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Reggae and Jamaican music have long embraced a symbiotic relationship with the movies. Rooting back to the island's golden era, countless arrangements have either been direct covers, or inspired by, the musicality and mood found in both cinema and television. These reinterpretations would become part of the backbone of the instrumental sound that accompanied the Jamaican record industry's acceleration from the mid-60s and beyond. Talented young musicians, rising from Alpha Boys School and the early studios of Coxsone, Duke Reid and others, found a showcase for their unique playing style on hundreds of different recordings, while appealing to the country's own love affair with Westerns, James Bond canon, and other rebellious themes and motifs that were projected from Hollywood during this time.

In this same tradition, in a new interval, arrives the debut release of Anant Pradhan and Larry McDonald, the latter a master percussionist with direct participation in some of Jamaica's earliest recordings. McDonald, although often uncredited, was a legitimate influence in helping to bridge the Afro-Caribbean sound from calypso into ska and later reggae with his iconic style on hand drums and percussion. A kindred spirit of McDonald, despite 50 years separating them, Anant Pradhan is a bonafide member of the next generation. Although this is his first "solo" record, the talented saxophonist has already played on dozens of incredible sessions for the likes of Victor Axelrod, The Inversions, Andy Bassford, Channel Tubes, Ralph Weeks and Combo Lulo. As an official member of the current touring group of the legendary Skatalites, Pradhan has honed his musicianship under some of the greats of reggae music. His particular soulful, instrumental arrangements are an homage to that influential era of Jamaican music. Pradhan and his band's performance retain the skill and innovation of the old vanguard, and like the generations before, capture a magic that may only be possible when cinema goes reggae.

A cult favorite from A Nightmare Before Christmas, Danny Elfman's "Sally's Song" was immortalized in Tim Burton's 1993 classic stop-motion film. It's immediately recognizable in all its haunting charm, and now, Pradhan and McDonald have managed to transform it into an irrefutable reggae classic, reinvented with its melancholic lead sax and bombastic percussion. The prolific Henry Mancini is already entrenched in the Jamaican canon, yet nobody has knowingly attempted to recreate one of his most magical numbers, "Meglio Stasera" aka "It Had Better Be Tonight," that of the riveting one-take scene in 1963's The Pink Panther. The galloping percussion of the original is transposed through a cloud of smoke, slow and low in a roots style at the hands of McDonald. Pradhan's sax leads the way over the locked-in rhythm section, both deep and cheeky all at once. These first two productions of Anant Pradhan and Larry McDonald are a deserving entry into the canon of reggae covers, and are equally adept to be heard on the screen and or at the dance alike.

Godzilla returns once more to face the combined might of Japan's most extraordinary scientists in the second picture of the Millennium-era: GODZILLA VS. MEGAGUIRUS. Looking for new ways to defeat the Big G, the JSDF invent an incredible new weapon called Dimension Tide, which creates a miniature black hole that will transport Godzilla far away from Earth. However, a byproduct of weapon testing leads to thousands of winged insects invading Tokyo and attacking Godzilla. The Big G fights back, but their new queen appears, now kaiju-sized due to Godzilla's atomic breath. A thrilling battle then occurs as Godzilla goes head-to-head with Megaguirus while the JSDF frantically works to disappear both monsters forever.

GODZILLA VS. MEGAGUIRUS saw the introduction of composer Michiru Oshima into the franchise with a fantastic score that built on previous Toho musical traditions with a view to the future. While using music composed by the great Akira Ifukube for two sequences, Oshima also unveiled her own theme for Godzilla. First heard in a slow and foreboding mode, it's quickly unleashed in gigantic low tones, as terrifying and inevitable as the Big G himself. Soaring heroic material represents the JSDF and their advanced Griffon aircraft, while powerful brass is used for the threat of Megaguirus. Cementing Oshima's reputation as a great composer, GODZILLA VS. MEGAGUIRUS is a classic of kaiju musical mayhem. - Charlie Brigden

Composed by Michiru Oshima
Artwork by Attack Peter
Manufactured in Czech Republic

Der vollständige Soundtrack von Paul Ruskay zur Homeworld 2 Remastered Edition (2015), der HD-Version des Echtzeit-Strategiespiels Homeworld 2 aus dem Jahr 2003. Während des HD-Restaurierungsprozesses holte Ruskay die Original-DAT-Tapes aus einem Schuhkarton, entstaubte jahrzehntealte Pro Tool Studio-Sessions und ließ von allen Titeln unkomprimierte Versionen erstellen, auch von bislang unveröffentlichten. Die Tracks wurden dann sorgfältig neu gemischt und sequenziert. Schwarzes 180g Triple-Vinyl mit 58 Tracks.

FOR FANS OF: ANTHRAX, MEGADETH, SLAYER.
Strikt limitierte 10inch Picture-EP der Metal-Kultband METALLICA. Mitgeschnitten und Live übertragen vom Radiosender BCM-FM im Jahr 1987. Diese
Collectors-Edition enthält u.a. die Hits Master Of Puppets und Seek And Destroy. Nur 300 Exemplare, weltweit !

Streamline is proud to present OG23, the first in a series of projected new LPs by Chicago-based composer Kevin Drumm, famous for his string of great releases on labels such as Sonoris, Mego, Moikai, Thin Wrist etc. Ever unpredictable, Drumm this time takes the fellow time-traveller through what sounds like an electronic field recording, a journey through an electronic soundscape of luminescent textures that invites immersive listening.

Gently Down Your Stream marked a creative zenith within the Columbus, Ohio, soul scene, at the juncture of the 1960s and '70s. The Four Mints were one of the most influential local group harmony outfits of their era and - with assistance from Columbus doyen and Capsoul purveyor Bill Moss - among the few to release a full length LP. The roster of backing musicians hired to provide aural landscaping reads like a Midwest super-group, with surprising appearances from Indianapolis-based vibraphonist Billy Wooten and drummer Bobby Allen of the Fabulous Originals from Dayton, Ohio. And though most of the material on 1973's Gently had been previously released as 45s, the collection - five singles and one priceless track saved from the scrap heap - gives witness to a world-class vocal quartet at its professional and intuitive peak. Under the watchful eye of arranger and mega-talent Dean Francis, the Four Mints pour forth from your speakers soulful, faithful and clear, but perhaps more importantly, intrinsically homegrown and utterly honest.

Dean McPhee’s fifth full length album 'Astral Gold' sees the Yorkshire-based electric guitarist's music continue to evolve beyond the spacious folk-inspired fingerpicking that typified his earlier releases into a heavier sound combining deep bass, textured reverbs and waves of saturated delay. 'Astral Gold' brings together several now out-of-print tracks that were originally released on the Reverb Worship and Folklore Tapes labels, along with two brand new pieces – all recorded live in single takes. There is a cosmic theme throughout, including a track based on the local lore of The Ilkley Alien (The Second Message), a trance-inducing drone piece inspired by the orbit of the 'doomed moon' Triton (Neptune) and a meditation on lunar volcanism combining baroque melodies, EBow bass and found recordings of a crackling fire played through guitar pickups (Lunar Fire). Throughout this intricately layered and beautifully crafted album McPhee draws on a wide range of influences from Kosmische Muzik and Dub to Stoner/Doom Rock, British Folk and underground electronic music, and the result is both intoxicatingly atmospheric and sonically inventive. ‘Astral Gold’ was mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin and is pressed on 180g heavyweight vinyl. ‘Astral Gold’ follows Dean McPhee’s recent appearances this year on several well received compilation albums ‘I Thought I Told You: A Yorkshire Tribute to Michael Chapman’ on the Tompkins Square label, ‘Ballads of Seduction, Fertility & Ritual Slaughter’ released by Wasistdas, and Folklore Tapes’ limited edition cassette ‘A Web of Braided Willow (The Folklore of the Wickerman)’. "His take on the late folk guitarist’s ‘Caddo Lake’ could have you believing the pinch of callous on string was birdsong – a meditative gem" (Noel Gardner, The Quietus) "Magpahi's synth-drizzled Maypole, Dean McPhee's Sunset and Meg Baird's Willow's Song are particularly gorgeous" (Jude Rogers. The Guardian) "An excellent new single from UK guitarist Dean McPhee...the A-side is an echo-laden slice of smoldering instrumental guitar, pulling at the mind like taffy and living up to its cosmic title" (Raven Sings the Blues) "Absolutely lovely stuff; shimmering, gorgeous, delicate electric guitar playing of the very highest quality

As the fable goes: pre-discogs, intrepid disc jocks would often take trips to Italy (many tricking their spouse into believe it was a ‘holiday’!) to source records from the seemingly endless supply of top tier Italo, disco and cosmic record shops across the country. According to legend, the classified sections of local yellow pages and information booklets which would contain the addresses of the record shops and dealers in the area would often be ripped out unscrupulously, thwarting – or at least making it more difficult for – the next vinyl tourist to source out the rare gems amongst the rich seams – a wild west vinyl gold rush if you will.

Such stories are a rarity these days, with youtube making some of the most underground tracks common knowledge, and discogs almost making any record obtainable – at a price of course. Upgrading his digging methodology, Bosco has developed a secret New Technique to side-step the machine and in doing so obtained a clutch of amyl-soaked fluffers that are so rare, that upon writing they aren’t even listed online! Seriously, he must be communicating with some interdimensional, upper echelon Italo overlords; taking us on a primo-thrust tour through the most unexposed recesses of the Italo disco galaxy.

Don’t be hoodwinked by their sheer obscurity however; we wouldn’t give a toss if they couldn’t tear the arse off the dancefloor. But they’re all fuckin rhodium grade tackle peeps! Eight neon-drenched late night roman candles of Italo disco decadence that’ll defo have you jizzing rainbow skittles over the dancefloor as you search desperately through the fog for another huff of poppers off Darren.

Total Discogs market value: as yet undetermined

Pharoah Brunson’s Pyramid Points: 9999999999999

Jakku are Per Ingvaldur Højgaard Petersen and Bárður Næs both born and raised on the Faroe Islands. On their debut EP “Fashion” they unveil their unique take on dark, spiritual electronica locked to chopped up traditional singing from the Faroes as well as other corners of the world.

Jakku have labelled it Kingodub after a primeval form of hymn singing which is still practiced on the isles. Expect deep, heavy beats with ancient marching and chanting

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

In Frank Herbert’s 1973 novel Hellstrom’s Hive, the Dune writer tells of a sinister narrative surrounding the maverick scientist Nils Hellstrom, who has created subterranean Hive of 50,000 insect-human hybrid life-forms. Ultimately his plan being for the inhabitants of the Hive to usurp humanity and take over the world. The decade thus far may not have seen anything quite so daunting, but it’s provided more than its fair share of challenges. Yet in such dystopian environments, Teeth Of The Sea flourish. This band has created a kaleidoscopic inner world all its own in Hive, their sixth and most outlandish album. Fundamental to Teeth Of The Sea’s mission thus far is that this band can go anywhere and make short work of any obstacles in their path. Inspiration flowed into Hive from all dimensions, with the band’s sphere of influence expanding to take in everything from Italo-disco to minimal techno, from dubbed-out studio madness to their most brazen forays thus far into pop songwriting. Here is a headspace where the psychic charges from records by Labradford, Nurse With Wound, Vangelis, The Knife, Nine Inch Nails and John Barry can happily co-exist. Hive is more than just a transformative force from subterranean origins. It’s an alchemical headspace where monochrome animates into vivid colour. It may not be a carefully ordered insectoid militia set to overthrow society, but it’s a transmission which transcends anything Teeth Of The Sea have thus far offered in their time on Earth. Step inside Hive, if you dare

repressed !

Dropping into chapters four and five of his Midnight Themes series, Marlon Hoffstadt responds to this summer's double set of 'Human Interpretations' - where Gramrcy, Eric Maltz, Johannes Albert, Bawrut and others remixed his previous work - with a two part EP of original material titled 'Law Of Attraction'. Marlon has steadily chiseled his way back into the scene with a series of acclaimed releases and is now in full swing with his Midnight Themes label and his Savour The Moment parties. For 'Part One', the Berlin native delivers four bold tracks, building bridges between classic sounds and a distinct knack for melodies. It's uplifting techno for a hopeful future and these killer cuts are ready and waiting to hit the dancefloors. Speaking of dancefloors, join Marlon to celebrate the release of both EPs on December 8th at Renate alongside DMX Krew, Kowton, Meggy, Gigsta and many more.

The star-studded Sai Galaxy project returns, bringing together West African legends Steve Monite and Rob with multi-instrumentalist Simon Durrington, guitar maestro Alfred Bannerman and Egypt 80 trumpet player Bade for a second EP of vital Afro-disco and soul.

The EP follows up 2022’s Get It As You Move EP, blending layers of vocal harmonies and synth washes with a rock-solid disco base. The sound stays faithful to the analogue production techniques of the 70s and 80s, adding a modern touch informed by Durrington’s Digital Afrika project.

Lead single ‘Hold You Tonight’ features Nigerian disco icon Steve Monite (best known for his mega hit ‘Only You’), revisiting his 80s origins with a dancefloor-ready slice of dubbed out boogie. ‘Rich Man Poor Man’ (featuring Ghana’s very own ROB) slows down the tempo and brings the highlife influence to the fore, while ‘Sometimes It Rains’ brings a neo soul bump with the Omar-esque sound of Fijian vocalist Kaivili.

Harm’s Way is Duck Ltd.’s most intuitive and organic album yet, the result of keen observation, self-possessed songwriting, and a collaborative spirit. Building on the successes of their previous releases, the deeply relatable album displays a band operating at a nuanced, lyrical and musical best.

Ducks Ltd. make inviting and frenetic guitar pop for when life feels overwhelming. While the band’s songs are ostensibly breezy, a palpable anxiety boils underneath that communicates something deeper about everyday existence. On their latest album Harm’s Way, the Toronto duo of Tom McGreevy and Evan Lewis hones in on interpersonal and societal collapses, urban decay, and the near-impossibility of keeping a level head when everything around you seems to be falling apart.

“They’re songs about struggling,” says singer and lyricist McGreevy (who also plays bass and rhythm guitar). “About watching people I care for suffer, and trying to figure out how to be there for them. And about the strain of living in the world when it feels like it's ready to collapse.” 

Even with its often dark subject matter, Harm’s Way is Ducks Ltd.’s most vividly rendered and collaborative collection yet. It’s an undeniable evolution for the band, not just in how these songs soar, but in their entire writing and recording processes. Composed on tour while supporting acts like Nation of Language, Illuminati Hotties, and Archers of Loaf, the album displays the band’s finely tuned songcraft and well-earned, road-tested confidence. “When we got signed, we had played maybe five or six shows ever. After last year, it’s in the hundreds. That experience can change your perception of your own music and songwriting,” says McGreevy. “In the past when we got stuck on a song we had a tendency to look at our favourite records to see how they tackled it. But now, instead of asking ‘what would Orange Juice do?’, we’d ask, ‘what would we do?’.” Lewis adds, “We have this really great thing where every decision with the band is filtered through both of us. Here especially, we really figured out how to make something that truly sounds like us.”

The band, fortified by this strong sense of sonic identity and a self-assurance in their new material—and in contrast to their critically acclaimed 2021 debut Modern Fiction and 2019 EP Get Bleak, both self-recorded and self-produced in a Toronto basement—wanted to bring Harm’s Way to life in a new city, with an outside producer, and with some of their favourite musicians. “We realised that so many of our favourite bands who are making guitar music right now are from Chicago,” says McGreevy. Working with producer Dave Vettraino (Dehd, Deeper, Lala Lala), they enlisted a marquee cast of Windy City collaborators to round out the tracks on Harm’s Way, including: Finom’s Macie Stewart (violin, string arrangements); Ratboys’ Marcus Nuccio (drums on most tracks); Dehd’s Jason Balla (who helped arrange the backing vocals, to which he also contributed); and backing vocals from Julia Steiner (Ratboys), Nathan O’Dell (Dummy), Margaret McCarthy (Moontype), Rui De Magalhaes (Lawn), and Lindsey-Paige McCloy (Patio). The band’s touring drummer, Jonathan Pappo, and bassist Julia Wittman also appear on the LP.

Ducks Ltd. are a band that already thrives on skirting the edges of buoyant jangle pop and driving power pop, and the duo credits these collaborators with helping to push their sound even further. “Historically our process has been really tightly controlled and insular. On this record, we worked with people who we trusted with a pretty wide range of musical backgrounds and they had approaches and ideas that helped open up the record's sonic palette,” explains McGreevy. “Jason thinks about backing vocals in a totally different way than I do and is super intuitive with melodic ideas. Julia and Margaret have a really deeo understanding of harmony. Macie and Dave were comfortable with the idea of improvising string parts which took some of those layers in some surprising directions. Dave also has an amazing ability to create atmosphere on a recording, and encouraged us to use a bunch of different techniques, tones, and processes to achieve that.”

Harm’s Way’s lush, melodic swagger is clear from the first notes of opener “Hollowed Out.” A song about living with decline (inspired by a Toronto sinkhole), its bright, indelible catchiness serves in contrast to its lyrical unease. Anchored by Lewis’ shimmering electric guitar, “The Main Thing” laments growing apart from a person whose views you once shared while managing to toss in references to both the unglamorous lives of middle relief baseball pitchers and the occult. Other songs split the difference between country and krautrock, like the rollicking “Train Full of Gasoline,” which uses the 2013 Lac-Mégantic rail disaster in Quebec as a metaphor for self-destructive patterns. Meanwhile, “Deleted Scenes” mourns the absence of someone no longer in your life (even if for very good reasons) and recalls The Cure at their most direct, and closer “Heavy Bag” employs enveloping, mournful strings to evoke a sense of how misery frequently loves company.

Usher hat die Musik, die Kultur und unzählige Leben verändert. Der mehrfach mit dem GRAMMY Award ausgezeichnete internationale Megastar, Schauspieler, Tänzer, Unternehmer und Philanthrop wird auch im Jahr 2023 und darüber hinaus für Veränderungen sorgen. Er hat weltweit mehr als 80 Millionen Platten verkauft und Dutzende von Auszeichnungen erhalten. Gleichzeitig hat er auf dem kleinen Bildschirm in NBCs The Voice und auf der großen Leinwand in Blockbustern wie Hustlers brilliert. Darüber hinaus hat er sich unermüdlich als engagierter Menschenfreund hervorgetan, indem er zig Millionen Dollar für verschiedene Zwecke sammelte und mit seiner New Look Foundation die Jugend förderte. Seit 1999 bietet er jungen Menschen in unterversorgten Gemeinden Chancen und ermöglicht ihnen, sich zu entfalten und scheinbar unmögliche Träume zu verwirklichen. Als echter Ausreißer ist er auf der Bühne seiner ausverkauften My Way Las Vegas Residency ebenso zu Hause wie auf einer Kulturmission der Regierung 2016 nach Kuba als Teil des Presidential Committee for Arts and Humanities von Präsident Barack Obama. Dieses Album stellt die kreative Wiedervereinigung von Usher und L.A. Reid dar, die seit dem 2004 erschienenen Album Confessions mit Diamant-Zertifikat nicht mehr zusammen gearbeitet haben. Das Album wurde hauptsächlich in Atlanta, GA mit vielen der angesagtesten Produzenten Atlantas aufgenommen, darunter Sean Garrett, Lil John, The Avila Brothers, Mel & Mus, Tricky Stewart, Rico Love, The-Dream, Jermaine Dupri, D Mile und viele andere. Es gibt Features von Summer Walker, 21 Savage und Latto.

High Roller Records, slipcase Es ist durchaus eine kleine Sensation, dass dieser Tage ein weiteres MORBID SAINT-Album erscheint, also mehr als 30 Jahre, nachdem ihre zweite LP „Destruction System“ aufgenommen, aber bis zu ihrer offiziellen Veröffentlichung vor kurzem nicht fertiggestellt worden war. Allerdings war die Aussicht, neue Musik in ihrem einzigartigen Death/Thrash-Metal-Stil zu schreiben, einer der Hauptgründe dafür, dass sich die Kernmitglieder 2010 überhaupt wieder vereinten. Während ihrer ersten aktiven Phase von 1984 bis ’94 konnte die Band ihr Potenzial längst nicht ausschöpfen, insbesondere im Hinblick auf ihre bahnbrechende erste Platte „Spectrum of Death“ (1990). Das neue Werk entstand im kreativen Fernaustausch, wobei sich alle Mitglieder gegenseitig Ideen zuspielten, um ein Breitseite aus zehn Extrem-Metal-Tracks abzufeuern, wie man sie heute kaum mehr hört – absolut verheerend und doch musikalisch anspruchsvoll, Grenzen überschreitend, aber nicht auf Teufel komm raus, und abgerundet von einem Artwork des legendären Ed Repka (Death, Megadeth). „Swallowed By Hell“ wurde von Chris Djuricic (Num Skull, Disinter) im The Belle City Sound Company aufgenommen und erhielt den letzten Schliff von Scott Elliott in den Chernobyl Studios. Es riecht nach alter Schule, steht aber mit beiden Beinen im Hier und Jetzt. „Eine bessere Besetzung könnte man sich nicht wünschen“, sagt Gitarrist und Mitbegründer Jim Fergades. „Wir freuen uns jetzt über alle Möglichkeiten, und je nachdem, welche sich uns bieten, kann eine Menge passieren.“

“I like to work with a variety of instruments and set ups,” says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018’s Invisible Threads. ”Sometimes it’s literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a 4-track tape machine and small modular synthesiser set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It’s also about my own reaction to my environment, and what’s going on in my life at the time.”

The Croydon-born Van Hoen started musical life in the early 1990s, signing for R&S records in 1993 but developing his own, myriad and distinctive style across a range of releases on Touch, Editions Mego and other labels, using a battery of instruments, including analogue synthesizers and taking a number of different approaches to recording, rather than ploughing a single sonic furrow. He has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother - their Stars Are Our Home was released in 2013. “I have known Neil Halstead since 1992,” says Van Hoen. “He shared a house with me for a couple of years, and the music I was making and listening to along with clubs I was attending had an influence particularly on Pygmalion, the final Slowdive album on Creation.”

Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It’s a collection of tracks recorded over the past few years, released on Bandcamp - despite his apparent absence, Van Hoen works constantly. Opener “Climates”, in its exquisite limpidity, feels like a homage to Brian Eno, one of his most formative influences in his teen years, commencing with Music For Films, which he bought in 1979. “This Is For Them”, feels like a ghostlike throwback to early drum & bass or electronica, reminiscent of his own, earliest outings. “There have been a number of requests from labels to make some more music like my very early releases on R&S,” says Van Hoen. “This is part of ‘letting go’ and realising that there’s nothing less creative about going back to those styles again.”

“Pencil Of Spheres” is something else again, a magnificent, imaginary glass structure, shimmering, refracting, without visible means of suspension, a thing of impossible beauty. “Electric Lights” evokes an abandoned fairground, its lights still pulsating, its music lingering. “The Underpass”, meanwhile, insofar as it reminds of anything at all, is faintly reminiscent of Cluster or Neu’s! West German ambience, the urban mundane rendered magical, the sodium lights, the whitewashed walls. The reverberant, faintly oriental chimes of “Insight” transport us yet again, burgeoning and intensifying.

The landscapes, the skyscapes rendered on Plan For A Miracle feel unpopulated as a rule - but when he does introduce vocal elements, Van Hoen has a history of doing so to spectacular effect - think of “Real Love” from 1998’s Playing With Time, the seductive intonation of its title recurring throughout like a series of massive holograms, echoing, stuttering, breaking up, surging. Here, there are just the faintest of vocals, barely distinct, disquieting. “There’s been a bit of a game changer in recent times,” explains Van Hoen. “AI software that enables you to extract vocals and instrument parts from virtually any recording. That means sampling individual parts from existing sources is no longer limited to the original mix exposing certain parts soloed. The vocal parts I use are from multiple sources and often pitch shifted altered rhythmically and melodically.“ There’s further vocal chatter on “I Really Do”, proceeding at a faster pace as if giving chase, or being pursued - distant, enigmatic. “The Music”, meanwhile, its beat tolling, lost in its own fog of static, features a curious intonation, like the ghost of a lost Walker Brother.

Sadly, the album’s title is in reference to a personal tragedy on Van Hoen’s part - the loss of his wife. Titles such as “I Won’t Give Up”, which faintly reminds of another Eno masterpiece, Another Green World, in its nautical hurly-bury, or the pastoral strains of “Mrs Who”, heavily clouded with sadness, seem to allude to this. “In fact the record was recorded entirely before she passed away,” says Van Hoen, “most of it before she even became very ill. The title was given to the album when it started to look like she wasn’t going to make it beyond a few months. It was something Osho said - “plan for a miracle” - so it was a statement of hope. Unfortunately it was not to be.” Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho’s memory.

-David Stubbs.

Marking 25 years since the Curb Records re-release of Sixpence None The Richer's GRAMMY-nominated self-titled effort, the Deluxe Anniversary Edition honors the landmark recording, "Kiss Me", a bona fide worldwide hit plus four bonus tracks complementing the Platinum- certified LP's 13 original selections.

"Sixpence None The Richer" includes next to the Mega-Hit "Kiss Me" the following tracks: "The Waiting Room", "Easy To Ignore", "I Can't Catch You", "Sister, Mother" and more.

Craig Clouse has devoted the past several decades to exploring a wide range of avant-garde avenues for his brainchild Shit & Shine. The monolithic riffs of raw and powerful psych'n'roll hysteria, the freeform dance miasma, sub-heavy electronica and the blissful stupidity crafted for ecstatic ascension: all perfectly-placed in the idiosyncratic world of Shit & Shine. There's also fertile soil for twisted noises in their lowest form, often obscured by groovier comrades in S&S releases yet vitally important for the substance of Clouse's compositional carcass and OOH-sounds has given him the required space to stretch out his longtime interest in developing loose structures and crackling landscapes to transcend his rhythmic comfort zone.

Making an enthusiastic transgression into noisy tones, "Joy Of Joys" has a friendly way of presenting difficult material. The rough and ready cheapo electronics sparkle in full electrifying mode, welding an ascetic gamut of aural hypnotics with a wormhole of uncompromising loop brut. Clanks, bangs, twangs and creeping, ragged globs of sound bloom on the bones of repetition to focus on the swinging stream of dirty anarchy. Stepping out of any context and genre disciplines, S&S finds new sonic trajectories in "Joy Of Joys" which perfectly sit in-between a wobbly cabal of international sub-underground acts: the idiot-avant strategies of LAFMS, early Mego bad digitalia, no-brow enthusiasm of Wolf Eyes family, micro-DIY ethos of Chocolate Monk and the sheer hellish nonsense of US noise circa '00s.

Clouse was already established as a landscape painter with a series of faux naïf paintings charmingly accompanying his releases. With his heart full of passion for abstract minimalism, he continued these narrative forms but was always in search of the confidence to paint non-figurative art. The first step into the chaotic abyss is coming from his sonic side by abandoning the beat and riff layers of his previous works to complete nakedness and reductionist courage. At once Clouse makes an evolutionary lurch into extremes as well as taking us back to basic forms in "Joy Of Joys". He creates an entire new parallel world to Shit & Shine with his maverick imagination presenting us with one of the most mutant releases to bear his name. Arthur Kuzmin

Hochdynamischer melodischer Metal aus dem Herzen von Raleigh, North Carolina! Auf ihrem vierten Album in voller Länge verbinden Mega Colossus epische Metal-Größe mit den Hooklines und Melodien von Rainbow und Kansas! Aufgenommen mit Al Jacob im Warrior Sound in Chapel Hill fängt 'Showdown' Mega Colossus mit vollem Tempo ein und setzt wieder auf duellierende Twin-Guitar-Harmonien. Buchanans Gesang ist schrill und mühelos und trägt grandiose, kühne Refrains, die sogar gelegentliche Styx-Anspielungen aufweisen. Vor allem aber ist das Album ein der Zusammenschluss von fünf sehr unterschiedlichen Musikern. Kein Wunder also, dass sich Showdown zu einer epischen Darbietung unheimlichen und markanten melodischen Metals entwickelt hat, mit der ganzen Tiefe und dem Charisma einer Band, die jetzt in ihr 20. Jahr geht.

Rock Hard (8,5 Pkt. / Soundcheck # 4 Dynamit!)
MEGA COLOSSUS aus North Carolina haben ihren Stil gefunden. Sie adaptieren die pathetische Melodik von Seventies-Heroen wie Kansas, Styx oder auch Uriah Heep und sind mit ihren drei Stimmen durchaus in der Lage, deren abgefeimten Chorgesang zu reproduzieren. Aber ihre spielerische Provenienz liegt eben nicht im Rock, sondern im agilen, technisch ausgereiften, enorm zeigefreudigen Heavy Metal. Dieser Kontrast zwischen Schmonz und Breitseite ist ziemlich suggestiv. Trotz des hohen Tempos nieten sie sich souverän und tight durch ihre vertrackten Kompositionen, und das Gitarrenduo Bill Fischer/Chris Millard lässt die Finger fliegen, erinnert mit seiner an die Grenzen gehenden Spiellaune an Bands wie Haunt oder Valkyrie. Was ihnen an totaler Eingängigkeit vielleicht noch abgeht, machen sie mit Energie und Frische allemal wett.

Legacy (11 Pkt.)
Bill Fischer und Sean Buchanan stellen einmal mehr unter Beweis, wie geschickt sie Harmonien, Riffs und Hooklines mit prägnantem Gesang zu griffigen Songs zusammenschrauben können. Das inzwischen fünfte Album der Truppe aus North Carolina punktet ab dem Opener 'Fortune And Glory' mit straight gerifftem Siebziger-Jahre-Hard-Rock, der immer wieder Ausflüge in den Bereich des melodischen Metal unternimmt und von Buchanans Organ noch eine epische Note verliehen bekommt - hörbar bei 'Outrun Infinity' oder 'Showdown'. Die Melodielinien in Songs wagen auch immer mal wieder den Flirt mit wirklich poppigen Passagen und Strukturen, ohne dabei in den Kitsch zu schliddern - der kleine Hit 'Wicked Road' ist hier das wohl schillerndste Beispiel. Mit deutlichem Fokus auf Gitarren und Gesang und gesungenen Übergängen zwischen den verschiedenen Momenten erschafft der Fünfer eine Atmosphäre, die klingt, als wären Thin Lizzy auf Europe getroffen und hätten ganz unbefangen ein paar Songs geschrieben. Am Ende spendieren MEGA COLOSSUS dem Hörer mit 'Take To The Skies' noch eine schöne Achtziger-Metal-Nummer. Starkes Teil!

Kein anderes Konzert wird auf der ganzen Welt mit so viel Spannung erwartet wie das alljährliche Neujahrskonzert aus Wien. In diesem Jahr wird das Mega-Klassik-Event in über 90 Länder übertragen und von mehreren Millionen Menschen verfolgt.Am Pult des Neujahrskonzerts 2024 steht Christian Thielemann, Chefdirigent der Sächsischen Staatskapelle Dresden und künftiger Nachfolger von Daniel Barenboim an der Berliner Staatsoper Unter den Linden. Thielemann ist den Wiener Philharmonikern seit dem Jahre 2000 musikalisch eng verbunden, und 2019 leitete er erstmals eines ihrer Neujahrskonzerte. Darüber hinaus dirigiert er das Orchester regelmäßig in Abonnementkonzerten im Wiener Musikverein, bei den Salzburger Festspielen sowie auf Tourneen in Japan, China, Europa und den USA. Nach der Referenz-Einspielung eines gemeinsamen Zyklus sämtlicher Beethoven-Symphonien begannen die Wiener Philharmoniker und Christian Thielemann noch während der Pandemie mit der Arbeit an einer Gesamtaufnahme der Symphonien von Anton Bruckner, die im Oktober 2023 bei Sony Classical erschien.Bruckner wird auch im Neujahrskonzert 2024 mit einer dortigen Erstaufführung seiner Quadrille op. 212 geehrt.

Goatsnake was formed in 1996 by guitarist Greg Anderson (Engine Kid), vocalist Pete Stahl (Scream, Wool), and the mega rhythm section of Greg Rogers (drums) Guy Pinhas (bass) from underground heavy legends the Obsessed. Their now-classic debut album appropriately entitled: I (one) was originally released by Mans Ruin records in 1999. 8 songs that gracefully combine monolithic, Sabbathy riffs with soulful vocals to create a monumental album. It has now been reissued as a single vinyl lp as it was originally released for the first time since 1999.

Sonor Music Editions proudly presents "A TEMPO DI JAZZ" by Maestro Piero Umiliani. This lost gem captures the formative years of Modern Jazz in late 1950s Italy - alongside the legendary Basso-Valdambrini recordings in the early 1960s, as well as the early years of Piero Umiliani's long and prolific career as a composer with over 190 soundtracks, 40 library albums, and 35 TV title themes recorded.

A TEMPO DI JAZZ includes seven original compositions by Piero Umiliani recorded in 1959. Here, at the age of 33, he lays a perfect ground with himself as a pianist, accompanied by some of the best Italian soloists at the time: Marcello Boschi on alto saxophone and flute, Ivan Vandor on tenor saxophone, Peppe Carta on bass, and the American trombonist Bill Gilmore. With plenty of room for improvisation, the sextet fuses Big Band moods with West Coast experimentation of Latin American rhythms and Modern Jazz ballads that sit perfectly between his soundtracks for the films "I Soliti Ignoti" (Big Deal on Madonna Street) from the same year that attained him international recognition, and his masterpiece "Smog" (featuring Chet Baker and Helen Merrill) from 1962.

Five compositions are outtakes from Piero Umiliani's mega-rarity "Tempo Jazz", released on RCA Custom in 1960, while 'Tema In Blues' has been published on the two - impossible to obtain - 45 releases "Moderato Swing" (RCA Camden 45CP 112) and "Tema In Blues" (RCA Custom 45 R3) from 1960 as well as the previously unreleased track 'Mezza Cottura.'

The music has been transferred and remastered from the original master tapes and lacquer cut in MONO, preserving the original sound of the recordings.

"Javelin" verbindet musikalischen Schwung mit emotionaler Weite. Manchmal hat man das Gefühl, dass das Album von einem großen Team produziert wurde - aber das ist es ganz und gar nicht: Fast jeder Sound hier ist das Ergebnis von Stevens zu Hause, der selbst etwas geschaffen hat, das sich manchmal wie ein Zeugnis der Studio-Opulenz der 70er Jahre in Los Angeles anfühlt. Die Beiträge stammen von einem engen Freundeskreis - Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui und Nedelle Torrisi -, die bei vielen Songs Harmonien beisteuern, sowie von Bryce Dessner, der bei "Shit Talk" akustische und elektrische Gitarre spielt. Der zärtliche und mystische Abschluss des Albums, "There's A World", wurde von Neil Young geschrieben. Während "The Ascension", das von der New York Times als "ein Schrei der Verzweiflung und ein Gebet um Erlösung" gelobt wurde, eine kunstvolle, aber dringliche Elektronik verwendet, um sich dem Moment zu nähern, beginnt "Javelin" wie ein Selbstporträt, detailliert und doch schlicht. Dies ist Stevens' intimstes Werk, das an "Seven Swans" oder "Carrie & Lowell" erinnert und den Hörer in die Nähe seiner inneren Abrechnung ruft. "Javelin" wird von einem 48-seitigen Booklet mit Kunst und Essays begleitet, die alle von Stevens geschaffen wurden, darunter eine Reihe von akribischen Collagen, zerschnittenen Katalogfantasien, Puff-Paint-Wortwolken und sich wiederholenden Farbfeldern. Die 10 kurzen Essays - abwechselnd lustig, tragisch, ergreifend, stumpfsinnig und spezifisch - bieten kleine Einblicke in Lieben und Verluste, die ihn und diese Lieder geprägt haben.

"Javelin" verbindet musikalischen Schwung mit emotionaler Weite. Manchmal hat man das Gefühl, dass das Album von einem großen Team produziert wurde - aber das ist es ganz und gar nicht: Fast jeder Sound hier ist das Ergebnis von Stevens zu Hause, der selbst etwas geschaffen hat, das sich manchmal wie ein Zeugnis der Studio-Opulenz der 70er Jahre in Los Angeles anfühlt. Die Beiträge stammen von einem engen Freundeskreis - Adrienne Maree Brown, Hannah Cohen, Pauline Delassus, Megan Lui und Nedelle Torrisi -, die bei vielen Songs Harmonien beisteuern, sowie von Bryce Dessner, der bei "Shit Talk" akustische und elektrische Gitarre spielt. Der zärtliche und mystische Abschluss des Albums, "There's A World", wurde von Neil Young geschrieben. Während "The Ascension", das von der New York Times als "ein Schrei der Verzweiflung und ein Gebet um Erlösung" gelobt wurde, eine kunstvolle, aber dringliche Elektronik verwendet, um sich dem Moment zu nähern, beginnt "Javelin" wie ein Selbstporträt, detailliert und doch schlicht. Dies ist Stevens' intimstes Werk, das an "Seven Swans" oder "Carrie & Lowell" erinnert und den Hörer in die Nähe seiner inneren Abrechnung ruft. "Javelin" wird von einem 48-seitigen Booklet mit Kunst und Essays begleitet, die alle von Stevens geschaffen wurden, darunter eine Reihe von akribischen Collagen, zerschnittenen Katalogfantasien, Puff-Paint-Wortwolken und sich wiederholenden Farbfeldern. Die 10 kurzen Essays - abwechselnd lustig, tragisch, ergreifend, stumpfsinnig und spezifisch - bieten kleine Einblicke in Lieben und Verluste, die ihn und diese Lieder geprägt haben.

Jakarta Records is proud to present “Les Grandes Vacances” courtesy of Beirut’s Cosmic Analog Ensemble, aka multi-instrumental phenom Charif Megarbane. The LP is an expansive musical odyssey, one that paints a melodic tapestry woven from an eclectic panorama of sonic tools. Funky beats, dreamy melodies + cinematic flair combine to create an experience that transcends time. From vibrant funky energy to introspective moods and library-inspired tunes, “Les Grandes Vacances” captures the essence of past and present, inviting you to indulge in the perfect balance of “groove-stalgia.” Out January 19, 2024.


Cosmic Analog Ensemble (1.6k Spotify Monthly Listeners – SML), the prolific one-man band helmed by Charif Megarbane (61.5k SML), the staggeringly prolific producer, instrumentalist, and all-around musical mastermind, returns to his “Ensemble” with LP “Les Grandes Vacances.” Megarbane's artistry has garnered widespread recognition, with notable placements in Spotify Editorial Playlists like "Global Groove" (679k) and "Folk Fabrique" (162k), along with coverage from esteemed platforms / publications such as BBC Radio, Bandcamp, The Vinyl Factory, Time Magazine, and Esquire, among others. Building on the success of his debut solo release “Marzipan” in 2023 via Habibi Funk, “Les Grandes Vacances” is a sonic journey that captures the full scope of Megarbane’s sonic habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. Now, Jakarta Records presents a new expansion in the Megarbane sonic universe.

In the enchanting sonic world of “Les Grandes Vacances,” Cosmic Analog Ensemble expertly combines diverse musical elements to craft an immersive experience. From vibrant funky energy to introspective moments and library-inspired compositions, the album's sonic palette is rich and varied. The meticulously designed artwork by Simone Cihlar (known for collabs with Anderson Paak., Tom Misch, Ivan Ave, Tapioca and others) complements the album's thematic depth, enhancing the visual and auditory journey for listeners.

First single is the thrilling sonic escapade, “La Ligne Claire,” set to release on November 10th in conjunction with LP pre-order. The track immerses listeners in vintage spy movie ambiance, featuring groovy drums, warm keys, thematic guitars, and strings that create an unforgettable car chase scene. As part of the rollout schedule, this single offers a glimpse into the album's captivating fusion of nostalgia and innovation, promising a musical adventure that lingers and resonates in your ears. Second single, the lush and groovy “Le Dictionnaire des Sentiments,” follows in the sonic footsteps of Serge Gainsbourg (complete with beautifully poignant French lyricism), out December 8th to round out the year. The track jerks the listener towards a more meditative state and expanding, cinematic sound.

Kicking of 2024 will be the absolute funkified single 3 “Maritime Jazz,” out January 5th. The track transports you to a groovy marina where the movement of the sea and boats sways you along a Madlib / Yesterdays New Quintet-esque groove.

Reflecting on his creative process, Megarbane cites a stream of consciousness approach to the Cosmic Analog Ensemble: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.”

Erster Release der Light In The Attic Re-Issue Serie zu Ehren von LEE HAZLEWOOD mit Stücken von so essentiellen Alben wie ,Cowboy In Sweden". Mit Duetts mit Suzi Jane Hokom, Ann Margret und Nina Lizell. Extensive Linernotes und bisher ungesehene Photos. Mit seinem Schnurrbart und dem klingenden Bariton war LEE HAZLEWOOD einer der Stars der späten 60er Jahre. Obwohl er wahrscheinlich am bekanntesten wegen seiner Arbeit mit NANCY SINATRA ist (er schrieb ihren Megahit ,These Boots Are Made For Walking"), leistete HAZLEWOOD auch fernab dieser besonderen Glamourkönigin beachtliche Arbeit und fand später große Fans in BECK, SONIC YOUTH und JARVIS COCKER. Für den Record Store Day 2012 präsentiert Light In The Attic den Startpunkt einer Anthologie mit ,Singles, Nudes&Backsides", die LEEs beste Solosongs und Duetts seines Lee Hazlewood Industries Sublabels (LHI) versammelt. Die Serie wird sich Material von LHI widmen (das hier zum ersten Mal von den analogen Originaltapes neu gemastert wurde), zusammen mit LEEs Output bei anderen Labels, Raritäten, unveröffentlichten Schätzen und den Filmen von Torbjörn Axelman. Man muss nur das Cover anschauen: umringt von nackten Mädchen, die alle einen unechten Schnurrbart tragen, spielt HAZLEWOOD im Anzug leicht unsouverän den Playboy. Exakt wie dieses Photo zeigen auch die Songs einen gespaltenen Mann: er ist der zärtliche Romantiker, der gebrochene Loser und der zerfurchte Cowboy zugleich.

Edles weisses Vinyl mit Radio-Live-Aufnahmen von 1996 der legendären Band RAINBOW, inklusive den Mega-Hits Perfect Strangers, Man On The
Silver Mountain, Burn und viele mehr. Limitierte Auflage.

A true Dead Moon classic now back in print, note the new price. One of their most beloved LP's. Features the mega hit 'It's Okay' along with other classics like Day After Day, Cast Will Change, Unknown Passage, and the best version of TImes They Are Changin' ever recorded! All hits, no misses on this one. Timeless. Lovingly remastered by Timothy Stollenwerk

Repress!

10 years since the consumerist musings of Tesco, Matthew Herbert reanimates his Wishmountain project and heads deep underground to find the source material for Stonework: 1000 metres down.

Like many of Herbert’s projects, Wishmountain releases revolve around specific, material sound palettes, and for this latest album he’s drawn from a sample library created as a commission for the Stone Techno festival, which took place at the UNESCO World Heritage Zollverein mine in Essen, Germany. Working with sound recordist Lorenzo Dal Ri, Herbert and Dan Pollard captured a varied and wide variety of hits, tones, textures and one-shots from the frozen-in-time remnants of the Ruhr region’s coal-mining industry and from specific materials in the nearby Ruhr Museum and Mineralien-Museum. A sample library created by Matthew and Dan of the recordings was also used for the Stone Techno series, from which tracks have been commissioned by the likes of Luke Slater, Megan Leber, Ben Sims and KiNK drawing from the same sounds heard on this album.

These stone-cast sounds lend themselves to the Wishmountain framework – skeletal, quasi-industrial techno with an angular impulse and a subtle swing. Much like the breakthrough hit, 1996’s ‘Radio’ (made using samples of a broken radio), the limitations on the source material sharpen the focus of the music. What started out as a practical hardware restriction in the early 90s became a purposeful way of working for Herbert – one which carried through the 1999 album Wishmountainisdead to 2012’s Tesco with its sampling of the British supermarket chain’s 10 most popular products.

Musically, Stonework is consistent terrain for Wishmountain – austere and forbidding in one sense, playful and irreverent in another. But from a club music perspective, which Wishmountain absolutely is, it offers DJs a variety of rhythmic formations within the tool-like minimalism of the arrangements, opening up intriguing possibilities for mixing into, out of, or somewhere in between. For every 4/4 thrust and jerk there is a fractured, snaking meditation pivoting around other time signatures.

Crystal clear in its creative intention and simultaneously successful as surface-level club music, Stonework: 1000 Metres Down is a natural continuation for one of Herbert’s most celebrated, albeit intermittent, aliases.

Edles weisses Vinyl mit Radio-Live-Aufnahmen von 1982 der legendären Band QUEEN, inklusive den Mega-Hits We Will Rock You, Radio Ga Ga, I
Want To Break Free und viele mehr. Limitierte Auflage.

I see lucid blue flames moving before my eyes.
I hear voices melting. Voices somewhere from within.
Speaking words I do not know but feel connected to, almost as if I have known the meaning once..
Noises that obscures the multiple pictures hidden in these digital compositions.
Iku Sakan have created a set of five tracks that takes the listener on a
trip deep into the human psyché. Emotional flickering movements that twists and turns. The albums have a darker, much more intense feel than some of Ikus earlier magical and often hypnotic music. A myriad of different voices creates pulsing patterns and constantly morphing pictures for my inner eye. It's an album that might work as a hack to our lingual structures, pushing limits, pushing possibilities of meaning.

A pool of over-saturated information boils and out of the vapor new contours take form.
The magical and hypnotic is not gone, I still recognise the softer aspects of Ikus highly detailed hybrid sound design. But I no longer see where it takes me. It excites me. It feels like the world is expanding again, breathing. The sounds on the album asks us questions and points in several directions at once. In the shadows, weeds of lucid dreams grow deeper roots, reaching for my inner ear.

The faint sounds on the track Nature Morte reminds me of expeditions to the local witch house ruins as a child. Something almost not there, something felt. History, Memories and the connection between the two seems to have played a part in these compositions. Emotional reactions that plant reactions in other people, all around creating soft movements on the face of our planet.

Whether our collective psyché is an open field or an impenetrable dark forest, is of less concern with a key like Omnitopoeia, that works like an enhanced mirror, reflecting the dreams of the words we speak everyday, reflecting the emotional charges of significant places. Unrecognisable but still remembered.

Mega rare soundtrack to the obscure Venezuelan sexploitation film “Sobre la Hierba… Virgen” originally released in 1976 and almost impossible to find in any condition. The album includes a wide variety of music to enjoy, from thrilling psychedelic jazz-funk to spacey experimental tracks, killer drum-breaks or romantic instrumental tunes. Composer and keyboard player Schneider had an outstanding body of work for the TV/film industry and recorded with the likes of Baby Bell, Grupo Syma, Vytas Brenner as well as huge mainstream artists like José Luis Rodríguez and Pecos Kanvas. He was also producer to Phirpo Y Sus Caribes’s highly collectable only LP, a brilliant Afro-Latin funk masterpiece. His much sought-after 1975 solo album on Polydor anticipated the sounds comprised on “Sobre la Hierba… Virgen”, featuring a variety of exotic arrangements ranging from Latin mood to jazz funk to electronic psychedelic. “Sobre la Hierba… Virgen” is one of the best recordings of Pablo Schneider at the peak of his career.

Die dritte und letzte Phase der Kaizers Orchestra-Reissue-Serie auf 180g Gatefold-Vinyl. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. 'Violeta Violeta Vol.I' aus 2011 ist ein Werk voller Inspiration, Kreativität, Freude und musikalischer Erkundung. Mit grossartigen Ideen und der Fähigkeit, sie umzusetzen. Die Single 'Hjerteknuser' führte die Band zu neuen Höhen und festigte Kaizers Position als grösste Band Norwegens.

Die dritte und letzte Phase der Kaizers Orchestra-Reissue-Serie auf 180g Gatefold-Vinyl. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. 'Violeta Violeta Vol.I' aus 2011 ist ein Werk voller Inspiration, Kreativität, Freude und musikalischer Erkundung. Mit grossartigen Ideen und der Fähigkeit, sie umzusetzen. Die Single 'Hjerteknuser' führte die Band zu neuen Höhen und festigte Kaizers Position als grösste Band Norwegens.