quête:new war

Earlier this year we were excited to announce the return of one of our most beloved bands of recent years: New Street Adventure. To mark the 10th Anniversary of their debut album ‘No Hard Feelings’, on 4 October we are releasing a special, limited edition olive green colour vinyl reissue. The release will coincide with an extensive UK tour.

‘About eighteen months ago, someone asked if I had a spare vinyl copy of ‘No Hard Feelings’. I checked the shelves, and found my own copy and no more. I checked Discogs and saw that it was changing hands for far more than an 8-year-old album should be. Released in the pre-vinyl-revival years, its limited original pressing means that demand is now out-stripping supply – a measure of just how good this record is. With that in mind Nick Corbin and I hatched a plot for a 10th Anniversary reissue, and here it is!

I loved New Street Adventure. They were smart, looked great on stage, and in Nick was one of the best front-men and songwriters I have ever worked with. With their own ecosystem of self promoted gigs, they created their own audience, and for a while it looked like a major label deal was in the offing. Eddie Piller had wanted to sign them from the first time he met Nick, and when the big deal didn’t happen, he was still there for the band as they became an Acid Jazz act in 2013.

There were endless back-and-forths on how the album should sound (and some despair that it wasn’t quite sounding as good as it should have). Then Mitch Ayling came on board to produce the final mix. He brought out the songs, lifted the playing, delivering the shiny finished recording that took its place as one of the finest moments in the Acid Jazz catalogue. Nick’s songs now sparkled. As his love of soul shone through, his politically and socially aware lyrics showed a rare, wry observational gaze that was turned on 21st Century life. From the warnings against populist hatred of ‘On Our Front Doorstep’, to the hopeless ennui of ‘Foot In The Door’, and the day-to-day pursuits of being in your twenties in a big city. Through it all shines a passion – sometimes coming out as anger – that drives the music. It is of course encapsulated in ‘The Big A.C.’, written about the night that Nick’s dad took him to the 6Ts Allnighter at the 100 Club, which brought him into the world of Northern Soul. It’s a classic that nails the feeling of excitement as well as anything written.

The album was released late in 2014 and for those who want a vinyl copy – even the CDs cost a fair penny now – we have prepared this special 10th Anniversary Edition on transparent olive-green coloured vinyl. The inner sleeve is illustrated with never-before seen photos from the archive, both candid and by early band supporter Dean Chalkley, and has sleeve notes by Nick and myself. Nick is taking New Street back on tour this Autumn, and it you would be foolish (once more) to miss either the tour or the record.’

Her tracks have been played and recommended by Iggy Pop, Mary Anne Hobbs and Nine Inch Nails. ZAMILSKA, one of the most original artists on the European electronic scene, announces a new album, "United Kingdom Of Anxiety" – out October 4.
Combining the rawness of techno and the trance-like nature of world music, industrial sound and a fine blend of trip-hop, the Polish producer created a dystopian, post-apocalyptic,
fascinating vision of a collapsing world. "United Kingdom Of Anxiety" begins with a sonic assault. The breaks and powerful bass in "Phantom" awaken from hypnotic slumber, numbness caused by the daily hustle, serve as a reminder that to survive in an unfriendly world, concentration, willpower and perseverance are essential. This is the beginning of a journey through "United Kingdom Of Anxiety" - the new album by Zamilska, a sensitive outsider.

"I’m here to ruin you again," announces a voice in "Mummy," while the crescendo of beats and noise in "Better Off" further amplifies the tension. It's hard to find peace when hell lurks just around the corner. Is it the horror of civilization or perhaps cosmic dread? The answer depends on the listener's sensitivity.
The much-needed balance and coolness are brought by huskie vocals - that is Ola Myszor - an incredibly talented young artist who appears in several tracks on the album. Besides huskie, there are other guests on "UKOA": Natalia Przybysz, who, with a robotic voice, delivers a manifesto of indomitable, proud solitude in "Persist" and Lukasz Pach, the charismatic frontman of the grindcore band Hostia. His growling is heard in the intense, uncompromising "No Gods," which was presented by Iggy Pop on his BBC6 Music radioshow.

The sonic spectrum is also filled with anonymous voices: echoes of quarrels, media messages, sounds of war clamor, monologues - looped, accelerated, manic, psychotic, but also a wistful singing coming from the depths, from afar. The metaphysical horror of Lovecraft on one hand, and the sober, no less gloomy diagnosis of George Orwell on the other, constantly correspond here.
This entire album is a story about society as a whole and the contemporary, dystopian world, which is inevitably heading towards war. The track "1984" clearly defines the inspiration for the artist's post-apocalyptic vision. A distorted radio signal, alarm siren and gabba/techno beats driving into the head like nails serve as an expression of the fear and anger born in a world of impending totalitarianism.

Mötley Crüe werden ihre neue EP „Cancelled“ veröffentlichen!
Die EP markiert die erste neue Musik der Band seit 2019 und ihr Debüt bei Label Big Machine Rock. Die
Platte enthält den aktuellen Top 5 Rock Radio Hit „Dogs of War“, ihre neue Single, eine Coverversion von
„Fight For Your Right“ von den Beastie Boys und den Titeltrack „Cancelled“.
Mötley Crüe sagten: „It was really great getting in the studio and working on some tracks together. What
started out as a couple demo ideas turned into this EP produced by Bob Rock. We look forward to getting
back into the studio again soon and writing more new music, as well.”
Mötley Crüe melden sich mit ”Dogs of War” zurück, ihrer ersten Single seit 2015!
Seit über 40 Jahren sind Vince Neil (voc), Nikki Sixx (bass), Tommy Lee (drums) und Mick Mars (guitar) als Band aktiv und on the road mit bahnbrechenden Show Highlights wie Tommy Lee‘s Achterbahn
Schlagzeugperformance oder Nikki Sixx’s Auftritte mit seinem flammenwerfenden Bass.
Mötley Crüe hat über 5 Milliarden Streams auf digitalen Plattformen erreicht und hat über 8 Millionen
Follower in den sozialen Medien. Sie haben weltweit über 100 Millionen Alben verkauft, 7 Platin- und
Multi-Platin-Alben in den USA und 3 GRAMMY®-Nominierungen erhalten. Auch ihre Biografie „The Dirt
– Confessions of the Worlds Most Notorious Rock Band” wurde 2001 ein New York Times und weltweiter
Bestseller und erschien als Biopic 2019 auf Netflix.

Das Vorgänger-Album Sweet Poison (2022) kletterte bis auf Platz 13 der deutschen Albumcharts, und mit Nothing But Wild (2019) erreichte die Band
die Top 10 in Deutschland. Bereits früh in ihrer Karriere konnten THE NEW ROSES für internationale Aufmerksamkeit sorgen, als ihr Song „Without a
Trace“ in der Kult-US-Serie Sons of Anarchy zu hören war. Im Laufe der Jahre haben sie sich als feste und beim Publikum beliebte Größe im
internationalen Rockradiosender etabliert, aber ihre unzähmbare Rock’n’Roll-Energie ist am besten live zu erleben. Sie waren nicht nur die erste
deutsche Band, die 2018 und 2019 auf der KISS Kruise auftrat, sondern auch Support bei den Deutschland Shows der Rock-Ikonen. Außerdem teilten
sie sich bereits mit weiteren beeindruckenden Genregrößen die Bühne, wie den legendären Aerosmith, Foreigner und den deutschen Hard
Rock-Urgesteinen Scorpions.
Im Jahr 2023 begrüßten sie den Gitarristen Norman Bites zurück in ihren Reihen und als Quintett vereint sind THE NEW ROSES zweifellos auf direktem
Weg an die Spitze des Hard Rock!

Features Unreleased Studio Sessions, Alternate Versions, Live Recordings, Rarities, And 36-Page Book With New Photos & An Extensive Conversation Between Joni & Cameron Crowe

Sourced From Original Stereo Reels, Nagra Film Recordings, Multi-track Tapes, Radio Airchecks & Cassette Tapes

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified HEJIRA 1976, the gold-certified double-LP DON JUAN’S RECKLESS DAUGHTER [1977], her collaboration with Charles Mingus entitled MINGUS [1979], and live album SHADOWS AND LIGHT [1980]. Channeling the thrill and excitement of these records, she delves even further into this season on JONI MITCHELL ARCHIVES, VOL. 4: THE ASYLUM YEARS (1976-1980), due October 4th.

Available as a 6CD, 4LP (featuring Joni's personal favorites from the 6CD set), and digitally, this comprehensive and essential set spans one of the most prolific periods of her storied career. It boasts powerful live tracks from her time in Bob Dylan’s Rolling Thunder Revue during 1975 and 1976 Tour of the United States. It pulls back the curtain on the music by showcasing early recordings and alternate takes from the respective sessions for HEJIRA, DON JUAN’S RECKLESS DAUGHTER, and MINGUS. It covers the Bread & Roses Festival as well as the Anti-Nuclear Rally. Finally, VOL. 4 chronicles her 1979 tour, even showcasing two tracks from that year’s Tour Rehearsals. Not to mention, it showcases her versatility and adaptability, housing collaborations with everyone from Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.

Vol. 4 culls the previously-unissued material from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Newly mixed tracks came from multi-track tapes, while a handful of hi-res digital tracks have been sourced from the Bob Dylan Archives.

Each version includes a book with never-before-seen photos and liner notes comprising a deep dive discussion between Mitchell and longtime friend Cameron Crowe. As part of their candid conversation, she shares intimate anecdotes, memories, and stories from that five-year creative run.

Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.

Als Sohn türkischer Eltern und Gastarbeitenden ist er immer noch da, wo er aufgewachsen ist - in seiner Heimat Moabit. Nach fast 10 Jahren Texte schreiben verbringt Apsilon seit gut zwei Jahren viel Zeit im Studio. Inhaltlich gibt es Deutschrap mit antikapitalistischer Analyse ohne erhobenen moralischen Zeigefinger. Provokante Gesellschaftskritik ohne Kompromisse gegen weißdeutsche Bequemlichkeit und Resignation. Die Delivery ist die pure Wut, der Sound ist trappig und modern. New Wave. Apsilon kommt leger um die Ecke und legt Basketballreferenzen neben Rassismuskritik, reiht geschickt deutsche Redewendungen aneinander, während er sie bricht und so mit der deutschen Sprache dribbelt.Mit Songs wie "Baba", EPs wie "32 Zähne" oder "Blei" und Zusammenarbeiten mit Bazzazian, LUVRE47 oder Wa22ermann hat Apsilon sich in gerade mal zwei Jahren vom Newcomer aus Berlin-Moabit zu einem echten Hoffnungsträger für hiesigen HipHop entwickelt. Aus gutem Grund: Apsilon vereint lyrische Schauspiele und nachhallende Performance. Seine inbrünstigen Flows um Lines über Antikapitalismus und Straßenkämpfe umgeben dabei den Hauch einer (Rap-)Revolution, die nicht nur antirassistisch, inklusiv, sondern sogar ohne Zeigefinger auskommt. Selten war politischer Rap so zwingend und zwanglos. Mit "Haut wie Pelz" veröffentlicht Apsilon jetzt sein langerwartetes Debütalbum. Die 14 Tracks setzen sich auf unterschiedlichen Ebenen und aus verschiedenen Perspektiven mit der Geschichte von Apsilons Familie auseinander. Es erzählt von seinen Großeltern, die aus der Türkei nach Deutschland gekommen sind, immer in dem Glauben, nur kurz zu bleiben und bald wieder in die Heimat zurückzukehren. Aber genauso geht es auch um ihre Kinder und um Apsilon und seine Geschwister. "Auf jedem der Songs geht es um unsere Geschichte, die Träume und Traumata, die schönen aber auch die schmerzhaften Seiten dieses Lebens. Einerseits sind es sehr persönliche und emotionale Themen, aber andererseits möchte ich diese Geschichte auch deshalb erzählen, weil sie auf viele andere Menschen und Familien in Deutschland übertragbar ist." Die Idee für "Haut wie Pelz" kam Apsilon nach der Veröffentlichung seiner Single "Baba" im letzten Jahr, mit der er sich auf berührende Weise an seinen Vater wandte. "Nach dem Release ist mir klar geworden, in welche Richtung das Album gehen soll", erinnert sich Apsilson. "Der Song hat mir aber nicht nur inhaltlich, sondern auch musikalisch ein ganz neues Selbstbewusstsein gegeben." Entstanden ist "Haut wie Pelz" deshalb gemeinsam mit dem Team, dass auch schon für "Baba" verantwortlich war: Bazzazian, Ralph Heidel und Apsilons Bruder Arman, der gleichzeitig auch als Executive Producer für das Album fungiert. "Haut wie Pelz" von Apsilon erscheint am 04.10.2024. Im November geht Apsilon gemeinsam mit seinem Bruder Arman und dem neuen Album auf große Tour durch Deutschland, Österreich und die Schweiz.

The Pogues - The Best Of The Pogues pressed on Orange Vinyl including the classic tracks Fairytale Of New-York, Dirty Old Town, The Irish Rover, A Rainy Night In Soho and more. Fourteen songs that encapsulate the lyrical genius of Shane MacGowan and the musical mayhem of The Pogues.

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

A1 - Desire
Opening the EP in quietly epic fashion, Desire begins with a delightful beat pattern with adistinctive cymbal hit set over warm bass tones and whale song samples. A smooth, thoughtful bass melody is introduced which joyfully intersects with gorgeous piano keys while swirling strings and atmospheric vibes layer and recede like tides of the ocean, creating a truly unique journey of a track that will linger anywhere it may be heard.

A2 - Voidscaping
Instantly setting the scene with crisp, striking breaks, Voidscaping is an atmospheric treatfor the senses with serene throwback pads reminiscent of the halcyon days of Good Looking. Bringing the piece up to date for the Spatial era is the typically intricate blending of reflection and intrigue ASC conjures with his sampling and reverb work, effortlessly thickening the soundscape with memories old and new.

AA1 - Let Go
Opening with the vibrant sounds of twilight nature and metallic bongos, ASC sparinglydeploys a glorious choral vocal before the breaks take off with an energetic pattern drivenby constant, playful hi hats. As the track develops, questions are asked of the listener bythe curious atmosphere, gradually unraveling with strings, synths and trademark vocalusage, offering a new perspective with each listen.

AA2 - Meltdown
A darkly, anxious undertone floods the mix as Meltdown grips the listener from the first barwith skillfully sequenced minimal breaks, hi hats that whoosh in and out like evening crickets you can't quite track, and intense ambient padwork. A longing female vocal occasionally yearns over the various melodies which enter at will, discreetly developing the mood with purpose, unfurling a stream of aural consciousness from this incredible producer.
Words by Chris Hayes (Spatial / Red Mist)

"A group of tried-and-true musicians got together and found the sort of camaraderie and kinship you typically only find once in a lifetime. They didn’t overthink it. They didn’t waste a second. They simply left their blood, sweat, and tears on tape—like they’ve always done. For as much as Better Lovers represents the union of former Every Time I Die members Jordan Buckley guitar,Steve Micciche [bass], and Clayton “Goose” Holyoak [drums] with The Dillinger Escape Plan and Killer Be Killed frontman Greg Puciato [vocals],and musician (Fit For An Autopsy/END) and GRAMMY® Award-winning producer, Will Putney [guitar], it really cements the bond of five friends around a shared vision. That vision is as uncompromising, unapologetic, and undeniable as anything they’ve individually done, yet it’s refined by experience and a commitment to a future together. They’re in it for the long haul... “To me, this band is refreshing,” exclaims Jordan. “Looking back, I’m so happy everything got me to where I am. The pandemic and the last few years made me hungrier and more grateful. This isn’t a hobby. This isn’t temporary. This is the next evolution for each of us. Greg and Will rejuvenated me and made me even more confident.



Now, everybody needs to know we’re a wild animal that just broke out of the zoo—there’s no trying to put it back in the cage.” “Better Lovers definitely feels like its own thing,” states Greg. “I’m in so many lanes right now, so it was important that one lane didn’t step on another. However, nothing I’m doing is this vicious. This is full-on scathing. It’s been really fun. I forgot how much I liked that.” As the story goes, Jordan ended up back in Buffalo, NY, jamming in a basement rehearsal spot with Steve and Goose during the winter of 2022. After working with Will on the last two Every Time I Die records, they shared a handful of early demos with him to produce. As the year progressed, Jordan caught Greg on the road with Jerry Cantrell in Las Vegas, mentioning the new music. Once ideas solidified, he shared them with the vocalist who replied at 3am one night in December. “The text said, ‘Let’s give these motherfuckers what they want’,”chuckles Jordan. “I went to bed smiling and laughing. There is no one like Greg on stage, off stage, or over text. Once I told Will, he was like, ‘Can I play?’ We said, ‘Of course!’ That’s how it was born.” “Once I pick up the scent, I’ll go for the kill,” smiles Greg. “We’ve all hung out, gotten to know each other, and it’s all fire now. Everyone has already been through shit. You know yourself better. Your ego isn’t as big as it used to be. You can share your opinions. It’s a cool dynamic.” Fittingly, they introduce this era with the single “30 Under 13.” A seasick guitar groove bleeds into an incisive riff punctuated by Greg’s vitriolic and venomous screams, “Hold onto me, try to let go of me, let go of what you’ll never be. ”This barrage unpredictably subsides on a haunting clean vocal, only to ramp back up into a pit-splitting thrash crescendo and rapid-fire solo played at warp speed. “We always try to up our game,” notes Jordan. “This is the next step for all of us. There’s just constant forward motion, and we don’t want to compromise that. We want to keep going. We’re doing a lot of shit we haven’t done before in Better Lovers. I’m not going to spoil it for you, but get ready.” “For some reason, this song got me,” recalls Greg. “Once that happens, you have the toe of the dinosaur skeleton in the dirt. You start brushing it away, and soon you have a fucking T-Rex.” The name might give you a hint of what’s coming—or it might not. So, what does the future hold for Better Lovers? Well, it’s entirely in their control. Expect a lot of touring. Expect more music. Expect these five guys to leave a trail of destruction in their wake—really would you want anything less? “We feel like we’re going to explode if we sit around any longer,” Jordan leaves off. “This is my life’s work. I learned all of my lessons, passed all of the tests, and took all of the right turns and the wrong turns. It turns out what I thought were wrong turns got me here, and that’s all that matters. I have no regrets. I know this is what I’m supposed to be doing.” “I just want you to view this on its own merits,” Greg concludes. “I hope it reaches some new people. For me, the enjoyment is making the music and putting it out. The second it’s released, I don’t look back. You drop the bomb and keep flying the plane. You don’t circle back to see how much destruction you cause. You keep moving, which is what we’re going to do.” "

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

Rarefied's Newest Sonic Assault Finds Label Mates Sibla And Zygos In Some Chthonic Dwelling Performing Occult Rites For Sub Bass Dominance. Three Prime Cuts Of Out-there Dubstep For Fans Of Moldy, Decrepit Basements, Decaying Houses In The Middle Of Woods, And Fog Drenched Nights.

the Path' Heaves Underneath Pneumatic Infrabass Pressure And A Din Of Percussion That Sounds Like A Warehouse Falling Apart. It Lurches Forward On Broken Ankles, Scanning With Cataract Eyes, For Its Next Victim.

The Aptly Named haunted' Is Built From The Ground Up On Evp Recordings, Static Hiss, And Disintegrating Tape Reels. A Lone Scream Echoes Towards Infinity Until The Mid-way Point Where Black Stars Crack The Void.

The Circle Is Complete With sigil'. Hewn Together With Horror Flick Soundtracks, Whispered Voices And A Feral Half-step Foundation. It Seems Zygos And Sibla's Golem Has Breathed Life For The First Time.

Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.

Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."

Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.

"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."

Suedes epochales, zweites Album von 1994 feiert dieses Jahr seinen 30. Geburtstag mit dieser brandneuen 3CD-Deluxe-Edition in 7"x7"-Sleeve sowie einer Gatefold-Halfspeed-Master-Doppel-LP. 'Dog Man Star' wird von vielen als das musikalisch abenteuerlichste Album der Band angesehen - mitreißende Streicher stehen neben Orchesterballaden, epischen Breitbildstücken, Indie-Hymnen und trashigem Glamrock. Es war das für eine lange Zeit letzte Album, auf dem Gitarrist und Co-Songwriter Bernard Butler mitwirkte. Es enthält die klassischen Hit-Singles 'We Are The Pigs', das wunderschöne 'The Wild Ones' sowie 'New Generation'. CD1 enthält das Originalalbum, CD2 kommt inkl. B-Seiten sowie einer Vollversion der Non-Album-Single 'Stay Together', und CD3 enthält Bonustracks und Raritäten aus dieser Zeit. Die künstlerische Gestaltung dieses neuen Formats wurde vom offiziellen Designer und Fotografen Paul Khera für Suede übernommen und enthält neue Linernotes von Simon Price, dem Biographen von u.a. The Cure und Manic Street Preachers.
"Suedes zweites Album ist immer noch wirklich außergewöhnlich - wer würde es heute wagen, es zu machen?" Alexis Petridis (The Guardian

"Throat" ist die Kollabo zweier beurlaubter Künstler: Nick Power (The Coral) und McKowski (The Lost Brothers), Soundtrackkomponist (Quantum Cowboys), Drehbuchautor (The Spin), Tourmusiker (Jolie Holland, Howe Gelb, M. Ward). Der Swamp-Aussenseiter "Throat" gibt der Geheimwelt aus Folk-Horror, VHS-Video-Grusel, Poesie, Naturwelt, Spukologie, Kriminalität, John-Laurie-Filmen, Teenager-Acid-Trips und abgedrehten Roadsongs eine Plattform. Alle Aufnahmen entstanden im ersten Take, Fehler blieben drin. Innerhalb dieses Rahmens blüht "Throat" auf, verzichtet auf traditionelle Songstrukturen zugunsten dissonanter Instrumentalpausen, gesprochener Passagen und dem Klang von Schritten auf einer Holztreppe.

In 2023, all sources of life across the multiverse jumped and twisted to the irresistible sound of COSMIC QUEST, the second full-length record of Swiss septet extraordinaire COSMIC SHUFFLING. Today, the Geneva based combo returns with the second half of the quest: a FULL INSTRUMENTAL long play.

This new record carries on the band’s journey to a realm where the stars dance to the beat of your heart. Travelling across galaxies, passing through nebulas, black holes and asteroid fields, the handsome lads disseminate the classic sound of SKA and ROCKSTEADY with burning hot-like-plasma scorchers. Temperature rises,
bodies warm up, sway, embrace and go wild. This is the effect produced by the explorers of unconditional cosmic love: the LOVONAUTS.

Welcome to the LOVONAUTS’ ODYSSEY – the ultimate soundtrack of the septet astral adventures. Let yourself be carried away by these ten love letters to Jamaica’s iconic sound of the 60’s and its greatest musical stars

Behind the deceptive veneer of the demure monotone artwork, something unassuming lies within this long-play waiting to be explored. Intrigued by the ironic title, enticed by the elegant text positioned alone on the beautifully tactile matte canvas, the listener will experience musical wonderment at odds with the presentation and discover that the 1976 album Colours is a powerful yet sophisticated set of electric soul-jazz. An inspired recording that bursts with warmth and texture, the pivotal recording from an exceptional jazz musician. HER name - Judy Bailey.

Over the course of a 70 year career, the pianist and composer established herself as one of the central figures of Australian jazz. Her crowning achievement Colours is a spirited and ambitious recording that captured the maturation and shifting jazz landscape of the mid 1970s Australia. Alongside other notable albums recorded mid decade including the 1975 self titled album by Melbourne's Arena (see Roundtable SIR014)) and Jackie Orszaczky's Beramiada (1975), the album signalled the countries transition from semi-acoustic jazz to electric jazz-funk. Regularly compared to the albums released on Creed Taylor's CTI label, Colours parallel these recordings with their clean production and spacious soul-jazz arrangements. In particular the crisp drums and processed bass heard on Bob James and Joe Farrell albums, the sprightly flute of Hubert Laws or perhaps the more sensual side of Flora Purim's vocals could all be suggested as a source of influence.

Continuing to celebrate and re-document Australia's jazz music legacy, The Roundtable are pleased to offer the first vinyl reissue of this seminal Australian Jazz recording. Presented in a replica gatefold sleeve with new liner notes, the full palette can once again be appreciated including the moody funk of Fall Down Dead, the Iberian Waltz Toledo, the Jazz-Dance anthem Colours Of My Dream and the spacey impressionist piece The Eleven Eight Song.

2025 Repress

For Fuse's fifth release, Brussels' Altinbas returns for a whirlwind of meditative and harmonious techno. Solidifying his identity of focused yet vibrant club music, the Fuse resident and label co-curator offers his second contribution 'Sustain' as a dancefloor-enveloping take on modern techno. Known for rich chords, whipping pads, and dry percussion, Altinbas proves once again that his touch as a producer revolves around balance and calculated effect.

'Trail of' kick starts the EP with flourishing synthwork and a taste of dub as has become the Belgian artist's signature. Dotting toms as rhythmic accents and a low to the ground shaker make for a swaying introduction with an infectious groove. Breaking things up in the second track, 'Life Force' presents Detroit style chord stabs and playful rhythmic work. With a mental synth at the foundation, the track presents 909 drums to reinvigorate atmospheric synths that make 'Life Force' a subtle hybrid of classic club genres. With a wink at Fuse's heritage and a peak into its future, Altinbas' focus on enduring music can be felt throughout 'Sustain' and truly understood in the Brussels club. As a fitting follow up, 'Purpose' opens the B-side with illuminating chords and rounded sound design and a pulsating low-end. With almost a lighthearted tone, the record fits across genres and rooms, claiming movement instead of mood as its sole medium. The title track 'Sustain' proves just that - a melodic sequence and progressive arrangement make for an intensely euphoric closing. Evolving melodies, opening filters, and big but calculated buildups sum up Altinbas's work for Fuse's fifth release on the new label. The record brims with warmth and yet it finds its way on darker dance floors with ease, providing a refined style of music that belongs only to him across the international scene.

Those in the know are well aware of Bobby Marin's work, and the fact that he was behind the scenes for some of the best boogaloo and salsa of the '60s and '70s. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This compilation comprises twenty four essential boogaloo, Latin funk, rock and afro disco gems, each one bearing the mark of quality: "A Bobby Marin Production", including songs by Ricardo Marrero, the Ghetto Brothers, Ocho, Louie Ramírez_ A freshly curated overview of his fascinatingly complex back catalog in these genres. Since the late 1980s there have been numerous Latin soul and boogaloo compilations, and certainly much has been written about the history of the music too and an an excellent documentary (We Like It Like That, by Mathew Ramírez Warren) have brought the music to a broader audience. Generally, when discussing the "first wave" of Latin soul and boogaloo, it's the bands and their leaders, the singers and the songs that get all the recognition. But what of the producers, composers, and arrangers behind the music? Over the years, one of the best old-school New York Latin music producers, Bobby Marin, has occasionally been given some well-deserved credit and popped up sporadically in articles or liner notes (Wax Poetics, Fania, Gladys Palmera). However, to the casual public, he is not a household name, even among some fans of boogaloo. There are even some contemporary Latin soul compilations that contain mostly material licensed, produced and / or written by Bobby (or his brother, Richard), and a tip of the hat must go to Bobby's friend Dean Rudland for all his work in this area, as well as to Rocafort Records for digging up the long-lost Nitty Gritty Sextet album. Yet, until now, no one has explicitly put Bobby's name in the headline and given him his due on the cover of a properly credited Latin soul compilation. This collection aims to change that and give the man his Latin soul "props" for the first time on a freshly curated overview of his fascinatingly complex back catalog in this genre.

The Finns have crafted a top-notch piece of powerful heavy metal with the incomparably strong roars of frontbeast Noora Louhimo, catchy keyboards and earworm invasions. From the opening classical up-tempo opening track, 'Straight To The Heart,' to the last note of the closing ballad 'Far From Heaven,' BATTLE BEAST’s new opus is full of heaviness and emotions. Recorded and produced at JKB Studios by keyboardist Janne Björkroth, the album was also mixed by him alongside Viktor Gullichsen and Mikko Karmila, while mastering was done by Mika Jussila at the world famous Finnvox Studios. “Bombastic and brilliant heavy metal with a killer singer! »Bringer Of Pain« is gigantic!” MYROCK (F) “BATTLE BEAST at their best - majestically melodic and 'Straight To The Heart'!” ROCK IT! (D)

Sasu Ripatti presents the fourth volume in his "Dancefloor Classics" series with five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

RESOUND NYC - Das neue Album von MOBY! Nach seinem gefeierten Album ”Reprise” (Mai 2021), auf dem unter anderem Kris Kristofferson, Mark Lanegan, Jim James und Skylar Grey zu hören waren, hat Moby nun 15 seiner legendärsten New Yorker Tracks aus den Jahren 1994 bis 2010 neu interpretiert und instrumentiert. Mobys 20. Studioalbum ist nicht nur eine Reflexion über die vielleicht entscheidendste Zeit in seinem Leben, sondern auch über sein einstiges Zuhause, New York City. Dort wurde er geboren, dort nahm seine Karriere ihren Anfang – im Punkrock und als DJ in Underground-Clubs.
»Bevor ich Punkrock für mich entdeckte, war ich im Classic Rock zu Hause«, sagt Moby. »Mein erstes Konzert war 1978 Yes im Madison Square Garden. Es war also mehr als verlockend, sich noch einmal mit meinen Liedern auseinanderzusetzen und zu gucken, ob sie einer traditionelleren, nicht-elektronischen, orchestralen Bearbeitung standhalten.« Begleitet wird Moby auf diesem Album von großartigen Künstlern wie Nicole Scherzinger, Gregory Porter, Ricky Wilson und Amythyst Kiah.

Puddu (Al Dente/Schema Records) with a solo release discography of 16 albums, among which stand out the three original volumes of the red-light soundtracks of Danish films ” The Golden Age Of Danish pornography", and also known for his collaborations with Edda Dell'Orso (Maestro Ennio Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan of L.A funk band War, and Gene Robinson Jr of Breakwater.

Alex Puddu will follow the previews singles Texas Blonde and Pullover Grigio releasing after the summer, for the first time a brand new album in Italian language, called ”Deliria” proposing a new sound that drags us into the Italian funk music of the late seventies and early 80s, and the new music from the italian indie pop and new disco scene, within names like, Nu Genea, Pellegrino. Viscardi & Il Duo Magnetico, Frah Quintale, Marco Castello and up to the electronic sounds, between adult oriented soul and disco that are part of the unmistakable style of Alex Puddu's writing and production.

As many artists before them (Gainsbourg, Snoop Dogg, Lavilliers, Sinead O'Connor…), DA BREAK embarques us to revisit their best tracks “Inna Reggae Vibe”, and invites us listeners to rediscover their repertoire with a more than ever “Roots” sound. An enchanted break that will seduce the early fans as well as reggae connoisseurs; A suspended moment with a band on their new musical quest, assuming a different side of their DNA.

The idea of an “old school reggae auto remix” had bloomed for quite a long time, with the will to dive into the 60s & 70s sound esthetics and to pay tribute to this reggae culture - this unique cultural temple they love and respect so much.
DA BREAK concerts are always rich and intense musical moments, thanks to a crew of solid musicians, so the choice to record LIVE, all in the same room, was quite obvious; with “vintage” instruments and microphones, to enjoy this warm and authentic sonic texture. The result is a “Roots & Rock Steady” album without electronics, leaning towards sweaty and rough Jazz, tropical Soul or even Gospel with sand between the toes… definitely Reggae!
DA BREAK remains DA BREAK, with its inner light, this time looking towards the Caribbean musical culture.

Given the historical influence of Jamaican Sound Systems on the American Block Parties, it seemed logical for DA BREAK to pay tribute to the artists that influenced them since day one, and still do today: Bob Marley & the Wailers, Jimmy Cliff. Culture, Toots & the Maytals, Burning Spears, The Gladiators, YellowMan, Israel Vibrations, LKJ & Mad Professor, UB40, Shaka Demus, Peter Tosh... Just to name a few.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Gil Tamazyan is the founder and president of Capsule Labs, a boutique pressing plant, record label and analogue mastering studio in Los Angeles. He has been making cultured sounds for twenty years and does everything from deep house to Italo disco while drawing on a wide range of influences from the words of jazz, funk and more.
-On “Morning Cleanser,” Gil Tamazyan beautifully crafts a deep house record with notes of jazz sprinkled throughout.
-Pressed on 180g black vinyl for the best listening experience.
Gil Tamazyan unveils "Morning Cleanser," a musical gem that masterfully blends house and jazz, showcasing his signature authenticity and groove. The EP begins with "Bumper Car Theater," where Gil's craftsmanship paints a spacious sonic landscape. A steady bassline anchors the track, while ethereal chords drift, inviting introspection and calm. As dawn breaks, the title track "Morning Cleanser" emerges with vibrant chords and infectious beats. The groovy bassline sets the rhythm, and spirited vocals infuse the track with energy, awakening the senses and stirring the soul.
Continuing the journey, "My Body" offers a sultry exploration of sound and sensation. Smooth keys intertwine with dreamy vocals, creating a warm and intimate ambiance. The rhythmic groove carries listeners away, transporting them to a realm of pure musical delight. Closing the EP, "News Cast" weaves a tapestry of rhythm and melody. Powerful kicks and a punchy bassline drive the track, while a sultry saxophone ties back to the opening track, adding a sense of allure. With "Morning Cleanser," Gil Tamazyan delivers a mature and grounded musical experience, inviting listeners to tune in and vibe out.

This album is about memories. About a feeling of nostalgia and longing, both beautifully comforting and devastating. It is an attempt to transform an unspoken sensation of the past to a solid object serving the future, an urge to remember and hold onto moments that we can't keep forever. On the 6th of October 2023, the release date of her third solo album ‘Ghosts’, Hania performed a very special album release concert with a string ensemble in a uniquely special location - Witold Lutosławski's Concert Studio at the Polish Radio in Warsaw. Over the years, the spaces of Polish Radio have become an important part of Hania’s life - both privately and professionally.

Visiting for the first time as a student of Chopin University of Music and returning to make her first recordings in late 2018, just before the release of the debut album ‘Esja’. It was also in these studios that Hania recorded her Live from Studio 2 video and EP. But whereas that featured a much-loved solo performance, for this very special recording from the larger Studio 1, Hania is joined by her regular collaborator Ziemowit Klimek on double bass and moog as well as a luxurious eight-piece string ensemble featuring Karolina Gutowska violin Jan Pietkiewicz violin Marta Piórkowska violin, Paweł Czarny viola, Tomasz Rosiński viola, Dobrawa Czocher cello, Marianna Sikorska cello, Mateusz Błaszczak cello.
Beautifully mixed by Greg Freeman in Berlin the music takes on a new life as Hania’s ethereal vocals, beautiful playing and exhilarating compositions are brought fully to life by the beautiful sweeping strings of the expanded ensemble. The concert is included here in its entirety with the addition of one beautiful extra performance – the title track ‘Nostalgia’ a beautiful interpretation of a much-loved piece from the Ghosts album taken from her concert at the Roundhouse in London. In addition the LP features a beautiful 16 page booklet of photographs of the Polish radio studios taken by Hania herself and featuring her thoughts on the recording, studios and the compositions themselves and the CD includes the photos in a beautiful glued in 12 page booklet.

At the height of the First World War, two young British soldiers, Schofield (Captain Fantastic’s George MacKay) and Blake (Game of Thrones’ Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers—Blake’s own brother among them. 1917 is directed by Sam Mendes, who wrote the screenplay with Krysty Wilson-Cairns (Showtime’s Penny Dreadful). Rotten Tomatoes critical consensus reads: ""Hard-hitting, immersive, and an impressive technical achievement, 1917 captures the trench warfare of World War I with raw, startling immediacy."" The music to the movie is composed by Thomas Newman (The Shawshank Redemption, American Beauty, Road to Perdition). Newman has received a whopping 15 Oscar bids throughout his career, including one for this epic score. Since the film is designed to be told in one continuous shot from cinematographer Roger Deakins, Newman’s pulse-pounding score often serves as a unique form of editing. The music cuts off during dramatic cues, ramps up in battle scenes and, in one breathtaking moment, becomes almost operatic as MacKay runs through war ruins to escape being seen from enemy flares. 1917 is available as a limited edition of 500 individually numbered copies on translucent blue coloured vinyl. The package includes an 8-page booklet with movie stills and liner notes by Sam Mendes.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

ie stehen wie keine andere deutsche Band für modernen Rock 'n'Roll-Sound im Stile der 1950er und 60er Jahre.
Gleich mit ihrem ersten Album "Strike!" eroberten THE BASEBALLS 2009 die Spitzenpositionen der Charts, nicht nur in Deutschland, O?sterreich und der Schweiz, sondern in zahlreichen europäischen Ländern. Sie erhielten Gold- und Platinawards, spielten ausverkaufte Touren und gewannen Auszeichnungen wie den finnischen Musikpreis EMMA, den European Border Breakers Award und zweimal den ECHO.
Beinahe auf den Tag genau vor 70 Jahren erschien mit "That's Alright Mama" die erste Single von Elvis Presley und nichts mehr war wie vorher.
Bei The Baseballs ist auch kaum noch etwas wie es war. Als Duo haben Sam & Basti die Band einer völligen, beinahe schon radikalen Frischzellenkur unterzogen, denn The Baseballs klingen moderner denn je. Dafür haben sie auch einige ihrer Kulthits neu aufgenommen und nichts ist entsprechend treffender, als ihr neuntes Album eben "That's Alright" zu taufen.

Ursprünglich im Jahr 2020 veröffentlicht, ist some kind of peace ein persönlicheres und introspektiveres
Album, als Ólafur es je zuvor veröffentlicht hatte.
some kind of peace handelt davon, was es bedeutet, lebendig zu sein, sich zu trauen und verletzlich zu
sein. Es ist eine persönliche Reise, die Ólafur mit seiner bisher introspektivsten Musik vor dem Hintergrund
einer ins Chaos gestürzten Welt erzählt. Auf dem Album verarbeitet er reale Teile seiner Lebensgeschichte,
wobei er meisterhafte Sampling-Techniken einsetzt, um dem Hörer ein Fenster in seine Erfahrungen zu
öffnen.
Neben Ólafur Arnalds selbst sind auch befreundete Musiker auf dem Album vertreten, wie der britische
Musiker Bonobo, der isländische Sänger und Multiinstrumentalist JFDR und die deutsche Sängerin und
Komponistin Josin. ”All diese Menschen waren zu diesem Zeitpunkt Teil meines Lebens oder haben mit
mir die Erfahrungen gemacht, die das Album beeinflusst haben”, erklärt er. ”Es wäre seltsam, ein so
persönliches Album zu schreiben und meine Freunde nicht einzubeziehen.”
Mit einer Art Stück fordert Ólafur Arnalds das Leben mit all seinen Facetten heraus, zu akzeptieren, wie
es ist, loszulassen und vor allem zu reagieren und darüber nachzudenken, um unseren persönlichen inneren
Frieden zu finden. Sein atemberaubendes Album wäre definitiv der richtige Ort, um damit zu beginnen.

“I am OBSESSED with the 80s. I love the loud neon colours and fashion and the kinetic energy of the music. It’s uplifting and bittersweet with a ton of keyboards, what’s not to like?” reasons Morgane when asked what it is she likes about the decade. This exuberance is brightly reflected in the mirror ball synthpop of her third album released at the end of September. It is her second long player to appear on vinyl after the release of Between The Funk And The Fear debut on the Polytechnic Youth label.

Morgane was the keyboard player in Stereolab between 1995 and 2001 during which time they released Emperor Tomato Ketchup (her favourite) and Dots And Loops. As a teenager though she first played the drums, then guitar and bass. She only learnt the keyboards one month before joining the group. “They gave me 40 songs to learn, it was a baptism of fire”.

After leaving Stereolab, Morgane first moved to New York for nine years; she’d always planned to move to America having spent a lot of time there with her parents and of course those space-pop pioneers. The warmer weather of LA enticed her though and you can hear its pulse in Day-Glo Chaos. The album’s thumping heart is pumped by the city’s night sky and when asked she cites three particular albums as her favourites: the oddball analogue electro of Jacno’s 1979 debut; John Carpenter’s ‘Escape From New York’ and The B-52’s ‘Cosmic Thing’. There’s also a strong nod to the playful computerised harmonies of Yellow Magic Orchestra whilst she’s somewhat partial to the synth prog of Yes and Soft Machine. “I actually created a synth on Ableton Live named after Rick Wakeman’. I should create one after Mike Ratledge next!”

Throughout her work (but especially on this record) you can hear the influence of computer games. “I’m an avid gamer and have been one since I was a teenager and fell in love with my Commodore 64”. Though not a fan of Hotline Miami or the GTA series (“too violent”) she liked Hang On and loved Outrun which she used to play a lot on her Sega Master System. “I just got the soundtrack reissue from Data Disc and it is beautiful” she enthuses.

You’ll see and hear such influences on the lead single from the album ‘Midnite Rogue’ the video to which pays (im)perfect juddering homage to such arcade culture. Car tyres glued to sticky tarmac, French pop music lost in the air. The title was inspired by a Fighting Fantasy book which she adored as a kid. “I love the idea of this entity causing mischief during night time”, she beams. It’s not hard to see why.

To commemorate the 30th anniversary of Therapy?'s Troublegum album , this 2LP set contains the original album pressed on 180g silver vinyl plus a further 14 tracks rounding up B-sides and bonus tracks of the era pressed on 180g lavender vinyl. By the time Therapy? released Troublegum in 1994 they were already well established, but it was the first time many had encountered the group's intensely melodic blend of hard rock and indie, an arresting combination of old and new, striking in its immediacy. Formed by schoolfriends in Larne, Northern Ireland, Therapy? consistently pushed the rock trio to its limits, often saying that their use of feedback was their fourth instrument. Singer, guitarist and writer Andy Cairns, bassist Michael McKeegan and drummer Fyfe Ewing had been playing together since 1989, and were signed to indie label Wiiija the following year on the strength of their live reputation. After two albums with Wiiija, they were signed to A&M Records, and their 1992 album, Nurse, reached the UK Top 40. The group paired with Mission producer Chris Sheldon and went to Chipping Norton Studios to record a follow-up. The results were stunning. Lead single "Screamager" (on the Shortsharpshock EP) reached the UK Top 10 in March 1993; follow-up "Turn" made the Top 20. By the time Troublegum was released in February 1994, it contained both singles, plus "Nowhere" and "Trigger Inside", further hits from the album. Troublegum is warm and powerful, showing that grunge was not just the preserve of bands from the western seaboard of the US. Mixed without any discernible gaps between tracks, the album offers 45 minutes of attack. Amid the originals, the band's post punk roots are shown by their storming cover of Isolation by Joy Division. Widely acclaimed, Troublegum reached No 5 in the UK charts, went Gold and was nominated for the Mercury Music Prize. It sounds as fresh today as it did in 1994.

Two seminal 12" mixes of a pair of Michael Wycoff heavy hitters from 1982. One a two-step favourite and one a Loft classic, these sought-after versions have never been paired on the same record.

Side A features the smooth-gliding anthem "Looking Up To You". The unmistakable snap of that sighing intro is unlike anything else. As such, it's no surprise that Leon Ware, celebrated master of the unexpected chord, has his fingerprints all over the track. Co-written with Zane Grey, "Looking Up To You" stands among the very best of Leon's staggering bank of compositions, both solo and with Michael Jackson, Minnie Riperton and Marvin Gaye. It's such an influential track, serving as the sample foundation of a massive top five R&B hit for Zhane in 1993, but it has never been bettered upon. Original 12" copies - if you can find them - go for over £50 today, making this side worth the price of admission alone.

If that wasn't enough, it's arguable that the B-Side wins again. A staple of David Mancuso's New York Loft parties, the Tee Scott mix of uplifting boogie gem "Diamond Real" is on another level entirely. A DJ legend of infamous clubs Better Days and Zanzibar and a trailblazing innovator, Tee Scott mastered the art of the reconstructive club mix.

For maximum destruction of discerning dancers, we've opted for here for his heavenly dub. 7 minutes of devastatingly slick dance floor dynamite, at once polished and dilapidated, its ecstatic charm is universal.

Devout lovers of modern soul have long worshipped the rapturous, sophisticated funk of Michael Wycoff. In combining that richly elegant voice, redolent of Donny Hathaway, with the production of keyboardist and arranger Webster Lewis, it's no surprise that both of these tracks became vital club classics of the early 80s R&B scene. Clear, full-bodied and bright - the 12" versions of these tracks are notoriously punchier than those featured on Wycoff's LP, and feature boomin' low end and neck-snapping drums. Buy on sight.

UK-Indierock-Koryphäen Maxïmo Park kündigen ihr achtes Studioalbum 'Stream Of Life' an, das am 27. September über Lower Third erscheinen wird. Auf dem Weg zu 'Stream Of Life' hat sich die Band aus Newcastle erneut mit Ben Allen (Gnarls Barkley, Animal Collective) zusammengetan, dem Grammy-prämierten Produzenten des Vorgänger-Albums 'Nature Always Wins' aus dem Jahr 2021.

Die Band befindet sich in der vielleicht nachdenklichsten Phase, in der sie je war. Leadsänger Paul Smith, dessen Stil sich vermutlich als Literatur-Pop beschreiben lässt, hat den Titel des Albums einer Kurzgeschichte der ukrainischstämmigen brasilianischen Schriftstellerin Clarice Lispector entnommen, inspiriert von ihrem Bewusstseinsstrom und der Art und Weise, wie sie zum Nachdenken über die inneren Mechanismen der Menschen anregt. Sie wirft die Frage auf, warum wir die Dinge tun, die wir tun, selbst wenn sie für Außenstehende kontraintuitiv erscheinen. Jedes Individuum hat einen inneren Fluss - einen Strom des Lebens.

UK-Indierock-Koryphäen Maxïmo Park kündigen ihr achtes Studioalbum 'Stream Of Life' an, das am 27. September über Lower Third erscheinen wird. Auf dem Weg zu 'Stream Of Life' hat sich die Band aus Newcastle erneut mit Ben Allen (Gnarls Barkley, Animal Collective) zusammengetan, dem Grammy-prämierten Produzenten des Vorgänger-Albums 'Nature Always Wins' aus dem Jahr 2021.

Die Band befindet sich in der vielleicht nachdenklichsten Phase, in der sie je war. Leadsänger Paul Smith, dessen Stil sich vermutlich als Literatur-Pop beschreiben lässt, hat den Titel des Albums einer Kurzgeschichte der ukrainischstämmigen brasilianischen Schriftstellerin Clarice Lispector entnommen, inspiriert von ihrem Bewusstseinsstrom und der Art und Weise, wie sie zum Nachdenken über die inneren Mechanismen der Menschen anregt. Sie wirft die Frage auf, warum wir die Dinge tun, die wir tun, selbst wenn sie für Außenstehende kontraintuitiv erscheinen. Jedes Individuum hat einen inneren Fluss - einen Strom des Lebens.

Kool Menthol. That's the name redolent of night and nicotine from Il Est Vilaine's new EP, featuring 4 tracks that send shivers down the spine and warm the body.


The eponymous single unfolds like an infectious groove worthy of an 80s Tokyo nightclub. Moreover, it's still the illustrator Apollo Thomas who signs the group's artworks, tinting their universe with an irresistible Japanese touch. Orientalism? Not entirely, as evidenced by "Revenge," which sounds more like the soundtrack of an electric western, and "Quetzacoatl," falsely tropical, incantatory, and metallic, rising like a Raëlian mantra in the after-hours.


"Ramassama," on the other hand, feels like a chase scene from an Italian horror film with a slightly dazed Dario Argento.
In short, the two rascals from Il Est Vilaine reaffirm their stamp of cowboy clubbers with this disco-like EP where there always remains a strong rock undertone.

Most of the writing of Naima Bock's second album, Below A Massive Dark Land, was a solitary affair. It may not sound like it - it's made up of strong, purposeful arrangements with a huge host of musicians, filled with cradling space and warm light. This will also come as a surprise to anyone who has seen Naima perform in the time since the release of her 2022 debut Giant Palm, which was undoubtedly a communal experience. But there's power in the solitary, too. Giant Palm was arranged with collaborator Joel Burton, but going this one alone in search of something that was truly hers, Naima found she was capable of more. "After me and Joel stopped working together", she remembers, "it was an impossibility to even fathom doing arrangements myself but then I started learning violin and it was possible". Finding that she could go it alone was incredibly powerful for Naima: "I think I needed it, to be able to feel proud of something". Beyond the writing process, however, the record is not a stark, stripped back affair. Below_ still has the majesty that made Giant Palm so remarkable. Having tugged the first record down from the skies and spreading it across the earth, Naima finds a newfound vocal power and confidence born from hundreds of hours on stage, and the music sounds fuller, more tangible, and no less enveloping. This can be heard on the album's lead singles: "Kaley" feels fresh and surprising in its rug-pull choppiness but is distinctly Naima in its swinging, jubilant choruses. The accompanying "Further Away" takes a different tack, drawing you in with its simplicity. Finally, the hazy, luxurious beauty of "Feed My Release" draws on the sepia-toned traditions of The Roches, John Prine and Loudon Wainwright III and imbues them with the kind of stark confessional songwriting of Mount Eerie. These are ambitious, rich arrangements that reach deeper and darker lyrically than Giant Palm. Below a Massive Dark Land was predominantly produced by Jack Osborne (Bingo Fury) and Joe Jones, and recorded at The Crypt in north London, with additional production and arrangement by Oliver Hamilton (caroline, Shovel Dance Collective) and Naima herself. Six of the tracks on Below_ were mixed by Jason Agel, with the remainder done by Osborne and Jones. The album was mastered by Kevin Tuffy.