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The complete original album Money Jungle (United Artists UAS 15017), which was the only trio collaboration of Duke Ellington with Charles Mingus and Max Roach. Both youngsters greatly admired Duke. Ellington himself briefly featured Roach in his band during the early 1950s, and expressed on multiple occasions his appreciation for Mingus' compositions. Most of the repertoire here was especially composed for the date, while the only old tunes they recorded were "Warm Valley", "Caravan", and "Solitude". 180-GRAM COLORED BLUE VINYL - THE COMPLETE ALBUM - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE

A new Toy Tonics EP. It’s the second by Venezuelan house DJ and producer Gee Lane. Including amazing remixes by NYC mainstay musclecars!

Gee Lane’s debut EP Metamorphosis (with remixes by Demi Riquísimo and Divorce From New York Remix & PIEK ) came out last October.
But as Virginie (her real name) is a steady name of tue Toy Tonics crew now and plays almost every weekend at one of the worldwide Toy Tonics Jams it makes sense to put out a follow up fast.

Gee Lane originally from Caracas now in Barcelona is a passionate DJ and vinyl digger with an extraordinary positive energy and attitude. A DJ diva in a positive way. A unique personality with a very strong style (in music but also as a person) and very elaborated ability to read and play with the dancers. Like the first EP also this one was recorded in Barcelona and Berlin with a little help by Robin Braum from Athlete Whippet. The music reflects well her roots and passion for everything what came out from New York’s dance culture. You can hear influences from the 80‘ promo disco scenes as well as the 1990 Body & Soul/ Francois Kervorkian / Joe Claussell universe. In fact Gee Lane after being raised in Caracas and musically educated by her father from a very early age, (a composer and musician) she moved to New York at a very young age in the late 90's where she fell in love with the HOUSE scene. And especially everything that happened at the famous and influential ’Body & Soul’ club.

This culture increased her curiosity to become a DJ (and vinyl digger herself) who is not just interested in house music but wants to explore other genres such as funk, Hip-Hop, jazz and Latin sounds and include these vibes into her DJ sets. A vinyl collector (and long time record shop employee) since then, she is known for her musical eclecticism that leads her to mix everything what she wants ...

Gee Lane now is a steady member of the Toy Tonics Krew and is already playing the Toy Tonics Jams all around Europe.

Jacky Terrasson (Piano)
Guests :
Kareen Guiock Thuram (Vocals), Camille Bertault (Vocals), Grégoire
Maret (Harmonica), Billy Hart (Drums), Eric Harland (Drums)
French Trio :
Sylvain Romano (Bass), Lukmil Perez (Drums)
American Trio :
Kenny Davis (Bass), Alvester Garnett (Drums)

Hal Singer – Tenor Sax
Alain Jean-Marie – Piano
August “Gus” Nemeth – Bass
Oliver Johnson – Drums


When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa.

With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market.

With her irresistible charm, Vally was able to convince Singer to enter a Johannesburg studio. The recording session produced this album of new material by Hal Singer and his quartet named after a song inspired by Singer’s trip to South Africa, entitled “Soweto to Harlem.” Released in 1976 and available only in South Africa, “Soweto to Harlem” captures a laid-back, unabashed and nostalgic rhythm and blues of Hal Singer’s quartet that would hardly have been born for a different market.

Cinedelic’s 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

"Corrosion of Conformity's In The Arms Of God was released in 2005 and was the last album to feature Pepper Keenan on vocals and guitar until his return in 201The set shows a return to the form of albums like Deliverance and Wiseblood, where it features a new form of progression and maturity not seen in older Corrosion of Conformity releases and resembles a true underground metal album as opposed to the much more catchy and commercial albums of their classic era in the 90's. The opener of the album, ""Stone Breakers"", closely resembles a Tony Iommi-led Sabbath jam, while such other ragers as ""Paranoid Opioid"" and ""Never Turns to More"" feature a classic COC sound. In The Arms Of God is widely seen as one of their best albums to date and is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl. "

In The Arms Of God by Corrosion Of Conformity, released 26 April 2024, includes the following tracks: "It Is That Way ", "Rise River Rise " and more.

This version of In The Arms Of God comes as a 2xLP in a(n) Gatefold Sleeve packaging.

The vinyl is pressed as a silver disc. Another vinyl is pressed as a silver disc.

The third studio album from Rebecca Downes with 12 new, original blues-influenced, rock tracks all written by Steve Birkett and Rebecca. Album mixed by Bill Drescher and Chris Childs. With exciting new material that continues the evolution of the music towards rock, More Sinner Than Saint is worth the wait. At the outset, Downes consulted with producer Chris Kimsey, who has previously worked with The Rolling Stones, to select and refine the 12 tracks and to achieve what she and co-writer Steve Birkett see as the perfect expression of their current writing. With five of the fabulous tracks having been mixed by Californian based Bill Drescher, whose previous accolades include working with Rick Springfield and The Bangles, Downes showcases her trademark powerful vocals throughout. With the remainder of the tracks being mixed by Thunder’s Chris Childs, the pedigree of this album is faultless. With her superb studio band that includes Dan Clark, Lloyd Daker and Magnum’s Rick Benton, there was no shortage of artists queuing to join her on the odd track or two. The multi award winning Alan Nimmo (King King) plays guitar on If I Go To Sleep and Magnum’s Tony Clarkin delivers a fabulous guitar solo on Breathe Out. With her signature voice, style and song writing, it was little wonder that last year she was voted Female Vocalist of the Year at the FORM UKBlues Awards. The release of this jubilant new album once again gives her the chance to showcase her formidable powerhouse and gutsy vocals in tracks that have greater range and depth than anything she’s done before. Rebecca said: “We were honoured and humbled to receive Chris Kimsey’s guidance. He gave us confidence about the direction of our writing changing to a rockier sound and advice on the way the material should be recorded. Meeting Bill Drescher in LA was fantastic – such a lovely, down-to-earth guy – and his mixing took the five tracks to the next level. Chris Childs has since done an excellent job on the rest in matching Bill’s mixing style. We are very proud of this album – and the way the music has evolved towards rock. More than ever before we believe it captures the best of our song writing.”

"Handful of Soul", Mario Biondi's three-time platinum debut album - originally released in 2006, when you had to sell 80.000 copies of an album to get a platinu m certification - and his most sold record to date, is now reissued by Schema Records in a new special edition, consisting of a 180gr. 2-LP set enclosed in a gatefold cover, plus the same album on CD including the bonus track "I'm Her Daddy". An incredible album, ranging from Jazz and Soul, that hit the Italian popular music scene like a bolt from the blue when it was released.

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

CNTS sind zurück!

Nach einem Wirbelsturm von Tragödien, sowohl global als auch persönlich, sind Gitarrist Mike Crain (Dead Cross, Retox, Festival Of Dead Deer), Schlagzeuger Kevin Avery (Retox, Planet B) und Sänger Matt Cronk (Qui) mit dem neuen Gitarristen Koko Arabian und Bassist Rico Adair zurück, um ihr zweites Album zu veröffentlichen.

Nach der Veröffentlichung ihres Debüts "Cunts" (2019) konnten CNTS eine kurze Tour einschieben, bevor die Welt auf Eis gelegt wurde. In der Pause wurden Aufnahmen gemacht und Pläne für die Zukunft geschmiedet. Alle Pläne wurden jedoch über den Haufen geworfen, als Matt Cronk bei einem Autounfall verletzt wurde, was zu einem chirurgischen Missgeschick führte und ihn mit einem gelähmten Stimmband zurückließ, unfähig zu sprechen, geschweige denn zu singen. CNTS gaben schweren Herzens ihr Ende bekannt. Bis zum Winter 2023 widmeten sich die Mitglieder von CNTS anderen Projekten, als Cronks verletztes Stimmband entgegen den Prognosen seiner Ärzte zu heilen begann und seine Stimme innerhalb von zwei Monaten zurückkehrte. Im März dann waren CNTS zuversichtlich, dass sie es noch einmal versuchen könnten.

Gestärkt durch Cronks Genesung und die neue Besetzung, verbrachten CNTS den Rest des Jahres mit der Arbeit an ihrem neuen Album Thoughts & Prayers, dessen Titel von der Banalität unserer kollektiven Reaktion auf Krisen inspiriert ist. Inspiriert von ihren jüngsten Herausforderungen haben CNTS mehrere Jahre der Frustration und des Elends in ein gut artikuliertes und aggressives Statement kanalisiert. Songs wie "Smart Mouth" und "Thoughts And Prayers" erzählen von Cronks Schmerz und Wut während seiner verschiedenen Verletzungen und der anschließenden Genesung. "I Don't Work For You" und Eating You Alive" handeln von der Ungerechtigkeit des modernen Lebens. "For A Good Time (Don't Call Her)" ist eine Wutrede auf das uralte Thema des Streits mit dem romantischen Partner.

Neon Green Vinyl

Idealism Forever is the reissue of Digitalism's genre defining debut studio album from 2007. Now it will be released as a remastered 3 LP set with 2 x 12 " on coloured vinyl and 1 x 12" LP on etched vinyl with bonus tracks, a poster, spot lacquer paint, as a limited edition. The original album double LP is sold out for years.
To date the album tracks have been used in numerous games and commercials. They have been sampled and used in new song interpretations all around the world. The songs have millions of streams over the different platforms and never lost their appeal. The new analogue master of the album shows the songs in their best outfit and the bonus material, which originally was recorded while making the album back in the days, have never been heard before.

New Heaven, INTER ARMA’s latest album, is a compelling testament to perseverance, top to bottom. Its thicket of ever-dense layers of doom, death, and black metal occasionally let bits of light slip in, fleeting reminders to keep going amid the tumult. New Heaven marks a sharp turn for the band, showcasing some of the most extreme and angular songwriting INTER ARMA has ever laid bare. Known for their cinematic take on sludgy, extremely cavernous, and borderline psychedelic Metal, the Richmond band broadens their dynamics by seesawing between piledriving momentum and swirling oblivion. New Heaven crushers and conquers, and illustrates what INTER ARMA can truly be. Take the title track, with its hair-raising lead riff stemming from drummer/songwriter TJ Childers’ challenge to himself to write a nonsensically dissonant part that he ended up loving. The song spirals upward into a punishing Death-Metal march, Meanwhile, vocalist Mike Paparo’s stentorian bellows the bludgeon, above an impossibly complicated web of riffs and rhythms. From the get go, New Heaven and the opening title track eschews any restraint - INTER ARMA is completely unchained. Paparo’s keen and empathetic lyrics about innocent victims of war, addiction, and social apathy affirm that feeling, as a survivor grimaces at the carnage behind him and presses ahead best he can. “You stared into the brutish jaws of strife’s heartless device,” he growls into a chthonic blitz during “The Children the Bombs Overlooked,” a late-album powerhouse. “And you turned your back to hell.” That forward march out of madness is New Heaven in an armor-plated nutshell. Though this is indeed another INTER ARMA triumph, it is not a triumphant album, meant to offer some glib or naïve assurance that everything will be fine. What evidence is there for that, really, either on a record where friends are forced into submission, addiction, suicide, or retreat to a world where suffering remains the lingua franca? No, INTER ARMA and New Heaven are too realistic and experienced for that. This is, instead, a record about enduring brambles and curses and lasting long enough to make something profound, honest, and even affirming about it all every now and again—exactly as INTER ARMA has on New Heaven. FFO: Amenra, Neurosis, Full of Hell, Cult of Luna, Yob, Primitive Man, Thou, Ulcerate, Mastodon, The Body, Panopticon

During our search for souvenirs from imaginary cities, we stumble upon other curiosities.


We present our new sublabel ‘Curio Cabinet’. A Series of 7-inch records in-between the Souvenir releases.


The first curiosity comes from Mills Boogie's moniker Sly Boogie. He kicks off the series with an Electro infused 130 bpm Dub track that asks to head nod at half speed.


Weird Dust juggles a solid stepper version of the Bushman Slyde track on the flip side. Heavy subs included!

"Paradise In Me is the second album by the Belgian band K's Choice. Six singles were released from the album: ""A Sound That Only You Can Hear"", ""Mr. Freeze"", ""Not An Addict"", ""Wait"", ""Dad"" and ""Iron Flower"". ""Not An Addict"" reached #5 on the U.S. Modern Rock Tracks chart. Paradise In Me is a set of post-grunge rock that relies as much on the group's churning, vaguely hard sound as it does on their songwriting talent. The album was certified Gold in Belgium and even Platinum in the Netherlands. The double album Paradise In Me is available as a limited edition of 750 individually numbered copies on translucent green coloured vinyl. The D-side contains an etch and the vinyl package includes an insert. "

Paradise In Me by K's Choice, released 25 April 2024, includes the following tracks: "White Kite Fauna", "Song For Catherine", "Iron Flower", "Paradise In Me" and more.

This version of Paradise In Me comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, green disc. Another vinyl is pressed as a translucent, green disc.

Career trajectories are rarely linear or make logical sense. Life is always unpredictable so all you can do is put in good work and keep at it. Joh Chase is a testament to this. Over the past two decades, the Seattle-raised, Los Angeles-based artist has persistently honed their songwriting and toured, opening for acts like Noah Gunderson and David Bazan. This dedication comes out entirely in their songs, which are so timeless, confident, and inviting they can only come from someone who’s devoted their whole life to their craft. Chase’s new album SOLO feels like a turning point for them: it’s the culmination of a lifetime of writing, losing, loving, and doing it all yourself. The LP adventurously toes the line between genres and sensibilities but it’s all filtered through Chase’s charming and fully-formed vision. SOLO is a testament to Chase’s do-it-yourself ethos throughout their entire career—they chipped away, self-funded tours, and crowdfunded this LP. But by finding their voice, they now no longer feel alone. “This is the most support I've ever had in my life,” says Chase. “I do not feel alone at all. There’s so much energy and generosity here around these songs.” Though it’s not their debut, SOLO feels like a reinvention for an artist: a daring reintroduction for a timeless talent. “I spent my life making music and trying to do it about 10 different ways,” says Chase. “Now this one feels like it. This album feels like a leveling-up of my music in general. When I look at it now, I realize this is the first record that's really me.” “Mesmerizing, infectious, joyful, and heartbreaking; this is the best new album I've heard in a decade. Joh Chase has arrived

Hunting for rhythm, as if our lives depended on it, as if, without rhythm, we’d starve to death. Can body and soul live without rhythm? Seizing its different forms, dissecting it, ingesting it, digesting it, could very well be akin to the Rhythm Hunters’ creative process. What are the rhythmic principles that lead us to develop its polyphonic, groovy and trance-like aspects (Africa), or mathematically complex ones (India), or irregular pulsations that transcend asperities (Balkans), among others? To go on a rhythm hunt, why not explore all these places, appreciate the infinite diversity of rhythms and, back home, try to understand and experiment with enriching your own rhythmic vocabulary with the basic principles underlying each musical tradition. What can these principles contribute if you transcend borders and begin to adapt your musical knowledge and experience to the new ramifications of the rhythm you’ve just discovered? The music of The Rhythm Hunters is one of the answers.

A few years ago, the musicians in this band and I began a specific practice on unusual mixes of rhythmic ideas, inspired by traditions from various parts of the world, with the intention of integrating them until they became a personal vocabulary and means of expression. The result is on this album.

Stéphane Galland & The Rhythm Hunters by Stephane Galland & The Rhythm Hunters, released 26 April 2024, includes the following tracks: "Positivv ", "Artemis" and more.

This version of Stéphane Galland & The Rhythm Hunters comes as a 1xCD in a(n) O-Card packaging.

Garth Erasmus is an artist and musician based in Cape Town, South Africa. "Threnody for the KhoiSan" is his first album under his own name. Since 1985 his artistic interests have broadened to include music-making, designing and making his own instruments based on indigenous KhoiSan knowledge. From 1999 to 2012 he was a member of the South African First Nation activist group Khoi Khonnexion. In the past couple of years Garth Erasmus has also been a pivotal part of various international performance pieces and exhibition projects which brought him regularly to Europe. Most of these activities were developed and performed in collaboration with the Hamburg based band Kante and his band Khoi Khonnexion. In April 2024 Garth Erasmus will be part of the group exhibtion "Oscillations" at Akademie der Künste, Berlin.

Released on 180-gram vinyl including sleeve notes and rare photos.Recorded Live at Basins Nightclub in February 1987, 12 songs including the hits that made Desmond Dekker an international reggae star. Desmond Dekker's contribution to Jamaican ska, rocksteady and reggae is unique with his amazing songwriting and wonderful vocal talent.His song "Israelites" reached the top of the UK Singles Chart in 1969 and was one of the first reggae songs to gain widespread popularity outside of Jamaica. The song's success helped bring reggae music to a global audience. Desmond Dekker's music often featured themes of everyday life, love, and social issues, and he played a significant role in popularizing Jamaican music genres.Desmond's other successful songs include "007 (Shanty Town)," "It Mek," and "You Can Get It If You Really Want".His contributions to the development of Jamaican music have left a lasting impact, and he is remembered as one of the pioneers of reggae and a key figure in the genre's international success.Recorded Live at Basins in 1987, here you have a live performance of 12 songs including the forementioned hits that made Desmond Dekker an international reggae star.

Party Pest features ex-The Reprobettes members Jemma Jives (drums & vox) and Sally Balhorn (guitar & vox) alongside bass player Julia Watt (Moody Beaches, La Bastard, Hot Wings) and Kate Alexander on synth (Ute Root, The Hot Blood). Unpredictable and chaotic, Party Pest is influenced by artists such as The Slits, ESG, Kleenex, The Cure and The B52's. On Uninvited, Party Pest channel post-punk irreverence, blending discordant melodies, jangly guitar hooks, wild primal drumbeats, big bold bass grooves and synthesised sonic mayhem into a celebration of life as they know it. Anything can and does happen when Party Pest play so strap in for a wild ride whether you're invited or not. When the glitter settles, the Ajax's been snorted and your Mum's been pashed, wipe the love dust from your eyes and check your bathtub.

London-based rock duo, Yur Mum, is set to release their highly anticipated album, "Duality," on April 30, 2024. "Duality" serves as the sequel to their 2021 LP, "Tropical Fuzz," and encapsulates the band's essence as a fusion of contrasts – Female meets male, Europe meets South America, and rock meets Brazilian music. Anelise, the bassist and vocalist, expresses, "It's a total yin and yang. We're embracing our differences and blending them together to create something unique." The album features recent singles 'Say Say' and 'New Beginnings,' which gained recognition on BBC's 6 Music and Radio 1, along with Spotify editorial playlists. The duo's Brazilian roots are exposed in tracks like 'Hands To The Sky', 'Anhangá', ‘Café’, and ‘Snakes Don’t Fly’, featuring Myura Amara from PollyPikPocketz. In a bold move, Yur Mum has opted for an independent release, expressing pride in creating the album they envisioned. Collaborating with producer Alex Gordon, known for his work with bands like Tigercub and CLT DRP. "Duality" promises a wild mix of beats and melodies, rocking out with fuzzed-up riffs. Yur Mum's iconic bass and drums have levelled up, bringing an even bigger sound. Beyond the high-energy tunes, the band explores themes like faith, guilt, existentialism, mental health, toxic people, classism, and immigrant catharsis. The album cover, designed by Fabio Couto, portrays a fusion of the duo in an androgynous and striking composition. Fabio says it was captured “DIY style” with an old smartphone camera. Yur Mum, consisting of Anelise Kunz and Fabio Couto, stands out in the two-piece band scene with their distinctive Fuzz Punk Rock sound and South American influences. Live music enthusiasts can catch Yur Mum at various UK and European dates, including Rebellion, HRH Punk 4, IceBreaker, Raw Power Fest, Punktoberfest, Rock’n’Trolls, and Marchin Music Fest

The music from LES TONTONS FLINGUEURS (aka Crooks in Clover aka Monsieur Gangster) is as instantaneously recognizable as the James Bond theme thanks to a short and recurring melodic motif that can still stick in the heads of 21th century kids. Monothematism is a word used by musicologists to refer to the use of stylistic variations based on a single musical theme as can be heard in the Tontons : on the banjo, during the nose punch sequences, played jazz, blues, gloria or Hully Gally style. Though the Tontons music may on first listen sound nothing different than a straightforward yet catchy soundtrack, it turns out to be a real exercise in style. When reading Michel Magne's autobiography " L'amour de vivre " it clearly appears that mixing folk music and sound experiments was a mindful artistic choice. In the movie, Antoine Delafoy (Claude Rich) who is engaged to Patricia (the Mexican's daughter) is merely a Michel Magne caricature. He embodies a contemporary music composer in search of the " absolute anti-chord " by using a water tap. " We don't really know what it is but it's amusing ". In reality and despite his classical musical education, Michel Magne has indeed had a venture into avant-garde music, going as far as organizing an infrasounds concert at the Salle Gaveau venue (Paris) on July 15th, 1954. Infrasonic frequencies which quickly made the audience run for the toilets. On December 3rd,² 1956 his low-frequency sounds contributed to an " empirique " show at the Théâtre des Trois Baudets (Paris) with Alexandro Jodorowsky, Jean Michel Rankovitch and Tinguely. At the same time he wrote music on words by Françoise Sagan for Mouloudji. Again with this desire to cross the boundaries of musical genres. He recorded in 1959 an album of " musiques tachistes " from which a show with dances was staged by Michel Descombey. His taste for provocation and avant-garde did not prevent Michel Magne from composing and arranging popular music. He hence wrote the music for six Georges Lautner movies including the famous Tontons Flingueurs in 1963.Being part of the avant-garde long-haired world what could Michel Magne think of Michel Audiard ? A most kind character who had nevertheless been burned by supporters of the " nouvelle vague " including journalist Henry Chapier who described Les Tontons Flingueurs as being " chansonnier " cinema (in Combat 1963), meant for disenchanted quinquagenarians. Audiard had responded to Truffaut, another of his dispisers : " Dad's movies filled theaters, son's movies empty them. We should have been warned : with its seaside sounding name the Nouvelle Vague (new wave) drove millions of viewers out on the countryside ". In between melodic effectiveness and daring arrangements and tonality, Michel Magne's work is worth being listened to with fresh ears, cleared of clichés !

"All our dreamers lose to the light" - from "Angels Go Home" When the pandemic began, and the world shut down, so did the process of creating for Iron & Wine's Sam Beam. In its place was a domesticity that the singer hadn't felt in a long time, and although it was filled with many rewards, making music was not one of them. Reflecting on that time, Beam notes: "I feel blessed and grateful that I and most of my friends and family made it through the pandemic relatively unscathed compared to so many others, but it completely paralyzed the songwriter in me. The last thing I wanted to write about was COVID, and yet every moment I sat with my pen, it lingered around the edges and wouldn't leave. This lasted for over two years." The journey back began with a recording session in Memphis to record a handful of Lori McKenna tracks for the EP Lori with friend and producer Matt Ross-Spang. The cathartic experience reconnected Beam with his love for making music, and soon enough the paralysis had passed, and he was finishing lyrics and booking studio time for what would become Light Verse. Light Verse was recorded with engineer and mixer Dave Way at his studio Waystation high up in Laurel Canyon (with an additional session at Silent Zoo Studio with a 24-piece orchestra), with a host of talented musicians joining Beam: Tyler Chester, Sebastian Steinberg, David Garza, Griffin Goldsmith, Beth Goodfellow, Kyle Crane, and Paul Cartwright. And, Fiona Apple joined Beam on vocals for the duet "All In Good Time." Beam lyrically once again takes focus on a series of both fictional and personal insights, filled with desperate characters and wide-eyed optimists, offering promise and a dose of heartache, tears and laughter, life and love. Taking stock in the album's title, he jokes, "Light verse is a form of poetry about playful themes that often uses nonsense and wordplay, and it's my first official Iron & Wine comedy album!_. Just kidding_." While true this may be Iron & Wine's most playful record, Beam says the title mostly reflects the way the songs were born with joy after the heaviness and anxiety of the pandemic. Where recent records like Beast Epic or Weed Garden gave air to the disquiet of middle-aged frailty and brokenness, these songs trade that for the focus acceptance can bring. Moment by moment, they delight in being pointed or silly (or both) and attempt beauty over prettiness. Light Verse arrives April 26th, and it's Iron & Wine's seventh full-length overall and fifth for Sub Pop Records. Fashioned as an album that should be taken as a whole, it sounds lovingly handmade and self-assured as a secret handshake. Track by track, its equal parts elegy, kaleidoscope, truth, and dare.

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

Born of Austin's underground musical melting pot; Glassing's 2017 debut album `Light and Death' erupted out of the famously genre-resistant scene. 35 minutes of harrowing blast beats, searing angular feedback and frontman/bassist Dustin Coffman's sandpaper screams that set out to redefine the idea of heavy music to better reflect increasingly heavy times. Two subsequent full-length releases, 2019's `Spotted Horse' and 2021's `Twin Dream', plus especially the band's last release, the eponymous two-track EP, `Dire and Sulk' paved way for the new longplayer. More discordant, more distorted and somehow even angrier than before `From the Other Side of the Mirror', Glassing prove that uncertain times call for decisive measures. Recorded across two years of intense fits and starts, affectionately nicknamed `Hell Weeks' by the band, `From the Other Side of the Mirror' is a metaphysical foray into the fractured, warped impressions of ourselves that exist only in the minds of others. Working again with producer Andrew Hernandez, who the band liken to a fourth member at this point, Glassing pushed themselves harder, faster and more punishing than ever before. As their first full-length release with Osment and their first release on Pelagic Records, `From the Other Side of the Mirror' became an opportunity for a new beginning, free of any pre-existing limitations or thresholds. As Coffman tells us, "This allowed us to forgo a lot of the convention and structure we've relied on in the past, the substitution was for raw expression. Kindred to the emotions that birthed it, this record is spirited, painful and unmethodical." There's an indescribable, beautiful rawness to this album that comes from Glassing throwing everything on the table in plain sight, rather than polishing ideas for the benefit of others until they're unrecognisable, perfect and fake. FFO Portrayal of Guilt, Neurosis, Converge, Botch, Pelican, Unsane, This Will Destroy You, Chat Pile, Old Man Gloom, Départe

2x7"
Not so long ago Marlena Shaw was a forgotten figure. The talented vocalist had made several LPs for respected labels such as Cadet and Blue Note, and she'd performed regularly throughout the '60s and '70s. But she hardly had what you might call diva status. Falling into the unfortunate category that slips uneasily between soul and jazz, she was accepted - but not especially admired - by aficionados of either genre. Then came the '90s, and an open-minded enthusiasm for soul and jazz - and more importantly - everything in between - soon changed that. Marlena Shaw became an icon, and the diva status soon blossomed amongst her new-found soul-jazz fans.

Respect is a word that means much to any singer. The artist who stands up in the bright lights before an audience that has handed over their hard-earned cash has only their physical presence and naked voice to rely on. There is no hiding when you're on stage, you're the focus of attention and everybody is gawping at you. The singer yearns to communicate and entertain, and in return not only asks for appreciation and acceptance, but respect. To this end Marlena Shaw has endured decades of singing in the shadows, and she has only recently finally found her niche.

On Disc One we have 'California Soul', probably the most enduring and well-known of her many songs, but just a few seconds listening will tell you that it is much more than that. It's already a classic amongst those who have already seen the light and have danced and swayed to its timeless swing. Upon hearing it all lovers of soul, jazz – or any other kind of good music - will feel an aural glow as warm as the Californian sun. The song 'Liberation Conversation' on the flip was only ever available on her highly revered 1969 LP 'The Spice of Life'. This is where the 'Blues ain't nothing but a good woman gone bad' launches into an irresistible, relentless uptempo funk groove.

Disc Two showcases 'Wade in the Water', an ancient song rumoured to have been developed and popularised by slaves in the American south. The message is to pass on the notion that by fleeing in a bid for freedom through streams and rivers, the scent that bloodhounds use to follow their victims will be obscured. Marlena's version has long been a favourite dancefloor filler since its 45-only release back in 1966.

'Woman of the Ghetto' is one of her best-known songs and ends the set on the other side. The opening number from 'The Spice of Life', it's since been recognised for the classic it is, and as such has been afforded anthemic status. We release the original 45 version here, as used to promote the LP back in the day.

This special 2x7" product from Jazzman is dedicated to the memory of Marlena Shaw, b. 22 September 1939, d. 19 January 2024.

"Berlin is the Spanish TV series created by Álex Pina and Esther Martínez Lobato for Netflix. It serves as a prequel to Money Heist/La Casa de Papel, focusing on Andrés de Fonollosa, aka “Berlin”. The story goes back his golden age before the events of Money Heist, where Berlin and a masterful gang gather in Paris to plan one of his most ambitious robberies ever. The series features an original soundtrack by Lucas Peire and Frank Montasell. The album also contains the main theme “Bullets and Flowers” performed by Francis White and Nikki, and tracks by Samantha Siqueiros, Pipo Romero, Pedro Alonso, Tristan Ulloa, GOA, and POL 3.14. The 2LP Berlin is available as a limited edition of 500 copies on turquoise coloured vinyl and includes an insert. "

Berlin by Lucas Peire & Frank Montasell, released 26 April 2024, includes the following tracks: "Dernière Chance", "Racing Point", "No Me Mires (by POL 3.14)", "La Banda" and more.

This version of Berlin comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a turquoise disc. Another vinyl is pressed as a turquoise disc.

Turbo Recordings is proud to present the label debut of Anastasia Kristenen, with her Moments of Inertia EP. As we enter our 26th year of existence, Turbo is constantly and violently shocked that exciting techno music is still being made. After a certain point, you expect yourself to look a genre square in the face and say “Enough!” But we consider ourselves the luckiest vanity imprint on the planet to be able to harness the talent of artists like Copenhagen-based DJ-producer Anastasia Kristensen and serve it up to you in this - your darkest hour.
Escaping the massive shadow of Norway’s hip-hop scene, ‘Moments of Inertia’ captures a sound that evokes nothing but itself, as though Kristenen were recording sub-rosa dimensional machinery at oblique angles and arranging the best parts with the kind of narrative grandeur most techno artists would never dare interrogate. It should also be noted that the track “Paradox & Puzzle" shares a name with Tiga’s moderately successful escape room gastropub.
The A1 ‘I’d Love To Do It’ leads with vivacious drum programming and Kristensen’s enigmatic vocals setting the stage for 'Paradox & Puzzle’ which shares a name with Tiga’s moderately successful escape room gastropub. The title track closes the show with slamming industrial tones, summarizing Anastasia’s bespoke futuristic flow.
If you think Turbo might start slowing down in its mid-20s, we respectfully ask you to get real. And while you’re at it, get a clue. ‘Cause we know in our heart of hearts that music can and will save the day, even if it’s just for just one day.

Disco Segreta breathes new life into two of the most elusive and coveted italo disco tracks of all time!

Originating from the paradisiac island of Sardinia, Italy, Susy Pintus embarked on her musical journey alongside her brother at Radio Cagliari Centrale, one of Sardinia’s very first “free radios,” which opened its doors in 1977. Her singing career took flight in 1978, and by 1979, she attained national acclaim with her single “C’Est Magnifique,” a disco reinterpretation of the renowned Cole Porter track.

However, Susy’s most sought-after single undoubtedly remains her 1986 italo-disco 45 featuring the tracks “Fragile” and “Live for Your Love”. These compositions, expertly arranged by Italian jazz piano virtuoso Danilo Rea and superstar musician Aldo Tamborrelli, weave a captivating tapestry of sound using instruments like Yamaha DX7 and CP80, Roland Juno 60 and JX 8P, as well as the omnipresent Linn 9000. The result is a distinctive blend of italo-disco, synth-pop, and a touch of the “balearic” vibe.

Originally released in a limited run of 1500 copies on a 45, these tracks have become exceedingly rare over time, finding their way into the wishlists and collections of discerning italo-disco enthusiasts.

Now, Disco Segreta proudly reissues these two exceptional italo disco gems, granting them the expanded 12” treatment they rightfully deserve.

This deluxe edition includes the original tracks, meticulously remastered to meet contemporary standards without destroying the feel of the originals, along with two remixes of “Fragile” and “Live For Your Love” by Italian wonder Cosimo Mandorino aka Cosmo Dance.

On his 1963 debut release for the Phillips label, baritone saxophonist Gerry Mulligan is joined by familiar friends, including Art Farmer, Bob Brookmeyer and Jim Hall for a relaxed and refined set of cool jazz ballads. Highlights include the Mulligan-penned title track and Chopin’s ‘Prelude In E Minor’.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Dieses Album enthält ausführliche Anmerkungen von Gründungsmitglied Harry Howard und wird zusammen mit den 2024-Remaster-Editionen ihres Debütalbums 'Get Lost (Don't Lie!)' und ihres zweiten Albums 'I'm Never Gonna Die Again' veröffentlicht. Auf der Tracklist dieses Albums finden sich ihre mitreißende, treibende Neuinterpretation von Alice Coopers 'Luney Tune' aus dem Jahr 1972 sowie Coverversionen von 'Open Up and Bleed' von Iggy Pop & James Williamson, 'Some Velvet Morning' von Lee Hazlewood, das Leadsänger Rowland S. Howard vor allem mit Lydia Lynch coverte, und 'Hey! Little Child' von Alex Chilton.

Die Band bestand aus dem in Australien geborenen Rowland S. Howard, der als Nick Caves Mitstreiter bei der Birthday Party bekannt wurde, seinem Bass spielenden Bruder Harry Howard, dem Schlagzeuger Epic Soundtracks (früher bei Swell Maps und Jacobites) und der Keyboarderin Genevieve McGuckin. Sie schlossen sich 1987 zusammen, nachdem Soundtracks und die Howard-Brüder sich von Crime & the City Solution getrennt hatten, und gründeten zusammen mit McGuckin These Immortal Souls in London.

In 1993 American guitarist / producer Charles Normal was traveling in Europe with Guns n' Roses. When they arrived in Norway, Charles arranged a meeting with the Oslo based underground band Sister Rain. There was an immediate kinship between the two bands, and the next day members of both bands went into a recording studio and wrote a song together. The result was the genesis of The Merchants of Venus, a band formed by Normal, Guns' keyboardist Dizzy Reed, and Sister Rain members Aslak Nygren and Rune Annaniassen. Normal stayed in Oslo while Guns n' Roses continued on their tour, and eventually negotiated a contract with Warner Music for a full album release. Recording commenced in Hollywood, California in late '93, but was brought to a sudden halt when the Northridge Earthquake destroyed their studio and master tapes on January 17, 1994. Warner flew the band back to the safer environs of Oslo where the entire album was rebuilt from the ground up. The result became Wish Across the Land. Now 30 years later, the album is remastered and released on vinyl for the first time, and features unreleased bonus material.

Full of Hell Coagulated Bliss bio Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed. They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it. These songs are trimmer, less freighted with anxiety, more interested in opening up than speeding away. Its bile is sometimes funneled into traditional song structures. It never shies away from the extreme harsh noise, unrelenting spirit, and pitch-black sadness of previous Full of Hell records; if anything, the leanness of these songs makes them feel even heavier. Nevertheless, there are tracks here you might find yourself whistling hours after listening. It’s an extraordinary and unexpected evolution in sound for a band who made their name on rapid metamorphosis, and it’s the logical endpoint of everything Full of Hell has covered so far..

. Lodge has been performing and recording with The Moody Blues for more than five decades, selling in excess of 70 million albums, and also enjoys a successful solo career, doing what he loves, performing and playing music. Lodge has been voted one of the “10 most influential bass players on the planet,” and has been the recipient of numerous awards, including ASCAP, and Ivor Novello Awards for Outstanding Contribution to Music. John was inducted into the Hollywood Walk of Fame, and in 2019 was given a star in his hometown ‘Walk of Fame’. In 2018, John and the Moody Blues were inducted into the ‘Rock and Roll Hall of Fame’, and in 2019 John was given the Lifetime Achievement Award in the Prog Awards. John’s latest release is the new studio Album ‘DAYS OF FUTURE PASSED – MY SOJOURN’. The album was recorded over the last year and has grown from John’s current live show as he, and his 10,000 Light Years Band, lovingly recreate this classic album

‘Landmass’ Turtle’s first artist album since 2017’s ‘Human’. To be released on 24 March 2023, it is his third official album having also released the acclaimed ‘Who Knows’ EP in 2013.

‘Landmass’ is a beautiful body of work that flows naturally as one piece of music and is inspired by the sparse surroundings of Jon’s studio in Argyll, Scotland, an area he moved to to try and escape the noise of the city and a move that has directly impacted on his creative process.

Jon Cooper… “Since I started producing music I have never gone into a track with any preconceived ideas, I let the music develop in its own way so my direct surroundings have always played a huge part in how it sounds and the hustle of the city was something I felt I needed to get away from. This was a cathartic experience in making it - it's a real outpouring of love for the Scottish countryside and the beauty I’m lucky enough to live in and see every day!”

Jon’s musical journey is one of experimentation and passion. A regular of the electronic scene in Glasgow in the late 90's/early 2000’s, he started to experiment with DJing and music production more for his mates entertainment than with any aspiration of a career as one of the most understated electronic artists Scotland has produced.

Belgian Johan van Roy has had one of the longest careers in electro-industrial music, rising from humble beginnings in the '80s EBM scene to become a figurehead of the genre.
Suicide Commando's music is characterised van Roy's nasty, ultra-nihilistic worldview and his unflinching exploration of the dark side of human nature, combined with the intense, dancefloor-focused sounds in which it was packaged.
Now, exactly 20 years after its original release in 2003, Suicide Commando’s legendary Axis of Evil album is re-released with lots of brand new goodies.

Skylax Records Is Proud to Introduce You to the Sound of RotorMotor With Their Astounding "Dream Beams" Ep That Encapsulates the Essence of Early '90s Trance, Italo Disco, and Ebm, While Evoking the Nostalgic Sound of Kompakt From 2004 to 2007. Hailing From Ljubljana, Slovenia, RotorMotor Is a Dynamic Duo Whose Tracks Have Gained Popularity Through Their Association With Lesyeuxorange, Feinstoff, Sexy Dinosaur From Outer Space, and Esteemed Remix Luminaries Like Neurotiker. Prepare to Be Transported Into an Audio Realm Where Pulsating Beats and Infectious Melodies Collide. the Ep Kicks Off With "Size of a Photon," a Track That Encapsulates the Signature Sound of Kompakt in Its Purest Form. "Feel My Pulse" Follows Suit, Immersing Listeners in a Rhythmic Journey That Resonates Deep Within. One of the Ep's Standout Moments Is the Remarkable Remix by Italian Producer Amarcord, Recently Acclaimed for His Releases on Ombra International, Eskimo Recordings, and Curses' Excellent Compilation "Next Wave Acid Punx". Amarcord's Remix of "Flashblinded" Flawlessly Blends Breakbeat and Trance Elements, Resulting in an Elegantly Treated Sonic Masterpiece. on the Flipside, RotorMotor Collaborates With Pholia on "Flashblinded," Delivering Both an Instrumental and a Vocal Version. the Vocal Rendition Adds a Post-Apocalyptic Touch as Pholia's Robotic Voice Sings in Slovenian, Creating an Atmospheric and Haunting Experience. "Dream Beams" Is a Demonstration to RotorMotor's Ability to Fuse Influences From the Past With a Contemporary Twist, Creating a Sonic Landscape That Captivates the Senses. With Their Relentless Energy and Creative Vision, RotorMotor Never Ceases to Amaze. This Vinyl Release Is a Must-Have for Any Enthusiast of Electronic Music Seeking an Extraordinary Sonic Adventure. Grab Your Copy and Experience the Hypnotic Power of RotorMotor....

Erlend Øye & La Comitiva - 'La Comitiva': In einer kleinen Stadt wie Siracusa, Italien, findet das gesellige Beisammensein meist in den Häusern der Menschen statt und besteht aus: Zutaten für ein Essen kaufen, das Essen zubereiten und reden, das Essen essen und reden, die Instrumente holen und stundenlang am Tisch sitzen und spielen und singen. Erlend spielt eine Ukulele, Marco spielt Nylonsaitengitarre, Luigi spielt Cavaquinho, ein brasilianisches Samba-Instrument, und Stefano spielt Bass auf denselben Stahlsaitengitarren, die Erlend bei Kings of Convenience verwendet. Die Band wurde während einer Tournee 2018 durch Chile, Argentinien, Kolumbien und Mexiko professionalisiert. Während dieser Tour entstanden viele der ursprünglichen Songs der Band, wie Altiplano, dessen Arrangement in einer staubigen Grenzstation zwischen Chile und Peru stattfand. Nach vielen unfreiwilligen Pausen (Covid, Veröffentlichung des Kings of Convenience-Albums, Veröffentlichung des Marco Castello-Albums) wird die Full Length LP "La Comitiva" im Frühjahr 2024 endlich das Licht der Welt erblicken. 2016 wurde Erlend während des kollaborativen Festivals "People" in Berlin auf das freigeistige Klassik-Ensemble Stargaze aufmerksam und er begann, einige der Mitglieder in Studio-Aufnahme-Sessions und Live-Konzerte mit La Comitiva einzubinden.

Hauptsächlich mit dabei sind: Kobi Arditi (Posaune), Maaike van der Linde (Flöte), Romain Bly (Trompete, Horn und Percussions).

With $10 Cowboy, Charley Crockett didn’t set out to make a themed record. He had released a concept album in 2022, the critically acclaimed Man From Waco, propelling Crockett to new heights and establishing him as one of the leaders of a sparkling revival of traditional country and folk music. For the follow up album, Crockett wrote freely, over a two-month period, as he wound his way across the United States on the back of a tour bus. The resulting songs—raw, personal, vivid portraits of a country in transition—ended up being connected after all. “This material is written at truck stops, it’s written at casinos, it’s written in the alleys behind the venues, it’s written in my truck parked up on South Congress in Austin,” explains Crockett. “A ramblin’ man like me, a genuine transient, is in a pretty damn good position to have something to say about America.” As the album unfolds, you begin to understand that a $10 Cowboy is anyone who has hustled to get by, who didn’t fit in, who has slept on other people’s couches, or the street, who has fallen down, gotten up, and ventured from home chasing a paying gig, or a new start. “Being out on the road gives you a first-hand experience of how different kinds of Americans see themselves as going through some kind of great struggle,” Crockett says. “The roughneck working the oil and natural gas fields in West Texas. The single mother raising kids by herself. The young man working a street corner because he thinks it's his only option. I would be dishonest if I said I couldn’t see the thread. Each of ‘em feel invisible. I am struck by the battles they are fighting internally, and the ways they have been entrapped by what America says they are.” The album was recorded at Arlyn Studios in Austin, produced by Crockett and his long-time collaborator Billy Horton. It was recorded live to tape, with anywhere from 6-12 musicians and backup singers on each track, giving the songs the feel of a live performance. It’s a sound Crockett has been after for years. “Reason I cut it on tape is because when you got the right people in the room, and the great players rise to the occasion when that red light is on and the tape is rolling, you get the magic of a great performance.” It's exactly what he achieved with $10 Cowboy. Regular bandmates Fox, Nathan Fleming, and Mayo Valdez are joined by some of the genre’s most talented players—Rich Brotherton, Kevin Smith, Dave LeRoy Biller, T. Jarrod Bonta and others, including a string quartet. Lauren Cervantes and Angela Miller sing on the album. While the musicianship and accompaniment are exquisite, they are also subtle, placed joyously, yet judiciously across the album. No, Crockett didn’t set out to write a themed record. Or, through his studied eye, to find America. But with $10 Cowboy, he might have done both.

Spanning more than two decades, Mike Kinsella's widely influential songwriting has steadily sharpened and evolved with each new chapter. In his solo vehicle as Owen (in addition to his roles along the way with American Football, Cap'n Jazz, the more recent LIES, and other collaborative ventures), Kinsella’s ability to seamlessly stitch jagged emotional currents into crushingly beautiful songs has remained at the forefront of his art. The Falls of Sioux, Mike Kinsella’s newest Owen full-length, represent a type of reinvention; feeling like the natural next step in Kinsella’s growth, both artistic and personal. The album perforates an established sound to explore unlikely musical ideas, while the songs document a time of moving through life-altering turmoil into brighter days. Heavy themes are turned over with a gentle hand, and Kinsella inhabits the deeper perspectives that come with hard-earned life experience. This contrast has become more distinct as Owen expanded from unassuming acoustic beginnings into more ornate production, reaching new levels of complexity and clarity by the release of 2020’s The Avalanche.

Malegra, Reyna Tropical's long-anticipated debut full-length album, is at once a vibrant arrival and an electrifying bridge. The album is a contemporary celebration and continuation of wide-reaching cultural traditions - from Congolese, Peruvian, and cumbia rhythms to revolutionary artists like lesbian Mexican guitarist-singer Chavela Vargas - these influences meld and are remixed through the distinctive lens of trailblazing guitarist and songwriter Fabi Reyna. Traversing themes including queer love, feminine sensuality, and the transformative power of intentional relations to the earth, Malegría spotlights narratives often pushed to the margins and offers them a sonic homeland. The portmanteau, born from a 1998 Manu Chao song by the same name, is akin to bittersweet and blends the Spanish "mal" which means "bad" and "alegria" which means "happiness." Malegria marks Reyna Tropical's return to centering creative joy and movement through music. Whether enjoyed during listening parties or infectious live sets, the music will move listeners and irresistibly command a jump - into action in protection of the land, into the arms of a crush, into your own power and fearlessness, into steady body rolls along to the beat. Malegria offers us all a chance to witness history in the making.