aussie icons Paul Kelly, The Drones, and Rolling Blackouts Coastal Fever. “Maybe the sharpest communication of the spooky, all-consuming nature of feminine love” – Lorde. Selling Points: Backing vocals on three tracks from Aldous Harding and Marlon Williams. Sumptuous string arrangements from Errki Veltheim, who has played with everyone from Cat Power to Mike Patton. Laura featured on Jenny Hval's 2019 album The Practice Of Love, and Jenny sang on Laura's self-titled album from 2014.

The Dangerous Summer signed their first record deal as high school seniors and quickly established themselves among the alt-rock world’s elite. Passionate delivery, confessional authenticity, and deeply resonant musical storytelling define their sound. The band writes hooks that serve as soundtracks for important life moments for a diverse group of listeners spread across the globe. The audience is more family than a fanbase. The community feeling is apparent at every gig, from Slam Dunk to Riot Fest, from touring with State Champs to headlining shows. Reach for the Sun is the record that “shot them into the pop-punk pantheon” (Kerrang!). Powered by unshakeable, enduring alt-rock anthems, the Ellicott City, Maryland band’s debut album made them heroes of the Warped Tour world, all while they carved their own unique path. 2011’s War Paint was a sophomore-slump-smashing follow-up. Grantland likened the “tall and wide” riffs of 2013’s Golden Record to The Hold Steady and U2. (“Catholic Girls” even earned The Danger Summer praise from the famously discerning Pitchfork.) Alternative Press saluted The Dangerous Summer as a group that stayed true to their sound, praising the songs on their 2018 self-titled comeback album as equal parts charismatic and addictive. 2019’s Mother Nature conjured an emotional storm, with an uplifting bent. Underoath’s Aaron Gillespie appeared on the 2020 EP, All That Is Left Of The Blue Sky. Produced by Will Beasley (Turnstile, Asking Alexandria), 2022’s Coming Home ushers in a new era for TDS. The Dangerous Summer never sacrificed their unique, diverse sonic identity, one that appeals to fans of everything from Kings Of Leon and Coldplay to Jimmy Eat World and Bright Eyes. Coming Home is a triumphant summary of what The Dangerous Summer is all about, past, present, and future.

Since the late sixties Lee Fields has amassed a prolific catalog and has played and toured with such legends as Kool and the Gang, Sammy Gordon and the Hip-Huggers, O.V Wright, and many more. With a career spanning 43 years, it s mind-blowing that the music he s making today with Brooklyn s Truth & Soul Records is the best of his career. While drawing comparisons to The Moments, The Delfonics, The Stylistics, and of course James Brown, Faithful Man is able to create a space of it s own due to the group s desire to interpret and further the formulas of good soul music rather then imitate them. Chalk that up to Truth & Soul producers and co-owners Jeff Silverman and Leon Michels. These are the same individuals that co-wrote, produced, and played on Aloe Blacc s global smash I Need A Dollar, and have provided the back drop for records by Adele, Ghostface Killah, and Jay-Z to name a few. The older Fields becomes, the closer he gets to perfecting the sound of soul said DJ Oliver Wang about Fields in an NPR feature. Faithful Man is the next step towards perfection. A step that will find Lee Fields & The Expressions finally being bestowed the contemporary soul music crown.

Blue Vinyl

Leonard Cohens Hallelujah & Songs from His Albums ist das erste offizielle karriereumfassende Album des Songwriters, Musikers, Dichters, Romanautors und Künstlers Leonard Cohen. Die Anthologie featuret 17 Tracks aus der musikalischen Laufbahn des Ausnahmekünstlers. Als besonderes Highlight findet sich auf der Tracklist ein Mitschnitt seiner unvergesslichen Darbietung von "Hallelujah", die 2008 auf dem Glastonbury Festival mitgeschnitten wurde. Das Album wurde vom neuen Dokumentarfilm Hallelujah: Leonard Cohen a Journey, a Song inspiriert.

Der Titel von Leon Thomas' drittem Album für Bob Thieles Flying Dutchman-Label bezog sich auf Oliver Nelsons klassische LP "The Blues and the Abstract Truth" von 1961. "Blues And The Soulful Truth" wurde im Original 1972 veröffentlicht und enthielt eine All-Star-Band, zu der Pretty Purdie (Schlagzeug), Stanley Clarke (Bass), Cecil Payne (Baritonsaxophon) und Neal Creque (Keyboards) gehörten. Es ist ein Soul meets Jazz meets Blues-Meisterwerk mit Arrangements von Ex-James Brown Hornist Pee Wee Ellis.

Der Klassiker enthält das außergewöhnliche 'Shape Your Mind To Die', 'L-O-V-E', eine fesselnde Gesangsversion von Gabor Szabos 'Gypsy Queen', das fesselnde 'Love Each Other', das klagende 'China Doll' und eine treibende Version von John Lee Hookers 'Boom-Boom-Boom'.
Gatefold 180 Gr.-Vinyl in klassischem Schwarz mit dem Flying Dutchman-Layout als Nachbildung!

** SISTER FUNK, SOUL-JAZZ and BLUE-EYED-SOUL - OBSCURE RARE GROOVES ALL THE WAY THRU! **

- the double vinyl LP comes with a full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs
- ALL songs appear on LP & digital for the very first-time
- sales notes by Joel Ricci (aka Lucky Brown)

When Tramp Records was founded, there really were very few ways in which the music lover could discover new music besides the traditional methods of digging, good luck, and inheritance. First there were torrent sites such as Napster and Limewire where generous collectors might digitize and upload portions of their accessions, and sometimes you could find entire radio show broadcasts of live vinyl curation made by real Disc Jockeys out there, a lot of the Deep Funk I heard for the first time in around 1999 I found this way via Disc Jockeys on radio shows from the UK, tunes were faded and mixed together and of course veiled with that unmistakable Mp3 'whoosh'. And unless you have been living as an off-grid hermit for the past 20 years, you know the rest of the story.

But though our world has changed, and even though everyone from our grandparents to our 5-year old nieces are curating their own internet playlists, I submit that the role of DJ has become even more vital, not less. We as a culture have always relied on our Disc Jockeys to introduce us to sounds that speak to their souls, to control the vibe and most importantly put forth the narrative that speaks to society as a whole. DJs are our tribal storytellers, and the music they bring us are the stories. And when a DJ like Tobias Kirmayer is telling us that story clearly and with conviction, it speaks to our souls as well.

"Countdown to...SOUL" is a compilation series that, much like Tramp Records' other critically-acclaimed comps such as Movements, Feeling Nice, and the Praise Poems Series' examines a unique facet of the Golden Era of Soul, Funk, Jazz and R&B. Perhaps, in this case the dawning of the Soul era, "proto-soul", "primitive soul", or even "pre-soul" if you will. When they were recorded, many of these tunes were still firmly ensconced in the Black Radical Jazz tradition, but there was a change in the air, something happening in the coming years that would revolutionize popular music forever. In fact, Soul had already taken over the world by the time many of these tunes were released on 45, but for various reasons, the artists and their music occupied the fringes of the idiom and therefore remained obscure. Countdown to...SOUL chronicles that beginning, that buildup, those heady moments before the lid blew off and American Black music would explode across the planet, while scouring the outskirts and tide pools for specimens that were emanating in their own respective neighborhoods and communities, so often overlooked by the American pop music machine.

Side A features barrier-breaking pioneer Frankie Staton and her message of "Love One Another" to the world that is as fresh and vital today as it was when it first came out in the late seventies. In that spirit, Tenison Stevens' appeal "Don't Rip Me Off" reminds us to treat each other as brothers and sisters.

Side B meets us at the altar of the formidable Hammond Organ with an Unknown and uncredited Organist found languishing on a one-of-a-kind unreleased acetate and moving on to explore the nexus of Soul, Bebop, and R&B with Don Patterson's "Paddy Wagon".

Side C satisfies our hunger for the blaring horn sections, big beat drums, wailing Hammonds, pleading vocals and gritty guitars of authentic Soul music (both brown and blue-eyed) with Marva Josie, Shirley Wahls and The Echomen, among others, but then takes a hard left turn into undoubtedly uncharted territory with the hybrid folk/country/soul story of Sherrif Black and poor Sally who, though she is tragically met with a terrible fate, thanks to the careful and conscientious mastering of our German engineers, the song itself remains alive and is a genuine addition to the canon.

For the remaining side, I'm gonna just let you discover this music on its own terms, as you won't find these tunes anywhere else, not on Napster, not even on Limewire, or anywhere else. I want to personally thank you for putting your trust in the DJ and for continuing to listen, study, appreciate, and share the work and mission of Tramp Records.

-Joel Ricci (May 2022)

This one is highly recommended for fans of Khruangbin, Lord Echo, Leon Bridges or Fat Freddy's Drop.

Open is the sixth studio album from acclaimed composer, producer, filmmaker and multi-instrumentalist, Kutiman. It is an addictive & irresistible twelve-track trip taking in elements of classic soul, Middle Eastern psychedelia, Afrobeat, Thai funk, jazz fusion, cosmic library soundscapes and more.

The uptempo “Vanishing Point” opens proceedings, recalling both Abstract Orchestra’s 2017 Dilla tribute and the lounge OST/library music flips of Tosca and DJ Vadim fame.

My Everything introduces prominent guest & frequent Kutiman collaborator, Dekel, whose soul-pop vocals coupled with jangly acoustic guitar riffs tip to contemporary indie artists such as Michael Kiwanuka and SAULT. “A Day Off passes through” Anatolian psych and Khruangbin-esque Thai funk whilst the afrobeat/jazz fusion “Confetti” pays tribute to Kutiman’s other namesake, Fela Kuti.

Dekel rejoins for the beatdown, lilting dub-soul “Believe In You” with hints of Lord Echo and the sun-inflected New Zealand dub-soul sound. The Tuareg-leaning guitar lines on “Canoe” travel across the Saharan desert easterly towards Sudan and Ethiopia by the end, whilst meditative and Coltrane-adjacent album closer “Ripples” provides a final moment of reflection from a truly global excursion of soundscapes.

LP comes with a Side D etching in triple gatefold jacket + full album download. The Will to Live was produced by Titus Andronicus singer-songwriter Patrick Stickles and Canadian icon Howard Bilerman (Arcade Fire, Leonard Cohen, The Whole Nine Yards) at the latter’s Hotel 2 Tango recording studio in Montreal. Drawing on maximalist rock epics from Who’s Next to Hysteria, Bilerman and Stickles have crafted the richest, densest, and hardest hitting sound for Titus Andronicus yet. All at once, the record matches the sprawl and scope of the band’s most celebrated work, while also honing their ambitious attack to greater effect than ever before. “It may strike some as ironic we had to go to Canada to record our equivalent to Born in the USA,” quips Stickles, “but the pursuit of Ultimate Rock knows no borders. ”For his recent stretch of personal stability, he credits a newfound domestic bliss and steadfast mental health regimen (“Lamictal is a hell of a drug”) as well as the endurance of what has become the longest-running consistent lineup of Titus Andronicus—Liam Betson on guitar, R.J. Gordon on bass, and Chris Wilson on drums. On the crueler side of the coin, however, The Will to Live was created in large part as an attempt to process the untimely 2021 death of Matt “Money” Miller, the founding keyboardist of the band and Stickles’ closest cousin. Stickles explains: “The passing of my dearest friend forced me to recognize not only the precious and fragile nature of life, but also the interconnectivity of all life. Loved ones we have lost are really not lost at all, as they, and we still living, are all component pieces of a far larger continuous organism, which both precedes and succeeds our illusory individual selves, united through time by (you guessed it) the will to live.” “Naturally, though, our long-suffering narrator can only arrive at this conclusion through a painful and arduous odyssey through Hell itself,” he qualifies. “This is a Titus Andronicus record, after all.” When Titus Andronicus made their long-awaited return to the stage in 2021, it was to celebrate the anniversary of their landmark breakthrough The Monitor, and the act of playing that material before an ecstatic audience left the band determined to deliver an album that would reach for those same lofty heights, relying this time less on the reckless fire of youth and more on the experience and perspective at which a band only arrives with a thousand shows under their belt. Through this golden ratio, Titus Andronicus have arrived at the peak of their creative powers. From its adrenalizing opening instrumental “My Mother Is Going to Kill Me” to its wistful closing benediction “69 Stones,” The Will to Live conjures a vast landscape and sends the listener on a rocket ride from peak to vertiginous peak. Rock fans will find themselves a feast, whether they crave barn-burning rock anthems such as “(I’m) Screwed” and “All Through the Night,” rapid-fire lyrical gymnastics (“Baby Crazy”), symphonic punk throwdowns (“Dead Meat”), or an adventurous excursion into the darkness that delivers thrills as it breezes boldly past the 7 minute mark, “An Anomaly.” As if that wasn’t enough gas for the tank, The Will to Live features sterling contributions from members of the Hold Steady, Arcade Fire, and the E Street Band, as well as duets with the aforementioned Betson, former Titus Andronicus drummer Eric Harm, and Josée Caron of the Canadian rock band Partner. The album comes packaged with gorgeous triple-gatefold artwork by illustrious illustrator Nicole Rifkin, a Hieronymus Bosch–inspired triptych which mirrors the three-part structure of the narrator’s perilous voyage across the corresponding three sides of vinyl. All together, this esteemed ensemble, with Stickles and Bilerman determined and defiant at the helm, have found The Will to Live—now, the question is… will you?

SIDE A 1. My Mother is Going to Kill Me 2. (I’m) Screwed 3. I Can Not Be Satisfied 4. Bridge and Tunnel SIDE B 5. Grey Goo 6. Dead Meat 7. An Anomaly SIDE C 8. Give Me Grief 9. Baby Crazy 10. All Through the Night 11. We’re Coming Back 12. 69 Stones SIDE D Etching

Los Cotopla Boyz: Millennial Cumbia For The End Of The World. The newest psychedelic space ranger Cumbia band from Bogotá's infamous DIY scene have been sent to earth to save the party! Los Cotopla Boyz make the walls sweat, they set fire to your feet on the dance floor. It all started in Bogotá, which you might say is the tropicanibal venue par excellence, a place that has brought life to acts like Frente Cumbiero, Los Meridian Brothers, Romperayo, Chúpame el dedo, Dub de Gaita, Los Pirañas, Onda trópica and León Pardo, among other eccentricities that have taken the world and stand out not only for their virtuosity but also the connection that lives between that salvaging of traditional folklore and lysergic futurism that expands hypnotically around the world. From this musical hotbed that emerged in the second decade of the new millennium, there is now a new generation to continue the tropicanibal scene, with groups such as La Sonora Mazurén, La Tromba Bacalao, Los Yoryis, El Conjunto Media Luna and, of course, Los Cotopla Boyz, a five-piece that formed in Bogotá in 2018 but inhabit a post-pandemic dystopian multiverse where their mission is to save the party. So their live performances have that illusion of frantic Power Rangers singing about their adventures, as if these were epic chants, except instead of heroic feats they sing with humor about their everyday lives, like the drama “N’sync” about that chat where they leave you on read, or “Me Malviajé con las Ganlletas” about the hallucinogenic experimentation of ingesting cannabis and flipping out. These experiences also lead to songs like the clumsy love lost of “Dama tu Wasap,” the cathartic “Tren de Cotopla” and the ode to excess that is “Raspafiestas,” that moment in your life when the night seems eternal and you only want to go from one party to the next until the world ends. These songs, together with “Plankton (Abanico Sanyo)” and “El Peruanito” are part of Mamarron, Vol. 1, a compilation of seven millennial cannon shots inspired by Los Mirlos, Los Hechizeros Band, Anan, Wendy Sulca, La Sonora Cordobesa, Bad Bunny, Yandel and Los Corraleros de Majagual, tracks laid down on their debut record that saw the light in 2020 in the middle of the pandemic and will be re-released in 2022 by AYA records (ZZK Records imprint.) As well as being pressed on vinyl the album will include the bonus track “El Peruanito” remixed by Colombian producer Santiago Navas and taken from Mamarrón, Vol. 2, their album of remixes by figures such as Frente Cumbiero, Cerrero, Prendida, Sonido Confirmación, DJ Rata Piano and Felipe Orjuela, local producers and musicians with a global scope and vision who expand the raspafiesta universe to the limits of the world. Los Cotopla Boyz are a sweaty, schizophrenic cumbia experience that has been witnessed by emerging Bogotá clubs like Matik-Matik, Boogaloop, El Chamán, Tejo Turmequé, Videoclub and the festival Hermoso Ruido, providing nights of wild abandon to the beat of an outrageous big cumbia sound, a ritual of release giving those present a maximum catharsis that has no compare, not even the most animalistic moves of any metaller shaking his powerful mane. Los Cotopla make the walls sweat, they set fire to your feet on the dancefloor, drawing amorphous moves from their fans on exquisite nights. Tracks SIDE A: 1. Plankton (Abanico Sanyo) 2. El Peruanito 3. Dame tu Wasap 4. N’sync SIDE B: 1. Tren de Cotopla 2. Me Malviaje con Ganlletas 3. Raspafiestas 4. El Peruanito (Santiago Navas Remix)

ke and Tina Turner formed a duo in 1960 and were soon seen as “one of the most potent live acts on the R&B circuit. The duo released their sixth studio album River Deep - Mountain High in 1966, which was produced by the legendary Phil Spector with his “Wall Of Sound”. They recorded the album with session musicians Jack Nitzsche, Leon Russell, Jim Horn, Glen Campbell, Darlene Love and Clydie “Brown Sugar” King.

The opening title track became a major hit and is still seen as one of the songs that shaped rock and roll. It is also the track that was arguably the high point of Spector’s “Wall Of Sound” production style. The 12-track set included three more successful tracks: “A Fool In Love”, “I Idolize You” and “It’s Gonna Work Out Fine”.

"What took you so long?" might be a valid question concerning the ten year gap between Zanshin's new album "In Any Case By Any Chance" and his first album "Rain Are In Clouds".

Of course it is a question that the Viennese musician has asked himself quite startled in his usual self-critical manner, just to realize at a closer look that it has not been a lack of creativity or laziness at least. He used the Zanshin moniker on four EP releases and several remixes, plus a game soundtrack. Not to forget all his output as one half of producer duo Ogris Debris (the album "Constant Spring" from 2016 and roughly two dozen singles and remixes) and the many, partly award-winning audiovisual installations and performances with Leonhard Lass as DEPART (depart.at). Furthermore he has also built two sound installations in 2021, "I Gong" at Elevate Festival and "Cymatic Sands" at Ars Electronica. In addition, Zanshin performs with the Max-Brand-Synthesizer from time to time as part of the compositions by Elisabeth Schimana, and together with label mate Dorian Concept he has also composed and performed the piece "Half Chance/Music for Moogtonium" for this unique instrument, built by Bob Moog himself.

Not spared by certain global developments of recent years, but rather invigorated by exploring his own resilience, Zanshin had a talk with Affine Records Operator Jamal in the beginning of 2021, speaking of future ideas and releases. And what was initially a single release spawned into a whole album in seemingly no time. An old skit ("Polar Polychrome") on the Roland MC-505 groove-box that had never really been forgotten, but was rather waiting patiently somewhere in the back of his mind, suddenly proved to be the initial spark for the album.

The term "Zanshin", roughly translated as un-focussed attention, is in fact more than just a pseudonym but rather a directive in the artists life. Zanshin really likes to go in several directions at once, kind of according to Wittgenstein's claim that "The world is everything that is the case.", to find out where his love for music might lead him this time. He also somehow went back to his roots with this album. Not necessarily in the sense of certain musical influences or genres, because then the album would be even more eclectic than it already is. More like a focus on the core values in the fabrication process of the music itself, the freedom to rather follow the structures and sounds than to shape them in a completely predetermined way. Somebody once called it, "to weave what the music demands."

In this regard, Zanshin often feels more like a sculptor and tries not toadhereto strongly to the rules of specific sub-genres of electronic music. Searching for sounds and designing them is one of the energies that fuels his interest the most, thus at the beginning of a lot of tracks there are small skits and ideas that have the freedom to grow in whatever direction.

Hence this album has no elaborate story to tell, there is no extensive "narrative" or big time "storytelling" at work. "In Any Case By Any Chance" is not a novel but rather a collection of short stories (which are certainly dense and have complex plots nonetheless). The result is a long-player where playful electronica, skillful songwriting, extrovert dance music and symphonic film music enter into a symbiotic relationship. Returning to another Wittgenstein quote, "Whereof one cannot speak, thereof one must be silent", the emotional impact of music is the main focus and the results can be quite solemn at times, but around the corner always lurks the next bone-breaking rhythm pattern and gnarly sound design.

The infamous saying, "writing about music is like dancing about architecture", is another brick in the wall of sound in Zanshin's approach to music. He rarely roots himself in traditions or uses them too overtly, he really likes to agglomerate sounds, to challenge the listeners. It seems like he tries to avoid classification on purpose, because he knows that everyone has their own perception anyway. The only thing that this music demands implicitly is a willingness to listen attentively.

Very dense, at times really heavy and massive, then again airy and playful. "Music for clubs that don't exist.", might be another fitting caption to describe this album, which lasts for a little more than an hour.

The opener "Heatseeker" rushes to a sudden head start with its steel pan extravaganza, tropical vibes meet a bass line drenched in electro funk, and electrified synth stabs support the declaration of love in the lyrics. Kind of Jamie XX meets Electro meets Diva House. The monster that is "Bronteroc Brawl" is up next, a serious test for the speakers and a wild ride with metallic, growling sounds. The aggressive sound design reminds of suspense ridden shark chases, vicious dogs and cunning dinosaurs, in any case a track for people who love a proper bass stomper.

A new approach for the "indie discotheque" brings the emotional roller-coaster "In Gloom" with snappy drums and hypnotic synth motives á la Alessandro Cortini, creating an epic atmosphere together with the multi-layered vocals. A psycho-acoustic treat is position 4, the crisp instrumental "Polar Polychrome", you could even go as far as calling this a Zanshin signature track. Like mentioned before, the roots of this track go back to 2002 and you can hear the unmistakable influence of beat wizards like Photek, a piercing bass line is supported by poly-rhythmic drums, while dense pads try to escape the claustrophobic lockdown mood of winter 2020/21.

Another round of intense pathos waits for the listeners in the ensuing track "In Search Of". Moderat say "Hello", a melancholy piano melody is rushed to a climax by a wild bass arpeggio and forceful drums, the desire for a perfect sunrise at the next after-hour to the max. Initially just an appendix to the preceding track, "Time After Thought" swiftly developed from a mere improvisation to an ambient epic with a croaking alien piano, as if Keith Jarrett were on his way to Alpha Centauri.

Up next is the first single "Because Why", a breakbeat driven, synth-heavy track with winged vocals and a popular film quote. The title refers to the movie "Alphaville" by Jean-Luc Godard, a dystopian science fiction film noir, in which an omniscient computer system named Alpha 60 is ruling society and humans can only say "because" but never "why". As if the gears of a galactic mechanism were spinning into motion sounds "Identity Slices". A raspy chord structure finds its counterbalance in a kind of stumbling, wonky beat, and Zanshin would never deny the huge influence that Autechre's sounds and structures always have had on his music. Micro- and macrocosm meet on the same level and this friction is also a metaphor for questions of identity and self-awareness, without using voices or lyrics.

Off we go into the IDM bubble bath of "Enzyme Enigma", the bass drum is stomping and a fizzy acid-line is twisting in all directions behind rolling dub-techno chords. "Corrosion Creak" is a kind of acoustic degradation process, the rave dogs are finally let loose and everything happens at once, funky synths shred, string sounds wail and then there is this bass that sounds like smashing a rusty metal plate in the junk yard with a vengeance.

Towards the end everything slows down a bit, the beat in "Whatever Words" is Warp school cerebral hop at its best and therefore loads of glittery, creaky sounds swarm out until the synapses are overloaded, cumulating in a mighty bass ending. Last but never least, "Rebus Redux" guides us into the limitless night sky, with long indulgent pads dotted by an aimlessly wandering piano, while a compact net of tamed resonances and meandering sub frequencies unfolds in the background, enticing navel-gazing imagination.

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

“I’ve been playing since I was 11 years old,” says Charlie Gabriel, the most
senior member of the legendary Preservation Hall Band. “I never did anything in
my life but play music. I’ve been blessed with that gift that God gave me, and I’ve
tried to nurse it the best way I knew how.”
 While he’s faced plenty of challenges nursing that gift for more than 78 years,
none likely rank with last winter’s passing of his brother and last living sibling,
Leonard, lost to COVID-19. For the first time ever, Gabriel put down his horn,
filling his days and weeks instead with dark reflection, a stubborn despondency
broken now and then by regular chess matches in the studio kitchen of Hall
leader Ben Jaffe, working overtime to bring his friend some light.
 One such afternoon also included Joshua Starkman, sitting off in a corner
playing his guitar and half-watching the chess from a distance. When Charlie
returned the next day, he brought his saxophone. “I was just inspired to try it, to
play again. It had been a long time, and a guitar makes me feel free. I do love the
sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”
That day was to be the first session for ‘Eighty Nine’, almost entirely the work of
Gabriel, Jaffe and Starkman, recorded mostly right there, in the kitchen, by Matt
Aguiluz.
 Charlie Gabriel’s first professional gig dates to 1943, sitting in for his father in
New Orleans’ Eureka Brass Band. As a teenager living in Detroit, Charlie played
with Lionel Hampton, whose band then included a young Charles Mingus, later
spending nine years with a group led by Cab Calloway drummer J.C. Heard.
While he’s also fronted a bebop quintet, played and/or toured with Ella
Fitzgerald, Tony Bennet, Aretha Franklin and many more, this is the first time his
name appears on the front of a record, as a bandleader.
 Since 2006, Gabriel has been a member of the Preservation Hall Jazz Band,
featuring prominently on ‘That’s It, So It Is’, and ‘Tuba to Cuba’. ‘Eighty Nine’ was
different, and not simply due to a smaller ensemble. “We had no particular plan,
or any particular insight on what we were gonna do. But we were enjoying what
we were doing, jamming, having a musical conversation,” Charlie says, further
musing, “Musical conversations cancel out complications.”
 The album includes six standards and three newer pieces on which Gabriel is a
writer: ‘Yellow Moon’, ‘The Darker It Gets’ and ‘I Get Jealous’. The record also
marks Charlie’s return to his first instrument, clarinet, on many of the tracks. “The
clarinet is the mother of the saxophone,” he says. “I started playing clarinet early
in life, and this taught me the saxophone.”
 Finally, ‘Eighty Nine’ includes three tracks of Charlie singing. “I always sung, but
it wasn’t my forte to become a singer,” he says. “The truth is, people often
develop a real relationship with a song once they hear the words. Sometimes I
enjoy singing them.”
 First pressing on translucent gold Loser Edition coloured vinyl

After releasing on Atomnation's Unfold Vol. 2 last year, Berlin-based Italian NOCUI returns with more rich and uplifting grooves on his new 12” “Entrain”.

Leonardo Di Fiore (NOCUI's real name) is a Rome-born composer and a classically trained pianist who brings a performative approach to how he makes music. An early love of jazz also permeates his work and he now considers himself a "studio and sound design obsessive." That shows in the meticulously crafted, always fresh music he makes on his go-to drum machine, the Jomox Alpha Base. NOCUI is also adept at speaking through other key bits of gear such as the Roland SH101, Acidlab 303, DSI Prophet 6, and Haken Continuum Fingerboard - machines that lend his music its signature sound and have taken him to labels like Traum and Wildfire.

Fuchs is a band that never was. It vanished as quickly as it appeared in the picture, much like the animal that can be seen on this album and after whom it was named. In 2005, Kante singer and guitarist Peter Thiessen travelled to Weilheim to visit Markus and Micha Acher in their studio, where they were joined, among others, by Notwist-affiliated musicians like Cico Beck, Robert Klinger, Carl Oesterhelt and Stefan Schreiber. Spirits were high, but schedules were full: after a week of improvised sessions, everyone went their own way. The recordings gathered dust until Markus Acher found them again in 2021 while cleaning out his studio. After carefully re-evaluating the rough mixes, the musicians decided to finally release them. The resulting album comprises six tracks that musically draw on jazz, aesthetically lean on dub techniques and ideologically pick up on krautrock: there’s no solos to be heard on this record, just a few equally skilled and open-minded musicians listening to each other carefully, providing each other with space in which to unfold. »Fuchs« is a document of egos dissolving in a collective spirit.

Thiessen and the Acher brothers met in the 1990s and bonded not only over their shared background in hardcore music and the DIY ethos in which it was rooted, but also over their love for jazz. »If you look at those two things combined, you will eventually become convinced that you don’t have to be formally trained to make music that at least resembles jazz«, says Thiessen today. He invited Micha Acher to join his band Kante on flügelhorn in 2004 for a tour that saw the expanded group play unusual encores after the official concert was over. »Micha had taught us some dixie pieces, so night after night we would play a freestyle dixieland ska set in front of the remaining audience!« Naturally, the Acher brothers didn’t have to ask twice when they invited him for a visit in Weilheim to further explore their mutual interests in a studio setting. »I got on my way immediately and took two or three loose ideas, a tape echo and a guitar on whose headplate you could create fantastic sounds with me«, says Thiessen.

Between immersing themselves in books by the photographer Leonore Mau, cooking together and drinking the occasional fruit schnapps, the trio went into the studio. Says Thiessen, »Micha brought his flügelhorn and some wonderful ideas with him, Markus an Indian harmonium and a plan, Carl Oesterhelt came with a glockenspiel and a Chinese zither and a bunch of amazing jazz musicians joined in, too.« He considers the resulting recording sessions to be a kind of attempt at musically translating their conversations during those days. They discussed different approaches to jazz, whether sampling and musical miscitations can unlock ecstatic potentials and the possible parallels between syncretistic religions and pop music. »There’s traces of glossolalia, it's like a blurry séance«, adds Thiessen in regard to the sessions.

It is especially this spirit that managed to live on even though the recordings themselves were abandoned. »What we all liked most when listening back to the recordings is probably their marginal and fragmentary character, the empty spaces—the moments in which the virtuoso solo never comes, in which the centre remains empty.« The six pieces on »Fuchs« are chock-full of exactly these moments. When at one instant, the players seem to disperse and improvise freely, they always meet again on common ground a short time later, continuing on their way together. There are no conventions or even previous agreements that guide them, just a shared will to explore a vast range of curious sounds and unusual rhythms together as a truly unified constellation of very different musicians. Fuchs is a band that never was. Its ideas still reverberate vividly even 17 years later.

Homemade ambient synth songs that will lead you to a state between deep relaxation and pleasant chemical high. Subtle, sincere, but also strange, Leoni Leoni's music has a powerful attraction and a unique bewitching force. The synthesizers sizzle, the drum machine moves forward sometimes throbbing. Upon it, the Bernese musician and producer sings about life, about love, in their banality and magnificence. With 4 homemade cassettes released since 2019, Leoni Leoni has established herself as a major figure of the Swiss underground. With dozens of concerts across Switzerland and France, she distills to perfection her music in the weirdest places, the craziest parties. A bit of magic, the scent of drugs, the caress of a summer white night... let yourself be carried away.

Adrian Quesada announces the release of ‘Boleros Psicodélicos’,
a sprawling and singular tribute to the golden era of balada music.
The brand-new album from the GRAMMY-nominated guitarist,
producer and Black Pumas co-founder serves as a celebration of
the super funky, slightly delirious and deeply soulful sounds that
transcended the cultural boundaries of Latin America throughout
the late 1960s and early 1970s.

Featuring vocals from Puerto Rican icon, GRAMMY-winner and
former Calle 13 member iLe, Colombian-American visionary
Gabriel Garzón-Montano, Mexican R&B star Girl Ultra, as well as
Angelica Garcia, Gaby Moreno, contributions from living legends
such as Marc Ribot and Beastie Boys musician Money Mark, and
many more, ‘Boleros Psicodélicos’ consists primarily of original
Adrian Quesada compositions, as well as covers of La Lupe’s
‘Puedes Decir De Mí’, Jeanette’s ‘El Muchacho De Los Ojos
Tristes’ and other balada classics.

All twelve tracks were produced, engineered, mixed and largely
performed by Adrian Quesada, honouring and extending the
influence of a personal obsession that he has cultivated over the
past 20 years.

Similar to his acclaimed 2018 album ‘Look At My Soul’, which
traced the deep roots and relationship between Latin and Texas
music, Adrian Quesada sees every song on ‘Boleros Psicodelicos’
as both a history lesson and a step towards a newly imagined,
more united future: “I always wanted to pay tribute to that sound
that I was already hearing in my head without realizing that people
had already done it. Balada changed the face of Latin music
forever. If something like that happened today, it would be normal
because everyone’s connected on Instagram. Think how powerful
this sound had to be for everyone to be connected through the
songs. As someone who grew up speaking two languages and
living on both sides of the border, I love how much music can
transcend barriers and boundaries. It really is a universal
language, especially back then.”

In 1987 Jennifer Warnes and Roscoe Beck created an enduring interpretation of some of Leonard Cohen’s finest mid-period songs. The

resulting album Famous Blue Raincoat has remained a touchstone of American pop. It’s a recording as beautiful as the songs incisive,

painstakingly created by some of the finest musicians and engineers ever assembled. It has rightfully remained immensely popular for

afficianados of sound and song-craft. Impex Records has enjoyed a long and rich collaboration with Jennifer Warnes. Back in print, an exclusive 33-rpm all-analogue vinyl LP of her ground-breaking classic.



Newly remastered by Bernie Grundman on his all-tube cutting system and personally supervised by Ms. Warnes,

Famous Blue Raincoat is ready to be discovered by a new generation of vinyl enthusiasts seeking the purest musical alchemy,

and vocal interpretation. Come see how far we’ll go for beauty.

Willie ist zurück mit seinem 72. Solo-Studioalbum. Ein spannendes Album mit neuem Studiomaterial, das mit seinem langjährigen Mitarbeiter Buddy Cannon produziert wurde. Es erscheint zu Willies 89. Geburtstag und zeigt, wie produktiv er nach wie vor ist, denn das Album enthält einige seiner besten Songs und Performances seit Jahren! Die 14 Tracks beinhalten 5 erstaunliche neue Willie Nelson/Buddy Cannon Kompositionen, neue Songs von Chris Stapleton & Rodney Crowell (die erste Single "I'll Love You Till The End Of Time") und einer Reihe von Top-Songwritern aus Nashville, sowie einige Coverversionen von Leonard Cohen ("Tower Of Song") und den Beatles ("With A Little Help From My Friends"), die von Willie gekonnt interpretiert werden.Le jour de son 89ème anniversaire c'est Willie Nelson qui nous fait un cadeau avec son nouvel album studio. Parmi ses nombreux charmes musicaux, A Beautiful Time présente une variété de futurs classiques popcountry, dont cinq nouvelles compositions de Willie Nelson/Buddy Cannon et des contributions de certains des meilleurs auteurs-compositeurs contemporains de Nashville. L'album présente également des reprises convaincantes de «Tower of Song» de Leonard Cohen et de «With a Little Help from My Friends» des Beatles.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

Hinter CoreLeoni verbirgt sich Namensgeber und Saitenhexer Leo Leoni, Hauptamtlich in Lohn und Brot bei den Schweizer Hard Rock Giganten von Gotthard.

»Core« steht dabei für dessen musikalischen Wurzeln, seine Leidenschaft für kraftvollen Hard Rock sowie den frühen Sound von Gotthard auf deren ersten drei Studioalben. Speziell dem Debüt aus dem Jahre 1992 wollte der Tessiner Tribut zollen und rief mit befreundeten Musiker, wie Igor Gianola (ex-U.D.O.) sowie Frontmann Ronnie Romero (Rainbow, MSG) eben Coreleoni ins Leben, die auf den ersten beiden Alben »The Greatest Hits Part 1« sowie »II« vor allem den härteren Gotthard Klassikern neues Leben einhauchten.
Auf ihrem kommenden, dritten Album stehen vorwiegend brandneue Eigenkompositionen im Vordergrund und sollen Coreleoni endgültig als eigenständige Rockformation etablieren. Sein Debüt darauf gibt der gebürtige Albanier Eugent Bushpepa (exˇSunrise, Darkology), der Leoni anno 2018 als Teilnehmer beim Eurovision Song Contest in Lissabon (Song »Mila«) auffiel, wo er den siebten Platz belegte.

»Er ist ein großartiger Sänger und ein wahnsinnig toller Mensch. Er hat unfassbar viel Seele und Emotion in seiner Stimme und seiner Weise, Musik zu machen. Das fasziniert mich sehr und ich hoffe, euch da draußen ebenso«, adelt Leoni seinen neuen Vokalisten.

Hinter CoreLeoni verbirgt sich Namensgeber und Saitenhexer Leo Leoni, Hauptamtlich in Lohn und Brot bei den Schweizer Hard Rock Giganten von Gotthard.

»Core« steht dabei für dessen musikalischen Wurzeln, seine Leidenschaft für kraftvollen Hard Rock sowie den frühen Sound von Gotthard auf deren ersten drei Studioalben. Speziell dem Debüt aus dem Jahre 1992 wollte der Tessiner Tribut zollen und rief mit befreundeten Musiker, wie Igor Gianola (ex-U.D.O.) sowie Frontmann Ronnie Romero (Rainbow, MSG) eben Coreleoni ins Leben, die auf den ersten beiden Alben »The Greatest Hits Part 1« sowie »II« vor allem den härteren Gotthard Klassikern neues Leben einhauchten.
Auf ihrem kommenden, dritten Album stehen vorwiegend brandneue Eigenkompositionen im Vordergrund und sollen Coreleoni endgültig als eigenständige Rockformation etablieren. Sein Debüt darauf gibt der gebürtige Albanier Eugent Bushpepa (exˇSunrise, Darkology), der Leoni anno 2018 als Teilnehmer beim Eurovision Song Contest in Lissabon (Song »Mila«) auffiel, wo er den siebten Platz belegte.

»Er ist ein großartiger Sänger und ein wahnsinnig toller Mensch. Er hat unfassbar viel Seele und Emotion in seiner Stimme und seiner Weise, Musik zu machen. Das fasziniert mich sehr und ich hoffe, euch da draußen ebenso«, adelt Leoni seinen neuen Vokalisten.

Hinter CoreLeoni verbirgt sich Namensgeber und Saitenhexer Leo Leoni, Hauptamtlich in Lohn und Brot bei den Schweizer Hard Rock Giganten von Gotthard.

»Core« steht dabei für dessen musikalischen Wurzeln, seine Leidenschaft für kraftvollen Hard Rock sowie den frühen Sound von Gotthard auf deren ersten drei Studioalben. Speziell dem Debüt aus dem Jahre 1992 wollte der Tessiner Tribut zollen und rief mit befreundeten Musiker, wie Igor Gianola (ex-U.D.O.) sowie Frontmann Ronnie Romero (Rainbow, MSG) eben Coreleoni ins Leben, die auf den ersten beiden Alben »The Greatest Hits Part 1« sowie »II« vor allem den härteren Gotthard Klassikern neues Leben einhauchten.
Auf ihrem kommenden, dritten Album stehen vorwiegend brandneue Eigenkompositionen im Vordergrund und sollen Coreleoni endgültig als eigenständige Rockformation etablieren. Sein Debüt darauf gibt der gebürtige Albanier Eugent Bushpepa (exˇSunrise, Darkology), der Leoni anno 2018 als Teilnehmer beim Eurovision Song Contest in Lissabon (Song »Mila«) auffiel, wo er den siebten Platz belegte.

»Er ist ein großartiger Sänger und ein wahnsinnig toller Mensch. Er hat unfassbar viel Seele und Emotion in seiner Stimme und seiner Weise, Musik zu machen. Das fasziniert mich sehr und ich hoffe, euch da draußen ebenso«, adelt Leoni seinen neuen Vokalisten.

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Various Artists - Seventies Collected features classic tracks and forgotten gems: Queen “Somebody To Love”, Billie Joel “Movin’ Out (Anthony’s Song)”, Lou Reed “Vicious”, Blondie “Atomic”, Paul McCartney & Wings “Mrs. Vandebilt”, Rodriguez “Sugarman”, Patti Smith Group “Dancing Barefoot”, Roxy Music “Dance Away”, Big Star “Thirteen”, Leon Russell “A Song For You”, 10CC “Dreadlock Holiday”, Grace Jones “La Vie En Rose”, Rush “Closer To The Heart”, Gerry Rafferty “Right Down The Line”, Minnie Riperton “Les Fleurs”, The Brothers Johnson “Strawberry Letter 23” a.o.

Various Artists - Seventies Collected is available on black vinyl and includes an insert.

Eurovision Song Contest: The Story of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star.

“Volcano Man” was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a “Song-A-Long”, producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybak. The album also features the cult hit “Jaja Ding Dong”.

The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards.

Eurovision Song Contest: The Story Of Fire Saga is available as a limited edition of 1000 individually numbered copies on “Lion Of Love” pink coloured vinyl. The package includes a 4-page booklet and printed innersleeve with movie stills.

One record which has lately come to prominence is the brilliant "After Hours" by Charlie Mitchell aka Vic Marcel on an absolutely gorgeous slice of mellow Rare-Groove which recalls the Leon Ware vibe perfectly. Produced and arranged by seasoned veterans Tony Silvester and Bert DeCoteaux this incredibly hypnotic song was also written by top writers J.R. Bailey and Ken Williams. "After Hours" has grown in popularity particularly over the last few years with original copies now reaching the £200-£250 valuation.

The flip-side is another slice of beautiful mid-tempo soul from the same production stable. Only one copy currently available the last time we checked, such has been the demand over the last two years especially. Quite why this record has been underground for so long is open to debate. Vic Marcel was under contract to RCA at the time hence the Charlie Mitchell pseudonym. Janus were also suffering distribution problems at the time which explains why the original is so rare. We're proud to finally make this available again on the original Janus imprint. Another double-sided beauty.

The California based Tito Jackson is supported on his debut Blues album 'Under Your Spell', now in 180 Gram, cream coloured limited quantity vinyl, by an array of superlative special guests, including George Benson, Joe Bonamassa, Marlon Jackson, Eddie Levert, Kenny Neal, Bobby Rush and Stevie Wonder, who all add their special talents to the proceedings

"Love One Another" is the perfect antidote for today's times of doubt and trepidation, as the vocals of Tito, along with Marlon Jackson, Bobby Rush and Kenny Neal soar above the musical bed of melodies that feature the sweet sound of Stevie Wonder's signature harmonica style.

Song-writing duo and Hall of Famers Kenny Gamble and Leon Huff, who penned worldwide hits for The Jacksons and the O'Jays, came out of retirement to write "All In The Family Blues" for Tito. The track features Hall Of Fame legend, Eddie Levert.

As a friend and admirer of BB King, Tito plays tribute in his cover of King's classic, "Rock Me Baby" honored with BB's daughter Claudette King joining in. Tito Jackson's innate abilities as a singer, songwriter, guitarist, producer and arranger shine through brilliantly, creating a spectacular record that is destined for airplay and rave reviews in a number of formats. Continuing on the path set for Jackson when he broke into the music business as a member of the legendary Jackson 5, Tito continues to grow as a musician and performer.

UK Independent Record Stores Only Tracks: Checkered Flag / Smash Up On Highway One / Stack My Money / Drip Drop / The Cat With 9 Wives / Turn You On, Turn Me On / Rockabilly Riot / Off Your Rocker / Who Cares? / Rockabilly Banjo

London alt-rock outfit Curse of Lono share brand new single ‘Let Your Love Rain Down On Me’, a hypnotic widescreen teaser for upcoming album ‘People In Cars’, set for release 19th November via Submarine Cat Records (She Drew The Gun, Alabama 3, John Murry).

Recorded during lockdown with long-term collaborator and producer Oli Bayston (Spiritualized, Teleman, Boxed In) and engineer Iain Berryman (Wolf Alice, Arcade Fire, Kings Of Leon), ‘People In Cars’ is a stunningly cinematic record that continues the band’s musical evolution and reinforces their trajectory as one of the most compelling lyrical voices of the British musical underground.

New pressing in soon!

Orgone is one of the most exciting bands in the new generation of funk bands; led by the powerhouse vocals of Adryon de Leon, Orgone recalls such legendary groups as Rufus and Sly & The Family Stone at their best! The band has backed Alicia Keys on her As I Am album and Cee Lo Green on his Grammy-winning track Fool for You. Beyond The Sun is the most complete fulfillment of Orgone s full spectrum of sound, ranging from the in the pocket funk of Don’t Push Your Luck to the evocative balladry of No Pain to the clubby-jam of the title track and the scorching instrumental workouts on Meat Machine and Sabi. A highlight is a hot version of Rufus - I'm A Woman (I'm A Backbone).

The legendary Disk Union Japan and 180g present the best of today's Brazilian music!

A completely unique and beautiful album from contemporary Brazil blending soft pop, indie folk, sixties psychedelia, lo-fi and flavors of the brazilian Clube da Esquina!

- First ever vinyl release of this top album out of contemporary Brazil
- Essential solo effort from former member of Brazilian underground leaders Diesel, Udora and Transmissor
- Analog recording process
- 180g heavy vinyl, comes with download card

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Leonardo Marques makes a kind of music that creates bucolic and romantic scenarios whose sound goes among indie folk, sixties psychedelia, lo-fi and the brazilian Clube da Esquina.

As Chicago's Dusty Groove tell us about the album:
"A really beautiful album from contemporary Brazil – but one that resonates with some of the best soft pop elements of the late 60s and early 70s! Vocals are in English and Portuguese, and the instrumentation is this fantastic blend of light elements given a really airy spin – almost as if Nick DeCaro and Sean O'Hagan got together in the studio to work on a set that has slight bossa inspirations – but is something completely unique! This is the first we've ever heard of Leonardo Marques, but we'll sure be watching out for him in the future – as he's got this way of embracing so many elements of things we love, yet never stays slavishly in their own territory – wending his way beautifully through songs that include "Ainda E Cedo", "All The Hearts", "Nao Te Escuto", "The Girl From Bainema", "Um Sopro", "In Your Arms", and "So Que Me Enfeita"."

Selma's own Doctor T, a.k.a. Lenoah Presley Strong, a.k.a. Rick Strong, was a fierce Selma talent, he could pick up any instrument and play it and was always playing local clubs. Lenoah came from a large musical family, his Dad, a professional gospel singer, would mentor him and his brother, who ended up recording on Malaco Records and has an underground classic - "Doing It Cause It Feels Good.

Lenoah split his time between the historic community of Selma, AL, where he was born, Beverly Hills, CA where he worked as an auto body hand alongside his older brother, Chuck Strong, a musical force in his own right. In California, T impressed the great Willie Hutch with his playing, rubbed elbows with soul icons such as Leon Haywood and Carl Carlton.

Athens of The North is proud to present a compilation of Doctor T's 7" Recording, all have been difficult to find on original vinyl even to the most avid collectors, most notably "Love Is A Heartbreaker," which is one of the best ballads and grittiest recordings ever laid to wax.

T recorded all of the instruments himself and had an ear like no other, always listening to music and drawing inspiration from his surrounding artists and musicians. Sadly, T passed away in 2021 at the age of 68 but leaves us some timeless Funk & soul that will endure

Sigourney Discs presents its third release following BACK by Dark Vektor and CZ200 by PLOM. Rinse Repeat is the new EP from Barcelona-based French producer La Fraicheur and Berlin-based French producer Leonard de Leonard.

The Rinse Repeat EP shows the duo’s wide spectrum of love affairs with techno’s rich universe of sounds and moods. The title track Rinse Repeat is built around a raspy and ever-evolving playful acid bassline with added drama from sound design and distorted glitchy gimmicks. Mind The Step is taking the sound design-induced drama a step further with a slow burning spacious and epic cavernous fantasmagoria that flips itself on the head half way through, becoming a vengeful track driven by a menacing yet groovy gritty bassline.

Rounding up the EP is the apt-titled Fairies Bootcamp. Ethereal and eerie skidding melodies balance out a grounded martial rhythm as if you had, on a forest walk, stumbled upon an army of fairies in a training camp caught mid-flight arming themselves to take their land back. The soundtrack of a supernatural call for arms.

On remix duty, Sigourney Discs co-founder Yandira leaves the war behind to focus on the otherworldly elements of Fairies Bootcamp and offers a trippy floaty dreamstate rendition for open airs and early morning rising suns.