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Letztes, viertes Album von Delbo aus dem Jahr 2008, Klez.e war bereits geboren, bald folgte auch And The Golden Choir, jeweils mit Tobias Siebert. Es erscheint rückblickend fast so, als wären Delbo seit ihrem Debut auf Suche gewesen. Jener Suche nach dem erlösenden Glückston, dem sie nun auf die Schliche gekommen sind. Noch losgelöster von Standards, aber inmitten neuer Eingängigkeit haben sie auf GRANDE FINESSE den richtigen Ton, die stimmige Gefühlslage und sich als ihr eigenes Phänomen gefunden. GRANDE FINESSE lässt mehr zu und von einigem ab. Piano, Streicher, und Bläser umspannen Welten und laden diese auf. Auf diese ihre Weise klingen Delbo so stilvoll und betörend wie Blonde Redhead, ohne ihre ureigene Dringlich- und Kantigkeit verloren zu haben. Damit bauen Delbo Poetisches, Melancholisches und im gleichen Atemzug Aufbauendes wie ein Amelie-Soundtrack zusammen, ohne den Lärm Sonic Youth'scher Art oder das Karate-ähnlich Kunstvolle missen zu lassen.

Lightnin’ Hopkins was one of the greatest and most popular authentic blues artists. This collection covers singles released by Lightnin’ Hopkins between 1947 and 1952. They weren’t his first recordings but they were the first released under his own name.
Although he did record with other musicians and even with full bands it’s these acoustic classics that best illustrate his art and they are some of the most endearing blues tracks ever recorded.
Includes the popular songs “Katie Mae Blues” and his biggest chart hit “Shotgun Blues”.
A true genius of the genre this Lightnin’ Hopkins release by Jasmine is a must have for blues and R&B fans.
Fully detailed liner notes.
Limited edition press on 140 gram colour red/black marbled vinyl.

The legendary Thelonious Monk's appearance at the legendary Newport fesval in 1963 when the so-called 'High Priest of Bop' brought one of his greatest quartets featuring master Charlie Rouse on tenor sax, Butch Warren on bass, and Frankie Dunlop on drums. This is a great performance based on five of Monk's classic composions: 'Criss Cross', 'Light Blue', 'Epistrophy', 'Nu2y', and 'Blue Monk'. This is pure Monk's essence,


don't miss it.

Das erste Album mit Gesang der geliebten äthiopischen Nonne, Komponistin und Pianistin Emahoy Tsege Mariam Gebru enthält tiefgründige und bewegende Kassettenaufnahmen, die inmitten politischer Umwälzungen und Unruhen entstanden sind. Es sind Lieder über Weisheit, Verlust, Trauer und Exil, die direkt in eine Boombox gesungen und von Emahoys unverwechselbarem Klavier begleitet werden. Obwohl sie die Lieder noch im Haus ihrer Familie in Addis Abeba schrieb und aufnahm, singt Emahoy über den Schmerz, weit weg von zu Hause zu sein, über die Revolution von 1974 und den Roten Terror in Äthiopien und über eine Vorahnung ihres zukünftigen Exils in Jerusalem. Im 21. Jahrhundert ist Emahoy weltweit für ihren ganz eigenen melodischen und rhythmischen Stil bekannt geworden. Häufig als "jazzy" oder "honky tonk" fehlinterpretiert, entspringt Emahoys Musik in Wirklichkeit einer tiefen Auseinandersetzung mit der westlichen klassischen Tradition, gemischt mit ihrem Hintergrund in traditioneller und orthodoxer äthiopischer Musik. Diese Lieder, die zwischen 1977 und 1985 aufgenommen wurden, unterscheiden sich von allem, was die Künstlerin bisher veröffentlicht hat. Die Geräusche der Vögel vor dem Fenster, das Knarren der Klavierbank und das Klopfen von Emahoys Finger auf der Aufnahmetaste vermitteln das Gefühl, bei der Künstlerin zu sein, während sie aufnimmt. Emahoys Texte, die sie auf Amharisch singt, sind poetisch und schwer von der Last des Exils. "Als ich hinausschaute / hinter die Wolken / konnte ich den Himmel meines Landes nicht sehen / bin ich wirklich so weit gegangen?", fragt sie in "Is It Sunny or Cloudy in the Land You Live?" Ihr Gesang ist zart und innig und zeichnet die melodischen Konturen ihres Klaviers nach.

F8 . Liam Melly - Energy
F9 . Armin Van Buuren - Space Case
F10 . The Obsessed - Free Yourself
F11 . Ie Shuuk & B Stylezz - Konje
F12 . Armin Van Buuren - Lose This Feeling (Maddix remix)
F13 . Armin Van Buuren - Lose This Feeling (Dimension remix)
F14 . Armin Van Buuren - AI Vs Humanity (A State Of Trance Year mix 2023 outro)

2024 Repress

Steve Rachmad's subliminal debut album 'Secret Life Of Machines' was originally released way back in 1995. In 2012 the album was re-issued, although three tracks didn't make it to the vinyl re-issue. Now ten years later this new EP now re-issues also these three tracks after all: 'Satyricon', 'Hydroxy' and 'Draghixia'. Steve Rachmad's richly melodic strain of techno has resulted in a huge body of work he has been growing since the early 90s. His sound is the perfect distillation of machine soul - dubby atmospherics and crisp, danceable dynamics balanced in perfect unison. Amsterdam's Delsin Records gathers together some of the Dutch techno figurehead's most important, sought-after works in a new EP series, all remastered from the original DAT tapes from Steve's archives. Adding to the weight of this series, the accompanying artwork is being created by Boris Tellegen, aka legendary graffiti artist Delta who first began designing sleeves with Secret Life Of Machines. Since then he created many works for labels including Delsin.

After releasing countless collectable and in-demand 7 inch singles and making a name for themselves in the contemporary
“raw funk and soul” scene, After working with the legendary Janko Nilovic For "Maze of Sounds" and "Two Tales For
The Mind vol 1" The Soul Surfers drop their First 7 inch on Broc Recordz , "High roller" with a crazy psychedelic cover
Made by the italian artist Riccardo Bettazzoni. Don't missed this limited edition , only 500 copies

“Though seeing they do not see, though hearing they do not hear or understand.”

NYC-based producer/visual artist Nathaniel Young returns with the sophomore 12” under their techno-focused alias, Guilt Attendant. “A Flower Wilts Under The Heat Of The Son” is cut from the same cloth as 2020’s “Suburban Scum” where Young delves into overtly religious motifs and ideological critique of their cult-like upbringing. Here, though, Young challenges themself and the listener to seek hope and resolve rather than hatred and contempt.

Considering its sometimes-monolithic sound palette, the timeless sub-genre of dub techno has long stood as a versatile vehicle for exploring and expressing a wide range of emotions. From mourning those we’ve lost, to somber reflection, to hope and celebration–all united by warmth, soul, and perhaps most importantly, groove. This versatility has underpinned Young’s affinity for the dub techno framework, and this collection of tracks is the culmination of material that they’ve long aspired to manifest. Atop this foundation, Young explores the place of acceptance and understanding that they’ve ultimately had to reach in relation to their religious upbringing and the inherent dualities that plague dogmatic religious circles and our beloved dance-floor communities alike.

“A Flower Wilts Under The Heat Of The Son” places a heavy emphasis on groove and swing while attempting to stretch the limits of classic dub techno tropes. Through creative melodic layering, swung low-end, and syncopation, these tracks hope to offer a fresh take on the sound while remaining solely devoted to the dancefloor.

Through their design work for Dais Records and Hospital Productions, Young had the pleasure of crossing paths with the recently departed Juan Mendez (Silent Servant), who graciously contributed a striking, cacophonous, and noise-laden remix. Given Mendez’s expansive and diverse body of work, as well as his own affinity for dub techno, Juan’s contribution could not be more harmonious. A singular talent and an extremely kind, generous soul, Juan will be dearly missed.

Rest in peace Juan Mendez, 1977-2024

Bernard Badie returns to Mojuba with his first solo release in over five years. Representing that unmistakable Chicago House sound in four different approaches ranging from dance floors jackin' slammers like the title track to soothing after hours vibes with a freshly remastered and extended version of the magnificent piece of deepness "Open Up". Enjoy the music and welcome back Bernard, we surely missed you!

Vital Sales Points:

- limited edition
- collectable hand screen-printed cover

An absolute massive perfect Tribe record in the exact style I just love ! MUST have over all !!! Needed ! And last track... brutal hardcore 210 BPM pearl !! BIG ONE !!! don't miss !!!

Original-Soundtrack zum Horror-Hit "Talk to Me" mit der Originalmusik von Cornel Wilczek und der bei Fans beliebten Single "Le Monde" von Richard Carter. Mit Lentikular-Effekt-Cover und auf orangefarbenem Vinyl gepresst.

We welcome the English creator from Manchester Mark Wilkinson aka Kid Machine to HC Records.This album of 12 songs on vinyl and 4 digital bonus tracks, already seemed historic to us at the time of closing the album, but now it seems like a real event as it is the last one that the artist will publish under the pseudonym KID MACHINE.

The first release on Hogart features 4 hot re-edits by talanted swedish producer who prefers to be anonymous.

A1 is a fiery Detroit techno track with that Chic acapella mixed to devestating effect.
A2 takes the ol AGCG Voodoo track to a diffrent planet ! Live bass, rhodes and enough compression to kill a horse.
B1 goes all in on the classic 303 machine, deep as the trench ! also got that huge BM acapella mixed on top.
B2 is that 90s piano anthem in a totally new version ! also got pieces of the festival killer "Coma" in there.
This release is limited to 300 orange vinyls only.

Drum-machine soul, funk, disco and boogie from Buffalo, NY. Rare 7" singles and previously unreleased tracks presented as a complete album. In the early 70s, Jessie Key and Sylvester Cleary - two passionate idealists living in Buffalo, New York - formed a close friendship based on a mutual mission to better their city. The Attica State Prison Riot of 1971 was a burning memory, and the Arthur vs. Nyquist lawsuit - brought against the City of Buffalo for creating and maintaining a racially segregated school system - was on the docket. Key was once a cotton-laborer in Mississippi, who journeyed north for school where he met his kindred spirit, Cleary. The two struck up an intense friendship, bought a drum machine and recorded their first 45, "A Man," a paean to self-actualization and Black American empowerment, which they custom pressed and issued privately. Dozens of recordings followed over a decade long span, issued on local labels and warehoused on cassette tapes. Perennial optimists, Key & Cleary tried any - perhaps every! - path they could demarcate in hopes of forwarding their agenda of self-effected, positive change. They formed Buffalo’s first minority-owned construction company, opened a health food restaurant in a building previously occupied by a fast food chain, and even concocted a candy bar called "The Buffalo Treat," which they manufactured and sold locally. Eventually they started their own label, Buffalo’s Reflection. On it they released their masterpiece, "What It Takes To Live," a sought-after disco and Northern Soul classic, which previously appeared on Now-Again”s Soul Cal anthology. This album collates the breadth of Key & Cleary’s recordings from 1970 until the mid 1980s, both with songs issued on rare 7" singles and previously unreleased. It presents a conjoined musical vision and tells the story of a duo years ahead of their time, both musically and culturally. Love Is The Way was their ethos - their goal was to enlighten humanity and to bend history in a more loving direction through communion.

"10th anniversary product suite for Nick Mulvey’s debut album, ‘First Mind’.“Nick Mulvey’s debut is a charmingly simple and rarely produced album full of beautiful melodies, extensive guitar skills and exotic ryhthms – it feels like the missing soundtrack for the beginning of a perfect summer.” NBHAP
“A total package of pop hooks, instrumental genius and gorgeous rhythms, Mulvey presents us with an intelligent record that demonstrates his passion for sounds outside of insular scenes.” THE LINE OF BEST FIT
“‘First Mind’ is captivating, full of intricacies and influences that should see it celebrated as one of the great albums of 2014.” CLASH"

Limited edition release of this project featuring Chris Braide of The Producers (Trevor Horn,
Chris Braidqe, Lol Crème), Andy Partridge (ex-XTC) and Tim Weller (Divine Comedy).
Recorded in Los Angeles and London, this release will appeal to fans of all three artists as
well as being a strong release in its own right.
Chris Braide is a British producer & songwriter who has co-written, produced and
collaborated with a wide array of artists, including Sia, Hans Zimmer, Beyonce, David
Guetta, Lana Del Rey, Adele, Baz Luhrmann, Nicki Minaj, Selena Gomez, Halsey, Madonna,
Starrah, Demi Lovato, Robin Schulz, Yuna, Elle King, Afrojack, Wrabel, Paloma Faith, Britney
Spears, Christina Aguilera, Bibi Bourelly, Kylie Minogue, Zendaya, Bebe Rexha, Theophilus
London, LP, Natalie Portman, Celine Dion, Kate Hudson, Beth Ditto, Toni Braxton, Tate
McRae, Snoop Dogg, Big Sean, Jason Mraz, Donna Missal, Julia Michaels, Kali Uchis, Jessie
Reyez, Lucy Hale and many more.

Tommy was born in 1945 in Homestead, Florida, and after his first foray into music in a church choir, he launched his secular recording career in Jackson, Mississippi, working mostly with Tim Whitsett and his Imperial Showband in the latter half of the 1960s. After a short stint with the Nightingales, he signed with KoKo in 1971 and had six impressive singles released, followed by records on Sundance, Juana and Urgent Records.

“I Can’t Do Enough for You Baby” is a mellow and melodic slow-to-mid-tempo song that sounds almost inspirational, while “Hold On” is a beautiful waltz-time ballad which James Carr released on Atlantic in 1971. Both of these songs were cut as demos probably in 1969 after Tommy and Carson Whitsett had signed a deal to become staff writers with Malaco Records.

Tommy was a magnificent singer and songwriter, who never got the credit he deserved mainly because of poor business choices and unfortunate incidents throughout his career. However, he was a beautiful person, gentle and humble.

For a long time, the music of Congo-born Bony Bikaye had to be sought in the purgatory of "world music", where diamonds in the rough cohabited with bland nightmares of white dudes who froze rumba like fish sticks. Worse, they did put it on the menu, when so many longed to move on. Take Bikaye, who grew up listening to modern european music, digs Krautrock, struggles with tradition, obviously looking for trouble in the genre. In Brussels, he recorded a few albums with CY1 (Loizillon/Micheli), and brilliant defectors from Aksak Maboul, produced by Hector Zazou. Now it's up to french trio TONN3RR3 to take up the torch and build this project that proudly brags: "It's a bomb". Thought up at home by Guillaume Gilles (compo/keyboards), the album was finished at One Two Pass It studio, with Olivier Viadero and Gae"lle Salomon on percussion, Yoann Dubaud (machines & bass) and Guillaume Loizillon (synth of CY1 fame, and matchmaker of this affair). It's a deeply musical record, crafted by no-attitude reference players with nothing left to prove, and you can hear it. Floats well above the fray. "Keba na butu", beware. Indeed : beyond the simple pleasures of soukouss, or the rumba guitar riff that spins like a merry-go-round that skipped technical inspection, lie lush orchestrations. Freestyle, synthetic : something old, something new, something what-the- fuck-is-that-now. There's straight, there's syncopated, there's 808 and knee-jerk inducing bass patterns_with a vision. BIKAY3 plays his voice more than ever. His crazy vibrato has improved like hard liquor over the years. In "Zela" and "Balobi" in particular, he puts it to good use with flamboyant, Screamin' Jay Hawkins-style antics. He can also resort to pure storytelling : "La fore^t et les dieux", is a French-spoken excursion into the wild, moving along in grasslands of synths and percussion with TONN3RR3. A tale of gods and spirits, plain and simple. Nicole Mitchell brings the occasional flute in "Akei" for this trip in the bush of ghosts where lingala and kikongo rub with English and French. They saved "It's a bomb" for the end, a bastardized rumba, with rimshots that slap like a cool hand on willing skin. We're living in a golden age of reissues coming out in droves and satisfying our desire to catch up on our neighbors' musical heritage, but let's not miss the boat : it's now or never to listen to the music of the living. - Halory Goerger

What a great little∼big gift from amigo MIKE WATT, himself → 30 years after the release of the MINUTEMEN —mythical, epic & unique— album «Double Nickels On The Dime» coinciding with the very∼first european tour curated by MadameMacario and shared with GUESS WHAT & L’Œillère from Februarry 20 to Aprril 19, 2014 ; MIKE WATT THE MISSINGMEN suggested me to help spread this —tasty & respectful— selection of 6 HOMMAGE interpretations taken from this 1984 «chef d’œuvre»… Just a sweet neat iconoclast blast !

Superb album of a kind... Breakcore killerz for a Fukdup superb prod !!

Cam aka Cam the Wizard is a Canadian MC from Edmonton, Alberta. Gram, aka Graham Murawsky, better known as Factor Chandelier, is a Canadian producer from Saskatoon, Saskatchewan and owner of Side Roads Records. G.A.M. aka Giovanni Allen Marks, aka Subtitle, is an MC/producer hailing from Los Angeles, California. He is affiliated with the legendary Project Blowed Crew and one half of Lab Waste, with partner Thavius Beck.

The WYLDE TRYFLES from Bordeaux sound wild and out of control, playing their modern take on ultra-fuzzed female-fronted 60s garage-punk, full of snotty garage vocals, screams, back from the grave vibes and hypnotic dangerous dancing beat! So, what do they serve on their third Soundflat Records-release 'Outta Tyme'? It's a brand-new killer 60's-garage-mayhem-punk-LP with 10 astounding tunes in the tradition of US-garage and British R&B/Freakbeat with an amazing vintage studio sound. You can expect the obvious classic fuzzy 60's garage-punk influence by the likes of LITTLE PHIL AND THE NIGHT SHADOWS, THE FIVE CANADIAN, THE OMENS, THE MUSIC MACHINE and THE YARDBIRDS; at the same time a great portion of 80's garage-revival-legends inspiration like THE PANDORAS or THE CYNICS, and of course the WYLDE TRYFLES' unique approach to their signature sound. You get nine smashing melodic TRYFLES-originals like the breathtaking 'Don't Leave Me This Way' or the catchy 'Don't Press Your Luck', plus one wylde coverversion of THE SAVOY's 'Can It Be', which seems to be tailormade for the band and will keep you dancing all night long. This LP is definitely among the top 60's garage revival records. 'Outta Tyme' is a fantastic new album by French garagepunkers THE WYLDE TRYFLES - don't miss out on this wylde nugget! Ready, steady, go and get it!

Anyone who takes their old-skool hip-hop seriously knows Main Source were the real deal, and their 1991 album Breaking Atoms remains one of the greatest albums in the genre. While there was an eventual follow-up in 1994, hip-hop folklore has often spoken of their shelved 1992 LP The Science.

Bar the odd bootleg single or demo here and there, the album has never been heard but now a major missing piece in the story of early 90s rap is being put back into its rightful place, as P-Vine present the first ever release of The Science, cut from the group's own master tapes and guaranteed to be a new favourite for anyone who values the golden age of beats and rhymes.

Straddling the elusive boundary between the corporeal and the transcendent, Montreal-based psych-pop band Elephant Stone has cemented its reputation as a band deeply invested in probing the contours of dreams and consciousness. Over a 14-year odyssey, their sonic tapestry has evolved into a rich and intricate form of art, capable of capturing the boundless terrain of human emotion and cognition. Set for release on February 23rd 2024, their upcoming album, ‘Back Into the Dream’, serves as the ultimate culmination of this musical evolution, offering listeners an entrancing passage through realms of introspection and wonder. The band's driving force, Rishi Dhir, has an innate ability to bare his soul through music, plumbing the depths of his vulnerabilities and musings. "I'm often caught in the web of intense, recurring dreams, which I think reflect my ongoing quest for identity and a sense of belonging," Rishi divulges. Centred on the enigma of dreams—whether they're subconscious murmurings or portals to parallel universes—’Back Into the Dream’ encapsulates the eternal cycle of waking and dreaming. “We're perpetually oscillating between two realms, trying to comprehend each," says Rishi. "If our music can serve as a bridge between these worlds, then we've accomplished our mission

...Finally repressed! No more words needed... Classic!

The original version of this gorgeous schlager techno track, released in august 2001 on Kompakt's Total 3, would put a smile on a lot of people's faces. Apart from the reworked original version, you'll get two sensational remixes: The one from Frankfurt's high-aesthete, super hipster, club- and label-owner with a three-letter name: Ata. Since the very beginning, his Playhouse label has always been a guarantee for finest German House music. It's his first (!) remix ever and his first studio work since the legendary first Playhouse release 'Holy Garage' in 1993. The 'Playhouse Mix' turns the original version into a mega-hip, late-night monster and reminds a bit of the great Larry Levan and Metro Area's congenious adaption of early-80s disco music. The 'Robert Johnson' club is going down on its knees. Wonderful. The other remix comes from one of Kompakt's in-house pioneers of pop ambient: it's Olaf Dettinger. Who didn't want to miss this chance and has interrupted his creative pause only for doing this wonderful 'Moonlight Mix'. Dettinger's cosy hi-tech sounds and Sonja Luebke's seraphic voice, both singing a duet to the moon. Very, very beautiful, indeed.

DER SMARTE HIT VON JÜRGEN PAAPE MIT REMIXEN VON PLAYHOUSE'S ATA UND DETTINGER. HERRLICH !

One half experimenting with new styles not tried before, and the other half proving that when it came to progressive rock, they had few equals. It perfectly represents the versatility, sense of humour and compositional genius of this most singular of bands. Including the same personnel that had recorded the previous years In'terview - Derek Shulman, Ray Shulman, Kerry Minnear, Gary Green and John 'Pugwash' Weathers, and yet it felt different. Marking a change in direction following their successful In'terview tour, the album received mixed reviews upon its initial release, but has since grown in stature, praised for its forward-thinking sound and experimental nature. We are now pleased to present this record in its full glory and the best it's ever sounded.

Continuing his association with Gentle Giant, award winning producer and musician Steven Wilson has remixed The Missing Piece.His tonal range and painstaking attention to sound quality gives the album a fresh and exhilarating sonic lift.

The Missing Piece by Gentle Giant, released 23 February 2024, includes the following tracks: "Betcha Thought We Couldn't Do It", "Mountain Time", "Memories Of Old Days", "For Nobody" and more.

This version of The Missing Piece comes as a 1xLP.

His Lordship ist eine Band mit einer Mission. Das hat auch die britische Mojo erkannt: “This band absolutely has a mission and that’s to rip people’s heads off with blistering rock’n’roll. It’s something we haven’t seen for way too long.”
Der 2021 in London gegründeten Band eilt der Ruf einer der aufregendsten Livebands voraus, die Großbritannien in den letzten 20 Jahren hervorgebracht hat.
Lorbeeren die sich das 2021 gegründete Duo aus James Walbourne (Gitarre/Gesang) und Kristoffer Sonne (Schlagzeug/Gesang) redlich erspielt hat.
Live wird die Band um Bassist Dave Page (von den Pretenders) ergänzt.
Co-produziert von David Wrench (XX, Hot Chip, Courtney Barnett etc.) und abgemischt von Wrench und Tchad Blake (The Black Keys, Arctic Monkeys etc.), kommt auf dem knapp über 30 Minuten langen Debütalbum der Band keine Langeweile auf.
Ein wilder Ritt aus 50er-Jahre-Rockabilly, New Wave, Surf-Instrumentalmusik, Post-Punk und glühendem Garagenrock der Jahrtausendwende.

"L’Affiche Rouge” is a ""hymn"" that Léo Ferré composed from Aragon's poem in praise of Missak Manouchian and his group of resistance fighters of the 2nd World War. Released to coincide with the occasion of the entry into the Pantheon of Missak Manouchain on February 21, 2024. For the first times in stereo and very limited 12”
With a second track being a version by Feu! Chatterton recorded Live
Limited to 50 in the UK.Reviews in London Macadam, R2,
Ads - R2 and London Macadam"

- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

Der Jesper Kyd-OST zu Fortsetzung der HITMAN-Videospielreihe: Das mainstreamig angelegte 'Hitman 2: Silent Assassin' (2002) erhielt großartige Rezensionen, u.a. eine 'Action Game Of The Year' Nominierung vom US-Magazin Computer Gaming World. Jesper Kyd schuf mit dem Budapester Symphonieorchester und dem Ungarischen Rundfunkchor ein orchestrales Melodram, das dem Spiel ein Gefühl von Unruhe und Pracht verlieh. Trotz live aufgenommener Orchestrierungen blieb sein Stil unverkennbar: starke Melodien, eingängige Rhythmen und groovige Electronica werden um harmonische Weltmusik-Elemente ergänzt, die zu den weltumspannenden Eskapaden von Agent 47 passen.

FÜR FANS VON: Scorpions, Victory, Jane, Epitaph, Eloy, Mob Rules, Thunderhead, Nitrogods / Vinyl Farbe: schwarz, bedruckte Innentasche, 140 g
Fargo zählten Anfang der Achtziger zu Deutschlands wichtigsten Rock-Acts. Mit vier Studioalben zwischen 1979 und 1982 und ihren Tourneen unter
anderem mit AC/DC und Mothers Finest hat sich die Hannoveraner Band einen echten Kultstatus erspielt. Am 23. Februar 2024 werden ihre vier
frühen Klassiker wiederveröffentlicht, darunter auch "Frontpage Lover" (1981), welche neu gemastert wurde.

Green Vinyl
The 3rd Acid Lab is here !! Very limited 200 copies release with underground-acid techno trax !! Don't miss this one out!

Das erste Live-Album von Van Halen - das Doppel-Platin-Album Live von 1993: Right Here, Right Now - feierte sein Vinyl-Debüt am Record Store Day als 4-LP-Set in limitierter Auflage. Aufgenommen im Mai 1992, als die Band ihre große Welttournee zur Unterstützung ihres klassischen, mit dreifachem Platin ausgezeichneten Albums For Unlawful Carnal Knowledge beendete, liefern Sänger Sammy Hagar, Gitarrist Eddie Van Halen, Schlagzeuger Alex Van Halen und Bassist Michael Anthony über zwei Stunden lang die typischen Van Halen-Hits.

Fela definiert geistige Blindheit als eine Person, die mit weit geöffneten Augen die Richtung verliert und sich im Kreis dreht, ohne je an ihr Ziel zu gelangen. Die Ikoyi-Blindheit bezieht sich auf die nigerianische Elite, die falsche Berufe wählt, weil sie damit eher sozialen Status als berufliche Befriedigung erlangen. Sie üben nicht nur die falschen Berufe aus, sondern sind auch blind für das Leid ihrer Landsleute, die in Ghettos wie Mushin, Ajegunle, Somolu, Maroko und sogar Kalakuta leben. Als Beispiel nennt er den Anwalt, der statt eines Buches den Hammer als Werkzeug wählt, oder den Musiker, der den Schraubenschlüssel als Werkzeug wählt. Fela sagt, dass es für solche Menschen noch Hoffnung gibt, wenn sie ihre Denkweise an ihre Umgebung anpassen. '…them miss road! Them find road again oh!'. Jene sozialen Aufsteiger, die den Status quo und die Tatsache, dass sie in die Fußstapfen der ehemaligen Kolonialverwalter getreten sind, als Zeichen ihres sozialen Aufstiegs sehen. Sie vergessen, dass die Mehrheit ihres Volkes immer noch in den Ghettos kämpft. Diese Menschen müssen erkennen, dass es ihnen schlechter geht als einem Blinden, der am Ufer eines Flusses lebt. Sie werden fallen: "shallow" into more 'Ikoyi mental' Blindness.

Gba Mi Leti Ki N'Dolowo (Schlag mich, damit ich Geld bekomme): Das Jahr 1974 war ein Wendepunkt für das Justizsystem, das sich die Durchsetzung des Rechts auf die Fahnen geschrieben hatte. Vor allem in einem Land, in dem die Reichen die Armen ungestraft ausbeuteten. Eine Reihe von Prozessen, an denen Menschen aus den unteren Schichten der Gesellschaft gegen die Oberschicht und einflussreiche Männer beteiligt waren, führte dazu, dass die Reichen ihren armen Anklägern hohe Entschädigungssummen zahlen mussten. Fela sang darüber und betonte, dass man niemanden ausnutzen und damit davonkommen kann. Wenn du mich schlägst, bekomme ich Geld. Solange ich mich selbst respektiere, werde ich meine Grenzen nicht überschreiten - wenn du mich schlägst, wirst du bezahlen.

Ikoyi Blindness war im Box Set #5 enthalten, das von Chris Martin und Femi Kuti kuratiert wurde. Das Album wurde auf weißem Vinyl neu gepresst und ist untergebracht in einer bedruckten Innen- und single sleeve Außenhülle.

In O.D.O.O. singt Fela über die Auswirkungen der militärischen Machtübernahme und die Zerstörung der jungen afrikanischen Demokratien seit der Unabhängigkeit - insbesondere der jungen Demokratien, die nach langen Auseinandersetzungen und manchmal sogar Kriegen mit den Kolonialmächten ihre Unabhängigkeit erkämpft und gewonnen haben. Er sagte, dass Putschisten, wenn sie an die Macht kommen, Namen annehmen wie: Nigerianischer Oberster Militärrat, Ghanaischer Erlösungsrat, Libyscher Revolutionär usw. In den meisten Fällen wurden die Putschversuche von den ehemaligen Kolonialmächten geplant und finanziert. Für diejenigen, die sich dessen nicht bewusst sind, schafft die Präsenz des Militärs auf der politischen Bühne die Illusion einer friedlichen "demokratischen" Partizipation und einer funktionierenden Regierung. Zumal der größte Teil der täglichen Regierungsarbeit von Zivilisten geleistet wird, die den Militärchefs unterstehen. Für Fela besteht die Aufgabe der Streitkräfte unter normalen Umständen darin, die zivile Regierung zu verteidigen und zu unterstützen, und nicht darin, sie zu stürzen oder die Aufgaben eines Regierungszweiges an sich zu reißen, weil sie kein politisches Mandat haben. Das Gegenteil zu tun - das bedeutet "überholen". Jede Vorstellung von einem wohlhabenden und friedlichen Land, in dem das Militär an der Spitze der Macht steht, ist eine Illusion.

Die anhaltenden Skandale und die Korruption auf höchster Ebene, die alle Regime seit der Unabhängigkeit kennzeichnen, tragen dazu bei, Felas Desillusionierung und sein Misstrauen gegenüber dem Militär ins rechte Licht zu rücken. Er weist auf die Zweideutigkeit hin, daß die Verfassungen der neuen unabhängigen afrikanischen Nationen an die Verfassungen der scheidenden Kolonialherren angelehnt sind. Identifiziert das als Ursache der Probleme. In seiner sarkastischen Art bezeichnet Fela das, was in Afrika als Regierung durchgeht, als: '…soldier go! Soldier come!' Damit meint er, dass die Institution, die die militärische Struktur geschaffen hat, die Armee absichtlich dorthin gebracht hat, um ihr koloniales Werk fortzusetzen. Um die Not der Afrikaner unter einer solchen Diktatur deutlich zu machen, führt Fela eine Liste von Liedern an, die er geschrieben hat und in denen er die Ungerechtigkeiten des Systems kritisiert: Kalakuta Show! Mr. Follow-Follow! Zombie! Shuffering und Shmiling! Leider sind es die armen Massen, die am meisten unter der Misswirtschaft und Korruption der Regierung leiden. Von klein auf müssen afrikanische Kinder lernen, wie man in einem System überlebt, in dem man nicht weiß, woher die nächste Mahlzeit kommt - keine soziale Sicherheit, keine Bildung etc.

Trotz all dieser Rückschläge versuchen die Afrikaner weiterhin, ihre Kinder zu erziehen. Die Kinder wachsen auf, nehmen feste Jobs an, um ihr Leben zu verbessern, sparen hier und dort, um zu überleben. Letzten Endes jedoch machen die Ereignisse der Misswirtschaft verschiedener Verwaltungen alle Opfer und Abstriche, die der Einzelne zur Verbesserung seines Lebens macht, nutzlos.

O.D.O.O. war im Box Set #5 enthalten, das von Chris Martin und Femi Kuti kuratiert wurde. Das Album wurde auf grünem, transparentem Vinyl neu gepresst und mit einem bedruckten Inlay versehen in einer single sleeve Außenhülle.

- Ltd. Col. LP: (Transparent Green Vinyl)

I am thrilled to share with you the upcoming release of Live Life and Tell Stories, the new album by Figub Brazlevic & John Robinson set to release in the spring of 2023. This album is a celebration of John Robinson's love for storytelling, which has been evident since he was a young child, and his passion for hearing epic storytelling from many of his favorite emcees of the golden era of hip hop.

The connection between Figub Brazlevic and John Robinson is far from a fly-by-night or simply another international internet collaboration. The two met in 2009 during Robinson’s first time touring in Germany, and shortly after, Figub remixed J.R.’s group Scienz Of Life’s Leviathan album for the love and respect of the music. The remixes, which have yet to be released, impressed J.R. and his SOL crew, and he knew he would work together in the future with Figub. That time has come, and the message is clear: Live Life and Tell Stories is a seamless blend of Robinson’s thought-provoking narratives and Brazlevic’s abstract jazzy boombap soundscapes.

This album promises to take listeners on a sonic journey of dope grooves and ill storytelling, where Robinson's unique storytelling abilities are masterfully interwoven with Brazlevic's jazzy, boombap beats. From start to finish, Live Life and Tell Stories is sure to captivate audiences and keep them grooving to its infectious beats.

In an era where the music industry is dominated by short-lived trends, it is refreshing to see two seasoned artists come together to create music that is both timeless and meaningful. This album is a perfect example of what can happen when artists come together to create something truly unique, and I can't wait for its release in the spring of 2023.

So mark your calendars, because Live Life and Tell Stories is set to release in the spring of 2023. This is an album you won't want to miss, so be sure to push play and let Figub Brazlevic & John Robinson take you on a sonic journey of dope grooves and ill storytelling. Let's go!

Nur wenige Beatgruppen der Mitte der sechziger Jahre konnten es mit den Liverpooler The Searchers aufnehmen, deren erste vier Singles auf dem Pye-Label drei Nummer-eins-Hits einbrachten - Sweets For My Sweet, Needles And Pins und Dont Throw Your Love Away - sowie Sugar And Spice, ein Nummer-2-Hit, an den man sich heute noch gerne erinnert. Diese neue 1LP-Kollektion enthält 20 der glorreichen Hits und wichtigen Albumtracks auf rotem Vinyl.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.