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Hometown Crew ist eine fünfköpfige Youth Crew/Hardcore-Punk-Band aus Weert, Niederlande. Seit ihrer Gründung im Jahr 2014 spielt die Band Shows in ganz Europa und arbeitet daran, ihren einzigartigen Sound zu perfektionieren, der Einflüsse von Bands wie Go It Alone, Bane, Modern Life is War und Carry On vereint. Ende 2015 veröffentlichten sie ihr selbstbetiteltes Demo, gefolgt von der EP "The Score" im Jahr 2017 und ihrem mit Spannung erwarteten Debütalbum "Nothing Lasts Forever" im Jahr 2020. Nach der Veröffentlichung von "Nothing Lasts Forever" tourte die Band durch ganz Europa, wobei der Höhepunkt die Rebellion Tour 2023 mit Madball, H2O, Drain und Hazen Street war.

Fang Island's debut record, long out of print and back in stock as daisy pink splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Fang Island shared bills with uber-buzzy bands like Yeasayer and Chairlift at Cake Shop and Santos Party House, crucibles for Brooklyn hype at the turn of the aughts; but their most impactful co-sign came from Andrew WK. At least until Fang Island earned an unexpected Best New Music review at Pitchfork; in the style of the time, the group - now including drummer Marc St. Sauver and guitarist Nick Sadler - were thrust from playing "literally empty shows" at hot dog stands in Ohio to becoming the toast of SXSW and starting their North American tour with psych-rock idols the Flaming Lips in an Atlantic City casino. They would later play sprawling amphitheaters with Stone Temple Pilots, and in perhaps the best demonstration of their ability to wield pop smarts to guitar pyrotechnics, both Matt & Kim and Coheed & Cambria.

Fang Island's second and last record, long out of print and back in stock as gray splatter coloured vinyl in gatefold jacket LP via Joyful Noise, defined the sound of danc-y/math-y indie rock of the early 2010s alongside contemporaries Lightning Bolt, Titus Andronicus, and Japandroids. Fang Island described their music as the sound of "everyone high fiving everyone." No matter where they went, Fang Island's up-with-people approach made them a subversive art project by default. At a time when the belligerent noise-rock of Lightning Bolt and The Body defined Providence, Fang Island played major-key guitar harmonies and flashy tapping riffs. When people tried to call them "math-rock," they thought of themselves as "recess rock." Two years after Fang Island released what they expected to be their first and only album, Major became the "highly anticipated sophomore LP." The songs were bigger, shinier and hookier, forged under the pressure that comes with being a band rather than a couple of weekend warriors - label pressures, grueling tours and the frequent personnel changes that ultimately brought the band to their amicable end. Fang Island began with the crackle fireworks and, as the band heard fireworks going off in the distance as they played in Barcelona, they took it as a supernatural sign that this show would be the perfect bookend to their career. "We were getting older, we were in serious relationships, we were getting tired, and that just felt like the right way to end it."

Poetry of the Deed is the third studio album by London-based singer-songwriter Frank Turner. Unlike Turner's previous solo albums, Poetry of the Deed was rehearsed, arranged and recorded with his full band. This marked a significant change in the singer songwriters musical output, spawning the singles ‘Poetry Of The Deed’, ‘Try This At Home’ and ‘The Road’. The video for ‘The Road’ saw Frank play 24 shows in 24 hours.. The successes of the third album included further Radio 1 daytime playlists, sessions with Zane Lowe and headlining a sold out show at London’s Shepherd’s Bush Empire and a few months later, The Roundhouse, London, setting him firmly on the course we see him on today, as a headline act the world over. Produced by Grammy nominated Alex Newport.

The music for KRANETUDE, a performance by Florentina Holzinger that premiered in Berlin in June 2023, was composed by Katharina Ernst & Schne. The record documents and commemorates this unique performative étude, while also showcasing the autonomy of the musical composition. The powerful composition for four drums and electronics, a collaboration between the artist and drummer Katharina Ernst and Schne, Florentina Holzinger's longtime musical partner, forms the sonic foundation of this unique choreography. On Berlin's Müggelsee, eight performers and a crane merge on the water to create a performance where mechanical precision and organic movement meet. Complex rhythmic structures guide the movement, creating a fascinating interplay between sound and action. Recorded live at the Leisure & Pleasure Festival, on the 29th of June 2023 at Müggelsee, Berlin. Katharina Ernst: Prepared Drumkit, Cymbals, Snare Schne: Electronics, Synthesizers, Live Processing Stina Fors: Gongs, Stones, Cymbals, Tamtam, Snare Shiau-Shiuan Hung: Gran Cassa, Snare, Marimba Judith Schwarz: Prepared Drumkit, Cymbals, Snare Nettie Nüganen: Rigged Thunder Sheet Sibylle Fischer: Conductor

Überarbeitetes ReIssue vom 2001er Coverversionen-Album der Hamburger Institution, inkl 3 Bonustracks! 16 großartige LoFi-Versionen von Hits, Hits und noch mehr Hits! Charmant und gleichzeitig destruktiv benutzen sie Megafon-Vocals, Topfdrums und verzerrte Saiteninstrumente, um Stücke wie "Sweet Dreams" (Eurythmics), "Mad World" (Tears For Fears), aber auch "It"s my life" (Bon Jovi), "Ace of Spades" (Motörhead), "Song 2" (Blur), "Wicked Game" (Chris Isaak) oder "Where is my mind" (Pixies) ihrem erfrischenden Trash-tuning zu unterziehen. Unumgänglich!!

"Känguru" ist das dritte Album von Guru Guru, 1972 veröffentlicht auf dem Brain-Label. Produziert von Conny Plank in der damals "klassischen" Guru Guru - Besetzung mit Ax Genrich (Gitarre), Uli Trepte (Bass) und Mani Neumeier (Drums, Vocals). "Känguru" besteht prinzipiell aus den gleichen Ingredienzen wie seine beiden Vorgänger "Ufo" und "Hinten", die 1970 und 1971 auf Rolf Kaisers Ohr Label veröffentlicht wurden. "Känguru" ist Krautrock in Reinkultur, auf dem Album sind "nur" 4 Tracks, alle in einer Länge zwischen 10 und 15 Minuten. Die Band geht aber weg vom unorganisierten Chaos der beiden Vorgängeralben und geben den Songs mehr Struktur, der Härteanteil wird zurückgefahren, alles klingt zugänglicher und harmonischer. Gleichzeitig nimmt die humoristische Komponente zu, siehe z.B. Mani Neumeiers Sprechgesang bei der Einleitung zu "Immer lustig". Kurzum: "Känguru" ist ein Krautrock-Juwel.

2LP, 180g clear vinyl. Stephan Thelen's music has grown beyond the Swiss Minimalist movement, as seen in his work over the past decade. His Fractal Sextet project exemplifies this evolution, deepening his original concepts while embracing new influences. Their second album, Sky Full of Hope, builds on the promise of their debut, showcasing a confident and cohesive group dynamic. The album features intricate polyrhythms and complex time signatures, but despite its mathematical foundations, the music remains accessible and engaging. Thelen credits the group's ability to blend technical precision with musicality, creating a sound that feels both refined and compelling.

2LP, 180g, magenta marble vinyl, limited to 200 copies. Stephan Thelen's music has grown beyond the Swiss Minimalist movement, as seen in his work over the past decade. His Fractal Sextet project exemplifies this evolution, deepening his original concepts while embracing new influences. Their second album, Sky Full of Hope, builds on the promise of their debut, showcasing a confident and cohesive group dynamic. The album features intricate polyrhythms and complex time signatures, but despite its mathematical foundations, the music remains accessible and engaging. Thelen credits the group's ability to blend technical precision with musicality, creating a sound that feels both refined and compelling.

"May Our Chambers Be Full" ist das erste aufgezeichnete Dokument der Zusammenarbeit zwischen Emma Ruth Rundle und dem experimentellen Doom Metal Sextett Thou. Roadburn Festival-Organisator Walter Hoeijmakers wusste von der gemeinsamen Liebe für das Schaffen der jeweils anderen und führte beide zusammen. Während ihre Musik recht unterschiedlich erscheint, haben sowohl Emma Ruth Rundle als auch Thou ihre jeweiligen Karrieren damit verbracht, an den äußeren Rändern der Heavy-Metal-Szene zu lauern, wobei beide mehr dem DIY-Punk und seinem spirituellen Nachfolger, Grunge, nahestehen. "May Our Chambers Be Full" bewegt sich sowohl musikalisch als auch thematisch auf einer ähnlichen, sehr feinen Linie. Während das Solo-Material von Emma Ruth Rundle eine Mischung aus Post-Rock und Folk ist und Thou typischerweise für ihre heruntergekommene, doomige Schlammschlacke bekannt sind, hat die Verbindung der beiden eine Platte geschaffen, die mehr in die Richtung des Seattle-Grunge-Sounds und dem davon beeinflussten Alternative Rock aus den 1990er Jahren geht, wobei die Kernidentitäten der KünstlerInnen weitgehend erhalten geblieben sind. Ebenso ist der lyrische Inhalt des Albums eine Mischung aus mentalem Trauma, existenziellen Krisen und der ekstatischen Tradition der expressionistischen Tanzbewegung. "Excessive sorrow laughs. Excessive joy weeps." Melodisch, melancholisch, schwer, viszeral. Für Fans von: Alice in Chains, The Cranberries, Eyehategod, Nirvana, Crowbar

2009 veröffentlichte Deutschlands dienstälteste aktive Punkband mit "Krieg der Kulturen" ein provokant-unbequemes Dauerfeuer ohne Rücksicht auf vermeintlich politisch-korrekte Befindlichkeiten. Martialischer Hardcore-Punk untermalt von Sänger "Deutscher W"s aggressiven Anklagen gegen religiöse Fanatiker, Kriegstreiber, Extremisten und allen "Feinden der Freiheit". Die thematische Brisanz der Texte hat sich aktuell in Politik und Gesellschaft weltweit leider noch weiter verschärft, oder wie OHL zu singen pflegen: "Die Welt steht in Flammen" Die 15 years Collectors Édition erscheint mit neuem Cover-Artwork auf farbigen 180gr. Vinyl streng limitiert auf 333 copies

2009 veröffentlichte Deutschlands dienstälteste aktive Punkband mit "Krieg der Kulturen" ein provokant-unbequemes Dauerfeuer ohne Rücksicht auf vermeintlich politisch-korrekte Befindlichkeiten. Martialischer Hardcore-Punk untermalt von Sänger "Deutscher W"s aggressiven Anklagen gegen religiöse Fanatiker, Kriegstreiber, Extremisten und allen "Feinden der Freiheit". Die thematische Brisanz der Texte hat sich aktuell in Politik und Gesellschaft weltweit leider noch weiter verschärft, oder wie OHL zu singen pflegen: "Die Welt steht in Flammen" Die 15 years Collectors Édition erscheint mit neuem Cover-Artwork auf farbigen 180gr. Vinyl streng limitiert auf 333 copies

Catch 22", released in 2002 was the eighth album of melodic death titans HYPOCRISY and a fairly controversial one shifting from brutal vocals to a more melodic, at times punkish clean style, and compositions that venture forth from pure metal. A remixed and remastered version came out six years later, giving it a more traditional HYPOCRISY vibe on "Catch 22 - V2.0.08" leaving it up to fans to decide what they like better. With "Catch 22" only released on a rare double LP with "Into The Abyss", as part of Nuclear Blast Records' ongoing reissue campaign you will get the ultimate package now, combining two significantly different versions of the same great songs in the ultimate edition of "Catch 22".

Rock and Roll Hall of Fame Member Little Richard is a musical institution. The Architect Of Rock ’n’ Roll’s 1970 return. Pressed on opaque pink vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Some successful recording artists are lucky to enjoy a lengthy career and perhaps one successful comeback after their popularity wanes over time. Rock ’n’ roll pioneer and absolute legend, Little Richard, achieved several. In the ’50s he racked up a non-stop string of smashes for Specialty Records with producer Bumps Blackwell like the blistering cuts, “Tutti Frutti,” “Long Tall Sally,” and “Rip It Up.” The Georgia Peach was deemed too uninhibited and unpredictable for TV variety shows to present to the nation, but the records were undeniable hits. He was clearly, an artist far ahead of the culture and times. Little Richard returned in 1970 with The Rill Thing and instead of sticking around his adopted home of Los Angeles, Richard set out for Rick Hall’s FAME Recording Studios in Muscle Shoals, Alabama to record the album for Reprise, joined by Bumps, who was now his manager. The opening track, “Freedom Blues,” was released in April of 1970 and hit #28 on the charts. The second cut, “Greenwood Mississippi,” was also released as a single in August and also made a Billboard appearance. The marathon title track (running a whopping 10 minutes and 20 seconds) was an intense funk jam that was captured in one take. The album also featured covers of tunes by The Beatles and Hank Williams—it was a different sound by far than the savagely rocking attack he’d ridden to fame like a rocket at Specialty close to a decade and- a-half earlier, but it was every bit as effective. The Rill Thing bore the slogan “The Little Richard Sound” on its labels. “He was at his peak with his vocals on there,” says guitarist Travis Wammack admiringly. “He was just singing his booty off!” The Rill Thing is back as a 12" long player, and pressed on opaque pink vinyl with a printed inner sleeve that includes liner notes by Bill Dahl.

Feiern Sie die schönste Zeit des Jahres mit Olivia Newton-John... und Freunde! Angels In The Snow bietet
zeitlose Weihnachtsklassiker wie ”White Christmas” mit John Travolta und ”AllThrough The Night” mit
Michael McDonald; sowie ein brandneues Duett mit Jane Lynch auf ”O Come, All Ye Faithful”. Holen Sie
sich den neuen Soundtrack für Ihre Weihnachtszeit, verpackt mit Stimmen, die Sie kennen und lieben.
Als CD und auf schneeweißem Vinyl.

Nachdem Schiller mit den Releases von Sonne und Sonne (Chillout Edition) bereits sämtliche Fans begeistern konnte, machte Christopher von Deylen mit seinem im August 2013 erschienenen achten Studioalbum
Opus es sich zur Aufgabe, auf kunstvolle Weise klassische Melodien mit elektronischen Klängen zu verweben. So interpretiert er beispielsweise gemeinsam mit der renommierten Pianistin Hélène Grimaud, deren
Erfolgsweg von internationalen Triumphen gesäumt ist, Erik Saties „Gymnopädie No.1“, während die legendäre Sopranistin Anna Netrebko zum ersten Mal auf elektronische Musik trifft und meisterhaft Edvard
Griegs „Solveig‘s Song“ in die einladende, akustische Landschaft von Schiller hineinlegt.
Hinzu kommen altbekannte Melodien wie etwa die von Rachmaninoffs „Rhapsody On A Theme Of Paganini
op. 43“ oder Debussys „Reverie“.

Zeitsprung 10 Jahre in die Vergangenheit: Schiller (Christopher von Deylen) gibt seine beliebtesten Hits
wie „Das Glockenspiel“ beim ffSchiller meets Classicff Open Air live auf dem Berliner Gendarmenmarkt zum
Besten und wird dabei von einem spektakulären Sinfonieorchester begleitet, sowie von weiteren Künstlern
wie Midge Ure, Eva Mali (Sopran) und Der Graf, Sänger von der preisgekrönten deutschen Band Unheilig.
Der außergewöhnliche Auftritt, der im Juli 2014 aufgezeichnet wurde, umfasste dabei Titel aus seinem
Gold-Album Opus sowie weitere Songperlen aus seinem bisherigen Katalog.

DMX wurde der Welt 1998 mit seinem mehrfach mit Platin ausgezeichneten Debütalbum It’s Dark and
Hell Is Hot bekannt, auf dem er seine Fähigkeit unter Beweis stellte, leichte und schwere Konzepte hinter
einer intensiven, bedrohlichen Präsenz am Mikrofon zu vereinen. Noch im selben Jahr veröffentlichte DMX
seinen zweiten Hit, Flesh of My Flesh, Blood of My Blood, der ebenfalls Platz 1 erreichte. Die nächsten
drei Alben von DMX erreichten ebenfalls die Spitzenposition, womit er der erste Rapper war, dessen erste
fünf Alben direkt an die Spitze der US-Charts gelangten.
Doch eines zog sich wie ein roter Faden durch DMX’ Veröffentlichungen - seine tiefsinnigen Gebete.
Diese Gebete, die auf jedem seiner ersten sechs Studioalben zu finden sind, sind eine Mischung aus Bittgebeten, Danksagungen, Bekenntnissen und Meditationen über das Leben, den Tod und das Jenseits.

Der Legende nach wurde Tjaders Musik in mehr als 200 Tracks gesampelt. Dafür gibt es einen Grund:
Seine Pionierarbeit als Bandleader und (meist) Vibraphonist im Latin-Jazz-Genre ist eine unwiderstehliche
Verflechtung von afro-kubanischen Rhythmen und Jazz-Grundlagen, die einen sofort in eine andere Zeit
und einen anderen Ort versetzt.
”Alles kocht auf eine fröhliche und doch disziplinierte Weise”, so AllMusic über Latin Kick, seine unvergessliche Veröffentlichung von 1956. ”Tjaders elliptische, swingende Vibraphonklänge führen das Ensemble genial an”. Das stimmt: Man muss sich schon sehr anstrengen, um beim Hören der beschwingten
Stücke wie seiner Cha-Cha-Version von Cole Porters ”I Love Paris” und dem ironisch-unbekümmerten
”Lover Come Back to Me”, einer Coverversion des Songs von Oscar Hammerstein II, keinen Kontaktrausch
zu verspüren.

The Equatoguinean Norberto de Nöah established in Madrid in the early 80s, where he became a firebrand of African culture in the vibrant Movida. In 1988 he self-released his first solo album, a blend of homeland sounds —modern and traditional— with new synth and drum machine touches. The vanished album finally gets its well-deserved reissue.

Edition of 500 albums on vinyl (Bandcamp download code included) - Original artwork with new 14 pages insert and poster

In the mid-1980s, the European media, music industry and public became increasingly interested in African music. This was a period of international success for King Sunny Adé, Salif Keita, Youssou N’Dour, Ray Lema, Touré Kunda, etc. Spain, with its own particular conditions, wasn’t oblivious to the phenomenon and the Equatoguinean Norberto de Nöah may be its best exponent.

Norberto moved in the early eighties from his hometown in the island Fernando Po (now known as Bioko) to its former colonial capital, Madrid. While studying dramatic arts, he created and led the band Nohkis, made up of African and Spanish musicians. In 1985 they released the maxi-single “Mujer española” / “África, ¿dónde está tu gloria?”, and the song “El loco”, was released on a compilation LP called Esto es increíble, both on the label Lollipop. According to the journalist Patricia Godes, they were first artists to record an African music record in Spain. It received positive reviews and a great impact on the most independent side of Madrid’s La Movida movement. Very soon afterwards, Nohkis’ band split up.

Afterwards, Norberto would concentrate on his solo career, and Norberto de Nöah and The Böhöbé Spirits Müsic was released in 1988, definitely a solo album. Norberto created his own label, Kilimandjaro Productions, and composed, arranged and produced all the songs of the LP. Moreover, he sang and played all the instruments: a vast selection of organic instruments, a Yamaha RX-5 drum machine and a Roland D-50 synthesizer.

In the album he exposed his deepest roots, updating the lexicon of traditional Bubi music, the musician’s ethnic group, a compendium of ceremonial melodies that ancient troubadours composed for the court. Doing so he showed new possibilities to one of the oldest ethnic groups in the world. Besides all this, he was also inspired by American music such as funk, R&B, Latin American music and also by a wide range of African and Caribbean rhythms.

Mixing the traditional and the avant-garde in a spontaneous and natural way, the music contained in the record’s grooves flows freely and takes you to places full of magic and mystery, while still transmitting new and exciting sensations. Even more, according to the Equatoguinean musician and writer Baron Ya Búk-Lu based in Madrid, the album’s sound was “the perfect combination of all characteristics that defined the Equatoguinean Afropop music made in Madrid during the 1980s”, a story that still needs to be told in all its depth and intensity!

Following the release of two LPs and several singles, the activity of Norberto de Nöah and Kilimandjaro Productions (and the subsequent Bananas Podridas) ceased. Nevertheless, Norberto’s links to music continued, as a promoter and DJ in Madrid’s nightlife.

Norberto de Nöah contributed greatly to changing Spain’s musical landscape, breaking barriers and mental frameworks. He was the first to make contemporary and popular Guinean music known to the Spanish public.

The repercussions in the African market of a Spanish (and Bube) speaking African musical project, where English and French dominate, was very difficult. In addition, the passage of time and changes in phonographic formats have diluted the memory of Norberto's legacy. Now it’s time to reverse the situation and break all the outdated frontiers!

Norberto de Nöah and The Böhöbé Spirits Müsic, as every important music piece, was at the same time part of a universal phenomenon of recognition of African music and a very personal project, based on the artist’s nostalgic and heartfelt need to show and homage his ethnic group, the Bubis. In this process he also refreshed his hometown music legacy, giving it a new air and opening the door to lots of other great Equatoguinean artists coming afterwards, as well as being an inspiration for many musicians in Spain.

Multi-Platinum Maryland quartet All Time Low are celebrating two decades together as a band this year. To commemorate this significant milestone, the band will be releasing The Forever Sessions Vol. 1 album via their own imprint - Basement Noise Records - in partnership with Photo Finish. The new LP will feature re-recordings of the band’s greatest hits from the early part of their career including “Dear Maria, Count Me In (ATL’s Version)”

Celebrating two decades of excellence, Marc Romboy’s Systematic Recordings marks its 20th anniversary with a remarkable triple 12” vinyl release. Featuring an all-star lineup, this collection showcases the imprint’s legacy while pushing the boundaries of electronic music. Kicking off the compilation is none other than Carl Cox with “Ice,” an unexpected electro masterpiece. Combining warm strings and lush chords with a powerful 808-driven beat, the track transports you straight to the golden era of 1984.

Label founder Marc Romboy collaborates with André Winter on “Blackout,” a cutting-edge techno journey packed with innovative and otherworldly soundscapes. Systematic veterans Gui Boratto and Rodriguez Jr. bring their signature touch, while current tastemakers Bawrut, Ivory, and Skatman deliver tracks that resonate with today’s audience. To top it off, acid and house legend Josh Wink contributes “Clark Park,” a standout piece that reinforces his reputation as a true pioneer. This exclusive anniversary release is strictly limited, so don’t miss your chance to own a piece of Systematic history!

"This record explores the relationships between mid century architecture, consumerism and community. The gradual or sometimes brutal removal and change of places in the name of progress. These changes leave traces that people have to deal with on a psychological level but probably never really acknowledge. This record explores loss of community and loss or unsympathetic altering of shopping spaces. When something is unceremoniously knocked down or altered and something else replaces it then the thing before it becomes ghost like and is at risk of being forgotten. Not dissimilar to when the Christian faith built their buildings upon Pagan sites. It has a similar purpose (to pray or to shop in this case) but the older thing becomes dreamlike and is confined to folklore. The community is always fed the propaganda of progress but looking back, I certainly cannot deny the beauty of what has now gone. Maybe there is a sense of dissolution and denial about such matters. The record is also interested in the sense of community of these past spaces and how shopping centres have generally declined mainly due to the rise of neo liberalism and tech giants. When you see old footage of these spaces in their prime, you get a sense of a space age future, everything looks new but paradoxically the people look to be from an older time. Today I can see real poverty and complete disenfranchisement from being in these new spaces. It's not all doom and gloom though as spaces, especially the ones in Plymouth are not that much altered and could be brought back to the architects original dreams."

David A.

"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.

When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.

Over time, to evolve is to find oneself facing only two roads.

On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.

And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.

Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.

This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "

SECOND DEATH debut with a 9 track MLP. Following the steps of London bands NO and PERMISSION from which the band shares half its members with additions from local bands SUBDUED and LAST AFFRONT. Pulling similar musical threads as their previous groups, their distinctive dissonant brand of hardcore is dense and claustrophobic, like there are too many notes crammed into too small a space, riffs poking out at odd, uncomfortable angles like the corners of a hand-me-down bureau in a cramped London bedsit.

‘Broadcasting From Home’ is the third studio album by the Penguin Cafe Orchestra, released in 1984.
The opening song was named after Penguin Cafe Orchestra leader Simon Jeffes found a discarded harmonium in an alleyway in Japan.
This is the first repress since 1987 and uses the 2008 remaster.
Pressed on white vinyl.

The Penguin Cafe Orchestra Mini Album is an EP by Penguin Cafe Orchestra consisting of six pieces, two derived from previous released recordings (‘The Penguin Cafe Single’ and ‘Air À Danser’), two that were recorded from a live performance in Tokyo (‘Numbers 1-4’ and ‘Salty Bean Fumble’), and two previously unreleased pieces which had not appeared elsewhere (‘The Toy’ and ‘Piano Music’).
The two live pieces were recorded by NHK Radio at the Kan-i Hoken Hall on 10 June 1982.
‘Piano Music’ is a solo piece recorded by Simon Jeffes in Tokyo on 7 July 1982 and ‘The Toy’ was recorded in 1983.
The cover painting was by Emily Young.  This is the first repress since 1983. Pressed on red vinyl.

When In Rome...’ is a 1988 live album by Penguin Cafe Orchestra, and was recorded at The Royal Festival Hall, London, on 9 July 1987.
It was produced by Simon Jeffes.  The cover painting is by Emily Young. This iteration has for the first time the full gig and uses the 2008 remaster.

Der niederländische Frenchcore-DJ Sefa ist zurück mit seinem Vinylalbum "Het Ergste Moet Nog Komen" ("Das Schlimmste kommt noch"). Mit brandneuen Titeln, Kollaborationen mit u.a. Devin Wild und Phuture Noize und Orchesterversionen einiger seiner Meisterwerke ist diese Doppel-LP sein bislang ambitioniertestes Werk und ein Leckerbissen für seine Fans. Tracks wie "Requiem For Frenchcore“" und "Justify" reflektieren Herausforderungen im Leben, Sucht und Erlösung. Begleitend zum Release startet Sefa eine Welttournee mit Stopps in Städten wie Madrid, Antwerpen, Hamburg und Den Haag, um den Fans das ultimative Live-Erlebnis zu bieten.

Comprising someof Denmark"s most prominent young musicians, Copenhagen"s trailblazing neo-jazz quintet OTOOTO refer to their innovative blend of jazz tradition and modern indie-pop as "homeshake meets the jazz messengers". Their third studio album"2nd Quake" is set to release on November 8th on April Records. OTOOTO, consisting of Jonas Due (trumpet and flugelhorn), Oilly Wallace (alto sax and flute), Calle Brickman (keys), Andreas Svendsen (drums and percussion), and Matthias Petri (bass), has been a fixture on both the Danish and international jazz scenes since their 2021 debut "This Love Is For You". Their new release marks a new chapter in their journey, reflecting a bold, mature artistic vision that promises to cement their place as leaders in Scandinavian contemporary jazz. "Our mission is to reflect the modern society and put a sound to its vibrations. And through this sound we seek to transmit purity, love, and joy." Navigating through a wide array of inspirations from 70"s rock and European church music, to the pioneering sounds of Jean-Michel Jarre and Vangelis, the five piece - led by trumpeter Jonas Due and saxophonist Oilly Wallace - self describe their sound as"a roaring sea of analogue synths and velvety horns". Featuring eight meticulously composed original pieces, 2nd Quakebalances strong memorable melodies with intricate orchestration, a continuous sense of groove, thick layers of texture and fearless, lyrical improvisations. A collaboration with electronic producer Sofie Birch, the record is an electro-organic sonic exploration of the union between acoustic instrumental timbres and electronic manipulation, spearheaded by the sound of the legendary Juno 106 synth alongside stellar jazz-informed musician-ship.

Danish instrumental collective ALAWARI was founded in 2016, and rapidly garnered a name for themselves on the European jazz scene for their explosive live performances, going on to win Denmark s Young Jazz competition in the same year. A contrast to their eponymous 2022 debut - a cacophonous musical reflection of revolution - their upcoming release is an exploration of spirituality, transformation, and the totality of the human experience. Leviathan oscillates between symphonic grandeur and intimate vulnerability, with moments so delicate that every breath can be felt. In this way, the sextet aims to demonstrate that the path to the divine is found through collective unity unity-a shared experience that transcends the individual. From lamenting melodies on a solo trumpet eventually accompanied by a dense, ominous synth, to hypnotic patterns on a percussive close close-mic d saxophone, to thunderous rhythm section grooves with searing horn harmonies, ALAWARIs innovative and dynamic arrangements offer something brand new and unexpected around every corner. Despite being a six piece, the ensembles sound feels comparable to that of an orchestra or big band, combining through through-composed classical classical-influenced orchestration, intricate interlocking parts, lush waves of texture and a warm, raw, intimate production style to craft a larger larger-thanthan-life listening experience. Leviathan embarks on a profound journey, capturing the divine and spiritual forces that permeate the arts. The album serves as a vessel vessel-slowly navigating like a majestic ship or a steadfast train, embarking on a peaceful yet powerful crusade. It invites listeners to traverse a landscape of sorrow and joy, pain and exaltation, silence and intensity. Through this journey, ALAWARI aims to reveal the primordial truth: that the spirit precedes all, and that the mundane backdrop of everyday life can be transformed and painted anew, if carried by the right vessel.

Das beeindruckende Modern Past-Album von Maximilian Schindler, besser bekannt als Flawless Issues, erblickte bisher nur digital und in je kleinsten, persönlichen Auflagen auf Kassette oder auf CD das Licht der Welt. Nun hat das Stuttgarter Label Treibender Teppich Records sich mit Max zusammengetan, um dieses famose Synth-Post-Pop/New Wave-Werk endlich auch auf Vinyl erhältlich zu machen. Begonnen hat Flawless Issue zusammen mit Edwin Rosen und einer Split-12" in 2020, da spielten sie oft gemeinsam oder hintereinander auch live. Mittlerweile hat FI selbst über 130.000 monatliche Spotify-Hörer*innen, einen Track ("Deine Angst") mit über 5 Millionen Streams und mehr als 200.000 "Good Vibrations" auf YouTube. Und für Fans von Edwin Rosen, Leuchtstoff, Steintor Herrenchor, Nils Keppel, Levin Goes Lightly oder Betterrov ist der 80er-Jahre Synth-Pop und Surfgoth-Sound von "Modern Past" ein Muss, die Key-Album-Tracks sind "froid", "Self-Reflection" & "Sleepless City". Die limitierte Erstauflage in transparenten Gelb war binnen 24 (vierungzwanzig) Stunden (!) bei Treibender Teppich ausverkauft. Dies ist die Zweitpressung auf marmoriertem blaugrünem Vinyl, jede LP kommt mit Insert & Poster (statt vorher Polaroid), ebenfalls limitiert. Der Künstler selbst sagt: "I recorded this album 2022 in june in berlin neukölln at okerstrasse 5. the album represents one week in berlin. what else can i say ? listen to it in one piece. because that's what i designed it for.

"It's a game of hopscotch while drunk on sleep deprivation. It's a dance based on inaudible, but irrepressible rhythms. It's interaction dressed up like a call & response game wrapped up in a sparring match full of agitation and confusion. It's a manic pursuit over wobbly scaffolding, broken roof tiles or a creaking suspension bridge. It's an irregular movement that snaps, roars, drips, defies, tumbles, slithers, cajoles, interrupts, sizzles, triples, dodges, throws curveballs, causes panic, restores order, well kinda, and stutters and mutters. It's like Jaap Blonk's invented Onderlands: a language that sounds familiar, but that ultimately defies comprehension. It's part application and part imagination, it's a mystery and a trap. It's a system, perhaps, and an attempt at something, probably, but it's not, definitely not, a holiday. The idea!" - Guy Peters Ken Vandermark (US) and Terrie `Ex' Hessels (NL) have been playing together for years. For example, the Chicago reed player has been a guest with The Ex almost 100 times and the two are also part of Lean Left, an explosive improvising quartet with Andy Moor and Paal Nilssen-Love. It took them until 2014 before they went on stage for the first time as a duo. A dozen concerts followed on various international stages and resulted in their first LP `Scaffolding' recorded upstairs in the Witte Villa, Wormer. Released in 2019. This new release is the result of an blasting tour in Poland, 2021. Recorded live in the SARP Social Club in Poznan. `This is not a holiday!' Eight improvisations; eight musical adventures!

Endlich ist das legendäre Bla Koral-Album remastered und wieder auf Vinyl erhältlich. 1991 schenkte uns das Superduo Knut Reiersrud und Iver Kleive seine unvoreingenommenen Interpretationen von Hymnen und religiösen Volksliedern. Das Album wurde von allen Seiten gelobt und gewann den norwegischen Grammy (Spellemann Music Award). Bla Koral war der Beginn einer musikalischen Zusammenarbeit, die uns bisher sechs Alben beschert hat, die alle die außergewöhnliche musikalische Handschrift des Duos tragen und alle bei KKV erschienen sind. In den letzten 30 Jahren haben sie unzählige Konzerte in ganz Norwegen und Dänemark gespielt. "Alle Musik, die uns tagtäglich umgibt, entspringt dem Bedürfnis, sich über das mitzuteilen, was uns allen unsere Gedanken und unser Leben gegeben hat", behaupten die Musiker. Zu ihrer Inspiration gehören europäische Orgelmusik, alte norwegische religiöse Volkslieder und traditionelle Chormusik aus den schwarzen Baptistenkirchen in den Südstaaten der USA. "All das ist eine fantastische Quelle, aus der man wunderbare Musik machen kann", fügen Kleive und Reiersrud hinzu.

Der Soundtrack zum Disney Kino Highlight ”MUFASA: DER KÖNIG DER LÖWEN”
Die Lieder des Films stammen aus der Feder des preisgekrönten Songwriters Lin-Manuel Miranda, produziert
wurden diese von Mark Mancina und Miranda, weitere Musik steuert Lebo M bei. Dazu sagt Miranda:
„Elton John, Tim Rice, Hans Zimmer, Lebo M, Mark Mancina, Beyoncé, Labrinth, Ilya Salmanzadeh, Beau
Black, Ford Riley, das wunderbare Musikteam von „Die Garde der Löwen“, und so viele weitere Künstler
waren in all den Jahren beteiligt: „Der König der Löwen“ bringt ein unglaubliches musikalisches Erbe mit
sich, darunter Musik von einigen der größten Songwriter aller Zeiten, und ich fühle mich geehrt und bin
stolz, Teil davon zu sein. Es war mir eine große Freude, zusammen mit Barry Jenkins zu arbeiten, und
Mufasas Geschichte zum Leben zu erwecken. Wir können es kaum erwarten, bis das Publikum diesen Film
endlich in den Kinos sehen wird.“

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) feat. Sadat X
















[p] Touch Y'all (Remix) [feat. Sadat X]

"My Bed Is An Island" is the third single from The Chesterfields album "New Modern Homes". A live favourite on the recent tour dates, the vinyl 7inch version is limited to 300 copies worldwide and comes in a luxurious package of a classic 90s style indie fold-out sleeve in a memory game style, and two inlays including a full discography plus an album souvenir insert, designed by the Terrible Hildas.