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Das 6. Album "Buch des Lebens" der Punkrock-Instiution aus dem Ruhrpott wird als Collector's Reissue neu aufgelegt und zwar so wie alle vergriffenen Vinyl-Alben aus der reichhaltigen Emscherkurve77-Vita in verschiedenen Farb-Editionen auf je 77 Stück limitiert! Erstmals 2015 veröffentlicht, markierte "Buch des Lebens" einen weiteren Meilenstein in der mittlerweile fast 25 jährigen Band-Historie sowohl bei den Fans als auch bei der Presse: "Ein Album, das Eindruck macht, weil es schlichtweg toll klingt." (Ox-Zine) "Hervorragende Texte, geniale Melodien und ein Gesamteindruck, der besser nicht geht. Die Band präsentiert das beste Album der bisherigen Bandgeschichte!" (Tough Magazine) "Mit ,Buch des Lebens' legen die Jungs der Emscherkurve, nach ihrem letzten Werk ,Dat soll Punkrock sein?!', nochmal eine ordentliche Schippe drauf. Hier wird euch alles geboten. Von Punkrockhymnen über mitsingtauglichen Liedern, für euren Abend mit Freunden, bis hin zu Liedern über die alltäglichen Nervensägen. Ein absoluter Kauftipp. (Plattenkombuese) 180gr Vinyl Reissue mit bedruckten Innenhüllen, jede Version limitiert auf 77 Stück weltweit.

Das 6. Album "Buch des Lebens" der Punkrock-Instiution aus dem Ruhrpott wird als Collector's Reissue neu aufgelegt und zwar so wie alle vergriffenen Vinyl-Alben aus der reichhaltigen Emscherkurve77-Vita in verschiedenen Farb-Editionen auf je 77 Stück limitiert! Erstmals 2015 veröffentlicht, markierte "Buch des Lebens" einen weiteren Meilenstein in der mittlerweile fast 25 jährigen Band-Historie sowohl bei den Fans als auch bei der Presse: "Ein Album, das Eindruck macht, weil es schlichtweg toll klingt." (Ox-Zine) "Hervorragende Texte, geniale Melodien und ein Gesamteindruck, der besser nicht geht. Die Band präsentiert das beste Album der bisherigen Bandgeschichte!" (Tough Magazine) "Mit ,Buch des Lebens' legen die Jungs der Emscherkurve, nach ihrem letzten Werk ,Dat soll Punkrock sein?!', nochmal eine ordentliche Schippe drauf. Hier wird euch alles geboten. Von Punkrockhymnen über mitsingtauglichen Liedern, für euren Abend mit Freunden, bis hin zu Liedern über die alltäglichen Nervensägen. Ein absoluter Kauftipp. (Plattenkombuese) 180gr Vinyl Reissue mit bedruckten Innenhüllen, jede Version limitiert auf 77 Stück weltweit.

Nachpressung jetzt in klassisch schwarzem Vinyl! "Sad days for the kids, but great days for the Skins!" Oi! made in Leipzig! THE SPARTANICS, nach Demo, LP, 10" und diversen Sampler-Beiträgen mit ihrem zweiten Komplett-Album. Das Trio kommt zwar aus Connewitz, klingt aber angenehm britisch nach 70`s Lower Class Streetpunk mit smartem Beat, eingängigen Melodien und geschmeidig-scharfem Gitarren-Sound. Schön trocken-schnörkellos, puristisch unterwegs. Mit leichter Sohle und harter Botschaft: "Shut up, work hard and make money for the rich!" DON'T! 10 Songs mit englischem Text, grobe Richtung: Knackige Melange aus SPARRER, NEWTON NEUROTICS, EVIL CONDUCT und den LURKERS.

Innovative multi-instrumentalist and electronic luminary Mathew Jonson returns to Crosstown Rebels with ‘Tako Tako’.

The Canadian synth wizard returns to Damian Lazarus' renowned imprint with two magical and absorbing new productions, with the most excellent two-tracker.

Mathew Jonson has developed one of the most distinctive voices in electronic dance music. His take on house and techno is rich in synth craft and high on captivating emotions, all shaped by his notoriously extensive collection of analogue and hardware gear that he can play, manipulate and use like few others. An electronic mastermind renowned for releasing countless seminal tracks and albums, both solo and as a member of Cobblestone Jazz, he returns to a label that has been a constant throughout his career. With his ‘Tako Tako’ EP, he offers two more superb journeys on Crosstown Rebels.

The fantastic ‘Tako Tako’ kicks off with Jonson’s signature mix of elegant and refined synth craft, with dancing melodies bringing futuristic energy and neon colour to crunchy beats. They are smeared and smudged in a painterly fashion and help make this production a pulsating dancefloor thrill. Equally standout is ‘Just a Little Bit’, powered by a jostling broken beat with a warm bassline and wordless vocals sampled throughout. It’s funky, kinetic, always on the move, and rounds out another one of Jonson’s fantastically inventive yet effective EPs.

Das 6. Album "Buch des Lebens" der Punkrock-Instiution aus dem Ruhrpott wird als Collector's Reissue neu aufgelegt und zwar so wie alle vergriffenen Vinyl-Alben aus der reichhaltigen Emscherkurve77-Vita in verschiedenen Farb-Editionen auf je 77 Stück limitiert! Erstmals 2015 veröffentlicht, markierte "Buch des Lebens" einen weiteren Meilenstein in der mittlerweile fast 25 jährigen Band-Historie sowohl bei den Fans als auch bei der Presse: "Ein Album, das Eindruck macht, weil es schlichtweg toll klingt." (Ox-Zine) "Hervorragende Texte, geniale Melodien und ein Gesamteindruck, der besser nicht geht. Die Band präsentiert das beste Album der bisherigen Bandgeschichte!" (Tough Magazine) "Mit ,Buch des Lebens' legen die Jungs der Emscherkurve, nach ihrem letzten Werk ,Dat soll Punkrock sein?!', nochmal eine ordentliche Schippe drauf. Hier wird euch alles geboten. Von Punkrockhymnen über mitsingtauglichen Liedern, für euren Abend mit Freunden, bis hin zu Liedern über die alltäglichen Nervensägen. Ein absoluter Kauftipp. (Plattenkombuese) 180gr Vinyl Reissue mit bedruckten Innenhüllen, jede Version limitiert auf 77 Stück weltweit.

Sad days for the kids, but great days for the Skins! Oi! made in Leipzig! THE SPARTANICS, nach Demo, LP, 10" und diversen Sampler-Beiträgen mit ihrem zweiten Komplett-Album. Das Trio kommt zwar aus Connewitz, klingt aber angenehm britisch nach 70`s Lower Class Streetpunk mit smartem Beat, eingängigen Melodien und geschmeidig-scharfem Gitarren-Sound. Schön trocken-schnörkellos, puristisch unterwegs. Mit leichter Sohle und harter Botschaft: ,Shut up, work hard and make money for the rich!" 10 Songs mit englischem Text, grobe Richtung: Knackige Melange aus SPARRER, NEWTON NEUROTICS, EVIL CONDUCT und den LURKERS. Farbiges Marbled Vinyl, kommt mit CD-Version UND DLC!

The Dip is a 6-piece rhythm and blues band from Seattle who blend the best parts of funk and soul street music with the bounce of rock n' roll dance halls to create timeless songs of love and life. 'Love Direction', The Dip's fourth studio record and latest album on Dualtone Records (following 2022's 'Sticking With It' which landed at #1 on Billboard's Current R&B Albums chart), is the first time in the band's career they have relinquished complete control.

The group produced the record themselves and enlisted audio engineer Josh Block who contributed a lush addition to the 11-song collection along with a full spread of talented guest musicians across the tracks. Distant horns, funkier guitars and even a touch of pedal steel guitar from Will Van Horn on the introspective "Fill My Cup", The Dip sound as crisp as ever while exploring new sonic territories. The result makes for a fresh, loose mood that feels equally familiar to the band's earlier work and a confident, bold re-introduction that features some more nuanced and intimate moments highlighting the ways in which the band has matured.

Enjoy The Toons Records in conjunction with Scholastic proudly present Goosebumps™ Original Television Soundtrack by Jack Lenz. Available as a 2xLP Deluxe Edition, Goosebumps™ Original Television Soundtrack features songs from the 90s television series, along with a handful of unreleased tracks, including the "Goosebumps Gotcha Rap" and unreleased alternate theme song, plus ten additional tracks not included on the previous vinyl release. The screen-printed D side features characters from the beloved series.

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

Diese Sammlung wurde ursprünglich im Juli 1969 zum Gedenken an den Tod des Bandmitbegründers Brian
Jones konzipiert. Es diente auch dazu, den damaligen Hit Honky Tonk Women“ im Rahmen einer LP zu
veröffentlichen und die zehnmonatige Lücke seit der Veröffentlichung von Beggars Banquet zu füllen. Diese
UK-Only Version enthält den Track ”You Better Move On”, von der 1964 Debut-EP der Stones; sowie
auch ”Sittin’ On a Fence”, vom 1967 kompilierten Flowers-Album. Das Album wurde auf 180g Schwarzem
Vinyl gepresst und ist ab dem 12.07 erhältlich

Jule ist das neue schwarze Sternchen an St. Paulis morschen Musikfirmament. Irgendwie schon Singer/Songwriterin, but make it punk und da ist einfach dieser unverblümte Rap-Einfluss, der nicht ausbleibt, wenn du 25 bist und das halt die letzten zehn Jahre viel gehört hast Jule macht Musik, weil "mein Kopf sehr laut ist und mir das hilft, mit allem umzugehen". Die Debüt EP "Im Regio weinen" erscheint auf Zeitstrafe und umfasst sechs unkonventionelle, bewegende, (tatsächlich) schonungslos persönliche Songs. Zwischen zweifelhafter Medikation und Heartache, direkt aus dem twenty-something Leben vom Hamburger Berg. Alles wie immer, alles immer anders - Jule hat das Mic ab jetzt.

Finland has long had a uniquely progressive underground, with thriving punk, avant, jazz, and rock scenes with oversized output and impact. Jussi Lehtisalo’s (Circle, Pharaoh Overlord, Mahti, etc) label Ektro has been at the center of this activity for the last three decades, with a stream of excellent and conceptually bonkers releases covering music of all types. Here Lehtisalo joins up with Jan Anderzén (of Kemialliset Ystävät among others) for an album of absolutely fun and unusual miniature duets that sound like alien Library music beamed in from the outerlands. Tracks like “Luukku Yksi” and “Puistossa” use a charmingly retro synth-y sound palate and Cluster-like melodic sensibility to make accessible some deceptively “out” music. Some cuts (like “Kylpy”) have a vague hint of early ’80s post-punk / new wave vibes, bouncing along in a friendly way with odd interjections of sample debris and electronics jumping out of the mix to keep it weird. The surging “Hymy yössä” could be music for the credits of the world’s hippest newscast. Beautiful jacket by renown Helsinki-based artist Dylan Ray Arnold, bringing the die-cut techniques of their gallery pieces like “Growth of the Night Plants” to LP form.

It’s been exactly a year since the 6th Borough boys emerged from their hiatus to bring us the Rhythm & Truth EP. This killer three tracker picked up where they left off and showed us that fans of deep, dusty, dubbed-out disco were as hungry as ever for new 6BP material and went on to garner praise from the likes of Jamie 3:26, Luke Solomun, Dam Swindle, Young Pulse and the Faith crew to name a few. Here on their follow up we’re treated to more of the good stuff and sees Craig Smith and Graeme ‘Revenge’ Clark whipping up four new cuts spanning speaker- wobbling sub-aquatic grooves and stripped back deep house.

One Way sets the tone with a subtle yet infectious percussive workout which is one of those mood setting tools which looks set to become a lot of DJ’s secret weapons this summer. Filtering strings and tweaked synths add that classic Chicago energy which won’t fail to get you locked into it’s groove. Spare Change treads a similar path but goes heavier on the echoing synth stabs and deep string pads proving that when the rhythm is rolling this nicely just let it roll.

Flip over for Backlash which takes us deeper still with lush chords and driving square wave bassline taking centre stage supported by an unrelent ing kick drum which helps to keep an intensity throughout the arrangement. Closing out the EP we have The Other, which sees 6BP dropping the BPM’s to create a low-slung slice of deep, underground house perfection.

Antoni Maiovvi Has Established a Distinguished Career Spanning 15 Years, Boasting an Extensive Discography Featured on Labels Including Tusk Wax, Vivod, Omnidisc, Giallo Disco, Italo Moderni, and Bordello a Parigi. Profoundly Experienced in Music Production, He Channels the Enigmatic Facets of Disco, Synthesizer-Driven Beats, and the Captivating Allure of Italo Disco, Creating a Sound Steeped in Vintage Analog Essence. His Latest Ep Represents a Masterful Fusion of Diverse Influences. We Extend a Warm Welcome as He Returns to Our Specialized Sub-Label, Cosmic Club, Tailored for This Genre. His Work Is Undeniably Destined to Become a Future Classic, a Testament to His Auditory Craftsmanship. the Tracks on This Ep Offer a Captivating Journey Through a Diverse Spectrum of Electronic Music Styles. on the A-Side, "Lucidario" Introduces Us to a Meticulously Crafted Blend of Moroder-Esque Soundscapes, Offering a Profoundly Cinematic Experience. Following This, "Cenotaph" Presents a Beguiling Mix of Pop Sensibilities, Echoing the Spirit of Legowelt. Closing the A-Side, "Cyberia" Enigmatically Concludes This Part of the Record With Its Electronic Allure and Sonic Intrigue. on the B-Side, We're Met With the Remarkable "Ghosted Again," an Explosive Dark Italo-Disco Gem With Undeniable Dancefloor Appeal. "Levitation Technique" Continues the Sonic Journey, Delving Into Ethereal Realms of Electronic Music, and "Today Is Yes" Provides a Fulfilling Conclusion to the Ep. Each Track Is a Unique Sonic Exploration, Showcasing the Artist's Ability to Weave Diverse Influences Into a Coherent and Engaging Musical Journey. Antoni Maiovvi's Musical Universe Harmoniously Resonates With the Enigmatic Gesloten Cirkel and the Enchanting "Gesamtkunstwerk" by Dopplereffekt, Solidifying His Status as a Future Classic in the Making....

Driven by lust-fueled limerence and drifting far from conformity, Butterflies Don't Go Away captures Majesty Crush's transient, yet subversive mark on the landscape of American shoegaze to come. Tracked between 1991-1995, the quartet reimagined the collapse of the American rust belt as a late-night, nail biting fever dream/revenge fantasy. This deluxe 2xLP compiles their Love 15 album, singles, EPs, and rarities, all remastered from the original tapes, with thorough annotation and visual documentation in a 24-page booklet. An immortal transcendence if there ever was one.

Der Fußabdruck, den das Duo Modern Talking hinterlassen
hat, ist unbestreitbar. Bereits in den 1980er Jahren war der
von Dieter Bohlen, Luis Rodriguez und Rolf Kohler kreierte
Sound eine Inspiration für viele Produzenten elektronischer
Discomusik aus Ländern wie Italien, Frankreich, USA,
Griechenland, Niederlande, Schweden oder der Schweiz. Die
Sehnsucht nach der romantischen Disco verblasst nicht, und
einer ihrer interessantesten Vertreter ist das rumänische
Projekt Romantic Avenue. Perfekt nachempfundene Klänge
und Abläufe, als ob sie 1985 im Studio 33 entstanden wären.
Jetzt, wo die Vinyl-Version dieses sehr erfolgreichen Albums
gerade erschienen ist, liefern wir die digitale Version mit
gekürzten Versionen, die speziell für eine Vinyl-LP gemischt
wurden.

Legendary Belgian techno artist Insider has delivered a set of masterful remixes of the iconic Belgian classic by Dr Phibes, aka Bruno Sanchioni from Age Of Love, now available on the renowned Diki Records Classics label.



This exclusive release features two distinct treatments on white wax: a high-energy, pumping techno mix and a deeper, UK-inspired rendition, both capturing the essence of the era as if crafted by producers from the golden age of techno with a modern edge and sound. Fans can expect nothing short of genius from Insider's expertly created remixes, solidifying his status as a stalwart in the techno scene.

Der italienische Pianist Giovanni Guidi widmet sich auf A New Day wieder gänzlich dem frei fließende Zusammenspiel mit seinen Kollegen Thomas Morgan und João Lobo – die musikalische Partnerschaft des Trios reicht inzwischen bereits über ein Jahrzehnt zurück – und baut dabei die instrumentale Bandbreite der Gruppe mit der idiosynkratrischen Tenorstimme des amerikanischen axofonisten James Brandon Lewis aus, der hier sein ECM-Debüt gibt. Mit Brandon Lewis erweitern sich nicht nur die Möglichkeiten des Ensembles,
es erschließen sich auch neue Idiome und frische Perspektiven, die von nuancierter Kommunikation und Lewis’ unverkennbarem, selbstbewusstem Ton gezeichnet sind. Das Album wurde im August 2023 in den Studios La Buissonne, Südfrankreich, aufgenommen und von Manfred Eicher produziert.

ntroducing the third volume of the legendary collaboration series, "Trillstatik," by dynamic duo Bun B & Statik Selektah. Recorded live in New York City on December 20th 2023, this album encapsulates the essence of hip-hop's raw vitality and timeless appeal.

In this new installment, Bun B's unmistakable Southern swagger intertwines seamlessly with Statik Selektah's masterful production, creating an explosive fusion of gritty beats and poignant lyricism.

"Trillstatik 3" carries the traditional star-studded lineup of guest appearances, and joining Bun B and Statik Selektah on this volume are luminaries of the rap game, including the lyrical juggernauts Benny The Butcher, Method Man, Boldy James, Rome Streetz, Lord Sko, CJ Fly, Smoke DZA, Termanology, Lukah, and countless others.

With Bun B and Statik Selektah at the helm, "Trillstatik 3" leaves yet another indelible mark on the rap landscape and solidify its place as a timeless classic in the annals of hip-hop history.

repressed !

Classic Music Company are proud to present Black Girl Magic, the highly anticipated sophomore album from the inimitable Honey Dijon. An artist in every sense of the word, across 15 tracks of attitude, energy, heart and community, Honey demonstrates a broad range of disciplines and influences, enlisting A-List collaborators such as Channel Tres, Eve, Pablo Vittar, Josh Caffe, Mike Dunn and more for an unmissable, boundary-pushing LP.

Redefining what it is to be a DJ in 2022, this year Honey’s production capabilities have been enlisted by the upper echelon of musicians. Producing two records for Beyonce’s chart-topping album Renaissance and remixing lead single ‘Break My Soul’, as well as working in the studio with Madonna on new material. Now unapologetically expressing her own sound on Black Girl Magic, she unveils the next chapter of her development as a producer and songwriter.

Since the first teaser of the album, the BBC Radio 1 playlisted collaboration with Atlanta singer-songwriter Hadiya George ‘Not About You’, to the most recent single ‘Show Me Some Love’ featuring Compton royalty Channel Tres, the Black Girl Magic project has consistently illustrated Honey’s dedication to profiling diverse vocal talent. Shining a spotlight on a new generation of queer people and people of colour, Honey’s intentions to “keep this culture in the conversation,” are demonstrated with the featured artists on the LP.

Behind the scenes Honey has worked closely with Classic Music Company founder and close friend Luke Solomon, as well as regular collaborator Chris Penny on the production of the album. Her most adventurous and explorative output yet with a diverse range of influences, Honey’s Chicago musical upbringing is a driving force behind the LP, with her sights set on demonstrating how she first experienced the music of her hometown felt deeply across the record.

Working with British sculptor Jam Sutton, an artist who explores the relationship between technology and antiquity, 3D sculptural digital renderings of Honey have formed the artwork for all preceding singles leading into Black Girl Magic. Exploring identity, form, technology and classical portraiture, the artwork for the album comes as the final piece in the series of bespoke displays of Honey.

From her stratospheric DJ career, to her fashion line with COMME des GARÇONS: Honey Fucking Dijon, to soundtracking some of the most iconic fashion shows of the 21st century, Honey’s influence is felt far and wide across the worlds of music, fashion and art, with Black Girl Magic a powerful physical statement of her interdisciplinary artistic impact.

Im Januar wurde bekannt, dass Thom Yorke den Soundtrack für Daniele Luchettis Film "Confidenza“ komponiert hat, eine Adaption des italienischen Dramas, das auf dem gleichnamigen Roman von Domenico Starnone basiert. Der Film feierte seine Premiere auf dem Internationalen Filmfestival in Rotterdam und wird am 24. April in die italienischen Kinos kommen. Produziert wurde der Film von Indiana Production und Vision Distribution, der Vertrieb erfolgt durch Vision Distribution. Erscheinen wird der Soundtrack am 26. April zuerst digital. Am 12. Juli folgt die Veröffentlichung auf Vinyl und CD. Schon heute erscheint das Musikvideo zur Single "Knife Edge" mit Elio Germano und Federica Rosellini in den Hauptrollen, das eine neu geschnittene Sequenz aus dem Film sowie einen B-Seiten-Track mit dem Titel "Prize Giving" enthält. Der Intro-Track "The Big City" wurde von Yorke im Februar in seiner Playlist für BBC 6 angeteasert.

"Confidenza“ folgt auf Yorkes vorherigen Score zum "Suspiria“-Remake. Dafür erhielt Yorke eine GRAMMY-Nominierung für den besten Song für visuelle Medien erhielt. Produziert von Sam Petts-Davies (Suspiria, The Smile Wall Of Eyes), arbeiten Petts-Davies und Yorke bei "Confidenza“ erneut mit dem London Contemporary Orchestra und einem Jazz-Ensemble zusammen, zu dem auch Robert Stillman und sein Bandkollege von The Smile, Tom Skinner, gehören. 2019 steuerte Yorke Musik zu Edward Nortons "Motherless Brooklyn“ bei und 2022 schrieb er zwei Songs für das Serienfinale von "Peaky Blinders“.

Zuletzt war Yorke mit The Smile (Tom Skinner, Jonny Greenwood, Thom Yorke) auf Tour, die im Januar ihr zweites Studioalbum "Wall Of Eyes“ veröffentlichten,
das auf das 2022 erschienene Debütalbum "A Light For Attracting Attention“ folgt.

"Universal." That is the word that Tristan Hallis proudly states when describing his inaugural entry into DJ-Kicks" storied lineage. As DJ BORING, the Australian DJ and producer has forged a vibrant and illustrious career that has taken him to all corners of the globe.

Valley of Rain was Tucson’s Giant Sand’s debut album recorded in 1983, and eventually released by 1985. It included Howe Gelb on vocals, guitar and Winston Watson on drums for most of it, Tommy Larkins on drums for some of it and Scott Garber on fretless bass for all of it. At the time of the recording, Howe was unacquainted with the possibilities of tube (valve) amps and had recorded most of the album with a Roland JC120 at the miraculous 8 track facilities of The Control Center in Korea Town, Los Angeles by Ricky “Mix” Novak. This impromptu recording had occurred because the band refused to cancel their first Los Angeles live gig, at Madame Wong’s, when the band (Giant Sandworms) had broken up days before in Tucson. Instead, Howe headed out anyway with Scott, the newest member who’d only been in the band for about a year, after band mainstays Billy Sed and Dave Seger reasonably decided ‘enough was enough’ following a rough and tenuous year spent in the lower east side of NYC attempting to further the band circa 1981/82. Tucsonan Winston Watson, (who would go on to tour with Bob Dylan in the 90s, as well as Alice Cooper, Warren Zevon etc ) was already living in Los Angeles and was brave/kind enough to jump in for the live date with no rehearsal. The result was so sparked with adrenalin, that the trio set up an impromptu studio session the next day to attempt to capture the sonic thrust on tape. The total cost of the day and a half recording was $400 including one 1” reel of 30 minute tape. When Enigma Records offered to release the album they requested another 15 minutes of music to make it a full LP. Ron Goudie was then called in to oversee the extra recordings at a Venice, CA studio called Mad Dog with Eric Westfall engineering. Tommy Larkins, who had been on the previous country punk album of Howe’s “The Band of ... Blacky Ranchette” came in to drum for those last 3 songs. It was there when Howe borrowed an amp that had been stored at the studio did he discover the bolster of a tube amp and his world changed. The amp was a slightly modified Fender Twin Reverb owned by Robbie Krieger of The Doors. 30 some years later, now that the band had been put to sleep indefinitely, those very first songs had begun creeping into the last Giant Sand tours. It somehow seemed appropriate to give them another shot with the proper amp just to see what they could’ve been. What made the idea more approachable was the availability of both original drummers living back in Tucson. The first attempt came last summer with both Winston & Tommy and Thøger Lund on bass, as well as the 2 newest members, 29 year old Gabriel Sullivan and 23 year old Annie Dolan on double neck guitars. The sound was insane. The funny part was Gabriel, who engineered and mixed the session, gave it an intentional 80s production sound. Howe later explained to Gabe he had been at war with that production trend since those first original recordings. So they all tried it again at Christmas time, this time with a newly discovered Fender 30 amp that had only been in production from 1980 – 1983. This new re-recording of that first album now sounds like it should’ve sounded. It was re-done for $400 and the same day and a half session time as the original. Scott Garber even drove up from Austin TX with his fretless to play so that the album is literally the originally line up for at least half of the songs. And yes, no pedal boards were used too. The band intends to tour this summer playing only those Valley of Rain songs. Giant Sand Returns To Valley Of Rain.

Side A / Double A / Gotta be a Sucka 4 Luv
After almost two years on digital, Double A’s “Gotta be a Sucka 4 Luv” finally gets its vinyl
release. Blending elements of classic funk and soul with “that vocal!”, it’s an instant party
rocker. Snappy drums, bigged up for the dance floor, an unmistakable bass line, and horn
stabs for days are the icing on the cake. You know the sound!
Side AA / King Most / Standing Out
Another long-awaited vinyl pressing for a digital-only sure-shot! San Francisco’s King Most
delivers the goods once again. Classic funk and R&B vibes with a killer male vocal and drums
for the club. This one has been a staple in digital crates for a while now, and hits any time of
night.

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves,
‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".
*Reissue Of The Week In The Quietus*

The Wrekin Crew is back for a seance outing on the peerless Is It Balearic? This new offering rather continues where the first one left off with two tracks of immersive sonics for sunny days. First up is 'Vapour Trails' which melds lush Italo disco melodies and nice emotinoal pop of the sort you would expect to hear in this duo's DJ sets. Goldsuite also step up with a remix to smooth the edges and lay down moon-lit Balearica then closer 'Broken Wings' has more meaningful vocals but this time over grooves more suited to a late-night setting. Cosmic arps finish it in style with plenty of dubby undercurrents.

Mental health charity label Serenity keeps it sophisticated with its sixth outing and once again donates all proceeds to Young Minds. It is underground house mainstay and DiY Discs legend Nail who steps up first with a much more breezy and balmy sound than you would expect but it sure is lush. 'Pad On' slips into his more usual and driving house sound but with swirling pads up top for summery refinement. Trixie, Connor Male & Thoma Bulwer then get deep and late night with their punchy 'Impromptune' while Trixie's solo cut 'Restless Sculptures' is a jacked-up and percussive number that leans into techno.

Love's Command have been "riding the rocket of Brit funk" ever since day one says ROCit who now serves up a pair of new cuts from them. This record is designed to spread love and pace and it does that with feel-good vibes from the off. 'Aliens From Above' is an out-there funk sound with tight, quick drumming, plenty of neat guitar riffs and a cosmic feel from the lush synths. Add in vocoder vocals and you have a trip to outer space that you will never want to end. Flip it over and you get a more dubbed-out version that is no less of an adventure.

This latest installment of Mr. K Edits focuses on two midtempo cuts for the roller skaters and lowdown groovers, with a couple of deep album tracks that are appearing on 7-inch for the first time — both with unique Mr. K edits.

First up is “Felix Leo” from Californian keyboardist Rodney Franklin. A subtle instrumental that was overshadowed at the time by the monster hit “The Groove” (also known to UK’s jazz dancers as The Freeze), “Felix Leo” is that creeper that makes its way into your consciousness and won’t let go. As he so often does, Mr. K trims the track to its leanest, meanest measures, starting directly from the menacing, hypnotic chord progression that forms the root of the composition. Proceeding at a stately leonine pace befitting the title, the song spirals beautifully, as a lush string section encourages the listener to get lost in the unfolding sonic textures.

“In Love” is a very early Prince track, in fact it’s the very first cut in which we hear Prince play instruments on his debut album, released in 1978. And play instruments he does, every single one of them — drums, bass, guitar, and above all, those creamy ARP and Moog synth lines that power this tune. Bouncing along on a rhythm that blends a solid four-on-the-floor stepper’s groove with a hint of the staccato upbeats of reggae, this one’s an easy warmup for dancers and a perfect tempo for skaters. Mr. K’s edit gives us the extended mix the album never did, adding nearly two minutes to the LP timing without ever feeling strained or repetitive.

“I learned both of these songs for roller skaters in my early Roxy days,” Krivit says, referring to the legendary downtown NYC roller rink, “both had those grooves that stood the test of time.” We think this exclusive 7-inch will do the same!

As always, these are mastered and cut to vinyl with both home hi-fis and club systems in mind, and the sound is unmatched.

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

An exciting new collaboration between New Mastersounds Hammond organist and Madrid based guitarist Lucas De Mulder plus drummer Luke Flowers (Cinematic Orchestra). Recorded at Joe's home studio on his cherished C3 Hammond (where The New Mastersounds' latest album "Old School" was recorded Galáctico will delight vintage jazz-funk fans with nods to Jimmy Mcgriff, Dr Lonnie Smith,George Benson etc etc. Joe and Lucas worked together on Lucas's album "Feel the spirit" in 2019 on Color Red label based in Denver.
The trio will be launching the record at the Saint Paul Soul Jazz festival in the south of France on 7th July and continue to play a series of other fgigs through-out the summer
The album starts with the frenetic James Brown groove of Double Take - a catch jazz guitar head that builds moving up in key to a frenetic hammond solo punctuated by The Haggis Horns.
Track 2 is the Meters-esque "Hey!" The only English language vocal track on the record and at that only one word
Next up is "El Gato" featuring Sam Bell on Congas and Atholl Ransome and Malcolm Strachan from the Haggis Horns a latin four to the floor vibe with solos traded throughout
Guinnee Drop is a swaggering funk jam with Luke Flowers funk drums breaks a feature
The only cover on the album is Sixto Rodriguez' Sugarman - Lucas and Joe were both inspired by his story and loved the song so much it had to go on the album with a mellow instrumental twist
The title track "Galáctico" is has funky soundtrack tune - the horns are back and take the track out with some blistering solos
"Retiro" inspired by the park near Lucas's pad in Madrid is a laid back boogaloo vibe and has Sam Bell on Congas and an upright piano solo from Tatton
"Dame Lo Que Tienes" - The first single from Joe Tatton's second album "Give me what you got!"- led by a funky guitar riff followed by a cutting hammond melody - a little "Meters, Booker T, The Crusaders "!
"Moonbow" a hypnotic slower tune with a nod to Khurangbin
The final track on the album is "Lost on You" A Breezy George Benson nod along
Out on vinyl, CD and digital on 5th July !

For release number 045, Luv Shack Records brings together two long time contributors Jakobin and ROTCIV for a split EP thats brimming with references to early 90s electronica.

Jakobin lays the foundation with the bubbly, trance infused „Drawan“, follows up with the spooky, upbeat electro of „Skulpt“, and finishes off with „Octagonial Tribe“, a track that oscillates between laid back melodies and squelchy acid sequences.

On the flip-side, ROTCIV showcases his signature style of industrial new beat madness: „Frenesy“ marries breakbeats with syncopated synthesizer sequences, „No More Room in Hell“ sound like a late 80s Italo Disco instrumental on steroids, while „The Confidence“ opts for broken beats and ethereal FM-flutes. As a digital bonus, ROTCIV gifts us with a heavy hitting, acid infused track by the name of „Living Art“.

After releasing Flares, the multi-hatted producer and member of La Fine Équipe is back with « Birds », an ode to Lo-Fi and a testament to his love for nature and birds.

While Blanka remains the sole captain on « Birds », he also takes the opportunity to invite several of his long-standing collaborators (Sara Lugo, Onra,…) as well as new encounters (De Phase, King Krab, Papa Rua,…). All the tracks were created on the spot with the same direction. Whether in the choice of textures or instruments, all the guests and musicians put themselves at the service of the chosen theme.

To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date.All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool.Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on.Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook.

Daniel Hope's latest album "Irish Roots" embodies his deep connection to Ireland, which he inherited from his paternal great-grandfather who left Waterford for South Africa in the 1890s. Although he has never lived in Ireland, Hope's fascination with Irish culture led to the making of the documentary "Celtic Dreams: Daniel Hope's Hidden Irish Story".

Supported by musicologist Olivier Fourés and experiences with the award-winning Irish band Lúnasa, Hope explores the interplay between folk and classical music. "Irish Roots" reflects this journey, presenting compositions by Ina Boyle and Turlough O'Carolan alongside classics such as "Danny Boy" and Vivaldi's L'estro armonico concertos.

Daniel Hope is joined on his new album by a stellar line-up of guest artists including Lúnasa, harpist Siobhán Armstrong, flautists Sir James and Lady Jeanne Galway, singer Rea Garvey, multi-instrumentalist and folk musician Ross Daly, fellow violinist Simos Papanas and the Thessaloniki State Symphony Orchestra conducted by Daniel Geiss

Das Berliner Projekt Sprung Aus Den Wolken gehörte Anfang der 1980er Jahre zusammen mit den Einstrüzenden Neubauten und Mechanik Destrktiw Komandh zur Bewegung der "Genialen Dilletanten". Die Band veröffentlichte 1981 zunächst eine EP auf ZickZack, gefolgt von 1982 und 1983 folgten weitere Veröffentlichungen auf dem bandeigenen Label Faux Pas, dann auf dem französischen Vertrieb Les Disques Du Soleil Et De L"Acier bis 1991. Der Titel "Pas Attendre" war Teil des Soundtracks von Wim Wenders Film "Der Himmel über Berlin" und wurde so zu einem Underground-Hit. Bureau B freut sich, die Debüt-EP unter dem Titel "1981 West Berlin" mit weiteren Songs aus den Anfangstagen der Band wieder zu veröffentlichen, die sorgfältig von den Original-Kassetten remastert wurden.

Mit Kasabian meldet sich eine der größten und wichtigsten britischen Rockbands in neuer Stärke mit einem brandneuen Studioalbum zurück! "Happenings" erscheint am 5. Juli 2024 via Columbia Records. Mit "Happenings" legen Kasabian ihr 8. und gleichzeitig eines ihrer besten Studioalben vor, wie die UK-Formation bereits mit der vorab ausgekoppelten Lead-Single "Call" beweist, die mit ihrem massiven Synth-Riff, den packenden Background-Chören und dem unaufhaltsamen Groove den Grundton des neuen Longplayers setzt. "Call" stellt den ersten Song dar, den Serge Pizzorno für das neue Album schrieb - ein Track, der nun einen ersten Ausblick auf die Verlockungen bietet, die Kasabian diesmal für ihre Fans im Gepäck haben. Mit dem Nachfolger ihres 2022 veröffentlichten Top 1-Albums "The Alchemist`s Euphoria" legen Kasabian auf "Happenings" zehn schnelle, geschliffene und hochdosierte Power-Tracks vor, die von der "Anything Goes"-Kunstrichtung der späten 1950er-Jahre inspiriert wurden. Während die Band einen scharfen Schlenker vom Dancefloor in Richtung Moshpit macht, wurden Tracks über drei Minuten rigoros aussortiert (jedenfalls fast). Insgesamt kommen die zehn Stücke auf eine Spielzeit von 26 Minuten ("Eine Minute kürzer als das Debütalbum der Ramones damals"). Mit anderen Worten: "Happenings" ist ein zwar kurzes, aber dafür um so intensiveres Hörvergnügen, das süchtig nach mehr macht. Alle Songs wurden in Pizzornos Homestudio The Sergery geschrieben und aufgenommen, bevor Serge und Co-Produzent Mark Ralph (Zara Larsson, Clean Bandit, Rudimental) sich gemeinsam an die Endfassung machten.

Lossapardo's new album "If I Were To Paint It" releases on May 17th. Known for blending art and music, Lossapardo has caught the eye of big names like The New York Times Magazine or Netflix and building a strong artist community around him (FKJ, Luidji, Bas, Joseph Solomon, Montell Fish, Olivia Dean…).

His music, filled with feelings of wonder and a bit of sadness, tells stories that connect with people everywhere. From painting to composing music, every piece of his work is a journey into emotions. His album invites listeners into a world where every note and color creates a vivid picture of life's ups and downs. Lossapardo crafts experiences that speak to the soul, promising an album that continues to share his unique vision with the world.

"Musically Speaking" heisst das vierte Album der Roots-Reggae-Legende I-Taweh, Gitarrist/Bassist für Sade, Capleton und Luciano sowie Mitglied der Mystic Revelation Of Rastafari und der globalen Playing For Change-Bewegung. I-Taweh ist bis heute eine Grösse der Reggaeszene, die tiefe Lyrik, dynamische Bühnenpräsenz und unvergleichliches Talent vereint. Von ergreifenden Balladen bis zu treibenden Jamaikarhythmen überschreitet seine Musik Grenzen und verbreitet Liebe und Einigkeit unter den Zuhörern. Die neuen Songs bieten Roots-Reggae im 70er-Jahre-Flair und sind ein weiterer Beweis für I-Tawehs künstlerische Skills.