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Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Iconic singer Mavis Staples is an alchemist of American music, and during her 70+ year career one of her most beloved musical mo?ments was her riveting performance in Martin Scorsese's film' The Last Waltz,' performing "The Weight" with The Band, a moment that forged a life-long friendship between her and Levon Helm. Staples came to Woodstock, NY to perform as part of Helm's re?nowned Midnight Ramble series, and the ensuing concert-available now for the first time on the rousing new ANTI- Records release Carry Me Home-would mark a personal high watermark for both artists. Captured live in the summer of 2011, Carry Me Home showcases two of the past century's most iconic voices coming together in love and joy, tracing their shared roots and celebrating the enduring power of faith and music. The setlist was righteous that night, mixing vintage gospel and soul with timeless folk and blues, and the performances were loose and playful, fueled by an ecstatic atmosphere that was equal parts family reunion and tent revival. Read between the lines, though, and there's an even more poignant story at play here. Nei?ther Staples nor Helm knew that this would be their last performance together-the collection marks one of Helm's final recordings before his death-and listening back now, a little more than a decade later, tunes like "This May Be The Last Time" and "Farther Along" take on new, bittersweet meaning. The result is an album that's at once a time capsule and a memorial, a blissful homecoming and a fond farewell, a once-in-a-lifetime concert-and friendship-preserved for the ages. Staples and the night's soulful crew of backup singers handle the vast majority of the vocal work here, but it's perhaps album closer "The Weight," which features Helm chiming in with lead vocals for the first time, that stands as the concert's most emotional moment. "It never crossed my mind that it might be the last time we'd see each other," says Staples. "He was so full of life and so happy that week. He was the same old Levon I'd always known, just a beautiful spirit inside and out." "My dad built The Midnight Rambles to restore his spirit, his voice, and his livelihood," says Helm's daughter, Amy, who sang backup vocals with her father and Staples at their performance. "He'd risen back up from all that had laid him down, and to have Mavis come sing and sanctify that stage was the ultimate triumph for him."

Generation '22: Chanson mit Seele

Wenn andere Jubiläen begehen, dann schwelgen sie in Erinnerungen. Le Pop ist anders:
Unsere Nummer 10 schaut nach vorn. Sie ist jünger, femininer und souliger als ihre
Vorgänger. Und stellt 16 neue Namen vor, die zuvor auf keiner anderen Ausgabe zu finden
waren. Die neuen Stars heißen Emma Peters, Iliona, UssaR, P.R2B, Ariane Roy und
Clou. Viele dieser Namen stehen am Anfang ihrer Karriere, haben bisher erst eine EP, ein
Album oder ein paar Singles draußen und doch ist spürbar, dass diese neue Generation das
Nouvelle Chanson prägen wird. Nicht alle sind Newcomer, aber Künstlerinnen und Künstler
wie KCIDY, Voyou, Malik Djoudi und Laura Cahen haben in den letzten 4 Jahren (so lange
ist Le Pop 9 schon draußen) eine so fulminante Entwicklung gemacht, dass wir sie diesmal
unbedingt vorstellen wollten. Dazu gesellen sich Schauspielerinnen wie Edwige, Elisa Erka
und Suzanne Lindon, die sich zum ersten Mal als Sängerinnen präsentieren. Ganz
besonders erwähnenswert: Camélia Jordana – einerseits als Musikerin in der Charts-Welt
etabliert, anderseits César-prämierte Schauspielerin, trägt sie in dieser illustren Runde sicher
den glamourösesten Namen.

Doch was macht sie aus, diese neue Generation? Zuerst einmal das Offensichtlichste: Nur
vier der hier vorgestellten Stimmen sind männlich. Das Chanson wird weiblicher und
orientiert sich damit an den Erfahrungen der letzten 20 Jahre. Denn meistens waren es die
Frauen der aktuellen Szene, die sich in der Breite auch im Ausland durchgesetzt haben (man
denke nur an Zaz, Coeur de pirate und Angèle). Le Pop 10 ist nicht nur femininer, die neue
Generation ist auch viel stärker durch die Präsenz von HipHop und R'n'B geprägt. Ein
richtiges Crossover findet zwar nicht statt, dafür merkt man, dass das heutige Chanson
grooviger geworden ist, soul-lastiger auch und punktuell tatsächlich Rap-Anklänge mitliefert.
Besonders deutlich wird das bei P.R2B, die gelegentlich in den Sprechgesang wechselt, bei
Emma Peters, die sogar ein ganzes Album mit Coverversionen von französischen Rap- und
R'n'B-Hits veröffentlichte, bevor sie eigene Songs aufnahm und bei UssaR, der als
Bühnenmusiker auch Rapper wie Kery James und Youssoupha begleitet. Vielleicht nicht
ganz so deutlich, aber wunderschön und subtil binden Iliona aus Belgien (was für eine
Entdeckung!) und Ariane Roy aus Kanada Soul-Elemente in ihre Musik mit ein. Selbst bei
Uptempo-Nummern wie "Le confort" von Voyou ist ein Hauch Motown zu spüren.
Selbstverständlich fehlt auch diesmal nicht der Einfluss von britischem Pop und Americana.
Die Band Palatine etwa ist gitarrenlastig, bringt Folk-Elemente mit und verbindet dies sehr
elegant mit Chanson-Tradition. Bei Laura Cahan finden wir Einflüsse der Cocteau Twins,
Kate Bush aber auch Anklänge an Camille oder Keren Ann. Eine erstaunliche Entwicklung
legte KCIDY hin, die nach einer längeren Phase des Experimentierens mit Elektro und Wave
auf einmal einen mit Vocal-Harmonien, Kraut- und 70ies-Elementen veredelten Gitarrenpop
aus dem Hut zaubert, der nur theoretisch aus der Zeit zu fallen scheint und sich doch ganz
harmonisch in den Gesamtklang der Compilation einfügt.

Und dann ist da auch noch Edwige, eine belgische Schauspielerin, der es nicht mehr
genügte gelegentlich auf Theaterbühnen zu singen. Sie hat ein traumhaftes, in dezenten
Gitarrenarrangements ausgekleidetes Debüt-Album aufgenommen, das im Herbst 2022
erscheinen soll. Ihren Song "Corps & Ame" hat sie uns vorab exklusiv für diese Compilation
überlassen. Den Tipp, uns mit Edwige zu beschäftigen, bekamen wir übrigens von Albin de
la Simone (seit Le Pop 2 immer wieder vorgestellt), der auch schon ein Duett mit ihr
aufgenommen hat.

Mit De La Simone, seit seiner Arbeit für Carla Bruni und das Durchbruch-Album von Pomme
(Le Pop 9) einer der meist gebuchten Produzenten der Szene, sprachen wir anlässlich
seines Konzerts bei der Kölner Reihe "Le Pop La Série" über junge Künstlerinnen wie Iliona,
Clou, Emma Peters und über deren Karrierewege. Dabei machte er uns auch auf Ariane
Roy aufmerksam. Wie sie sind viele der hier vorgestellten Namen Labelmates oder Protegés
etablierter Künstler.

Das sind nicht immer zufällige Beziehungen. In Frankreich erntet das neue Chanson zudem
immer mehr die Früchte des Casting-Show-Booms der letzten 15 Jahre. Hier bekommen
viele Teilnehmer irgendwann die Chance mit renommierten Musikern zusammenzuarbeiten.
Carla de Coignac zum Beispiel flog zwar noch vor dem Finale bei "Nouvelle Star" (2017)
aus dem Wettbewerb, trotzdem nahm Louane (die bei der Konkurrenz-Sendung "L'école des
stars" entdeckt wurde) fünf Songs in ihr Repertoire auf, die die Aussortierte für sie
geschrieben hatte. Teilnehmerin der gleichen Show war auch Camélia Jordana, allerdings
schon 2009. Jordana scheiterte damals im Halbfinale, bekam aber beim Major Sony einen
Vertrag. An ihrem Debüt-Album arbeitete sie mit Jean Felzine (Mustang, auf Le Pop 8
vorgestellt), BabX (Le Pop 8), "L" (Le Pop 7) und Mathieu Boogaerts (seit Le Pop 1 dabei)
zusammen. Inzwischen ist Jordana in der Musik- und Filmwelt etablierter Star und Celebrity.
Wir lernten sie abseits glamouröser Welten bei einer "sièste acoustique" kennen, einem
speziellen Konzertformat in Paris, bei dem das Publikum tatsächlich Siesta hält. Dort trat sie
mit Le Pop-Künstlern wie Armelle Pioline (Holden), BabX und Siesta-Gastgeber Bastien
Lallemant auf. An diesem Beispiel sieht man einmal mehr, wie durchlässig die französische
Szene geworden ist. Jordana ist heute ihre eigene Songwriterin – bei dem hier vorgestellten
Song, dem wunderbar groovenden "Jusqu'au bout des cils" stammen Musik und Text aus
ihrer Feder.

Der Mainstream zeigt sich immer wieder offen für Impulse von Indie-Acts, Kooperationen
zwischen diesen scheinbar gegensätzlichen Szenen sind inzwischen nahezu
selbstverständlich und verschaffen dem Underground zusätzliche Unabhängigkeit.
Le Pop 10 zeigt die Vielfalt dieser Welt auf authentische Weise und formt daraus eine
kohärente Einheit. Wie immer hat auch diese neue Ausgabe keinen Anspruch auf
Vollständigkeit. Wir lassen bewusst Künstler außen vor, die manche Fachleute hier erwarten
würden, die aber nicht "unsere Tasse Tee" sind. Im Vergleich zu ihren Anfängen ist die
Szene heute dynamischer und diverser. In den 50er und 60er Jahren haben Jazz und Brazil
ihre Einflüsse im Chanson der Gegenwart hinterlassen. Zu Beginn der Le-Pop-Reihe waren
es Indie, Electro und Reggae. Heute sind darüber hinaus die Einflüsse von HipHop und R'n'B
zu spüren. Das neue Chanson ist in Bewegung und wird es sicher auch in Zukunft bleiben

Flock is a brand new collaboration between five leading musicians from London's open-minded jazz and experimental scenes: Bex Burch (Vula Viel), Sarathy Korwar, Dan "Danalogue" Leavers (Soccer96, The Comet Is Coming), Al MacSween (Maisha) and Tamar Osborn (Collocutor).

Emotionaler US Doom/Gothic Metal für Fans von Katatonia, Woods of Ypres, Paradise Lost, Amorphis, Swallow the Sun

Emotionaler US Doom/Gothic Metal für Fans von Katatonia, Woods of Ypres, Paradise Lost, Amorphis, Swallow the Sun

Als eine der spannendsten, neuen Stimmen im Alternative-Bereich haben Porridge Radio sich innerhalb von nur einem Jahr mit ihrem Album Every Bad (2020) von den DIY-Lieblingen hin zur Mercury Prize nominierten Band gewandelt. Mit Waterslide, Diving Board, Ladder To The Sky kündigen Porridge Radio heute ihr drittes Studioalbum für den 20. Mai via Secretly Canadian an. Während Every Bad die scharfsinnige und offenherzige Ehrlichkeit von Frontfrau Dana Margolin offenbarte, befördert Waterslide, Diving Board, Ladder To The Sky dies auf ein neues hymnisches Level. Dies ist der Sound einer Person Ende Zwanzig, die sich den Enttäuschungen der Liebe und des Lebens stellt und herausfindet, wie man in dieser Welt existiert - ohne dabei so zu tun, als wüsste sie alle Antworten. Ganz nebenbei ist das Ganze höllisch eingängig. Das Album beginnt mit "Back To The Radio" als kraftvoller Aufruf, der einen Kontrast zu Margolins Lyriks um Panik und Abgeschiedenheit zeigt ("lock all the windows and march up the stairs"), bis sich ein stürmischer Chorus aufbauscht, der einen sofort all seine Freund*innen fest umklammern lassen möchte. Waterslide, Diving Board, Ladder To The Sky ist wie ein surreales Gemälde, das teilweise durch eine Collage der Künstlerin Eileen Agar inspiriert ist und an das Unter- und Eintauchen, heikle Lagen und existentielle Lebensängste der letzten Zeit erinnert und gleichzeitig aus der Erzählung der Jakobsleiter aus dem Alten Testament schöpft, die wiederum "symbolizes the ups and downs of human life, of virtue and transgression", erklärt Margolin. Die Vorstellung, dass ein emotionaler Zustand nicht ausschließlich binär ist, ist dabei wesentlich für das neue Album. "With this album, the feelings of joy, fear and endlessness coexist together", fügt Margolin hinzu.

Born out of an underground Buenos Aires party and first launched in 2008, ZZK Records has spent more than a decade at the forefront of Latin American music, carving out space for artists putting a futuristic (and often electronic) spin on classic rhythms and folklore traditions. Along the way, the label spread across the globe and helped launch a few stars-Nicola Cruz, Chancha Vía Circuito, La Yegros and Son Rompe Pera among them-but ZZK's search for new artists, sounds and perspectives is never complete. ZZK Sound Vol. 4 brings together a fresh crop of talent from across Latin America, along with a pair of choice selections from veteran acts Maga Bo (Brazil) and Tremor (Argentina). Compiled by ZZK co-founder DJ Nim-the label's original A&R (and Chancha Vía Circuito's older brother), he'd actually taken a five-year hiatus from the project prior to 2020-the compilation's origins can be traced back to the early days of the pandemic. As the world went into lockdown, he put out a call for submissions, and within three months, he'd received more than 1000 tracks. Nim literally listened to them all, whittling the pile down to his 11 favorites, and after hearing his selections, Grant C. Dull-another ZZK co-founder, who runs the label's day-to-day operations-couldn't believe his ears. Nim had done it again. There were no notes, and no changes to the tracklist. ZZK Sound Vol. 4 was quickly put into production. At this point, few music fans need to be sold on the appeal of Latin music, but ZZK, which has been operating in this sphere long before the genre became the "next big thing," is dedicated to the idea that the potency of these sounds extends well beyond the pop charts. Hopping between continents and recontextualizing rhythmic lineages that date back centuries, ZZK Sound Vol. 4 is both an arresting snapshot of Latin America's electronic avant garde and a thrilling preview of its next wave.

Big Crown is proud to present the first 7" offering from Surprise Chef, the newest band signed to the label. Hailing from Melbourne, Australia, these guys caught our ear with their unique sound and approach. They are something of a funky blend of Jazz, Hip Hop, and Soul with a shade of David Axelrod which all comes out their own. These two tunes on this 45 are a taste of what is to come. The A side "Velodrome" starts out with a heavy drum break and an earworm synth line guaranteed to have you humming it long after the song is over. The intro gives way to beautiful and tasteful arrangements showing their music prowess as well as their ear for restraint. The B side "Spring's Theme" is a gorgeous and moody instrumental ballad that starts out with guitar that plays cat & mouse with the percussion until they decide to give the drummer some. Again, they run through arrangements that link together like chapters in a book taking the listener through a myriad of energies that all fit together to make this a quick favorite here at HQ.

PRESSED ON RED SMOKE-COLORED VINYL!

When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced – Havoc and the sadly-departed Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with “Keep It Thoro.” It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But “Thoro” was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.), but it can be argued that the album’s real gems are buried deeper. “Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinister yet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all – especially in light of Prodigy’s recent and way-too-soon passing due to complica- tions from Sickle Cell Anemia – is “You Can Never Feel My Pain,” which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

Beach House release their eighth album, titled ‘Once Twice Melody’.
 ‘Once Twice Melody’, the first album produced entirely by Beach
House, was recorded at Pachyderm studio in Cannon Falls, MN,
United Studio in Los Angeles, CA, and Apple Orchard Studios in
Baltimore, MD.
 For the first time, a live string ensemble was used, with arrangements
by David Campbell.
 ‘Once Twice Melody’ was mostly mixed by Alan Moulder but a few
tracks were also mixed by Caesar Edmunds, Trevor Spencer and
Dave Fridmann.
 2CD in wide spine sleeve with silver and black print, inner CD wallets
and a 9.5” x 14.5” pull-out poster.
 Standard 2LP format features 140g double vinyl in wide spine outer
sleeve with silver and black print, inner sleeves and 24” x 36” pull-out
poster.
 Double cassette format (tape 1 - gold, tape 2 clear) features O Card
outer sleeve with silver and black print, two cassette cases and five
panel J Card insert

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

First album by this duo, known separately for their work in Mouse on Mars
and Gastr del Sol.
 Two long-form pieces, utterly different from one another: one hyper-detailed
electronic music and sound poetry, and the other live-in-the-studio electric
guitar and laptop paint-peeling.
 The exciting first chapter in a long-anticipated collaboration
 David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was
playing with Gastr del Sol and The Red Krayola and St. Werner in Mouse on
Mars and Microstoria. After years of exchanging ideas, ‘Translation from
Unspecified’ marks their first time locking horns as a duo, and it’s clear this
deck-clearing collaboration was long overdue.
 In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse
with a guitar and ‘Translation from Unspecified’, an open-ended, seemingly
self-generating poem suggesting AI, one of the themes in St. Werner’s recent
work. This became the side-length title track, a winding corridor of electronic
fanfares and spontaneous musical miniatures urging Grubbs’s slow and
steady recitation to grow wings and graduate into song.
 Who knows where this idiosyncratic mise-en-scène - day-glo, extrovert
electronics and task-oriented human - came from? Reference points - distant
ones - might include Robert Ashley and Paul De Marinis’s ‘In Sara, Mencken,
Christ and Beethoven...’ and the sound poetry of Anton Bruhin.
 Flip the record and you have ‘Soixante Ooze’, a live-in-the-studio duo for
guitar and computer more recognizably St. Wernerian and Grubbs-like that
reconfigures elements of the title track before finally morphing into needlepinning monoliths of sound.
 David Grubbs has released fourteen solo albums and appeared on more
than 200 releases. He was a member of the groups Gastr del Sol, Bastro,
and Squirrel Bait and has performed with Tony Conrad, Pauline Oliveros,
Luc Ferrari, Will Oldham, Loren Connors, the Red Krayola, Royal Trux, and
many others. His newest book is ‘Good night the pleasure was ours’ (Duke
University Press, 2022).
 Jan St. Werner is an artist and electronic music composer best known as
one half of the group Mouse on Mars. He has collaborated with Oval’s
Markus Popp as Microstoria and written music for installations and films by
visual artist Rosa Barba. In 2013, St. Werner released ‘Blaze Colour Burn’,
the first of a series of experimental recordings called ‘the Fiepblatter
Catalogue’. Recently his work has prioritized installation and interventions
with spatialized sound, including a number of collaborations under the name
Dynamische Akustische Forschung (DAF).

 With their duo debut, Dean Spunt and John Wiese invite you to experience
the frenzy of percussive space and discreet sound found inside ‘The Echoing
Shell’.
 This is the first official collaboration between the two veteran music-makers,
though their connection goes back to 1999. As John recalls, “Dean was in a
high school arts program at CalArts. A friend and I were recording the first
Sissy Spacek demo in the design studios there, and taking a tape to my car
over and over again to check the mix. Dean was walking through the parking
lot with a Locust shirt on, we said hello, and he immediately got into a car
with two strangers to ‘listen to a tape’.”
 The tape-listening ended well, apparently. Dean and John became friends
and fellow travellers in LA circles and beyond: in 2005, John did a remix for
Dean’s first band, Wives; in 2007, Dean played percussion with Sissy
Spacek’s 13-Tet Los Angeles; John toured with No Age several times and
collaborated live with them in 2010.
 Under the Sissy Spacek name as well as his own, John’s recordings for his
own Helicopter label and many others kicked things off for him around the
end of the century; since then, he’s been constantly engaged in solos and
collaborations on record, performances, and installations around the world.
 In addition to Dean’s ever-growing discography with No Age, he curates his
own label, Post Present Medium. In 2018, Radical Documents released
Dean’s solo debut ‘EE Head’, which explored concrète and experimental
techniques in a four-part, album length piece.
 ‘The Echoing Shell’ is born of Dean and John’s shared understanding, using
John’s process common to Sissy Spacek: elaborate sound-collage works
using source material originating from punk, hardcore and improvised music.
A series of impositions, tape manipulation and edits recompose the material,
cracking open the crust of the source, freeing its implied guts to steam forth
in gushes of extreme noise. On ‘The Echoing Shell’, this is as often noise as
it is extreme intimacy, seeming at times to be sourced from within Dean’s
drumkit, at other times appearing to emanate from the capsules of
microphones and the circuits of the signal path itself.
 One may read these collaged sounds as abstraction, but there is a unique
language conveyed in their assembly, forming something like word-shapes
and meaning. And intention: the two side-long pieces, comprised of many
short sections, form a linear whole, creating alternately ripping and
discriminating music - and meaning - in the process.
 ‘The Echoing Shell’ is a fantastic conception in contemporary musique
concrète, combining incendiary post-rock power, dry humour and astonishing
depth of field. Whether projecting the sound through headphones, ear buds,
bookshelf speakers or your own personal amp stack, crank up ‘The Echoing
Shell’.

 “As a human being it’s really important to feel and express
emotions whether happy or sad,” says Hiro Amamiya, the
Teleman drummer whose solo guise is Hiro Ama. “I sometimes
struggle to and so these are a collection of songs that explore
different emotions. I want people to feel something through my
music so I called this EP ‘Animal Emotions’.”
 Amamiya follows up on swiftly on 2020’s field recording-heavy
EP ‘Uncertainty’ with a record made in his bedroom and during
a time of introspection to create something even more personal.
“On ‘Uncertainty’ I was using sounds from everywhere and
whatever sounded good,” he says. “But for ‘Animal Emotions’ I
stuck with fewer instruments so the EP feels much more united.
I also used more acoustic instruments as I sometimes feel
electronic music in general lacks some organic and human
elements so I tried to make this EP as organic as possible.”
 However, buried beneath the warm electronics, gently pulsing
grooves, infectious melodies and immersive soundscapes - that
veer from disco strut to IDM via jazz-laced ambient - you’ll still
find some field recordings. “You might not hear them as
obviously as on my previous EP but field recordings are there,”
he says. “I like them because it's very spontaneous and gives
some human feel. It also adds some air to a recording which I
quite like.” On the opener ‘Free Soul’ - which marries funk bass
with subtle electronics and squelchy grooves - you can hear a
voice sample of a woman from Southeast Asia singing a lullaby.
 “I wanted to make an up-tempo and danceable song so I can
dance in my room during the lockdown. I got lost in Jazz music
the last couple of years and it really changed and opened up
the way I make music.” The moods, tones and emotions on the
EP shift as seamlessly as the genres, never quite settling into
one single place and constantly exploring and expanding into
new musical terrain. A process mirrored by Amamiya’s own
varied influences and tastes that were funnelled into the record,
from film soundtracks to IDM to spiritual jazz such as
‘November Cotton Flower’ by Marion Brown and ‘Harvest’ by
Pharoah Sanders.

 Lucrecia Dalt’s debut film score to ‘The Seed’, a sci-fi horror
film directed by Sam Walker on Shudder.
 Pressed on black vinyl and housed in a deluxe spined sleeve
with printed insert with digital download card included.
 “The score is heavily based on pulses that I made from tape
loops from my Copicat tape delay, using various pieces of
metal to create the sound of the horror parts by bowing them
alongside digital synths and the Korg Monologue.” - Lucrecia
Dalt
 “I wanted to play with the feeling of multiple paces in it, a
voice pulse that keeps us grounded in the subjectivities of
the women who are losing their sanity, a synth line that
places us in the sci-fi side of the film,” she explains.
 ‘The Seed’’s release follows the Colombian artist’s
collaboration with Aaron Dilloway, Lucy & Aaron, her
acclaimed 2020 album ‘No era sólida’ (RVNG Intl), a site
specific performance for the Mies van der Rohe Pavilion in
Barcelona, plus sound installations for CTM Festival and
Medellín’s Museum of Modern Art. Often seeking inspiration
in the worlds of fiction, poetry, geology and desire,
excavating nuanced references to untangle and respond to
in her music, Dalt’s debut score is incredible stand-alone
piece of work.
 In ‘The Seed’, lifelong friends Deidre (Lucy Martin / Vikings),
Heather (Sophie Vavasseur / Resident Evil: Apocalypse) and
Charlotte (Chelsea Edge / I Hate Suzie) travel to the Mojave
Desert for some time away, with the upcoming meteor
shower as the perfect social media backdrop. But what starts
out as a girls’ getaway descends into a battle for survival with
the arrival of an invasive alien force whose air of mystery
soon proves to be alluring and irresistible to them.

 With their new album, If I Never Know You Like This Again, SOAK has
finally shaken the hangover of their starry debut ‘Before We Forgot How
To Dream’, and the pressures that came with it, hiding in the wings of
their ambitious follow up album, ‘Grim Town’.
 Having come up through BBC Introducing at the tender age of 15, before
signing to Rough Trade Records, as well as winning the RTE Choice
Music Prize and The Northern Irish Music Prize, in addition to being the
youngest ever Mercury Prize nominee, SOAK has again and again been
described as “the voice of a generation.”
 Showing, from a young age, an intensely artistic awareness of the poetry
of memory, Bridie Monds-Watson, aka SOAK, would incessantly
photograph and video everything, documenting and organising the
material so it was always there for them to revisit. “I always want to
remember exactly how I felt at a certain moment.” Now, at 25, SOAK’s
third album, ‘If I Never Know You Like This Again', is naturally made up
of what Bridie intimately calls ‘song-memories’.
 Working closely with Tommy McLaughlin (Villagers), with whom Bridie
has been collaborating with since the age of 15, and armed with
influences from Pavement to Radiohead to Broken Social Scene, they
wrote most of the album together before recording it with the rest of the
band in Attica Studios, Donegal.
 Throughout the album SOAK pushes and pulls at melodies, but never
milks their brilliance. Bridie masterfully glides their vocal melody slightly
off-kilter above excitable compressed high hats and flourishing guitar
lines. With the new direction of a grungier, more lo-fi production, the
swooning guitars are given a contemporary pop edge, reflected in the
rich and robust musicality of songs like ‘Bleach’, ‘Last July’ and ‘Pretzel’.
 There’s a constant pulsating beat at the album’s centre, propelling it
towards a kind of dewy happiness, like the end credits of a 90s comingof-age film. Bridie’s lyrics move through the songs almost as effortlessly
and they sing them, and the songs when read, read like poetry.
 With this album Bridie is, as the title suggests, freezing time in the
pursuit of truth: capturing their life into existence. In the world of ‘If I
Never Know You Like This Again’, a life is lived only because it's
remembered.

 James Cullen and Dan Cobb formed TENDER in
2015, as the bedroom project of two flatmates tired
of the design by committee nature of larger
musical groups.
 TENDER’s ‘Modern Addiction’ provides fresh
perspective to the idea of addiction, through the
lens of love. It is unafraid to admit or to accuse,
eager to confide and to provide, in direct,
shimmering confessionals.
 Original pressing sold out - ‘Modern Addiction’ has
been out of print for several years. Now available
again, on black vinyl.
 “Mysterious duo Tender specialise in marrying
polarising elements that could well soundtrack
parties as well as the loss of love” - DIY
 “An enthralling, minimalist pop gem” - CLASH
 “Gliding over guttural electro swoons, it’s the sort
of glacial pop that’d soundtrack late-night
contemplation no matter where you are in the
world” - Dork

Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Rockers on unique Record Store Day EXCLUSIVE coloured vinyl + download code. This new edition is a one-off pressing exclusively for Record Store Day Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

The music on Studio One Rockers covers all areas of Reggae such as Ska, Rocksteady, Roots and Dancehall, all areas in which Studio One led the field and has become the essential introduction to reggae fans throughout the world.


Included in this compilation are classic Ska tracks ("Phoenix City"), Rocksteady ("Feel Like Jumping"), Roots music ("Truth and Rights"), Dancehall (Freddy McGregor, Michigan and Smiley) and many more. Featured here are many of the classic tracks from Studio One. From Dawn Penn's legendary "No, No, No" to classics such as Horace Andy's "Skylarking" and Marcia Griffith's "Feel Like Jumping".

"Compilation of the year. 100% Essential” Time Out "Compilation of the year. A compilation of unbelievable quality. Awesome” DJ "A who's who of Jamaican music” The Times "An essential slice of musical history" Wire "The most credible compilation of reggae you can buy” - The Guardian.

 Once again, accordionist Vincent Peirani
reshuffles the cards. As a good jazz musician, he
likes to venture into unexplored territories. As a
good music fan and a very good musician in
general, he is curious, enthusiastic, and eager to
make new discoveries and find new things to listen
to or play. ‘Jokers’, his first album in trio, goes
even further, and elsewhere.
 Vincent chose to turn to the jazz trio for the first
time, a formula with such a long history that it is
almost sacred, and certainly intimidating. But
typically, he used that framework only to escape
from it. His two accomplices, Federico Casagrande
on guitar and Ziv Ravitz on drums and keyboards,
both have a wealth of experience and skills, an
interest in rock and electronic music, and a taste
for musical hybridity.
 Now available on vinyl with digital download code.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

Introducing the 'Saltpond City Band'. A buoyant 8-piece outfit hailing from Ghana, blending soulful highlife and percussive funk in their new album 'Boko A Ko', forthcoming on Meet Me There Records.

The Saltpond City Band was initially formed by the legendary Ghanaian highlife musician Ebo Taylor and is now led by his son, keyboardist and lead vocalist, Henry Taylor.

The album 'Boko A Ko' is a blend of highlife, funk and afrobeat, woven into a refreshing take on traditional Ghanaian highlife. With the core of the band set deep in the highlife experience, Taylor and company deliver a combination of driving horns, fluid percussion and earthy vocals. The album features Ebo Taylor himself on 'Mennbo Wobi', which also showcases Ghanaian flute extraordinaire Dela Botri adding fine elements of melodic escape.

The forthcoming album is set to be released on the brand new label 'Meet Me There Records' (MMTR). MMTR is a community-based project aiming to put the artist first. With profits split 50:50 between artist and label, 25% of the label profits will go directly towards the building of a recording studio in the local community of Dzita in West Ghana, Wornana Studios, which will become one of the first accessible recording studios in the Volta region.

'Boko A Ko' is already receiving praise from highly acclaimed artists and DJ's, but is also an example of what else is to come from MMTR and is paving the way for new and unexplored talent that is coming out of the Ghanaian and West African music scene.

"Turn To See Me" is yet another step forward for The Dining Rooms, an artistic duo that never lacked creativity. This ninth album of theirs is a further confirmation: an intense record, inevitably influenced by the events of the last two years and therefore imbued with dark and melancholy sounds, but at the same time positive and aimed at a hopefully better future. Once again, there are numerous collaborations and blends of various musical genres (hip-hop, folk, jazz, electronic, trip hop) that do not, however, betray the 'cinematic' trademark of the Milanese outfit.

Am 20. Mai erscheint das neue Album „The Heart Is Strange“ von xPropaganda, dem gemeinsamen Projekt der ehemaligen Propaganda Mitglieder Claudia Brücken und Susanne Freytag.

Nachdem sich die ursprüngliche Formation von Propaganda 1987 aufgelöst hatte, verfolgten die einzelnen Bandmitglieder von Propaganda verschiedene Soloprojekte und musikalische Abenteuer. Im Frühjahr 2018 fanden sich Claudia und Susanne als xPropaganda wieder zusammen und spielten zwei ausverkaufte Headline Shows in London. Durch diese Erfahrung kreativ inspiriert, traf sich das Duo anschließend mit dem „A Secret Wish” Produzenten Stephen Lipson, um neue Musik zu schreiben.

Die Ergebnisse dieser Sessions, die sich über zwei Jahre erstreckten, sind auf dem neuen xPropaganda Album „The Heart Is Strange” zu hören. Es ist die erste Veröffentlichung nach dem Relaunch des ZTT-Labels und lässt den Stil und die Leidenschaft der Propaganda-Klassiker aufleben, während es mühelos zeitgemäß klingt. Mit seinen markanten Beats, die durch Claudias und Susannes ausdrucksstarken, leidenschaftlichen Gesang wunderbar unterstrichen werden, gehören „Chasing Utopia“, „No Ordinary Girl“ und „Don’t (You Mess with Me)“ zu den herausragenden Stücken.
„The Heart Is Strange“ erscheint als 1CD, Ltd. 2CD und als 1LP.

Der aufstrebende Indie-Singer-Songwriter und Künstler Avi Kaplan hat die bevorstehende Veröffentlichung seines Debüt-Soloalbums „Floating On A Dream“ für den 20. Mai 2022 über Fantasy Records angekündigt.Mit Country, Blues, Soul, Tribal Drums und einem Hauch von Gospel untermauert er seinen elementaren, akustisch getriebenen Rock und erkundet in den 11 Original-Tracks des Albums Herzensangelegenheiten, Wahrheit, Moral und die Suche nach Relevanz. Im Mittelpunkt steht jedoch seine Stimme. Von einem
eindringlichen Falsett bis hin zu den tiefsten Basstönen ist Kaplans Instrument mit nichts anderem in der modernen Musik vergleichbar. Während einige dieser Songs kurz nach Kaplans Ausstieg bei Pentatonix im Jahr 2017 entstanden sind, wurden die meisten speziell für dieses Projekt geschrieben. Was sie zusammenhält, ist der Reichtum und die Flüssigkeit seines Stimmumfangs, der selbst langjährige Fans überraschen dürfte. „Floating On A Dream“ vertieft eine musikalische Entwicklung, die mit der 2020 erschienenen „I’ll
Get By“ EP begann und sich in der letztjährigen Single „Song for the Thankful“ fortsetzte, und erforscht Kaplans breite Klangpalette und seine rootsigen Einflüsse. Das Album ist als CD und LP erhältlich.

Venom is the 2018 superhero film which features the Marvel Comics characters Eddie Brock and Venom. It’s the first film in Sony’s Spider- Man Universe (SSU) and is directed by Ruben Fleisch. Venom follows the story of failed reporter Brock (Tom Hardy) who is bonded to an alien entity, giving him superpowers as long as they share the same body. The being takes a liking to Earth and decides to protect it. The film was a box-office success and in 2021, the sequel Venom: Let There Be Carnage was released.

Its score is composed by Ludwig Göransson, who worked before with Ruben Fleisch on the successful Black Panther, for which he received the Grammy Award for Best Score Soundtrack For Visual Media and the Academy Award for Best Original Score. The Swedish composer has also scored films such as Tenet and the Rocky franchise entries Creed and Creed II. As a record producer, he has received an equal amount of acclaim, having produced for Adele, Chance The Rapper, Travis Scott and Childish Gambino, including Gambino’s iconic hit “This Is America”.

Venom is available as a limited edition of 1500 individually numbered copies on “Black Clouds” coloured (crystal clear & black marbled) vinyl. The album is housed in a deluxe gatefold sleeve with a silver foil finish, includes a printed innersleeve and an exclusive fridge magnet.

Melody Gardots Traumstimme hat unzählige Fans längst erobert. Ihr neues Album stellt diese Stimme jetzt verführerisch in den Mittelpunkt, nur begleitet von Pianist Philippe Powell. ”Entre eux deux“ ist eine Oase der Ruhe und musikalischen Konzentration. Als würde Gardot einem direkt ins Ohr flüstern, singt sie großartige neue Songs aus eigener Feder, die einem wie halbvergessene Evergreens erscheinen.

Dass bis auf einen Titel aus Feder von Filmmusik-Legende Francis Lai und einem von Philippe Powells berühmtem Vater Baden Powell alle Songs von Gardot und Powell selbst geschrieben wurden, ist eine
weitere Überraschung dieses Albums, das mit Sinnlichkeit und Melancholie gewinnt.

Mit spannenden, persönlichen Aufnahmen und einem ausführlichen Blick hinter die Kulissen begleitet ”The Police: Around The World” die Band dabei, wie sie neues Territorium erkundet und lässt uns an den Anfängen ihres kometenhaften Aufstiegs teilhaben: 1979 und 1980 begab die Gruppe sich auf ihre allererste Welttournee, welche sie durch sechs Kontinente führte. Zwischen den Auftritten bietet der Film der DVD/Blu-ray Formate einen heiteren Blick auf die Band auf ihrer Reise um die Welt und ihre Besuche bei lokalen Sehenswürdigkeiten. ”Around The World” wird mit restauriertem Bild und remastertem Ton
präsentiert und enthält vollständige Auftritte von 4 Songs, die in der Dokumentation vorkommen.

Mit diesem Album kombinieren sich Liveaufnahmen und ganz persönlichen Eindrücke von Sting, Andy Summers und Stewart Copeland in Japan, Hong Kong, Australien, Indien, Ägypten, Griechenland, Frankreich, Südamerika und in den Vereinigten Staaten; und kreieren so das ultimative „The Police“-Erlebnis.

In May of 1957, Art Blakey and his Jazz Messengers went into the studio with Thelonious Monk to record a one-off album for Atlantic. The Jazz Messengers were a loose collective of young Jazz musicians, with a constantly rotating lineup to keep the music fresh, and help launch new careers (akin to today’s hip hop collectives.)

Blakey had recorded with Monk on various occasions, but this was the first time Monk sat in with the Jazz Messengers. The result is a true meeting of the minds, a beautiful union of Monk’s melodies with Blakey’s unshakable sense of swing, and Thelonious Monk’s only appearance on Atlantic. This 65thanniversary deluxe edition includes an extra disc of previously unreleased outtakes, celebrating the most sensational jazz collaboration of the 1950s.

PERSONNEL:
Art Blakey, drums; Thelonious Monk, piano; Johnny Griffin, tenor saxophone; Bill Hardman, trumpet; and Spanky Debrest, bass.

Released in 1961, My Favorite Things made John Coltrane a star with box-office pulling power previously preserved for the likes of Dave Brubeck, Stan Getz, the MJQ, and Miles Davis. The dazzling quartet treatment of the Richard Rodgers hit song, features Coltrane on soprano saxophone for the first time on record, exercised a hypnotic effect on all sorts of music lovers and trend-spotters. The title track was a hit single, and the album became a major commercial success. In 1998, the album received the Grammy Hall of Fame award. It attained gold record status in 2018, having sold 500,000 copies. The mono version of this album, believed lost, was recently found, and is included in this deluxe package, as well as the stereo version, both mastered from the original tapes.

The packaging includes liner notes by award-winning writer Ben Ratliff, as well as photos and Atlantic Records ephemera.

The ‘Fever Dreams Pt 3’ EP features four brand new songs from Johnny Marr’s anticipated first double LP - ‘The Speed Of Love’, ‘Night and Day’, ‘Counter-Clock World’ and ‘Rubicon’. Timed well to follow on from Johnny’s live run with Blondie, the EP will be released on limited edition gold vinyl on May 20th, with 2.5k units available worldwide.

Early previews of ‘Fever Dreams Pts 1-4’ have been met with widespread acclaim, with Uncut stating that the double album is "The most ambitious album of his career".

Singles including ‘Sensory Street’ has been a mainstay on the BBC Radio 6 Music A-List, the album’s electro-soul opener ‘Spirit, Power and Soul’ was also playlisted by 6 Music and BBC Radio 2, described as “his strongest solo composition yet” by the Evening Standard, “an exercise in progressive creative ambition” by DIY, “invigorating” by Uncut, with “defiance in its DNA” by CLASH and simply “banging” by The Telegraph.

Earlier EP ‘Fever Dreams Pt 2’ has seen Johnny heralded as “a master songwriter” by The i Newspaper and, “a project unlike anything he's done before" by Music Week.

2022 will see Johnny Marr return to the live stage, joining Blondie as a special guest on their ‘Against The Odds’ headline tour through April and May, including London’s O2 Arena, before heading out on The Killers’ headline US arena tour, beginning in August through to October.

“Modern Primitive” is the new album by SEPTICFLESH who present a stunning combination of symphonic and cinematic music with aggressive yet catchy Death Metal. Picking up on the group’s sonic evolution in the past decades, “Modern Primitive” proves to be more emotional, epic and heavy than ever.

SEPTICFLESH was formed as “Septic Flesh” in Greece in the early '90s by Spyridon Antoniou (a.k.a. Seth Siro Anton): vocals/bass, Christos Antoniou: guitar and Sotirios Vagenas (a.k.a. Sotiris Anunnaki V.): guitar/ clean vocals. A debut Ep was released in 1991, entitled "Temple of The Lost Race". Their first full-length album "Mystic Places of Dawn" was released in 1994, followed by "EΣΟΠΤΡΟΝ" that was released in 1995. With the release of "Ophidian Wheel" in 1997, a female soprano vocalist (Natalie Rassoulis) was introduced, as the band moved towards a more symphonic style. "A Fallen Temple" (1998) continued in the same musical direction. In 1999, "Revolution DNA" was released, followed by “Sumerian Daemons” in 2003, both albums produced by Fredrik Nordström (At The Gates, Opeth, In Flames). Although the band's popularity was growing, the band members decided to disband, in order to focus on other personal projects and goals. But that was not the end of the story... After a reunion, the band returned with the album "Communion" in 2008, again with Fredrik Nordström at the helm of production. From that point onwards, the symphonic element (composed by Christos Antoniou, that has a Master Degree in Concert Music) was fully implemented in the structure of the songs, with the collaboration of Filmharmonic Orchestra of Prague. “The Great Mass” (2011) followed with Peter Tägtgren (Hypocrisy, Pain) producing, "Titan" (2014) with Logan Mader (ex-Machine Head) as producer and "Codex Omega" (2017) which started the group’s collaboration with Jens Bogren that continues to the very day. In 2020, the recording of the epic and fully orchestrated Live in Mexico entitled "Infernus Sinfonica MMXIX", was released on CD/LP/DVD/Blu-Ray.

Now, SEPTICFLESH has joined forces with Nuclear Blast Records and initiates the next phase in the band’s history, with a new album to be released in May 2022. Once again Jens Bogren is responsible for the bombastic mix and sound whereas Seth Siro Anton - who is also in charge for the visual aesthetics of the band and worked for artists like Nile, Paradise Lost or Moonspell - has crafted a really intense cover and over-the-top artwork for this release. The new songs impress with many layers, gloomy and empowering atmosphere while being heavy and memorable. Besides the continuous collaboration with the Filmharmonic Orchestra of Prague, the band used a full adult choir, a full children choir and a variety of ethnic instruments.

Repossessed by the past, bitten once again and forced to relive drama, history, memories, tradition and roots. A past that needs exorcizing, bending and re-imagining in order to move forward and depend on. This is ‘Rimorso’, Mai Mai Mai’s colossal mediterranean gothic album.

Known for his incredible blend of Southern Italian Folklore, industrial drone, proto-techno & punishing miasmic electronic music, Toni Cutrone aka Mai Mai Mai approached ‘Rimorso’ with a clean slate. Following ‘Nel Sud’ (La Tempesta International, 2019) and his mediterranean trilogy ‘Theta’ (Boring Machines, 2013), ‘Δέλτα’ (Delta) (Yerevan Tapes, 2014) and ‘Φ’ (Phi) (Not Not Fun Records / Boring Machines, 2017) the Roma based noise artist recreated his spirits of the past by collaborating with musicians and ethnomusicologists that work on the present, on traditions that are still passed on and morphing continuously, healing our nostalgia for a lost future. ‘Rimorso’ sheds the past heavy use of samples and sound manipulation in lieu of a human element: voices, percussion, lap steel guitar all embedded in a rich cultural heritage.

Red Snapper's most potent album since Prince Blimey, ‘Everybody Is Somebody’ is a glorious and heady take on the band’s pioneering alternative, trip hip and nu-jazz infused sound… This might just be the best Red Snapper ever!

Red Snapper have produced a gorgeous, eclectic collection of tracks that carry their signature and always-captivating sound into a new realm.

There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that’s already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it’s also a gift, because once it’s opened, once you’re inside of it, it can show you the truth. Zola Jesus’s new album, Arkhon, finds new ways of loosing this submerged, stalled pain.

There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that’s already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it’s also a gift, because once it’s opened, once you’re inside of it, it can show you the truth. Zola Jesus’s new album, Arkhon, finds new ways of loosing this submerged, stalled pain.

The story of the Jamaican reggae harmony group The Silvertones started in 1964, when the band was founded after Delroy Denton joined the duo of Gilmore Grand and Keith Coley. They recorded their debut album Silver Bullets in 1973 with the legendary Lee Perry. It was the first album from Perry’s Black Ark Studio and was released on Trojan Records later that year. It features the singles “I’ll Take You Home” and “Rejoice Jah Jah Children”.