Cerca:level 7

BANGER MAKE MY BODY SHAKE MAKE THE SPEAKERS SHAKE

It was two and a half years ago when a conversation took place between Sal Carmona and Dj Producer Jovonn Armstrong; talks of which planted a seed in Sal Carmona's ear, which years later would manifest what was once a dream into a reality. No stranger, nor a newcomer in the world of dance music, Sal's experience in the club scene goes way back to the days when his sisters, to whom he credits for helping shape the person he is today, took him to Dave Mancuso's The Loft. An experience that he recalls being nothing short of magical. It was a spiritual encounter that immediately took over thus steering him towards the direction of clubs such as The Paradise Garage, Bentley's, Underground, Red Parrot, Latin Quarters, Roseland, Studio 54, just to name a few. Years later, Sal decided to take on the role, of which he became quite successful at, of promoting his own events in New York City; throwing regular parties at venues such as Park Circle & USA roller skating rinks, Red Parrot, The Palladium, The Copacabana and many others, soon becoming one of the premier go to promoters in NYC. Taking a long and well-deserved hiatus from the club scene, in 2012 Sal decided to make his return back to what he loves. It was around this time that he began thinking what it would be like to venture into creating his very own record label. Envisioning his first release being a bona fide House Music Album, one that would include some of his favorite producers. Not one to let dreams drift into the ether, while recollecting on that conversation with Jovan way back, Sal set out to make that vision manifest into a reality and thus emerged this dope compilation titled Banger "Make My Body Shake" "Make the Speakers Shake"

A great idea which brings together an interesting mix that includes highly sought out and respected veteran producers in the scene, such as Timmy Regisford, Ron Trent, Dj Jovonn, and Joe Claussell. Alongside with up and coming DJ producers who are garnering their own adulation of fans, in the likes of Vick Lavender, Mark Francis, Conway Kasey, and DJ Punch. With valuable directional contributions from friend Joe Claussell, this, to say the least, has become far more than just a seriously dope compilation that consists of a unique coming together of serious dance music. More than the aforementioned, Sal Carmona has manifested a dream into a game changing music scripture that is one of a kind, especially in this day and age where it seems where things are thrown together hoping for something to stick. On the contrary, this is well planned and thought out dopeness at A higher level consisting of all new house music that hasn't been brought together like this in a very long time and probably not for a while afterwards.

Newcastle-born artist Edmondson has solidified his position as a fan favourite within the DJ community, earning praise from influential names like Ben UFO, Bicep and Moxie over the past decade. With an impressive back catalog featuring releases on Hypercolour, Me Me Me, and his own imprint Lissoms, Edmondson now steps into the spotlight once again with a 4-track EP slated for release on Seb Wildblood’s label, all my thoughts.

The sound of the Vanarama Bar EP is rooted in the post-industrial North, but more so an escapism from it. The name is a tongue-in-cheek pun juxtaposing the dizzy heights of Panorama Bar with the official sponsor of England's fifth tier of football, a fittingly greyscale representation of the kind of 'old man & dog' culture which some people associate with the area. On a slightly deeper level the name speaks to a feeling of distance & disenfranchisement up North, and the disconnect between it and the more celebrated cultural hubs.

Genre-defying Dutch death metal legends Pestilence have singled-out and re-recorded twelve emblematic anthems from across their 38-year career into "Levels of Perception". Patrick Mameli - whose signature vocal, guitar and songwriting skills constitute the hallmark of Pestilence - finds "Levels of Perception" to be a testament to the band's role in death metal's progression. Re-recording of the tracks has not only managed to breathe new life into them - half thanks to new line- up, and other half by implementing subtle changes which reflect Mameli's matured vision and refined with years of experience aesthetic - but also sets them apart from cheap, unimaginative compilations, by unifying the album's sound as befits a full-length release. "I've always wanted to do a best-of album, because it would mean that I've achieved something in the past; something that still has its value today," Mameli comments. "To be able to choose from songs that I composed in the distant past, transporting them into the now, with the line-up of the recordings that consisted of Michiel van der Plicht (drums), Rutger van Noordenburg (guitar) and Joost van der Graaf (bass) - I found this to be of great value and sheer awesomeness."

Genre-defying Dutch death metal legends Pestilence have singled-out and re-recorded twelve emblematic anthems from across their 38-year career into "Levels of Perception". Patrick Mameli - whose signature vocal, guitar and songwriting skills constitute the hallmark of Pestilence - finds "Levels of Perception" to be a testament to the band's role in death metal's progression. Re-recording of the tracks has not only managed to breathe new life into them - half thanks to new line- up, and other half by implementing subtle changes which reflect Mameli's matured vision and refined with years of experience aesthetic - but also sets them apart from cheap, unimaginative compilations, by unifying the album's sound as befits a full-length release. "I've always wanted to do a best-of album, because it would mean that I've achieved something in the past; something that still has its value today," Mameli comments. "To be able to choose from songs that I composed in the distant past, transporting them into the now, with the line-up of the recordings that consisted of Michiel van der Plicht (drums), Rutger van Noordenburg (guitar) and Joost van der Graaf (bass) - I found this to be of great value and sheer awesomeness."

Genre-defying Dutch death metal legends Pestilence have singled-out and re-recorded twelve emblematic anthems from across their 38-year career into "Levels of Perception". Patrick Mameli - whose signature vocal, guitar and songwriting skills constitute the hallmark of Pestilence - finds "Levels of Perception" to be a testament to the band's role in death metal's progression. Re-recording of the tracks has not only managed to breathe new life into them - half thanks to new line- up, and other half by implementing subtle changes which reflect Mameli's matured vision and refined with years of experience aesthetic - but also sets them apart from cheap, unimaginative compilations, by unifying the album's sound as befits a full-length release. "I've always wanted to do a best-of album, because it would mean that I've achieved something in the past; something that still has its value today," Mameli comments. "To be able to choose from songs that I composed in the distant past, transporting them into the now, with the line-up of the recordings that consisted of Michiel van der Plicht (drums), Rutger van Noordenburg (guitar) and Joost van der Graaf (bass) - I found this to be of great value and sheer awesomeness."

Genre-defying Dutch death metal legends Pestilence have singled-out and re-recorded twelve emblematic anthems from across their 38-year career into "Levels of Perception". Patrick Mameli - whose signature vocal, guitar and songwriting skills constitute the hallmark of Pestilence - finds "Levels of Perception" to be a testament to the band's role in death metal's progression. Re-recording of the tracks has not only managed to breathe new life into them - half thanks to new line- up, and other half by implementing subtle changes which reflect Mameli's matured vision and refined with years of experience aesthetic - but also sets them apart from cheap, unimaginative compilations, by unifying the album's sound as befits a full-length release. "I've always wanted to do a best-of album, because it would mean that I've achieved something in the past; something that still has its value today," Mameli comments. "To be able to choose from songs that I composed in the distant past, transporting them into the now, with the line-up of the recordings that consisted of Michiel van der Plicht (drums), Rutger van Noordenburg (guitar) and Joost van der Graaf (bass) - I found this to be of great value and sheer awesomeness."

ZZK Records presents TORNA, a new series of releases exploring electronic music from a Latin American perspective. With these DJ-level vinyl editions (12" and 45 RPM), we're aiming for the global dancefloor, bringing fresh and challenging tracks. The name is inspired by the concept of "La Torna," an economic institution formed by indigenous Atacama Lickan-Antay, Aymara and Diaguita peoples (in territories now occupied by Argentina, Bolivia and Chile), involving working together for the common good, for the benefit of the whole community. Just as we decided to found ZZK Records in 2007 at the height of the crisis in the recording industry, releasing Latin American electronic material on vinyl records of 7 to 9 minutes per side (in some cases with just two tracks) is also a leap of confidence today. This is our humble contribution in synergy with the community of music artists and fans, who we hope to keep running into on the dancefloors of the world. Colombian-born, Argentina-based producer Hermetics heads up the first release, setting the tone for the series with two fresh and challenging tracks, aiming for the global dancefloor.

MENSCHENFRESSER" heißt das neue Album von RAWSIDE und wird im Mai 2024 über Fettfleck Records erscheinen. Fünf Jahre nach dem wahrscheinlich persönlichsten Album "Your Life Gets Crushed" gibt es neue Songs der Hardcore-Punks aus Coburg. Songs, die wieder politischer, wütender und angriffslustiger sind. Menschefresser meint hier emotionalen Kannibalismus, psychischer Druck, der ausgeübt wird, wie Menschen sich verhalten, Ellbogen auspacken, wenn sie nur versuchen, sich ihren eigenen Vorteil zu verschaffen. Oder Menschen, die denken, sie wären der Mittelpunkt der Welt. RAWSIDE werden nicht müde, den Finger in die Wunde zu legen und sich mit korrupten Wirtschaftsbossen, selbsternannten Verschwörungstheoretikern, rechten Politikern oder stumpfen Wutbürgern anzulegen. Die 13 neuen Songs von RAWSIDE sind eine volle Breitseite, musikalisch kommt es laut und fordernd zwischen Hardcore, Metal und Punk daher. Die Wucht der Songs hat seit dem letzten Album ein neues Level erreicht. Das liegt vielleicht auch an der Frischzellenkur in der Besetzung. Sänger/Shouter Henne ist das einzig verbliebene Gründungsmitglied nach mehr als 30 Jahren Bandgeschichte. Seit Sohn Justin am Schlagzeug ist gerade mal 23 Jahre alt. "RAWSIDE ist zum Glück keine One-Man-Show", sagt Henne. "Das waren wir nie und wollen wir auch nicht sein. 2024 hat die Band beim LOIKAEMIE-Label Fettfleck angeheuert. "Für uns war es ein Schritt in Richtung Selbstverantwortung", erklärt Henne. Bei Fettfleck sind wir in alle Prozesse eingebunden. Und das ist doch die Idee, die hinter dem ganzen Punk- und Hardcore- Gedanken steckt. So bleiben RAWSIDE auch nach über 30 Jahren Bandgeschichte ein Grundpfeiler der deutschen HC/Punkszene. "Menschenfresser" ist ein Biest von einem Album, dass die Vorfreude auf die Open Air-Saison nochmal steigert. Wir lassen schon mal das Dosenbier zischen. - Wolfram Hanke (Ox, Zündfunk, Der kosmische Penis)

MENSCHENFRESSER" heißt das neue Album von RAWSIDE und wird im Mai 2024 über Fettfleck Records erscheinen. Fünf Jahre nach dem wahrscheinlich persönlichsten Album "Your Life Gets Crushed" gibt es neue Songs der Hardcore-Punks aus Coburg. Songs, die wieder politischer, wütender und angriffslustiger sind. Menschefresser meint hier emotionalen Kannibalismus, psychischer Druck, der ausgeübt wird, wie Menschen sich verhalten, Ellbogen auspacken, wenn sie nur versuchen, sich ihren eigenen Vorteil zu verschaffen. Oder Menschen, die denken, sie wären der Mittelpunkt der Welt. RAWSIDE werden nicht müde, den Finger in die Wunde zu legen und sich mit korrupten Wirtschaftsbossen, selbsternannten Verschwörungstheoretikern, rechten Politikern oder stumpfen Wutbürgern anzulegen. Die 13 neuen Songs von RAWSIDE sind eine volle Breitseite, musikalisch kommt es laut und fordernd zwischen Hardcore, Metal und Punk daher. Die Wucht der Songs hat seit dem letzten Album ein neues Level erreicht. Das liegt vielleicht auch an der Frischzellenkur in der Besetzung. Sänger/Shouter Henne ist das einzig verbliebene Gründungsmitglied nach mehr als 30 Jahren Bandgeschichte. Seit Sohn Justin am Schlagzeug ist gerade mal 23 Jahre alt. "RAWSIDE ist zum Glück keine One-Man-Show", sagt Henne. "Das waren wir nie und wollen wir auch nicht sein. 2024 hat die Band beim LOIKAEMIE-Label Fettfleck angeheuert. "Für uns war es ein Schritt in Richtung Selbstverantwortung", erklärt Henne. Bei Fettfleck sind wir in alle Prozesse eingebunden. Und das ist doch die Idee, die hinter dem ganzen Punk- und Hardcore- Gedanken steckt. So bleiben RAWSIDE auch nach über 30 Jahren Bandgeschichte ein Grundpfeiler der deutschen HC/Punkszene. "Menschenfresser" ist ein Biest von einem Album, dass die Vorfreude auf die Open Air-Saison nochmal steigert. Wir lassen schon mal das Dosenbier zischen. - Wolfram Hanke (Ox, Zündfunk, Der kosmische Penis)

Ferocious Dog zählen neben The Levellers und New Model Army zu den führenden Folk/Punk-Bands im UK. "Kleptocracy", ihr zweites Album auf Graphite Records und Nachfolger von "The Hope" (2021, #1 der britischen Folk-Charts), vermittelt eine kraftvolle, dennoch provokante Botschaft, dass es einem kaum möglich ist, sich nicht inspiriert zu fühlen. Aus einer Anti-Establishment-Attitüde heraus werden Gegensätze wie Trauer und Hoffnung thematisiert und in Verbindung gebracht. Clear Vinyl LP mit 12 Tracks. CD-Deluxe-Edition mit 4 zusätzlichen Bonustracks.

"There's a celebratory barrel full of crowd singalongs from their impressive, furious and thoughtful Celtic folk-punk cannon." - Vive Le Rock

Warm Exit is a post-punk quartet hailing from Brussels, Belgium. Their violently frontal music is an explosive blend of sonic intensity that sets them apart as one of the country's most electrifying and raucous acts. Drawing inspiration from Krautrock, Punk, and Noise, their relentless rhythmic prowess is a testament to their diverse influences. Channelling the spirit of iconic 1970s bands like Wire, Rema Rema, and Nine Inch Nails, Warm Exit ventures into the shadowy realm of post-punk with their latest EP. Here, they seamlessly oscillate between fast and slow tempos, high and low energy levels, and vocals that span from tense whispers to unbridled screams. This journey takes the listener through a landscape of discordant riffs, haunting groans, evocative spoken word passages, and industrial undertones. Over the past three years, Warm Exit has cultivated a devoted following both locally and internationally, thanks to their electrifying live performances that leave audiences in awe. Carrying the reputation of a striking live band, they are eager to storm the stage at any and every given opportunity

Warehouse Find!

As we hurtle towards our 200th Freerange release the quality output you've come to expect from Freerange shows no sign of faltering with Bas Amro bringing you an absolutely stellar EP entitled You And Me. Dutch wunderkind Bas has built himself a solid reputation through only a handful of releases on labels such as Wolfskuil, Kutchuli and most notably his 2011 EP Ten on Freerange which has gone onto become a stone-cold classic in the deep house mecca of Johannesburg. This long awaited follow up delivers on every level and if early feedback and crowd
response is anything to go by looks set to push Bas further into the spotlight where he deserves to be.
You And Me starts in a deceptively understated manner wrapping you in a shroud of warm, dubby stabs underpinned by a rolling groove that can't fail to draw you onto the dancefloor. Things stay deep with hints of Chandler and echoes of Basic Channel until the breakdown arrives, the filters roll up and the whitenoise
shines through bringing a new energy and dynamic to the track. A classic, timeless vibe which we're proud to be bringing you on Freerange. As with his previous release Ten, Bas works hard to deliver not one but two faultless originals so flip over for Across The Street featuring the vocals of Jennifer and you won't be disappointed. A simple, repeating six-measure synth hook drives the track and brings with it a lovely looseness and lack of obvious
structure. Kennifer's sparse, almost improvised sounding vocal drops heighten the sense of space and freefall effect making such a refreshing change to most of todays formulated and conventional house music. Last up is an amazing remix of You and Me from rising start Matt Karmil who brings his own unique and refreshing sound to the EP. Karmil's recent LP on PNN
won rave reviews from all corners and with just two other releases on Beats In Space and International Records Recordings he seems to have burst from out of nowhere but has certainly become hot property in the last 12 months. His forthcoming remix for John Talabot and Axel Boman under their Talaboman is immense and here he treads a similar path focusing on a raw percussion-heavy sound with very minimal tweaks and effects adding subtle colour and interest. These days it's very hard to breakthrough with an original, new approach to house
but Matt Karmil seems to have done it with ease.

Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

Manchester emcee Black Josh joins forces with New Orleans analog instrumental warrior Wino Willy on collaboration project "Today's The Day". Since the epic opening joint "Habitat" and throughout the 7 joints on this project the two show an incredible chemistry, with the English lyrical maverick delivering some incredible wordplay on Wino Willy's grimy productions. As a member of Cult of The Damned and Levelz, and one of the standout artists of the Blah roster, Black Josh has been killing it whatever the backdrop and this record is no different, with fellow nationals Lee Scott and SonnyJim joining on the first single "E R M8" as well as Da$h on "Vince Carter". An electrifying collaboration by two masters of their craft!

Red vinyl, limited to 500 copies. Never Return is a fantastic successor to Vancouver based, melodic black metal outfit, Svneatr's previous album, Chinook, employing stellar performances all around that balance melody, fury, and riffs through its next-level songwriting. Seamless transitions between galloping riffs and blackened madness are nearly perfect, as well as its melodies and clean singing.

The female-led discodelic soul band Say She She, named as a silent nod to NileRodgers (C'est chi-chi!: It's Chic!"), release their sophomore album `Silver' on theheels of an epic break-out year that grows brighter by the day. The three strong voices of Piya Malik (El Michels Affair staple feature, and formerbacking singer for Chicano Batman), Sabrina Mileo Cunningham and Nya GazelleBrown front the band. This harmonizing trio was formed in a classic New York taleof friends that met by following the music: the downtown dancefloors, through theLower East Side floorboards and up to the rooftops of Harlem. `Silver' was entirely written and recorded live to tape at Killion Sound studio inNorth Hollywood earlier this year and produced by Sergio Rios (of Orgone). Whilethese analog recording techniques help root Say She She's sound in a bedrock oftonal warmth that only tape can achieve, it is also their process of cutting the trackin the moment and capturing the magic of communal creativity that has seen theirsound described as "a glorious overload of joyful elation and spiritualelevation" (MOJO) and "infused with the wonky post-disco spirit of early'80s NYC" (The Guardian). Silver, the element, is known as the metal of self-confidence and the mirror of thesoul. With that, the 16-song double-LP projects not only their growth in writingwith confidence, but also reflects a deeper exploration into their punk-chic, femme-forward sensibility. Ultimately, `Silver' oozes with quirk and adventure and embraces themultifaceted nature of what it means to be a modern femme. The She She'sfully embrace their role as beauticians, actively reminding people of the inherentbeauty in the world. They skillfully employ double entendres and humor toencourage open dialogue and fearlessly address important matters that demandattention.

Sam Cooke’s SAR Records Story 1959-1965 gathers significant recordings of SAR Records – the label Sam Cooke co-founded, produced the majority of records for and was instrumental in operating. Groundbreaking artists such as The Soul Stirrers, Johnnie Taylor, Billy Preston, and Bobby Womack’s group The Valentinos are all featured, in addition to Sam himself. “The whole SAR Records Story is infused with Sam Cooke’s rapturous sense of how sacred gospel and sexual soul flow together, unbroken,” stated Milo Miles on NPR’s Fresh Air upon the set’s initial release almost three decades ago. In an era where black-owned labels were a rarity, Los Angeles based SAR Records was founded at almost exactly the same time as Motown, its Detroit counterpart. SAR was established in 1959 by Sam Cooke, music publisher J.W. Alexander, and S. Roy Crain, Cooke’s road manager and founder of gospel group The Soul Stirrers. The acronymous name standing for Sam Alex Roy, SAR sought to keep gospel music alive while simultaneously crossing over to pop audiences in the secular world. LPs 1 and 2 of the set focus on the former, while LPs 3 and 4 encompass the latter. From choosing talent, to writing a great number of songs, to producing, SAR was entirely the fulfillment of Cooke’s vision on a musical/creative level. The superstar singer, who had already crossed over from the gospel world himself, tirelessly coached the vocalists during SAR recording sessions, emphasizing diction. His methods are heard throughout the collection, as he is heard speaking to artists between takes. “And by Sam being there with you and just giving you that special attention, you wanted to give it to him like it was supposed to be. I think that’s what made SAR, SAR. Because he was selling himself through different artists.” – Bobby Womack. VERY LIMITED 1-2 COPIES ONLY PER SHOP

2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists.

To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”.

Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past.

In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish.

Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.

Before "Svengali" came to describe any vaguely megalomaniacal personality in the entertainment industry-from the genuinely evil Phil Spector and Colonel Tom Parker all the way to their Diet Rite equivalent Jack Antonoff-he was a literary character who was probably the prototypical megalomaniacal personality in the entertainment industry. The antagonist in the famously mid and otherwise unmemorable 19th century novel Trilby, Svengali is depicted as a machiavellian manipulator who transforms the guileless titular character into a famous singer. Mo Troper's Svengali is a deeply psychological record with the throbbing heart of a fragile giant. It is a meditation on evil-ness. At certain points across Svengali's 13 tracks, Troper relishes his own innate evil-ness; just as often he's repulsed by it. Like any Mxo Troper album, Svengali is a collection of razor-sharp pop songs that sound like they were written yesterday, or in 1990 by Paddy McAloon, or in 1966 by Brian Wilson, or in 1936 by some unheralded Tin Pan Alley great. Troper has always belonged in the Pop Hook Hall of Fame but his latest and sixth LP of original material is, lyrically, a "look, there are levels to this" moment.

High Roller Records, 180g black vinyl, lyric sheet + 4 pages insert printed on uncoated paper, poster, 425gsm heavy cardboard cover, Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, silver vinyl, ltd 400, lyric sheet + 4 pages insert printed on uncoated paper, poster, 425gsm heavy cardboard cover, Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, 180g black vinyl, lyric sheet + 4 pages insert printed on uncoated paper, poster, 425gsm heavy cardboard cover, bonus track "Strange World". Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY. Cutting by SST Germany on Neumann machines for optimal quality on all levels

High Roller Records, 180g black vinyl, lyric sheet + 4 pages insert printed on uncoated paper, poster, 425gsm heavy cardboard cover, bonus track "Strange World". Mastered by Patrick W. Engel at TEMPLE OF DISHARMONY. Cutting by SST Germany on Neumann machines for optimal quality on all levels

Nach zwei von der Kritik hochgelobten Alben, zahlreichen Mini-LPs, EPs und Singles kehrt das Londoner Trio Girls In Synthesis mit seinem neuen Statement, dem dritten Album "Sublimation", zurück. Wenn du dachtest, du kennst GIS bereits, dann irrst Du Dich diesmal vielleicht.GIS gehen weiter und haben eine düstere und intensive, aber dennoch melodische Sammlung von Tracks erschaffen, ihre Interpretation einer kantigen Pop-Platte. Der Opener 'Lights Out' besteht aus zwei Teilen; der erste ist ein Barrett-eskes Gesangs- und Gitarren-Lamento über Schlafmangel, das über eine von 'Faust Tapes' beeinflusste Freeform-Noise-Sektion in einen stampfenden, hochintensiven Showdown übergeht. In Songs wie "Deceit", "We Are Here" und "Picking Things Out Of The Air" zeigt sich die Gruppe von ihrer melodischsten Seite, indem sie einige der chaotischen Noise-Elemente ihres charakteristischen Sounds auf ein Minimum reduziert und leidenschaftliche, schwebende Vocals und Keyboard-Melodien in den Vordergrund stellt. Ihr Markenzeichen, das treibende Schlagzeug und der Bass, ist besonders bei den Stücken "I Judge Myself" und "Corrupting Memories" zu hören, wird aber durch intensive, vom frühen Gothic beeinflusste Keyboardlinien ergänzt, die Einflüsse aus den späten 1970ern/frühen 1980ern mit der zeitgenössischen GIS-Intensität in Einklang bringen. Die langsam sich steigernden Tracks 'I Was Never There' und 'The Prefix' bauen mit spärlichen Arrangements und kreisenden, spiralförmigen Outros Spannung und Atmosphäre auf, während die Band im abschließenden 'A Damning Lesson' zu ihrer intensiven, knüppelnden Soundwand zurückkehrt, nur um sie in eine verschwommene, hallende Drum-Machine zu schicken, die an die frühen Arbeiten von Cabaret Voltaire erinnert. Nächstes Kapitel, nächstes Level für GIS!

Nach zwei von der Kritik hochgelobten Alben, zahlreichen Mini-LPs, EPs und Singles kehrt das Londoner Trio Girls In Synthesis mit seinem neuen Statement, dem dritten Album "Sublimation", zurück. Wenn du dachtest, du kennst GIS bereits, dann irrst Du Dich diesmal vielleicht.GIS gehen weiter und haben eine düstere und intensive, aber dennoch melodische Sammlung von Tracks erschaffen, ihre Interpretation einer kantigen Pop-Platte. Der Opener 'Lights Out' besteht aus zwei Teilen; der erste ist ein Barrett-eskes Gesangs- und Gitarren-Lamento über Schlafmangel, das über eine von 'Faust Tapes' beeinflusste Freeform-Noise-Sektion in einen stampfenden, hochintensiven Showdown übergeht. In Songs wie "Deceit", "We Are Here" und "Picking Things Out Of The Air" zeigt sich die Gruppe von ihrer melodischsten Seite, indem sie einige der chaotischen Noise-Elemente ihres charakteristischen Sounds auf ein Minimum reduziert und leidenschaftliche, schwebende Vocals und Keyboard-Melodien in den Vordergrund stellt. Ihr Markenzeichen, das treibende Schlagzeug und der Bass, ist besonders bei den Stücken "I Judge Myself" und "Corrupting Memories" zu hören, wird aber durch intensive, vom frühen Gothic beeinflusste Keyboardlinien ergänzt, die Einflüsse aus den späten 1970ern/frühen 1980ern mit der zeitgenössischen GIS-Intensität in Einklang bringen. Die langsam sich steigernden Tracks 'I Was Never There' und 'The Prefix' bauen mit spärlichen Arrangements und kreisenden, spiralförmigen Outros Spannung und Atmosphäre auf, während die Band im abschließenden 'A Damning Lesson' zu ihrer intensiven, knüppelnden Soundwand zurückkehrt, nur um sie in eine verschwommene, hallende Drum-Machine zu schicken, die an die frühen Arbeiten von Cabaret Voltaire erinnert. Nächstes Kapitel, nächstes Level für GIS!

Based in Paris, exciting producer and live act Vitess is part of the new generation of house talent emerging from France, gaining support from global heavyweights while establishing and shaping his take on the genre. Having released his breakthrough ‘Red World’ EP via Chris Stussy’s Up The Stuss imprint in 2022 alongside further material via the likes of LOCUS, Shall Not Fade, and Phonogramme, to name just a few, plus his own Retro Futura imprint, he now becomes the second guest invited to Rossi.’surgeoning HOMEGROWN. imprint as he unveils his five-track ‘Visions’ EP.

A staple of label boss Rossi.’s sets, with additional heavy support from Enzo Siragusa and Chris Stussy, A1 ‘Blue Vision’ has quickly become one of the scene’s most-requested track IDs of late, bringing a slice of synth-fuelled house music to kick off proceedings.

Fusing resonant leads and skippy percussion with the track’s warped vocals, it’s a perfect peak-time anthem set for big moments in the months ahead. Next, ‘Drive Me Crazy’ ups the tempo and launches into playful, driving realms, while B1 ‘First Night’ opens the flip of the record with a sun-soaked slice of electronic funk.

Vinyl exclusive ‘Jammi Rocaille’ strips things back and tumbles into a classy, jazz and disco-tinged journey, before the all-action and zipping ‘Big Sound’ ups the energy levels as the Frenchman launches back into the peak time and beyond to close the show with authority.

Toaster Jah Thomas began his career on the west Kingston sound systems of the mid-1970s, making a massive splash with ‘Midnight Rock’ in 1976. After a debut LP for Channel One, his self-produced Dance On The Corner raised the bar several levels. Voiced at King Tubby’s studio, mixed by Tubby, Jammy and Scientist and edited by the King himself, the album has Thomas chatting over hard Roots Radics rhythms earlier used by Barrington Levy – the perfect platform for Thomas’ relaxed chants, vexed rants, and commentaries on Jamaican life. This is Jah Thomas at his best – a must for all fans of reggae, dub, deejay, and dancehall!

For The Alternate Blues, producer Norman Granz set aside his rule against issuing what are variously called in the recording business outtakes, breakdowns, or alternate takes.
The reason was that despite missed cues and procedural problems in the rhythm section, Dizzy Gillespie, Freddie Hubbard, and Clark Terry played the blues at a level of passion and expressiveness the equal of the versions originally released on The Trumpet Summit Meets the Oscar Peterson Big 4. In addition, there are four standards not heard in the original album. With Joe Pass, Bobby Durham and Ray Brown.

2025 Repress

Following the success of last years Babe Roots EP, Echocord revisits the package with reworks from Forest Drive West, Mike Schommer, Felix K, DB1 and Babe Roots themself.

London’s DB1 leads the package with his take on ‘Work Hard’, a mostly beatless interpretation fuelled by oscillating white noise, winding dub chords and snippets of the original’s dub reggae vocals. Hidden Hawai’s Felix K then ups the energy levels with a high-octane take on ‘Sufferation Time’, driven by upfront, shuffled and distorted drums and unfaltering, tension building dub swells.

The hotly tipped Forest Drive West steps up next to remix ‘Jah Nuh Dead’, a typically classy reimagining from the Livity Sound artist, stipping things back to ethereal pads, off-kilter percussion and sporadic echoes of the original composition. Former Deepchord member Mike Schommer’s take on ‘Bless Me’ follows, the pioneer of contemporary dub techno delivers a cinematic rework employing sweeping voices, glitched out electronics and resonant swells alongside the bouncy dub reggae groove of the original.

Lastly Babe Roots revisit one of their own compositions, ‘Sufferation Time’, delivering a more refined feel this time round with more impetus on drums and dark, hypnotic synths to contrast the original’s more vocal focused feel.

Spanning more than two decades, Mike Kinsella's widely influential songwriting has steadily sharpened and evolved with each new chapter. In his solo vehicle as Owen (in addition to his roles along the way with American Football, Cap'n Jazz, the more recent LIES, and other collaborative ventures), Kinsella’s ability to seamlessly stitch jagged emotional currents into crushingly beautiful songs has remained at the forefront of his art. The Falls of Sioux, Mike Kinsella’s newest Owen full-length, represent a type of reinvention; feeling like the natural next step in Kinsella’s growth, both artistic and personal. The album perforates an established sound to explore unlikely musical ideas, while the songs document a time of moving through life-altering turmoil into brighter days. Heavy themes are turned over with a gentle hand, and Kinsella inhabits the deeper perspectives that come with hard-earned life experience. This contrast has become more distinct as Owen expanded from unassuming acoustic beginnings into more ornate production, reaching new levels of complexity and clarity by the release of 2020’s The Avalanche.

Career trajectories are rarely linear or make logical sense. Life is always unpredictable so all you can do is put in good work and keep at it. Joh Chase is a testament to this. Over the past two decades, the Seattle-raised, Los Angeles-based artist has persistently honed their songwriting and toured, opening for acts like Noah Gunderson and David Bazan. This dedication comes out entirely in their songs, which are so timeless, confident, and inviting they can only come from someone who’s devoted their whole life to their craft. Chase’s new album SOLO feels like a turning point for them: it’s the culmination of a lifetime of writing, losing, loving, and doing it all yourself. The LP adventurously toes the line between genres and sensibilities but it’s all filtered through Chase’s charming and fully-formed vision. SOLO is a testament to Chase’s do-it-yourself ethos throughout their entire career—they chipped away, self-funded tours, and crowdfunded this LP. But by finding their voice, they now no longer feel alone. “This is the most support I've ever had in my life,” says Chase. “I do not feel alone at all. There’s so much energy and generosity here around these songs.” Though it’s not their debut, SOLO feels like a reinvention for an artist: a daring reintroduction for a timeless talent. “I spent my life making music and trying to do it about 10 different ways,” says Chase. “Now this one feels like it. This album feels like a leveling-up of my music in general. When I look at it now, I realize this is the first record that's really me.” “Mesmerizing, infectious, joyful, and heartbreaking; this is the best new album I've heard in a decade. Joh Chase has arrived

London-based rock duo, Yur Mum, is set to release their highly anticipated album, "Duality," on April 30, 2024. "Duality" serves as the sequel to their 2021 LP, "Tropical Fuzz," and encapsulates the band's essence as a fusion of contrasts – Female meets male, Europe meets South America, and rock meets Brazilian music. Anelise, the bassist and vocalist, expresses, "It's a total yin and yang. We're embracing our differences and blending them together to create something unique." The album features recent singles 'Say Say' and 'New Beginnings,' which gained recognition on BBC's 6 Music and Radio 1, along with Spotify editorial playlists. The duo's Brazilian roots are exposed in tracks like 'Hands To The Sky', 'Anhangá', ‘Café’, and ‘Snakes Don’t Fly’, featuring Myura Amara from PollyPikPocketz. In a bold move, Yur Mum has opted for an independent release, expressing pride in creating the album they envisioned. Collaborating with producer Alex Gordon, known for his work with bands like Tigercub and CLT DRP. "Duality" promises a wild mix of beats and melodies, rocking out with fuzzed-up riffs. Yur Mum's iconic bass and drums have levelled up, bringing an even bigger sound. Beyond the high-energy tunes, the band explores themes like faith, guilt, existentialism, mental health, toxic people, classism, and immigrant catharsis. The album cover, designed by Fabio Couto, portrays a fusion of the duo in an androgynous and striking composition. Fabio says it was captured “DIY style” with an old smartphone camera. Yur Mum, consisting of Anelise Kunz and Fabio Couto, stands out in the two-piece band scene with their distinctive Fuzz Punk Rock sound and South American influences. Live music enthusiasts can catch Yur Mum at various UK and European dates, including Rebellion, HRH Punk 4, IceBreaker, Raw Power Fest, Punktoberfest, Rock’n’Trolls, and Marchin Music Fest

The third studio album from Rebecca Downes with 12 new, original blues-influenced, rock tracks all written by Steve Birkett and Rebecca. Album mixed by Bill Drescher and Chris Childs. With exciting new material that continues the evolution of the music towards rock, More Sinner Than Saint is worth the wait. At the outset, Downes consulted with producer Chris Kimsey, who has previously worked with The Rolling Stones, to select and refine the 12 tracks and to achieve what she and co-writer Steve Birkett see as the perfect expression of their current writing. With five of the fabulous tracks having been mixed by Californian based Bill Drescher, whose previous accolades include working with Rick Springfield and The Bangles, Downes showcases her trademark powerful vocals throughout. With the remainder of the tracks being mixed by Thunder’s Chris Childs, the pedigree of this album is faultless. With her superb studio band that includes Dan Clark, Lloyd Daker and Magnum’s Rick Benton, there was no shortage of artists queuing to join her on the odd track or two. The multi award winning Alan Nimmo (King King) plays guitar on If I Go To Sleep and Magnum’s Tony Clarkin delivers a fabulous guitar solo on Breathe Out. With her signature voice, style and song writing, it was little wonder that last year she was voted Female Vocalist of the Year at the FORM UKBlues Awards. The release of this jubilant new album once again gives her the chance to showcase her formidable powerhouse and gutsy vocals in tracks that have greater range and depth than anything she’s done before. Rebecca said: “We were honoured and humbled to receive Chris Kimsey’s guidance. He gave us confidence about the direction of our writing changing to a rockier sound and advice on the way the material should be recorded. Meeting Bill Drescher in LA was fantastic – such a lovely, down-to-earth guy – and his mixing took the five tracks to the next level. Chris Childs has since done an excellent job on the rest in matching Bill’s mixing style. We are very proud of this album – and the way the music has evolved towards rock. More than ever before we believe it captures the best of our song writing.”

The legendary Horsepower Productions return to Sneaker for a thematically charged trip into future zones, driven by dexterous breakbeat science and ruffneck soundboy wisdom.

The UK dubplate heavyweights are no stranger to a loaded sample, and they’ve got a message to impart on this double-edged record. They kick off with a rumination on the planet’s fragile ecosystem on ‘Tropic’, which looks to a possible future with an ominous fate for the foliage we hold dear. Production-wise, Horsepower set electric drum loops off against lurid daubs of synth without derailing the motion, but a huge amount of the track’s impact arrives in the sampling from a cult classic slice of sci-fi. The premise is that the last remaining trees and plants from earth are adrift in space in a bio-dome, and have been condemned for demolition - a depressingly feasible scenario with an aggravated soundtrack to boot.

On the flip, ‘Computer Rock’ rides a tough break slow and hard and injects dystopian electro synth licks into the mix for a darkside roller that celebrates the visionary talent of Jeff Brown, aka Kase 2. Brown pioneered graffiti in the 70s with futuristic styles that still hold sway today, leaning into his own sci-fi imaginings about computer worlds inhabited by extra-terrestrial beings, Brown passed away in 2011, and this track and the attendant B2 cut ‘Kase - Reprise’ pay tribute to a forefather of hip-hop culture by channeling the future shock styles of Bambaataa et al without ever sounding throwback.

The concept on this record gets taken out further with the additional digi-only tracks, which take in the low-slung, skunked up funk of ‘Blaque Gras’ and the amped up rave damage of ‘Kase 2-Part 2’. Throughout, on-point samples and a clear-eyed focus bring out the best in the Horsepower approach, offering up next level dance wreckers with something to say.

Dark Matter ist Pearl Jams zwölftes Studioalbum und die erste Veröffentlichung der Band seit dem von der Kritik hochgelobten Gigaton (2020). Das Album ist der Höhepunkt eines frischen und rasanten Ansatzes der Band und des Produzenten Andrew Watt (Rolling Stones, Iggy Pop, Post Malone, Miley Cyrus, etc) Während die Band bei Gigaton in vielen Aufnahmesitzungen Songkonzepte erarbeitete und die Fertigstellung des Albums etwa drei Jahre dauerte, kamen die Bandmitglieder für Dark Matter ohne vorgefertigte Songideen und ohne eigene Instrumente in die Shangri-La-Studios. Die Kreativität fand in Echtzeit statt und war eine wirkliche Gemeinschaftsleistung. Die LP wurde in drei Wochen fertiggestellt. In einem Interview mit Classic Rock sagte Mike McCready kürzlich, “Andrew Watt really kicked our asses, got us focused and playing, song after song. It took a long time to make Gigaton, but this new one didn’t take long. Andrew was like: ‘You guys take forever to make records. Let’s do this, right now.’”Von der Bühne ihres Konzerts in Austin im Sommer 2023 sagte Eddie Vedder “We’ve made a record for next year. What I can tell you is if you like the musicians in this group, you’re gonna hear them playing at their highest level.” Dark Matter erscheint auf CD, Vinyl und als Deluxe CD (inkl. Dolby Atmos Version)

Repress

CRG020V1 and CRG020V2 are the vinyl samplers of the mix Cleric made for its 20th release.

To celebrate hitting their 20th release, Cleric's imprint pulls together 23 talents for a various artist mix compilation including tracks from the likes of Rebekah, Cleric, Stef Mendesidis, Remco Beekwilder & Stranger, Endlec, Kwartz, Setaoc Mass, Roman Poncet, Slam and many more.

Clergy has become synonymous with a balance of atmospheric and hard hitting brand of techno ever since 2014. The boss's own music has been key to that, with carefully curated releases from guests such as Dax J, Kwartz, Reflec and Cleric himself. Helping to make the label an underground favourite. "Clergy Visions 01" sees Cleric invite an array on techno heavyweights to contribute to this compilation that's mixed by the label boss himself.

The mix opens up with the bleak ambience and fizzing electric cables of Jokasti & Nek's "Grained" then Sept's "Artifical" lays down a tunnelling techno groove that immediately locks you in. The mysterious alias, Reizemann heads off to a cosmic realm with its deep space pads slowly building the momentum throughout the drums. The energy levels then stay high throughout tracks from Roman Poncet, Kwartz and Setaoc Mass, then leading onto the groove of Stef Mendesidis.

Testament to Cleric's skills as a DJ and sequencer is the fact this journey is constantly evolving while remaining coherent. A mid-section featuring the likes of Endlec, Sleeparchive and EAS keeps you on your toes with perfectly stripped back but hard dynamic drum programming and intense melody work. Remco Beekwilder & Stranger bring a more hard hitting and industrial style before Slam calm the fires once more allowing you to sink into a smooth, elongated roller. It's left to the dystopian darkness of Rebekah and atmospheric techno brilliance of Lerias to close out this most adventurous mix in real style