Pop & Rock News

Luaka Bop dig deep into their mesmerizing catalog to repress the classic World Pyschedelic Classics: 3 Love's a Real Thing on double vinyl. First time all compilation tracks are available on vinyl, come rediscover the album that introduced the Western world to William Onyeabor.

First time all compilation tracks available on LP! The twelve tracks on the record explore West Africa's groove-heavy assimilation of the psychedelic revolution, albeit a few years (and a couple thousand miles) removed from 1967's Summer of Love. Spanning countries such as Mali, Gambia, Benin, Nigeria, Ghana, and Cameroon, this collection spotlights a time of incredible creative fermentation, reflecting on colonialism's more fortunate byproduct: the fascinating and unique intersection of hallucinogenic, distorted Western psychedelia and local, traditional African music. This phenomenon of Afro-Rock is what lies at the heart of Love's A Real Thing. This was one of the first compilations of Afro Funk and helped introduce William Onyeabor's music to the world. Luaka Bop's celebrated World Psychedelic Classics series began in 2000 with Volume 1: Brazil, a compilation of the inimitable genremelding Brazilian band Os Mutantes, entitled Everything Is Possible! Volume 2: California Soul , released in 2001 as the third solo record from multi-instrumentalist Shuggie Otis (Inspiration Information), successfully reintroduced Shuggie to the world at large. Volume 4, Tim Maia: Existential Soul and Volume 5: Who Is William Onyeabor.

You are watching and listening to Music For Undays. It contains thirteen unreleased tracks by artists from the Unday Records label and a few newcomers. New music from Trixie Whitley, Flying Horseman, Ian Clement, Dans Dans and many others, recorded especially for this release.


Two years after its start, Unday still feels as fresh and exciting as ever, only now it's home to ten artists. All different but dedicated and inspiring in their own ways.


Music For Undays is not trying to look back. Above all it seemed like a good idea to let all the talent on the label record new stuff, without any restraint or pressure.


The assignment we gave the bands was quite simple: record a new track, exclusive to this release. No B-sides or leftovers. Everybody said yes. Most of the tracks have been recorded at Kristof Deneijs' (Yuko, Imaginary Family) Dive Studios and at Ian Clement's Donderling studio. All songs have been mixed by Jasper Maekelberg (Yuko). This way we've seen spontaneous collabs emerge in the care free environment of the home studio.


This album also introduces a number of new names, a few newcomers which we spotted in the last couple of months, and who we think match the Unday universe perfectly. Keep an eye on them.
The result of all this is at the same time diverse and coherent. There are live versions, solo performances, covers and etches of new material on there, but most of all brilliant songs. We are really thrilled with the result.

7' orange vinyl (includes download code). Stanley Brinks is joined by The Wave Pictures on their first joint release for 4 years with upcoming 7' single Orange Juice. Orange Juice is an anthemic singalong about a recipe for happiness - 'a little bit of you, alcohol, tobacco, caffeine, ephedrine and orange juice'. B-side Maybe I Will See You Again is, rather aptly after the concoction of Orange Juice before it, a song about standing at a street corner with a hangover. It has previously appeared on the album 'Stanley Brinks
Hovers', but this is a new rock'n roll version backed by The Wave Pictures. Neither track features on the new Stanley Brinks & The Wave Pictures album 'Gin' due for 3rd March release. // Stanley Brinks began performing officially as André Herman Düne in 1999, sharing lead vocals, guitar playing and songwriting with his brother David in the band Herman Düne for a number of years. They released several albums and toured extensively in UK, gaining and owing a lot to great support from John Peel. He has used many monikers for various side-projects, but since leaving Herman Düne in 2006, he has been known solely as Stanley Brinks. Born in Paris, Stan has been living between New York, San Francisco, Malta and Berlin for about a decade, always on the move. He has recorded more than 100 albums, collaborated with the New York Antifolk scene on several occasions, recorded and toured with traditional Norwegian musicians, and played a lot with The Wave Pictures. The Wave Pictures are David Tattersall, Franic Rozycki and Jonny 'Huddersfield' Helm. Formed in 1998 when Franic and David lived in a village called Wymeswold, the band played with several drummers until Jonny became a permanent member in 2003 replacing Hugh J Noble. In the beginning the band learned to play together by covering Jonathan Richman songs but soon David was writing lots of original material. They have since released five studio albums to critical acclaim and played numerous sessions on BBC 6 Music, Radio 1 and Xfm. The interest generated by these recordings has enabled The Wave Pictures to play shows all over the world with artists including Jeffrey Lewis, Darren Hayman, Stanley Brinks, Freschard and Herman Dune.

In his debut solo record, N.A.P. North-American Poetry, Wauters dreams big; coming into his own as a singer. Building on his songwriting, popularized by The Beets, Juan presents introspective tracks, like Water and Sanity, and reflections on humans' relationship with technology in songs like Breathing—which features Carmelle Safdie. The record is completed, as always, by the artwork of dear friend and longtime collaborator Matthew Volz, who has honed the trademark visual aesthetic of Juan's music. This album is a selection of recordings made between the fall of 2010 and the summer of 2012 at Marlborough Farms. N.A.P. delivers a fresh sound and lyrical candor from one of Queens' most idiosyncratic adoptive sons.

Tomorrow We Sail is a group of seven musicians, based in Leeds, UK. Formed in 2009 they have spent the past four years developing their sound into what is now a vast landscape of billowing, reverb-soaked guitars, orchestral strings, piano, organ and multi-layered vocals.

Folk, slowcore, neo-classicism, minimalism, ambience, and post-rock are all apparent in the vast and winding soundscapes Tomorrow We Sail create. The music is slow-burning, creeping quietly into consciousness, the sonic terrain covered ensures the listener is held through a constantly moving orchestrated cavern of sound, with earnest melodies and harmonies drifting and falling all around.

After self-releasing their debut EP, 'The Common Fire', in 2010, the band retreated back to their studio to further develop and refine their sound as their line-up evolved, enabling the band to incorporate an ever expanding roster of instruments. With the line-up solidified, the band released two singles, 'The White Rose' in November 2011, followed by 'For Rosa' in May 2012.

October 2012 saw Tomorrow We Sail embark on their first tour of the UK & EU, playing both headline shows and supports with bands such as Caspian, Last Harbour and Ef, culminating in an appearance at the The London International Festival of Exploratory Music at Kings Place.

Over the past three summers, Tomorrow We Sail have taken to the stage at festivals across the UK, including Kendal Calling, Tramlines, Sheep Music, Landed & Galtres, as well as contributing tracks to the independent feature film 'Broken Roads', released in September 2012 in cinemas across the US and winner of Best Motion Picture and Best Director at the American International Film Awards.

The band have just completed the recording of their debut album which is set for worldwide release in February 2014.

An intriguing project by singer, composer and multi-instrumentalist G.T. Moore, he of G.T Moore and the Reggae Guitars (first album 1974) fame, he of the folk group Heron who recorded their first album in a field by the Thames in 1970, he who recorded on Lee Perry's final album at the Black Ark studio 1980, also was a part time member of Radical Dance Faction and who's done session work with the likes of Johnny Nash, Joan Baez, Poly Styrene and more.
*Fast forward to now: G.T. collaborates with the Lost Ark Band creating some beautiful shimmering, dreamy, deep phaser-laden sounds giving more than a nod the aforementioned Perry's studio from way back then.
*Features two compositions - `Be True' and `One Two Three' - the latter originally recorded with Heron - with respective dub versions playing at 33 and weighing in at 25 minutes.

Samantha Crain ist eine erstaunliche Songwriterin und ein großartige Live-Künstlerin, voller Energie und mit einem großen Sinn für Humor. Und was für eine Stimme sie hat! Samantha ist in Shawnee/Oklahoma aufgewachsen, sie ist Chocktaw-Indianerin. Ihre musikalische Früherziehung erlebt sie bei Besuchen von Powwows - Treffen nordamerikanischer Indianer, um gemeinsam zu tanzen und zu singen und die indianische Kultur zu ehren - oder indem sie Trommelgruppen zuhörte. Spätere Einflüsse findet sie - inspiriert von der Plattensammlung ihres Vaters - bei Bob Dylan und Neil Young, bei Woody Guthrie und Jason Molina, bei Simon & Garfunkel und Grateful Dead. Auch noch jenseits des 20-jährigen Geburtstages hält man Samantha aufgrund ihrer Zierlichkeit und Mädchenhaftigkeit für 16 - daher rührt übrigens der Albumtitel "Kid Face" - und behandelt sie entsprechend wie einen Teenager. "Die Kleine" zieht ihre Konsequenzen, vertieft sich in der Musik und fängt an Stücke zu schreiben und Konzerte zu spielen - zuerst in Ihrer Heimat, dann in immer größeren Kreisen, den gesamten Kontinent bereisend. Manchmal zu zweit, zumeist aber solo, auf sich gestellt und sich selbst behauptend. Übrigens so, wie es vor ihr schon der große Sohn Oklahomas, Woody Guthrie, getan hat. In Samanthas Liedern geht es um die Menschen, die sie auf ihren zahllosen Reisen getroffen hat, es geht um das Zurücklassen von eigenen Wurzeln, der Kindheit, der Familie und des Geliebten. Um die Bewegung, die eigene Ruhelosigkeit und die Suche. Um Wanderlust. Aber auch um die Rückkehr. Crain selbst sagt: "Ich habe in den letzten Jahren oft woanders gewohnt, aber nie lange. Das Nach-Hause kommen gibt mir Perspektive und Fokus." Und aus genau diesem Spannungsfeld entsteht und lebt ihre Kunst. Die Spannung und Traktion in den Songs auf "Kid Face" ist nicht zufällig - im Gegenteil: Crain sucht (wie viele Menschen Mitte Zwanzig) nach sich selbst und ihrem Platz in der Welt. Auf eine aufregende und spannende Weise. Und sie nimmt uns mit auf ihre Reise. Eine Reise, die mit "Kid Face" gerade erst begonnen hat. "Kid Face" wurde von John Vanderslice (The Mountain Goats & Spoon) produziert.

JYC with a archives release from Ben Morris. Three moody cuts created for over one decade ago! Lovely artwork by Leo Lyxxx and as always in a limited edition of 300 copies.

Another great Reissue from Mali and already the 5th installement of the Mali Kunkan label on Kindred Spirits. Completely restored artwork and remastered sounds. This deluxe version comes in a heavyweight sleeve and pressed on 180 gr vinyl. Only 500 copies!
In 1977, seven years after the first wave of modern regional orchestras, the Mali Kunkan record label released another batch of classic recordings from Mali's best regional orchestras. Super Biton National de Ségou, National Badema, Mystère Jazz de Tombouctou, Kanaga de Mopti, Bida de la Capitale, Sidi Yassa de Kayes and Kéné Star de Sikasso were each given the chance to release a collection of their own recordings.

It was first led by drummer Baba Barry, before guitar player Madou 'Guitare' Sangaré took over when the orchestra changed its name to Kéné Star de Sikasso, and left behind the old « Orchestre Régional » moniker as the decade rolled on. Under the Kéné Star de Sikasso's name, the band released one eponymous LP in 1977 on the fabled Mali Kunkan collection.

Opening this record, Hodi Yu Yenyan is the Kéné Star flagship song, with the electric organ and the guitars twirling together. Sung in senufo by François Ballo, it served to introduce the band's musical aesthetics while extoling the virtues of the senufo culture, a language seldom recorded in Malian popular music of that time.

The natural strength and wellness of this region is displayed on the second number, Kenedougou Fanga, sung by the band's three singers Mamadou Diakité, Mamadou Touré, Cheick Sadibou Diabaté.
One of Mali's most beautiful songs from the decade, Fitiriwale (« an act of betrayal ») saw them again teaming up for an exercise in mellowness. Madou's guitar swirls effortlessly around the melody, backed up by some droning electric organ. This song talks about weddings, with the lyrics « nowadays marriage doesn't mean anything », advising that one has to look for a strong wedding and not for trivial pursuits.
Hypnotic and intense, another moral fable takes up the whole of side B.

Acid Jazz present A Flash Of Darkness the new Folk odyssey from Bluetones front man Mark Morris.

Can it really be twenty years since Mark Morriss first shimmied into our lives as singer with The Bluetones
Apparently so. But thirteen hit singles and three Top Ten albums later, his ability to sieve poetry from the colander of every day life remains unique.

The first single - This Is The Lie - has received coverage on Radio 2 (Dermot O'Leary, Jo Good), XFM (Steve Lamacq), with the video premiering on clashmusic.com and played on Sunday Brunch (channel 4)

Other album tracks include covers of The Shins' Pink Bullets and an acoustic overhaul of Kavinsky's electro- noir Nightcall - best know from the Drive soundtrack.

Mark appeared on Vintage TV for their Janice Long Review Show and will guest on Steve Lamacq's Roundtable in the new year.

Mark has recently (December 2013) supported Shed Seven on their Greatest Hits tour. All 13 dates sold out including London's Forum, Newcastle, Manchester, Sheffield, Liverpool, Leeds O2 Academy's, Nottingham Rock City, Glasgow Barrowlands.

The new installement of the Kindred Spirits Mali serie! Comes in a heavy weight 'old style' tip-on card sleeve and pressed on 180 gr. Only 500 copies!
In 1977, seven years after the first serie of modern regional orchestras, the Mali Kunkan record label releases another batch of classic recordings from Mali's best regional orchestras. Sidi Yassa de Kayes and Kéné Star de Sikasso are each given the chance to release a collection of their own recordings.

After the 1960 independence, the Orchestre Régional de Kayes is started in order to reinvigorate the local cultures from the Mandé and the Kasso regions and turn some traditional themes into modern songs. Under the guidance of bandleader Harouna Barry, they evolve as one of Mali's finest orchestra.

In the early 1970's, like most modern bands of Mali, the orchestra evolved into the Sidi Yassa de Kayes, named after Sidi Yassa, a late great singer. In 1977, they release one eponymous lp in 1977 on the legendary Mali Kunkan collection.

(October Collective Title) Often when you're in your mid-20's heavy realities start to settle in. Relationships that seemed like they'd last forever lose their spark, your aspirations and self-perception shift, you marvel at friends your age getting married and having babies, and you feel powerless and small, realizing that people you've known and loved for a lifetime can suddenly die. It's a serious psychological shakeup, made even more difficult if your frontal cortex hasn't fully matured yet. It's a beast, a mountain, a wall, or as in Kubrick's 2001 A Space Odyssey, a mysterious obelisk that pushes you to evolve...like it or not. For better or worse, parts of us die, new parts come to life, and if we're lucky we emerge smarter, stronger, and more resilient. It's no surprise that for ages we've felt a deep sense of connection with music, art, and films inspired by this metamorphosis. Aisha Burns' Life in the Midwater provides a snapshot of the rough stuff, but with a delicate sensitivity and wisdom beyond her years. Burns' contributions as the violinist and occasional vocalist for the Austin band Balmorhea belie a nuanced songwriting prowess, and a dynamic and powerful voice. The album's title references a deep dark layer of the ocean that flows far below the surface, and just above what we call the deeps sea. Bioluminescent jellyfish often inhabit this layer of the ocean, emitting mysterious flashes of light despite the risk of exposing themselves to potential predators. Similarly Aisha's songs are dreamlike beacons in the inky abyss.

What began as a journey ended as this wonderful record - one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story. Let your hands be my guide.


Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.

Denai Moore has announced details of her forthcoming EP and new live shows, including a headline gig at St Pancras Church. The follow-up to May's debut EP 'Saudade', 'The Lake' EP was recorded in London and Paris with producer's Ben Drew (aka Plan B) and Renaud Letang (Feist, Gonzales, Manu Chao). Lead track 'The Lake' - produced by Drew - has a soulful, melancholic beauty that is profoundly moving, illustrating why Denai's peers are getting so excited about the 19 year old from East London. A natural and instinctive songwriter, she penned all the tracks on the EP - there are no co-writes. Denai Moore's immense talent was obvious from the moment she posted the sparse, haunting 'Flaws' online at the end of 2012. Picked up by a host of influential blogs, the track also brought Denai to the attention of Tom Odell, who invited her to support him on his headline tour in May. Born in Jamaica but raised in Stratford, Denai Moore has been creating music since she was 7. Thanks to a youthful obsession with Lauryn Hill, Denai learnt about crafting songs infused with honesty and pure emotion. More recently, her love of artists like Bon Iver, Feist and James Blake, has led her to write the kind of soul searching, heart-on sleeve, disarmingly honest songs that have been know to make grown men cry.

A Portuguese civil servant, entrepreneur and Angolan music fan named Luis Montês self-designed 'Kutonocas', Sunday afternoon live music festivals started in Luanda in 1961 and is the basis on which this great compilation is built.



This compilation is a dedication to the short lived recording industry in Angola, a brief moment of history between 1969 and 1978 in which three recording companies produced approximately 800 records, mostly singles. They are rare jewels, each song with a significant story and feel behind it. You will hear exciting music blazed with the anticipation of emancipation, tracks fuelled with a sense of unity, community, importance and immediacy.This addictive, outlawed music from Angola shakes and grooves with the smoothness of staccato machine gun fire.



The intimacy of those participating in this musical revolution meant they playfully and professionally wanted to trump each other's style due to the limited recording and performing opportunities. The optimism of Independence can be heard in these recordings; a common goal between the audience and musicians.



The characteristically generous liner notes feature 44 pages acquired in coordination with the National Library of Luanda and the art magazine 'Note E Dia'and Analog Africa head honcho Samy Ben Redjeb has managed to collect newspaper clips, extremely rare pictures of the bands on stage and printed interviews from the 70s.
LP 1: Avante Juventude - Os Angos / Senhor Doutor - Quim Manuel / N'Hoca - Tony Von / Kia Lomingo - Urbano De Castro / Bina - Jovens Do Prenda / Mabele - Oscar Neves / Agarrem - Africa Ritmos / Saudades De Luanda - Os Kiezos



LP 2: Bongololo - Kito / N'Ga Kuna M'butu - Muhongo / Lemba - Negoleiros Do Ritmo / Snipes - Dicanzas Do Prenda / Bazooka - Carlo Lamartine / Divua Diami - Cisco / Meca - Levis Vercky's / Chamavo - Elias Dia Kimuezo / Olha O Pica - Africa Ritmos

Super Djata is one of boldest and most exciting orchestras in the history of African modern music, if not one of Africa's greatest and most unsung ensembles.
Led by the late great Zani Diabaté, Super Djata Band de Bamako stands proud as one of West Africa's fiercest orchestras, with only a handful of releases and many tremendous gigs given over the last forty years.

Born in 1947 in the Sikasso region, Zani belongs to one of Mali's most famous griot families. As a child he learnt how to play the bolon, a string instrument with a bass sound, and the balafon, before learning how to dance. As a sixteen year old, he joined the Ballet National du Mali, an official dance ensemble. In the same vein as the Ensemble Instrumental du Mali, Ballet National du Mali served Modibo Keita's cultural authenticity policy in the 1960s.

Zani was also taught how to play percussion by legendary Voltaic musician Amadou Ballaké in the mid-1960s. During his time at the Ballet National du Mali, he befriends fellow musician and dancer Daouda 'Flani' Sangaré. Flani introduced him to his very close friend Alou Fané. Both of them came from the same region as Zani, sharing some of the same cultural references.

As a trio, they joined forces together in order to set up the Harmonica Jazz with Zani playing the harmonica. They moved on to the name Ganoua Band, where Zani played the guitar, Alou and Flani sang and played the kamalen ngoni while another Ballet friend, Maré Sanogo, played the djembé and other percussions. This small local outfit expanded with the arrival of three other musicians from the Ballet National du Mali. They then set up the Djata Band name in order to start one of Mali's first private orchestras.

Thanks to their leader's experience, the Djata Band quickly rose to fame within the Bamako region. Despite the lack of official support, Djata Band started to record their compositions under the aegis of expert engineer Boubacar Traoré at Radio Mali's tiny recording studio. By the end of the 1970s, the band's repertoire was already very large and diverse. Their first album was released through the Discorama record label in Abidjan. Like several other Malian artists of the early 1980s, Super Djata's only outlet for their material lay in some Ivorian record company.

Bringing together bambara traditions, Wasulu hunter music, Kenedugu's balafon music and bozo fishermen
dances, mandingo chants and fula repertoire, mixed with a spicy, and at times even psychedelic guitar, Zani Diabaté's Super Djata Band came to the forefront of the emerging world music scene in the early 1980's as one of Mali's strongest bands.

TERANGA BEAT proudly presents MAR SECK, a delicate singer and songwriter who marked the history of Senegalese music.
A cross over between Cuban compositions and Senegalese Folklore, his songs gave birth to Salsa-Mbalax, the popular dance music of '70s Senegal that went onto influence a new generation of Senegalese musicians including a young Youssou N'Dour.

Featuring 12 tracks recorded over three different sessions, 'Vagabonde' focuses on the best of MAR SECK's career.

The first recordings are taken from a raw and unreleased 1969 session at the Dakar National Radio. Recorded with his first group SUPER CAP-VERT from Rufisque, it captures an 18-year old MAR singing the first version of his now famous composition 'Vagabonde'. The remaining six tracks from the session includes a beautiful cover of Fonseca's 'Sibouten'.

A 1973 live recording is also featured here, made with the STAR BAND de DAKAR in Saint Louis. Previously unreleased, it comes from a time when MAR was establishing his name playing at the legendary Miami Club in Dakar, the 'École de Passage' for all great Senegalese musicians.

The final two tracks (one of them unreleased) finds MAR accompanied by the most complete band of Senegal, the NUMBER ONE de DAKAR.
1. Mini Company
2. Sibouten
3. Angelina
4. Vagabonde
5. El Vagabonde
6. Una Vida
7. Kaira
8. Tira Tira
9. Borom Gal
10. Taba Yo Simo
11. Sama Dialy
12. Li Loumouye Nourou

Named after the road signs on the local bypass, the Derbyshire band combined elements of folk musics from across the United Kingdom. Beginning as an acoustic trio, and later adding a rhythm section and the vocals of Jayne Marsden, they began to expand their sound, taking in elements of progressive rock and combining catchy vocal tunes with virtuosic instrumentals, including a synthesizer. Their self-titled first album was recorded in 1982-83 in Dave Pegg's
(Fairport Convention) Woodworm Studios. Will appeal to fans of Vashti Bunyan and Linda Perhacs. LP comes with inner sleeve with liner notes and rare photos

What began as a journey ended as this wonderful record - one wherein the five musicians were able to find their place and, together, and with great warmth, tell their nine-song story. Let your hands be my guide.

Currently based in Belgium, Dutch-born Chantal Acda (b. 1978) has worked under the Sleepingdog moniker since 2006, making three acclaimed albums that closed on the With Our Heads in the Clouds and Our Hearts in the Fields (2010) album for which she collaborated with Adam Wiltzie (Stars of the Lid, A Winged Victory For The Sullen). They toured the UK and Benelux with Low in 2011. After all this, it was time for her first real solo record. Playing in various formations had made her conscious of the patterns that we all, as humans, share in. So, she sought out kindred spirits with whom she might record an album filled with freedom and intensity, and who were conscious of the patterns we so often fall back on.


01. Jason
02. We Will, We Must
03. My Night
04. Own Time
05. Arms Up High
06. Lost
07. Backdrops
08. Wintercoat
09. We Must Hold On

Neues Jahr, neues Glück: Discofox: Pop Schlager vereint die größten Stars der deutschen Vier-Viertel-Takt-Musik - und wer zu den Klängen von Axel Fischer, Markus, Uta Bresan, Anna-Carina Woitschack u.v.m. nicht tanzen kann, dem ist nicht mehr zu helfen! Discofox: Pop Schlager 2014: Let's go dancing!

CD 1
ANNA-MARIA ZIMMERMANN - NON PLUS ULTRA
UTA BRESAN - ZEITLOS MIT DIR
ANNA-CARINA WOITSCHACK - NICHTS GEHT MEHR (RIEN NE VA PLUS)
OLIVER THOMAS - FEUER DER NACHT
ANNEMARIE EILFELD - VERLOREN, VERGESSEn, VERGEBEN
NIC - NIMM DEN ERSTEN FLIEGER HER
DENNY FABIAN - TRÄUMEN (Fox Mix)
NICO GEMBA - MEHR GEHT NICHT
OLIVER LUKAS - BIS ANS ENDE DER WELT
JÜRGEN MILSKI - KOMM WIR TANZEN DURCH DIE NACHT
PETER SEBASTIAN - SCHENK MIR DIESEN SOMMER (Danny Top Mix)
MICHAEL HECK - SOMMERNACHT IN MASSACHUSETTS
ACHIM PETRY - ROSALIE
XANDRA HAG - BAHNSTEIG NO 10
ANDY ANDRESS - LIEBESKARUSELL (Fox Mix)
AXEL FISCHER - HORIZONT
MIRELLA - TAUSENDSTERNENACHT
BEA LARSON - DAS VERDAMMTE SCHLOSS (DJ Mix)
JASMIN PRINZ - WO LIEBE LEBT
SONNENFLUT - WOCHENENDE
CD 2
DIANA SORBELLO - AVE MARIA (WANN SEH ICH DICH WIEDER)
NICOLE - ALLES NUR FÜR DICH
MICHAEL MORGAN - SCHENK MIR DEN SOMMER
MARKUS - DANN GEH
JÖRG BAUSCH - ICH BIN IN DICH
CATHRIN GEISSLER - ICH FLIEG MIT DIR
TANJA SOMMER - AUCH WENN ICH DARAN ZUGRUNDE GEH...
SYLVIA MARTENS - STADTGEFLÜSTER
ANKE FÜRST - HERZ ÜBER BORD (Fox Mix)
ANDRE STEYER - SCHREIB ES FÜR MICH AN DEN HIMMEL
CHRISTIN STARK - IMMER WENN DER MOND SCHEINT
UWE JENSEN - NUR BEI DIR
JESSICA MING - ES GEHT WEITER
MICHAEL FISCHER - DIESE WELT
DANIELA DILOW - ONE WAY TICKET
DIE HIMMELSSTÜRMER - SPÜRST DU...
SONJA CHRISTIN - DU ICH SCHLAF IMMER WIEDER GERN IN DEINEN
ARMEN EI
MICHAEL KARP - DENN ICH LIEB DICH (Danny Top Mix)
MARKUS KEIL - BEREIT FÜR DIE HÖLLE
RICARDO GALANT - DIE GANZE NACHT (Original Version)

The project of former Beatglider man Matt Randall, this represents his early Plantman recordings, put together on a four-track at home and with band member Adam Radmall at John Hannon's NO recording studios.

The Lucky Strikes formed in 2006 in Southend-on-Sea, Essex. 'The Exile and the Sea' is their fourth album release and explores the folk tales and oral traditions, both historical and in the more recent past, of their home town. Songs explore the burning down of Southend pier to tales of shady characters who used to drink in their local pub.
1. To Be King / 2. The Beast Burnt Down / 3. The Exile and the Sea / 4. New Avalon / 5. The Butcher and Mrs Shaw / 6. Ballet Shoes / 7. Goldspring / 8. The Devil Knows Yourself / 9. Vincent / 10. Ghost and the Actress / 11. The Writer

Limited reissue of this ultra-rare gem from 1978 originally released on tiny NYC private press label Wabine Productions. Both tracks on the 12' are absolute killers and hugely in-demand with DJs and collectors alike. Although 'Sail On' is the acknowledged biggie, a highly sought-after jazzy soul classic melding super-cool low-slung grinding Island funk with understated steel pans and a dreamy female chorus, don't overlook side A's wonderful 'The Martians Visit' - a tight slab of sun-drenched space-disco with a solid up-tempo Caribbean groove, great strings and squelching bass. Fantastic stuff!

Wooden Wand & the World War IV is the brand new Wooden Wand album.

In addition to previous releases on Three Lobed, Wooden Wand has released music on Kill Rock Stars, Young God, De Stijl, Soft Abuse, Weird Forest, Troubleman Unlimited, Time-Lag, Fire Records and Ecstatic Peace!

Wooden Wand & The World War IV is from a physical edition of approximately 1000 copies and is pressed on 140 gram Dutch vinyl by Record Industry. The album is housed within a multi-color sleeve bearing original artwork by Eric Cooper. The album is also accompanied by a download coupon for DRM-free digital files of the downloader's choice.

Wooden Wand & The World War IV was recorded Les Nuby III at Ol Elegante in Homewood, Alabama, and subsequently mastered by Patrick Klem.

Like its two predecessors, 'Wooden Wand & the World War IV' was recorded down in Homewood with the same killer troupe of Birminghamians—a rare display of stability in a career heretofore marked by artistic restlessness. The self-title is the dead giveaway here, as this is a record that literally revels in the camaraderie of a band of likeminded musical souls that has now recorded three albums together and logged countless hours on the road.
The Lungfish-esque opener 'Someday this Child Will Die' retains the creepy gait of the 'Blood Oaths' set, but wraps it here in a tangle of three-guitar snarl. The song's repeated pronouncements on mortality ratchet up the tension with each iteration, until the track breaks
completely around the halfway mark and the guitars begin shoving each other around over the locked groove of the rhythm section. The hectic second track, 'Directions to Debbie Harry's House' is even denser: a chorus of screaming guitars under Toth's ominous refrain:
Wrapped up in the shroud/And you can't get out. The dolorous and lovely 'Complaint Dept' recalls the emotional immediacy of 'Briarwood': an American twilight with Janet Elizabeth Simpson's haunting backing vocals shading in the crimsons and purples of the sunset.

The change of sides marks a real disjuncture: a band steeped in the ferocious efficiency of the 80's SST catalog it grew up with suddenly find itself conjuring the 70's guitar god decadence that informed its first glimmerings of musical consciousness. Toth himself
described the 'World War IV' album as divided between a ruthlessly economical post-punk side A, scrubbed of keyboards and excess, and a side B dominated by colossal 70's style stadium jams. The description is apt. Side B's grand, apocalyptic 'Our Father the Monster' plays like the stepchild of the Dead's 'Morning Dew' circa 1973, virtually demanding lighters in the air. (And the intertwined vocals of Toth and Simpson here have more than a little affinity with the stoner sublime of Black Mountain's Stephen McBean and Amber Webber.) The psychedelic pomp of the album's eight-minute closer, 'McDonald's on the Moon' features some of the finest guitar playing of Toth's career, a bad-trip opus of serpentine guitars railing against the tawdry omnipresence of commerce.

"Colour Green" was recorded in Germany in the 1970-1973. In a particularly dark and moody period of her young life, Claudine, a friend of Sibylle's, dragged her out from under the bed and took her on a road trip to Strasbourg, ending up across the Alps in Genoa. Upon the return from this trip Sibylle felt her sprits renewed and she set out to write the song "Remember the Day", grateful for being alive. It was the first song she ever wrote. Her music is simply amazing in its intimacy and closeness. Recorded in the late 70's in her home on a reel to reel recording device, the songs on "Colour Green" are intimate portraits of life's sad and fragile beauty. It is a gem of an album that will blow your mind. Sibylle is a star who chose to shine for her friends and family instead of the whole world. "Listening to Colour Green almost feels like you stole someone's diary." -- Chris, gorillavsbear.blogspot"Haunty, melodic and a little sad. Three's Company." -- quarby, sneakmove

1. Tonight
2. I Lost Something In The Hills
3. The End
4. Softly
5. Remember The Day
6. Forget About
7. William
8. Says Elliott
9. Colour Green
10. Driving
11. Girl
12. Wim
13. Forgett
14. Give Me A Smile

Originally released in 1958, Dance Mania, is amongst a handful of late '50s Latin LPs that took the sounds of mambo, cha cha, and guaguanco, out of Spanish Harlem and Puerto Rico and into the mainstream of America. Leading a group that includes congo master Ray Barretto, timbalero Puente blazes through a set of mostly original tunes. An essential Latin dance LP from one of the masters, reissued on 180 gram vinyl.

- Debut solo release from James Ginzburg, member of Emptyset
and part of the Multiverse label house
- Surprisingly, his debut album is a solo acoustic folk album
- Recorded at Bink Bonk and Multiverse, Bristol UK. All
photography by James Ginzburg
- Limited Edition pressing of 500 copies
Between 2003 and 2012 James Ginzburg masterminded the release of hundreds of records on the
various imprints of his Bristol UK based label house Multiverse Music, including Tectonic, Subtext
and Kapsize, overseeing the second renaissance of bass music in Bristol. It's unsurprising that
such a hyperactive spirit would begin to find the strictures of dance music creatively stifling.
Focusing on his Subtext label, Multiverse's most cerebral outpost, he became occupied by two
projects - Emptyset, with the curator Paul Purgas, a Brutalist exploration of the outer limits of
modern composition via the reduction of industrial techno to a pummelling, sensory assault, and
something at quite the opposite end of the musical spectrum: a solo acoustic folk record.
Dance music has always been the sound of the city, thus it's no surprise that his journey into
traditional songwriting saw him wandering into the countryside. Faint Wild Light lies in the
bucolic tradition of Simon & Garfunkel, Nick Drake and Crosby, Stills, & Nash, but this is not a work
of journeyman nostalgia; the wandering has a genuinely fevered tone, a desperation to be totally
lost in some potential inner arcadia, isolated from a computerized production process. Equally
it's no minimal Pink Moon; it sounds more like a 60's folk troubadour produced by a contemporary
hip hop impresario, which in some ways it is. The finger picked guitars are carried along by a
monumental sound-wall of analogue synths, pianos, and strings, while the legacy of his Ginz guise
is evident in the intricacies of the percussion arrangements. Rhythms are conjured from found
sounds, clicks, taps, tape hiss; a drum kit fashioned from the sonic scraps on the cutting room
floor.
Ginzburg's particular fondness for the short stories of Cortázar and novels of Nabokov is
evidenced by the narrative structure of the songs; vignettes without beginnings, middles and
ends, meditations on golden days misremembered, modified visions of half-imagined pasts, all
delivered with a hallucinatory, celebratory fervour.

Following her 2012 Christmas album 'Baby its Cold Outside, (singled out as an essential seasonal listen by both the Sunday Times and the Arts Desk) 2011's Explorer and 2010's TIR, Cerys' production and arrangements are fresh and innovative. The album bubbles over with love and energy keeping things loose , rootsy and personal- and never losing sight of the inherent life of the songs.
1. Rali Twm Sion / Dadl Dau / Gorsaf y Gof / Rachel Dafydd Ifan
2. Pant Corlan yr Wyn
3. Ty bach Twt
4. Ar Ben Waun Tredegar
5. Moliannwn
6. Oes Gafr Eto
7. Y Gelynnen
8. Y Gwcw Fach
9. Lliw Gwyn Rhosyn yr Haf
10. Bendigedig Fyddo'r Iesu
11. Rwy'n Canu Fel Cana'r Aderyn
12. Gwahoddiad (Arglwydd Dyma Fi)
13. Dacw Nghariad i Lawry n y Berllan
14. Gyrru'r Ychen
15. Titrwm Tatrwm
16. Tra Bo Dau

*A beautiful compilation of rare and brilliant music made by children in schools. The album features some incredible sounds - from charming folk songs to full blown avant-garde experiments. Many of these recordings are exceptionally scarce (some selling for close to £1000 these days) and it's unlikely anyone will have heard any of these since they were first recorded.
SIDE ONE
1. Intro By Robert Gittings
2. Portland Town - Folk Group (Chelmsford County High School)
3. Examples of 12 note melodies - Heslington Primary School
4. Music For Cymbals (edit) - Sounds And Silence (see notes)
5. Puppets - Piece For Solo Piano - The Searching Years (see notes)
6. Bright Eyes - The Small Choir Of St. Brandon's School
7. The Song Of The Shadows - Christopher Tophill
8. An Aleatory Game - Sounds And Silence (see notes)
9. Alleluia - Sounds And Silence (see notes)
10. Autumn - Heslington Primary School
SIDE TWO
11. A' Soalin' - The Lyttle Folk
12. Little Henrietta - Searching Years (see notes)
13. Musique Concrete - Sounds And Silence (see notes)
14. Piece For String Quartet - The Searching Years (see notes)
15. Busy Streets - Hutton School Choir
16. Duet For Two Flutes - Jill Whitehead
17. The Lyke-Wake Dirge - Sounds And Silence (see notes)
18. Jimmy Whalen - The Lyttle Folk
19. Piece For Oboe And Piano - Rhoda Ashfield
20. Humoresque - Piece For Solo Piano and Flute - Graeme Quinton-Jones

A beautiful compilation of rare and brilliant music made by children in schools. The album features some incredible sounds - from charming folk songs to full blown avant-garde experiments. Many of these recordings are exceptionally scarce (some selling for close to £1000 these days) and it's unlikely anyone will have heard any of these since they were first recorded.
1. Intro By Robert Gittings
2. Portland Town - Folk Group (Chelmsford County High School)
3. Music For Cymbals - Sounds And Silence
4. Puppets - Piece For Solo Piano - Searching years '68 No.1
5. Examples of 12 note melodies - Autumn- John Paynter, Hear And Now
6. Bright Eyes - The Small Choir Of St. Brandon's School
7. The Song Of The Shadows - Searching years '68 No.2
8. An Aleatory Game
9. Alleluja - Sounds And Silence
10. A' Soalin' - The Lyttle Folk
11. Little Henrietta - Searching years '68 No.1
12. Musique Concrete - Sounds And Silence
13. Allelujia (Sounds And Silence)
14. Duet For Two Flutes - Searching years '68 No.3
15. Strawberry Fair - The NIk Nak Kids
16. Busy Streets - Hutton School Choir
17. Piece For Oboe And Piano - Searching years '68 No.3
18. Piece For String Quartet - Searching years '68 No.1
19. Jimmy Whalen - The Lyttle Folk
20. The Lyke-Wake Dirge - Sounds And Silence
21. 1st Movement Of Sonata By Scarlatti - Shirley Salzedo -Northwood Sound
22. The Lonely Coast- Searching years '68 No.3
23. Don't Drink And Drive - Hutton School Choir
24. Humoresque - Piece For Solo Piano and Flute - Searching years '68 No.2

Das grösste Volksfest der Welt das legendäre Oktoberfest steht wieder vor der Tür. Mit diesem Paket seid ihr alle perfekt auf dieses Spektakel vorbereitet: Zum einen enthält diese 4CD+1DVD-Set die legendäre Oktoberfest DVD der Jakob Sistert, die auf dem Münchener Oktoberfest für Chaos sorgen. Lachmuskelstrapaze garantiert!! Besser kann Realsatire nicht ausfallen! Traumhaft zweifellos auch die unheimliche Begegnung mit dem bereits verstorbenen Rudolf Mooshammer und seiner
Daisy.
Die Knaller-Comedy DVD ist mit umfangreichem Bonusmaterial aus TV Shows wie u.a. TV-Total oder Wetten dass ausgestattet.
Auf den vier beiliegenden CDs befindet sich dann noch der perfekte Soundtrack für das Volksfest... 4 CDs mit den populärsten Märchen und Polkas.
Das Oktoberfest kann kommen! Prost!

oos of Berlin's sophomore album Lucifer in the Rain is an exquisite work of slanted pop and cosmopolitan art-rock. Endlessly rewarding, with meticulous arranged instrumentation and lysergic narratives, the Detroit based outfit's latest album fully realizes their vision of boundless 21st century pop.

Full of twists and turns, it's easy to be swept from one section of the song to the next without knowing where they begin and end distilling elements glam, jazz, post-punk, bossanova, motorik grooves, electronic ambience, and anything else that will fit; into something wholly unique referencing both the past and future reminiscent of Low-era Bowie or Roxy Music getting in a room with Broadcast and Tom Ze.

As the title, Robert Zimmerman Plays Bob Dylan, implies, these recordings show the young man we all now know as Dylan finding his way in NYC after bumming a ride from Madison in the early months of 1961. Featuring songs that were left off of his first two Columbia LPs, Bob Dylan and The Freewheelin' Bob Dylan, as well as other assorted demos and unreleased recordings, this essential LP of early recordings perfectly captures his growth from traditional folk music interpreter into what he would become: America's greatest living songwriter.

*There can't be many who possess a back catalogue containing more hidden gems and scarcely touched upon curios than R Stevie Moore. Dubbed 'The Grandfather of DIY' by some, it's the only tag that's ever stuck for this prolific, chameleonic artist, whose cult status has grown over nearly half a century of music making, and whose back catalogue - which numbers in the hundreds of releases - has influenced everyone from Sonic Youth's Thurston Moore to recent lo-fi pop King Ariel Pink.

*There can't be many who possess a back catalogue containing more hidden gems and scarcely touched upon curios than R Stevie Moore. Dubbed 'The Grandfather of DIY' by some, it's the only tag that's ever stuck for this prolific, chameleonic artist, whose cult status has grown over nearly half a century of music making, and whose back catalogue - which numbers in the hundreds of releases - has influenced everyone from Sonic Youth's Thurston Moore to recent lo-fi pop King Ariel Pink.
TRACKLIST: Why Can't I Write A Hit - Makeup Shakeup -Old- Structure Of Love -The Picture -Quarter Peep Show- I've Begun To Fall In Love -Pretend For A Second That You Are very intelligent Forecast - No Body - Man Without A Purpose - Treat Me What We Did - Copy Me - I'm Sorry But Goodnight

Ocinando is one of the great lost LPs from Peru. In fact, it is one of the more rare releases from the prolific Discos MAG. Its style encompasses the many different tropical styles that were popular in Latin America in the late 1960s and early '70s. Martin Lopez was at the helm, and he hand-picked only the top musicians to play on his recordings. However, the amazing musicians that frequented the MAG studios could also be tapped for session recording as needed.
This record is a scorcher, and is in many ways a true piece of Peruvian musical history. This LP introduced the name of Martin Lopez to the ever-growing tropical music lexicon of the Peruvian public. He would later go on to form GRUPO NARANJA, which would become very famous for playing cumbia (and later on, salsa).
*During the time period this LP was recorded, Martin Lopez was living a double life. During daytime hours, he was a police officer known to his colleagues as Pedro, but when night fell, he took on the name Martin, donning aviator sunglasses, which would obscure his face while performing live music. Playing music as a police officer was considered unethical and borderline illegal at the time, and he would later lose his job over this.
*This LP boasts liner notes written by Martin Lopez himself, as well as tons of very rare photos. Masstropicas and Light In The Attic are both very proud to present and share this reissue, which was taken directly from the original master tapes and was remastered in 24 bit/96 kHz for the ultimate sound experience. We hope you enjoy it, and may this open the doors to a new world of music for uninitiated listeners.

*** clear vinyl pressing***

BLESSURE GRAVE has grown, regressed, died and experienced rebirth since 2008. With over a dozen releases on
too many labels to name, the current lineup of Owen Glendower, Carlos Sandoval and Tobias Grave has revisited the earliest
acoustic-based neo-folk / post punk experiments they exhibited on 'Unknown Blessures', offering forth a six song record
entitled 'The Flashing'. The first set of new material since 2010 combines melody and minimalism with lyrics exploring love,
imprisonment and anxiety. Limited edition of 300 copies comes on clear vinyl. Also includes a 12'' double-sided
professionally printed insert and a download card.

Sean Nicholas Savage is a gifted narrator, driven by his own melodic and emotional odysseys. A fixture of the Montreal music scene, Savage expresses both the strength and fragility of the human experience. In his writing, Sean has the keen ability to articulate the intricate emotions of everyday life and romance with a measure of specificity and maturity uncommon to most singer-songwriters.