Buscar:music 4 minds

Happy 20th birthday to Family Album, the third recording of Faun Fables and the first one released on Drag City. These songs belong to sons and daughters, entwined and orphaned, domesticated and feral; to all the family vines unraveling from a ball of yarn. In this family album, runaways graze the wild together, a mother finds her courage playing the piano, dogs become thieves and wolves, and a son is taken too soon. Fourteen-year-old nymphs sit dangerously at the crossroads, a younger brother tries to find his place, packs of girls defeat fear with a march, and the nightly adventures of the household mouse are spied upon. Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, whom inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Dawn has written musical theater performed by the Idyllwild Arts Academy, among others, and has lent her vocals to Bonnie "Prince" Billy on The Letting Go and What the Brothers Sang. In 2022, Faun Fables debuted their family band, joined onstage by their daughters with vocals, percussion, keyboard and dance.

Mother Twilight is the second Faun Fables album. It has since been noted by Scottish author R.J. Stewart as a work containing true artifacts of the oral underworld tradition. Dawn and Nils made a hand-assembled first pressing and peddled it to nearly every bar and rural hall across North America from 2001-2003. Drag City reissued the CD in 2004. Things are glowing outside, enough to bring any sun worshiper in for the night. But you must remain outside and begin walking. It"ll prepare you for the night, which otherwise comes as a chilling surprise. If you pay attention this time, maybe you"ll understand why you"re becoming invisible. When your memory began, it wasn"t startling, wasn"t a mistake. It came out of an old, dark and familiar thing, like a storyteller, like Twilight... so save us from fear, mother, and tell your story. Dawn McCarthy"s creative background was forged in oral tradition amidst a large musical family in Spokane, Washington; studying piano, music theater, rock bands, guitar, folklore and ethnomusicology. Dawn cut her teeth as a singer and performer with various bands and cabarets in Madison, Wisconsin and New York City, most notably as yodeler with the Bindlestiff Family Cirkus, who inspired her to want a gypsy life with a kindred spirit someday. Her focus took a pivotal turn in that direction in 1997 with a solo quest through the UK and Ireland and their bardic traditions; singing songs in clubs and homes, all the while undergoing a pastoral, psychological experience with the land. Upon her return to the States, a fateful meeting with Oakland, CA born-and-raised Nils Frykdahl (Sleepytime Gorilla Museum) moved McCarthy back to the West to begin a new creative collaboration in the thriving hills and art community of the San Francisco Bay Area. Since 1999, Faun Fables have released six albums and performed their animist, otherworldly folk music across North America and Europe, with shows in Australia, New Zealand and Israel, as well. Dawn"s writing and voice (described by The New Yorker as "one of the more compelling instruments in contemporary music") opens hearts and minds with a whisper to a rallying battle cry, further animated by Frykdahl"s adventurous musicality and vocals. Dawn has written musical theater performed by the Idyllwild Arts Academy, among others, and has lent her vocals to Bonnie "Prince" Billy on The Letting Go and What the Brothers Sang. In 2022, Faun Fables debuted their family band, joined onstage by their daughters with vocals, percussion, keyboard and dance.

"Less Is More is the debut studio album by DJ and record producer Lost Frequencies. The Belgian youngster shook the world with debut single ""Are You With Me"" and soon found himself on top of the world, following up on his worldwide smash with global sensation ""Reality"" and ""Beautiful Life"". Now, he shows the full extent of his potential through his debut album. Harboring a plethora of ridiculously catchy singles alongside the before-mentioned hits, Less Is More shows exactly why Lost Frequencies' signature sound is so widely acclaimed. Easy on the ear, increasingly addictive, and filled with gorgeous, laid-back vibes, the songs on the album allow minds to drift and emotions to flow freely, all made possible through the delicate arrangements and a strong choice of sounds. Lost Frequencies describes the album himself as being ""all about the simplicity of good feelings blending together, bringing a chill, but still energetic vibe."" Less Is More is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl. The vinyl package includes an insert with lyrics. "

Less Is More by Lost Frequencies, released 22 March 2024, includes the following tracks: "Beautiful Life", "Reality", "In Too Deep" and more.

This version of Less Is More comes as a 2xLP. This release comes with (a) Insert(s).

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

On his sophomore EP 'Nightlife Stories', (produced by Chris Robinson), Billy Tibbals offers a beacon of hope for a new generation of rock fans-- an audience he believes is enjoying a resurgence

Tibbals' music brings glam rock to 2024 within a once-again-burgeoning LA rock scene. He explains, "I wanted to make something a little more aggressive. It's called 'Nightlife Stories,' and so it's about seedy creatures of the night." The result is six tracks that are bold, stone cold, and ready to mold the minds of the American youth. With his mop of curls and brazen, spangled outfits, Tibbals is a return to old- school glamor with eccentric hooks and dramatic swings that demand to be heard

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

Reissue of the first three 12” in the record series dedicated to musicians who took part in the Greetings festival. It happened in 1987, it was time for Materiali Sonori 10th anniversary, an historic goal for the label/collective born in the small Tuscany village of San Giovanni Valdarno. The small celebration brought to life a box collecting the first 3 Eps of the Greetings from S.G.V. series. The series was intended as symbolic sound postcard, made with various musicians with whom the collective label shared a path, whether small or long. The Durutti Column, The Stockholm Monsters and Blaine R. Reininger (Tuxedomoon) are among the artist who took part to the project, here collected for the very first time. Lantern is pleased to pay tribute to the work of people whose passion, attitude, commitment and genuineness inspired this adventure still true to these days. "Our presence in this small tuscan town is almost casual... physically we were born and grew up here, while our hearts and our minds were travelling to Paris, Berlin, Brussels, New York or London" (Giampiero Bigazzi of Marteriali Sonori , taken from the original inner sleeves notes).

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

EIGHTEEN AND I LIKE IT… (MISC. COLOURED VINYL))if you survived trips 1-17 with one tiny speck of psychedelic sunshine intact, Brown Acid The 18th Trip will be your coming of age nightmare. Vintage underground '70s hard rock, coming at you from bizarre angles, local scene wasteland America when everybody was out for themselves and the drugs went bleak. The guitars kill, the attitude is twisted, even the sex is headed down the wrong road. Real people, no compromise, pure and potent. Get stoked, take the 18th Trip and know that the artists will get paid for pulverizing your soul! "People… are you ready?, 'cause the music now is getting so heavy"… Back Jack out of St. Louis, Missouri in 1974 launch our trip with "Bridge Waters Dynamite". It's an invocation to rock flashing on Mark Farner whooping up a Grand Funk crowd, then getting to the point quickly with berserk guitar assaults. Heavy riff with power chord stalks beneath as you take their advice… get loose and blow up the past. Smokin' Buku Band dropped my jaw with the audacious track "Hot Love" coming on like some fractured fever dream burlesque of Led Zep moves out of Hollywood in 1980. Swooping elongated vocals above, a total Zep chord move at the end of each verse. Writer/producer Steve Shauger aka Shag Stevens gets a brilliantly messed up sound quality here, the ideal polar opposite of slick. The extended guitar break is an epitome of serendipitously crude virtuosity, simply outrageous! Coming at you from way outta left field is "Moby Shark" by Atlantis, a hilarious and strange Baltimore pre-punk vibed dose of D.I.Y. meets hard rock. Lon Talbot is the mastermind, the flip side of this impossibly rare Mekon Records label single was featured in an obscure 1978 B-movie titled "The Alien Factor". Follow the lyrics closely, when the ominous jaws jaws jaws start coming after you you you… the song's big hook is so preposterously catchy the shark attack feels like good news. Inquiring minds should know that the band formerly known as Atlantis can now be found by searching for the Lon Talbot Group! Tommy Stuart and the Rubberband's "Peeking Through Your Window" from 1970 opens with a spooky organ riff, slips into a gushy fuzz/organ groove akin to "Mustache In Your Face” by Pretty. The singer creates downright creepy vibes, a stalker peeking through the girl's mind like a peeping Tom at the window up to no good. The lyrics evoke a disturbing scenario. Tommy Stuart also made a strange LP titled Hound Dog Man in 1977 and some terrific rare garage singles under the names Magnificent Seven and The Omen & Their Love in the mid '60s. Nothing better than an angry two chord guitar attack with cowbell to set the stage for this rant about getting "Ripped Off" by love. Taken from their rare 1977 LP on Dynamite Records, Chicago Triangle was Marvey Esparza, Dave Guereca, Jose 'Tarr' Perez and Robert Aguilera. They unleash such strong brain-scrubbing wah wah frenzy in the guitar break here that it seems to perversely mock it's own intensity! Like I said, Brown Acid the 18th Trip comes at you from all kinds of uncanny angles. Damnation of Adam Blessing out of Cleveland, Ohio unleashed a stone killer psychedelic hard rock classic "Cookbook" in the late '60s, this track "Nightmare" from 1973 has them cooking again at full power. A different singer, name change to Damnation and then Glory, unleashing a deadly dose of dark progressive heavy rock drama peaking when spooky 'oooo-wa-oooo' background vocals emerge during a bizarre spoken bit. It unfolds like a mini-epic and includes some remarkably brutal guitar and turbulent organ, too. "Swing your sword, all aboard… bid farewell to the dreamer" Dalquist exclaims. Cynical view of human nature, idealism is over, war is coming, it always does. Opens with a cold menacing riff and atmosphere reminiscent of "Synthezoid Heartbreak" by Maya. Mournful despondent vocals ride an insistent churning groove, gnarly guitar break moves into free noise territory. This rare track is from a local various artists benefit album titled Kangaroo Jam issued for the Waco Family Abuse Center in Texas circa 1980. The Pawnbrokers "Realize" is prime proto heavy rock emerging out of psychedelic garage roots in 1968 Fargo, North Dakota. Unusual arrangement, terrific sustain guitar tones like on the first Blue Cheer LP, even a rip on Hendrix "Manic Depression" with unison voice and guitar ascent near the end. They made three 45s and were active from '65 to '69. Hats off to Blake English, Kent Richey, Paul Rogne and Steve Harrison, you nailed it in just a hair over two minutes! As pure and creative as the original psychedelic garage hard rock gets. Parchment Farm from Union, Missouri gigged with the likes of ZZ Top and Foghat back in the day and unleashed the amazing "Songs Of The Dead" in 1971. Primitive riff/chord pattern dosed with some funky prog moves, sky turning black, 'is this heaven or hell' type disoriented confusion… may as well grab your guitar and sing songs to the dead. Robert 'Ace' Williams on bass, Paul Cockrum on guitar, Gary Reed on keys and Micky Waterman on drums, replacing Mike Dulany (R.I.P.) Cool that they use the Blue Cheer misspelling from Vincebus Eruptum for the band name! Ominous organ, thick minimalist fuzz riff, funky psychedelic wah wah flashes and freaky sex combine in one twisted dance titled "Rockin' Chair" by Brothers Of The Ghetto. Out of Chicago in 1975 with some Santana atmospherics and a delicious fuzz wah screamin' guitar break, the groove is highlighted by an off the wall vocal which sounds eerily detached in a subtly sleazy way. Rene Maxwell is the writer of this hard-rock boogie-down hybrid straight out of the twilight zone. It was issued on Ghetto, a subsidiary of the peculiar Kiderian label that released the Creme Soda LP. Now that your head is totally skewered, go Back Jack and play side one again! (Words by Paul Major)

Dombrance is back with a colourful new EP on Discolypso featuring two new songs and remixes from a stellar cast, including Francois K, Lindstrom,

Dombrance has been described by The Sunday Times as a 'French Jarvis Cocker with a bushy moustache and flares'. He is a musical maverick who last year released his debut full-length album and performed relentlessly across the globe from Glastonbury Festival to Downtown Los Angeles, a set before Underworld at Tropico Festival in Mexico and many more.

‘Bayrou’ is a politician who had to leave the government barely after entering it after being indicted for embezzlement of public funds. It’s a timeless electronic disco sound with sugary chords and glistening arps that bring cosmic warmth to the retro-future beats. ‘Cope’ is a politician who disappeared suddenly from circulation after publicly mistaking the price of a ‘pain au chocolat’. The fantastic tune is a prickly seven-minute disco odyssey with pulsating synth sequences and crunchy percussion. It’s twitchy and edgy and perfect for peak time.

First to remix is the legendary Francois K, who flips ‘Cope’ into a psychedelic wonder that navigates in different directions and through several genres that will make dancers lose their minds. Scandi-disco king Lindstrom then comes through with an exotic remix of ‘Bayrou’ that makes you imagine a cocktail pool party filmed by David Lynch.

Known for classic collaborative albums with artists like J Dilla, MF DOOM, and Freddie Gibbs, widely celebrated producer Madlib is a sampling savant who has crafted beats for the likes of Erykah Badu, Anderson .Paak, Tyler The Creator, Logic, De La Soul, and many more. The California artist’s latest project is Liberation 2, his second collaboration with hip-hop icon Talib Kweli. A global call for unity through space and time, the acclaimed album features appearances by Q-Tip, Westside Gunn, Roc Marciano, Roy Ayers, Goapele, Wildchild, Pink Siifu, and more. Now, the remarkable jazz-inflected Madlib instrumentals from Liberation 2 are receiving a proper vinyl release. Following in the footsteps of past Madlib instrumental classics, this limited-edition collection features 14 compelling tracks from one of the most gifted musical minds in hip-hop history.

Air Kraft Vision was a unique live act renowned during the late '90s and early '2000s for their live sets performed at the finest Tuscan clubs like Jaiss, Imperiale, Insomnia and the infamous open-air afterparty, The West.

The group was composed by Francesco Passantino, Davide Cali and Roberto Bonini (Robo). The peculiarity of AKV was to replicate the spontaneity of studio live sessions in clubs, bringing almost all their machines and hardwares on stage. The same attitude was reflected in their productions: one mixer, rough analog sounds and three minds perfectly synchronized with each other.
Evasione Digitale is proud to reissue "Wavy Gravity”, originally released in 2001, a totally refreshing approach to Italian progressive music.

Since their debut album in 2005, Finnish post-rock cinematic epics, Oddarrang, have been captivating audiences with their unique blend of atmospheric, melodically infused, and harmonically rich music, woven around an uncommon combination of guitars, cello, and trombone. The term "odd arrangement," from which Oddarrang takes its name, perfectly describes their effortless merging of atmospheric charm with post-rock influences, tasteful synth production, and resonant brass. In 2024, Oddarrang is set to release their fifth and self-confessed final album, an album that many consider their magnum opus.

This highly anticipated release blends all the elements from their previous works, resulting in a highly compelling musical masterpiece. The anticipation for this album is at its peak, representing the culmination of their artistic growth over the years. As a collective group, Oddarrang is a melting pot of diverse musicians, each contributing their distinct style to the musical canvas. Their evocative compositions possess a cinematic quality, conjuring a plethora of emotions and vivid imagery in the minds of their listeners. This forthcoming album stands as a true testament to Oddarrang's unwavering dedication and artistic evolution. It is a reflection of their authentic connection to the music they create, inviting audiences to embark on a transformative and emotionally charged musical journey.

"Oddarrang" includes the following tracks: "Lull", "Mishkan", "White Wall pt. 2" and more and comes on orange vinyl.

-Entire album produced by HAVOC of Mobb Deep.

-Having a West Coast lyrical perspective by Ras Kass on this production is like having Kendrick Lamar on a QTip track.

-Features from Method Man, Twista, Philly Freeway, Fame (MOP) Kurupt (Dogg Pound) Raekwon the Chef, and more.

-Appearances by Sway, DJ Kid Capri, KD Aubert, Kxng Crooked, and other celebrity personalities.

GUTTR is not only a collective of respected legendary Hip Hop emcees and up and up-and-coming artists, but also a mindset. GUTTR is a collective, and in a sense, Rap’s first unionization. The entire project was produced by HAVOC from Mobb Deep and spearheaded by Executive Producer, Storm. This debut project is front-manned by West Coast renowned lyricist Ras Kass and Philly's newest buzz, R.J. Payne. The two share sharp bars along with a star studded list of stellar guest features. With HAVOC supplying the entire album's soundscape, the music is respectfully reminiscent of the classic Mobb Deep albums we all know and love. Having a West Coast lyrical perspective by Ras Kass on this production is like having Kendrick Lamar on a QTip track. This combination creates a sound that is different, unique, and magical.

To quote Ras Kass, "We all miss P(rodigy) and that classic Mobb Deep Energy, there is no replacing that or him, period! I did want to pay homage to them and channel that vibe. Havoc being on board to set the musical canvas on an entire album for brothers to paint these bars has been the opportunity of a lifetime."

Coming in hot with 11 tracks of straight up BARS, this album marks a once-in-a-lifetime collab that has been years in the works.

Limited Edition Triple Gatefold Vinyl including DJ Marko's Theme, Miro, Junior Jack, Blaze, Pirupa, Street Corner Symphony and more.



We are excited and honored to announce the release of a La Rocca Classics vinyl. A Limited Edition Triple Gatefold Vinyl release that celebrates all monumental milestones from La Rocca's club culture. A selection, carefully curated by Wim Van Ouytsel, founder and moving spirit of the legendary nightlife brand since 1988.



Embark on ajourney through the annals of dance music history, where each track has been handpicked to evoke cherished memories of euphoria and transcendence. From the ethereal melodies of trance anthems like 'DJ Marko's Theme' and the electrifying remix of Miro's 'Spaceman' by Mr Sam, to the infectious rhythms of Junior Jack and the soulful vibes of Blaze, and not forgetting the soul-stirring house gems by Pirupa and Street Corner Symphony, this vinyl encapsulates the essence of Belgium's iconic club.

Aural architect Skygaze follows his 2022 ‘Astral Trip EP’ for Flumo Recordings, offering an advanced fusion of house, broken boogie, and future jazz, with five brand new reinterpretations from the extended Flumo family.

Skygaze’s diverse sound, breaking down barriers between house and techno, broken beat, jazz, ambient, hip hop, jungle, and even esoteric IDM, has been showcased across a growing catalogue of releases across Guayaba records, Riverette, Flumo and Thirty Three Circular, and remixes for Ed is Dead and Contours & Yadava; earning the producer support from the likes of Mr. Scruff, Simbad, k15, Bandcamp’s Andrew Jervis, and Gilles Peterson.

Feted singer, musician and producer Alysha Joy, rising producer Divorce From New York, ones-to-watch, Footnote and Karmasound, and Skygaze himself under his Jailed Jamie guise, joined by Lorenzo Soria, put a new spin on ‘Astral Trip’, whilst staying true to the originals’ spirit.

The multi-talented Allysha Joy, of 30/70 Collective & LCSM fame, remixes ‘’Night Heat’’, enhancing the groove with broken beats and her undeniable first-rate vocals.

Jailed Jamie & Lorenzo Soria, reshape ‘’Gimme Five’’ with rough synths and jacking bassline driven “Think” beats.

Divorce From New York boosts the tempo and infuses ‘’Wagwan’’ with Latin rhythms, perfectly balanced by high-energy synth lines.

Italian producers, Footnote and SofaTalk, delve deeper into ‘’Minor Mood’’, adding softer, retro-infused sound structures in a broken boogie mould.

Barcelona’s Karmasound explores the ruminating nature of ‘’City Cathedratics’’ and its counterbalance between broken beat and house.

The diverse but complementary set of remixes is sure to move bodies on sophisticated dance-floors this year and shed further light not only Skygaze’s production but also his talent for melody and song-writing. A feather in his and Flumo’s bow.

DJ Support:

Ashley Beedle (Back To The World Records)

Bolam (Lobster Theremin)

Crazy P (Hot Toddy / 2020 Vision)

Dan Curtin (Mobilee)

Fouk (Heist / Toy Tonics)

Joshua James (XOYO, Glorias, Rinse)

Laurent Garnier (F Communications)

Severino / Horse Meat Disco (Strut / !K7 Records)

Speaking Minds (Circoloco, Italy)

Repress!

Presenting a collection of deep spatial gems mined from the ever impressive TK Disco vaults for your playback listening pleasure!

The TK Disco music empire has blessed our ears and minds with an endless stream of music since it's late 1960's inception. Countless soul and funk sides were produced, cut and released by label founder Henry Stone and his associates, in turn changing the face of contemporary black music in the USA and across the world forever. It is true that the TK story originated on America's 'Space Coast', the modern frontier of lunar exploration and galactic travel, the home of NASA and countless missions beyond the stars nestled on the East Coast of the United States.

'Moon Ride' - The compilation you hold in your hands, is merely one strand of the incredible music that was beamed out of Hialeah, FL over the decades. The focus on this collection is the idea of the 'cosmic' from the Disco era. These are records that emit a spacey vibe, either from their lyrical content or equally from their sonic qualities, imbibing synths and electronics to create otherworldly grooves. These records were big hits on underground music scenes such as Daniele Baldelli's cosmic movement in the 70's and 80's in Lake Garda, they were vehicles of escapism and hedonism on the discerning dancefloors of NYC in the hands of progressive DJs like David Mancuso and Nicky Siano and they were also essential building blocks in the creation of House and Techno music in the Midwestern cities of Chicago and Detroit, inspiring legendary artists such as Mr Fingers and Jeff Mills and countless others. An essential collection of music for listening, dancing, loving and travelling!

TK Disco's influence is still felt today and this carefully curated selection of tracks showcases some absolute classics, overlooked nuggets and rarities from the label's huge output. Mastered with love by Optimum Mastering, Bristol UK. Brought to you by TK Disco / Henry Stone Music & Above Board Distribution 2021.

In a mesmerizing fusion of two beatsmiths, the renowned Instrumental hip hop virtuosos Thelonious Coltrane and Miller Gold have joined forces to create an unparalleled vinyl release, set to captivate music a¦cionados worldwide. This groundbreaking collaboration seamlessly blends the innovative drumbreaks mastery of Thelonious Coltrane with the synth compositions of Miller Gold. With a collective legacy spanning decades, these two luminaries have rede¦ned the boundaries of instrumental hip hop, in§uencing generations with their distinctive styles. The forthcoming vinyl release promises an immersive journey through the rich tapestry of future sound of instrumental hip hop, offering listeners a transcendent experience that harkens back to the golden age of the genre while pushing the boundaries of contemporary musical expression. From exhilarating improvisations to hauntingly beautiful melodies, each track on the album showcases the unparalleled artistry of Thelonious Coltrane and Miller Gold. Speaking about the collaboration, Thelonious Coltrane expressed his enthusiasm, stating, "Working with Miller has been a true privilege. Our shared passion for music and our deep respect for each other's craft have fueled this collaboration, resulting in something truly special." Speaking about the collaboration, Thelonious Coltrane expressed his enthusiasm, stating, "Working with Miller has been a true joy. Our shared passion for music and our deep respect for each other's craft have fueled this collaboration, resulting in something trulyspecial." The vinyl release is poised to reignite interest in the timeless allure of instrumental hip hop, drawing both seasoned enthusiasts and newcomers alike into its spellbinding embrace. With its evocative melodies and virtuosic performances, this collaboration between Thelonious Coltrane and Miller Gold promises to leave an indelible mark on the landscape of contemporary instrumental hip hop. Stay tuned for anticipated vinyl album

Violist, violinist and singer-songwriter Marla Hansen returns to Karaoke Kalk with "Salt", her second full-length album to date. Building upon the sonic palette the Berlin-based musician established with her debut "Dust" in 2020, "Salt" takes the delicate mixture of acoustic instruments such as viola, violin, piano and guitar combined with subtle electronics to the next level. The new album is both a remarkable departure and at the same time sheds a new yet reassuring light on Hansen's work and creativity. "Salt" features numerous collaborations with like-minded musicians and friends, e. g. producer and composer Simon Goff, The Notwist's drummer Andi Haberl and the renowned artist DM Stith.

The "Dust" has settled. After having recorded her solo debut of that name, in 2020 the world came to a grinding halt, leaving Marla Hansen left to her own devices in her adopted home of Berlin. For Hansen, who previously had lent her talent to many creative minds such as The National, Sufjan Stevens, The Hidden Cameras, Jay-Z and Ravi Coltrane, the collaborative aspect of writing and producing music had always played a crucial part in finding her own path as a solo artist.

"I started to explore synthesizers and electronic production myself," she remembers of the time when meeting other musicians in person was out of the question. "I am proud that I accomplished many of the electronic elements of the new album by myself, and otherwise laid the groundwork for the final electronic structures through my own experiments. I always wanted to record a 'big' record, one that has a lot of power and sound, and this one is 'bigger' than anything I have done so far."

"Salt" is big, indeed. The opener "Chains" is driven by a gliding bass line, bobbing 808 snares, deep chords and a mesmerizing chorus doubled by luscious strings, marking the beginning of a new chapter in her creative journey. A stark statement, both musically and lyrically. Meanwhile, the title track of the album is an almost abstract sounding ambient miniature, sketch-like, dark and haunting, showcasing Hansen's voice in a shy, brittle and fragile state. If This Mortal Coil/The Hope Blister were ever to record another album, these songs should be high up on the shortlist of tunes to pick. "The One Time" - a duet with Hansen's long-time friend DM Stith - gently meanders between a Philip Glass-inspired piece for chamber orchestra and a vocal ensemble performing on Top Of The Pops. In this range of styles and approaches, Hansen's vision is more present than ever.

For refining and finishing the songs, Hansen turned to Simon Goff, who produced the album and engineered much of the recording, merging Hansen's newly-found songwriting approach with the artistic delicacy which made her debut album an exceptional piece of work. Features include among others: Alice Dixon (Oriel Quartett) on cello, Kyle Resnick (The National, Beirut) on trumpet, Benjamin Lanz (The National, Beirut) on trombone and tuba, and Miles Perkin on bass. And then there is The Notwist's Andi Haberl, who "crafted perfect drum and percussion parts to move the songs wherever they needed to go, either into their driving grooves, slow-build explosions or gentle swells of feeling."

But what are songs actually about? "The themes revolve around a feeling of being trapped. Having to stay inside during the pandemic, with all the silence and stillness coming with it. Simultaneously, I was caught up in a professional situation that was not working for me, yet it required a lot of energy and time. I was thinking a lot about how to break old habits and patterns. Patterns in my life, patterns I saw my friends and loved-ones stuck in. There are a lot of ways that people can be trapped, and breaking out of that requires a lot of courage and energy - on all levels. The title 'Salt' seemed to fit, ocean themes showed up naturally in some of the songs, and I thought often about the quote: 'The cure for anything is salt water: sweat, tears or the sea.' Maybe I was just dreaming of the ocean, since it was inaccessible for the first time! But I wanted a cure for this feeling of being trapped, in a time of uncertainty and anxiety, salt as a remedy seemed to have some truth in it: sweat, tears or the sea."

Perseverance and the urge for freedom prevailed in the end. "Salt" is a bold artistic achievement, with songs as big as the biggest waves imaginable. With melodies as alluring as the most comfortable breezes. Perfect from start to finish.

DOODSESKADER (Dutch for “Death Squad”) is a merging of the minds of Tim De Gieter (Amenra, Much Luv Studio) and Sigfried Burroughs (Kapitan Korsakov, Paard).

Throughout their three years of existence, DOODSESKADER has been relentlessly pushing the envelope of what it means to be a “heavy” band. From the grunge-infused sludge on their EP “MMXX : Year Zero” to the punishing blend of hiphop and hardcore of their debut album “Year One” and the sonic onslaught of relentless rapping on standalone singles such as “FLF” and “Still Haven’t Killed Myself”, they’re breaking free of any form of categorization.



The duo has been compared to genre-defying trailblazers such as Ghostemane, Show Me The Body, and Ho99o9, however, they clearly bring their own sonic palette to the table.

The red thread in all of this has been their brutally honest and introspective lyrics. Far from your run-of-the mill type of band, DOODSESKADER uses their instrumentation as a sonic backdrop for the emotion and message they try to convey; their music serves as a mirror for life itself. Sometimes brutal, sometimes fragile, sometimes energizing, but always unexpected.



Now, on March 8th, with the arrival of their sophomore album “Year Two”, DOODSESKADER takes things up another couple of notches. From silky-soft “Pastel Prison” to the absolute carnage of “The Sheer Horror Of The Human Condition”, this record is a testament to both their creativity and their will to leave their mark on this world. It’s a trip in every sense of the word, tapping into even more genres such as R&B, techno, hardcore punk, and moody ballads reminiscent of the 90s, all blended seamlessly in their musical vocabulary and making for a sonic journey unlike anything you’ve heard before.

Where their last record “Year One” saw the duo struggling with their inner demons both past and present, “Year Two” is an undeniable display of progress; not only introspectively, but also musically. De Gieter and Burroughs sound outright bloodthirsty, ready to take on anyone in their way. Tracks like “Bone Pipe” or “I Ask With My Mouth, I’ll Take With My Fist” paint a vivid picture of the band’s will to plot their own their path through this world, while at the same time slowly coming to terms with their pasts on tracks like “Peine” or “People Have Poisoned My Mind To A Point Where I Can No Longer Function”. “Year Two” undeniably sees DOODSESKADER’s promise fulfilled: it’s both a complete teardown of genres and boundaries, a sonic wrecking ball wielded by two people trying to get better.

Live, DOODSESKADER proves to be an absolute must see, translating into their sold out AB-release and a sleuth shows over Europe playing with acts such as Brutus and Amenra and on the stages of festivals such as Hellfest (FR), Mystic Fest (PL), Lokerse Feesten (BE), Fluff Fest (CZ) and much more.

Meatbodies’ latest undertaking and borderline lost album, Flora Ocean Tiger Bloom, is their most varied and realized work to date. It’s a melodic, hook-filled rock epic in which frontman and lead guitarist Chad Ubovich faces the trials of sobriety, redemption, reinvention while literally learning to walk and play again. Resurrection not only accompanies the record, but its production as well, Flora Ocean Tiger Bloom examines themes surrounding love and loss, escapism, defeatism, hedonism, psychedelics and much more. By 2017, Ubovich had reached a crossroads. After years of increasingly insane shows playing to heaving crowds with an everevolving and rotating door of personnel, fatigue had taken its toll and he realized another change was on the horizon. Retreating to the seedy Los Angeles underbelly—in search of meaning and a reset—he escaped into that world, ignoring his own well being, trying to forget his successes. It was at this point that Flora Ocean Tiger Bloom began to take shape—a project built by a man searching for new beginnings and his own sense of self. After sobering up, sessions began with longtime collaborator Dylan Fujioka. However, due to discrepancies with the studio, tensions were high and the plug was pulled. And as the world took a back seat, so did the idea of Flora Ocean Tiger Bloom. Not wanting to sit still at home, Ubovich began to comb through his previous demos, and, with that, 333 was born, the now de facto third Meatbodies album. Yet Flora was never far from Ubovich’s mind. When restrictions started to lift, Ubovich headed to Gold Diggers Sound in Los Angeles, backed by engineer Ed McEntee and a team of colleagues and friends, and completed the final act to the album. It recalls the searing Blue Cheer-meets-Iggy Pop-with-psychedelia that permeated previous releases, but adds new elements of shoegaze, classic alternative, Britpop, drone, and hints of country. Simultaneously an ode to ’80s LA punk and the rise of indie / alternative music in the U.K., it plays like a radio station broadcasting from the void.

Sangre Voss returns with the idiosyncratic ‘Brogkl EP’ this March, marking five years of Third Place.

In the five years since his debut ‘Dance Class’ 12” on Will Hofbauer’s Third Place in 2019, London-via-Devon producer Sangre Voss has continued to melt minds and confuse dancefloors with his singular, head-turning productions. Having featured on Rhythm Section and Fabric Records, he’s also appeared on The Wire’s Below The Radar compilation series and on labels Control Freak, International Extraterrestrial Music, and more.

Here though, the label’s main gun returns with four curious and brilliant productions. ‘Smyyre Myyrgu’ leads with folky strings and stabs as chunky percussion and mystical pads unfurl throughout. ‘Ersatz Terrasse’ is a floaty slow-fast affair, sliding through bright keys, skippy drums, and otherworldly effects.

On the flip, ‘density of aha’ sees trippy, sluggish vocals and punchy drums combine, forming a bedrock for twisted, randomised synths. The title track ‘Brogkl’ turns up the heat with wonky leads, heavy low end, and wild guitar-like twangs to close out the record, ending another essential offering from the thrilling and always unique musical mind of Sangre Voss.

By the turn of the 80s, the impact of David Bowie’s ground- breaking Berlin recordings – the synths, the alienation, the drily futuristic production – was being felt on music across Europe. What’s more, the records being made were reflecting back and influencing Bowie’s own work – 1979’s Lodger and 1980’s Scary Monsters owed a debt to strands of German kosmische (Holger Czukay), new electronica (Patrick Cowley, Harald Grosskopf), and the latest works from old friends and rivals like Robert Fripp, Peter Gabriel and Scott Walker, all of whom had been re-energised by the fizz of 1977.

Compiled by Saint Etienne’s Bob Stanley and the BFI’s Jason Wood, Fantastic Voyage is the companion album to their hugely successful Café Exil collection, which imagined the soundtrack to David Bowie and Iggy Pop’s trans-European train journeys in the mid-to-late seventies. “Fantastic Voyage” is what happened next.

Bowie’s influences and Bowie’s own influence were rebounding off each other as the 70s ended and the 80s began, notably in the emergent synthpop and new romantic scenes as well as through the music of enigmatic acts like the Associates and post-punk pioneers such as Cabaret Voltaire.

Like Low and Heroes, some of the tracks on Fantastic Voyage are spiked with tension (Grauzone’s ‘Eisbär’) while some share those albums’ sense of travel (Simple Minds’ ‘Theme for Great Cities’, Ryuichi Sakamoto’s ‘Riot in Lagos’) and others find common ground with “Lodger’s” dark, subtle humour (Thomas Leer’s ‘Tight as a Drum’, Fripp’s ‘Exposure’).

This is the thrilling, adventurous sound of European music before the watershed moment when Bowie would abandon art- pop for America and the emerging world of MTV with “Let’s Dance” in 1983. Fantastic Voyage soundtracks the few brief years when the echo chamber of Bowie, his inspirations, and his followers created an exciting, borderless music that was ready to challenge Anglo American influences.

The debut album by musician and producer GO.SOUL.MAP. is a little gem in which pop and soul intersect and the clichés between
mainstream and underground leap. A sexy and pensive nocturnal journey, immersed in thirteen songs between soft bass and space disco trips, with the voice of Londonbased Derane Obika of Living Sounds.
The selection of songs in this album were made with the hope to bring the listener to deep thought, the lyrics and melodies seamlessly
married to tracks that drive the listener's emotions.
Produced, written and performed by Derane and Salvo, they came together by chance and were inspired to make the album making
sure to balance the sound between the Lyrics, Melody and Music to insure that not only the songs are heard but the experience
remembered and both spirit and soul are touched.
The album is truly "Music From The Heart"
Behind the alias GO.SOUL.MAP. hides one of the most authentic and purest talents of the current Catania music scene. Of which,
moreover, under other guises and names, he has been an indispensable pillar for over a decade. An artist of immediate sensitivity, not only artistic. His training is fairly canonical: as a child, he studied piano. From there, as if following the movements of concentric circles, the passion for synths, drum machines, the world of samples and the recording studio. Above all, an uncommon ability to breathe in music. Accepted and found without prejudice, but always with the need to reveal a distinctive track, a signature. Touring between bars, streets, concerts and clubbing. An experience very consistent with the subject matter of this disc. Which is, in fact, the debut of a nonrookie. An ambitious record, because it possesses a sound that is as sexy as it is thoughtful and a writing style, exemplary, that lies on that borderline that, in the stereotype, defines underground and mainstream. Fields that instead it crosses naturally and between which it moves without any particular problems. After all, the music comes not from the malice of the intellect but from the nuances, tender or vehement, of naivety.
Peaceful Sound For Broken Minds is a pop record, pop soul, of modern urban pop. Yes, labels, even in the sense of tags, are definitely that. Of course, it is the way in which ideas are rendered that makes the difference. The record is about the need to find one's peace, but it is the fall that it shows and not the landing. With honesty and, above all, style. That is, mastery of means and an important file work with which to decline that therapeutic soul pain in which his songs are immersed.
We wait for hours more, the initial Fall Into The Flame and I Am Believe seem to tell us from there we move on. Hold The Line is where trip hop forgets itself, immersing itself, to the point of blurring, with the retro atmospheres of someone like Curtis Harding. Pushing has a space disco cadence that, more pronounced, we also find in the lunar expedition sound of Watergate. The exotic visions of Back In Underwater, between the stardust of Air and the innocence of Plone, become more jazzy in Cat With Camera. Just as in the urban streaks of Don't You Worry, which in upbeat mode would sound like a great reggae song, or Are U Ready, or in the disco funk of Right Of Me, the soulful accent of Derane Obika of Living Sounds emerges, a Londoner of Nigerian origin who grew up listening to gospel, Prince and Stevie Wonder, whose voice guides us through the songs of Peacefull Sound For Broken Minds. Which is a new point for that work of redefining the standards of pop today that Space Echo is doing. Throwing the clock overboard, because the time it wants to capture is nothing more than the movement of its hands.

Hollow Coves are a dynamic indie-folk duo of Matt Carins and Ryan Henderson, who are brimming with their passion for travel and observing different shades of the world. The group's tender melodies and poignant lyrics have resonated with fans around the world with the band amassing over half a billion global streams to date. Hollow Coves have received acclaim from the likes of Billboard, Clash, Sunday Times, Ones To Watch, Under the Radar, and more and continue to connect with the hearts and minds of listeners across borders and time zones.

On their sophomore album, the earthy acoustics and breezy rhythms provide a soundtrack to the feeling of change. The essence of shifting one’s perspective is a theme Hollow Coves meditate on as they go through their own musical evolution. They invited friend and acclaimed Aussie artist Matt Corby to help co-produce and bring their new songs to life.

Nothing To Lose by Hollow Coves, released 1 March 2024, includes the following tracks: "Milk and Honey", "Harder to Fake it", "Purple", "Be Alright" and more.

This version of Nothing To Lose comes as a 1xCD in a(n) Digipak packaging.

After making a mark with their first album together, ""Pineto Connection,"" Lorenzo Fortino and Brody return to the studio to advance their idea of music that remains impulsive yet at the same time more structured. Within this EP, you will hear different influences, all traceable back to an ""Italian mood,"" giving life to an album that will linger in turntables and the minds of many for a long time.

The album opens with ""Amarcord"" (A1), where raw drums, bass, and the pad seamlessly drive the piece, taking the dancefloor into the essence of Italian club culture. On side A, ""Sensazione"" (A2) continues, a soft Italo deep house track with Lorenzo's vocals providing an almost melancholic allure. The B side begins with ""Giacio"" (B1), a tightly wound house track (128 bpm) where straight drums, a compelling bassline, and dreamy synths make it a must-have to keep the dancefloor moving. Closing the album is ""Da Qui Al Mare"" (B2), a single despite being part of the EP, reflecting the idea of giving a distinctly Italian imprint. Brody, Angela, and Lorenzo's voices (almost echoing from the beach) blend in this deep tapestry that mixes multiple genres, aligning with their vision of a more elegant Italo disco.

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

Emin's album Now or Never inspired by the late Elvis Presley. The album comprises of 12 reimaginations of Elvis classics and produced by 16x GRAMMY award-winning David Foster (Dolly Parton, Barbra Streisand, Aretha Franklin).

Embracing his lifelong admiration for Elvis Presley, Now or Never will pay homage to the classics we have all come to know and love. Emin has handpicked his beloved and most poignant 12 Elvis-inspired love songs and the album will include hit single, "Suspicious Minds", sentimental romantic Plaisir d'amour inspired ballad "Can't Help Falling In Love" and the iconic film title track, "Love Me Tender".

Emin says: "This album is a dream come true, I started my musical career listening to Elvis, and learning to write music based on what Elvis was singing. Meeting David Foster 10 years ago, doing a show with him and performing some of Elvis' songs gave me enough confidence to think we might collaborate one day! Now we've created this beautiful album together. David and I handpicked some of Elvis' best songs and I'm so grateful that he's taken on this project and made it as incredible as he has. As a producer, every album David touches becomes the artist's best work and he's done the same for me. This is the best piece of music I've ever done!"

Die progressiven Sludge-Meister LORD DYING aus Portland verwandeln Tragödien in Triumphe. Zwei Alben, angetrieben von zermalmenden Riffs und konfrontierendem Howls haben die Doom Dogs der Welt vorgestellt. Im Jahr 2019 lieferten sie Mysterium Tremendum ab, ein Album, das Kerrang!

als "Prog-Metal-Meisterwerk" bezeichnete.
Die berauschende und abenteuerliche existenzielle Meditation über den Tod bildete den Auftakt zu einer Trilogie. Diese Geschichte wird 2023 mit einem zunehmend ambitionierten Nachfolger fortgesetzt, dem treffend benannten Clandestine Transcendence.

"Letztlich geht es auf dem Album um Selbstfindung und darum, das zu werden, was man angesichts von Hindernissen werden will, egal wie die Karten gegen einen gestapelt sind", sagt Olson. "Ich bin nicht wirklich ein spiritueller Mensch. Aber ein Text auf dem Album handelt von der Umwandlung von Energie und davon, dass Materie weder geschaffen noch zerstört werden kann. Das ist vom issenschaftlichen Standpunkt aus betrachtet." Er lacht. "Aber vielleicht ist die Wissenschaft spirituell."

GALACTICA MUSIC Launches for all Ravers, invaders and techno music Lovers.

After a big success, GALACTICA FESTIVAL decides to create a Record Label where can express his vision of music.

This discographic adventure starts with a V.A. Series called ''ICARIUS'' where great artists with techno cuts on many shades are brought together.

The label presents a 12-track VA (double vinyl) where you can find all the best of the techno scene, ranging from electronic to industrial, acid break and hard techno.
Not a Monothematic V.A., but a right compilation that encloses the essence of techno with all its shadows and variations.

FAZI are a post-punk band based in the ancient Chinese city of Xi'an. However, there is much more to their story than meets the eye_ With five immersive full-length records and a brief stint on peak-time commercial TV already establishing the four-piece at the forefront of a truly pioneering wave of alternative music in China, the Euro-pean re-release of their latest offering, `Folding Story', represents an incredible new beginning for a band who have already spent years honing their craft - transforming timeless traditions of love, life and death into a perpetual dance of fre- netic, krautrock energy and sprawling, shoegaze panoramas. Fittingly, `Folding Story' is itself a cyclic experience of rebirth, renewal and a return to origin. Album opener `Invisible Water' is a contemplative start as frontman Peng Liu's yearning vocals reach out across synthesisers reminiscent of sonar and the hypnotic lapping of water on an un- known shore. Described by Peng as an "artistic conception of amniotic fluid in the mother's body", this motif returns at the end of the album's final track, `Way to Atman', this time as a gentle tide washing away the ash of a spent funeral pyre. Just as the album and its protagonist is born at the beginning and dies at the end, by deliberately opening and closing `Folding Story' with the sounds of water, Fazi invite listeners to flow through the record on a never ending loop, to listen to a story without pause, one that rises from a whisper to a roar only to subside as quickly as it arrived. First released in 2022 on pioneering Chinese record label Space Circle, `Folding Story' is a collection of 10 tracks that serve as stories themselves as well as part of a universal narrative in constant flow. A phenomenal accomplishment, its forthcoming re-release in Europe via Pelagic Records will ensure that Fazi continue to blow as many minds and ruffle as many feathers as possible. Gatefold sleeve, silver offset ink, printed on special all-black cardboard. FFO Joy Division, Suicide, Savages, Cabaret Voltaire, Iceage, Gilla Band, Fontän

Here it finally is, the first ever official reissue of all recorded material by Zyklome A, and as a bonus one unreleased track plus unreleased live recordings! One of Belgium’s earliest and most primitive hardcore punk bands’ legendary ‘Made In Belgium’ LP has been one of the rarest artifacts in the genre, and although it was bootlegged many times, the reason why an official reissue on vinyl has never been published is complicated. Zyklome A’s story starts in the middle of nowhere: in Bonheiden in early 1980, above a bank office. Brothers Bie and Toon Puttemans started shredding and terrorizing ears and minds with Markus Verbeeck, without any knowledge of anything close to a scene or other people doing what they were doing. Completely isolated, they were struck by lightning with the genius idea of speeding up punk, playing Ramones chords backwards and letting the bank office’s fire alarm go off with their wall of noise. When drummer Bie got to hear other hardcore records through a school mate, he was baffled to hear there were other folks out there doing what they were doing as well. After a fire alarm and family drama too many, the trio moved to a tiny shed in the garden of the Verbeeck family to refine their special blend of primal hardcore. The rest is history! For just 5 years they became one of Belgium’s most active HC bands, befriending many other classic main stays such as The Dirty Scums, Moral Demolition, Vortex, Wulpse Varkens etc., creating pits everywhere, and turning many a nazi skin’s skulls into pulp! When guitarist Toon “forgot” to fulfil his army service, he had to flee Belgium, and as the police harassed the other band members constantly about this, it became next to impossible to maintain Zyklome A. Zyklome A morphed into Ear Damage, with different members. In a later, army free future, a reunion of Zyklome A was not possible due to Toon’s heroin problem. It is strange, and sad to say, that the cards played differently when Toon passed away. Zyklome A played 2 reunion gigs in 2016 with guitarist Pieter Coolen (of Toxic Shock fame) before Markus’ severe back pain sadly also led to his passing. This record is dedicated to Toon and Markus, whose spirits live on through their incredible music. You will find the entire first album plus an extra LP with their part of the split single Moral Demolition, their tracks of the ‘Alle 24 Goed’ compilation LP, their tracks of the ’Second Time Around’ compilation cassette, an unreleased track and a live recording at the height of their game from 1984 in Deventer (which includes covers such as ’These Boots Are Made For Walking’ and ‘Rock ’n Roll Rebel’) and a 76 page book filled with tons of archive material such as flyers, lyrics, drawings, pictures and a lengthy interview with Bie Puttemans on this most possibly last Ultra Eczema release, Zyklome A’s ‘Uitgesproken (1980-1985)’.

In the midst of the pandemic, Enjoy Jazz Festival has developed a musical project whose members will be recruited new every year and then debut at a concert on UNESCO International Jazz Day, April 30. The members come from the jazz scene of the German state of Baden-Württemberg. "We wanted," festival director Rainer Kern stresses, "not only to revitalize the fragile network of outstanding creative minds, but also to rethink it artistically as a rolling system." Two experienced and renowned band leaders, Alexandra Lehmler and Erwin Ditzner, now curate an annually changing ensemble of outstanding artists of the most diverse provenance. As part of a voluntary commitment, the ensemble is to be organized in a sustainable, diverse, and, in three years at the latest, completely gender-equal
and climate-fair manner. Thus, as a commitment to the goals of the "European/Local Green Deal" (and with reference to the jazz standard "On Green Dolphin Street"), the name Green Dolphin Orchestra was created. Another special feature: The renowned Oriental Music Academy Mannheim (OMM), a long-standing partner of the Enjoy Jazz Festival, receives a white card, so that musicians with a migration background or protagonists from other musical cultures are always part of this "orchestra of many" and constantly expand its sound language.

The project has a free improvisation approach with changing personnel. "We actually even thought of drawing lots for the different formats within the band pool," explains saxophonist Alexandra Lehmler. "We decided against it in the case of the first concert and instead put together curated formations." And drummer Erwin Ditzner adds, "In principle, however, this procedure remains an option." It was important to the two of them to also mix the genres represented by the individual musicians in such a way that free space for something truly new could emerge. "We wanted to challenge ourselves," Lehmler sums it up. The only restriction: a time code was assigned to each sub-project. "Each formation was given a time limit, although it was possible to virtually override this limit by spontaneous
reshuffling," says Ditzner, explaining one central of the few rules. "In concrete terms, this meant that after eight minutes, the improvisation in progress was either ended or new musicians simply joined in the ongoing creative process, while others took themselves out of the game."

Alexandra Lehmler summarizes the artistic impact of the ensemble as follows: "We really cross-fertilize each other. In order to push this process even further, we forced ourselves when putting together the ensemble not to fall back on our 'favorite playing partners', i.e. musicians with whom one feels particularly at home. In other words, we consciously wanted to step out of our comfort zone with this project." The present pieces were recorded live in Heidelberg during the ensemble's premiere concert on the occasion of International Jazz Day on April 30, 2022.

LA-based composer/arranger E. Lundquist (aka Eric Borders) returns with ‘Art Between Minds’. Having cut his teeth in the LA hip-hop and beats scene and explored realms of cosmic-funk under previous monikers, E. Lundquist’s music displays a rich tapestry of influences including the cinematic & experimental jazz-infused library music that influenced his previous LP ‘Multiple Images’. Now he is back with another ample helping of his hallucinogenic sonics, utilizing a bevy of vintage gear to replicate that warm glow of ’70s jazz-funk. From the Fender Rhodes MKI to the ARP Odyssey, to the Mellotron, the keys and synths he employs on these tracks display a genuine appreciation for the groove-driven music of The ‘Me” Decade.

The album plays like the score to a cult classic B-movie. The sun-drenched haze of “Soliloquy” could easily be what you hear during the calm before the storm in a Blaxploitation flick and the laidback crawl of “Euphoria” seems ripped right out of a fuzzy ‘70s blue movie. But there is a certain sophistication here, like the way the horn section, slinky guitar, and trippy synths combine on “Escape” to sound like liquid one moment and like a summer breeze the next.

While E. Lundquist’s artistry will eventually take him to new plateaus of sound, where he is right now is undoubtedly a high watermark in his career. He has become a torchbearer for jazz-funk in a new jazz revolution, updating the sub-genre with his delicate balance of digital and analog elements that will easily appeal to fans of Kamaal Williams, Surprise Chef, BADBADNOTGOOD, Khurangbin, Robohands and similar.

The second self-titled album from Will Miller"s Resavoir interweaves modern-day soul-jazz with bedroom beats, synth serenades and twilight sonatas - an endlessly listenable, subtly radiant symphony suitable for both the composition-minded musician"s musician and the hook-seeking playlist populist. This album follows Resavoir"s 2019 self-titled debut album, a breakout success that landed in "Best of 2019" lists by NPR Music and BBC"s Gilles Peterson. Through his movement further into an expanded palette of synths, pianos, live and programmed drums in addition to his MIDI-augmented trumpet, Miller has developed a signature cinematic soul-jazz sound rooted in hip-hop structures. No surprise, then, that his profile as a producer has raised significantly since the Resavoir debut, and that the years since have seen him operating the controls and guiding the ship on tracks for Eryn Allen Kane, Whitney, Knox Fortune, and SZA"s recently-released album SOS (which spent 10 weeks as the #1 spot on the Billboard 200 chart).

"I don't like rap music at all. I don't think it's music. It's just a beat and rapping."
Nina Simone

Straight off the streets, Hip-Hop burst onto the scene, leaving no one indifferent, igniting a cultural revolution that would shape generations to come. Now, in celebration of its 50-year anniversary, Art That Kills proudly presents HHCOMP01.

HHCOMP01 aims to capture the freshness and innocence of a genre in the midst of defining itself. As the world embraced this new phenomenon, it was a time of raw creativity and unbridled expression.

With a selection of seven fantastic tracks stepped out of the underground, HHCOMP01 is a window into the origins of a genre that has resonated with countless hearts and minds.

Producer / composer / multi-instrumentalist Angel Marcloid records music under the moniker Fire-Toolz. Though Marcloid’s output emerges in a litany of aliases and projects — from the jazz fusion / new age of Nonlocal Forecast to the vaporous nostalgia of MindSpring Memories — the Fire-Toolz catalog remains the central focus of the prolific artist’s musical universe and a home for Marcloid’s most ambitious work.

"I am upset because I see something that is not there.", the fifth Fire-Toolz album to join the Hausu Mountain catalog since 2017, follows 2021’s sprawling double-album Eternal Home and 2022’s self-released EP I will not use the body’s eyes today. I am upset… offers listeners a prismatic cross-section of juxtaposed genres and compositional contortions to explore, maintaining Fire-Toolz’s signature density and complexity while tightening the scope of Marcloid’s experimentation into the project’s most focused song cycle to date.

Perhaps more than any previous Fire-Toolz album, I am upset... presents some form of pop music, carried in Marcloid’s passages of clean vocals, in the bright synth tones that animate its tracks, in the yearning saxophone lines that pour into view and whisk the narrative onto a new path. The format of a one-person “band” carries a different weight in a landscape of solo artists crafting modernist productions that don’t allude in the slightest to various twentieth-century rock-related traditions. Fire-Toolz exists on both sides of this divide. The music of Fire-Toolz draws energy on a moment-to-moment basis from the constant fluctuation between seemingly disparate styles, yet Marcloid repeatedly pulls off the impossible feat of making chaotic deviations and improbable jump-cuts between ideas sound holistic, as if such compositional gambits were already logical to begin with. Bursts of harsh textural noise cut into drifts of new age synth bliss, while screamo verses bookend passages of hyper-technical jazz fusion.

Saint Abdullah & Eomac is a long distance, ongoing collaboration between New York based Iranian-Canadian brothers Mohammad and Mehdi Mehrabani (Saint Abdullah) and Ian McDonnell a.k.a. Eomac, based in Wicklow in Ireland. They tested the waters with their first album on Nicolas Jaar's Other People label last year, but 'Chasing Stateless' is their fullest expression so far.

The creative mindset behind the album starts with bravery and eschews escapism. Says Saint Abdullah's Mohammad, "As a collective, we exist to test the revolutionary possibilities within sound and sonic storytelling. As a means to finding a vision of the future and for building cultural dialogue today. Our belief is that the expressiveness of this vision should be pushed to its utmost limits to reveal anew. I always felt that the intensity of the middle eastern soul needs to be revealed more potently. Ian and the Irish have it too. I suspect most historically oppressed cultures do."

The music on 'Chasing Stateless' avoids easy middle eastern tropes — "I think what we're proposing here is that you don't need to water down our culture, you don't need to take only the bits that fit your idea of who we are, what we are. You ought to take it in its entirety."

Musically, the album approaches established genres and re-orientates them towards middle eastern rhythm and melody with an iron soul. Songs are rough and intense. Rusty polyrhythms, daf drums wrapped in a thick coating of distortion or punchy kicks with micro-edited samples of middle eastern life spiralling across them. Mournful melodies are squeezed out until the music teeters on the edge of rhythmic collapse. 'Chasing Stateless' is rough and energetic but also tender and reflective too. It's a human sound, utilising technology but not about technology. Sample heavy with expressions of anger, sadness and hope present and deeply felt.

The album's title speaks to a loss of collective societal imagination; of 'chasing status'. As Moh says "This generation, man, we're really good at putting up walls, despite all our openness. But where does this all lead to? What exactly are we chasing? This is where I especially love the name 'Chasing Stateless,' because if all this continues, we indeed will end up stateless, society-less, community-less, neighbor-less. Just a bunch of same-sies, living in an imaginary bubble, where we all look / think / say / CHASE the same things."

Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

Changing Mindset is an EP developed around Tuber's title track,

This work is presented as a work of sonic craftsmanship, with a distinctive character that will make you delve towards the limits of electronic music. This sound fuses atmospheric, hypnotic and mental elements, creating a listening experience that goes beyond listening to become a total immersion into the cosmos.

-On the first remix, it denotes a special flavor thanks to the presence of Orbe, a true master in the creation of textures and enveloping sounds. Known for his skill in weaving complex sonic layers, he dives into the core of Tuber's main track, displaying an ability to transform and enrich every musical element.

-The second remix, created by HD Substance, promises to be an experience that will take listeners on a vibrant musical journey, inviting them to surrender to the beat with an infectious energy. The presence of HD Substance, backed by an extensive and outstanding trajectory in the music world, augurs a remix that goes beyond simply being listened to, it is a direct invitation to immerse oneself in the intensity of the sound and let oneself be carried away by the melody.

-The last remix, by Dinamite, adds a touch of elegance and forcefulness, completing the "Changing Mindset" EP. Dinamite, renowned for his ability to fuse musical sophistication with pulsating beats, brings with him an experience-laden perspective.