Cerca:mike w

It’s been ten years since Drew Lustman aka FaltyDL last released on Planet Mu. In the meantime he's been running his own label Blueberry Records, been in-house producer for Mykki Blanco and has become a dad. The best things come out of play and it was Drew’s relationship with his young daughter that switched on this playful side of his music. The album in question, ‘Neurotica,’ expresses Drew’s fun in creating such energetic pieces people will want to move to. It's a dizzying sugar-rush at a high-speed bounce; the music is fresh and inviting and most important of all, joyful."Summer of ’24, we were in Catalonia. My girl, our young daughter, the old folks. Days by the village pool, afternoons on the dirtbike. At night, I made salads. Simple things. Good things. One afternoon, lying back, phone in hand, I saw a friend post a GRWM. The music behind it stopped me. A song grabbed hold. The track was ‘Secret’ by Mietze Conte, which is fast-paced euro-pop dance music, like soft fluffy gabber with childlike vocals. I hunted down the full version. Played it again. And again. Twenty times over the next few days. It unlocked something. The best music does that. Like the first time I heard Burial. Had to know what was happening under the surface. That time, it led to ‘Love Is A Liability’ in 2009. This time, it led to ‘Neurotica.’“ “I started to record, getting down fast, bright, sugar-rush sounds. 185 to 200 BPM. I wrote them quick—half a day per track. In between, I slowed things down. Gave space for breath. Mike Paradinas helped shape the album, his ear guiding the flow. I tested the tracks. Played them for kids barely out of diapers and grown folks who still move like they are. It worked, on all ages. I kept it simple. Only two rules: keep it moving and don’t look at my phone. Cut the vocals like I used to.” ‘Neurotica’ is FaltyDL with his mojo refreshed, a new life squared, do yourself a favour, crack a smile and feel the joy.

The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

King Street Sounds are back again with their fourth installment in the King Street Sounds Sampler Series. This release unearths four classics from house music heroes such as DJ Romain, Mike Delgado, Dennis Ferrer, 95 North, Sabrynaah Pope and Louie Vega.

The EP kicks off with DJ Romain’s “All Day, All Night”. Originally released on “Nite Grooves” in 1996, a perfect example of New York house with a memorable vocal sure to keep you hooked hopefully all day and all night.

Next up is Mike Delgado with “Get Ready”. This track is a certified dancefloor filler, with those fast hitting highs and catchy keys. It is definitely a secret weapon that any DJ should use in case of an emergency.

Flipping over to the B side, Dennis Ferrer is returning once again in this series with “Dem People Go (DF's Kicked Out Mix)” Featuring Bola Belo. This Tribal House classic emulates being in the sun for the listeners, effortlessly bringing that block-party vibe.

Rounding off the EP is 95 North featuring Sabrynaah Pope with “Hold On” (Louie’s MAW Club). An already great track by its lonesome, but with house music icon Louie Vega’s magical touch it makes it a must have for any DJ who wants to get the dancefloor bumping.

King Street sounds have done it again! All killer and no filler.

"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

‘Maybe I’m Dreaming’ is the latest collection selected by Mikey Young (Total Control, EddyCurrent Suppression Ring) and Keith Abrahamsson (Founder and Head of A&R at AnthologyRecordings), the mangled minds behind the beloved ‘Follow the Sun’, ‘Sad About the Times’,and ‘…Still Sad’ compilations. The twenty tracks of ‘Maybe I’m Dreaming’ make a conscious(and unconscious) detour from its predecessors, sourced entirely from private press releases,spanning new decades and production modes within homespun folk, soft rock and otherwise70s and 80s FM radio adjacent music.  The magic of ‘Maybe I’m Dreaming’ is the untold story of the artists behind these songs; thosewho missed the big time, but whose song craft and unrequited care hit the right notes, bothhigh and low.
Where ‘Follow the Sun’ and ‘Sad About the Times’ introduced us to the fame chasing, ambitioncrashing crooners who missed their shot in the mainstream, ‘Maybe I’m Dreaming’ delvesdeeper into the isolated wilds - a private world where production quirks, late-night tape hiss andone-man studio dreams were not necessarily a choice but the hand that was dealt.
With the parameters set to ‘private press only’, Young and Abrahamsson follow a circuitous trailof invention and emotion, documenting a spirit that’s more homespun, sometimes lonelier andoften a little weirder. The guitars still strum, but the keyboards’ hum is more prevalent andprecious; wistful harmonies brush up against lo-fi drum machines; a bittersweet fog lingeringover even the brightest melodies.
As with their previous collaborations, Young and Abrahamsson weren’t interested inconstructing a museum or drafting a historical survey. ‘Maybe I’m Dreaming’ is a sentimentalmixtape, assembled late at night when the mind wanders and old memories blur with imaginedfutures, those within reach and those far too mysterious to ever encounter. Songs wereunearthed in personal collections, deep YouTube burrows, dilapidated web archives and thedim corners of Discogs, with many selections tied not only to intuition but to personalconnection.  Some tracks arrived via friends - Kelley Stoltz, a frequent guide for Young, tipped him off toboth Peter Kraemer’s lost gem ‘Let the Light Slip’ and Awakening’s revelatory closer - addingan unseen but deeply felt thread of camaraderie to the compilation.
The journey takes in a wide, strange sweep: The Watson Brothers Band’s ‘Just Whistle’ opensthe collection with a sigh and a shrug, a song that feels like it’s been waiting for decades to beheard again. Jim Huxley’s ‘Tessa on a Magazine’, rediscovered after a long and winding searchby Young, shimmers with a distinctly Australian melancholia. The heartbreak of Rick Penta’s‘My Story Changes’ and Twice As Nice’s delicate ‘Thoughts of You’ float easily alongside themore buoyant, radio-dream sheen of Barracuda’s ‘Baby I Love You’ and MAK’s sunshinedappled ‘That’s Life’.
Widening the aperture to the late 1970s and early 1980s allows for a deeper exploration intoevolving production techniques and musical technologies. The Squad’s ‘D.L.M.H.I.M.A.’ andChristoph Spendel Group’s ‘Forever’ crackle with the kind of bedroom synth warmth that couldonly come from the analogue age, while the soulful, yearning undercurrent of Awakening’s‘Gotta Do Somethin / Might As Well Cultivate’ caps the collection with a call for action - ormaybe just acceptance - in an accidental Brian Eno ‘Here Come the Warm Jets’ parroting.
While ‘Maybe I’m Dreaming’ moves away from the ‘sad man with guitar’ archetype that hoveredover its predecessors, it remains tethered to a familiar emotional gravity - a balance of longingand lightness that defines this corner of the musical universe. Each track shuffles gentlybetween resignation and hope, sadness and serenity, as if the artists themselves were chasinga dream just beyond reach, recording not for fame but for the simple act of getting it, thatprimal, creative itch, out into the world.
Available on CD and 2LP, featuring the third eye-opening artwork of Dang Wayne Olsen. Thedouble LP set arrives in an outrageous double-wide spine jacket with printed inners and adream journal entry by Pacific Northwest artifactual authority Josh Lewellen.

Auf "Cryptic Aura" rotiert der fette Wahnsinn! AZURE EMOTE laden mit ihrem vierten Album zu einer "Tour de Force" durch die äußeren stellaren Gefilde des Death Metal ein, wo die musikalischen Möglichkeiten gegen die Unendlichkeit konvergieren und sich in alle Richtungen und Dimensionen auszudehnen scheinen, bis die Gravitation ihres ultraschweren Sounds alles in den Schlund eines zermalmenden Ereignishorizonts zieht. Jeder Track auf "Cryptic Aura" ist in seiner eigenen abstrakten Verrücktheit einzigartig, aber sie sind dennoch allesamt durch eine Verschmelzung von verstörenden Atmosphären, rastloser Unruhe und trotziger Kreativität miteinander verbunden. AZURE EMOTE wurden im Jahr 2003 von Sänger und Keyboarder Mike Hrubovcak mit Unterstützung seines langjährigen Freundes, den Gitarristen Ryan Moll (TOTAL FUCKING DESTRUCTION), in Philadelphia, Pennsylvania gegründet. Sein Ziel war die Erschaffung eines experimentell-musikalischen Ventils, um persönliche Negativität auszudrücken. Alle willkürlichen Einschränkungen wie etwa Genregrenzen, die oft die extreme Metal-Szene prägen, lehnte Hrubovcak dagegen entschieden ab. Dieses Ziel wurde bereits mit dem Debüt "Chronicles of an Aging Mammal" (2007) erreicht. Obwohl das Album schnell Kultstatus erlangte, mussten AZURE EMOTE eine Pause einlegen, da sich Hrubovcak auf ausgiebige Tourneen mit seinen anderen Bands konzentrierte – insbesondere MONSTROSITY und VILE. Im Sommer 2011 wurden AZURE EMOTE gemeinsam mit dem FEAR FACTORY- und MALIGNANCY-Schlagzeuger Mike Heller wiederbelebt, was schließlich zur Veröffentlichung des zweiten Langspielers "The Gravity of Impermanence" im Jahr 2013 führte. Das Line-up besteht weiterhin aus Kelly Conlon, der auf DEATHs "Symbolic"-Meisterwerk den Bass spielte und u.a. auch Mitglied von MONSTROSITY war. Mit der Aufnahme der ehemaligen ELUVEITIE-Sängerin und Multi-Instrumentalistin Anna Murphy, jetzt CELLAR DARLING, sowie dem Violinisten Pete Johansen (ex-SIRENIA) haben AZURE EMOTE ihre beeindruckende musikalische Spannweite erneut ausgebaut. "Cryptic Aura" ist das in Töne gegossene Gedankenspiel, wie Death Metal klingen kann, wenn alle Überlegungen zu stilistischer "Reinheit" und musikalische Vorurteile über Bord geworfen werden. Dabei bleibt der brutale Kern des Genres unangetastet. AZURE EMOTE laden zu einem atemberaubenden Ritt in die Unendlichkeit des Death Metal ein.

CRAIG DAVID RETURNS WITH NEW ALBUM 'COMMITMENT'.

Created with Mike Brainchild, Toddla T, Tre-Jean Marie and Wretch 32 and featuring collaborations with Jojo, Tiwa Savage and Louisa - one of the greatest British singers and songwriters of all time returns this summer with a brand-new album.

'Commitment' is Craig David's ninth full-length record and it is a total triumph. Imbued with a resounding sense of joy and playfulness, the 13 track-player balances a powerful feeling of confidence and ebullience alongside an agile nuance and delicate vulnerability.

This is Craig David at his very best.

Opening emphatically with the rallying cry of UKG head turner Wake Up, 'Commitment' spans the best of British music; from the rich house refrains of Leave The Light On, through to the perfect tropical pop of SOS and the warm embrace of Afrowave on the utterly gorgeous title track. Craig also flawlessly delivers, throughout, those signature R&B riffs, ad-libs and runs that he is so known and loved for. And while there are nods to the past, this is a body of work that exists very much in the present. Like Craig classics before it, 'Commitment' embodies the best of what's been before while pushing things firmly forward.

London-based deep house duo Saison debut on NYC’s Nu Groove, with their four-track ‘Return 2 Jak EP’ now on wax. From uplifting, vibrant house releases like ‘Spark It Up’ to their groove-laden remix of Mike Dunn’s ‘It’s A Groove Thang’, Saison continue to show their versatility with this collection of tougher tracks built for the underground. Opening the EP is ‘This Is The House’, loaded with deep synths and an undeniably club-ready bounce, featuring alluring spoken-word vocals from Chicago native Black Widow. Next up, ‘Sugar’ and hard-hitting title track ‘Return 2 Jak’ further demonstrate Saison’s cool, deep house sound. ‘Respect The Lie’ follows with its piano-led groove paving the way for atmospheric synth, closing out this special four-track vinyl; a must have for crate diggers and collectors of fresh, deep house.

Classic black 2LP in gatefold! "Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics." Rolling Stone Sleep paralysis plagues singer/songwriter Chelsea Wolfe, and that strange intersection of the conscious and the unconscious has inadvertently manifested itself within her work. Across the span of her first four albums, there is an underlying tension, a distorted and nebulous territory where dark shadows hover along the edges of the sublime and the graceful. But until now, Wolfe's trials and tribulations with the boundaries between dreams and reality have only been a subconscious influence on her work. With her fifth album, Abyss, she deliberately confronts those boundaries and crafts a score to that realm she describes as the "hazy afterlife. an inverted thunderstorm. the dark backward. the abyss of time." Chelsea Wolfe's material has always felt intensely private, from the almost voyeuristic bedroom-production aesthetic of her debut album The Grime and the Glow to the stark themes and atmospheres of 2013's Pain Is Beauty. "Abyss is meant to have the feeling of when you're dreaming, and you briefly wake up, but then fall back asleep into the same dream, diving quickly into your own subconscious," says Wolfe. To conjure this in-between world, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas, TX to record with producer John Congleton (Swans, St. Vincent). In the back of her mind burned the words of designer Yohji Yamamoto: "Perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion." The resulting eleven songs reflect that philosophy as they smoulder with human frailty, intimacy, quiet passion, anxiety, and deep longing. "Sleep and dream issues have followed me my whole life," remarks Wolfe as she revisits notes from the writing and recording sessions. In a way, these issues have become a part of Chelsea Wolfe's identity, for whom the notion of sleep as an escape has been subverted. Abyss captures this dichotomy, this battle between the soothing and the upsetting, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade.

Hatebreed vocalist Jamey Jasta described Supremacy as an “all-out onslaught of completely adrenaline-charged, in-your-face brutality,” and who are we to argue (in fact, we’d be afraid to)?! Hatebreed came up through the Connecticut hardcore scene (they actually kind of invented it), and recorded acclaimed albums for the Victory and Universal labels before moving to Roadrunner for this 2006 record, which featured the debut of guitarist Frank “3 Gun” Novinec. Supremacy’s sonic assault took it to #31 on the charts, but there’s more to it than just piledriving riffs; Jasta’s personal statement (reproduced on the insert) is remarkable for its honesty and its quasi-Nietzschean philosophy, and the lyrics (e.g. “Mind over All;” “Supremacy of Self”) follow suit. Remastered for its U.S. vinyl debut by Mike Milchner at Sonic Vision, pressed in ruby red wax!

Waiting 25 years for your breakthrough album to come out on vinyl in the States? That’s Cold. All kidding aside, it really is a puzzle why it’s taken this long; as the album title suggests, 13 Ways to Bleed on Stage shifted to darker subject matter and sound than the self-titled debut of this Jacksonville, Florida band, and the move paid off with a Gold record and four hit singles including “Just Got Wicked,” “End of the World,” “No One,” and “Bleed.” Scooter Ward and crew are joined by Sierra Swan and Aaron Taylor of Staind for extra vocal firepower…bloody good fun! For its 25th anniversary, we’re pressing 13 Ways to Bleed on Stage in blue smoke vinyl, with a full-color insert inside the ingenious “scrapbook” album art featuring the first appearance of Cold’s signature Spider logo. Remastered for vinyl by Mike Milchner at Sonic Vision…early-Aughts awesomeness!

Motown’s L.A.-based Mowest label lasted less than two years, but managed in that short time to release some of the most adventurous music the company ever put out. And probably the most intrepid—and nowadays, adored—Mowest release of them all was the 1992 self-titled release from Odyssey. This one-off brought elite West Coast sessionmen like Wrecking Crew mainstay Don Peake, one-time Chicago member Donnie Dacus, and arranger/orchestrator extraordinaire Gene Page together with a bunch of West Coast hippie rockers (as Peake says, “We were invited to lunch, introduced to some nice people and told we were going to form a band”).

The happy result was a record that has appeared on more deejay turntables than you can count, a one-of-a-kind blend of funky Motown bottom with a spacy sensibility and sound that fits right in next to, say, the latest Khruangbin album on your psychedelic chill playlist even as it activates your 5th Dimension sunshine pop endorphins. The single “Our Lives Are Shaped by What We Love” is probably the pick to click, but the whole album is a total vibe. We’re reissuing Odyssey for the first time ever in the U.S. (the Japanese have long been all over this album) in blue-green “ocean spray” vinyl, complete with original album art including the lyric insert. Remastered for the format by Mike Milchner at Sonic Vision, and pressed at Gotta Groove Records for superior sound. A must!

Jazz Room Head Honcho Paul Murphy kept hearing all these fab versions of some of his favourite tunes.

He couldn't release them all, a year is just not long enough so it was time to put together the first Jazz Room Records Compilation, entitled JAZZ ROOM PRESENTS: COVERS. Snappy & to the point.

Some exclusives and first time Vinyl releases on this Double Vinyl album, ranging from the Psychedelic Jazz Fusion of Helsinki Collective "Saimaa" with their epic LIVE version of the Deodato Classic "Super Strut" to the Japanese Shibuya Jazz Artistry of Quasimode with a Jazzy take on the Galaxy2Galaxy 90's Techno Floor Filler. Jazz meets Dub in the "Slowly" produced "Riot In Lagos" and some finger snapping Cool New York Vibes on Giacomo Gates Hip To The Trip version of Gil Scott-Heron's "Is That Jazz".

There's even a Gospel meets Soul Jazz tribute to Simon and Garfunkel. Oh yeah. Did we say there's a Chip Wickham exclusive too?

Louie Vega says: "This is an Awesome Compilation!"




d 04: Jazzbois - Nutville (Live At Ninety One Living Room) feat. Dom Beats

GIMP FIST feiern ihr 20jähriges Bestehen und hier ist ihr Geburtstagsgeschenk: seit über 10 Jahren ausverkauft, sind jetzt die Alben #2, #3, und #4 als spezielle Sammler-Editionen wieder erhältlich: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" enthalten jetzt jeweils einen zusätzlichen, seltenen Bonustrack und kommen als 180gr farbiges Splatter-Vinyl! Jede farbige Ausgabe ist auf nur 233 Exemplare limitiert! Mit Zweitling "Your Time Has Come" (2008) machten sich Gimp Fist schnell einen Namen in der weltweiten Punk- und Skinhead-Szene. Ihr auf den Punkt gebrachtes Songwriting, kombiniert mit energiegeladenen, melodischen Street-Punk-Hymnen, sprach für sich selbst und traf den Nerv der Zeit. Songs wie ,Skindeep", das Clash-eske ,More War Stories" und ,Whatever Happened" gelten zu Recht als Meilensteine des britischen Punkrock im neuen Jahrtausend. Alles Gute zum 20. Geburtstag Jonny, Mike & Chris, Happy Birthday Gimp Fist!!! GIMP FIST celebrating their 20th anniverary and here's their birthday present: sold out for over 10 years here are the first three (official) releases available again as special collector's editions: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" each include a rare bonus track now, and come as 180gr colorued splatter vinyl! Each coloured edition is limited to only 233 copies! With their 2008 album, "Your Time Has Come," Gimp Fist quickly made a name for themselves in the punk and skinhead scene worldwide. Their to-the-point songwriting combined with energetic, melodic street punk anthems spoke for itself and hit the spot. Songs like "Skindeep," the Clash-esque "More War Stories," and "Whatever Happened" are rightly considered milestones of UK punk rock in the new millennium. Happy 20th birthday Jonny, Mike & Chris, Happy Birthday Gimp Fist!!!

GIMP FIST feiern ihr 20jähriges Bestehen und hier ist ihr Geburtstagsgeschenk: seit über 10 Jahren ausverkauft, sind jetzt die Alben #2, #3, und #4 als spezielle Sammler-Editionen wieder erhältlich: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" enthalten jetzt jeweils einen zusätzlichen, seltenen Bonustrack und kommen als 180gr farbiges Splatter-Vinyl! Jede farbige Ausgabe ist auf nur 233 Exemplare limitiert! Mit Zweitling "Your Time Has Come" (2008) machten sich Gimp Fist schnell einen Namen in der weltweiten Punk- und Skinhead-Szene. Ihr auf den Punkt gebrachtes Songwriting, kombiniert mit energiegeladenen, melodischen Street-Punk-Hymnen, sprach für sich selbst und traf den Nerv der Zeit. Songs wie ,Skindeep", das Clash-eske ,More War Stories" und ,Whatever Happened" gelten zu Recht als Meilensteine des britischen Punkrock im neuen Jahrtausend. Alles Gute zum 20. Geburtstag Jonny, Mike & Chris, Happy Birthday Gimp Fist!!! GIMP FIST celebrating their 20th anniverary and here's their birthday present: sold out for over 10 years here are the first three (official) releases available again as special collector's editions: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" each include a rare bonus track now, and come as 180gr colorued splatter vinyl! Each coloured edition is limited to only 233 copies! With their 2008 album, "Your Time Has Come," Gimp Fist quickly made a name for themselves in the punk and skinhead scene worldwide. Their to-the-point songwriting combined with energetic, melodic street punk anthems spoke for itself and hit the spot. Songs like "Skindeep," the Clash-esque "More War Stories," and "Whatever Happened" are rightly considered milestones of UK punk rock in the new millennium. Happy 20th birthday Jonny, Mike & Chris, Happy Birthday Gimp Fist!!!

- 180 GRAM AUDIOPHILE VINYL
- PVC PROTECTIVE SLEEVE
- MIKE OLDFIELD'S TUBULAR BELLS IS INSPIRED
BY THIS ALBUM
- FEATURED IN GRAND THEFT AUTO IV ON THE
RADIO STATION 'THE JOURNEY.'
- 50TH ANNIVERSARY LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT VINYL

Keyboard virtuoso Terry Riley started experimenting with different instruments in the '50s. One of his electronic music landmarks is his third album A Rainbow in Curved Air. Through the use of overdubbing, he recorded all the instruments to feature on the title track. The composition consists of three movements, each representing another part of his musical influences. As the song progresses, its structure goes through frequent changes. It's an colorful, psychedelic, atmospheric and revolutionary song. The second track consists of a loop of saxophones and is the dreamy and calm opposite of the title track. Fans of electronic music, such as Tangerine Dream and Klaus Schulze, would love this record. Taking inspiration from Hindustani classical music and jazz techniques, Riley's masterpiece influenced many musicians, from the likes of Brian Eno to Emeralds.

A Rainbow in Curved Air 50th anniversary limited edition is available as 500 individually numbered copies on transparent vinyl.

'Maybe I'm Dreaming' ist die neueste Sammlung von Mikey Young (Total Control, Eddy Current Suppression Ring) und Keith Abrahamsson (Gründer und Leiter A&R bei Anthology Recordings) - den Köpfen hinter den beliebten Kompilationen 'Follow the Sun', 'Sad About the Times' und '...Still Sad'. Die zwanzig Tracks von 'Maybe I'm Dreaming' weichen von ihren Vorgängern ab. Sie stammen vollständig aus privaten Pressungen und umspannen neue Jahrzehnte und Produktionsmodi innerhalb der Genres Homepunk-Folk, Softrock und sonstiger FM-Radio-Musik der 70er und 80er Jahre. Die Magie von 'Maybe I'm Dreaming' liegt in den unerzählten Geschichten der Künstler:innen, die hinter diesen Liedern stehen - diejenigen, die den großen Durchbruch verpasst haben, deren Songhandwerk und unerwiderte Sorgfalt aber die richtigen Töne treffen.

'Maybe I'm Dreaming' taucht tief in die isolierte Wildnis ein - eine private Welt, in der Produktionsmacken, nächtliches Bandrauschen und Ein-Mann-Studio-Träume keine Wahl waren, sondern das ausgeteilte Blatt.

Die Songs wurden in persönlichen Sammlungen, in den Tiefen von YouTube, in verfallenen Webarchiven und in den düsteren Ecken von Discogs ausgegraben. Die Auswahl vieler Stücke basiert dabei nicht nur auf Intuition, sondern auch auf persönlichen Verbindungen. Einige Tracks wurden über Freunde entdeckt und fügen der Zusammenstellung einen unsichtbaren, aber tief empfundenen Faden der Kameradschaft hinzu.

Zwar entfernt sich 'Maybe I'm Dreaming' vom Archetyp des „traurigen Mannes mit Gitarre“, der über den Vorgängern schwebte, aber die vertraute emotionale Schwere bleibt erhalten - eine Balance aus Sehnsucht und Leichtigkeit, die diese Ecke des musikalischen Universums definiert. Jeder Track schwankt sanft zwischen Resignation und Hoffnung, Traurigkeit und Gelassenheit, als würden die Künstler selbst einem unerreichbaren Traum hinterherjagen und die Aufnahmen nicht wegen des Ruhmes, sondern aus dem einfachen Bedürfnis heraus machen, diesen ursprünglichen, kreativen Drang in die Welt hinauszutragen.

'Maybe I'm Dreaming' ist eine Einladung, noch ein wenig länger mit halb geschlossenen Augen im Grenzbereich zwischen Erinnerung und Vorstellung zu schweben. Vielleicht träumst du. Vielleicht bist du wach. Vielleicht spielt es keine Rolle.

- 2LP: (Das Doppel-LP-Set mit dem Artwork von Dang Wayne Olsen wird in einer breiten Kartontasche mit bedruckten Innenhüllen geliefert. Zudem enthält es einen Traumtagebucheintrag von Josh Lewellen, dem Experten für Artefakte aus dem pazifischen Nordwesten.)

Vines, the solo project of New York-based multi-instrumentalist and composer Cassie Wieland, offers a window into her inner world through expansive swaths of sound. She pieces together a celestial mix of synths, percussion, strings, and vocoded voice, making music that is at once deeply personal and cinematic in scope. This diaristic approach first took shape with her 2023 EP Birthday Party, and is crystallized on her debut LP, I’ll be here. With the sweeping and vulnerable I’ll be here, Vines arrives fully formed as an artist who crafts deeply resonant and open music–the kind that invites listeners in to listen, reflect, and share in the journey of learning through living.

“It was through making music that I was able to meet myself,” Wieland said. “Anything I’m going through or feeling is something that somebody else out there can relate to, and that’s really special to me.”

I’ll be here is both a culmination of years spent creating gossamer soundscapes and an opening to a new journey for Wieland as an artist. The album grew out of her years as a composer and songwriter, and builds on the language she developed on Birthday Party, which transformed the tumultuous feelings of the passing of time into minimalist meditations. It was just a start, though–a prologue, a development of the kind of language and ideas she wanted to express. With I’ll be here, she digs deeper and writes music that feels more sprawling, further solidifying her singular voice.

Wieland’s musical composition process is similar to journaling, lending itself to the music’s honesty. When she writes, she makes room for all the ideas she has; in these sessions, there are no wrong ideas, and she allows the music to be attuned to the experiences she’s having at the time. With I’ll be here, Wieland zeroes in on themes of anxiety, loneliness, navigating human connection, and having to grow up from a young age, ultimately coming to a place of acceptance. And though it began as a journal written in solitude, her collaborators shape the music with her.

Working with friends, in fact, was a crucial part of bringing the record to life. “Everything that was supposed to happen came together so easily because of the people involved,” Wieland said. I’ll be here was co-produced and recorded with Wieland’s longtime collaborator Mike Tierney, a four time Grammy-nominated engineer who has worked with artists across the contemporary classical and experimental scene like minimalist pioneer Steve Reich, LA’s preeminent classical ensemble Wild Up, and various bands on Bang on a Can’s Cantaloupe Music label. Percussionist and composer Adam Holmes and violinist Adrianne Munden-Dixon are two other longtime collaborators who are frequent fixtures of her live show. Holmes plays synths, drums, and banjo; in live settings, his kit is loaded with elements of the songs that are then triggered by MIDI, making the music an interactive, evolving experience. The album’s gentle, filamented edges are colored by Munden-Dixon, whose poignant string melodies elevate Wieland’s introspective compositions, as well as cellist Helen Newby, saxophonists Julian Velasco and Jordan Lulloff, and bassist Pat Swoboda.

Wieland takes an economic approach to writing music, building the swirling and immersive landscapes of Vines through short melodies, lyrics, and phrases. As each element layers and interweaves, they grow into sprawling webs of ghostly sound. Prior to Vines, Wieland composed pieces for other people to play using a minimalist’s sensibility, writing slowly unfolding melodies for instruments like violin and saxophone. In recent years, she sharpened her solo style across a variety of singles and covers which have garnered significant attention on social media for their emotional resonance (“being loved isn't the same as being understood” in particular went massively viral on TikTok in 2024). Birthday Party, her debut as Vines, brought her writing to a much more intimate space, centering on her vocoded voice cloaked in feathery reverb. A series of recent singles, meanwhile, including “I am my home,” showcase the way that Wieland’s music is born from the story of her innermost feelings, extending far beyond just the self.

Though Wieland’s music often deals with dark themes, it unfolds with tender melancholy, the kind that feels like a warm embrace. On “Evicted,” Wieland wonders if she’s getting sick or moving on, if she’s lost or found. Her vocals expand with each lyrical repetition, as the instrumentals slowly encircle and the music’s rhythm grows and bursts into a heart-wrenching, yet radiant wave reminiscent of post-rock bands like Explosions in the Sky. “Tired” follows a similar trajectory, building from a looping, melancholy rhythm and floating lyrics into a solemn resignation. Elsewhere, Wieland takes a more ruminative approach: “Omw” begins with twinkling piano and melancholy strings that gradually transform into an undulating mass. It is a song born out of the warm feeling of reminiscence, the slight return of hope that comes with nostalgia.

With any searching journey, there is also a point of understanding. The title track closes the album with the freedom of acceptance. A marching drum beats steadily beneath Wieland’s open vocals, moving forward, ever onward as it flies into the ether. In Wieland’s delicately textured music, there is room to come into yourself, and learn to love whomever that is. I’ll be here is a special space that can be all your own, one in which to feel what needs to be felt. “This is music for your story,” Wieland said. “I want you to use it how you need it.”

GIMP FIST feiern ihr 20jähriges Bestehen und hier ist ihr Geburtstagsgeschenk: seit über 10 Jahren ausverkauft, sind jetzt die Alben #2, #3, und #4 als spezielle Sammler-Editionen wieder erhältlich: "Your Time Has Come", "The Place Where I Belong" & "Marching On And On" enthalten jetzt jeweils einen zusätzlichen, seltenen Bonustrack und kommen als 180gr farbiges Splatter-Vinyl! Jede farbige Ausgabe ist auf nur 233 Exemplare limitiert! Spätestens mit Album Nummer 4 (Marching on and on, 2013), einem weiteren absoluten Hit mit Songs wie ,First in Line" und ,Battered & Bruised", war klar: Gimp Fist sind eine Ausnahmeband und haben das gewisse Etwas, das sich die Band aus Norwich bis heute erhalten hat. Ein dreifaches Prost auf Jonny, Mike & Chris!

Following on from his highly acclaimed debut Len Parrott"s Memorial Lift, Baxter proves that this was no fluke. His 2nd album Floor Show sounds like it was recorded in St Paul"s Cathedral, with vocals added in the whispering gallery. Narratively, it"s seems to be about a disintegrating relationship, although this is no confession booth moment. Guitars float like ectoplasm, Wurlitzer"s spin beneath mirror balls, summoning the presence of spectral beings, swaying to luxurious, narcotic music that predates trip-hop by a good sixty years. Stand-out tracks include the single "Lisa Said", "Cocaine Man" and the wonderful "Francesca"s Party". The album was produced by Baxter, Nick Terry and mixed by Craig Silvey (The Coral, Magic Numbers) in West London in the winter of 2004 / 2005. The band are Damon Reece on drums and Mike Mooney on the electric guitar- both former members of Spiritualized.

2025 Repress

Solid Gold Playaz hails from Winsconsin USA. The duo, Kenny Gino & Big Mike are veterans of the Midwest rave, techno and house scene and have released their incredible productions on Moods & Grooves, Kanzerlamt, Soulfuric Trax, Silver Network, Losonofo Records....
'Minds Beneath Atlantis' was originally released in 2003 by Jeff K's Silver Networks. Jerome (of Still Music) immediately fell for this deep house 4 tracker and that record has been steadily in Jerome's crates through the years. Jerome remembers reaching out to Kenny Gino back then and they've been friends since then. This reissue is a teaser for a larger project with Solid Gold Playaz that will be released on Still Music later this year.

Following their debut album, Bay Area industrial duo Gridlock quickly pushed their creative boundaries. They restructured their live setup, incorporating new technology that expanded their sonic possibilities.

Their first experiment with upgraded digital tools resulted in the track Enzyme for Pendragon Records’ Quadraphobia compilation. Soon after, they embarked on a short West Coast tour before returning to the studio to craft their next album, Further.

Embracing real-time audio editing, Further developed rapidly, defined by its signature distorted percussion. Initially met with little feedback from their label, the album gained final approval after a live performance at the CMJ festival.

Released in early 1999, Further exceeded expectations, earning critical acclaim and charting in the the RPM charts. It became a landmark in the evolution of industrial music, blending emotional depth and cerebral complexity with brute force.

Gridlock continued evolving through two more albums before disbanding, leaving their work rare and highly sought after. Now, in tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s music with the blessing of Wells’ family.

Following the 2024 reissue of The Synthetic Form, Further will be released on July 11th on clear vinyl with greyscale splatter. Half of the proceeds will go to the American Foundation for Suicide Prevention in Wells’ honor.

Following a successful, vital surgery, Ozzy has left little time to unveil details of his upcoming thirteenth studio album, and follow up to 2020's triumphant, 'Ordinary Man'. Later this year, we'll be introduced to the world of, 'Patient Number 9', which boasts a ludicrously impressive array of guest features from the likes of Zakk Wylde, Jeff Beck, Pearl Jam's Mike McCready, Chad Smith (Red Hot Chili Peppers), Robert Trujillo (Metallica), Duff McKagan (Guns N' Roses), Eric Clapton and the late, great Foo Fighters drummer Taylor Hawkins. Black Sabbath guitarist extraordinaire, Tony Iommi, shall also make his Ozzy solo album debut, which essentially everyone can agree, has been a long time coming. Utilizing his own approach to morality and legacy, the great grandfather of all things metal and malevolent appears eager to whisk us around his hallowed ground yet again.

Following a successful, vital surgery, Ozzy has left little time to unveil details of his upcoming thirteenth studio album, and follow up to 2020's triumphant, 'Ordinary Man'. Later this year, we'll be introduced to the world of, 'Patient Number 9', which boasts a ludicrously impressive array of guest features from the likes of Zakk Wylde, Jeff Beck, Pearl Jam's Mike McCready, Chad Smith (Red Hot Chili Peppers), Robert Trujillo (Metallica), Duff McKagan (Guns N' Roses), Eric Clapton and the late, great Foo Fighters drummer Taylor Hawkins. Black Sabbath guitarist extraordinaire, Tony Iommi, shall also make his Ozzy solo album debut, which essentially everyone can agree, has been a long time coming. Utilizing his own approach to morality and legacy, the great grandfather of all things metal and malevolent appears eager to whisk us around his hallowed ground yet again.

The Mighty Rootsmen features the unparalleled talents of Reggae superstars
Toots Hibbert, Luciano, Gregory Isaacs, Michael Rose, and the rhythmic prowess of Sly & Robbie, Mikey Chung, Robbie Lyn, and Sticky Thompson, alongside Zap Pow Horns members David Madden, Calvin ‘Bubbles’ Cameron, and Glen DaCosta. A groundbreaking collaboration – it is a celebration of reggae’s iconic artists, seamlessly blending the genre’s rich rhythms with rock and soul classics.

Brought together by producer Ralph Spall (Paul McCartney, Billy Joel, Cat Stevens) and recorded at the famous Anchor Studios in Jamaica. The album’s unique sound comes from the decision to let the musicians’ instincts drive the creative process, striking a balance between homage and innovation. Featuring classic tracks from the likes of Tom Petty, The Steve Miller band, The Eagles and Fleetwood Mac. It is produced with a reverence for authenticity and musical mastery. This once-in-a-lifetime project brings together a dream team of Jamaican legends, paying tribute to their artistry and the art of collaboration.

This is Timeless classics with a reggae supergroup. Tracks like “Fly Like an Eagle” showcase Steve Miller’s unexpected, soulful guitar work layered over a reggae groove. Meanwhile, Mike Campbell’s guitar on “I Won’t Back Down” deepen the album’s connections to rock royalty. Yet, the project remains firmly rooted in reggae. "My intention was to try to do something that hadn’t been done in reggae before by putting these giants of the genre together to make a record that leaves you with good feelings, they’re very recognisable as the songs they are but have a distinct reggae feel and stamp.” reflects Ralph.

The Mighty Rootsmen stands as a tribute to the enduring power of reggae music—an album that brings joy, good vibes, and a profound connection to musical history.

"You Give Love a Bad Name" is the third studio album by the transgressive American punk rock musician GG Allin, and is jointly credited to Allin and a one-time studio band named The Holy Men. The Holy Men featured such New York City heavies as Gerard Cosloy (Conflict fanzine, Matador Records) and Mike Edison (Raunch Hands, Sharkey's Machine) and originally released on Homestead Records in 1987. That year, Cosloy's Homestead label signed Allin and released this album with the Holy Men, You Give Love a Bad Name. Featuring some of GG's best work like "Scars on My Body, Scabs on My Dick" and a cover of Charles Manson's "Garbage Dump". His second effort for Homestead was 1988's Freaks, Faggots, Drunks & Junkies, a fan favorite that introduced some of the most popular numbers in his later repertoire.

"You Give Love a Bad Name" is the third studio album by the transgressive American punk rock musician GG Allin, and is jointly credited to Allin and a one-time studio band named The Holy Men. The Holy Men featured such New York City heavies as Gerard Cosloy (Conflict fanzine, Matador Records) and Mike Edison (Raunch Hands, Sharkey's Machine) and originally released on Homestead Records in 1987. That year, Cosloy's Homestead label signed Allin and released this album with the Holy Men, You Give Love a Bad Name. Featuring some of GG's best work like "Scars on My Body, Scabs on My Dick" and a cover of Charles Manson's "Garbage Dump." His second effort for Homestead was 1988's Freaks, Faggots, Drunks & Junkies, a fan favorite that introduced some of the most popular numbers in his later repertoire.

Auf "At Tubby's" spielt Dougie Poole Live-Versionen seiner beliebtesten Songs in einem Veranstaltungsort, der von Musikern für seine Intimität und Akustik sowie für seine außergewöhnliche Behandlung von tourenden Musikern geliebt wird. Dieses Set war wie geschaffen für die Veröffentlichung als Live-Album, da es ein besonderer Abend für die Band war. Einer dieser Abende, an denen die Musik, das Publikum und der Raum zusammenkommen. Das Album wurde direkt am Mischpult aufgenommen, wobei Dougie selbst nur minimale Nachbearbeitungen vornahm. Dougies Live-Band auf "At Tubby's" besteht aus Mike Etten an der elektrischen Gitarre und Connor ,Catfish" Gallaher an der Pedal Steel. Beim ersten Song des Abends, ,Los Angeles", ergänzen Ettens klassische Country-Licks und Catfishs hochfliegende Slide-Linien perfekt Dougies beeindruckende akustische Arbeit und seinen goldenen Bariton. Man merkt, dass die drei schon seit Jahren zusammen spielen und in dieser Formation straßentauglich sind. Sie nehmen sich einiger von Dougies beliebtesten Songs an, von Rave-Up's (,Beth David Cemetery" & ,Vaping on the Job") bis hin zu Country-Balladen (,Must Be in There Somewhere", ,Don't You Think I'm Funny Anymore") und allen Punkten dazwischen. Es gibt hier einige Stücke, die für Fans von Dougies letzten Alben neu sein könnten. ,Toshiba Sky" ist eine einmalige digitale Single aus dem Jahr 2020 und ,Wild Motion` ist ein Stück, das Dougie für Drugdealer aus L.A. geschrieben hat, die es für ihr 2020er Album Raw Honey aufgenommen haben. Bei "At Tubby's" wurde auch eine neue Komposition von Dougie aufgenommen, ,Heaven Sent an Angel", die das Set mit einer herzlichen Note abschließt. "At Tubby's" entführt den Zuhörer an einen anderen Ort und in eine andere Zeit und ist für alte und neue Fans ein spannendes Erlebnis.

… oder Beastie Boys…oder Robert DeNiro…oder Banksy…oder Sportfreunde Stiller – klein anfangen und
dann mal schauen, was draus wird. Es wurde – zwar nicht wie alle erwähnten Künstler, aber der Weg
ist ja eventuell noch nicht vorbei für die Sportfreunde, die bei ihrem ersten Studioalbum auf vier Jahre
Liedansammlung zurückgreifen konnten. In Spanien mit und bei Uwe Hoffmann (Die Ärzte…) turbulente
Wochen verbracht, um in die Wunderwelt der Produktion eingeweiht zu werden. Daraus entstand eine
vorwärtsdrängende Musikplatte, die das zukünftige Spektrum der Sportfreunde definieren sollte. Zwischen
„Hockey (Feld)“ und „Fast wie von selbst“ liegen Punksongs, Balladen, verspielter Dadaismus, Neugier auf
Energie und tiefe Emotion. Sie schwebten damals auf Wolke sieben und waren auf Ochsentouren, auf den
10-Meter-Brettern (Video „Wellenreiten“), auf dem Mond (Video „Fast wie von selbst“), in Fernsehstudios
(Mit ihnen wuchsen und an ihnen verzweifelten MTV und VIVA), in Kochstudios (Video „Heimatlied“),
bouncten mit der Meute und Hans Rosendahl bei „Spitze“ um die Wette und sie klauten dem FC Bayern
die Meisterschale im Video zu „Wunderbaren Jahren“, dem Lied, das ihre erste musikalische Errungenschaft war und nach fast 30-Jahren immer noch deren Bandmotto darstellt. Denn, was soll denn noch
kommen? Außer eventuell ein Duett mit Mike D. und Ad Rock von Beastie Boys, ein Kurzfilm mit Robert
DeNiro, ein Mauerkunstwerk in New York mit Banksy oder eine Übernahme des königlichen Fußballclubs
Real Madrid…die wunderbaren Jahre sind noch nicht vorbei.
Auf dieser LP sind erstmalig auch die Lieder ”Rocket Radio”, ”Wir müssen gewinnen” und ”Money Mark”
enthalten, die es bisher nur auf der CD gab.
Nun kommt das Ganze in weiß daher, damit Nachzügler die reine Shellac-Weste bestellen können. Let´s
surf it!
180gr + weißes Vinyl, bedrucktes Beiblatt mit jeder Menge exklusiven Fotos von damals!

On At Tubby’s Dougie Poole plays stripped down live versions of his most treasured songs in a venue beloved by musicians for its’ intimacy & acoustics as well as its’ exceptional treatment of touring musicians. This set was a natural for release as a live album as it was a special night for the band. One of those nights when the music, audience and space all come together. It was recorded right from the board with minimal mixing work in post from Dougie himself.
The version of Dougie’s live band on At Tubby’s features main stays Mike Etten on electric guitar and Connor “Catfish” Gallaher on pedal steel. On the night’s first song “Los Angeles,” Etten’s classic country licks and Catfish’s soaring slide lines perfectly compliment Dougie’s formidable acoustic work and golden baritone. You can tell these three have been playing together for years and are road tested in this formation. They tackle some of Dougie’s most loved songs, from rave-up’s (“Beth David Cemetery” & “Vaping on the Job”) to country balladry (“Must Be in There Somewhere,” “Don’t You Think I’m Funny Anymore”) and all points in between.
There are some tracks here that might be new to fans of Dougie’s recent albums. “Toshiba Sky” is a one off digital single from 2020 and “Wild Motion” is a track Dougie wrote for L.A.’s Drugdealer, who recorded it for their 2020 album Raw Honey. Live at Tubby’s also sees the recorded debut of a new Dougie composition, “Heaven Sent an Angel” which closes out the set on a heartfelt note. At Tubby’s brings the listener to a spacial place and time, and will be a thrilling listen for fans old and new.

Formed in 2012 by long-time musical companions Oyvind Holm and Hogne Galaen,
the band quickly grew into the six- piece musical force they are today. Their unique
sound fuses cosmic Americana and rich vocal harmonies with catchy melodies, highspirited improvisation, and contagious musical energy that will leave you craving
more.
The six members come from diverse musical backgrounds but are united by their
shared love of psychedelia and cosmic Americana. They draw particular inspiration
from the California sound of the late '60s, with bands like The Byrds, Crosby, Stills,
Nash & Young, and the Grateful Dead as key infuences.
Between 2012 and 2019, the band recorded and released fve critically acclaimed
albums, two of which were recorded in the California desert at the legendary Rancho
De La Luna, nestled among the Joshua trees. Like many other artists, the pandemic
shook their foundations, forcing the band into an involuntary hiatus. In the aftermath
of lockdowns and other imposed restrictions, the backlash from other projects kept
them from picking up where they had left off.
However, the fall of 2024 brought new opportunities. An unexpected email from Mike
Scott of The Waterboys reignited their spirit and motivation. While on tour in Norway,
Scott discovered one of their albums and was so taken by their sound that he invited
them to contribute vocal harmonies to 'The Tourist,' a track off The Waterboys' new
album Life, Death & Dennis Hopper.
Soon after, an even greater opportunity arose--an invitation to join The Waterboys on
tour in the UK and Scandinavia. To accompany the upcoming tour, we've put together
a beginner's guide to Sugarfoot.
The compilation album Cosmic Norse Americana features nine highlights from
Sugarfoot's career so far, along with a newly recorded cover of Emitt Rhodes' 1967
track "Time Will Show The Wiser."
Sugarfoot:
Hogne Galaen - guitars, vocals
Even Granas - drums
Thomas Henriksen - keyboards
Oyvind Holm - guitars, vocals
Bent Saether - bass
Roar Oien - pedal steel
THOUGHTS AND WORDS
The Sugarfoot story begins back in 2011. But before there was Sugarfoot, there were
the Dipsomaniacs, Kulta Beats, Motorpsycho, Too Far Gone, and Deleted Waveform
Gatherings--bands that, in one way or another, featured future members of what would
eventually become Sugarfoot. Six musicians from diverse musical backgrounds,
united by a shared love of psychedelia and cosmic Americana. Drawing deep
inspiration from the California sound of the late '60s, their musical compass points
toward The Byrds, Crosby, Stills, Nash & Young, and the Grateful Dead.
I say eventually, because Sugarfoot didn't start as a band--it began as a duo. Hogne
Galaen and Oyvind Holm had previously played together in Deleted Waveform
Gatherings. But when their drummer moved out of town, the group was put on ice. Not
ones to sit still, the two of them launched a side project to keep the creative wheels
turning.
Throughout the winter of 2011, they holed up in their rehearsal space, writing and
recording rough sketches of what would soon grow into a full album. And that's when
things got interesting. They drew up a wish list--a dream lineup of musicians they'd
love to bring into the fold.
Among the names on that list were Even Granas, Thomas Henriksen, Bent Saether,
and Roar Oien, all soon to be permanent Sugarfooters. Each was invited to contribute
to the project, adding their parts to the pre-recorded tracks--without knowing what the
others were doing. Like assembling a giant musical puzzle, Galaen and Holm later
pieced the album together from these blindfolded contributions. The result was This
Love That We Outwore, released in the fall of 2012.
From there, things escalated quickly. By the following year, Sugarfoot had become a
proper band. Big Sky Country-- written and recorded collectively-- landed in 2014,
solidifying the group's evolving sound, including favourites such as Dolphins Hotel and
Ego In A Bag. When it came time to record a third album, the band felt the itch for
something new. They wanted a change of scenery--somewhere that could spark fresh
inspiration and leave its own sonic fngerprint on the production. So they asked
themselves: where could they go that carried the spirit, the legacy, the stardust of their
musical heroes?
That search led them to the California desert, to the legendary Rancho De La Luna,
nestled among the Joshua trees. Their next two albums, Different Stars (2016) and
The Santa Ana (2017), were both recorded at the Rancho. In fact, The Santa Ana was
both recorded and mixed during a two- week stay in 2015, making it a true time
capsule in the band's discography.

Trumpeter Eddie Henderson came to prominence as a member of Herbie Hancock’s Mwandishi in the early-70s after which he recorded a pair of seminal jazz-funk fusion classics for Blue Note—Sunburst (1975, and Heritage (1976)—the latter featuring a forward-looking crew with Julian Priester, Patrice Rushen, Paul Jackson, Mike Clark, Billy Hart, Mtume, and others. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Reissue of classic 1999 album on CD and LP. Musicians:

Bass: Family Man Barrett, Mikey Chung, Ben, Toots Hibbert, Bengy Myaz.

Drums: Winston Grennan.

Guitars: Mikey Chung.

Keyboard: Bubbler, Toots Hibbert, Harold Butler.

Percussion: Carrot, Toots Hibbert, Winston Grennan.

Horns: Dean Frasier, Nanbo Robinson, David Madden, Johnny Moore.

Burning Bass: Pamela Fleming, Jenny Hill & Nilda Richards on 'You Really Got

Me'.

Backing Vocals: Leba Hibbert, Toots Hibbert, Jenieve Hibbert, Robert Bailey.

Celebrating the 11th anniversary - and over 4 million streams - of CLAAP!'s debut EP "Dimanche", we're releasing it on vinyl for the first time. A limited, hand-numbered edition, featuring new remixes from Justin Strauss and In Flagranti, as well as Mike Simonetti's acid DJ tool.

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It's about the small, often overlooked moments_the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop's signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what's truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock's most technically accomplished works to date. The album's intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aesop channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It's clear this project stands as one of Aesop Rock's most multifaceted and ambitious works yet.

Following the cult success of the first 2 EPs, Common Saints presents the debut album "Cinema 3000", the theme continues, blending soul, funk, and psychedelic influences with the organic sound and rich instrumentation that Common Saints has become known for Conceived in 2020 by writer / producer Charlie J Perry the production approach for Commons Saints consists of him playing and recording real instruments in his London home studio. One mike for the drums, his beloved piano and amps up loud! The album encapsulates the old school recording approach and musicianship the discerning ear craves but with a more modern punch - a true sonic bath for all the connoisseurs out there. Think, UK"s equivalent to Tame Impala and Khruangbin.

Following on from last year's acclaimed ‘R.O.I.’ album, Manchester’s favourite sons Aerial Salad are set to return to the fray with a brand new 5-track EP titled ‘Roi de l’herb’ to be released June 27th via Venn Records.
Having released their ‘Dirt Mall’ album during lockdown, which was a pretty grim time to put an album out, the release still eventually opened up some exciting doors for the band and captured Aerial Salad at their most Aerial Salad; loud, brash, silly and emotive.
This led swiftly to 2024’s ‘R.O.I.’ album that marked a real evolution in the band’s sound and songwriting.

“R.O.I. is a concept album but rather than being about a band, it’s from the perspective of an individual pushed to the brink of insanity by the ever-present quest from commercial success,” explains singer and guitarist Jamie Munro. “The idea came from my job; I’ve been working in the tech industry in ‘sales’. ‘Return on investment’ was probably my most uttered phrase for a few years, I was sick of it, sick of having no positive impact on the world and sick of the tech bro, double espresso, thirsty thursdays, work hard - play hard bollocks culture that comes with it. ‘R.O.I.’ is me saying ‘know what, you can actually earn a lot of money in life, even without the fallacy of educational infrastructure and financial privilege, however, it comes at the cost of your soul, time and energy. ‘R.O.I.’ is called such because it’s in the opposite pursuit, it’s not about a return on a financial investment, it’s about doing something with your life that’s enjoyable.”
This brings us crashing into 2025, no longer in the same line of spirit destroying work, with some seriously exciting gigs on the horizon, Aerial Salad wanted to kick off the next era of the band with a short, fast and hard EP and have served up 5 absolute bangers that sit somewhere between ‘Dirt Mall’ and ‘R.O.I.’ The EP is called ‘Roi de l’herb’ because of the track ‘King Of The Grass’: “We tour and play a lot in France, we’ve played most of our “best” gigs in France, so out of curiosity I wanted to see if the title would translate well, naturally, when the translation contained both “ROI” and l’herbe” - I though, fuck it, that’s about as spot on a title for this EP as we can possibly muster.”
‘King of The Grass’ is about the band’s bassist Mike Wimbo who works for Rochdale council on the greens team, which means he spends his life in the pouring rain chopping down overgrown hedges and mowing lawns. Elsewhere on the EP, ‘Inject Your Blood’ is another romantic love song inspired by the TV series ‘True Blood’ (“I’d inject your blood, into mine just to feel you close”), ‘Wires’ rages against the world of AI and GPT, whilst the EP’s opening track ‘My Girl’ is a chaotic, high energy catchy punk song, nothing profound, nothing complicated. It’s a punk song as god intended, a few chords and a load of shouting.
“The EP is like the teaser for what’s next,” summarises Jamie. “The overall hook for this EP is one of hope, that by sticking to what you believe in you can do anything.”

The Inner Sounds Of The Id / The Alternate Sounds Of
The Id
2CD - Groundbreaking 67 psych album gets the deluxe edition with a
whole bonus album of unheard Alternate Sounds! The gatefold jacket
features unseen photos and new liner notes written by Mike Vernon with
the aid of Id bassist Glenn Cass

The Solid Gold Playaz (and global house music scene) experienced an immeasurable loss in 2021 with the sudden passing of Kenny Gino. Known for pushing the boundaries of deep house and house with funk, Solid Gold Playaz carved a legacy on dance floors worldwide, bringing infectious grooves and undeniable energy to the community.

Years following this heartbreaking loss, the surviving member remains committed to honoring Kenny’s memory and the groups musical efforts. “This music was our heartbeat, and that heartbeat will never stop,” says Mike Theus. “We started this journey together, and I will continue to celebrate the sound we built, ensuring Kenny's spirit lives on in every track, every set, and every dance floor. ” Fans can expect future releases of new and unreleased material on Moods & Grooves as Solid Gold Playaz keeps the music alive.

The Black Gold EP blends the hypnotic depth of deep house, the infectious bounce of house with funk, and the driving energy of tech-house; this EP is a sonic experience designed for dance floors and late-night sessions alike. Let the beats move you. Let the grooves consume you. The Black Gold EP is coming. Are you ready to dance?