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When Chet Baker lit up the West-Coast scene during the 1950s, he became a Jazz idol who
appealed to a younger generation and impressed even the most acerbic critics. He jammed
alongside Tenor Sax stars Vido Musso and Stan Getz, and joined Alto Sax legend Charlie
Parker on various West-Coast gigs. Hailed as the Prince of Cool, Chet caused a sensation
when his mellifluous Trumpet tones were first heard blending with Gerry Mulligan's deep
toned Baritone Saxophone in the famous Mulligan Quartet . It was in 1952 when they joined
forces on tunes like Walking Shoes and Line For Lyons. It wasn't long before they departed
ways with Chet establishing his own Quartet that launched a recording career blessed by
the plethora of performances gathered on this triple LP set. He plays his distinctive style of
trumpet along with presenting Chet the singer. Our collection opens with Let's Get Lost and
My Funny Valentine before advancing to include I Fall In Love Too Easy, The Thrill Is Gone,
That Old Feeling and Chetty's Lullaby. So, let's get lost in the eternally cool world of Chet
Baker.

When Belgian Adolphe Sax invented the saxophone in the mid-19th century, he could not have imagined what he had set in motion with his invention. Neither in classical music nor in military music did his new woodwind instrument find much appreciation. It was only long after his death that it became the most important instrument in jazz music via swinging big bands. It would probably have amazed Mr. Sax if he had been able to witness a young trio from Germany playing loudly against climate change and the lack of political consequences with two noisy saxophones and a drum set on a stage in front of the Reichstag in Berlin in front of more than 50,000 people jumping up and down during the climate strike in September 2021: BRASS RIOT.

The trio around Constantin von Estorff (Sax), Simon Sasse (Drums) and Carl Weiß (Sax) have been a band since their school days in Lüneburg. What started there as street music became a permanent and sought-after formation through the proximity to political initiatives, above all the Fridays-For-Future movement, and appearances at countless demonstrations. The band's name is slightly misleading, as "brass" in music refers to brass instruments such as the trumpet or tuba, even though most brass bands always include a saxophone. Moreover, the word "brass" means something in the German language, which in turn fits perfectly with this young, energetic trio: Fury.

On the heels of their debut album "Matschsafari" (2018), their second studio album "The Never Acting Story" is now released on Fun In The Church. The album title, in critical allusion to the world-famous fantasy book by Michael Ende, sums up well what the music of BRASS RIOT is about at its core: the possibility to get a noisy outlet for all the fury about the failed politics of the last decades and the frustrations and fears that go with it, and to free oneself from it for a moment. That this path has produced the wildest live music on this crisis-ridden planet is an irony of history - and certainly not the first time it has happened. It's no different in the jazz of Charlie Parker than in the songs of Patti Smith, the raps of Little Simz or the Afro-beat of Fela Kuti.

Musically, BRASS RIOT move more in the area of the melodic ska-pop of Madness, the fake jazz of the Lounge Lizards and contemporary rave brass ensembles like MEUTE between house music and electro beats. The fact that they have managed to politicize their sound so strongly over the years, despite all the party that goes with it, and without any song lyrics at all, is truly phenomenal.

Debut Album Nottingham post-punks Do Nothing blend jerky, spidery rhythms with surreal, half-spoken vocals that recall the Fall 's Mark E. Smith . Do Nothing was formed in 2017 by four long-time school friends: frontman Chris Bailey, guitarist Kasper Sandstrøm, drummer Andy Harrison, and bassist Charlie Howarth. All had played in various acts around the city; the band got their start at the popular Maze Club. Bailey, whose father was a singer in an a cappella folk group, grew up listening to the sounds of Simon & Garfunkel , and his own biggest influence was Tom Waits . Initially attempting to copy big names like LCD Soundsystem (as heard on their first 7" single, "Gangs," released in 2019), they eventually became more confident about doing their own thing, and Bailey gave his stream-of-consciousness lyrics and outsider stage persona free rein. Associated with, but wary of, the then-popular post-punk revival, they made clear it was their intention to follow their own path. Their debut EP, Zero Dollar Bill, was released in 2020; another, Glueland, arrived the following year, with an album in the works.

Fourth release featuring Scott McCaughey (The Minus 5/Young Fresh Fellows), Steve Wynn (The Dream Syndicate), Peter Buck and Mike Mills (R.E.M.) and Linda Pitmon (Filthy Friends) Produced by Mitch Easter (R.E.M., Let’s Active) Featuring the singles “Journeyman” and the title track Available on CD, Digital, and as a double LP (with etched 4th side) On tour starting in August! In 2008 they busted out of the box and easily reached first with their Frozen Ropes And Dying Quails. The Baseball Project was on base and immediately posed a threat to go further. In 2011, they moved on to second with some wildness aptly called High And Inside. They were halfway home. Three years later in 2014, the quintet of Big Stars moved on down the line to the aptly titled 3rd, an epic double dip delight of craftsmanship and savvy. And there they stayed. For 9 long years at the hot corner, but we’re happy to say that The Baseball Project is finally coming home, scoring big and touching ‘em all with their fourth album Grand Salami Time!

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

...And I Mean It is an amalgam of girl group, new wave, blues, pop, and folk-rock by Genya Ravan. To hear her exquisite voice on "Night Owl" soaring above her own backing vocals is intense, imagine Etta James backed by the Sex Pistols doing a rock version of "Earth Angel." Of all Ravan's work, ...And I Mean It is possibly the most concise and picture-perfect statement of what the woman is musically about. A girl group pioneer who worked with Richard Perry prior to his finding the Pointer Sisters groove, there is no doubt Ravan influenced that major producer, and his work did the same for her. "Pedal to the Medal" is high-end treble rock before it came into vogue. This is the other side of Siren, the album Genya produced for Ronnie Spector, with more emphasis on a good-time rocking party. "I'm Wired, Wired, Wired" is a rock & roll anthem for people who burn the candle at both ends, while "I Won't Sleep on the Wet Spot" embodies the unbridled sexuality of this album. The music crunches while Ravan uses her voice, her production skills, and her legacy to create something far removed from her days in Ten Wheel Drive. The horns are replaced by searing guitars and Charlie Giordano's magical piano work. The sound of the keyboard and its erratic splashes really are key to "I Won't Sleep on the Wet Spot," while the guitar and bass battle it out. "Steve...," on the other hand, is Goldie & the Gingerbreads ten years after. This Ravan/Conrad Taylor composition was the 45 from the album, and it has "hit" written all over it. 20th Century just didn't have the right mechanisms in place to get some of the great music they put out on radio, such a pity as Harriet Schock, Randy Edelman, and the fake soundtrack for All This and World War II (a Beatles tribute album) contained songs that should have been big hits. What did hit off this album, on FM radio as an album track, is the brilliant duet by Ian Hunter and Ravan, the subtle and folky "Junkman." Released on Hunter's excellent Once Bitten Twice Shy CD on Legacy in 2000, the song and the performance are timeless. Ravan once said: "I was asleep with the tv on, and was saying to myself...that's my voice...that's my song...that's me! I woke up to find "Junkman" on TV in a film." The song got placed in a cable movie without the producer's knowledge! "Junkman" was a sound not heard on FM radio prior to its release, much like MTV's "unplugged" versions of songs, but it is more unplugged than most of this material -- take the rocked-out version of Motown that is the cover of Marvin Gaye's "Stubborn Kinda Girl," or the Springsteen-style blast that is "It's Me," a tune Springsteen should cover.

Urban Desire is Genya Ravan creating music on her terms after artistically successful work with producers Richard Perry, Jimmy Miller, and Jim Price, along with the three strong albums she recorded with Ten Wheel Drive. As producer of the prototypical punk band the Dead Boys and their classic single "Sonic Reducer," Ravan was an essential part of the new wave explosion of the '70s, which was a blend of punk rock and power pop. Urban Desire is the quintessential new wave album, and though it caused a stir, it has never fully been recognized as the groundbreaking work it is. A driving cover of the Supremes hit "Back in My Arms Again" has guitarists Conrad Taylor and Ritchie Fliegler fragmenting Deep Purple's "My Woman from Tokyo" riff under Ravan's brilliant New York party atmosphere. That comes right after her duet with Lou Reed, a tune called "Aye Co'lorado," one of the album's highlights written by Ravan and keyboard player Charlie Giordano. Classic girl group vocals, blues sensibilities, and the hard edge of underground rock & roll are the ingredients that propel "Jerry's Pigeons" and "Cornered," while a John Cale signature tune, "Darling, I Need You," becomes a barroom brawl -- and that's thanks to the band assembled for this: Bobby Chen on drums, Don Nossov on bass, along with the aforementioned Fliegler, Taylor, and Giordano. Ravan's harp playing pushes "Messin Around," which keeps up the intensity -- and volume. Joe Droukas, who would author the successful "Junkman" duet with Ian Hunter on Ravan's next outing, ...And I Mean It, brings the disc to a close with his third composition on Urban Desire, a tune called "Shadowboxing." Genya gets mellow with this performance, which feels like Ten Wheel Drive meets the Rolling Stones at the "Memory Motel." A bit of a different groove from the equally profound ...And I Mean It, which was released a year later. -Joe Viglione, AllMusic

Urban Desire is Genya Ravan creating music on her terms after artistically successful work with producers Richard Perry, Jimmy Miller, and Jim Price, along with the three strong albums she recorded with Ten Wheel Drive. As producer of the prototypical punk band the Dead Boys and their classic single "Sonic Reducer," Ravan was an essential part of the new wave explosion of the '70s, which was a blend of punk rock and power pop. Urban Desire is the quintessential new wave album, and though it caused a stir, it has never fully been recognized as the groundbreaking work it is. A driving cover of the Supremes hit "Back in My Arms Again" has guitarists Conrad Taylor and Ritchie Fliegler fragmenting Deep Purple's "My Woman from Tokyo" riff under Ravan's brilliant New York party atmosphere. That comes right after her duet with Lou Reed, a tune called "Aye Co'lorado," one of the album's highlights written by Ravan and keyboard player Charlie Giordano. Classic girl group vocals, blues sensibilities, and the hard edge of underground rock & roll are the ingredients that propel "Jerry's Pigeons" and "Cornered," while a John Cale signature tune, "Darling, I Need You," becomes a barroom brawl -- and that's thanks to the band assembled for this: Bobby Chen on drums, Don Nossov on bass, along with the aforementioned Fliegler, Taylor, and Giordano. Ravan's harp playing pushes "Messin Around," which keeps up the intensity -- and volume. Joe Droukas, who would author the successful "Junkman" duet with Ian Hunter on Ravan's next outing, ...And I Mean It, brings the disc to a close with his third composition on Urban Desire, a tune called "Shadowboxing." Genya gets mellow with this performance, which feels like Ten Wheel Drive meets the Rolling Stones at the "Memory Motel." A bit of a different groove from the equally profound ...And I Mean It, which was released a year later. -Joe Viglione, AllMusic

Weekend Recovery are back with a brand-new album ‘Esoteric’. Mixing equal measures of in-yer-face vox, overdriven guitars and straight-talking lyrics, it’s this mix that’s seeing the Sheffield indie-pop trio into editorial playlists on Apple, Deezer and YouTube alongside shows at Kendal Calling, Bingley Weekender and sell out dates including Corporation Sheffield. The first cuts from the record ‘Chemtrails’ and ‘No Guts All The Glory’ hit the airwaves with a bang, amassing plays on BBC Radio 1 Introducing (Gemma Bradley, Nels Hylton), BBC 6 Music (Steve Lamacq, Chris Hawkins, Fresh on the Net), Radio X (John Kennedy), Kerrang! Radio (Johnny Doom), Amazing Radio (Charlie Ashcroft, Shell Zenner, Frankie Francis), Absolute Radio (Frank Skinner), Planet Rock (Wyatt Wendels), BBC Sheffield (Christian Carlisle, Ellie Colton), BBC York (Jericho Keys), RTE 2 Ireland and as far as KEXP, Seattle and national USA station Sirius XM (Rodney Bingenheimer). The latest single ‘No Saint’ features Joel Arthur from local bandmates Hydeout and represents the harder edge in their third studio album.

The debut album from London's finest, Hak Baker - 'Worlds End FM' represents the war in Hak's mind, the culture war on the streets of London and the individual battles of his community - from his mother to his brother to his best friends. In a year that will see Hak perform alongside Pete Doherty at The Royal Albert Hall, Jamie T at Finsbury Park & his own headline UK & Germany tours, the campaign has already garnered support from Rolling Stone, NME, Clara Amfo, Steve Lamacq, Jamz Supernova & partnerships with Dr Martens, Fred Perry, Fender, FIFA & Hugo Boss to name a few. Previous highlights include performing on Later with Jools, Glastonbury 2022 (Other Stage), the first artist ever to play at the BBC's new Eastbank site, selling out two Village Underground shows & been championed by the likes of Clara Amfo, Jack Saunders, Sian Eleri, Tom Ravenscroft, Jo Whiley, Huw Stephens & Charlie Sloth.

Donovan Woods’ album is a study in contrasts, as one would expect from its name: Both Ways. That push-and-pull, especially in relationships, has long been Woods’ stock in trade. As the lead track of Both Ways, “Good Lover” unfolds with acoustic instruments and Woods’ quietly compelling delivery -- not what a listener might expect from the title alone. That masterful perspective has led to nominations for the Polaris Prize and the Juno Awards. In addition, his single “What Kind of Love Is That?” climbed to No. 1 on the CBC Top 20 Chart, while his catalog has accrued over 45 million streams. Woods is also a notable songwriter in Nashville with credits by Billy Currington, Charles Kelley, Tim McGraw and Charlie Worsham. NPR Music stated, "There are very few writers who can make you laugh and break your heart in the same song.” No Depression noted that Woods’ style is “as fresh and captivating as any out there.” Asked if he writes differently for himself than he does for other artists, Woods replies, “I used to think that there was a difference. I know now there's no difference. You just try to write the best thing. Everything I wrote where I said, ‘This is mine and I’m going to put it out’ – every song like that gets recorded by somebody else. I know now that I just try and write a song that I would want to do.”

Blanck Mass (Fuck Buttons, Benjamin J Power, The Editors) hat die neue Amazon Prime Serie 'The Rig' mit Iain Glen und Emily Hampshire in den Hauptrollen vertont.

The Rig Synopse: "Als die Besatzung der in der Nordsee stationierten Bohrinsel Kinloch Bravo auf das Festland zurückkehren soll, zieht ein mysteriöser Nebel auf und unterbricht die Kommunikation mit der Außenwelt. Die Besatzung wird daraufhin an die Grenzen ihrer Belastbarkeit und Loyalität getrieben und in eine Konfrontation mit Kräften jenseits ihrer Vorstellungskraft gezwungen."

Der Soundtrack ist auf 2 x transparentes grünes Vinyl gepresst und in einer breiten Hülle mit doppelseitig bedrucktem Einleger und digitaler Download-Karte untergebracht.

- Col. 2LP: (transparentes grünes Vinyl)

Reggae Roast, the UKs premier Reggae Soundsystem collective are delighted to bring you their second studio album More Fire!. Following on from their debut Turn Up The Heat, which was released through Trojan Records reaching #1 in the iTunes Reggae charts.

Having been at the centre of the UK Soundsystem scene for over a decade, Reggae Roast have brought together a plethora of world-famous reggae stars on one record, including veterans Horace Andy, Johnny Clarke & Horseman, alongside more contemporary vocalists such as Gappy Ranks, Mr Williamz & Soom T.

Joining the dots between reggae and UK bass music, Reggae Roast take you on a joyful journey through the ages, seamlessly taking influences from Rocksteady through to Roots, Dancehall, Jungle and Dubstep.

More Fire! will be released as a limited edition of 1000 individually numbered copies on flaming coloured vinyl, cut at 45RPM and housed in a gatefold sleeve with 2 printed inner sleeves.

Fuzz is Ty Segall (drums/vocals), Charlie Moothart (guitar/vocals)
and Roland Cosio (bass). They’re heavy rock lifers—three Californiabred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually). If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart
plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar.

Way back in the early ’00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide
the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass.

They are not dabblers or dilettantes. Fuzz flipped through used bins,
hard drives and record collections of the world, seeking out the finest
weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into fullbore choogle.

Maybe you’ll even glimpse the ghost of Australian guitar legend/sharpie guru Lobby Lloyde sniffing around “Raise.”

The mood is not light. The songs project a state of perpetual paranoia
and eroding mental health. And as it should be, you know? It’s a record for the burners.

Pinky Perzelle, aka Sonny Rooney's debut 'No Games' featuring Eda Eren, is a true labour of love and an ode to his total passion and dedication to multi instrumental record creation without compromise. Almost every instrument was recorded and played by Perzelle at his home studio. Featuring the utterly unique, impassioned and reassuring vocals of British-Turkish artist, Eda Eren, and additional drums from world renowned Malcolm Catto (The Heliocentrics). The lead track is a timeless, heartfelt, funk-ladened portal into a world reminiscent of a cinematic movie scene or an undiscovered gem from another era all-together. The hypnotic 'Remix' from Velvet Season & The Hearts Of Gold aka Gerry Rooney & Joel Martin, introduces subtle electronica and dubbed out instrumentation. A true lesson in after hours, left-field Balearica. Pinky's own 'Electronic Mix' references early house music and broken-beat electronic drums. Showing yet another side of Perzelle's approach to music making.

DJ Feedback

Gilles Peterson:
"Great stuff! Loving the Turkish twist on No Games. Whoooop!"

Dj Harvey:
"Definitely a jam I’ll play in Ibiza for my summer season!"

Francios K:
"I have the Original Mix and love it!"

Tim Sweeney (Beats in space):
"Great job with this. Definitely supporting! Added to BIS playlist."

Colleen Cosmo Murphy (WWFM):
"Now here’s a great new song. A debut song from Pinky Perzelle aka Sonny Rooney. Also a great remix from Velvet Season & The Hearts Of Gold!"

Charlie Bones (Do You):
"Dangerously sexy."

Apiento (Test Pressing):
"A killer song put together with an overall vision from someone that knows where they want to be. An artist to watch. Respect."

Nancy Noise:
"I haven’t stopped listening to it! I mean it! Well done!"

Laurent Garnier:
"Playlisting Original Mix on PBB Radio. Thanks a lot!"

Luke Howard (Horse Meat Disco):
"Bravo, great job. Keep up the good work. Always happy to hear real music with new melodies and ideas!"

Leo Mas:
"Pinky’s Electronic Mix’ is great! Great job, bravo!"

Ashley Beedle:
"I’ll be putting this in August’s show. Sounds wicked."

Jonny Rock:
"This is great! Intense emotion dancefloor bomb! Big up the Perzelle."

Mehmet Aslan:
"Nice ones, I like! Added to Spotify ‘Track ID’s’ playlist."

CC Disco:
"Sick release! Was not what I was expecting. Even better!"

Patrizio Cavaliere (Mixmag Asia):
"A sublime statement of intent."

Reissue! In 2010, Madlib launched an ambitious series of releases known as the Madlib Medicine Show, which allowed the prolific producer to release new material on a monthly basis. The series touched on all the genres Madlib digs, and that’s just about any genre you can consider - from Jazz to Rock, Soul to Disco, myriad African musics, Brazilian and Reggae. On the 11th installment in series Madlib returned to his hip hop roots with Low Budget High-Fi Music. Featuring a run-down of regular Madlib collaborators who provide the Beat Konducta’s foil, it also included a hint of what was meant to come on the never-realized second Jaylib album, with a previously unreleased J Dilla collaboration.

After more than a decade of non-stop touring, acclaimed Austin songwriting duo, Kelsey Wilson and Alexander Beggins, quietly stopped touring as Wild Child. Headed in different sonic directions, the pair didn't know if they would ever make another Wild Child record. Then, what felt like the "end of the world" brought them back together. Pandemic lockdowns closed stages and drained bank accounts. As artists from all backgrounds took their shows to the internet, Wild Child was no different. Wilson and Beggins got together to practice for a series of online performances for devout fans, and within 30 minutes they wrote the first single for what would accidentally become Wild Child's fifth album, End of the World. Mixed by Matt Pence (Jason Isbell, Elle King) and including contributions from guitarist Charlie Wiles (Paul Cauthen, John Moreland, Orville Peck), End of The World sees the pair find catharsis in art amid compound disasters. As Wilson describes it, "I just started signing about things that were freaking me out. Wearing a mask for a year. Global warming. There's no heat, no water. It was like a dirge to begin with. But by the end we were all screaming and laughing that, yes, this might be the end of the world, but we're all together right now, making music in my living room by candlelight. It's all OK."

New signing to Xtra Mile Recordings - Hannah Rose Platt releases her new album 'Deathbed Confessions' on 19th May 2023. 'Deathbed Confessions' is a concept album inspired by classic horror, Rod Serling’s ‘The Twilight Zone’, BBC’s ‘Inside No 9’ and Samuel Pepys’s ‘Balladeer’ and is produced by Ed Harcourt. Available digitally, CD and beautiful gold vinyl, gatefold sleeve with special A3 Print of cover art. 'Deathbed Confessions' is an eclectic collection - sure to intrigue, disturb, and pull on the heartstrings of any listener. A collection of haunting vignettes linked through polarised themes of death, love, the afterlife, murder, regret, the uncanny, and bizarre… “Deathbed Confessions” boasts a wide dynamic curve, featuring the luscious swells of the Budapest Film Orchestra on ‘Inventing the Stars’, Harcourt’s signature piano playing and vocals (featured on the sea-shanty duet ‘The Mermaid and The Sailor’) and classical Ondes-Martenist Charlie Draper on ‘Home for Wayward Dolls’. Hannah Rose Platt is an acclaimed singer-songwriter, multi-instrumentalist and storyteller, who merges the sinister authorial prowess of Nick Cave and Tom Waits, with the gilded Americana of Bobbie Gentry. Track 1 - 'Dead Man On The G Train' - released 24th February 2023 - Single ‘Dead Man on the G Train’ was the first song I wrote for the record and the opening title. I wanted to write little four-minute ‘pulp noir’ mystery thriller, which sets the tone for the rest of the record. Ed and I had such fun recording this track, expect to hear bombastic drums and beastly guitar train sounds. We hope to transport you to 1930s New York, someone’s boarding the G train to Brooklyn and they won’t be getting off… (listen out for the twist!)’ Track 2 - 'Feeding Time For Monsters' - released 29th March 2023 - Single “If a house represents the psyche – what would haunt the rooms of our very own haunted houses? I explore a mix of my own ptsd experiences and personal ghosts in this song. Ed and I wanted to create a sense of chaos and dissociation with woozy vocals and thrashing guitars (and the video animation by William Davies is just astonishing! Check it out!

Vinyl release compiling both Nukuluk EPs on one LP. Curating their own unique sound and captivating crowds with their refreshing approach to hip-hop, electronica and indie, Nukuluk return with their new EP ‘SUPERGLUE’ on 21 April. The writing and recording process has never been executed in a conventional style for the group, a series of laptops and bedrooms manifesting the groups’ studio, aspiring to a fundamentally collaborative process as they piece their separate parts together in ever surprising ways. Respective members lead through a variety of formats, bringing a demo, a motif or concept in what can be a deeply stimulating process, ensuring the sound is ever-evolving. The EP acted as an educational vehicle that held the group together as they learned how to overcome certain challenges, and hold it together as one, hence the title SUPERGLUE. It presents a fractured journey and chaotic growth of five individuals trying to create the new together; honest vulnerable expression married with complex soundscapes, pulling from whatever genre feels natural and trying new combinations of internal collaborations in the group. The release spans genres from hip-hop to alternative rock, ambient to metal, dance music to r’n’b in what the band note as: “a kaleidoscope of sonics, songs, beats, noises and stories lurching between vulnerability and bravado, as a body of work growing in all directions at the same time.” Their latest single ‘I Just Wanna Luv U’, the follow up to the high octane ‘Covered In Gold’, marks a charged change of pace; an introspective, meditative trip-hop piece, with creeping synths, electronic drums and gruff vocals transitioning into acoustic guitars, live drums and rap verses. It tells the story of wrestling with childhood trauma, isolation and self-acceptance. Vocalist/producer Syd Nuku explores an eerie modern condition before conversing with an inner child’s trauma and memory - “be slow kid, go and take a place below the ceiling where it won’t fall”. The accompanying video was co-directed by Luke Kulukundis (Syd Nuku) and Iso Attrill, and takes reference from the likes of Michel Gondry, Charlie Kaufman and David Lynch. Nukuluk are Monika, Syd, Mateo, Louis and olivia. Entirely self made the collective successfully blend genres and styles to reach new spaces through a broad range of influences (including JPEGMAFIA, Jockstrap, SOPHIE, Wu-Lu and Yves Tumor as well as esteemed groups like Massive Attack, Portishead and Gorillaz). Formed in the midst of lockdown, the collective played their first show in July 2021 before releasing their debut EP DISASTER POP to critical acclaim in November, which subsequently led to multiple festival appearances and a 3-night sold out residency at Bermondsey Social Club in 2022. Their release campaign was littered with videos and creative visuals that were constructed by the collective and its extended family of artists - this multifaceted creative output of the group making them a unique prospect; directing and producing their own videos, exploring many avenues of creation and trying to exist in a unique contemporary DIY space. With nods across the spectrum of the music media – including The Quietus, CLASH, NME, Ransom Note, DIY, DORK, So Young and many more – Nukuluk are steadily carving out their own space in the British leftfield.

Ascended Dead kehren zurück wie ein Sturm aus dem neunten Kreis der Hölle in den Himmel! Das neue Album "Evenfall of the Apocalypse" läutet den finalen Marsch in die Vernichtung durch gerade noch kontrolliertem Death Metal und formzerstörende Nekromantie ein.

Ascended Dead spielen Death Metal auf die uralte Art und Weise, mit inhärent bösartigen Wurzeln und einer methodischen Grausamkeit, die man heutzutage kaum noch hört. Fleischschälende Intensität in Überschallgeschwindigkeit, technisch rasende Leads, die direkt durch Knochen schneiden und eine unerbittliche, vernichtende Kraft, die selten lange genug pausiert, um Luft zu holen. Doch inmitten dieser flammenden Feuersbrunst ist eine ganz bewusste und fanatische Liebe zum Detail und zum Handwerk nicht zu leugnen, die dem Pandämonium klare Struktur und Einprägsamkeit verleiht.

Während die Band mehr als genug Fähigkeiten und Fertigkeiten besitzt, um ein düsteres Akustikstück wie "Passage to Eternity", einen seltenen Moment der Ruhe, zu spielen, dienen wiederholte Durchläufe von "Evenfall of the Apocalypse" nur dazu, Ascended Dead's unaufhaltsamen Platz an der Spitze des brutalen, wahren Death Metal zu verewigen und dessen Banner in die Zukunft zu tragen.

- Das erste neue Album von Ascended Dead seit 2017
- US- und Europa-Touren für 2023 geplant
- Gemischt und gemastert von Stevie D (Worm, Evoken)
- Schlagzeuger Charlie Koryn sitzt derzeit auch auf dem höchsten Drum-Thron des Death Metal und spielt für Morbid Angel
- FFO: Possessed, Sadistic Intent, Necrovore, Force of Darkness, Black Curse, Morbid Angel, Immolation, Angelcorpse, Sarcofago, Triumvir Foul, Concrete Winds, Ruin Lust, Degial

Ascended Dead kehren zurück wie ein Sturm aus dem neunten Kreis der Hölle in den Himmel! Das neue Album "Evenfall of the Apocalypse" läutet den finalen Marsch in die Vernichtung durch gerade noch kontrolliertem Death Metal und formzerstörende Nekromantie ein.

Ascended Dead spielen Death Metal auf die uralte Art und Weise, mit inhärent bösartigen Wurzeln und einer methodischen Grausamkeit, die man heutzutage kaum noch hört. Fleischschälende Intensität in Überschallgeschwindigkeit, technisch rasende Leads, die direkt durch Knochen schneiden und eine unerbittliche, vernichtende Kraft, die selten lange genug pausiert, um Luft zu holen. Doch inmitten dieser flammenden Feuersbrunst ist eine ganz bewusste und fanatische Liebe zum Detail und zum Handwerk nicht zu leugnen, die dem Pandämonium klare Struktur und Einprägsamkeit verleiht.

Während die Band mehr als genug Fähigkeiten und Fertigkeiten besitzt, um ein düsteres Akustikstück wie "Passage to Eternity", einen seltenen Moment der Ruhe, zu spielen, dienen wiederholte Durchläufe von "Evenfall of the Apocalypse" nur dazu, Ascended Dead's unaufhaltsamen Platz an der Spitze des brutalen, wahren Death Metal zu verewigen und dessen Banner in die Zukunft zu tragen.

- Das erste neue Album von Ascended Dead seit 2017
- US- und Europa-Touren für 2023 geplant
- Gemischt und gemastert von Stevie D (Worm, Evoken)
- Schlagzeuger Charlie Koryn sitzt derzeit auch auf dem höchsten Drum-Thron des Death Metal und spielt für Morbid Angel
- FFO: Possessed, Sadistic Intent, Necrovore, Force of Darkness, Black Curse, Morbid Angel, Immolation, Angelcorpse, Sarcofago, Triumvir Foul, Concrete Winds, Ruin Lust, Degial

The Reverend Horton Heat ain’t
just a person, or a band—it’s a
state of mind. Drawing on such
crazed rockabilly ancestors as
Charlie Feathers, Hasil Adkins,
and The Killer himself, James
(Reverend Horton) Heath and his
long-time bassist Jimbo Wallace
have, over the course of the
last 30-plus years, helped bring
rockabilly kicking and screaming
into the modern age, marrying
punk with rockabilly to create the psychobilly genre.
And, on their 2000 album Spend the Night in the Box—which,
to burnish the “psycho” credentials, was produced by fellow
Texan Paul Leary of Butthole Surfers fame—The Reverend
Horton Heat struck gold (hence our gold vinyl edition!), going
to #2 on the CMJ charts on the strength of such numbers as
“Sue Jack Daniels,” “The Girl in Blue,” and other misbegotten
tales of babes and booze. This is actually a bit of a return to
a classic rockabilly/swing sound, powered by the Rev’s 1954
Gibson ES-175 and the rhythm section of Wallace and drummer
Scott Churilla, but it’s no less (ahem) heated. Vinyl debut
boasting inner sleeve with lyrics!

BAG X COLLAPSING DRUMS is a collaboration between experimental producer Collapsing Drums (Charlie Behrens) and spoken word/electronic duo BAG (Jody DeSchutter and Dan Allison). Modular synth, spoken word, field recording, experimental play and abstract guitar are a few of the practices visited by the project.

Momentary Lapses was born of an improvisational outburst sewn into a back and forth process, the three diverse perspectives nurturing creation and dissection along the way. This album maps multiple landscapes and conditions as drawn by the trio in an exploratory document, providing a journey through textures and atmospheres, beats and spaces, construction and reassembly. During the 18 months of the album’s creation, a series of bereavements disrupted and informed BXCD’s journey.

DeSchutter’s dada-esque verse moves purposely forward, fragmented through synaesthetic habitats. Her words, woven into the electronic compositions of Behrens and Allison, touch on themes of re-interpretation, incongruity, and longing. Momentary Lapses celebrates all that is unknown, pluralistic, and paradoxical as proposed antidotes to a binary mode of knowing. Sonically bridging the gaps between postpunk, IDM and experimental, BAG X COLLAPSING DRUMS promises a fresh take on the possibilities of sonic abstraction.

Limited Edition Clear 12” Vinyl Single (1 x 12” clear vinyl in sleeve). Soft Cell’s 2022 return with ‘*Happiness Not Included’, featuring hit single ‘Purple Zone’ with Pet Shop Boys, has proven to be well worth the 20 year wait, with the album receiving a deluge of critical acclaim as it raced into the UK Top 10 - making it their highest charting studio set in almost 30 years. ‘Light Sleepers’ was a ‘*Happiness Not Included’ highlight and band favourite, accompanied by a video directed by Charlie Ann Max and starred esteemed performer and winner of season 7 of the American RuPaul's Drag Race, Violet Chachki, as a young Marc Almond. Available on limited edition 12” clear vinyl, this release features new mixes of the track by The Grid. The 12” also features brand new re-recorded brass mixes of ‘Last Chance’, a track from previous album ‘Cruelty Without Beauty’. A huge fan favourite, the track was according to Marc Almond, “the natural successor to Say Hello, Wave Goodbye and one of my preferred Soft Cell songs period, why was this never a single?’. The re-reworked versions by Dave Ball and album producer Philip Larsen are now adorned with a full live brass section.

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove. - Peter Moore / Licensed by the bandleaders and songwriters of the album, Joe Wellington and Jagger Botchway.

Nach der Veröffentlichung des von der Kritik hochgelobten Konzertfilms, „Live At Bush Hall“, haben Black Country, New Road heute das entsprechende Live-Album zum Konzert angekündigt, das das Set ihrer drei aufeinanderfolgenden, ausverkauften Shows in der historischen Bush Hall im Dezember 2022 enthält.
Anfang 2022 veröffentlichten Black Country, New Road ihr chartsstürmendes neues Album, „Ants From Up There“, das in Deutschland sensationell auf #10 der Albumcharts und in England sogar auf #3 (ihre zweites Top-5Album Veröffentlichung in UK innerhalb von 12 Monaten, nach ihrem für den Mercury Prize nominierten Debüt „For The First Time“), das von Fans und Kritiker:innen gleichermaßen gelobt wurde, zahlreiche 5-Sterne-Rezensionen erhielt und auf Jahresendlisten auf der ganzen Welt auftauchte, einschließlich der Wahl zur Nummer 1 durch Fans auf r/indieheads, Rate Your Music und Nummer 3 durch Pitchfork-Leser:innen. Und das, obwohl das Album nur wenige Tage nach der Bekanntgabe des Ausstiegs von Frontmann Isaac Wood aus der Band veröffentlicht wurde. Nach dem Erfolg von „Ants From Up There“ und mit einem vollen Tourneeplan im Jahr 2023 vor Augen, beschlossen die verbliebenen Mitglieder Lewis Evans, May Kershaw, Georgia Ellery, Luke Mark, Tyler Hyde und Charlie Wayne, die nun zu sechst sind, komplett neues Material zu schreiben und aufzuführen. Sie spielten auf Festivals vor großen Zuschauer:innenzahlen, darunter triumphale Auftritte auf dem Primavera, dem Green Man und dem Fuji Rock, und traten in eine neue musikalische Phase ein, in der sie Songs, die erst wenige Wochen alt waren, weiterentwickelten. Außerdem tourten sie mit Black Midi durch die USA und spielten zwei ausverkaufte Konzerte in New York. Die Band hat sich dafür entschieden, die Idee einer Frontperson komplett aufzugeben und teilt sich stattdessen die Gesangsaufgaben mit Tyler Hyde, die bei einer Reihe von Tracks den Gesang übernimmt, darunter „Up Song“, der die Freundschaft und den Erfolg der Band mit dem Text „Look at what we did together, BC,NR friends forever“ feiert. An anderer Stelle übernimmt May den Gesang bei „The Boy“ und „Turbines/ Pigs“, einem umgehenden Fan-Liebling und einem der verletzlichsten Stücke der Band bis heute. Lewis hingegen singt bei „Across The Pond Friend“ und „The Wrong Trousers“. Mit diesem Schritt hat sich der Sound der Band weiter verändert, so dass weitere Einflüsse und Vielfalt in ihr Songwriting einfließen konnten. Als sich die Songs während des stetigen Tourens weiterentwickelten, beschlossen sie, konventionelle nächste Schritte zu vermeiden. Die Leute, die auf neues Material warten, bekommen acht neue, hervorragende Songs zu hören, aber nicht so, wie sie es vielleicht erwartet hätten. „Wir wollten kein Studioalbum machen.“, sagt BC, NR-Pianistin May Kershaw. „Wir haben die neuen Stücke speziell für Live-Auftritte geschrieben und dachten, es wäre eine gute Idee, eine Performance zu veröffentlichen.“
Das Ergebnis ist eine gefilmte und aufgenommene Live-Performance, bei der Greg Barnes Regie führte und John Parish, ein langjähriger Kollaborateur von PJ Harvey, die Musik abmischte, die an drei Abenden in der Londoner Bush Hall stattfand. „Es geht darum, den Moment einzufangen.“, sagt der Saxophonist und jetzige Teilzeit-Sänger Lewis Evans. „Eine kleine Zeitkapsel dieser acht Monate, in denen wir diese Songs auf Tour gespielt haben.“

When David Drucker of Painted Faces begins to write and record, every dumb sign, bad horror movie, seemingly innocuous turn of phrase, petty embarrassment, transcendent joke, and musical
influence are drawn together like iron filings to a magnet.
What results is a document of a particular point in time for the artist. There are infectiously haunting hooks and raw atonal passages, cheap synths (and as time goes on less cheap ones), simple but effective chords, ramshackle percussion (a plastic toy maraca passed among audience members that refuses to die), and a host of other elements that all add up to something very special and deeply personal.

It’s a portrait of the artist as a freak.
On his latest album, Normal Street, the story continues. The title track opens with a nebulous cloud of beeps and squeals which slowly give way to more solid melodic form. Drucker, always searching for ever
freakier and liberated pastures, walks a particularly unique line between unpredictably risky experimentation and skillful songcraft. It’s this interplay hat makes Painted Faces truly original and exciting.
What “works” is totally relative, and through his long honed practice of trying things, he has created his own sonic vocabulary.

Normal Street is a fractured collection of songs, sounds, ideas, sometimes brief and other times delicately sustained; its stream of consciousness mischievousness bringing to mind Zappa and the
Mothers filtered through the angst of bedroom pop and tape label minimalism.

Oui Oui, Si Si, Ja Ja, Da Da" wurde erstmals 2012 veröffentlicht und ist das zehnte Studioalbum von Madness nach dem triumphalen Comeback-Album The Liberty Of Norton Folgate von 2009. Die Band hat verschiedene Titel für das Album in Erwägung gezogen, bevor sie sich zusammen mit dem legendären Künstler Peter Blake, der das einzigartige Coverdesign entworfen hat, auf den Namen einigte. Das Album, das eine Vielzahl von Pop-Perlen und majestätischen Dub-Cuts enthält, war das siebte Album der Band, das die Top Ten der
britischen Albumcharts erreichte, und bewies einmal mehr, dass Madness auch nach über 30 Jahren immer noch in Bestform sind. Diese Neuauflage enthält 7 Bonustracks, die nicht auf der Original-LP erschienen sind, und ist auf schwerem Doppelvinyl gepresst und in einer Gatefold-Verpackung präsentiert. Außerdem enthält sie
brandneue Linernotes mit Interviews mit den Bandmitgliedern Mike Barson, Chrissyboy Foreman und Daniel 'Woody' Woodgate.

Nas King's Disease II Album Following the Grammy Award winning album, King’s Disease, the king returns to his throne with the second coming, King’s Disease II. The star-studded project offers tacit game on life, love, and loss, uplifting through action and lived experience in a way only Nas can. This is a body of work for the fans, for the day 1’s that contributed to the legacy. Alongside the decorated production savant, Hit-Boy, Nas remains rooted in lyrical prophetism while proving that he constantly reinvents the wheel. The sequel to last year’s King’s Disease features Ms. Lauryn Hill, Eminem, EPMD, Hit-Boy, Charlie Wilson, YG and more.

Mit ihrem unverwechselbaren Sound ignorieren As Everything Unfolds traditionelle Grenzen und schaffen durch die Kombination zahlreicher Genres alternativer Musik ein einzigartiges Hörerlebnis. Mit über 20 Millionen Streams für ihr Debütalbum, "Within Each Lies The Other", bleibt ihre Kunst nicht unbemerkt. Die Band wurde für einen Heavy Music Award nominiert, trat auf großen europäischen Festivals wie dem Download, Graspop, Rock For People oder Full Force auf und tourte mit Bands wie Enter Shikari, Wargasm, Holding Absence, Being As An Ocean und vielen anderen. Mit der
Veröffentlichung ihres neuen Albums und vielen weiteren Touren und Festivals in der Pipeline, verspricht 2023 ein großes Jahr für As Everything Unfolds zu werden.

"The new album 'Ultraviolet' is an open work on the thoughts and feelings surrounding us at the time," erzählt Sängerin Charlie Rolfe. "The anger, the frustration, the progress, everything on show, nothing to hide. Darkroom practice is something that has been a large part of my creative path, finding links between the emotion in music, putting everything on display for all to listen and exposing a colour photograph, putting it on display for all to see. Only when you are exposed to Ultraviolet light can you see life in full colour."

Behold the might of Rodan, the giant monster from the sky! In 1956, Toho unleashed their first colour kaiju picture: RODAN, directed by Ishiro Honda and produced by Tomoyuki Tanaka, is a terrifying tale from the creators of the original Godzilla that sees a giant Pteranodon rise from a deep underground cave after being disturbed by miners. Like the Big G, Rodan has mutated to excessive size after being exposed to nuclear radiation, subsequently soaring free above Kyushu to cause as much mayhem as possible as the JSDF do their best to protect the island from his bloodthirsty rampaging. It was inevitable that the man behind the music of Godzilla would also take on scoring RODAN, and the great Akira Ifukube created a score with a solemn edge as with Godzilla, which makes the music of RODAN fit in the larger universe while allowing it to feel unique to the character. For the main theme, Ifukube introduces a malevolent low piano and brass phrase before cointerpointing it with horns to create a howling menace worthy of Rodan. In contrast, beautiful but melancholy material represents the carnage the monster has brought upon the Earth; in a more upbeat mode, the composer includes another of his jaunty and jazzy marches for the JDSF in the guise of "Get Rodan". It's another Toho triumph from the great maestro Ifukube! (Charlie Brigden)

For their debut album, Chappaqua Wrestling knew that they wanted to step above the noise of the concrete everyday. “To match their song about political despondency and social change, Jake Mac and Charlie Woods wanted to create surrealist artwork, teetering on the brink of despair and release.

“We wanted to kind of render ourselves in, jumping off this roof with a beautiful landscape behind it,” says Jake. “Falling gracefully, but also potentially not making this crazy fall.”

“It’s a record about exploring,” nods Charlie. “We just wanted to get something that has us thrusting ourselves into this new place, but get this weird eye-trickery thing going on. You want to start a conversation, like is this real? Maybe that’s for us to know…”"

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Eurovison Collected compiles many winners of the Eurovision Song Contest, an annual competition organized by member countries of the European Union. The double album contains the #1 hit songs from earlier winners such as France Gall “Poupée De Cire, Poupée De Son” (France, 1965), Sandie Shaw “Puppet On A String” (United Kingdom,
1967), Sandra Kim “J’aime La Vie” (Belgium, 1986), Johnny Logan “Hold Me Now” (Ireland, 1987), Katrina & The Waves “Love Shine A Light (United Kingdom, 1997), Lordi “Hard Rock Hallelujah” (Finland,
2006), Loreen “Euphoria” (Sweden, 2012), Duncan Laurence “Arcade” (The Netherlands, 2019) and recent winners Måneskin “Zitti e Buoni” (Italy, 2021) and Kalush Orchestra “Stefania” (Ukraine, 2022).

UK Garage legends Groove Chronicles (Noodles & Dubchild) are back with the 'Soul 'N Mind' 12" featuring their highly sought after Brokenstep edits.
These have been on heavy rotation by the likes of Gilles Peterson, Charlie Dark, Bradley Zero, IG Culture and more. Limited hand-stamped and stickered copies, be quick!

Groove Chronicles have releases dating back to 1997 and are legendary in the world of UKG. Founded by Noodles, who is now working with longtime associate, Dubchild. Noodles has been working in the music game for three decades, from spinning at raves in Paris when he was 17, to serving it up behind the record shop counter, to running his own label, DPR. Responsible for bonafide classics like 'Stone Cold', 'Myron' & 'Poor Man's Break', his work serves as a blueprint for many sounds across the UK bass spectrum.

Leicester legend, Dubchild, stems from a musical background of reggae, hip hop, house, garage & jungle. He's released an array of dubstep & instrumental grime records through various labels since the early noughties, including Caspa's Storming Productions & Heavy Artillery, amongst others.

The duo also combine under the moniker Nu-Agenda with their own hybrid house style, and have had collective support over the years from stations such as 1Xtra, NTS, Kiss, Reprezent & Rinse, DJs such as Annie Mac, Zane Lowe, Mary Anne Hobbs & Ras Kwame, IG culture, Charlie Dark, Gilles Peterson, Bradley Zero, Marcia Carr, Afronaught and publications like iD, Fact, DJ Mag & Crack Magazine, to name a few.

2023 Repress