Cerca:rising sun

pink vinyl

Rising Aussie producer Mincy joins the Time Is Now family, becoming only the second non UK based artist to release on the UKG focussed Bristol based Shall Not Fade sub-label. The Mind Boggles EP is 4 broken beat, techy, bass driven warpers, guaranteed to do damage on the dancefloor.

Marco Vella and Anth Wendt step up to International Feel with a five-track EP of Balearic-tinged bliss for their first collaborative release as Other Mother.

There’s definitely something in the air round the Adelaide Hills. Longtime friends Marco (aka Body Corp) and Anth (aka Oisima) finally got together in Anth’s studio after the pandemic and the result is Numero Uno an EP of laidback synth guitar and drum machine workouts mixing 303 riffs and sunsets for a supremely low-slung vibe.

After cruising around the Hills in the day the pair worked on tracks by night and their carefree days soaking up the sun shines through. Opening track About Time sets a steady pace with its lush delayed guitars slow-rising acid melody and hefty sub perfect for Sunday pub garden appreciation. A side closer Zwang! drops the tempo but brings the percussion into focus for another masterclass in tension and release with interwoven 303s and dub feedback.

Side B keeps the beach-side atmos flowing with guitar licks working around sumptuous synth chords for Anyway Music - a song that’s the ultimate soundtrack understated parts fitting together seamlessly in service to the feeling and belying the technique required. Lost In The Forest makes use of expansive ambient pads synth riffs and shakers to evoke a sense of wonder sunlight coming through the trees.

The EP concludes with Where’s The Fifty a dreamy piece of drum synth phrases and 303 interplay that perfectly characterizes Marco and Anth’s collaboration - two musicians and producers playing to serve the song. They write elements that combine for a harmonious whole greater than the sum of its parts. This is the underlying feel of Other Mother and Numero Uno - we’re all in this together - and by working collaboratively a brighter future might just be around the corner.

New Land präsentiert mit Stolz das erste Box-Set mit mehreren LPs von Dorothy Ashby - einer der am meisten übersehenen Künstlerinnen der Jazzgeschichte. Die 6 LPs, die in diesem aufwendigen Box-Set enthalten sind, geben einen längst überfälligen Rückblick auf ihre frühen Werke: 'The Jazz Harpist', 'Hip Harp' mit Frank Wess, 'In A Minor Groove' mit Frank Wess, 'Soft Winds: The Swinging Harp Of Dorothy Ashby', 'Dorothy Ashby' und 'The Fantastic Harp Of Dorothy Ashby' wurden mit der vollen Unterstützung des Nachlasses von Dorothy Ashby offiziell lizenziert.

Alle Alben, mit Ausnahme von 'The Jazz Harpist' und 'Dorothy Ashby', wurden von Kevin Gray direkt von den analogen Originalbändern neu gemastert und im Lackschnittverfahren auf schwarze 180g-Vinyle gepresst.

Das Herzstück dieses Box-Sets ist allerdings das umfangreiche 44-seitige Buch mit einem Vorwort der Grammy-nominierten Harfenistin Brandee Younger, ausführlichen Linernotes von Shannon J. Effinger und bisher unveröffentlichten Fotos und Interviews mit denjenigen, die sie am besten kannten. Das Box-Set ist weltweit auf 1000 Stück limitiert.

Die 2006 im nordspanischen Bilbao (Baskenland) gegründete Melodic-Death-Metal-Band Rise To Fall hat sich in den vergangenen 17 Jahren ihren wohlverdienten Platz in der Metal-Szene etabliert.

Mit einem konstanten Output und zahlreichen Live-Shows und Festivalauftritten sind Rise To Fall für die Bereitstellung von Musik auf höchstem Niveau und ihre verheerenden Live-Shows bekannt geworden. Mit der Veröffentlichung von vier Studioalben hat die Band die Messlatte immer höher gelegt, was nicht nur zu zahlreichen Tourneen durch Europa, sondern auch zu Headliner-Touren in Japan und China sowie zu Tourneen mit Soilwork führte! Rise To Fall, die 2022 bei Noble Demon und Massive Music Booking Agency unter Vertrag genommen wurden, bereiten sich derzeit auf die Veröffentlichung des mit Spannung erwarteten fünften Studioalbums "The Fifth Dimension" vor, das am 9. Juni 2023.

Also macht euch bereit für das nächste Kapitel von Rise To Fall, das wieder einmal ihre eigenen Maßstäbe setzt und ihre Musik auf der ganzen Welt verbreitet!

Repress!

It can take a while for an artist to find their musical voice. For Alex Andrikopoulos, it’s been a journey that’s taken the best part of two decades. Now he’s set to mark a major milestone in his transition from record store owner, label co-founder and DJ to producer with the release of his long-promised first solo album for Leng, Waving. The Greek artist first joined the Leng Records roster in the autumn of 2020 and has since gone in to release the acclaimed ‘Punta Allen’ EP for the imprint. Before that, he spent the first decade of the century running the popular Radical Sounds record shop in Athens, before refocusing on running Quantized Music with fellow DJ/producer Tolis Q and developing his DJ career, where his unique blends of disco, house and techno tracks earned him bookings at some of Europe’s most storied clubs.

Waving, which appears on the back of a handful of fine EPs for a variety of labels, is his boldest and strongest statement yet as a musician and producer. Created with a little help from guest musicians and collaborators including keyboardist Artis Boriss, bassist Brotha Gilla, percussionists Ilario Arnel and Harold Perez, pianist Luciano Ledesma and guitarist Alex Searle, the album brilliantly blurs the boundary between 21st century disco, afternoon-ready downtempo grooves, and the kind of dancefloor-minded Balearic fare that’s devilishly difficult to pigeonhole.

Fittingly, the set begins with previous single ‘Punta Allen’, an eight-minute chunk of organic dancefloor goodness which slowly unfurls before rising towards and gorgeous and joyous conclusion, and ends with the squelchy, slo-mo cosmic funk of ‘Patrol Di Caribe’, where trippy synthesizer lines, layered percussion and more tuneful style pan style lead ins catch the ear.

In between, highlights are plentiful, from the driving, piano solo-laden dub disco brilliance of ‘Down My Soul’ and the languid, sun-kissed, beach-ready downtempo grooves of ‘The Jamail Pass’, to the rubbery, pitched-down electrofunk of ‘Window Spells’ (featuring a fine lead vocal from Max Giovara, the flash-friend, dubwise Balearic funk of ‘Waving’, and the throbbing brilliance of ‘La Di Da Di’, whose crunchy Clavinet lines, fluid electric piano solos, snappy drums and pulsating, arpeggio-style bass encapsulate all that is good about the album.

The digital edition of the album also comes bundled with eight more tracks not featured on the double-vinyl LP. Featuring the same blend of expansive musicality, organic drums and dancefloor nous, this octet effectively extends the album via a string of similarly playable, club-ready and sofa-friendly tracks. Standouts include the non-stop, nu-disco-meets-house excellence of ‘Large Stacks’, Hammond-laced head-nodder ‘Take The High Road’, horizontal Balearic funk shuffler ‘Prezend’ and hazy, vocal-sporting dub disco roller ‘Angels of Rhythm’, which previously appeared on the flipside of Lex’s ‘Punta Allen’ 12”.

Back in 2019, Leng Records offered a debut to a previously unheralded producer, Takovoi. Three years on, the Russian nu-disco specialist returns to the label with a five-track EP that displays the depth and quality of his rapidly evolving trademark sound.

The Perfect Match EP delivers a range of grooves and stylistic approaches while showcasing the producer’s love of dreamy Balearic chords, soft-touch synth sounds and colourful melodies.

He sets the tone with the EP-opening title track, ‘Perfect Match’ where sustained, sun-down chords, yearning lead lines, cascading piano motifs and twinkling electronics ride a shuffling, post-electro beat and a warm, undulating bassline. ‘Homesickness’ sees Takovoi wrap waves of rising and falling synth sounds and melancholic melodies around a deep, hypnotic nu-disco groove, while the slow-motion sensation that is ‘Dreams’ brings throbbing analogue bass, sustained piano chords, sparkling electronics and the gentlest of beats.

Takovoi’s dancefloor credentials come to the fore with ‘Bubbles’, a slowly building Balearic nu-disco gem that layers up echo-laden percussion hits, eyes-closed melodies, and drowsy synth sounds over a bustling beat that sits somewhere between deep house and TR-808-driven broken beat.

This off-kilter approach to beat programming continues on the EP’s inspired closing cut, ‘Another The Same’, where hazy female vocal samples, immersive chords and reverb-heavy musical motifs gingerly dance on a bouncy and densely layered 4/4 beat. When the main melody makes its presence felt midway through, the track is elevated to a whole new level altogether. It’s a fittingly impressive end to Takovoi’s new EP for Leng.

• A globe spanning (France, Italy, Germany, USA, Belarus, Sweden, Russia, Australia, Canada) covers album of the late great Marc Bolan songs starting with the earliest cover in 1965 • Covering a huge range of genres and styles • A response to the U.S Hit album Angel Headed Hipster which opened up the songs of Bolan to a new American audience by using big names and TV advertising…this concentrates on quality recordings by lesser known artists • Presented in deluxe gatefold sleeve. • Reviews in Record Collector, Vive le rock R2, Shindig, Classic Rock.

'Dirty Warehouse Techno' is a a speaker shredding classic from Pest Control which uses the Cluster records slogan to maximum effect! Rising star Samantha Togni creates a more pounding version on her remix, whilst Cluster stalwart A.P. streamlines the track in to a deadly weapon on his remix version. The EP ends with 'Dark Sunrise' another atmospheric warehouse pounder from Pest Control.

Zum ersten Mal auf Vinyl! Fast 20 Jahre nach der ursprünglichen Veröffentlichung von "Never Ending"; das mächtige dritte Album von Mystic Prophecy ist endlich auf limitiertem Vinyl erhältlich. Das Album wurde ursprünglich 2004 von Nuclear Blast veröffentlicht und war das dritte und letzte Album mit dem zukünftigen Ozzy Osbourne-Gitarrenheld Gus G! Ltd. Transparent Orange & Gold LP.

Zum ersten Mal auf Vinyl! Fast 20 Jahre nach der ursprünglichen Veröffentlichung von "Never Ending"; das mächtige dritte Album von Mystic Prophecy ist endlich auf limitiertem Vinyl erhältlich. Das Album wurde ursprünglich 2004 von Nuclear Blast veröffentlicht und war das dritte und letzte Album mit dem zukünftigen Ozzy Osbourne-Gitarrenheld Gus G! Ltd. Transparent Orange & Gold LP.

‘’Ace Todmorden label makes a significant discovery on its own doorstep: a superb cache of ‘loner folk’ songs recorded in the early-70s by Hebden Bridge’s answer to Nick Drake’’ UNCUT PLAYLIST

"This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.” Benjamin Myers
"Defiantly Northern and out of this world" Folk Radio

Anti-counter culture loner folk from a teenage attic in the heart of rural Northern hippiedom.
Today the valley town of Hebden Bridge in West Yorkshire is world-renowned as something of a bohemian backwater. It wasn’t like this back in the late 1960s and the early 1970s, when a disparate selection of radicals, drop-outs, heads, musicians, artists and writers started to be attracted to the Calder Valley. Local lad and future poet laureate Ted Hughes called the area “the fouled nest of industrialisation”.
Over time, those seeds of radicalism and collectivism ensured Hebden Bridge evolved into a place where people could be themselves and all shades of individual oddness not only tolerated but actively encouraged. But back at the turn of the dreary 1970s it remained a monochrome world defined by its unforgiving surrounding landscapes, where the old gritstone over-dwellings were stained with soot and rain lashed down for weeks.
It was here that Trevor Beales, who was born in 1953, grew up, and from where he drew musical and lyrical inspiration.
Perhaps it was this dual nationality heritage, unusual in the valley’s largely white working class population at the time, that gave the teenager Trevor Beale’s music an outsider’s perspective. The discovery of Bob Dylan, Django Reinhardt, The Byrds and James Taylor at a young age, lead to him picking up a guitar at the age of ten, and he was soon writing his own originals and performing them at local (though often remote) folk clubs and pubs.
Recorded in the attic of the family home at Ivy Bank in Charlestown on the verdant wooded slopes at the edge of Hebden Bridge between 1971 and 1974, these early recordings are collected here for the first time and mark Trevor Beales long-overdue solo debut.
In these songs is a suffer-no-fools sense of realism that is defiantly Northern, yet also expresses a worldliness that belies Beales’ young years, whilst also showcasing an inherent storyteller’s ear for narrative. Here is a postcard from the past at that crucial musical period of transition, when the idealistic exponents of the 1960s emerged into an austere new decade that was to be shaped by strikes, rising unemployment and economic upheaval.
Two aspects of this music make it remarkable: Beales’ natural ability showcases a sophisticated guitar-picking style that was leagues ahead of many of his (older, more recognised) contemporaries. This is music that can confidently hold its own with pioneers such as Davey Graham, Michael Chapman, Dave Evans, Bert Jansch and Jackson C Frank, as influenced by jazz, blues and steel guitar as any of the old songbook classics from ancient Albion.
Secondly, his lyrics are a far cry from either the naïve bedroom scribblings of a teenager who has barely left his upland home, nor do they fall foul of the type of lazy cliches and sub-Tolkien imagery that was still in abundance in the early 1970s. Most remarkably the earliest songs here were laid down less than a year after he left school (an unearthed report written by his headteacher on July 3rd 1970 noted he had “a considerable ability and interest in music”, though his education ended abruptly when he simply walked out of a science lesson one sunny day while at sixth form, never to return).
Trevor’s music is grounded in reality – his reality. ‘Then I’ll Take You Home’, for example, considers the Guru Marajai, who encouraged his acolytes to give over their worldly possessions, yet who drove a Rolls Royce and lived like a playboy. Unsurprisingly, this latest in a long line of spiritual charlatans found several followers in Hebden Bridge, and Beales casts a disdainful eye over the growing popularity for such false prophets.
With its ancient narratives and propensity for myth-making, folk has certainly produced it’s fair share of cult figures who have enjoyed rediscovery or career resurgence and with this debut compilation of home recordings, rescued from cassette tapes, Trevor Beales might just be the latest addition. Certainly he was the real deal.
Crucially, Beales' music is never jaded or cynical, but instead possesses a poet’s ear, a strong sense of self and some sound critical faculties. And much of it recorded at an age when he could neither vote nor order a pint of heavy.
Trevor Beales died suddenly and unexpectedly on March 29th 1987, aged 33. He left behind Christine and their young child Lydia.

In 2015, when we launched Hip Dozer, we were overwhelmed by the amount of talent that was still championing this old school way of making beats and the incredible creativity that was circulating in the scene.

In a period where hip hop was evolving so much and going further (sometimes for the better but also for the worse), it was obvious to us that we had to defend this rising scene of young beatmakers who were so attached to the roots of old-school beatmaking but who were always taking it to another level.

It's been 7 years since we created Hip Dozer Records with our first anniversary compilation and that's what makes this compilation so special every time. Its purpose remains the same and will always be to champion the art of beatmaking that we love and to help showcase new artists in the scene.

This year we are lucky enough to have some of our favourite talents from the scene on board with artists like Saib, Flughand, Phoniks, Cookin Soul, SoulChef and Wun Two.

We would like to say a huge thank you to all the artists who have been involved in this project and who have been as enthusiastic as we are in making it happen. It has been such a pleasure since the beginning of this adventure and this is only the beginning. Much love to all of you who listen and support wherever you are.

This long-awaited inaugural release from DJ Fred Spider's Voom Voom Records visits an iteration of the legendary South African jazz funk ensemble of the 20th century. Spirits Rejoice recorded two incredible jazz fusion albums in the late 70’s with amble lashings of funk and soul. As the currents of popular music shifted in the 1980s, the group got behind a modern dance side project led by guitarist Paul Petersen and produced by the genius Patric Van Blerk.
The result was Doctor Rhythm and an album entitled I Feel It Rising from 1981. Based out of Cape Town's premier vintage vinyl emporium, Voom Voom presents the album's sultry slow-burner "I'm So Strong Now" (paired with a modern remix) and well as two versions of the disco-boogie swinger "Hook It Up" written by the pianist Mervyn Africa (the original track alongside a Fred Spider & Simbad edit and a crisp rework by DJ Turmix from NY to boot). The result is an essential dancefloor release documenting what is surely South Africa's best take on band-driven New York boogie from the disco years. Calum MacNaughton (Sharp-Flat Records/As-Shams-The Sun)

Ever since the first white labels appeared at the end of Summer 2013, Emotional Especial has been putting out music that is slightly left of (club music) centre. Influenced as much by and including dub, electro, disco, proto-house, house and techno, guided more by a feeling than a sound.

This thinking has been that exemplified by every 10th release being a label sampler - a showcase of unreleased tracks or remixes of what has come before, plus the odd one off cut by an artist to watch. Some 4 years since the last Sampler, the label's 40th release presents new label heads Giraffi Dog, returning after their recent "live" Multiverse EPs, here teaming up with GF Rich for a breaks anthem. Sub bass rising, the persistent build leads to piano before drop and Acid mayhem ensues, highlight why G Dog are such a producer to watch.

Label mainstay Alphonse returns, with White Pepper from the "Stolen Sunrise EP", here remixed by House stalwart Toby Tobias. Having released for a who's who of labels including REKIDS, ESP Institute, Delusions Of Grandeur and Futureboogie, the illusion these past years of who is Alphonse can finally revealed as Toby himself. The remix of his alter ego takes the 'Balearics' of the original and adds breaks and 303, all retaining a laid back feeling for summers return.

On the flip, the label welcomes rising star, Remotif. With a series of EPs showcasing a growing talent, his recent Coymix release sealed the deal. Here, his comedically titled Beam Me Up Softwoiii belies a party anthem, where breaks and arps rise in unison before an Aphex sunrise burst, drops and heads down in pure dance.

Akio Nagase returns to close with another of his Japanese folk meets lilting 303 Acid House. An Okinawa traditional folk song, conveying a life lesson, here to Hosenka flower is laid across slo-mo acid bubbles to quirkily and perfectly complete another 10th release of the Especial path.

Oliver Cherer is back with a new Gilroy Mere record which follows on from his other much lauded Clay Pipe releases (The Green Line, Adlestrop and last year’s D Rothon collaboration, Estuary English).

Over the last two decades Ollie has released numerous collections of music in an ever shifting array of modes, from folktronic, singer-songwriter styles through psychogeographic electronica to jazz-tinged, confessional ghost-pop and most recently, the “guitar tainted machine rock disco” of Aircooled.

Gilden Gate is an album of two halves. Side 1 ‘Rising’ celebrates the sun-drenched beaches, pastures and heaths of rural Suffolk, whereas Side 2 ‘Falling’ explores the underwater world of the lost city of Dunwich and its five church spires.

Oliver says:-

“A few years ago I discovered the lost city of Dunwich. I’d made a trip to Suffolk to shoot a short film about Sizewell Nuclear Power Stations and stayed in the old Coastguard’s Cottage on Dunwich Beach within sight of Minsmere Nature Reserve and the power plants. It’s a wild, sleepy place of pines and heath and North Sea winds and a strangely mysterious air – Sutton Hoo is nearby and Eno’s reference to the very beach that I was staying on made perfect sense. In the small museum at Dunwich I learned that this tiny hamlet had once been a major medieval city of international trade. It seemed unlikely and even now, knowing Dunwich as a small village, I find putting what I know about the place into perspective as a city a certain kind of impossible.

It seems that over a period under the influence of the weather, natural erosion and market rivalry the thriving harbour port was inundated by the North Sea and eventually slipped into and under it. The city of churches was lost and all the spires engulfed and toppled. What remains are the few houses, and the ruin of Greyfriars crumbling inexorably down the cliff and exposing the bones of buried monks as the graveyard follows the building’s stones into the sea.

There are local legends surrounding the site including stories of fishermen hearing the bells of lost churches and seeing the ghostly, lighted city beneath their boats as they return to the shore.
Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

Gilden Gate is named for one of the entrances to the old city and is a musical meditation on Dunwich past and present. Frances Castle’s beautiful sleeve art depicts the surface and the sub-marine, the warm and the cold, the past and the present. The glass rises and the glass falls and in the background there are sirens, fog horns, church bells and Eno, and on the sea bed there are the scattered remains of a once great city.”

The spectrum-spanning archive of Hudd Traxx grows at pace, and having rolled out jams from legends of the game on Hudd Influences Vol. 1, Eddie Leader’s acclaimed Manchester based imprint now hands a full debut to rising star… DFRA.

From label fan to label artist, Buenos Aires-based Colombian, Diego Ruiz, first featured on 2019’s ‘Out Of Order : Volume 3’ with ‘I Am House’. His new ‘Blue Horizon’ EP confirms that statement, as we’re presented with a trio of beautifully tailored tracks, highlighting a producer who is comfortable in his craft.

The shimmer and bump of the title track, evokes scenes of sun, sea and bodies moving in rhythm. A theme that runs throughout, as the perspiring vibes of ‘Hold Me’ roll us into the club with its warm bass, pulsing keys and vocal, while final cut ‘Fallin’’ with its hypnotic swing and thumping kick takes us deeper into the night.

Adding a final peak to the package is Real Tone boss, Franck Roger. Vocal flourishes, echoing keys and that renowned golden touch from the Frenchman round out this superb debut from DFRA.

Having been given the seal of approval from Rolling Stone, NME, TheFace, Danny Howard (TOTW), Jack Saunders (TOTW), Zane Lowe, Mary Anne Hobbs, Matt Wilkinson and more. An artist on the rise and poised to soon be one of the world’s most recognisable names, in the last year alone, Nia has won a MOBO award for ‘Best Electronic/Dance Act’, the NME Award for ‘Best Producer’, been hotly tipped by BBC Radio 1 Dance as a ‘Future Star’ and Spotify as their ‘Our Generation’ cover star. With additional accolades such as #3 in the BBC Sound of 2023 Poll and a Brit nomination for the ‘Rising Star award’. Alongside her cover debut on one of the world’s most prestigious dance music publications, Mixmag, Nia Archives has been given the seal of approval from tastemakers across the board from British Vogue, Pitchfork, The Fader, i-D and CRACK. Sunrise Bang Ur Head Against The Wall is available across retail on Limited Edition Red Vinyl and will be released on Friday 10th March. This game changing EP features ‘Biana’, ‘So Tell Me’ and brand new single ‘Conveniency’ released on Friday 3rd Feb.

Brandneue Dance-Hits deiner Lieblingskünstler für die intensiven Club-Momente in den frühen Morgenstunden. Zusammengestellt von Denis Stockhausen (KOMPAKT) zum 11-jährigen Jubiläum seiner renommierten Partyreihe "MY DEAR" im Gewölbe, Köln.

"My Dear,

ich möchte mich auf diesem Wege für deinen Besuch und diese unvergessliche Nacht in meinem Lieblingsclub bedanken. Mit Dir zu tanzen und dabei nicht nur das Gefühl für die Zeit, sondern auch alle störenden Gedanken loslassen zu können, war so erfrischend und kostbar für mein Seelenleben! Noch immer trage ich den einen oder anderen Ohrwurm und all die schönen Erinnerungen in meinem Kopf.

Der wilde Höhepunkt der Nacht hat so viel Spaß gemacht, doch je mehr sich das Ende des Raves abzeichnete und der Morgen langsam anbrach, desto wundervoller wurden Musik und Atmosphäre. Alles wirkte auf mich so befreit und wahrhaftig und ich hatte den Eindruck, dass es den Menschen um uns herum genau so ging. Es kam mir vor, als wären wir alle mit unserer Sehnsucht in diesen irren Rausch der Musik eingetaucht, um schließlich bedingungslos darin zu versinken. Selten hatte ich so intensive Glücksmomente auf einer Tanzfläche. Pure Magie!

Gut, dass eine Klubnacht auch ein Ende hat, sonst wäre mein Herz an diesem Morgen wahrscheinlich für immer verloren gegangen. So klingt der Soundtrack meines Lebens und ich brenne darauf, ihn wieder zu hören!

Bis bald und vergiss nicht: After The Rave Comes Sun (and after the sun comes rave again) !

Umarmung aus Köln"

Zepherin demonstrates two spectrums of his productions on this release from his signature sound to a classic remake of the classic originally cut by Leo Sunshipp “Give me the Sunshine’ Collaborating with rising US talent Russell Taylor on both compositions they created a soulful gem of a release.

Dreams, Pains & Paper Planes will be Pixey’s first longer form project since the glittering Sunshine State EP arrived in October 2021, which had followed her hugely acclaimed early-2021 debut EP for Chess Club, Free To Live In Colour. The Sunshine State EP’s lead single and title track was crowned Tune Of The Week by Jack Saunders at BBC Radio 1, and received further airplay from Clara Amfo (who also had the EP’s second single ‘Take Me On’ on regular rotation), Mollie King in her Best New Pop playlist and Introducing’s Gemma Bradley. The EP was awarded a second consecutive 5* review from Dork Magazine who subsequently placed Pixey on the 2022 Hype List, to add to her list of accolades including The Sunday Times’ Breaking Act, Notion’s Internet Crush, The Daily Star’s Rising Star, and DIY’s Neu artist.



Commenting on the mini-album, Pixey says: “Dreams, Pains & Paper Planes is my biggest release to date. The majority of the record was written, recorded and produced by myself in my bedroom, alongside a couple of studio tracks. Genre bending was something I wanted to experiment with, tailoring to the moods of each song but still keeping to the core big beat elements. I wanted to write a record that kept a sunny sound but was more anxious lyrically. More than anything, I want the listener to feel like they can dip into an alternate world for a while, whether it’s comforting or not”

Almost immediately, Daniel instigated a near legendary run of new albums, releasing 10 full-length albums in the span of nearly the same number of weeks. Genre- spanning, astoundingly distinct artist achievements of an unprecedented order, these albums were originally released exclusively in digital only formats on
Bandcamp. They were direct and immediate missives from one of the most talented, prolific, ambitious, and exciting artists of his generation. We are thrilled to be releasing these albums now in very special limited-edition vinyl pressings. At the heights of ambition, Daniel Romano's Outfit deliver a wandering spell of
melodic backbone, accompanied by percussionist extraordinaire Danny Carey (of TOOL fame). Rising in union with the first pounding hearts of dawn, up and down the arcades of devotion and on through the sunset, where the earth-life fades, Forever Love's Fool is a single hard- edged, complex, multi- part epic (an approach the band
would later develop even further on 2022's stunning La Luna release). It is intricate, precise, energetic music tied to a progressive rock inspired universal vision. Onward into the furthest reaches of love eternal.

NuNorthern Soul may be Ibiza-based, but the label’s connections with Nottingham run deep. Over the years, Phil Cooper’s imprint has offered up countless releases and remixes from some of the East Midlands’ city’s most Balearic-minded residents, including Crazy P’s Jim Baron, Is It Balearic? chiefs Coyote and, most recently, Constellations Workshop associates Brown Fang.

You can also add to that list Torn Sail, a collaboration between Brown Fang members Jon Thompson and Henry Scott, and another Notts-based NuNorthern Soul contributor, Huw Costin. The trio’s mesmerising ‘Disconnected’ recently featured on the label’s deluxe 10th anniversary vinyl box set and now they return with a single credited to both Brown Fang and Torn Sail – the first such occurrence of that happening.

Those who heard Brown Fang’s brilliant mini-album, Sherwood Pines, will immediately feel at home. Both ‘Exit’ and ‘Endless’, the two tracks showcased on this fine single release, feature the same gorgeous, slowly shifting fusion of sun-kissed electric guitar textures, ambient atmospherics and immersive, sunset-friendly sound design.

First up is ‘Exit’, an undulating, slow burning delight where rising and falling electronic melodies and yearning, gently jazzy electric guitar motifs rise above a sparse, shuffling, subtly Latin-tinged drum machine rhythm and warming bass. Endearing, enveloping and endlessly attractive, the track seemingly blossoms in slow motion throughout its’ three-and-a-half-minute duration, with additional musical elements presenting themselves as it progresses. Even by the trio’s high standards, it’s a magical composition.

On ‘Endless’, the long-time collaborators explore their love of mind-soothing ambient soundscapes. Doffing a cap to the 1970s new age ambience of Steve Hillage – whose distinctively languid, stretched out, effects-laden electric guitar solos were undoubtedly an inspiration –Thompson, Scott and Costin deliver a becalmed and brilliant dream-scape full of hazy aural textures, drifting chords and gentle, eyes-closed vocalisations. It feels like a loved-up, smile-inducing evocation of the most visually stunning dawn you’ve ever ushered in after a night dancing under the stars.

Some records just stop you in your tracks. They resonate with you and feel instantly familiar like an old friend, even on the first listen. SOYUZ's third album ‘Force of the Wind’ is one of those records. It holds all the trademarks, beauty, and eccentricities of classic Brazilian recordings, from the 60s and 70s, that we have come to love. Think artists such as Milton Nascimento, Lô Borges, Burnier e Cartier, Arthur Verocai et al. But this record wasn’t made in Brazil and is in fact a brand-new release.

SOYUZ (which translates as 'union') is a creative collective from Minsk, Belarus, led by composer, arranger, and singer, Alex Chumak, multi-instrumentalist, Mikita Arlou, and drummer, Anton Nemahai. SOYUZ's previous albums explored and reimagined the legacy of jazz-oriented, non-English-language pop music of the 20th century. For their third album, there is a stronger focus, and it is influenced by 70s Música popular Brasileira and building bridges from it to present-day Belarus. Alex notes that from the moment he first encountered Brazilian music, he found in it a kind of concentrated emotion that felt as if it were familiar to him from his childhood. This non-verbal emotion and connection between the listener and musician echoes in the music, regardless of understanding of the language the album is recorded in.

‘Force of the Wind’ includes songs sung in Russian and Portuguese as well as instrumental compositions. Its musical palette is both acoustic and electroacoustic: rich warm Rhodes piano, soaring string arrangements, and a controlled drum swagger sounding both relaxed yet super tight. Alongside Alex's sublime vocals, that grace the majority of the tracks, the album features guest performances by multi-talented musician and vocalist Kate NV and rising Brazilian star, Sessa. Alex also recently arranged a number of tracks on Sessa's highly praised 2022 album 'Estrela Acesa'.

On the album, the trio is joined by a cast of friends; NY-based musician of Turkish origin percussionist, Cem Mısırlıoğlu, classically trained composer, Simon Hanes, who aided with string arrangements and conducting the string players, Netherlands-based Brazilian multi-instrumentalist, Gabriel Milliet, on flutes. With the collaboration of these friends SOYUZ have created nine songs/suites that are subtle and plenitude and like the best albums, leave you aching for more.

‘Force of the Wind’ is an enigma, Brazilian yet not Brazilian, vintage yet still contemporary, out of sync with modern culture yet completely relevant and necessary.

On Origins Chris Bartels takes on the role of singer-songwriter for the first time under his Elskavon moniker, unveiling a voice that wouldn't sound out of place next to vocal-forward artists like Justin Vernon, Jónsi, or Baths, who master the balance between conventional songcraft and bold, idiosyncratic experimentation. Origins is vast yet intimate, fluttering yet cohesive, tattered yet clean, a little like rainfall during sunlight. Shedding the ambient-classical confines of his previous output, the album's opener and title track, offers a swirling mosaic of acoustic textures that recall the beloved duo The Books, laced with warped vocal utterances flitting in and out of a club-friendly beat. "Origins" is followed by the equally danceable "Coastline," which drives home the smiling melodies and intricate sound-design that form the spine of Origins, keeping Bartels' voice in a largely decorative and impressionistic role up to this point. "Blossom and the Void" dissolves the introductory tension as Bartels comes out lyrically swinging, his digitized voice chanting widely over the mutated New Wave-esque anthem. Here, Bartels shows his instinct for dynamics by rising to bombast and quickly dispelling it, making steep yet grace- ful descents into skillfully delicate sound-design. Throughout Origins, the patient glacial aesthetic of his previous work is still discernible-- there are wordless, expansive panoramas that stretch out patiently for minutes at a time and smartly resist the impulse to pack each moment with a persona made even more impactful when Bartels chooses to wield it. At other times, his spokesmanship is woven discreetly into a larger tapestry, like on "See Out Loud" (and its ambient reprise) where Bartels' voice shimmers from a distance, covering the scene in diffuse splendor. "There is so much warping, mangling, re-sampling, reversing and pitching," Bartels says of his intricate vocal manipulations. "I printed a lot of the vocal recordings onto a tape machine from the `60s, first at one speed, and then I'd halve, or double the speed going back into my comput- er," he elaborates, illustrating how this kind of analog processing freed him from his habits. "Sometimes I'd do this multiple times on one recording or layer-- it gave me such a unique and unexpected sound. At this point, I threw away any inhibition on what type of vocals to have, or not have, on the album." This newfound freedom is palpable in the peaks of soaring grandeur that dot the emotional landscape of Origins. "All These Years" cathartically reaches one such summit in its second half after laying a path of gently plodding indie-IDM in its first. The cinematic vignette "Dreymur Aftur" provides pause for reflection amid its brisk procession of string plucks and rhythmic synthesizer while marching wordlessly into album-closer "This Won't Last Forever." Here at the end, Bartels' guitar playing is laid bare in the mix, skeletally framing a single ribbon of his voice as it unfurls into the atmosphere. Though the track isn't expressly lyrical, its starkness still exemplifies the new leaf of vulnerability Bartels has turned over on Origins, an album that documents his hard-won evolution from musician, to producer, to composer_ and finally_ his confident arrival in the role of songwriter.

Gotts Street Park are a proud bunch of throwbacks. The Leeds-based trio - Josh Crocker (bass, production), Tom Henry (keys) and Joe Harris (guitar) - met through various music studies and friendship networks. Individually their tastes are diverse: from North Indian classical to experimental jazz, soul to alternative hip hop but their vision is united: “The idea of doing things live in one room has always been important,” remarks Josh. “That’s how they used to do it. Our identity evolved from that.”

The inception of the collective goes back to around 2012. There have been minor line up tweaks - they currently record with a rotating list of drummers - but the philosophy has stayed the same: an ongoing pursuit to capture the raw, unparalleled vibe that comes from recording music together, usually as one take, sometimes to analogue tape.

That approach is a deliberate call back to the methods made famous by legendary studios like Sun and Stax in Memphis, or FAME and Muscle Shoals in Alabama and their in-house bands. That’s why for years, GSP set up their own studio in a shared house in a tough (but, crucially, affordable) corner of west Leeds, Armley. Gotts Park (historically the home of industrialist Benjamin Gott) was close by - the group’s name was a nod to their local geography but also the fact it sounded like an area plucked straight out of some of their favourite East Coast hip hop releases.

Their work was quickly noticed, and it was from that base where they began working with an eye catching list of collaborators: Rejjie Snow, Kali Uchis, Cosima, Yellow Days, Chester Watson, Greentea Peng and Benny Mails. Tom also played keys in Mabel’s band. Early on, while performing as a band for hire for those artists, they were simultaneously honing their own sound; a deliberately retro “heavy, saturated” atmosphere that married the languid vibe of traditional soul with the pin sharp clarity of contemporary hip hop. Old leanings, sure, but upcycled with their own modern twist. “We’re constantly trying to build a catalogue,” says Tom. “Writing new stuff and sending it out to people.” That’s why after the release of their debut EP, ‘Volume One’, in 2017 the invitations kept coming; most notably from Brits Rising Star award winner Celeste, with whom they recorded two tracks on her debut EP ‘Lately’.

‘Volume Two’ once again features an impressive raft of vocalists - all female - from established names to fresh talent. This time, musically, the overall tone is lighter; less gritty, more optimistic. “It’s definitely not as gloomy,” says Josh. “Still though, there is this kind of dark, mysterious thing that we do a lot that works,” he continues. “Like the song we’ve done with Grand Pax, for example - it’s got that kind of witchy darkness to it. I think if you do a really straight male soul voice, it can be a bit cheesy and sound like you’ve heard it a million times before.”

Their collaborations might be some of the freshest of 2020 but make no mistake: Gotts Street Park are out there looking to create something timeless.

"Sounds sublime" - Gilles Peterson

"What a delightful, excitingly beautiful album. From "At Once Familiar " all the way through to "Same as Before" everything song feels and sounds sonically glorious. A modern day classic" - Nightmares On Wax

Taking a short sabbatical from their journey into the spiritual stratosphere and beyond, Work Money Death landed on terra firma just long enough to record a follow up to the critically acclaimed "The Space In Which The Uncontrollable Unknown Resides Can Be The Place From Which Creation Arises". The new album "Thought, Action, Reaction, Interaction" explores many of the meditative motifs that mould this unique group in their quest for the perfect sound and space. Those who are familiar with Work Money Death will know their output is as much an adventure for the listener as it was for the musicians.

"Thought, Action, Reaction, Interactions" is a salute to the now sadly deceased master of the spiritual sound Pharoah Sanders, and in particular the spontaneity of his recording process.

Each of the four tracks on "Thought, Action, Reaction, Interaction" were recorded in one take with no rehearsal and while the players may have known where they were starting off none of them were sure where they would end. As much as it is entertainment, and have no doubt this LP is an unctuous, spirit-smoothing joy from beginning to end, this is an experiment of making music in the moment. Spontaneous and spiritual in its truest sense, "Thought, Action, Reaction, Interaction" is a work of innovation and unsurpassed beauty.

"At Once Familiar" is a rising salute to the day, meditative, moving and fierce. An introduction to Burkill's emotive style, at once sweeping and succinct. It fills a room, and your head, with a very real sound, rich in texture and spirit.

"Freedom As A Heartfelt Song" is buoyant with harp, the spirit of the Yorkshire Pharoah is never more to the fore. Visceral sax rides over and uplifting backing, symbiotic and pinioned with power and beauty. Think Sun Ra horns meets Don Ellis brass.

"Song Of Healing" drifts on a river of music, guided through the rapids with a heartbeat bass line. This is temple sombre, with Eastern flavours and an overarching calm. A communion of sound, a master class in the understatement and power of the slow note, deceptively light.

"Same As Before" is spoken word playing foil to the call and response of the brass, dancing alongside and against each other. Spiritual vibrations cement ethereal forms to substantive sounds. A prayer to change."

As with the previous Work, Money, Death release (which was recorded in difficult conditions due to the Covid pandemic) the aim was to recreate a situation, in this case the impromptu and unrehearsed recording sessions of Sanders in the late 60's and early 70's, everything recorded in one take, creating a body of work that is a strong nod to a certain time and ethos but not a pastiche of it.


““Sounds sublime””
Gilles Peterson — BBC6, WorldWideFM

““What a delightful, excitingly beautiful album. From “At Once Familiar “ all the way through to “Same as Before” everything song feels and sounds sonically glorious. A modern day classic””
Nightmares On Wax —

We would like to invite you on an excursion of sorts:

Close your eyes, leave the grey wash of daytime TV and ready meals behind, and let the whiskey-soaked Automatic Tasty be your spirit guide.
Slowly you will drift over multi-coloured hills, then over vermilion seas, rising in the sky following the Sun until you reach the very edges of Ideaspace itself. What lies beyond that boundary is entirely up to you.

Returning to Realplace temporarily, you should find a burning desire to turn something in your life upside-down. Again you will dive thru the mists of imagination. This time bring back gifts: shining, lustrous pearls; seeds which may grow to provide brain-fruit if properly tended to.

On future journeys, gather your friends around the twin-headed god of music and invite them to join you & Automatic Tasty, for this is truly Social media.

We would like to invite you on an excursion of sorts:

Close your eyes, leave the grey wash of daytime TV and ready meals behind, and let the whiskey-soaked Automatic Tasty be your spirit guide.
Slowly you will drift over multi-coloured hills, then over vermilion seas, rising in the sky following the Sun until you reach the very edges of Ideaspace itself. What lies beyond that boundary is entirely up to you.

Returning to Realplace temporarily, you should find a burning desire to turn something in your life upside-down. Again you will dive thru the mists of imagination. This time bring back gifts: shining, lustrous pearls; seeds which may grow to provide brain-fruit if properly tended to.

On future journeys, gather your friends around the twin-headed god of music and invite them to join you & Automatic Tasty, for this is truly Social media.

Konnichiwa! The Courettes go to the land of the rising sun – and they sing in Japanese! The “hardest working band in showbiz” took another step closer to world domination traveling around the globe and landing in Japan in October for a successful tour full of packed concerts, sushi and Japanese rock ‘n’ roll! Their new upcoming 7” single is an outstanding version in Japanese of ‘Daydream’. The English version, from their latest album Back in Mono B-sides & Outtakes, is also included on the flipside. On beautiful white vinyl with red labels (just like the Japanese flag) the record is due out on January 27th on Damaged Goods Records, shipping from the UK to all corners of the western world and beyond. The original release on Japanese label Target Earth / Naris Records sold out by the third day of the Japanese tour. The mix is of course by Japanese Spector aficionado Seiki Sato, who was responsible for the Back in Mono album’s Wall of Sound extravaganza. So, ladies and gentlemen, get ready for one more spit ‘n’ snarl wall-of-sound garage gem with Martin blending class and wildness on the drums and Flavia bursting out on top - in Japanese! Kampai!

Espen Friberg’s solo album debut. Sun Soon is Espen Friberg´s solo album debut, consisting of eleven compositions made up of synthesizer and field recordings. The album is formed as a collage, with compositions patched on a Serge modular synth and field recordings. The patches portray the mood and wandering in mountains and forests – while at the same time meditating on the area of the Norwegian valley Hallingdal´s local history. The collage technique is something Friberg uses in both his musical and visual art. The album is meditative and exploratory, and at the same time playful and immediate. Trucks, trash cans, flowing streams, lemon soda, horses and wandering mountains, find its place between slow melodies, scratching, sinus tones and bass lines. Dissonances and harmonies come together in gliding transitions and abrupt stops, while an electronic willow flute sings and the sun is rising. The recording is done at Leveld Kunstnartun in Ål in Hallingdal, later mixed and produced in collaboration with Jenny Berger Myhre. The project captures the ambiance in the valley around Leveld, through Espen´s experiences in nature, but also from the paintings of Marianne Røthe Arnesen and Gøsta Munsterhjelm. Espen Friberg is known as an artist, designer, illustrator, cartoon creator and musician, and has received numerous awards and stipends for his work. In the beginning of 2000 he was a part of establishing the design studio Yokoland, but later started his own studio. In addition to his visual practice he has built a sound studio consisting of complex synthesizer systems and a variety of obscure electronical instruments and effect processors. He has been a central person in experimental and electronic music in Norway. He started and runs the record company Take It Easy Policy in collaboration with Emil Høgset, and has been a curator for the concert series Rett Ned. Since 2005 he has participated in a long line of sample albums under different artist names, before releasing his first EP under his own name in 2015. After this he has released six different albums with Øivind Olsen, André Borgen and Marianne Røthe Arnesen. Friberg has been active on the concert stage, both as a solo artist and in different collaborations. 1.Lazy cobweb 2.Wandering mountain 3.Gøsta Munsterhjelm 4.Foggy glow 5.Pasture patch 6.Motor sunup 7.Thirteen paintings 8.Marianne Røthe Arnesen 9.Sinuous river (part one) 10.Sinuous river (part two) 11.Orange moss bridge

Formed in Louisville, KY in 1991, Falling Forward was a band made up of childhood friends Benjamin Clark, Gary Bell, Jonathan Mobley, Ben Lord, and Chris Higdon. Started in their early teens, the band released a handful of recordings on a few different labels (Noble Recordings, Initial Records, and Doghouse Records) before disbanding in 1995. Higdon, Mobley, and Lord would immediately regroup as the renowned atmospheric post-hardcore band, Elliott. Falling Forward's first 7" was originally released as the first (and only) title on local Louisville imprint, Noble Recordings, in a scarcely limited edition of 500. Shortly thereafter, they signed to rising Detroit-turned-Louisville label, Initial Records, for their lone full-length album, Hand Me Down. Founding member Benjamin Clark then left, replaced by Endpoint's Pat McClimans. In 1995, as their popularity and influence were peaking across the United States, Falling Forward released two final singles: an acoustic split 7" with fellow Louisvillians, Metroschifter; and a self-titled 7" EP on the prolific Midwestern indie label, Doghouse Records. All of those releases are long out-of-print, and Falling Forward's entire catalog has remained unavailable in any format for over 20 years. Let These Days Pass: The Complete Anthology 1991-1995 documents the entire recorded history of a young band who met in their pre-teens, wore their hearts on their collective sleeves, and incidentally inspired and influenced thousands of kids and dozens of bands (most notably Thursday) across the world with their unique union of chunky, metallic riffs, pop-punk-inspired hooks, and startlingly infectious, Sunny Day Real Estate-inspired melodicism. Restored and remastered from the original master tapes by Alan Douches at West West Side Music (The Promise Ring, Converge), Let These Days Pass is packaged in all-new artwork culled from elements of the band's history, and includes a 20-page full-color booklet of rare and unpublished photos, fliers, and lyrics.

- 180 GRAM AUDIOPHILE VINYL
- RANKED FIRST IN ALL-TIME TOP TEN LIST OF SHRED ALBUMS BY GUITAR WORLD MAGAZINE
- LIMITED EDITION OF 1.000 NUMBERED COPIES ON GOLD VINYL

Rising Force is the first studio album by guitarist Yngwie Malmsteen, released on 5 March 1984 through Polydor Records. The album reached No. 14 on the Swedish albums chart, No.
60 on the US Billboard 200, and received a nomination for Best Rock Instrumental Performance at the 1986 Grammy Awards. It is regarded as a seminal release in the shred and neoclassical metal genres.

Steve Huey at AllMusic gave Rising Force four stars out of five, calling it 'a revelation upon its release' and 'The true inauguration of the age of the guitar shredder'. He praised Malmsteen's technique and 'blinding virtuosity', as well as highlighting 'his obsessions with Bach, Beethoven, and Paganini'.
In a 2009 article by Guitar World magazine, Rising Force was ranked first in the all-time top ten list of shred albums. The staff wrote: 'Yngwie J. Malmsteen was, is, and always will be the greatest shredder of all time. Hell, he invented the genre with his debut.'

Black Star' and Far Beyond the Sun' have endured as two of Malmsteen's most popular songs, as well as being staples of his live setlist. In a 2008 Guitar World interview, Malmsteen said of the two songs: 'I'll probably play Far Beyond the Sun' and Black Star' until the day I die.'

..."An alternate universe where Brian Eno produced "Rumours" and Alex Chilton wrote songs with Blondie..." San Francisco 5 piece LATITUDE sophomore album "Mystic Hotline" builds on the foundations of their acclaimed 2017 Debut with a triumphant foray into 21st century power pop. Centered around the dazzling vocal performance of Amy Fowler, tight band arrangements and accomplished delivery, the 10 tracks crackle with proficiency and elan. ..."Effervescent power pop bliss with infectious melodies, jangly guitars, sparkling synths, and more hooks than your local bait & tackle...." Although often drawing comparisons to such pop heavyweights as Blondie, The Nerves, Nick Lowe, and The Pretenders LATITUDE are far from revivalists, as this album testifies. "Mystic Hotline" reflects the present darker mood of the country, veering from carefree 60s/70s pop into more angsty 80s territory. That sentiment is evident in "Damage Control", a sonic bristling at a grotesque new Trump reality. "Rising" testifies to the senselessness of the Ghost Ship fire in Oakland, and the media blame game that followed. Vertical Highway is a deceptively happy ditty about death. Those are counterbalanced by songs like Thursday Is The New Sunday's praise for lazy love and I Love The Radio, a tribute to the many talented female musicians in the Bay Area.

Die Martens Army, wie man sie kannte, wird nach dem Ableben ihres Drummers Fabi wohl nie wieder dieselbe sein. Aber dennoch muss es irgendwie weitergehen, denn das Leben schreibt weiterhin Geschichten, die erzählt und verarbeitet werden müssen.Aus diesem Grunde rückte auch das englischsprachige Musikprojekt zwischen Fabi und Stöbi namens "Skinhead Pride" schon aus Nachlassgründen in den Vordergrund.Seit mehr als 8 Jahren wurde an den Songs und den Texten gefeilt, die nun endlich ihren Abschluss fanden. Stöbi hat seine besten Mannen um sich geschart um ein spielerisch, sowie gesanglich hochwertiges Ergebnis zu erzielen. Mit talentierten Musikern wie Tim Steinfort (Gesang), Karsten Fiebig (Gitarre) und Rick Groenewegen (Bass) greifen die creme de le creme der deutschen und internationalen Oi! Szene an und präsentieren einen Sound, der in der heutigen Szene seinesgleichen sucht. Jeder einzelne Song ist durchdacht aufgebaut, grandios vertont und mit Gänsehautchören unterlegt, ohne irgendeinen Ausfall.Die Lieder reichen von schnellen melodischen Hymnen wie "Skinhead Rock´n´Roll" über eher szeneuntypischen aber dennoch grandiosem Rock a la ACDC ("My throat is calling for beer") bis hin zu eher ruhigen Nummers wie "Phoenix rising", welche auch dem härtesten Kerl die Tränen in die Augen treiben können. Dennoch bleibt man uneingeschränkt seinen Skinheadwurzeln treu.Diese eher besondere Plattenreihe der Martens Army wird zukünftig insgesamt 2 Alben umfassen, welche ausschließlich in englischer Sprache veröffentlicht werden. Dies bedeutet für Allrounder Stöbi allerdings nicht, dass er nicht bereits wieder an neuem deutschsprachigem Material arbeitet. Es bleibt also spannend bei den Jungs…..aber jetzt ist erstmal Zeit für "A Skinhead's Pride Part 1"!!!

Pleasure Pool are Finn O’Hare, Andrew Robertson and a rolling cast of Glasgow-based musicians, performers and artists. They sound like nothing else to have come out of Glasgow recently, exploring the territory between live performance and club culture through their collaborative ethos and party-starting attitude. Their debut EP, Night Scars, arrived in early March 2020 and now comes Love Without Illusion, Pleasure Pool’s debut album, released on Optimo Music.

Love Without Illusion adds layers of complexity and introspection to Night Scars’ squarely dance floor-focused brew, though the record still oozes danceable energy. Open Hours is like opening a door and finding a party already in full swing, an assortment of recurring Pleasure Pool motifs – echoing, dubbed-out vocals, gorgeous, impossibly airy synth melodies, louche percussion, cowbells, rising and falling flecks of trumpet – all introduced in short order. Lick The Bag, which prominently features vocalists Chloe Charlton and Raissa Pardini, has a controlled chaos befitting its morning-after-the-night-before name.

The rest of the album rides this glimmering, night-magic mood at varying frequencies, with the title track a gentle storm of grandiose walls of synth and pulsing vocal fragments. The slow and low flickering funk of album closer Zero Hours pulls all that has come before it together to end things in the woozy bliss of a walk back home in warm, gentle sunlight.

Love Without Illusion is a dazzlingly complete expression of Pleasure Pool’s intoxicating sound and vision. Dive on in and explore.

Dread Recordings is very excited to present the Limited Edition USB of the forthcoming album from Dark Soldier 'Stand Up'.

Not due for full release until the end of 2022 this USB edition contains 20 TRACKS, including 5 EXCLUSIVES that will never be available anywhere else.

This USB is available on a first come first served basis and once sold out, will not be made available again!

Beatservice Records are thrilled to present the hotly-anticipated third album from Oslo-based production maestro, Third Attempt. 'The Novel Sound' follows on from the widely acclaimed 'Beats From The Quarantine' album released in April 2021, and further compliments the young artist's deserved reputation as one of the dance underground's most exciting talents to emerge in recent years.

Third Attempt (aka Torje Fagertun Spilde) has been dazzling us with his far-reaching music since arriving in the Beatservice fold with 'Shoreline' back in 2018, and since then his ever-evolving repertoire has continued to serve up immaculate sonic surprises. The fast-rising 23-year old artist has wasted no time making his indelible mark, displaying a frenetic work rate alongside an impeccable ear for constructing compelling leftfield grooves.

'The Novel Sound' opens with the rolling deviance of 'Freak Out', where a dusty string sample makes way for vocal samples, scratches, and searing sirens permeating a bass-heavy groove, setting the tone magnificently for the music that's primed to unfold. Next, we arrive in the mid-tempo chug of 'Age Of Steam'. Evolving over a crisp, club-ready rhythm, heavy funk guitars, dancing keys and distant vocal stabs cascade over driving bass before soaring strings herald the arrival of a slick breakdown section. The icing on the cake arrives as bubbling acid joins sensational horn motifs, breaking down once again for a starry-eyed beatless passage that leaves us yearning for a reprise.

'My Girl' features amorous vocal samples hovering over an irresistible disco beat, with alluring rhythm guitars and dreamy e-piano chords setting the scene for rousing horns to blast off into blissful summer skies. Before we've found time to catch our breath, 'Nu Funk' arrives with snappy hip hop samples scratched over tight beats and a delectable bass guitar hook. The groove pauses for dubbed-out space delays to echo into the night before a singing lead guitar joins the rhythm elements to burst back into life, with flute motifs, elegant strings, and otherworldly sweeps elegantly meandering across the panorama.

Set over a groove that arrives like a cool summer breeze, 'Sunbeam Symphony' drifts over soul-soothing chords, weighted bass and slick, rolling beats. Hypnotic keys guide us into position as the drums build energy and the bass notes power us forward. Third Attempt's dextrous keyboard solo dazzles momentarily before subsiding for a dub-infused break, with spaced-out vocal chops and rising sweeps building tension before the groove resumes and the virtuoso solo once again majestically soars. Maintaining the sun-kissed meditations, 'Definite' effortlessly floats through waves of thick bass, funk guitar chops and elegantly fused samples, with seductive chords, hypnotic horns and laser-tight drums combining to create a near overpowering dream state.

The heavy trip-hop rhythms of 'Nightfall' enrapture the listener as rich chords discreetly beckon, with cascading congas, mysterious melodies and exotic refrains building before the glorious lead vocal appears like a hyper-luminous flash of light. The chords disappear into the nothingness, before the carefully selected sample of 'Working Man' drifts in to fill the empty space. Smokey drums soon arrive, joined by weighted bass, foggy chords and an enigmatic whistle lead, fusing to conjure a half-lit world lifted from the pages of an evocative film noir novel.

The enlivening tablas, glitchy effects and saucer-eyed sweeps of 'Greed' hide subliminal messages casting a knowing eye over the consumer-driven society and self-help culture that pervade our society, before we arrive at the album's charmed finale. 'Last Winter Of My Childhood' yet again manages to transport the listener into a gently hallucinatory realm, with drowsy bass notes, tripped out pads and emotive strings building to a profound and rush-inducing crescendo.

'The Novel Sound' once again sees Third Attempt dextrously merging expansive musical aesthetics that fuse trip-hop, funk, soul and disco to deliver a sound that – although endowed with vintage sensibilities – feels proudly up to date. Continuing his breathtaking development in dazzling style, the album feels destined to echo over blissed-out sunsets, back-room excursions and twilight skies for many years to come.

Die amerikanische Sängerin, Bassistin, Songschreiberin und Schauspielerin Suzi Quatro veröffentlicht die
”Suzi Quatro: Uncovered EP”. In den 1970er Jahren hatte sie eine Reihe von Hitsingles, die in Europa
und Australien noch erfolgreicher waren als in ihrem Heimatland. Mit ihren Singles ”Can the Can” (1973)
und ”Devil Gate Drive” (1974) erreichte sie im Vereinigten Königreich, in anderen europäischen Ländern
und in Australien Platz 1. Quatro veröffentlichte 1973 ihr selbstbetiteltes Debütalbum. Seitdem hat
sie fünfzehn Studioalben, zehn Kompilationsalben und ein Live-Album veröffentlicht. Zu ihren weiteren
Solo-Hits gehören ”48 Crash”, ”Daytona Demon”, ”The Wild One” und ”Your Mama Won’t Like Me”.

Eight years after their first collaboration, ‘The Compass Joint’, slipped out as an ultra-limited white label, Charlie Soul Clap and Tom Trago have reunited to bring us a similarly warming, sun-splashed sequel, ‘The Compass Jawn’.

Like its predecessor – a now near-mythical 12-minute epic recorded late one night in Tom’s former squat-turned-studio close to legendary Amsterdam venue Trouw, and subsequently championed by DJ Harvey – ‘The Compass Jawn’ was inspired by the pair’s mutual love of both Caribbean keyboardist and FM synthesis enthusiast Wally Badarou, and the 1980s output of Chris Blackwell’s legendary Compass Point studio in Nassau, the Bahamas.

As sequels go, ‘The Compass Jawn’ is a bit of a belter. During the recording in 2019, Tom and Charlie sought to subtly evolve the original’s memorable lead line, reaching the for Yamaha DX7’s percussion patch – something utilized many times by Badarou during the 1980s.

The resultant ‘Studio Version’ is, if anything, even more emotive and uplifting than its predecessor. Underpinned by a shuffling rhythm pattern, the track ebbs and flows brilliantly, with jaunty synth stabs, undulating melodies and sparkling keyboard riffs ushering in held-note chords and a gorgeously rushing, ever-rising lead line. Throw in some starry pads and sunset-ready synth motifs, and you have another gorgeous, life-affirming treat.

‘The Compass Jawn’ comes backed with two top-notch alternative mixes. First up is an ambient ‘Dub’ mix from Trago that strips back the beats and instead focuses on the track’s many key melodic elements. Pushed forwards by drum machine handclaps, it’s a bubbly, sun-bright revision full to bursting with twinkling electronic motifs, jammed-out motifs, hands-aloft riffs and a bleeping take on the fluid and kaleidoscopic lead line.

Rounding off the package is the duo’s original demo mix – a raw, tough, and slightly more sub-heavy affair that’s notably more percussive and sweat-soaked whilst still sporting the key lead lines and FM synth sounds that make the studio version such a memorable and mood-enhancing affair.