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The mighty U Roy is the originator, the man who put the DJ phenomenon on the map and made it an artform. From Kingston Jamaica to the corners of all the Dancefloors, Clubs and Sound Systems across the world. U Roy (B. Ewart Beckford, 1942, Kingston, Jamaica) began his musical career spinning records for Doctor Dickies Sound System way back in 1961. The mid sixties saw him working for Sir George The Atomic before moving in 1967 to the man who best shaped his sound King Tubby on his Home Town HI - FI. Tubbys work in the dub field, dropping out vocals on his versions for the Sound Systems allowed U Roy to voice over these spaces adding to the excitment of the Dance!!!

U Roy moved into the recording arena firstly cutting two disc's for Producer Lee Perry 'Earths Rightful Ruler' and 'OK Corral' and then following this with 'Dynamic Fashion Way' and 'Riot' for Producer Keith Hudson. Producer Duke Reid seeing the protential in this new found form brought U Roy to his Treasure Isle Studios to voice over his back catalogue of Rocksteady Hits. His first three releases for Duke Reid 'Wake The Town', 'Rule The Nation' and 'Wear You To The Ball' held the Top 3 positions for 12 weeks in early 1970's.

We have compiled some of U Roy's best loved cuts from his mid 70's period when all were still looking at him for guidence.  The opening cut Call On Me sees him working over Delroy Wilson's 'Got To Be There'.  You Never Get Away gets U Roy answering Delroy Wison's 'Keep On Rocking'. Johnny Clarke's 'Time Gonna Tell' with rootsy bassline turns into Every Knee Shall Bow. Cornell Campbell the Gorgon himself gets his 'Check Mr Morgon' turned into Gorgon Wise. Johnny Clarke's Hold On gets reworked. Jeff Barnes 'Blowing In The Wind' tuned into Number 1 and alongside King of The Road which sees Lennox Brown blow his saxophone over the instrumental 'In The Swing of Things', was one of U Roys first releases. Linval Thompson's 'Let Jah Arise' is versioned to Joyful Locks. I Originate which lends us to the title of this compilation, says it as it is, a classic built over Dave Barker's 'Shocks of Mighty'. Linval Thompson again provides the backbone with his Cool Down Your Temper cut for U Roys version. The mighty Burning Spear's Creation Rebel although providing our next track, it is Johnny Clarke's version that gets worked over. Leo Graham's 'Birds of A Feather' turns into Stick Together. Soul Syndicates instrumental 'Goliath' grows into Riot. A big hit for Max Romeo Wet Dream sounds great under U Roy's new rendition.

Two extra tracks for the CD release of this album sees the great voice of Slim Smith on his 'Let's Stick Together' becomes ‘Ain’t To Proud To Beg’ and Cornell Campbell's 'Stand Firm' works with
U Roy to sign us off with ‘I Shall Not Remove’.  A fine collection i hope you agree to the Daddy of all DJ's who in his own words ''I Originate, so you must appreciate, while the others got to imitate'' says it all really……

Heiko Maile und Julian Demarre, vertraut mit dem Schreiben von Popsongs und Filmmusik, arbeiten seit dem Album-Klassiker "MEANWHILE" von Camouflage Mitte der 90er Jahre zusammen. Während Heiko seine Arbeit am perfekten Popsong kontinuierlich weiterführte, kam es bei Julian und Heiko unabhängig voneinander zu ersten Engagements im Bereich Filmmusik. Seit die beiden begannen, auch gemeinsam an Spielfilmen zu arbeiten, wuchs in ihnen stetig das Bedürfnis, eine Liebeserklärung an die elektronische Musik der 70er und 80er Jahre zu schreiben. Mit manch esoterischen japanischen Keyboards aus den 70er Jahren, die für den Klang von morgen entwickelt wurden, entstand so ein Werk für alle Tage danach - das genreübergreifende Album NEOSTALGIA, eine einzigartige und facettenreiche Mischung elektronischer Stile, verbunden mit einer Prise Krautrock. So finden sich dann auch auf so manchen Stücken Intros/Outros, Flöten, Flanger-Gitarren oder Vocoder, und sogar solche, die die Sechs-Minuten-Marke spielend erreichen.

Since first splashing on to the Southern California circuit in the mid-aughts, Geneva Jacuzzi (née Garvin) quickly cemented herself as the queen of the Los Angeles underground. Her immersive and unhinged multimedia performances are the stuff of legend, a psychotropic gallery of masks, costumes, confrontation, and massive art installations. Jacuzzi’s recordings are equally revered, catchy hooks and cryptic moods dusted in 4-track grit. The arrival of her third official full-length, and Dais Records debut, is cause for such celebration. Triple Fire vividly expands and crystallizes Jacuzzi’s signature fusion of midnight melody and mutant aerobics across a 12-track hit parade of wildcard synth-pop and sly post-apocalyptic camp. Her enthusiasm for the album is as bold as her body of work: “Halfway through, we started calling this the record of the prophecy, the record that’s going to save mankind.”



Opener “Laps of Luxury” sets the template – a strobe-lit dreamer’s delight of swaggering synth bass, Haçienda drum machinery, and sultry vocal spellcasting (“Tragic mysteries I’ve known for centuries / I burned all memories and turned to fantasy”). The collection burns through shades of sardonic strut (“Art Is Dangerous,” “Nu2U,” “Keep It Secret”), coldwave kiss off (“Speed Of Light,” co-produced by Andrew Clinco of Drab Majesty), retro-futurist body music (“Dry,” “Scene Ballerina,” “Bow Tie Eater”), and cheeky glitterball pop (“Take It Or Leave It,” “Heart Full Of Poison” co-produced by Roderick Edens and Andrew Briggs). She likens the eclectic spectrum of moods to the continuum of human emotions: “Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually it deconstructs, turns into a party, and then ends sweet and soft.”



Taken as a whole, Triple Fire comes as close as any document yet to capturing Jacuzzi’s kaleidoscopic alchemy of pop sugar and chaos energy, flickering between icy and ironic, chic and surreal, hungry and heartsick. Hers is a muse as rare as it is regenerative, forever reborn at the precipice of the next chorus: “Someone said that Alcatraz had fallen into the sea / Almost sounded like an angel calling me in a dream / I felt an electric shock when I picked up the microphone.”

Iconoclastic Buddhist Línjì Yìxuán once remarked, "The miracle is not to walk on water. The miracle is to walk on earth." This profound statement serves as a reminder of the sheer beauty of our planet. We often take for granted the ground beneath our feet and the simple wonders that our ecosystem supports. Everyday activities like walking under a blue sky, feeling the breeze on our skin, or listening to a songbird's melody remind us that Earth is a precious host offering endless marvels.
"Breath," the latest album by Bordeaux-based producer Franck Zaragoza under his Ocoeur project, is a heart-felt tribute to these earthly wonders. This album, perhaps his most sincere and ambitious to date, comprises seven tracks that reflect Zaragoza's deep appreciation for the world around us. "Breath" is tranquil, peaceful, and meditative, yet its expansive, cinematic scope evokes vivid images of Earth's stunning landscapes. The album is both elegantly captivating and a poignant call for peace on our planet.
With "Breath," Zaragoza elevates his Ocoeur project to new heights, celebrating the marvels of the physical world around us.

‘Iconoclast’ is the debut release from Dolphin Chime, a collective of Scopeotaku, Brollachan and 1/2 of The Three Lives. An EP carved out through a careful process of leaving the studio door open and seeing what enters. With five tracks plus a Lvcchesi version, serving up healthy measures of chaos and magic, all overseen by a friendly elf, existing out with time and space, and lovingly hand stamped onto a usb stane. Turn on and plug in.

New one-off pressing coloured vinyl 18th anniversary edition of the long-out-of-print Studio One Soul 2, the long-awaited second volume of one of the largest selling Soul Jazz Records’ Studio One collections.

Studio One Soul 2 takes us deep into Jamaica’s long-standing fascination with American Soul and Funk music.

Featuring a host of seminal Reggae artists who all first established their careers at Studio One before finding worldwide success. Featured artists include Horace Andy, The Heptones, Cornell Campbell, Ken Boothe, Jackie Mittoo, Jacob Miller and many more A-Class Studio One legends interpreting both classic and littleknown American Soul and Funk tunes by the likes of Curtis Mayfield, Bill Withers, The Five Stairsteps, Marvin Gaye, The Stylistics, Lee Dorsey, Al Green, Syl Johnson and more.

Curtis Mayfield is without a doubt the main soul influence for many reggae groups in the 1960s and 70s. Cornell Campbell’s ‘Ten to One’ featured here is a stunning recut of the original Studio One single by The Mad Lads who first covered this Curtis-penned hit for the Impressions. Another great Curtis Mayfield production, The Five Stairsteps and Cubie’s ‘Don’t Change’, is interpreted by Studio One soul man Winston Francis. Similarly, Devon Russell’s superb ‘Make Me Believe in You’ is, if anything, superior to Curtis Mayfield’s ground-breaking original.

While American Soul and Funk remain a constant source of inspiration on this album, classic DJs such as Prince Jazzbo and Little Joe also used these rhythms to ride vocal toasts over to serious effect. This selection features a mixture of classics, super-rare and unreleased tracks from Studio One all lovingly digitally re-mastered for this release. The vinyl edition also comes on super-loud double vinyl housed in gatefold sleeve and with download code. The new CD edition comes as digipack plus booklet. Another essential Studio One release.

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2019, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.


Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).


On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes. Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

On August 16, Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Face to Face, Day by Day’ for his own Halocline Trance imprint.

This is is Psutka’s third album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

“Aesthetic accidents in the periphery of the ‘work’ can be the message. In 2018, at an Egyptrixx concert at Bagni Misteriosi de Teatro Franco Parenti - a gorgeous, sprawling outdoor pool theatre in Milan - I had a clarifying moment. Gigs around then had mostly been in pummelling, dark music venues, so I wasn't prepared for this expansive space (and the thoughtful work of the organisers who had layered sheets of plastic film on the pool to parallel eco-materialist themes from a previous album). It was the midday soundcheck that struck me most - brittle digital sounds from the set echoed off the colonial Milanese facades and ricocheted down the Via Carlo Botta, pinging off buildings in the distance and clashing with the noise of traffic, tourists and whatever else. It was a strange, collisionist moment, and a reminder that my essential approach to music is, above all, a preoccupation with the materiality of sound. 

Everything on Face to Face, Day by Day began as an improvisation. Openness to accidents and the emotional complexity that comes from centering them in composition has become important to my work, and helps the music go beyond the possibility of what is playable, imaginable. I also wanted to channel adventurous solo pop records of the 1970’s and 80’s, like Yasuaki Shimizu, Jon + Vangelis and Stevie Wonder. These came from an interesting era in commercial music as studio production techniques became increasingly formalised as compositional devices, like AMS RMX16 percussion sounds and early digital stereo effects. 

Like many musicians, I’ve been travelling and performing less since the pandemic and as a result, have wanted studio sessions to feel more collaborative and improvisational. There were great writing and recording sessions for this album. Vox, synth, sax and guitar jams - much of what ended up on the record isn’t edited much, if at all. I jammed a sm57 into Colin Fisher’s sax bell and created feedback loops using various preamps and distortion units. The clunky sounds were sampled and used as percussion elements. I also had a great synth jam session with Jeremy Greenspan at Barton Building Studio in Hamilton, which was recorded by filmmaker Liz Adler. 

I’ve had a few months to sit with this album and see clear throughlines connecting it to previous projects. There are aspects of the experiential and structuralist sound design ideas from the EGYPTRIXX records; and also some arrangement tricks borrowed from ANAMAI - specifically, the use of interruptionist sound events. Perhaps most of all, it feels connected to the Ceramic TL + Ipek Gorgun record ‘Perfect Lung’ and its splattered take on musical complexity. “ (David Psutka)

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Ben Gunning, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

Gemeinsame Auftritte mit weltbekannten Gitarristen wie Jon Gomm, Joscho Stephan oder Peter Finger, sowie Engagements als Live-Bassistin bei Alli Neumann oder der Band AnnenMayKantereit. Mit letzterer spielt Chassée bis heute in ausverkauften Hallen in Deutschland, Österreich und der Schweiz und veröffentlicht ihr 4. Studioalbum auf Roof Music!

'Attachment Theory' (VÖ: 06.09.24 via ROOF Records) ist das neue Album von Sophie Chassée. Insgesamt zehn Songs, die Herzensbrüche und kaputte Beziehungen verhandeln, als gäbe es da tatsächlich eine Theorie, eine Formel, um diesen verdammten Schmerz erträglicher zu machen. Und wenn es sie gibt, dann, das macht 'Attachment Theory' klar, muss diese Formel lauten: Gezupfte Gitarren a la Ben Howard, Tracy Chapman oder Andy McKee addiert mit einem wunderbar zarten, warmen Colbie-Caillat-Gesang und multipliziert mit großen Folk-Popmomenten, wie man sie noch aus frühen Taylor Swift-Songs kennt. Dazu Lyrics, die so klar alles 'Toxische' zurück in die Dunkelheit der Nacht singen, dass da nur noch Licht bleibt, etwa in 'What Fathers Do: Your words don’t met your actions/ You never heard of self reflection'. Mit 'Attachment Theory' erscheint nun bereits das vierte Studioalbum der Singer-Songwriterin. Da sind viele Genres, mit denen man Chassées Musik zu beschreiben versuchen könnte: Modern Fingerstyle, Folk oder Acoustic Pop. Vielleicht reicht es aber auch, diese Songs als das zu benennen, was sie sind: Große, ehrliche, tiefe Lieder. Solche, die die Landschaft vorbeiziehen lassen, Pflaster über die Wunden auf der Seele kleben – und die Hoffnung ein bisschen heller leuchten lassen.

This collection is reviving the most popular pieces from blockbuster movies by offering a fully fledged state-of-the-art orchestral sound. As the Original Soundtracks for many tracks are recorded in sound quality of the 50s/60s or even in mono – this recording brings a truly revolutionary listening experience to those pieces.

Damien Quintard, who took care of the mastering, co-founded with Brad Pitt “Miraval Studios” in 2021, a recording studio inside Chateau Miraval, bringing back to life the iconic “Studio Miraval”, considered in the 70s till the late 90s as one of the most prestigious studios in the world, recording acts such as Pink Floyd (The Wall), AC/DC, Rammstein, Sting, Muse among others.

Mingus is the tenth studio album by Canadian musician Joni Mitchell. It was released on June 13, 1979, and was her last studio album for Asylum Records.1 The album is a collaboration between Mitchell and Charles Mingus. It was recorded in the months before and after Mingus' death in January 1979 and is wholly dedicated to him. The album is one of Mitchell's most experimental and jazz-centric works. Mingus originally wrote six compositions ("Joni I-VI") for Mitchell to write lyrics for; three of these were included on the album. Two other tracks written exclusively by Mitchell are included, alongside a new version of Mingus' standard "Goodbye Pork Pie Hat", featuring lyrics written by Mitchell. In addition to these, five spoken word tracks (denoted as "raps") are dispersed throughout the album.

a A1. HAPPY BIRTHDAY 1975 (Rap) [0:57]
[b] A2. GOD MUST BE A BOOGIE MAN [4:33]
[c] A3. FUNERAL (Rap) [1:07]
[d] A4. A CHAIR IN THE SKY [6:40]
[e] A5. THE WOLF THAT LIVES IN LINDSEY [6:33]
[f] B1. I’S A MUGGIN (Rap) [0:07]
[g] B2. SWEET SUCKER DANCE [8:06]
[h] B3. COIN IN THE POCKET (Rap) [0:11]
[i] B4 THE DRY CLEANER FROM DES MOINES [3:22]
[j] B5. LUCKY (Rap) [0:03]
[5:41]

Between December 2022 and January 2024, the collective De Niemanders (producer Rick Wiegerinck joined the team) visited asylum seekers' centers in the Netherlands with a mobile studio, searching for singers, musicians, and their music and stories. The music sessions were mostly filled with pure joy, while the conversations were heavy, hopeless, hopeful, cheerful, and everything in between. The collective connected with creative individuals from all over the world, who in turn introduced them to even more artists, writers, and storytellers. Rocco, Wout, and Rick quickly realized that they needed to offer more than ‘just’ the music album as a platform, so a completely unique Niemanders newspaper was born, and journalist Christianne Alvarado joined for a six-part podcast series.

Following their instincts, they created a new Niemanders album that became a genuine collaboration between the people they met and themselves. A significant difference from the prisons was that this time, the singers and musicians could be recorded in a mobile studio. As a result, the album is a mix of many singers and languages, telling the stories of their journeys, dreams, families, past lives ‘back home,’ and their current situation as refugees. There are songs inspired by the stories that residents of asylum seekers' centers told or wrote down, sung by Rocco, while other tracks emerged from writing sessions with singers Isma IP, Guy-El Mabiala, Q-Mars, and Hamid Reza Behzadian, and are also sung by them. The song material is a creative melting pot of colorful music that ranges from swinging afrobeat, highlife, desert rock, and rootsy psychedelia, but the alternative rock for which Ostermann and Kemkens are known also seeps through. You could say that, with few exceptions, each song is a film soundtrack for the text.

Unfortunately, the harsh reality of asylum procedures also intruded into some of the blossoming musical friendships. Due to a negative decision by the Immigration and Naturalization Service (IND), one of the great singers was forced to leave the Netherlands. This is just one example of the lack of control over—and the nerve-wracking wait for—an IND decision, which unfortunately seems to be something every person in an asylum procedure must endure. The asylum process can bring years and years of uncertainty and waiting, or sudden deportation.

Norway's man in black Torgeir Waldemar readies the follow up to the successful studio album "Love". Where "Love" was a loud band record, "Mercy" is the acoustic "sister record". The two albums are tied together and their titles combined, love and mercy, references the Brian Wilson song. Folk/Americana.

On their seventh long player The Breaks - their second for Joyful Noise Recordings - SUUNS are lost in limbo. For some artists, being caught in flux may result in songs that are either naive, out of touch or both, simply as a consequence of being cut off from human civilization. But for SUUNS, a band who have grown more than comfortable in the oblique and the intermediate, it actually had the opposite effect. The Breaks marks the Montreal experimental rock outfit's most emotionally resonant and tonally rich collection of music to date. The trio of Ben Shemie, Joseph Yarmush and Liam O' Neill leans more zealously than ever into their pop instincts. Yet remarkably enough, with that same dauntless abandon, SUUNS have mined a more extreme sonic palette this time around, one that stretches far beyond their core fundamentals as a band. The Breaks finds Shemie, O'Neill and Yarmush gleefully experimenting with loops, synths, samples and MIDI-instruments like a post-millennial Tangerine Dream messing with downtempo triphop beats. O' Neill took point in the producer's chair for The Breaks, arranging, structuring and editing many of Shemie and Yarmush's ideas from sporadic rehearsal sessions into Pro Tools, reimagining the songs over and over during a two-year time frame. Forged between countless plane rides, road trips, van tours and text threads, The Breaks became a product of endurance and a lot of trial-and-error. It's a record forged in tight fissions of freedom, where spells of whispered intimacy - like on the stunning ballad "Doreen" - are allowed to branch out into the vast glacial dreamscapes of the album's majestic title track. It captures SUUNS at their most panoramic, curious and exuberant: a constant relay of being adrift and enlightened anew, geared up to eleven. And guess what: the wheels keep on spinning.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

„Hole Erth“, das achte Studioalbum von Chaz Bear als Toro y Moi, ist der bisher unerwartetste und kühnste Schritt des Genre-Veränderers. Bear taucht kopfüber in Rap-Rock, Soundcloud-Rap und Y2K-Emo ein. Das Album vereint hymnischen Pop-Punk und melancholischen Rap - zwei Genres, die sich heute mehr denn je gegenseitig beeinflussen - und enthält die meisten Features, die jemals auf einem Album von Toro y Moi zu hören waren. Ein Gefühl der Nostalgie schleicht sich in fast jede Toro y Moi-Veröffentlichung, aber Angst ist eine Emotion, die Bear nie absichtlich so erforscht hat, wie er es hier tut. Tracks wie „Tuesday“ kanalisieren ein spezifisches, aber für immer nachvollziehbares Gefühl von pubertärem Unbehagen. Ein verzerrtes Gitarrenriff führt zu einem sich wiederholenden Refrain, der an missverstandene Teenager erinnert, die laut - vielleicht zu laut - singen, während sie mit dem Fahrrad durch amerikanische Vorstädte fahren. Diese Vorahnung ist auch in „HOV“ zu hören, allerdings nicht ohne mit lustigen Zeilen wie „Romance is so cold / My advice? To Bring a coat." zu verblüffen. Bear hat die Energie, ist sich aber bewusst, dass seine Energie nicht ewig hält. In einer Zeit, in der das Internet in immer schnellerem Tempo mehrere Genres miteinander verschmilzt, schafft Bear das seltene Kunststück, mit dem zeitgenössischen alternativen Hörer Schritt zu halten. Das Herz von Toro y Moi ist es, sich ständig zu verändern, sich weiterzuentwickeln und zu experimentieren. Auf „Hole Erth“ fordert Bear sich selbst heraus, umarmt aber auch die unzähligen Klänge und Epochen, die ihn geprägt haben, während er neue Welten zusammenschmettert.

A new album by Medway's premier alt-folk outfit The Singing Loins! Yes indeed. We caught up with Rob Shepherd to find out more about their brilliant new LP Twelve_ Q: "The new album is called Twelve. Could you settle an office debate - is it your 12th album or have you called it that because it has twelve songs on it? (We thought Here On Earth was your 12th but not according to Discogs. Also, our ability to count accurately has diminished over the years!)" A: "A bit of both. Course, there's the 12 songs, but then, depending on how you count, it's also our 12th album (from 91-98, there's the 1st 4 LPs that Damaged Goods collected together on The Complete & Utter - that's a comp though, so we can't count that eh - then there's At The Bridge with Billy, so that's 5_..we can skip Alive In Dunkerque as well cos it's a live album....then there was 2004-13 where we made four more with you, then in 2019 we got back together and made 13 Moon Songs From Merry Hell, released on the Vacilando 68 label...so that's 10_and then we did another record with Billy, The Fighting Temeraire_ so yeah, that makes this one number 12)." Q: "The album has features newly recorded versions of several Loins classics. Was it a difficult decision deciding which back catalogue songs to record?" A: "No, pretty easy - it's basically the 12 songs we enjoy playing the most with the current lineup. Saying that, it's been a bit of a meandering road getting to this point. Since Brod passed away, Arf & me have done few nights of Loins songs - and it's felt good - celebrating the songs we all wrote together - so that started the selection process. Oli, Arf's lad, joined us on percussion and then Rich, who Billy had introduced to us, joined on violin - then Chris came along to play the drums, so Oli switched to guitar - and through all that we were refining the set of songs, and we got a point where we felt that, yeah, we've sort of worked out how to do this (you know, respecting and celebrating our past, without coming on like a tribute band to ourselves), so it made sense to make the album - just to reflect where we'd arrived at....so we went into Jim's Ranscombe Studios and bashed them all out live in a couple of hours....no overdubs, no fussing over mistakes....just sing and play the songs as if it was a gig." Q: "It's been 33 years since the debut Loins' LP - How does it feel to be the elder statemen of Kent's alt-folk scene?" A: "Ha ha, are we? We don't know any other folk bands, alt or not, so it doesn't feel as though we're qualified to be the statesmen of anything! Elder, certainly, but statesmen? Nope." Q: "There's been plenty of gigs recently with more to come around the album's release, including some European dates. For people who've not seen you before what can they expect from a Loins gig?" A: "Yeah, as I said, now that we've worked out how to do this, and as we're having so much fun with it, we thought we'd get out & about. We're off to Serbia immediately after the album's release, so that'll be an adventure - Serbia was always special for us (Aleks, the promotor, took us out there to play seven or eight times in all) and we've stayed in touch over the years, so it'll be lovely to see everyone out there again. As for what can anyone expect when they see us? "Riotous fun filled joy" I've just been told, but best let everyone else be the judge of that!" Q: "The Singing Loins wouldn't have existed of course if it wasn't for Chris Broderick. Chris sadly passed in 2022. What would he have thought about the fact you're carrying on with the band and recording new music?" A: "Yeah_ he'd be happy. In the week before he passed away, he asked Arf & me over, basically to say goodbye and tie up any loose ends. And he told Arf that we should carry the Loins on. So yeah, I think he'd be pleased and proud that we're keeping the songs, and his words, alive."

Das international gefeierte 12 Ensemble veröffentlicht mit "Metamorphosis" sein drittes Studioalbum, aufgenommen in den legendären Abbey Road Studios. Von der göttlichen Natur der Transformation bis zu außerirdischen Visionen neuer Welten und Wiedergeburt erforscht das dirigentenlose 12 Ensemble Renaissance-Hymnen, die als futuristisches Gebet, altjapanisches Ritual, überirdische Opernarie und monumentale Elegie wiedergeboren werden, in denen das Ensemble seine bislang stärkste Leistung zeigt. Mit einem Vorwort des Autors Charlie Fox, Linernotes von Hugh Morris und Fotos von Greta Ilieva.

Gefangen auf Sumatra! Jayden ist verschwunden und soll gegen seinen Willen auf die indonesische Insel verschleppt worden sein. Der Mitbewohner des verschwundenen Studenten macht sich große Sorgen um seinen Freund und bittet Justus, Peter und Bob um Hilfe. Er hat einen seltsamen Anruf von Jayden erhalten - direkt aus Sumatra. Aber wie ist der junge Mann dort hingekommen und vor allem warum? Die drei Detektive übernehmen den Fall. Doch bald schon nehmen die Ermittlungen eine unerwartete Wendung ...

"Coming Up To Consciousness" ist das sechste Studioalbum von Pure Reason Revolution und das dritte ihrer Renaissance nach der Pause, die mit "Eupnea" von 2020 begann und mit "Above Cirrus" von 2022 fortgesetzt wurde. Wie die beiden Vorgänger ist auch das neue Album sehr persönlich. Die acht Tracks sind alle zwischen vier und sieben Minuten lang - kurz für PRR-Verhältnisse - und sie setzen sich mit verschiedenen Arten von Dunkelheit auseinander. Der unverwechselbare Stil der Band, der Prog und Pop durch verträumte Stimmungen, epische Riffs und engelsgleiche Harmonien verbindet, ist geblieben. Courtney und Greg Jong haben aber auch versucht, einen etwas anderen Weg einzuschlagen, indem sie neben ihren Dauerbrennern - vor allem Pink Floyd - auch Einflüsse von Talk Talk, Elliot Smith, The Smile und sogar Arctic Monkeys einfließen ließen. Der legendäre Session-Musiker Guy Pratt, der unter anderem mit Pink Floyd zusammengearbeitet hat, steuerte bei sieben der acht Tracks die Bassgitarre bei, während Jon Sykes von The Pineapple Thief bei einem Song den Bass spielte. Bruce Soord, ebenfalls von The Pineapple Thief, mischte das Album in Stereo und zum ersten Mal für PRR in Dolby Atmos und 5.1 Surround Sound.

On her new album Alva, singer, musician, activist and cultural icon Mari Boine offers glimpses into a childhood which she abandoned when she chose to leave behind a strict religious upbringing in order to pursue a life of activism.

The new studio record reflects on finding the balance the between her, the at times lonely, mission to share the culture and histories of the Sámi people through music to people across the world, and her personal journey and relationships. The poignancy of the record
reaches an emotional high on the mournful “Mu eadni” (Mother of Mine), wherein Mari laments her own relationship with her mother. She is also found reflective on “Oainnestan” (Glimpses), when looking at the relationship she has with her son.

Alva reflects the “willpower” of its name, and takes the listener on a musical journey of exhilarating momentum, spurred along by a full band. There’s an emancipated energy that is also reflected in the music, soaring to new heights over vast imagined landscapes of the
tundra of Northern Norway.

Seit mehr als zwei Jahrzehnten begeistert die irische Post-Rock-Größe GOD IS AN ASTRONAUT Hörer und Fans aus aller Welt mit einem einzigartigen
Sound-Universum, sowohl live als auch auf ihren Studiowerken. Zwischen stets vollen Tourplänen, kehrt das Trio aus Wicklow nun am 06. September
2024 mit einem frisch-gebackenen Longplayer über Napalm Records zurück!
„Embers“, das elfte Studioalbum der Band und ihre bislang wohl umfangreichste und grandioseste Produktion, beweist vom ersten bis zum letzten
Ton, warum GOD IS AN ASTRONAUT schlichtweg Meister ihres Fachs sind.
Die von den Brüdern Torsten und Niels Kinsella gegründete Band schafft hier ein weiteres außergewöhnliches Klanguniversum, und lädt die Zuhörer
ein, die Songs auf ihre ganz eigene Art und Weise zu erkunden und zu interpretieren. Die erste offizielle Single „Falling Leaves“ ist eine Reise durch die
Kürze unserer Existenz, von der Gründung bis zum Untergang. Der progressive, Uptempo-Album Titeltrack mit seinen eindringlichen,
Synth-geladenen, oftmals fast schon bedrohlich wirkenden Shredding-Passagen balanciert dennoch stets im Einklang zwischen Licht und Dunkelheit.
Songs wie der einfach epische „Odyssey“ laden auf eine aufregende Reise ein, in der sich alle Songwriting-Qualitäten der Band vereinen.

Achtung UFO Fans, aufgepasst! Wer in den zurückliegenden zwei Jahren befürchtet hatte, dass UFO-Frontmann Phil Mogg, einer der einflussreichsten
Rocksänger der Welt, nach dem Ende seiner Band und zwischenzeitlich gesundheitlichen Problemen komplett von der Bildfläche verschwindet, wird
nun erfreulicherweise eines Besseren belehrt. Nach einer kurzen Pause des kreativen Durchschnaufens präsentiert der Engländer mit der markanten
Stimme jetzt mit ‚Moggs Motel‘ seine neueste Veröffentlichung, die er zusammen mit Tony Newton (Bass & Keyboards) von Voodoo Six – die Band
war zuvor mit UFO auf Tournee – und seinem langjährigen Partner Neil Carter (Gitarre, Keyboards, Gesang) komponiert hat. Das Album wurde im
Studio von Iron Maiden-Bassist Steve Harris in Essex/UK aufgenommen. Während der Aufnahmen wurde das Line-Up durch Joe Lazarus (Schlagzeug)
und Tommy Gentry (Gitarre) vervollständigt. Die zwölf zeitlosen Songs der Scheibe zeigen unüberhörbar, dass Mogg anno 2024 nichts von seinem
künstlerischen Charisma, der einzigartigen Ausdruckskraft seiner Stimmbänder und seinem Spaß an ungezügelter Kreativität eingebüßt hat.
Veröffentlicht wird ‚Moggs Motel‘ am 6. September 2024 über Steamhammer/SPV als CD, Vinyl-LP und Download. Bereits vorab werden – quasi als
Appetizer – zwei Singles inklusive Videos ausgekoppelt: Am 28. Juni 2024 erscheint der Album-Opener ‚Apple Pie‘, gefolgt von ‚Sunny Side Of Heaven‘
am 16. August 2024.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after it’s release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs.

Thandii (aka Jessica Berry, Graham Godfrey) first made waves with their debut album A Beat To Make It Better in 2023. The album gained somewhat cult critical acclaim long after its release, with listeners luxuriating in the unusual sound collaged from offcuts of Soul, Lo-fi Hiphop & Psych. Thandii’s world comes bolstered by collaborations with esteemed artists such as Michael Kiwanuka, Inflo, SAULT, Joy Crookes, Jordan Rakei, and Little Simz. The duo’s sophomore offering comes in the form of two companion albums Dream With You & Come As You. The two albums make up a single conceptual statement celebrating dissonance, contradiction, polarity and opposition.

The pair believe that binary thinking has a lot to answer for in today’s world and is often used to divide us as a people. ‘We wanted to explore what it felt like to hold disparate notions in both hands whilst making the music. Starting with the title tracks, we explored the idea of unashamedly being your authentic self in every moment - this is admirable for those that can live their life in an uncompromising way. In contrast to that idea, we explored those moments where we perhaps wished we were more than our reality - a dreamed up, imagined self’. It’s no surprise that duality is central to what Thandii is all about with the pair co-writing, co-recording & co-producing from their seaside studio HaloHalo in Margate, Kent.

The albums each have a distinct flavour of their own. Dream With You is built on cassette-tape-driven lofi beats, art-pop melodies and soulful piano breaks. Whilst Come As You explores more experimental song-form that wouldn’t seem out of place on Tender Buttons - Broadcast or Dots And Loops - Stereolab. Jessica’s voice is the transcendent, ethereal form that shapeshifts between the realms of the two statements; dancing playfully through falsetto harmonies, confessional spoken word, detuned alter egos and haunting choirs. Key collaborators on the albums include bass player Jonathan Harvey and pianist Steve Pringle, both members of Margate’s burgeoning Arts scene. Thandii escaped London nearly a decade ago, their sights set on creating a means for prolific expression, without the distractions that the city can bring. The albums find them in an exploratory stage, throwing paint at the canvas with joyful abandon, gifting themselves permission for uncensored expression. The LPs muse on relationships - romantic, platonic & familial - community, self-worth, self love, healing and boundaries, at times from differing perspectives. This contrast of opinion makes for rich listening throughout a vast emotional landscape

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

A mixtape of Studio One 12" singles, including some very rare stuff. All recorded from vinyl.

Geschrieben wurden die Hauptteile der Songs auf 'Fever Dreams' im Laufe von zwei Jahren, aufgenommen wurden sie in einer Reihe von Full-Band-Studio-Sessions Ende 2019 und Anfang 2020. Während der langen, entschleunigten Pandemie-Tage verfeinerte O'Brien sie in seinem winzigen Heimstudio in Dublin. Gemischt wurde das Album von David Wrench (Frank Ocean, The XX, FKA Twigs). Ursprünglich erschien das Album im August 2021.

Format: Orangene Vinyl inkl. Downloadkarte

`Think Differently' is the debut LP by the duo of Callahan & Witscher. Jeff Witscher has been one of the most daring voices in underground American music for two decades, highlighted by releases on Pan and NNA Tapes. Jack Callahan's focused, uncompromising approach to sound caught the attention of both Demdike Stare's DDS label and Swiss composer Jürg Frey, who took Callahan on as his first composition student. Fans of their individual work might expect opacity, disruption, or rhythmic irregularity from their collaboration, but `Think Differently' sounds like a pitbull in a convertible, a sand-kicking beach party, the dopamine hit you get from 311 or Smash Mouth. It's a punchy, crunchy, highly infectious record. How did Callahan & Witscher cut the path from the ghostly margins of avant garde musics to the gutters of post-grunge American hard rock? In the words of Callahan, "at some point, you start to need a stronger drug." The most potent characteristic of this stronger drug is the guitar. And not just any guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift for two guys who've combined to make dozens of records over the years, not a single one of which has a recognizable guitar sound on it. Alongside the cool breezes and hyperactive fretwork of Callahan's guitar playing, the songs are backboned by strutting, groove-happy vocals: all bark, all bite. Every song is a careful collage, light but dense, ornate with gang choruses, soulful femme vocals, autotune and whisper scratches. This accumulation almost manages to hide the record's potent undertow of dread. `Think Differently' unfolds carefully, a slow-motion demolition that reveals the anxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful misunderstanding, the pain of caring. Setting this lyrical cynicism against such sonic glee isn't a spoonful of sugar, it isn't a bait-and-switch, it isn't a prank. After all, the dumb bliss of Sugar Ray's "Fly" shades a song about Mark McGrath's mom dying. "All Star" is about climate change. Most Sublime lyrics are a bummer. But there's still room for a raised beer, for a dumb grin. Like these ancestors, Callahan & Witscher aim at maximum uplift, at sounds that warm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of bad art, in spite of self-doubt.

Lukas de Clerck brings us the ancient greek instrument, the aulos, of which his new interpretation of long form expression is coaxed forth on this tremendous recording. Lukas de Clerck explores a niche of archaeological research in music; the aulos is a historical Greek instrument that Lukas analyzed and reinterpreted by a luthier in modern times_navigating this impression as an artwork or living sculptural object, as there is an absence of historical partitions or written information about how to recreate technique on the instrument. Lukas de Clerck has interpreted information from the rare archaeological resources and visual art of the classical Greek period to recreate both playing technique and possible sound timbres with the instrument. With his contemporary approach to drone, post-minimalist music, and contemporary folk, we find a deeply satisfying and compelling, even playful set of songs, timbral exercises and compositions. An important document of new music meets contemporary archaemusicological research via Stephen O'Malley of SUNN O)))'s label Ideologic Organ. _ The telescopic aulos is speculative: might it have existed? It takes on features from the historical aulos, a double-reed instrument of which we know how it looked but little about what music was played on it or how it would have really sounded. It's an instrument without the limitations of canon or manual, providing creative freedom and awakening curiosity. The new instrument featured on this album is ancient and futuristic at once. The aulos has no tone holes; instead, each of the two tubes consists of three parts that can slide into each other. In this sense, the metal pipes bear a certain resemblance to the principle of a trombone. However, since both hands are already in use to hold both tubes, the sliding has to be done by way of gravity and the help of a «phorbeia», a leather mask which helps keep the reeds in place. The aulos's material is metal (instead of wood), which gives it a certain electronic allure and intensity, as well as a variety of sonic possibilities and textures. It produces overtones efficiently and allows them to play with their microtonality. The aulos Lukas plays on this recording was developed at Brasserie Atlas, a temporary occupation of a former brewery in the heart of Brussels where Lukas lives. It is quite a poetic coincidence that the birthplace of the instrument is named after the Greek titan condemned to carry the sky, while this instrument needs to be turned skywards to lower its pitch with the help of gravity. At Brasserie Atlas, Lukas has found collaborators who have shared in the process of building this new instrument: the collective Noir Métal has constructed the tubes, in this way becoming instrument builders; the phorbeia has been manufactured by Jot Fau; a former water reservoir in the vast cellar of the building carried the instruments' resonance for its first sounds. The place has left an imprint on this new instrument. With all of the telescopic aulos' layers, its sonic, musical and extra-musical components are still unfolding their potential as a medium for discovery and research, next to being an instrument of great musical potential. The music on The Telescopic Aulos of Atlas reflects this spirit. In several miniature pieces, it presents an encyclopaedia of musical possibilities that the instrument offers while keeping an intense and corporeal sonic specificity. The short pieces are studies that reflect on the sonic possibilities of this instrument that are yet to be explored. It meanders, searches and interacts with itself and the space. It needs to answer common expectations of old instruments being harmonious or pleasing. It transports a kind of experimental archaeology that, by formulating hypotheses in the present, allows us to reflect on what might have been in the past and simultaneously questions concepts of beauty, harmony or virtuosity. However, in the end, this instrument might have never existed before. -Julia Eckhardt

Der Samen für ELEPHANT TREE wurde im Jahr 2013 irgendwo in Londons modrigen Seitengassen in einem Proberaum gepflanzt. Dort wuchsen aus dem Bass von Jack Townley und Sam Harts Schlagzeug die ersten Töne des späteren "Attack of the Altaica" Demos hervor. Damit war der Song geradezu prädestiniert zum Eröffnungsstück der neuen Raritätensammlung "Handful of Ten". Die ansteckende Mischung aus warmem, zerschmelzendem Gitarren-Fuzz und hochfliegenden Gesangsharmonien des Demos führte schnell zu einem Plattenvertrag und bereits im September 2014 erschien das erste Album "Theia". Das Debütalbum wurde von Kritikern und Fans gleichermaßen hervorragend aufgenommen und dieser Meilenstein wird nun als Anniversary Edition neu aufgelegt. Eine Fülle von seltenen Fotos, Liner-Notes und Texten polieren das Artwork frisch auf. Die hart arbeitenden Engländer ruhten sich keineswegs auf ihren Lorbeeren aus, sondern legten im Jahr 2015 mit dem selbstbetitelten zweiten Langspieler "Elephant Tree" erfolgreich nach. Dagegen scheiterte ELEPHANT TREEs Versuch, mit einem Label näher der Heimat zu arbeiten, ohne eigenes Verschulden, an Problemen des neuen Partners. Dadurch erhielt das hoch gelobte "Habits" aus dem Jahr 2020 nicht die nötige anhaltende Unterstützung. ELEPHANT TREE veröffentlichen das gesuchte dritte Album zum zehnjährigen neu über Magnetic Eye, womit es endlich wieder verfügbar wird. Mit "Handful of Ten" blicken ELEPHANT TREE auf zehn aufregende Jahre zurück, die sie mit großartigen Stücken aus ihrem Archiv sowie neuen Tracks feiern. Langjährige Anhänger dürfen sich ebenso wie neue Freunde auf den einzigartigen melodischen Doom der Engländer freuen: nur Thriller, keine Filler!

ELEPHANT TREE legen eine bemerkenswerte Neuausgabe ihres hochgelobten Debütalbums "Theia" vor. Die Anniversary Edition dieses Meilensteins kommt mit einer Fülle von seltenen Fotos, Liner-Notes und Texten, die das Artwork frisch aufpolieren. ELEPHANT TREE wurden im Jahr 2013 irgendwo in Londons modrigen Seitengassen im Proberaum gezeugt. Dort entsprangen dem Bass von Jack Townley und Sam Harts Schlagzeug die ersten Töne des späteren "Attack of the Altaica" Demos. Damit war das Debüt zum Eröffnungsstück der neuen Raritätensammlung "Handful of Ten" geradezu prädestiniert. Die ansteckende Mischung aus warmem, schmelzendem Gitarren-Fuzz und hochfliegenden Gesangsharmonien auf "Attack of the Altaica" führte schnell zu einem Plattenvertrag und bereits im September 2014 erschien mit "Theia" das erfolgreiche erste Album. Die hart arbeitenden Engländer ruhten sich aber nicht auf ihren Lorbeeren aus und legten schon im Jahr 2015 das selbstbetitelte zweite Album "Elephant Tree" vor, das ebenfalls mit reichlich Applaus empfangen wurde. Mit dem dritten Langspieler "Habits" sollte der nächste große Schritt folgen, doch Pandemie und Schwierigkeiten ihres damaligen Labels machten den Engländern einen Strich durch die Rechnung. Dennoch blicken ELEPHANT TREE freudig auf zehn aufregende Jahre zurück und feiern diesen schönen Anlass mit den Wiederveröffentlichungen von "Habits" und "Theia" sowie mit großartigen Stücken aus ihrem Archiv und packenden neuen Tracks unter dem Titel "Handful of Ten".

ELEPHANT TREE machen ihr "verschollenes" drittes Album "Habits" (2020) endlich wieder verfügbar. Nach der Veröffentlichung von "Habits" geriet ihr damaliges Label in Schwierigkeiten, weshalb das von der Kritik hochgelobte Werk nicht die verdiente anhaltende Unterstützung erhielt. ELEPHANT TREE wurden im Jahr 2013 irgendwo in Londons modrigen Seitengassen im Proberaum gezeugt. Dort entsprangen dem Bass von Jack Townley und Sam Harts Schlagzeug die ersten Töne des späteren "Attack of the Altaica" Demos. Damit war das Debüt zum Eröffnungsstück der neuen Raritätensammlung "Handful of Ten" geradezu prädestiniert. Die ansteckende Mischung aus warmem, schmelzendem Gitarren-Fuzz und hochfliegenden Gesangsharmonien auf "Attack of the Altaica" führte schnell zu einem Plattenvertrag und bereits im September 2014 erschien das erste Album "Theia". Das Debütalbum wurde von Kritikern und Fans gleichermaßen hervorragend aufgenommen und dieser Meilenstein wird nun als Anniversary Edition neu aufgelegt. Eine Fülle von seltenen Fotos, Liner-Notes und Texten polieren das Artwork frisch auf. Die hart arbeitenden Engländer ruhten sich nicht auf ihren Lorbeeren aus und legten bereits im Jahr 2015 mit dem selbstbetitelten zweiten Album "Elephant Tree" einen Nachfolger vor. Mit "Habits" sollte der nächste große Schritt folgen, doch die Pandemie sowie Probleme ihres neuen Labels machten den Engländern einen Strich durch die Rechnung. Dennoch blicken ELEPHANT TREE freudig auf zehn aufregende Jahre zurück und feiern diesen schönen Anlass mit den Wiederveröffentlichungen von "Habits" und "Theia" sowie mit großartigen Stücken aus ihrem Archiv und packenden neuen Tracks unter dem Titel "Handful of Ten".

STONEMAN, die großen Provokateure der Gothic- und NDH-Szene sind nach nun über 6 Jahren Musikpause mit einem neuen Studioalbum zurück!
Während den letzten beiden Jahrzehnten, hat sich die düstere Truppe um Frontmann Mikki Chixx als fester Name etabliert. Mit mehreren Smash-Hits wie "Mord ist Kunst" und zahlreichen Auftritten bei Festivals wie dem Wacken Open Air, Eurorock, Wave-Gotik-Treffen oder Rock The Ring, haben sich STONEMAN aus dem Schattendasein des vorherrschenden Einheitsbreis katapultiert.
Pünktlich zum 20-jährigen Bandjubiläum in 2024, melden sich STONEMAN nun mit dem Album "NEU !" und Konzerten in Deutschland lautstark zurück!
Durch neue Songs wie "Heimatdiebe", "Korrekt" und natürlich "Helene" provozieren und polarisieren STONEMAN wie noch nie zuvor. Mal gehasst, mal geliebt, aber immer im bandtypischen Stil, mit tonnenweise Humor und Satire!
Das Album wurde in der Schweiz, auf Mallorca und in Los Angeles produziert und gemischt. Auch dieses Mal wurde beim Songwriting erneut auf den Steve van Velvet gesetzt, ebenso auf Dan Suter, der sich in der Schweiz um das Mastering des Albums gekümmert hat.

Ltd Edition - 200 copies**

Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.

Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).

The album was mixed and mastered by Marlon Wolterink at White Noise Studio.

ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.


ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information

This is the second package of remixes for the hypnotic folk music of the Ainu a cappella group Marewrew. 
Ukouk Remixes Pt. 02 is dedicated to dub-infused remixes, featuring Elijah Minnelli and Peter Presto on a 7" single.
Elijah Minnelli is a producer of dub music. The London-based artist specialises in a fusion of folklore and dub, which he masterfully demonstrates on his latest release Perpetual Musket on the FatCat label. His remix of Marewrew's Uekap is a deep and breathing take on the mesmerising round singing vocals, dubbed in a live take through his mixing desk. The chopped vocals are used like percussion instruments. Elijah Minnelli has also contributed a moody DJ mix to the Pingipung podcast series, sharing some of his knowledge of pre-reggae roots music from the Caribbean and South America.
Pingipung founder Peter Presto remixes the same track, Uekap, with his unmistakable dubby playfulness. The vocals are merry, the groove stumbling and slow. The flute melody qualifies as a perfect stress antidote.
The electronic dub trio Cloud Management added their version of Honkaya to the digital package. There is an Andi Otto remix in the bundle, Hunpe Yan Na. The song is about a whale that has stranded ashore; Otto dubs the song with Heiko Gogolin’s bass clarinet, blown organ pipes and his cello. Finally, Californian folk wizard Contact Field Orchestra adds his atmospheric, haunted version of Etukuma Kara.

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways.

Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise.

Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas.

These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising.

Her new solo album, "When It Rains It Pours" presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

Wenn es in den letzten zehn Jahren eine Musikerin gegeben hat, die man in den unterschiedlichsten musikalischen Kontexten immer wieder hören will: nicht weil sie eine passable Mitspielerin wäre, sondern weil sie diese Kontexte jedes Mal bereichert und auf spontane, unkonventionelle Weise erweitert, umdeutet, in neue transformiert, dann ist es die belgische E-Bassistin und Klangskulpteurin Farida Amadou.

Sie ist Autodidaktin - und sie versteht diese Selbstaneignung des Instruments radikal. Weder eifert sie den Virtuosen des E-Basses nach, noch verwendet sie das Instrument als reinen Klangerzeuger, der bloß Brummen und Feedbacks von sich gibt. Sie geht von einem völlig eigenständigen Ansatz aus. Der ermöglicht es ihr, eine überwältigende Wall of Sound zu kreieren genauso wie einfache, klare Strukturen, die rhythmisch prägnant sind und einen weiten Assoziationsraum zwischen Free Jazz und Noise eröffnen. 

Ihre Musik ist konzentriert, hat einen langen Atem, kreist um Motive, entwickelt daraus neue Linien, die Amadou im Spiel weiterverfolgt. Es ist ein im Wortsinne organischer Sound, ständig in Bewegung, dabei in sich ruhend. Die Stücke, die sie für Week-End Records aufgenommen hat, unterstreichen ihre beeindruckende Fähigkeit, aus der Ruhe die Ekstase zu entfachen, aus wenigen Ideen eine ganze Palette an Stimmungen aufzufächern.

Das macht sie zu einer Musikerin, die jede Gruppe, in der sie spielt, bereichert, weil sie präsent ist, ohne zu dominieren, weil ihr Sound so prägnant ist, ohne die anderen zu übertönen. Im Solo treten die Stärken ihres Spiels aber noch stärker hervor: die Kontraste zwischen zwischen dunklen, schweren Klangwolken und den rhythmischen Passagen, vor allem die Übergänge, die immer „logisch“ klingen, aber zunächst unerwartet kommen und ihren eigenen Weg einschlagen. Ihr neues Solo-Album, “When It Rains It Pours” zeigt sie als inspirierte Improvisatorin, die sich nie bloß ihren Einfällen hingibt, sondern die Ideen zu Ende denkt, oder besser: spielt. Selten klang improvisierte Musik so kompakt und zwingend.

The Flaming Lips will celebrate 25 years of their seminal 1999 album, The Soft Bulletin, with the brand new The Soft Bulletin 25TH Anniversary Vinyl out September 6. It will be available in limited-edition 2LP Vinyl with stunning Zoetrope designs notably co-created by Drew Tetz and band frontman Wayne Coyne. Plus, it boasts brand new sleeve artwork in addition to an insert with text penned by Wayne.

The Flaming Lips first unveiled The Soft Bulletin on May 17, 1999. Anchored by staples such as “Race for the Prize,” “Waitin’ for a Superman,” and “Feeling Yourself Disintegrate,” it earned some of the highest critical praise of the band’s career. Pitchfork placed it at #3 among “The Top 100 Albums of the 1990s,” hailing it as “godlike music” and professing, “Remarkably, the band's music maintains a general air of feel-goodness while their lyrics concern sobering subjects as bleeding, bites, and mortality.” Moreover, Entertainment Weekly bestowed an “A” rating upon the record, Spin scored it “9-out-of-10,” NME applauded it with a “9-out-of-10,” and Pitchfork delivered a rare perfect “10.0” score.

Im neuesten Label-Spotlight der 'This Is'-Reihe - nach gefeierten Blicken auf Flying Dutchman und Fame - konzentrieren sich die Ace-Macher auf Goldwax, das seinen 60. Geburtstag feiert, und präsentieren die besten Aufnahmen, die während der kurzen Existenz des Soul-Labels entstanden sind.
Die Compilation rückt nicht nur James Carr ins Rampenlicht, sondern auch seinen wichtigen Labelkollegen Spencer Wiggins oder die wunderschönen Harmonien der Ovations. Diese drei Acts waren die tragenden Säulen von Goldwax und zeigen neben den Songschreiber-Talenten von George Jackson und Dan Greer, warum der Einfluss des Labels auch heute noch wichtig ist. Ein Katalog voller Juwelen, von den frühesten Aufnahmen des Hitmachers von 'Why Can't We Live Together', Timmy Thomas, bis hin zu selten aufgenommenen Künstlern wie Philip & The Faithfuls. Diese Zusammenstellung zeigt auch, wie stark die Club- und Studioszene in Memphis damals war, mit Aufnahmen von Willie Walker, Percy Milem, Barbara Perry, Gene 'Bowlegs' Miller und anderen, die zwar nur sporadisch Aufnahmen machten, aber beliebte Live-Performer waren. 'This is Goldwax' wird mit einem vollständig illustrierten Booklet mit Liner Notes von Dean Rudland geliefert. Eine perfekte Einführung in das Label zu Beginn seines siebten Jahrzehnts. Als Doppel-LP