quête:rüben

F.B.I…Funky Business Incorporated under the direction of Root Jackson, described as the Godfather of Britfunk with his 9-piece band. They caused a sensation on the British Funk scene in the 1970s. Regulars at Ronnie Scott s, the band also supported KOOL & THE GANG and THE TEMPTATIONS and toured with BEN E. KING.
This self-titled debut album was originally released in 1976 on Tony Visconti’s Good Earth label. Root Jackson first reissued the album (in a new sleeve) on his own Kongo Dance label in 1992, Kongo also first releasing “There’s Nothing Like This” by his nephew Omar. It was in 2001 Soul Brother Records reissued the album again (in it’s original sleeve) on both LP and CD.

F.B.I.’s rhythmic, soulful sound has drawn comparisons to the early EARTH, WIND & FIRE and has influenced generations of British R&B artists including INCOGNITO,
BRAND NEW HEAVIES and SOUL II SOUL. Due to demand, the LP is back again on Soul Brother. It contains the rare groove classic “Talkin About Love” a multi paced track that is still very in demand today and a great version of 'Love Love Love' which was made famous by Donny Hathaway.

"Palomino" ist das mit Spannung erwartete neue Album von First Aid Kit, dem von der Kritik gefeierten schwedischen Folk-Duo, bestehend aus den Singer-Songwriterinnen und Schwestern Johanna und Klara Soderberg. Der erste Track des Albums, "Angel", wurde bereits vor der Ankündigung des Albums veröffentlicht. "Palomino" ist ihr 5. Studioalbum, bestehend aus 11 Songs und vom Schweden Daniel Bengtson produziert. « Palomino » est le cinquième album du groupe suédois First Aid Kit. Écrit et enregistré dans leur pays d'origine, la Suède, « Palomino » a été créé pendant cette période sombre de pandémie mondiale, mais s'avère être l'album le plus pop de First Aid Kit à ce jour. Composé de 11 titres, il a été produit par Daniel Bengtson. «C'est le premier album que nous enregistrons en Suède depuis notre premier album « The Big Black & The Blue » il y a 12 ans ! Nous avons travaillé avec le producteur suédois Daniel Bengtson dans son charmant studio Rymden à Stockholm. C'était une expérience super amusante. Nous nous sommes vraiment laissé le temps d'enregistrer, nous ne voulions pas nous précipiter. Les morceaux ont été principalement écrits pendant la pandémie. Durant cette période compliquée, la musique était synonyme d'évasion, une bouffée d'air face à ce qu'il se passait dans le monde. Nous voulions que cet album soit plus optimiste et joyeux que notre album précédent, « Ruins », qui était un album de rupture. Ce nouveau projet est probablement notre album le plus pop à ce jour. Nous avons trouvé de l'inspiration partout - auprès de groupes tels que Fleetwood Mac, Carole King, Tom Petty, T Rex, Elton John, mais aussi Angel Olsen, Whitney et Big Thief.''

Der sich über mehr als drei Jahrzehnte erstreckende musikalische Erfolg von Tiken Jah Fakoly ist auf vier Eckpfeilern begründet, deren Fundament für seinen klaren und kompromisslosen Reggae steht und sich ebenso klar und unmissverständlich in den Texten des beliebten afrikanischen Musikers widerspiegelt. Sei es als Verteidiger der Unterdrückten oder als steter Daumen in der Wunde der von ihm benannten Tyrannen. Schon zu Beginn der 90er Jahre, mit seiner ersten Band 'Djélys" in Odienné, einer Stadt im Nordwesten der Elfenbeinküste, fiel Tiken Jah mit seiner tiefen, eindringlichen Stimme auf. Ein großer Erfolg und der erste der starken Eckpfeiler war jedoch sein in Abidjan entstandenes Debut Album unter seinem Namen, 'Mangercratie" (1999). Es erschütterte sowohl die lokale Reggae-Szene, vor allem aber auch die Machthaber, die dekadente Oberschicht, die "alten Fressäcke", wie er sie betitelte, die die Zeichen der Zeit ignorierten und sich an die Macht klammerten. Den zweiten Grundstein legte er in Paris, dem zentralen Nerv Frankreichs, mit seinem dritten Album 'Françafrique" (2002), einem Begriff, der informell für das - wie Tiken Jah in seinen Texten anprangerte - antiquierte politische System Frankreichs und dessen mafiöse Strukturen steht. Im selben Jahr wurde sein Land, die Elfenbeinküste, von einem Bürgerkrieg zerrissen. Seine Landsleute hatten "den Verstand verloren", wie er es schon zuvor in einem seiner Liedtexte prophezeit hatte. Fakoly suchte Unterschlupf in Bamako, ohne sich jedoch wie ein Flüchtling zu fühlen, denn "Africa is united", Afrika ist vereint, wie er schon immer verkündet hatte. In Bamako legte er mit dem treffend benannten 'L"Africain" (seinem fünften Album, 2007) den dritten Eckpfeiler, gefolgt von dem vierten Eckpfeiler, dem großartigen 'African Revolution" (2010), seinem siebten Album, welches das endgültige Fundament bildete: Ein revolutionärer Schrei, ein direkter politischer Aufruf, der sich in den bloßen, schlichten Reggae-Rhythmen entlädt, unangekündigt und dafür umso schöner und machtvoller. Sein elftes und neuestes Album 'Braquage de pouvoir" (Raub der Macht) setzt diesen Weg fort. Das Album trifft den Nerv auf den Punkt, denn es begnügt sich nicht damit, Tiken Jahs musikalische und politische Errungenschaften zusammenzufassen, sondern offenbart in Gänze das Wesen des fakolianischen Stils - ein Adjektiv, das wir zu erfinden wagen, so wie Tiken Jah Fakoly es wagte, diese starken Pfeiler zu erschaffen.

Including wanted vinyl tracks by New Order, Roni Size, Laurent Garnier, Buraka Som Sistema, Kid Cudi, Rudimental, Le Youth, Donna Summer and Major Lazer.

Zu Beginn der 1980er-Jahre zählten sie zu den größten Acts des Planeten, und ihre Reunion-Tour füllte 2007 weltweit die Hallen und Stadien: The Police. Wie kaum eine andere Popband profitierte das Trio von Einflüssen afrikanischer und vor allem jamaikanischer Musik. Songs wie "So Lonely" und "My Bed"s Too Big Without You" wären nichts ohne Stings parallel zum Gesang gezimmertes Bass-Fundament, und "Walking On The Moon" ist wahrscheinlich eine der wenigen Reggae-Killer-Basslinien, die außerhalb Jamaikas entstanden sind. Zeit für eine Würdigung der besonderen Art: "DubXanne" ist das wohl erste Dub-Showcase, das komplett auf Police-Riddims basiert. Eingespielt wurde das Album von Okada, der Backing-Band des Reggaekünstlers Zoe, und vielen Gästen wie Earl 16, Rankin Rogers, Eased (Seeed) und dem Dichter Benjamin Zephaniah. Das Ergebnis sind gesättigte Bässe, ein dynamisches, repetitives Gleichmaß, Sound-System-Atmosphäre und vor allem: Synchronicity - eine Rückkoppelung der abstrahierten Reggaeelemente von The Police mit deren jamaikanischen Wurzeln.

The Dangerous Summer signed their first record deal as high school seniors and quickly established themselves among the alt-rock world’s elite. Passionate delivery, confessional authenticity, and deeply resonant musical storytelling define their sound. The band writes hooks that serve as soundtracks for important life moments for a diverse group of listeners spread across the globe. The audience is more family than a fanbase. The community feeling is apparent at every gig, from Slam Dunk to Riot Fest, from touring with State Champs to headlining shows. Reach for the Sun is the record that “shot them into the pop-punk pantheon” (Kerrang!). Powered by unshakeable, enduring alt-rock anthems, the Ellicott City, Maryland band’s debut album made them heroes of the Warped Tour world, all while they carved their own unique path. 2011’s War Paint was a sophomore-slump-smashing follow-up. Grantland likened the “tall and wide” riffs of 2013’s Golden Record to The Hold Steady and U2. (“Catholic Girls” even earned The Danger Summer praise from the famously discerning Pitchfork.) Alternative Press saluted The Dangerous Summer as a group that stayed true to their sound, praising the songs on their 2018 self-titled comeback album as equal parts charismatic and addictive. 2019’s Mother Nature conjured an emotional storm, with an uplifting bent. Underoath’s Aaron Gillespie appeared on the 2020 EP, All That Is Left Of The Blue Sky. Produced by Will Beasley (Turnstile, Asking Alexandria), 2022’s Coming Home ushers in a new era for TDS. The Dangerous Summer never sacrificed their unique, diverse sonic identity, one that appeals to fans of everything from Kings Of Leon and Coldplay to Jimmy Eat World and Bright Eyes. Coming Home is a triumphant summary of what The Dangerous Summer is all about, past, present, and future.

Following the reissue of the self-titled debut by Tülay German & François Rabbath in 2021, we're presenting the 2nd and final part of our Tülay German reissues: "Homage to Nazım Hikmet" (1982). Once again in a duo setting with François Rabbath, Tülay German pays tribute to one of Turkey's greatest poets of the 20th century: Nazım
Hikmet (1902-1963).

Recorded in the early 80s this two-album workcycle refers heavily on turkish poets and the tradition of aşıks (singer-poets and wandering bards) and consists of unique and modern interpretations of turkish folk songs unmatched to this day.

Back in the 60s Tülay German (*1935 in Istanbul, Turkey) shook the turkish music landscape with several 7" records. Most notably her first 7" record Burçak Tarlası (1964) is now considered
the cornerstone of what was to become the Anadolu Rock/ Pop movement and underlines her rebellious nature and sense of justice. But due to increasing repression Tülay German and her
lifelong partner and intellectual impetus Erdem Buri decided to leave Turkey a few years later.

In France Tülay German signs a major contract with Philips resulting in many 7" releases sung in french under her french moniker Toulaϊ. In the long run Tülay German doesn't feel quite comfortable with this major deal. And thus, despite the success and recognition she had gained, she decides to quit the contract with Philips!

Later on she signs to independent world-music label Arion to pursue her actual artistic goals more in line with her origin and temperament. Back to her mother tongue, Tülay German records above mentioned albums for Arion under full artistic freedom, the only full-lenghths in
her 20+ years career. Alongside with double-bass virtuoso and turkophil François Rabbath (*1931 in Aleppo, Syria) the albums consist of aşık traditionals and intonated poems mainly by
Nazım Hikmet. Her passionate voice and the restrained arrangements of François Rabbath turn these centuries old melodies and poems into glowing manifestos for love and justice. The fruitful collaboration of these artists-in-exile adds significantly to the rich heritage of turkish folk music.

Nazım Hikmet (1902-1963) is considered as one of Turkey's greatest poets of the 20th century, though during his lifetime his works were banned in Turkey for decades and he spent most of his life in prison or in exile. He is up to this day a huge reference for turkish writers,
musicians and intellectuals.

Tülay German ended her musical career in 1987. In 2021 Tülay German was awarded with the Lifetime Achievement Award by the Istanbul Foundation for Culture and Arts, Turkey.

If you ever wondered what ambient music of the 21st century could sound like, then you should explore the musical spheres of "ifsonever". This colorful debut-album draws a blueprint of an urban ambient club record of a parallel universe. A collage of beautifully improvised pieces, strictly recorded in "one takes". A gripping fusion that brings together the warm analog textures of classic vintage synthesizers and electronic urban ambiences.

Trying to appreciate the recent times of silence and deceleration, Daniel Helmer aka ifsonever has quickly developed a tonal language as a solo artist. With a non-compromising approach he would visit his studio, a cozy garden shed, to record one new track a day in strictly analog fashion as "one takes". His aim for this project was to capture the innocence and instinctive creative energy of the present moment. These 9 timeless pieces invite the listener to explore hypnotic and meditative atmospheres such as on the opener "transpose" or on "jonesy dreams of birds", as well as gloomy and almost mystical sounding tracks such as "total global" or "an unexpected error has occurred". ifsonever is a wonderful amalgamation of organic, laid-back sounds and electronic, club oriented elements.

Recorded at a time when social contact was forbidden and culture was at a standstill, many professional musicians felt challenged not to feel useless when performances and sessions in public were cancelled, while the need for expression, participation and communication persisted. What happens when you've read all your books, when you're tired of looking at screens, and when you're digitally saturated? Then the unbearable lightness of being will begin. Daniel Helmer decided to let his creativity flow into a picture depicting that moment in time. He gave himself the opportunity to reflect this period through the creation of music. Not always an easy thing to do when the only social interactions would be cats passing by or the sound of children playing nearby. However that can be exactly the perfect tranquil surrounding to ground oneself in the here and now and draw inspiration from the inside. This self titled album reflects a peaceful journey from start to finish.

Two old friends have been invited to contribute overdubs in hindsight. MillianX is a film composer and noise artist, a colleague from the viennese filmacademy. Both worked together on the film score for the science fiction movie "Rubikon" while the album was in its final stages. So a collaboration was an obvious choice. The creamy arpeggiated synthline created for "jonesy dreams of birds"' was extended by Millianx with some field recordings and a big cloudy synthwave that dips into a vast sea of noise.

Guido Spannocchi is a london based jazz musician. Both knew each other for several years but never had the chance to work together. When Daniel Helmer wrote "an unknown error has occured" he imagined a saxophone layer to accompany the existing synthline. But when the two musicians finally got together to record in the legendary jazz club "Porgy & Bess", Guido just let his creativity flow and jammed freely to the track with a totally unique jazz vibe.

Between film, music & sound Daniel Helmer is continuously searching for a spot to call his own. Expanding boundaries, pursuing the unheard and breaking genre definitions are byproducts of his curiosity and his drive to avoid repetition. Daniel Helmer resides in Vienna where he studied at the local film academy. He became one of the founding members of the techno-punk band "Gudrun von Laxenburg" with album releases on the legendary Skint label, collaborated with Sam Irl on "International Major Label" as the production duo "Mantra Mantra" and released an album as "Yogtze" on Gerd Janson's imprint "Running Back Incantations", together with Feater. At the moment he is focusing on his work as a film composer and is currently working on two feature films in Austria.

"ifsonever" offers a timeless ambience to help you slow down, reflect and enjoy the beauty of nothingness. It might help us to learn and accept a state of being unutilized without feeling futile and benefit from this rare silence.

The cover artwork is a collaboration between Jazz & Milk graphic designer Tim Schmitt and photographer Frank Hulsbömer. A scan of the artist's head, hand and foot was 3D printed, photographed and transformed into an otherworldly scenery that visualizes the musical atmosphere.

Alex Chilton’s Feudalist Tarts (1985) found the Big Star/The Box Tops front man re-making himself as a southern fried hipster offering up original tunes like “Stuff” and sly soulful covers “B-A-B’Y” and “Thank You John” while adding a horn section to his road tested rhythm section. Side Two features a number of rare Chilton tracks including “Rubber Room” and “Wild Kingdom.” Chilton had hit rock bottom in his home town of Memphis after 15 years of substance abuse and hard partying. He chose New Orleans as the city where he would re-make himself. One of the benefits was exposure to all the music he would hear down there. He immediately immersed himself in the city’s laid back, stretched out grooves. The covers he chose for this record were songs he heard being played by older musicians around New Orleans. Expanded version includes a side of rare tracks. Out of print on vinyl since 1986. Includes seven original Chilton compositions. Original album release coincided with his most prolific touring schedule since his days in The Box Tops.

Das israelische Duo Lola Marsh releast mit „Shot Shot Cherry“ am 28.10.22 ihr drittes Studioalbum.
Lola Marsh besteht aus der Sängerin Yael Shoshana Cohen und Multi-Instrumentalist Gil Landau. Sie
komponieren Musik, die clevere Texte mit tiefgründigen Harmonien verbindet. 2016 veröffentlicht die IndiePop-Band ihre Debüt-EP „You’re Mine“, wodurch sie in kürzester Zeit international große Bekanntheit
erlangten. Im Sommer 2017 erschien ihr Debütalbum „Remember Roses“, dessen Singles „Sirens“ und
„You’re Mine“ es an die Spitze der Spotify Charts schaffen.
Auch in Hollywood ist das Duo gefragt. Ihre Songs wurden schon in zahlreichen Filmen und Serien benutzt,
darunter Kevin Costners Film „Criminal“, die Serien „Better Call Saul“ und „Station 19“, sowie den Netflix
Produktionen „Purple Hearts“ und „Atypical“.
Über das neue Album sagt Sängerin Yael Shoshanna Cohen: „We don’t have just one direction of emotion.
There will be sad songs, there will be up-tempo song, there will be the cinematic ones.”
Neben den emotionalen und melancholischen Indie – Songs finden auch feine Dance-Floor Vibes mit starkem
Beat und Synthesizer ihren Platz. Das Duo schafft eine gute Balance auf „Shot Shot Cherry“. Der Mix
an Songs reflektiert eine ganz besondere Mischung an Gefühlen und Emotionen der Musiker. Geschrieben
im Lockdown, hatte das Duo mit Ängsten und Sorgen zu kämpfen und gleichzeitig den Wunsch, endlich
wieder tanzen gehen zu können. Das Album wird als CD und Vinyl erhältlich sein.

Sasu Ripatti, now sporting the new "Ripatti Deluxe" moniker, presents his very own abstract take on early rave and happy hardcore. "Speed Demon" marks the first release on Ripatti's newly launched label "Rajaton".

The Finnish word ”raja” has multiple meanings. It could refer to a ”border”, ”limit”, ”boundary”, or even ”capacity” if understood broadly. It feels that ”border” is the first interpretation that comes to mind when the word is met in isolation of additional context. It often includes political energy of some sort. Or perhaps it’s just this particular point in time that leads the mind into such field of thought.

As the Dutch author Rutger Bregman notes in his book Human Kind – A Hopeful History, the real trouble with people began when the first person had the idea of drawing a line on sand and claiming ownership of the area on their side. The concept of physical borders was born.

Naturally, there are mental borders, as well. Think about all the things you shut out because they’re ”not for you”. They are numerous and we do it all the time. The issue is not to stop that, but to recognize when to let new things in, even if they’re not commonplace. Mental borders might often be easier to rewrite than physical ones, but the challenge remains a real one.

That’s where the derivative form ”rajaton” comes to play. By simply adding the ”-ton”, all borders, limits, boundaries and capacities are lifted in an instant. We have something ”borderless” instead, and are thus free to expand our thinking.

One could argue that the word ”rajaton” implies not the removal of borders but instead their very non-existence at large. How will our mind work when the concept of borders doesn’t even enter the conscious thought?

Mental borderlessness is a truly fascinating concept. A maximalist array of opportunities and potential ideas enters the picture – one which is also limitless, unlimited, sans boundaries, and also without a danger of being depleted. It’s an all-existence of multitudes where hierarchy also starts to deteriorate, giving way to a new form of full understanding without judgement.

Music is one fine place for such thinking, especially when thinking about the role of the listener. Occupying a much more active position than is generally recognized, the listener can greatly benefit from borderless thinking, and thus help to enhance the collective perceived significance of any given body of work. When there are no boundaries, the interpretation remains unchained and honest.

Basically it was all already said by the late revolutionary jazz pianist Burton Greene: ”Borders are boring!”

The Music Lovers collection brings you a cool selection of Calypso hits for our greatest plaisure!

After surfacing online with an unknown identity Nancy has been described as a musical auteur, a provocateur, a surrealist, both male and female, a mysterious necromancer, in the same sentence both classy and trashy, weird and wonderful, Sgt Peppers for degenerates.

LP FORMAT DETAILS:
Eco-friendly vinyl 
· Over 60% reduction in energy consumption
· 85% reduction in carbon impact
· Pressed from a unique innovative plastic
· Less waste
· Faster manufacturing
· More recyclable
· Audio quality as good as standard vinyl – in fact the manufacturers claim that the quality can exceed standard pressing due to the benefits of injection moulding
- White Colour LP

THERION have always been a band that have challenged themselves to explore new paths, while remaining true to their musical core values. For their 17th studio album, mastermind Christofer Johnsson and his collaborator Thomas Vikström have created something that has been previously unthinkable to the guitarist and the singer. "We have done the only thing that was left of all the different angles to explore", explains Christofer. "We have decided to give the people what they kept asking for. 'Leviathan' is the first album that we have deliberately packed with THERION hit songs."

True to the Swede's words, the album opens with the catchy and swift tune 'The Leaf Of The Oak Of Far' featuring female and male antiphonal singing as well as a choir that seems to have evolved straight out of THERION's breakthrough full-length "Theli" (1996). This is immediately followed by the obvious highlight 'Tuonela', in which Christofer cleverly underscores this hit-track's Finnish vibe by employing NIGHTWISH’s "metal voice" Marko Hietala. Next up in this parade of future fan-favourites is the title track 'Leviathan' that offers classic THERION material with operatic female vocals and a massive choir.

Christofer Johnsson's passion for classic voices, choirs, and orchestral elements as well as his penchant for epic melodies in combination with rock and metal shines clearly through the following sing-along ballad 'Die Wellen Der Zeit', which indicates another nod to German romantic composer Richard Wagner. "Ever since 'Theli', Wagner has been and will always be at the core of THERION", emphasises Christofer. "When we started to combine metal and opera, it was something new and original. Today, symphonic metal has long been a firmly established genre." When THERION came into being in 1988 by changing name from the already existing band BLITZKRIEG, which was founded a year earlier, Christofer had rather taken inspiration from SLAYER's "Reign In Blood" among other classic metal albums.

At the beginning, the Swedes were firmly rooted in death metal, a genre which they helped to define, as witnessed by their debut album "Of Darkness...." (1991). Yet even back then, there were hints of "something else" lurking beneath the rough surface. The use of female vocals is another core ingredient of THERION today, which developed gradually. CELTIC FROST had basically introduced the female element to extreme metal on "To Mega Therion" in 1985. THERION began with both a female and male vocalist emulating a church like choir already in their sophomore full-length 'Beyond Sanctorum' (1992). With Symphony "Masses: Ho Drakon Ho Megas" (1993) and "Lepaca Kliffoth" (1995), Christofer continued to developed his trademark sound by gradually drifting towards cleaner vocals and more keyboards.

With "Theli", the Swedes had firmly established a reputation of pushing the boundaries of metal in the 90s –among such acts as their compatriots TIAMAT, THE GATHERING, and MOONSPELL that were often referred to as "gothic metal" at the time. THERION continued to break new ground leaving inspiration for others to follow in their wake: On "A'arab Zaraq -Lucid Dreaming" (1997), Christofer further explored the use of Near Eastern music in metal which he had already begun in 1992, while "Secret Of The Runes" (2001) dared to have Swedish lyrics in some songs.

While critics were left confused and fans challenged, THERION were often ahead of their times and vindicated in hindsight. Even the band's 25th anniversary excursion "Les Fleurs Du Mal" has by now overcome the initial shock the album caused and is only beaten in terms of streaming by the classic "Vovin" (1998). When Christofer faced the question of where to go next after the dramatic "Beloved Antichrist" (2018) had finally fulfilled his musical mission, his answer is "Leviathan" named after a giant sea monster from Judeo-Christian myth that has roots in Babylonic lore: THERION have created a giant hit album –and for the first time in the history of the Swedes, their fans are not asked to explore something new, but simply to lean back and enjoy the best from their band!

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

As Anomalie, the shape- shifting production project he unveiled in 2016, Dupuis has channeled his musical upbringing (his mother, a piano teacher; his father, a host on Radio- Canada), formal schooling, and stage- seasoned chops into two companion EPs — Metropole and Metropole II — the Chromeo collaboration Bend the Rules, and a series of singles lighting a pathway to his upcoming long-form debut, Galerie.
Galerie’s forward-facing approach may call to mind a timeless phrase familiar to any jazzhead: The Shape of Jazz to Come. Ornette Coleman’s 1959 opus reconfigured traditional notions of harmonic structure, its title and content serving as both a blueprint and open question for progressive music’s future. With Dupuis’ reverent but revolutionary project, that answer is no longer in the past or on the horizon; it’s here.

reissue with original artwork!

Todd Terje's 2012 EP It's the Arps rumbled the floors of warehouse parties and hedonistic sleepovers alike with lead single 'Inspector Norse' leading the vanguard of electro fun.


Please welcome: It's The Arps! Oslo's magic music maker Todd Terje has already gained a wunderkind like reputation for his gentle yet potent productions (we won't mention the 'E' word here) on labels like Full Pupp, Permanent Vacation and Running Back on top of being one of the best remixers money can buy (Shit Robot, Bryan Ferry, Dølle Jllle etc etc). What is there left for him to do Establish a label of his own! 'It's The Arps' is the starting signal for Olsen. And what a splendid one it is. Created from scratch and solely on the mythical synthesizer ARP 2600, it features four tracks (reads instant classics) that couldn't be a better follow-up to his 2011 super hit EP 'Ragysh'. Towering over the assortment is the laser crime scene called 'Inspector Norse'. Defying genres and blinkers, this is finest goose bumps dance music that makes you whistle along, laughing and crying all at the same time - but the rest isn't half bad either. The short, but sweet 'Myggsommer' gives away Terje's secret love for quirky exotika, whereas 'Swing Star Pt 1' and its brother have a (balearic) brilliance and witchery to them that is rarely found nowadays. Released on Olsen Records and housed in a beautiful sleeve courtesy of Bendik Kaltenborn. 100% Arp 2600 and 200% Todd Terje.

Oliver Johnson alias Dorian Concept veröffentlicht am 28. Oktober 2022 sein neues Album, „What We Do For Others“, auf Brainfeeder. Es ist das dritte Studioalbum des österreichischen Produzenten und Synthesizer-Experten, der für seine einzigartigen, wunderschön detaillierten Klangteppiche und wilden, gar euphorisierenden Live-Keyboard-Jam-Videos bekannt ist.
„What We Do For Others“ ist ein entspanntes, ruhiges, selbstbewusstes und intimes Album, das auf herrlich lockeren Arrangements und rückgekoppelten Klanglandschaften basiert und mit Fetzen seines eigenen verfremdeten Gesangs unterlegt ist, der eher als zusätzliche Instrumentierung denn als lyrische Phrasen präsentiert wird. Alle Elemente und Schichten wurden ohne Unterbrechungen aufgenommen und absichtlich nicht bearbeitet. „Ich glaube, deshalb hat diese Platte so etwas wie einen ‚Bandsound‘.“, erklärt Johnson. „Ich spiele alle Arten von Tasteninstrumenten, singe und benutze Effektgeräte, um diese freien Kompositionen zu schaffen.“ Der in Wien lebende Johnson ist ein fester Bestandteil der experimentellen Jazz-/ Elektronik-Szene, die im Umfeld von Brainfeeders Aushängeschild Flying Lotus floriert und sich diversifiziert hat. Mit frühen Veröffentlichungen auf dem Kindred Spirits-Label Nod Navigators und Affine Records spielte Johnson bei den ersten internationalen Label-Nächten von Brainfeeder im Jahr 2009 (Off-Sónar in Barcelona und die berüchtigte Hearn Street Car Park-Session in London) und bildete eine starke familiäre Bindung mit der Brainfeeder-Crew, die auf der gemeinsamen Liebe zu freaky Elektronik-Jazz-Fusion beruht. Johnson war an der Produktion von Thundercats „The Golden Age Of Apocalypse“ beteiligt, spielte die Tasten auf Flying Lotus' bahnbrechendem Album, „Cosmogramma“, und tourte mit den Live-Bands von FlyLo und The Cinematic Orchestra. Außerdem steuerte er die Tasten auf MF DOOMs „Lunchbreak“ bei, das von FlyLo und Thundercat produziert wurde. Kürzlich arbeitete er mit Kenny Beats an dessen Debütalbum, „Louie“, zusammen, wobei er bei drei Stücken die Tasten beisteuerte, und tat sich mit einem weiteren Pionier zukunftsorientierter Elektronik - Mark Pritchard - zusammen, um Musik für Damien Jalets zeitgenössische Tanzperformance, „Kites“, an der Göteborger Oper zu komponieren. Im Jahr 2020 arbeitete Oliver mit einem der weltweit führenden Ensembles für zeitgenössische Musik zusammen, dem Klangforum Wien, und komponierte ein Stück namens „Hyperopia“, das beim TRANSART Festival in Österreich aufgeführt wurde. Johnson veröffentlichte sein Debütalbum, „Joined Ends“, 2014 auf Ninja Tune, bevor er 2018 auf Brainfeeder landete, um „The Nature Of Imitation“ zu veröffentlichen: ein Album mit schwindelerregenden Partituren, kakophonischen Breakdowns und formidablen Rhythmen, von denen Pitchfork schwärmte: „Dorian Concept schafft etwas, das Elektro-Funk-Autoren der 70er und 80er Jahre wie Kraftwerk, George Clinton und Roger Troutman angedeutet haben: Computermusik, die den Funk unverhohlen imitiert, anstatt ihn nur zu faken.“.

Achtung, ein Sturm bricht los! THE SKINFLICKS legen neues Album vor!

Lange Jahre war es betont ruhig um die Band geworden, denn zuletzt hatten die SKINFLICKS im Herbst 2002 ein zweites und bis dato vorläufig letztes Studioalbum veröffentlicht.
Pünktlich zum 25-jährigen Bandjubiläum meldet sich die Luxemburger Formation in nahezu vollständiger Originalbesetzung mit ihrem neuen, fulminanten Album zurück: "Old Dogs New Tricks" ist ein klassisches Oi!-Meisterwerk geworden, das alle Erwartungen locker übertrifft. Groß ist das Heer an Nörglern und Zweiflern, wenn es um eine "Reunion" geht, doch das umschiffen die vier Jungs ganz einfach, indem sie absolutes Vollgas geben und den eh schon harten SKINFLICKS-Sound um einiges an Rotz und Galle erweitern. Die schmissigen, "old school" Street-Punk Hymnen strotzen nur vor bittersüßer Ironie und trotzigem Sarkasmus. Das ganze eloquent vermischt mit der so schwungvoll erfrischenden und gänzlich unzeitgemäßen Prise Gewalt.
Die SKINFLICKS machen keine Gefangenen und scheuen sich nicht davor, anzuecken. Nach jahrelanger Abstinenz sind die Großmeister erschreckend frisch und nicht im Geringsten eingerostet. Und so erwarten euch zehn neue Klassiker auf diesem Longplayer, wobei es jedem Hörer schwerfallen dürfte, hier einen Favoriten zu benennen: Jeder der zehn Songs ist ein absoluter brick-wall Ohrwurm!
Willkommen zu eurem neuen Lieblings-Punkalbum!

From the mid-90s to 2005, Sweden’s Defleshed churned out a white hot blend of thrash, death metal, and grindcore, marking themselves as one of the most vital bands in all three of those genres. Having run out of inspiration and wanting to try other things they called it a day the same year they released their fifth album Reclaim The Beat, and ever since fans have hollered for their reunion. In 2021 they got what they were asking for when the band’s core lineup - guitarist Lars Löfven, drummer Matte Modin and bassist/vocalist Gustaf Jorde - got back together. None of the members took any convincing to reform or to push ahead with the full-length, starting to seriously write in Autumn 2021, and there was no masterplan guiding them. “We just wanted to see what we sounded like today, with new perspectives on things. We knew it had to be fast and furious yet diverse.” The result is an album “filled to its maximum with power and energy”, this made clear by opener “Bent Out Of Shape”, which is perhaps the greatest start to any of their records. They do not take it easy on the listener from there on, with the likes of the thrashy “Dear Devil” and groove-laden “Unburdened By Genius” taking very different tactics in the damage they wreak, the band making a point of not repeating themselves while staying true to that classic Defleshed sound.

(Late Nite Tuff Guy & Farley 'Jackmaster' Funk Remixes)

An ‘80s dance classic from the legend John Rocca, gets a fresh new take from Aussie edit king Late Nite Tuff Guy alongside a remastered reissue of Chicago house royalty Farley 'Jackmaster' Funk’s 1987 Hot House Piano Remix.

The main man behind jazz funk favourites, Freeez, John Rocca took to the studio in ’84 and whipped up an electro-fied steamer in the form of ‘I Want It To Be Real’. Tantalizing synthwork, beefed up basslines, gated snares and pure ‘80s vocals, it’s a melting pot of influences with a catchiness that caused a serious stir.

This special double header of remixes kicks off with a brand new mix from Late Nite Tuff Guy. He builds up the brilliance with masterful effect, keeping the vocal in the back pocket till the final frontier whilst adding in some buttery new synth magic and deft filtering to the mix.

On the flip, Chicago house don Farley 'Jackmaster' Funk’s 1987 remix homes in on those blissful piano and vocal stabs for a dubbed out ‘Hot House Piano Mix’. Spiritual keys laid down with passion that will be sure to get any dancefloor hot under the collar.

DJ Feedback:

OPTIMO/ JD TWITCH
Nice! The Farley mix is an all time classic. Lovely version from LNTG.

GERD JANSON
I have love for this.

GRAEME PARK/ THE HACIENDA
I vividly remember playing this record the day it was released while working at Selectadisc in Nottingham like it was yesterday. I played it the same night at The Garage club not long after I started DJing there. It brings back some great memories and this superb remix is just wonderful. Its made me get all bleary eyed and tingly. Absolutely tremendous stuff.

AXEL BOMAN
Love this

KAI ALCE / NDATL
This is a HOT EDIT from Late Nite Tuff Guy!

A LOVE FROM OUTER SPACE/ SEAN JOHNSON
Killer - love it

NORM TALLEY
I love this!

CROSSTOWN REBELS
Nice one!!

JACQUES RENAULT / LETS PLAY HOUSE
LOVE the classic Farley piano mix and the LNTG version is a fun take too!

OSUNLADE/ YORUBA
LOVE THIS!!

DANIELE BALDELLI
Love this classic, and now more love for both new remixes

DANNY TENNAGLIA
I really like this remix

DANNY KRIVIT/ BODY & SOUL
Nice

DJ KEMIT/ ARRESTED DEVELOPMENT
An incredible beefed up edit of an international dance floor classic. 10/10

HELENA STAR / NTS
Amazing record, those chords!!

LOUISE CHEN/ NTS
I’d love to play this.

ERIC DUNCAN/ RUB N TUG
This ones cool.

MAKE A DANCE / BEN
Yes yes yes pease love the original so much.

HOT TODDY/ CRAZY P
The Farley mix is a total winner which is a new one on me, LNTG mix is pretty tasty also

TERRY FARLEY
Yes please. A big early House lesson for me BITD

SUB CLUB HARRI
Realy diigin this.

GROOVE ARMADA / TOM FINDLAY
Love this, production is so good!

'Marasma Vussa is the Brainchild of Antonio Feola a long standing figure on the London music scene, Antonio has been running the Fish Factory Studio in Willesden, North London for over two decades now. Throughout the years, he has had a major role in helping many of the current lead players of the London scene have a place to record and define their sound.

Antonio's project Masmara has existed for over 30 years and here has found its place on record. Recorded on tape over time with some of the most sought after players in London and edited during the lockdown period, Vussa is an album of mind-bending deep, cosmic mediative jazz experiments. Boasting catchy melodies and heavy, heavy jazz breaks!'

Ever since jazz took its bop and free turn, each generation solved this eternal equation: how do you reconcile serious music and simple pleasure? On each of these occasions opinion was divided between orthodoxy and hedonism.

Trained in the theoretical rigours of classical music and jazz, experts on their instruments, and brought up on hip-hop culture, techno and house club scenes, Matthieu Llodra and Arthur Donnot - composers of KUMA – go against the conventional rules because they like to challenge their musical boundaries.

"Honey & Groat" is just like a bear (KUMA in Japanese, emblem of the band): behind the sweetness and apparent placidity, plenty of power. The resulting urban groove is reminiscent of 70's soul jazz with a contemporary sound: where instrumental talent meets pop simplicity.

Unlearn is the long awaited fourth album of DJ and producer 2econd Class Citizen. It marks the artist's return back to the newly relaunched label Equinox Records. Their previous collaborations achieved high acclaim for their genre bending fusion of hip hop, electronica and folk music.

The new album is an exploration of an artist journeying beyond their conventional confines. It is a musical adventure peppered with vintage samples concerning the perception of reality and our struggles with conforming to a broken society.

Unlearn is the most musically accomplished work of 2econd Class Citizen to date. As one would expect the drum programming, scratching and production is on point. Several tracks feature soothingly melodic and energetic passages of jazz saxophone from Leroy Horns and electric guitar riffs provided by long term collaborator Paul Drury.

2econd Class Citizen, real name Aaron Thomason, resides in Brighton, UK. He is also a painter and visual artist fascinated with abstraction and the chaos of mixing colours. His musical approach on the new LP draws many parallels to this creative process. An original painting from the artist forms the albums striking cover.

Equinox Records is run by DJ Scientist in Germany. The Unlearn project marks the 51st release and provides the perfect launch vehicle for the dormant label to rise again. The vinyl release of Unlearn as well as the single Be Together signify the first stops in a release plan which will please fans of the label.

FEEDBACK:

"Woah! It's sounds rad! Really heavy and cinematic!"
Kid Koala

"A dark and deep dive into a world of dense and diced samples and moody muted melodies. Would sit well next to Shadow's freakier forays into fractured funk. Or Format's last psychy LP, for sure."
DJ Moneyshot of The Allergies

"I love it. The new treatments with the additional instruments sound great, especially the horns. Glad to see that Equinox is back in action. Dope cover art."
Dday One

"It sounds like 2econd Class Citizen has been at a mountaintop retreat studying and meditating and came back with some superpowers."
Buddy Peace

'Back In Business Again', the long-anticipated new record from blues-rock
eccentrics The Hooten Hallers, is a fever-dream of thoroughly American
rock and roll from the fertile musical heartland of Missouri, USA
On this ten track thrill-ride, The Hooten Hallers inhale a wealth of roots and rock
influences — blues, soul, punk, even New Orleans jazz — and spit forth a highvoltage, swinging rumpus that defies what you thought you knew about rock and
roll. Bubbling beneath the rip- roaring surface are all- original songs of outsider
Americana delight, from tall tales about near-mythological characters to a eulogy
commemorating the demise of 15 years worth of tour vans to heartfelt blues and
well beyond. John Randall's infernal howl and frenzied guitar swirls into a
demon's brew with Andy Rehm's otherworldly falsetto screams and unbridled
drumming. Kellie Everett drives the unorthodox low end with the rich tones of her
rumbling baritone and bass saxophones, rounding out the band's sound and
placing it firmly in a class of its own.
Produced by Dominic Davis (Jack White, Greensky Bluegrass), 'Back In Business
Again' takes a match to The Hooten Hallers' fuse and explodes the renegade
power trio to the edge of madness and back again, one vigorous, swinging,
perfectly peculiar song at a time.

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

Fly Anakin's debut studio album 'Frank' draws influence from the classic
R&B and Soul his dad played him as a child, showcasing a gift for
songwriting alongside the breathless raps he's become known for
Recorded at the same time as 'FlySiifu's', it features Pink Siifu on the DJ Harrison
produced 'Black Be The Source', as well as link ups with another Richmond hero
and Anakin mentor Nickelus F, and fellow Mutant Academy members Big Kahuna
OG and Henny L.O..
Beats by Madlib, Evidence, Jay Versace, DJ Harrison, Ohbliv, Foisey, Graymatter
and Like of Pac Div.
"A perfect display of Anakin's captivating lyricism and delivery... flexes the New
York-tinged ruggedness in his breakneck raps as he reflects on his past, present
and future." Paste.
Fly Anakin is a rapper from Richmond, Virginia, who was described by Madlib as
"one of the illest MCs", and has previously collaborated with Freddie Gibbs. He's
co-founder of the Richmond rap collective Mutant Academy.
"Anakin's detail isn't a skill that could just be picked up from studying the legends
of the genre, it's a gift." Pitchfork
Singles have received press suport so far from Pitchfork, Rolling Stone, FADER,
Hypebeast, Stereogum, Vibe and Okayplayer.Fly Anakin recently performed on
Benji B's BBC Radio 1 show, and guested on Mary Anne Hobbs' BBC 6Music show
and Ebro's Apple Music 1 show. US radio support on the singles from Peter
Rosenberg on Hot97, Sirius XM and NPR. Singles have been featured in playlists
by Spotify, Apple Music, Tidal, Dummy, Crack, Ryan Schreiber Pitchfork, Brooklyn
Vegan, Vinyl Me Please, Red Bull, Warp Records and Fool's Gold Records.
Fly Anakin will tour the UK and US this Spring in support of album release. In
November 2021 he performed a European tour alongside Pink Siifu, with dates
across the UK, France & the Netherlands, including Le Guess Who? Festival,
Utrecht.

Not content with a double 12” of acid drenched delinquency, Schrödinger’s Box have drafted in four 303 addicts to bring their own acrid fire to Hard Ton’s Bigger is Better.

To get the bitter ball rolling, Larionov opens. Known for his dark electro and EBM leanings, this reinterpretation of “Transcend Your Body” is a bruiser of throbbing pulses, lancing lines and stabbing synths to pierce the fog and strobe. Rude 66 follows with his beloved vocoder doing battle with Massimo Bastasi’s original vocals. The result is a duel of distant rhythms and shimmering wordplay. The flip sees Nightwave on the attack. Brawny beats elbow lyrics in this driving audio onslaught. Bulging rusted basslines crush speaker cones as a blistering remake takes hold, blasts of body bending brutalism turning Hard Ton’s original into an even sweatier brute. An artist born and raised on analogue squawk and squelch finishes. Posthuman, one of the infamous figures behind the I Love Acid nights, takes the tongue-in-cheek Brit Pop flashback of “Girls and Boys” and contorts it into a grimy Chicago jam.

Für sein Album "About Time" hat Pianist und Komponist Florian Christl erstmals Stücke für Klavier und Streichorchester geschrieben. Thematisch verhandelt er in seinen melodiösen, cineastisch-atmosphärischen Kompositionen die Wahrnehmung von Zeit und die Schönheit, die im Bewusstsein für die Vergänglichkeit der Dinge liegt. "Mit diesem Album begebe ich mich auf die Suche nach dem Moment, auf die Suche nach dem Hier und Jetzt. Den Blick auf das gerichtet was Jetzt ist, geht es um das Bewusstsein der unweigerlichen Flüchtigkeit und Vergänglichkeit des Lebens und die Fähigkeit, in dieser Flüchtigkeit eine zerbrechliche Schönheit zu erkennen," erklärt Florian Christl. Große emotionale Momente orchestriert mit Breitwand-Streicherklängen und innige ruhige Augenblicke portraitiert in Piano-Miniaturen verbinden sich auf "About Time" zu einem poetischen musikalischen Erlebnis.Für die Aufnahme von "About Time" hat der in München lebende Pianist und Komponist Florian Christl mit der NDR Radiophilharmonie und Dirigent Ben Palmer zusammengearbeitet. Special Guest auf dem Album ist der Geiger Niklas Liepe.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

France is the trio of Jeremie Sauvage on electric bass, Mathieu Tilly on drums and Yann Gourdon on amplified hurdy-gurdy. They play one note / one rhythm producing energetic performances reminiscent of the early collaborations between Faust and Tony Conrad. Creativly recycled influences result in intense shows with pounding overtones and repetitive pulsing rhythms. Loud straight and trance-inducing.

The pertinency of the recordings only slowly appear On Occitanie" in the mass of sound, the rhythmic repetition and the elongated drones. The hurdy-gurdy forces you deeper, highlighting points of microtonal flux, cracking open the single note, the nodding rhythm, to imply the presence of every note, every sound, inside it. The insensible evolution, lurks in a corner of noise and finally imposes itself slowly on careful listening.

The band members of France perform in various other projects: Tanz Mein Herz, Toad and Jérico, all are member of the collective La Novià, an organisation based in Haute-Loire which brings together professional musicians and is a place for reflection and experimentation around traditional and / or experimental music.

In 2009, France was invited to play in Pau, a city far south-west of France, next to spain, by the people running Pagans Musica, a like-minded traditionnal-oriented group of people, also bent on educational issues concerning the local music and dialect: Occitan and on fusioning traditional musics and rock related sounds and instruments. They had set up a show for France and their band Artus and originaly wanted to have Acid Mother's Temple join the bill. The japanese band had done versions of songs coming from their village (eg. "La Nòvia") but weren't touring near France so instead they invited Duo Ancelin Rouzier as the third act, a band both Artus and France were also very fond of.

Pagans had everything set-up for the concert to be recorded and as France had plenty of time for sound-check, they went on to record the Pau" album in the afternoon, taking a thirty seconds pause in the middle of the session so as to mark both sides of the vinyl. The Occitanie Lp is the recording of the live set later that night, with no cut and a longer, more savage performance.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

NNAMDÏ has never been able to stay in one place. The Chicago
multi-instrumentalist and songwriter set a blistering pace in 2020
with his critically acclaimed genre-fusing LP, ‘Brat’, a punk EP,
‘Black Plight’, and ‘Krazy Karl’, a full-length tribute to Looney
Tunes composer Carl Stalling. Add in his role as co-owner of label
Sooper Records, as well as recent tours with Wilco, SleaterKinney and black midi, and it’s an overwhelming schedule.
 However, his latest album, ‘Please Have A Seat’, is the result of a
much needed pause. “I realized I never take time to just sit and
take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on
‘Go, Go, Go!’ mode, and re-evaluate where I wanted to go
musically.” This period of reflection allowed him to take stock of his
life and his relationships. “I wanted to be present,” he says. “Each
song came from a moment of clarity.” ‘Please Have A Seat’ serves
as an invitation to listen. It’s a request to sit down, be present, and
take in a moment. With this quiet introspection, NNAMDÏ found
inspiration in silence and nuance.
 While making the record, he decided to stretch the limits of his pop
songwriting: every track had to be hummable. Though he’s written
earworms throughout his career from playing in bands in
Chicago’s DIY community or releasing goofy raps as Nnamdi’s
Sooper Dooper Secret Side Project, here, his shapeshifting hooks
are undeniable. Each of the album’s fourteen songs, which
NNAMDÏ wrote, produced, and performed entirely himself, are
relentlessly re-playable, careening into unexpected and
disorienting places. With NNAMDÏ’s singular vision, ‘Please Have
A Seat’ is yet another leap from Chicago’s hardest working
musician. By taking a minute to sit down and catch his breath, he
re-emerged with the most ambitious, accessible, and nuanced
work of his career.
 Coloured vinyl LP format pressed on Walnut Brown vinyl.

Der Soundtrack zur erfolgreichen BBC-Fernsehserie ‚Around The World In 80 Days‘, komponiert vom legendären Filmkomponisten Hans Zimmer, dem Komponisten von ‚Bleeding Fingers‘, Christian Lundberg, und dem Produzenten Russell Emanuel. David Tennant spielt den unwahrscheinlichen Weltenbummler Phileas Fogg, der sich auf den Weg macht, in 80 Tagen um die Welt und wieder zurück zu reisen. Zusammen mit seinen Begleitern Abigail Fix (gespielt von Leonie Benesch) und Passepartout (gespielt von Ibrahim
Koma) versuchen sie das fast unmögliche Unterfangen, den Globus in 80 Tagen zu umrunden.

Auf „Tread“ steigert Ross From Friends die komplexen und gefühlsbetonten Qualitäten seines Produktionsstils, die Mixmag bereits dazu veranlassten, seine „eigenwillige Fingerfertigkeit“ zu loben, die „nicht nur dein Herz schmerzen lässt, sondern auch direkt aus deiner Brust tanzt“. „Tread“ ist eine Platte, die gleichzeitig glatt und melodisch, aber auch hervorragend tanzbar, nostalgisch und doch brillant modern ist, mit Anspielungen auf Sounds und Stile, die nicht so sehr reflektiert, sondern durch Weatheralls Linse gebrochen und neu kontextualisiert werden. Genauso einzigartig wie die Musik auf „Tread“ ist die Art und Weise, wie sie entstanden ist. Frustriert von den Arbeitsabläufen im kreativen Prozess, die bei der Aufnahme von Hardware und Instrumenten über einen Computer entstehen - die ständige Notwendigkeit, die Aufnahme zu starten und zu stoppen, alles zu speichern und zu katalogisieren - beschloss Weatherall, seine eigene Software zu schreiben und zu entwickeln. Das daraus resultierende Plugin mit dem Namen „Thresho“, das über Abletons Max For Live-Plattform erhältlich ist, startet die Aufnahme, sobald das Audiomaterial einen benutzerdefinierten Schwellenwert erreicht, und stoppt sie, sobald dieser Schwellenwert unterschritten wird, wobei die resultierenden Clips automatisch mit Zeitstempeln gespeichert und indiziert werden.

All artists are well known for their outstanding sound design and mixing skills. Get carried away by pounding drums and razor sharp hi-hat patterns. Intense synth workouts, nebulous atmospheres and well-chosen floating percussion parts are desi- gned to melt the boundaries between modern sci-fi sounds and 90s techno vibes.

This release is an absolute weapon and meant to create a higher state of tension and high voltage energy on any techno dance floor. ‘Insolate – Cosmic Paranoia’. The track’s kick drum has a clear crisp knock to it while the sub-bass swells and cradles around it perfectly. The sharp acid stabs in conjunction with this make it a very stomping track while the arpeggiated synth in the background flows with the voice resonance.

‘Mode_1 – Broken Machines’ is the second track on the EP and has a bit more depth and groove to it. The massive low end grooves beautifully with the flowing synth as well as the bright variations of hi-hats.

Next up we have ‘Elias the Prophet – Masochist’ which has a very bright kick and a wobbling bass that’s sure to make your chest rumble. The tight and delicate hats loosen up creating a washing of bright noise that flows over the track while the synth continues to send you into another realm.

The fourth track ‘Joton – Ziggurat’ fits perfectly due to the distressful synth. The track’s sub swells between every fourth and first beat while giving it space to ride smoothly beneath the kick drum between these intervals. The hats remain tight while the cymbals flow over the track creating even more tension.