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The Bad Guys is a 2022 animation feature film by DreamWorks Animation. Directed by Pierre Perifel, the film stars Sam Rockwell, Richard Ayoade, Zazie Beetz, Alex Borstein and Awkwafina amongst others. The story follows a notorious fun-loving criminal animal crew. After a heist has gone wrong, the pack agree to become model citizens - or at least try to.

The score was composed by Daniel Pemberton who is known for composing the score to Spider-Man: Into the Spider-Verse (2018) and its sequel Spider-Man: Across the Spider-Verse (2023). He has also composed the soundtrack for King Arthur: Legend of the Sword (2017) and The Man From U.N.C.L.E. (2015). Besides the original score, this soundtrack also features the songs "Good Tonight" feat. Anthony Ramos, "Feelin' Alright" by Elle King and "Brand New Day" by The Heavy.

The Bad Guys is available as a limited edition of 500 individually numbered copies on yellow & orange marbled vinyl and includes a 4-page booklet with liner notes by Daniel Pemberton and Pierre Perifel.

Der Soundtrack zu Star Trek: Picard Staffel 3 in limtierter Auflage als Doppel-LP auf Sky Blue w. White Burst Vinyl mit Gatefold-Hülle und Inserts

Die Vertonung des Spiels durch den preisgekrönten britischen Komponisten Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall, 12 Monkeys, Apex: Legends) und dem deutschen Emmy-Gewinner Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Thron von Atlantis und Justice League: Gods and Monsters) Barton verfügt über einen umfangreichen Erfahrungsschatz als Produzent, Dirigent, Musikarrangeur und Programmierer bei der Komposition von Musik für verschiedene Videospiele. Er gilt auch als Experte für das aufstrebende Gebiet der räumlichen und immersiven Audiotechnik. Wiedmann war ein wichtiger Bestandteil des DC-Filmuniversums, beginnend mit seiner Arbeit an Green Lantern - The Animated Series, der seine Arbeit an Green Lantern folgte (für die er zwei aufeinanderfolgende Annie-Nominierungen erhielt). Dies führte zu großartigen DC-Projekten wie Justice League - The Flashpoint Paradox, Son of Batman, Justice League - Throne of Atlantis, Justice League - Gods and Monsters.

Long festering on the West Coast, Frankie and the Witch Fingers have carved out a niche that’s equal parts molten tar pit teardown and end-stage anxious careen. As they wind out of the stoned-ape psychedelics of their 2020 opus Monsters Eating People Eating Monsters… their sound, over a series of singles, has begun to thicken and throb. It’s coalesced into a darker strain that ingests the explosive impulses of R&B, the rhythmic insistence of 70’s German Progressives, and the elasticity of funk fusionists alike. They weld their arsenal of influences to a chassis of nail-bitten bombast. On the upcoming Data Doom the band hurtles the listener head first into the wood-chipper of technological dystopia, systemic rot, creeping fascism, the military-industrial profit mill, and a near-constant erosion of humanity that peels away the soul bit by bit. With a fuse lit by these modern-day monstrosities the band seeks to find salvation through a thousand watt wake-up of rock n’ roll exfoliation.

Lady Tazz’s Mind Medizin imprint drops NO.NAME’s ‘Unseen EP this September.

Following the success of the label’s debut release ‘Serpent Kiss’ from Canadian/Bangladeshi producer Lady Tazz and Colombia’s Gotshell, catching the attention of Daniel Avery, Ancient Methods and Sigha, newly-minted imprint Mind Medizin returns with a fresh selection of high octane techno. Arriving following support from Rekids regular Dustin Zahn and more, Italian DJ and producer NO.NAME makes his first outing on the label as he delivers his impactful and hypnotic ‘Unseen’ EP.

Loopy synths ride a pummeling bassline in ‘Monochromatic’ as fierce kicks meet crashing symbols and unnerving vocals before ‘Unseen’ serves up more modular artillery over steamy low-ends and chilling echoes in this warehouse-ready cut.

The debut album from Nottingham UK’s chaotic metallers, Outergods, is pure intense grind with a hint of experimentation black metal and disgustingly ferocious and absolutely relentless. A Kingdom Built Upon The Wreckage Of Heaven fuses together elements of death metal, black metal and grindcore – blending Outergods’ abrasive early influences such as Morbid Angel and Strapping Young Lad with the intensity of more modern, expansive but intense bands like Full of Hell.

Cleveland’s Heart Attack Man have been making music since 2013, originally starting as an outlet for singer/guitarist Eric Egan. It quickly became a 4 piece band that started touring throughout the mid-west. Creating their own brand of rousing, noisy post-hardcore and indie pop gems. Self-releasing the EP Acid Rain in late 2014 and set off touring the states. In 2016 the band went in the studio with Modern Baseballs Ian Farmer to record their debut full length The Manson Family. This led to non-stop touring across North America including tours with The Movielife, Drug Church, Hot Mulligan, The Early November and others. The new full length Fake Blood was produced by Brett Romnes (Sorority Noise, Boston Manor, Beach Goons) and picks up where The Manson Family left off with heavy themes, a touch of humor wrapped up in hard hitting catchy riffs with big hooks galore.

The music of Horace Tapscott and The Pan-Afrikan Peoples Arkestra is part Sun Ra Arkestra, part John Coltrane, part Art Ensemble of Chicago. This groundbreaking and monumental album explores the multi- faceted deep and spiritual jazz of Tapscott - Afro-centric rhythms, hypnotic bass lines, Tapscott's stabbing modal piano playing and stunning flute and horn arrangements. "The Pan-Afrikan
Peoples Arkestra - Live at I.U.C.C." is a true high point in the cannon of great independent underground jazz music recorded during this era.

Considered by many to be his finest single album, the 1962 LP Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance both on tenor and soprano saxophones, The album features his classic quartet, with bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner, all of whom by this time had already integrated their passionate dynamics into the inner whole of the group.

Der aus Kansas City stammende dynamische Hammond-B3-Organist Big John Patton spielte in den 1960er Jahren eine Reihe von exzellenten Soul-Jazz-Alben für Blue Note ein. Meist war er auf ihnen in der Standard-Besetzung mit Orgel, Gitarre und Schlagzeug sowie Verstärkung durch Bläser zu hören. Von diesem Schema wich er erst 1965 auf dem grandiosen Album “Let ‘Em Roll” ab, auf dem er mit Bobby Hutcherson zusammenarbeitete. Der Vibraphonist ergreift hier die Gelegenheit, um Pattons Musik mehr Tiefe und Struktur sowie einen moderneren Dreh zu verleihen.

Perc Trax's Forever series returns with another forward facing selection of Perc Trax regulars and artists that are new to the label. Now in its fourth edition this time Tham, Perc, Tassid and Dahryl serve up a varied mix of tracks from across the techno
spectrum.

Opening up the release is Tassid, who returns to the label after his recent festival wrecking remix of Perc's own 'Resistor' and his continued work for Stay Up Forever and his own Skuxx imprint. Here he gives us 'Quantum Entanglement', taking dance floors on a twisting psychedelic journey built on a classic rock solid Tassid warehouse foundation.

Closing the A-side is label boss man Perc, returning to the Forever series after this Dirt release for Perc Trax and his Wave Cannon EP for Scalameriya's new Void+1 label. 'Fireball XTC' hits you with a swarm of jabbing vocal shouts pushed forward by rolling percussion rhythms for a typically epic Perc work out. Flip over the vinyl and Synoid cofounder and Driller label head Tham makes his Perc Trax debut with 'Put The Screws On' showcasing a fusion of modern Berlin techno and classic electro synth sounds.

Last up is Elements & Green Fetish producer Dahryl closes the vinyl with 'Just Do It' a grinding slab of main room techno featuring the biggest drop of the release which has been in Perc's sets for months now.

Nach einem vielversprechenden Debütalbum im Jahr 2017 waren die dänischen Hardrocker JUNKYARD DRIVE bereit, 2018 mit ihrem zweiten Studioalbum "Black Coffee" in der Szene zu explodieren. Das Timing war richtig, die Band war irgendwie heiß, aber niemand konnte die erstaunliche Sammlung von Songs erwarten, die das Kollektiv für das Album schreiben und aufnehmen würde.Das Album war ein sofortiger Erfolg, mit Hits wie "Where I Belong", "Sweet Little Dreamer" und "Way Too Long", die massives Airplay im dänischen Radio erhielten, die Streaming-Charts anführten und Junkyard Drive Spots auf den wichtigsten Festivals und in Dänemark und den Start ihrer internationalen Karriere gewährten. Heute ist "Black Coffee" eines der meistgehörten dänischen Hardrock-Alben im Internet, mit über sieben Millionen Streams auf den wichtigsten Plattformen. "Where I Belong" ist sogar der beliebteste Junkyard Drive-Song mit mehr als drei Millionen Streams auf Spotify.Jetzt, nach Jahren des Ausverkaufs, wird "Black Coffee" endlich eine neue Vinyl-Edition bekommen. Es wird auf lila 180-Gramm-LP erhältlich sein, limitiert auf 500 Exemplare und handnummeriert. Ein klassisches Format für ein modernes klassisches Hardrock-Album, das sich die Sammler nicht entgehen lassen werden.

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

Legendary drummer Kenny Clarke compared Jean-Luc Ponty to Dizzy Gillespie Fellow violinist Stuff Smith marveled, "He plays violin like Coltrane plays saxophone." Born in 1942, the French violinist Jean- Luc Ponty transported jazz violin playing into the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in 1970. Over the next years he toured with Zappa, the Mahavishnu Orchestra, and Chick Corea's "Return to Forever".In the early 1970s Ponty bought himself a sequencer and synthesizer and carried them around while traveling so he could record new ideas. By 1982 Ponty had a well- deserved reputation as a forerunner in jazz-rock and jazz fusion.
In a retrospective interview for this re- release of the 1983 album Individual Choice, JLP said:
"What I was recording in that new sequencer gave me the idea to go for a totally different concept, to use these recordings as rhythmic backgrounds, sometimes without drums or percussion. I planned to record a new album in which I would play all the background parts with my synthesizers and add my violin later on in the studio."
Ponty also invited a couple guests to contribute to the recording.

They were no less than George Duke (keys), Allan Holdsworth (guitar), Rayford Griffin (drums) and Randy Jackson (bass).
Individual Choice has been re- mastered by 2023 Grammy Nominee Christoph Stickeland includes new liner notes.

The issue was always: How could I transport my work as a producer and beatmaker on to a stage? How can something, that is happening behind locked doors in the studio, emerge into a live experience?" With this vivacious live quartet, he has found his answer.
Songs from a productive solo career spanning a period of over 10 years, Sepalot has a wide variety of songs to pick and choose from. Even in the live set up, his ove for electronic music remains unaffected and the subtle influence of Hip Hop is un- deniable. Despite this being the initial state of the project, a distinctive sound has evolved from jamming together in dark rehearsal rooms. The different characters compliment each other like a puzzle on stage, though Sepalot's part as producer and svengali is undisputable.
FABIAN FU?SS on the drums - longtime partner on the drum set and the voice behind Sepalot's unmistakable radio hit "Rainbows". ANGELA AUX on the bass and mostly the voice of the quartet is a writer and solo artist in his own right. Having released albums on Millaphone his roots are undeniably in hip hop with a heavy tinge of folk. MATTHIAS LINDERMAYR on the trumpet, who originated from a family of musicians, is highly decorated jazz virtuoso. His very own releases grace modern jazz specialist label Enja Records. ... and finally SEPALOT, bringing them together and making them more than the sum of its parts.

The electronic beats, the pulsating bass, Sepalot's enthusiasm for ambient sound design - all this remains unchanged and is garnished with the element of jazz. A unique, unequalled sound that strives for higher ideals and has immense international potential.

A bit of blues here, a bit of rock there, and maybe even a little jazzy improvisation, with numerous inspirations from the folk music of various cultures, and the never absent, albeit not always conscious Turkish modes and vaguely reminisced melodies.
A songwriter accompanied by a team of marvellous musicians who left an important imprint on the Turkish music scene since the 80s. Bülent Somay, an academic, writer, translator, political activist, educator and musician, is a former member of the Turkish Jazz-rock-fusion group Mozaik. He rolls up his sleeves and dusts off some old songs that were never published before with 'a little help from his friends'.

The first encounters of Chassol with Indian music date from his teenage years where, thanks to John Mc Laughlin and his band Shakti, he could hear ragas, rhythm structures and Indian instruments mixed with jazz.

Then came Ravi Shankar, Hariprasad Chaurasia and the devotional songs.
More recently, the documentaries by Louis Malle (Phantom India) and by Johan van der Keuken (The Eye Above The Well) left their marks on him and after having harmonized New-Orleans in "Nola Cherie", the choice to attempt at an harmonization of life, sounds, motifs, noises and traffic from Northern India quite naturally grew on him.

In Calcutta and Varanasi, India's most ancient city, he went to shoot sitarists, percussionists, singers, dancers, the kids, the Ganga, the city and the apparent chaos of the traffic.

Indiamore spreads over four movements, one same tonal harmonic suite of warm and real pop chords that marries the modal Indian music usually resting on a sole continuous bass line played by the tampura.

In repeating these images, in treating their sound as a music material and in harmonizing the actors' speech with his own harmonic obsessions, he achieves to blend a documentary approach into a

Mixtus Orbis is a split album between Rennes' wizard Le Matin and the Danish astrocosmonauts Parallel Planet (Grammar of Movement & Ecxo).

It’s the 18th release of the label Maturre.

Mixtus Orbis is a place where the bad and the evil are meeting. Strange forms for strange minds, and big bangers for big dancers.

Odd Nosdam really doesn’t need an introduction, unless you’ve been living under a rock for the last 20 years then undoubtedly you’ll know what’s up, and what an absolute humbling pleasure it is to now introduce Nosdam to the Where To Now? catalogue with two new cuts that flow from ethereal, meditative contemplation through to downtown abstracted machine damage..

The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.

‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST. However, this is far from a straight up ode to creeping machine funk - Nosdam’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.

“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was over in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.

After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know.

Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow-diver with a message to the world warped cruiser in all of us.” - Odd Nosdam

After his acclaimed album for us released recently, Ribe comes again into the mothership with this modular madness EP, proving again his mastery of intelligent techno and sound design.

La penumbra is the first track, as the title suggests, darkness and shadows come immediately to mind when listening to it. A solitary bass drum joined by several drones and ambiences interleaving and mutating over the arrangement.

El Metodo follows, electric and sharp, with repetitive modular bleeps floating over a bass heavy groove. The only additional elements are percussive and come into the track progressively until the hypnotic climax.

Flipping the record, Las Raices introduce distortion and roughness on the equation, relying on a powerful groove soon accompanied by high pitched drones and electric synthetic washes.

Last Tune is Bajo el Olivo, liquid and elastic, with resonant bubbles going asymmetrically on top of the rhythm with occasional percussive details going on the back. A sci-fi sequence appears in the middle of the track adding additional sound hypnosis.

No doubt that Ribe has his own trademark sound and we are really proud of having him onboard.

Limited 300 only LP pressed on 'space black' vinyl. Housed in a gloss finished outer sleeve with black polylined inner bag and download code. Non-Returnable.

For fans of scuzzed out space punk rock n roll, Stooges, Gong, Hillage, Skullflower, Japanese psych rock.

Quick return from the Japanese/UK power trio MODOKI with album number two, 'Luna To Phobos'

Composed around the same time as their sold out debut ‘Atom Sphere’. However, this incarnation explores the darker shades of psychedelia & experimentation.

The tone always makes the music. But only those who actually make the sound An ancient-house-avantgarde dream has always been there since the legendary -Warehouse- days of Ron Hardy, to bring more sounds and tones constantly to an independent, repetitive development. And thus beyond the limits of an executive creative artist on the otherwise purely commercial sense what we call in common -beyond imagination-. -Raw Footage-, the latest album concoction of Chicago house legend Ron Trent (Prescription) on his new imprint -Electric Blue- works in the best sense of Stanislav Lem heroes Trurl & Klapauciusals, cruising like those two metal brains frantically invented by the universe of 4/4-Sounds to get insane tracks out of the new material matter located there, and put them together to brand new ones. This trackwerk varies as well as of course between classical Chi-Town to the context of contemporary, epic house dubs and lives in a perfidious manner from the interaction of various computer
modules that constantly spits out new and exciting interactions. In the end, the software sings only as digital output of great analog sounds, which may well be understood as a mocking voice to the majority of contemporary Homeboy wackiness formats.-Unpredictable- and less -cryptic- might fit here as a keyword excellent, where you kick out of the rough house plant a significant entertainment value must, without the need to posess necessarily the same nerves of steel. Anyone who has ever really wondered what House sound could be appropriate for a journey through the vastness of the universe is, gets there now at this point completely to his fullest expense. Trent 2012 and its tracks on this album reflect a lot about the revolutionary founder of -Spirit of music- from the mid-80s, who is recorded then as now but with inadequate slogans such as -light years ahead of its time-. For as
Trents body of work -Raw Footage- is also particularly scary genius material, although still of totally solid stress field and background from the musical spectrum between the Windy City and the Motor City engine bridled her.-But heres to the Future- For Sir Trent more than twenty years after -Altered States- and the relevant follow-ups, thats not really a problem!
Der Ton Macht immer die Musik. Nur wer macht eigentlich den Ton Ein uralter-House-Avantgarde-Traum war und ist es seit den legendären
:Warehouse: Tagen eines Ron Hardy, Sounds und Töne immer ständig neu zur selbstständigen, repetitiven Entfaltung zu bringen und somit die kreativen Grenzen des exekutiven Künstlers über die sonst im rein kommerziellen Sinne gängige Vorstellungskraft hinaus zu sprengen.
:Raw Footage:, das neueste Album-Machwerk von Chicago House-Legende Ron Trent (Prescription) auf seinem neuen Imprint :Electric Blue: kommt im besten Sinne der Stanislav Lem Heroen Trurl & Klapauciusals, und cruiost wie jene beiden Metallgehirne wie wahnsinnig durch das All der 4/4-Sounds, um aus dem dort befindlichen Materiematerial neue, wahnsinnige Tracks zu erfinden und zusammenzustellen. Dieses Trackwerk variert denn auch wie selbstverständlich zwischen dem klassischen Chi-Town-Kontext bis zu kontemporären, epischen House-Dubs, und lebt auf perfide Art
und Weise aus der Interaktion verschiedenster Computermodule, die dabei ständig neue aufregende Interaktionen ausspuckt. Am Ende singt eine digitale Software nur noch als Output großer analoger Sounds, die durchaus als Spottgesang auf den Großteil eitgenössischer Homeboy-Frickelei Formate verstanden werden dürfen.:Unberechenbar: und weniger kryptisch mag hier als Schlagwort vortrefflich passen, wo man dem rohen Housewerk ganz erheblichen Unterhaltungswert abgewinnen muss, ohne das man dazu unbedingt gleich Nerven wie Drahtseile benötigt. Wer sich je
eigentlich gefragt hat , welcher House-Sound so für eine Reise durch die endlosen Weiten des Universums angemessen sein könnte, kommt an dieser Stelle jetzt völlig(st) auf seine Kosten. Trent 2012 und seine Tracks reflektieren mit diesem Album zwar viel von dem revolutionären Gründerspirit einer Musik aus der Mitte der 80er-Jahre, die damals wie heute dennoch nur unzureichend mit Slogans wie ihrer Zeit um Lichtjahre voraus zu erfassen ist. Denn wie Trents Gesamtwerk ist eben auch :Raw Footage: insbesondere furchteinflößend genialer Stoff, wenngleich auch immer noch vom ganz und gar soliden Spannungsfeld und Background des musikalischen Spektrums zwischen der Windy und der Motor City her aufgezäumt. :But here's to the future: - Für Trent auch mehr als zwanzig Jahre nach :Altered States: und den einschlägigen follow-ups nicht wirklich ein Problem!

The free folk/jazz sound of modern Los Angeles. Featuring a heavy bunch of musicians and vocalists including Moor Mother.

"Fearlessly Accessing the Divine Spirit From Here on Out" is the vinyl debut from pianist, composer, and producer Diego Gaeta. He has previously released projects as Club Diego and with the trio Human Error Club (whose members Mekala Session and Jesse Justice helped produce this record). He has quickly become a fixture in a number of Los Angeles musical environments, working with Lionmilk, The Pan Afrikan Peoples Arkestra, Carlos Niño, Black Nile among others. This album is a synthesis of these many LA environments, and carries chamber, jazz, ambient, and folk influences, ultimately giving it an uncategorizable feel similar to works by Arthur Verocai or David Axelrod.

Gaeta recorded the initial ideas for the album by himself after experiencing a burst of creativity during the lockdown of 2020, in the aftermath of a season of protests in Los Angeles, on a piano at his home in El Sereno. "I was constantly not in tune with myself, always awaiting outrage and tragedy in a very unstable world. However, hitting the streets in support of various ongoing pandemic community actions felt necessary and it marked a point in time that ushered in large societal changes. The weight of that era made me feel allergic to making art at the time. All of these ideas came after that period, expressing my reflections subconsciously. I remember that the ideas came in a short amount of time, and then they developed."

Once he had created the tracks as Ableton sessions, he realized the gravity and context of how he was processing his ideas so he, as he puts it, "felt like taking them outside the hands of midi and into the hands of friends." Gaeta was able to assemble his dream band, which ended up being a 9-piece ensemble, or a nonet. "I felt that at some point I was channeling the geometrical balance of that nonet...it's almost as if I had a sextet and then the three of the sextet that's not the rhythm section were doubled. It's a really dense sextet, that's how I see it."

The recording process began the following summer in June 2021 as the musicians were all adjusting to the newfound dynamic of getting tested for COVID, waiting a few days, and then meeting up to record. "We were eating Indian food, some of us were smoking, it was a nice memory, but I felt a little stressed, because I was the bandleader, and I felt the emotional weight of my music."

The title track and single, featuring vocals by Jimetta Rose, begins with a speech by Gaeta delivered when playing with Black Nile in 2019 at the Levitt Amphitheatre in MacArthur park. Gaeta provides the following account: "Even though it was in 2019, socio-political tensions and issues were at the forefront for me at that time. I wrote a speech that was intended to be critical of the US but it ended up becoming a collage inspired by different women that had messages of freedom that spoke to me the most. I quoted Nina Simone and Georgia Anne Muldrow, it wasn't something that I read but something that she said "kicking it with consciousness and style" that phrase stuck with me, so I used it in that speech. Although critical, the speech had a positive feeling to it, and it was hopeful. I gave that speech while fireworks were going off."

Moor Mother & Zeroh are found on their respective tracks, Memory Screen & Eccolo - both delivering a distinct, commanding vocal performance. Low Leaf colors the track Soft Spot with harp, a beautiful ballad nestled in the center of the album. Other players include Gregory Uhlmann on guitar, Jon Kaye on violin, Devin Daniels on alto saxophone, Caleb Buchanan on bass, Dante Luna on vibraphone, Patrick Behnke on viola, Bryan Baker on tenor saxophone/flute, and Mekala Session on drums.

"I’d like for us tonight to embody a freedom oriented life. Freedom isn’t just a dream, it’s a place we must all arrive at together, as one by one the people of the Earth help each other to be Free of power, hate, and insecurities. Let’s kick it with consciousness and style. Can y’all dig that? YEAH. I can too. So now we’d like to present to you a spiritual transmission I like to call: 'Fearlessly Accessing the Divine Spirit of Freedom From Here On Out.' YEAH" - Diego Gaeta

As time moves forward, it becomes increasingly clear that the need for emotional expression through artistry is more important than ever, especially in the wake of emerging AI technology that threatens to replace human creativity. Minus & MRDolly's new album, "Giant Stops," is a testament to the enduring power of art to connect with audiences on a deep emotional level.

Named in direct reference to arguably one of the greatest albums ever created, "Giant Steps" by John Coltrane, "Giant Stops" pays homage to the rich legacy of jazz while pushing the boundaries of the genre with a contemporary twist. The album seamlessly blends jazz, hip-hop, and electronic elements to create a unique sonic landscape that is both nostalgic and modern.

For Minus & MRDolly, "Giant Stops" represents a new chapter in his evolution as a musician, showcasing his growth and commitment to pushing boundaries in his genre-bending style. Taking inspiration from the creative process of Makaya McCraven, the album features dynamic instrumentals backed by a live band, with Minus & MRDolly's signature lyricism and storytelling shining through both the instrumentals and the lended work of guest musician such as Meta_ or Luca Argel. By using this production method the album takes a bold stand for the importance of sampling as an art form hoping to encourage listeners to appreciate the rich history and evolution of hip hop and to recognize the essential role that sampling has played in shaping the genre.

As a nod to his Portuguese roots, "Giant Stops" represents a deeper exploration of the artist's identity and a commitment to looking inward to find creative inspiration. With this album, Minus & MRDolly hopes to inspire others to embrace their own unique perspectives and use them to create art that connects with audiences on a deeply emotional level.

In a world where technology threatens to replace human creativity, "Giant Stops" is a reminder that the power of art to connect with people on a fundamental level is enduring and will continue to shape our world for generations to come.

Drittes Album der schwedischen Metal-Band Prime Creation. Auf Prime Creations "Tell Freedom I Said Hello" ist das Thema dystopisch. Es handelt sich jedoch nicht um ein Konzeptalbum; Jeder Song ist eigenständig und inspiriert von Büchern/Filmen und der Weltgeschichte. Die Songs haben oft einen melodischen, aber auch melancholischen Touch, der die Musik und die Texte auf faszinierende und fesselnde Weise miteinander verbindet. Gitarrist Robin Arnell schrieb die gesamte Musik für das Album, inspiriert von vielen verschiedenen Bands und Künstlern. Die Musik selbst hat einen etwas anderer Ansatz als die beiden vorherigen Alben der Band und ist noch härter geworden, ohne die Melodien und Harmonien zu vergessen. Prime Creation ist eine schwedische Metal-Band, die 2015 gegründet wurde und aus erfahrenen Musikern besteht, die modernen, treibenden, melodischen Heavy Metal spielen. Die Band erhob sich aus der Asche der Power-Metal-Band Morifade.

Pianist and composer Harold López-Nussa has been steadily building a global following in jazz and beyond over the past two decades since winning the prestigious Montreux Jazz Piano Competition in 2005. López-Nussa has released nine acclaimed albums and captivated audiences across the world with his thrilling performances at esteemed venues and jazz festivals. Born into a musical family in Havana, Cuba, his music reflects the full range and richness of the Cuban musical tradition with its distinctive combination of classical, folkloric, and popular elements, as well as its embrace of improvisation. With the forthcoming release of his Blue Note Records debut Timba a la Americana, López-Nussa reaches a career milestone with a vibrant album teeming with joy and pathos that was inspired by the pianist’s recent decision to leave his Cuban homeland and begin a new life in France. Produced by Michael League (Snarky Puppy), Timba a la Americana presents 10 dynamic new compositions and features the harmonica virtuoso Grégoire Maret, Luques Curtis on bass, Bárbaro “Machito” Crespo on congas, and Harold’s brother Ruy Adrián López-Nussa on drums.

"Die Dunkelheit wimmelte immer von unerklärlichen Geräuschen..." (HPL)

Mit "Nahab" - dem zweiten Teil des Disharmonium-Zyklus - kehren BLUT AUS NORD wie getrieben in die unheimlichen, alptraumhaften Jenseitswelten von H.P. Lovecraft zurück, um sie in einem Spiegel erschreckenden Black Metal-Wahnsinns zu reflektieren.

Ähnlich wie die beiden dunklen Kammern des 2022 erschienenen Erstlings "Disharmonium - Undreamable Abysses" und der dazugehörigen Kompilation "Lovecraftian Echoes" ist diese neueste Emanation ähnlich gebärmutterartig, detailreich, verstört und transformativ.

Musikalisch nur durch das umfangreiche Oeuvre der Band beeinflusst, hat "Nahab" im Vergleich zu BANs jüngsten Lovecraft'schen Erkundungen einen erhöhten Anteil an derangierter Vokalmanie, die unheimliche Dynamik ist besser umgesetzt, die unverwechselbare melodische Kraft der Band verstärkt, die Gitarren - tiefer gestimmt für zusätzliche Resonanz - fließen im Tandem mit taumelnden Grooves wie ein stygianischer Tsunami.

In der totäugigen Trance eines dämonisch Beschworenen haben BLUT AUS NORD einmal mehr esoterische Folklore und moderne Gewalt in ein weiteres phänomenales Stück Außenseiterkunst kanalisiert, das ihrem eigenen Mythos und ihrer Monstrosität mehr als gerecht wird. In der Tat ein krönender Abschluss des Grauens.

"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

Neue bezaubernde Metal-Horizonte

Das neue SinHeresy-Album “Event Horizon" unterstreicht den einzigartigen Sound von SinHeresy, der aus druckvollen, modernen Vibes, kraftvollem Riffing, fesselnden Atmosphären und unvergesslichen Melodien besteht. Jeder Song ist perfekt um die kristallklare Stimme von Cecilia Petrini und die starken Vocals von Stefano Sain herum aufgebaut, die sich von Zeit zu Zeit vermischen und duellieren, während die Rhythmen härter und dynamischer werden und einen Hauch von melodischen Metalcore-Einflüssen aufweisen.

Der atemberaubende Ritt über 10 Tracks führt den Hörer auf eine Reise ins Unbekannte und steht für die endlose Entdeckung der innersten Gefühle, Tugenden und Schwächen, die wir manchmal sogar vor uns selbst verbergen.

With 15 tracks of pure pop perfection, “Feed The Beast” moves beyond the characters found in Kim’s past music to draw more from her personal life and is a declaration about being willing to be consumed by her biggest passion. With pop music as her driving force, the album is Kim’s offering to her own beast that sees her embody a modern-day pop Andromeda – a spin on the classic Greek tale where the princess was about to be sacrificed to her beast. Unlike the tale, however, Kim has set out to rescue herself with a body of work that is heavily inspired by the euphoric Eurodance hits that she would lose herself in growing up.

Hailed as "gospel titans" by Rolling Stone, the Blind Boys of Alabama defied the considerable odds stacked against them in the segregated South, working their way up from singing for pocket change to performing for three different presidents over the course of an 80-year career that saw them break down racial barriers, soundtrack the Civil Rights movement, and help redefine modern gospel music forever.

The five-time Grammy-winners’ latest album, Echoes Of The South, draws its name from the Birmingham radio program that hosted the group’s very first professional performance back in

1944. Pairing traditional spirituals and long-lost gospel classics with vintage soul and R&B tunes, the collection is as moving as it is timeless, transcending genre and era to touch something deep and fundamental about the human condition.

These are songs of love and friendship, joy and gratitude, faith and perseverance. Uplifting as they are, the recordings can feel bittersweet at times, too: 91-year-old Jimmy Carter retired from performing following the sessions, while two longtime members, Paul Beasley and Benjamin Moore, Jr., have since passed away. Despite the losses, the Blind Boys of Alabama show no signs of slowing down.

“The spirit of the Blind Boys isn’t about what you can’t do it’s about what you can do,” says singer Ricky McKinnie. “As long as we stay true to that, as long as we sing songs that touch the heart, this group will live on forever.”


The most honored and revered group in Gospel music.
Winners of 5 GRAMMY; including Lifetime Achievement.
Echoes of the South brings the group back to Muscle Shoals, Alabama to record, album produced by
Matt Ross-Spang and Ben Tanner, band features Phil Cook, Dennis Crouch and Chad Gamble.
Global touring schedule planned for 2023/2024.
Documentary film to be released in conjunction with the album, book on career to be released in early 2024.

• Clydene Jackson’s 1975 debut LP for Ray Charles Crossover imprint failed to make much noise on its release. It is largely a smooth jazz-based album, half the tracks of which were written by Clydene. One track, in particular, broke the sophisticated music mould and was picked up by UK DJs on the Modern Soul scene.

• ‘I Need Your Love’ became popular in the UK and eventually Europe, leading to the track’s release on a single-sided 45 in 2001 That pressing did not satisfy demand however and the song’s popularity has continued to grow and grow. Kent are making it available with the excellent ‘We’re In Love’, another self-penned track from the same LP, on the flip.

Limited 300 only LP pressed on 'deep space black' vinyl. Housed in a gloss finished outer sleeve with black polylined inner bag and download code. Non-Returnable.

For fans of Up-Tight, Les Rallizes Denudes, Acid Mothers Temple, and deep psych rock.

Introducing TOMOYUKI TRIO, a blistering Japanese/UK psych-rock power trio featuring Tomoyuki Aoki, Mike Vest & Dave Sneddon.

Tomoyuki Aoki is the founding member and lead guitarist of the legendary Japanese psychedelic rock band UP-TIGHT, who’ve been active and since 1992 building up a cult following worldwide.

This debut collaboration between Tomoyuki Aoki & Mike Vest (of Blown Out, Bong, Modoki, Artifacts & Uranium, Drunk In Hell etc) greets two titans of guitar feedback and blissful ‘improvised every-time’ leads.

Experimental ultra-delayed vocals, shimmer over downer minor chord basslines, leaving room for Aoki’s guitar devastations.

This is introverted mournful psychedelic rock music, yet it still grooves all the way to it's inevitable oblivion.

Sam Barker returns with his first solo EP since 2020's BARKER002, this time on Oslo's Smalltown Supersound. While Barker's previous releases (2018's Debiasing EP, 2019's Utility LP) explored the possibilities of kickless dancefloor tracks, Unfixed sees him inverting the musical equation and exploring both the variability and sonic possibilities of a kick-drum - though the final result is not a concept EP. The four tracks emerged from a session that started out as both a technical study in bass drum design and cognition, specifically problem of "functional fixedness", which describes a mental block that restricts the use of an object to its traditional application. Exploring the so-called "generic parts technique", whereby an object is broken down into its component parts to help reveal novel solutions, the typical bass drum elements of waveform, transient, and noise were re-combined through modular synthesis to become fluid, expressive and dynamic. However, what began as a rule-based experiment was overtaken by a more organic music making process without specific conceptual constraints, which allowed the music to live and breathe. Tracks were started and then left unfinished, only to be approached again and again over lengthy intervals. Stylistically the result a mix of raw, stuttering, psychedelic growl, kosmische techno, and infinite iterations and of a single groove. In this regard, Unfixed sees Barker not only deeply invested in musical experimentation but also exploring his own biases in both composition and sound design. The result is, once again, a sound and musical framework all of his own.

"Perfect Saviors ist unser völlig unironischer, aufrichtiger Versuch, das größte und beste Rockalbum des 21. Jahrhunderts zu schaffen." The Armed - das in Detroit gegründete Alternative Metal-Post-Hardcore - Kollektiv - meldet sich mit neuen Album Perfect Saviors zurück, dem nächsten Schritt seit ihrem Durchbruch ULTRAPOP aus dem Jahr 2021. Perfect Saviors wurde von Tony Wolski zusammen mit Ben Chisholm und Troy Van Leeuwen produziert, mit Beiträgen von Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer und vielen anderen. Das Album wurde von zudem von Alan Moulder (u.a. NIN, Iggy Pop, Jesus & Mary Chain, Wet Leg, Foo Fighters...) gemischt. Sänger Tony Wolski äußerte sich wie folgt zu dem Album: "Zu viele Informationen haben uns dumm und verwirrt gemacht. Zu viele Möglichkeiten, sich zu vernetzen, haben versehentlich zur Isolation geführt. Und zu viele Erwartungen haben jeden gezwungen, eine Berühmtheit zu werden. Vorhersehbare ursprüngliche Gefahren sind neueren sozialen Gefahren gewichen. Das Ergebnis ist eine Welt, die verwirrend und beängstigend, aber letztlich auch schön ist. Wir hoffen, dass diese Platte genau das alles auch ist. Perfect Saviors ist der Abschluss einer Trilogie von Alben, die untersucht und seziert, was "Popkultur" in einer Welt der grenzenlosen Information und des Zugangs ausmacht. Jedes Album nutzt "Popmusik" als lockeres Format, um diese Ideen auszudrücken, und nutzt Komposition und Präsentation als eine Möglichkeit, diese Fragen weiter zu hinterfragen. Perfect Saviors ist das ultimative Produkt dieser Entwicklung. Mit Hilfe eines der weltweit bekanntesten Mixing Engineers haben The Armed ein wunderschönes Album geschaffen, das die Sprache und die Welt des Pop durch eine einzigartige, extreme und perverse Linse betrachtet und so ihre Kunst vermittelt. Perfect Saviors folgt auf das von der Kritik gefeierte Album ULTRAPOP von 2021, das auf zahlreichen Best of 2021-Listen landete, darunter Pitchfork, New York Times, Stereogum, Revolver und vielen mehr. Vinyl im Klappcover mit zwei 12seitigen Booklets, Insert + DLC!

Vinyl includes lyric booklet with hand-written lyrics and exclusive photos and download card. Has collaborated with MF Doom, Czarface, Ghostface Killah, Dennis Coffey, and more. Kendra Morris, the Brooklyn-based Artist is back with her fifth LP, entitled I Am What I’m Waiting For, on Colemine/Karma Chief Records. Co-Written and Produced by Torbitt Schwartz (Run The Jewels, Killer Mike, Rubble Kings, Chin Chin), this collection is Kendra’s most personal album to date. It was spring of 2022 and Kendra had just released Nine Lives, her first new album in almost a decade and her first release on Colemine Records. She felt an urgency to get back into the studio, but something felt different this time. Returning to her usual ways, places, and people that she had been creating with felt like dragging herself back to a familiar and comfortable place - but that wasn’t what she was looking for. “I had to step into a new, unknown process because I knew it was the only way that I’d continue to grow,” she explained. She took a small batch of songs to Torbitt’s studio and the two began to write. “He challenged me to find the best version of every lyric,” she shared. “When I listen back, I’m so proud of the time we spent, because every single line is deliberate. I challenged myself to write just to write. No love songs this time around. Torbitt and I wanted to create a record that felt like you cracked open the ooze in my head. There are a lot of layers to me but I only recently through age and experience have fully accepted the weird little nuances that I’m made of. I’m a messy introvert that pretends to be an extrovert so I can feel like I fit in.” From top to bottom, I Am What I’m Waiting For is sincere. It’s a fresh take on a timeless sound, and Kendra exudes power. “My heart has always been in soul music,” she shared. “On this record, you’ll hear my influences and then some. You’ll hear all the bits of me….the vulnerable bits, the silly bits, all of it.This record is my melting pot.” Whether you’re a longtime listener or just now beginning to explore the whimsical world of Kendra Morris, the relatable lyrics and modern soul sounds on I Am What I’m Waiting For are sure to turn you into a fan

Der in Texas aufgewachsene Singer-Songwriter und Big Thief-Gitarrist Buck Meek kündigt sein neues Album "Haunted Mountain" für den 25. August an. Seine erste Solo-Veröffentlichung bei 4AD folgt auf das 2021er Album "Two Saviors" und handelt von der Liebe...und etwas anderem. Etwas Größerem, etwas, dass Liebe nicht wirklich herausfordert, eher im direkten Kontrast dazu steht. Eine völlige Erfüllung der Seele. Meek gesteht ein, dass Liebeslieder für ihn die am schwersten zu schreibenden sind. Vielleicht holte sich Meek auch deshalb beim Schreiben Verstärkung in Form der Freundin und langjährigen Heldin Jolie Holland, die bei fünf von elf Songs des Albums Co-Autoren-Credits hat. Die ersten zwei Verse und der Chorus von "Haunted Mountain" stammen von der Texanerin, die diese als Liebeslied für Mount Shasta in Nord-Kalifornien geschrieben hat. Meek fügte den finalen Vers hinzu, in der gemeinsamen Suche nach dem Austausch mit der Natur. "It"s about being humbled by the thing you"re drawing power from only at which point an actual, fair relationship begins", erklärt er. Seit seinem selbstbetitelten Solo-Debüt sind Meeks Band-Kollegen die gleichen: Adam Brisbin (Gitarre), Austin Vaughn (Schlagzeug) und Mat Davidson (Pedel Steel, Bass). Für "Haunted Mountain" stießen noch Ken Woodward (Bass) und Meeks Bruder Dylan (Klavier, Synths) zu diesem eingeschworenen Haufen dazu. Davidson übernahm die Produktion, während Adrian Olsen, der auch die Sound Manipulation mit einem Modular Synthesizer übernahm, das Album innerhalb von zwei Wochen mixte. Der Ansatz war ein hi-fi-Album als Gegensatz zum lo-fi-Ansatz des Vorgängers zu erschaffen, während die Intimität erhalten bleiben sollte. Meek glaubt selbst daran, dass alle großen Liebeslieder noch nicht geschrieben wurden. Zwischen den Zeilen von "Haunted Mountain" hört man, dass Liebe in jeglicher Form die Erschaffung eines Zuhauses ist, von innen - für immer auf der Suche nach dem anderen.

With 15 tracks of pure pop perfection, “Feed The Beast” moves beyond the characters found in Kim’s past music to draw more from her personal life and is a declaration about being willing to be consumed by her biggest passion. With pop music as her driving force, the album is Kim’s offering to her own beast that sees her embody a modern-day pop Andromeda – a spin on the classic Greek tale where the princess was about to be sacrificed to her beast. Unlike the tale, however, Kim has set out to rescue herself with a body of work that is heavily inspired by the euphoric Eurodance hits that she would lose herself in growing up.

Wild und kompromisslos - KNIFE liefern den schärfsten Speed Metal!

Deutschlands aufstrebende Extreme Metal Band KNIFE veröffentlicht am 25. August 2023 ihr neues Album und Napalm Records Debüt Heaven Into Dust. Darauf liefert das Marburger Quartett modernen Speed Metal mit einschlägigen Punk Elementen und Black Metal, der an den frühen Sound des Genres erinnert. Die 2019 gegründete Band trotze der Pandemie und sicherte sich bereits mit ihrem Debütalbum Knife (2021) einen festen Platz in der Metal Szene. Der deutsche Metal Hammer etwa bewertete das Album mit 6 von 7 Punkten und prophezeite: „KNIFE könnten dank ihrer Energie und der Fähigkeit, schlüssige Songs zu komponieren, richtig groß werden.“ Jetzt liefern die Musiker einen messerscharfen Nachfolger!

Mit Heaven Into Dust haben KNIFE ihre Messer gewetzt und sind bereit diesen Sommer auf Festivals wie dem Wacken Open Air und dem Rock Hard Festival auch mit ihrer Live-Performance zu überzeugen!

Simply calling Curtis Harding a soul man feels reductive. Harding's voice conveys pain, pleasure, longing, tenderness, sadness and strength-a full gamut of emotions. Today his voice takes on an optimistic lilt with his his new album, If Words Were Flowers. If Words Were Flowers is Harding's first new music since 2018, a follow up to his critically acclaimed 'Face Your Fears" album. It features songs like " Hopeful" , where Harding croons with devotion over a classic soul groove, textured with infectious horn playing, background singers and modern psychedelic flourishes. Harding fuels his psychedelic sound with the essence of Soul but isn't bound by it. Instead, his songs convey an eclectic blend of genres leaping from the many musical lives he has lived from following his evangelical Gospel-singing mother on tour around the country as a child to rapping in Atlanta, forming a garage band with The Black Lips' Cole Alexander to singing back-up for Cee Lo Green. Through these experiences he fully embraces life's darkest intricacies and conjures dynamic, addictive melodies.