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Riccardi Schola is back with Double A-sider 7“ Single. Both songs are like a private press Italo Disco single from the 80s with a new influence in a rough production. The first song „Mistake Disco“ is with the Italian singer Giada Pesce who also works with Riccardi on his debut „On my mind“ on Bordello A Parigi. The second song „M’hai preo il cuore“ is a lovely ballad sung by the Italian singer Giulia aka GGG (her DJ name) with Riccardi on back vocals.

Both songs spread the pure love to the early Italo Disco. Enjoy and listen and dance!

It’s fair to say Wallace is one of those rare producers that has already amassed quite the reputable back catalog in a very short space of time. Let alone in 2023 having already released two albums and a handful of Eps with labels such as Rhythm Section, Mule Musiq and CWPT, he’s become a go-to producer for many DJs. To some it may seem like he’s at the beginning of his career but Wallace has been producing for over 10 years refining his sound.

On Loop label boss Moxie has been an early supporter of his, not only championing him in her DJ sets but also having him feature heavily on her NTS show. The pair are thrilled to be finally putting this release out into the world, showcasing why Wallace really is, the real deal.

The whole EP is filled with tons of percussion and rhythm, pulling the listener in. Tanzanite & M’bira in particular are undeniable groovers. Red Velvet on the other hand is something you might expect to hear played at 5am Fabric room 1, whilst Violet is a treat only for the vinyl heads and shows off how versatile Wallace really is as a producer, offering something on a slower tip.

Speaking of the release, Wallace says:

The A-side of Tanzanite is inspired by time spent in Africa when I was young. My dad used to make animal programmes & one time I tagged along for his jaunt around South Africa and Namibia. The 'M'bira' track uses the instrument of the same name which he picked up, when out there & the title track is inspired by a gem stone park we visited in Cape Town. The B-side takes inspiration from recent clubbing experiences. In this way, the EP is juxtaposed from the joyous, open air, playfulness of the A to the moodier, darker feel of the B.

*Early support coming in from Liv Wutang, Yu Su, Erol Alkan, Dr Banana, Kamma, Bradley Zero, Richard Sen, Axel Boman, Tom Ravenscoft, Dar Disku & more..

Baby Blue & Halloween Orange Vinyl. In their decade-plus together, the four-piece_Julia Shapiro (guitar, vocals), Lydia Lund (guitar, vocals), Gretchen Grimm (drums, vocals), and Annie Truscott (bass, vocals)_have created a resonant body of work. Live Laugh Love is a natural continuation. Against the bizarre backdrop of the past few years, Chastity Belt remained a supportive space for the members to grow and experiment, drawing on the ingredients most essential to their process since the beginning: authenticity and levity. Recorded over three sessions in as many years (January 2020, November 2021 and 2022), the focus became more about enjoying their time together in the studio than making it feel like work. Their ease and familiarity with engineer Samur Khouja in LA, who also recorded their last album, made for a particularly enjoyable process. Once completed, they returned to renowned engineer Heba Kadry who mastered the album.Album opener "Hollow" sets the tone with a gently driving rhythm while guitar layers stream like sun rays through an open car window. A warmth radiates through Shapiro's voice, even while grappling with feeling lost and stuck. "The older I get," Shapiro says of the lyrics, "the more I realize that I might just always feel this way, and it's more about sitting with the feeling and accepting it, rather than trying to fight it." That wisdom seems to anchor Live Laugh Love. Chastity Belt has never shied from navigating the spectrum of difficult emotions, and an existential thread weaves throughout the subject matter. And yet the songs feel more grounded than ever; there's a sense of quiet confidence and self-assurance that comes with being less numb and more present. Facing discomfort takes more fortitude, after all.Live Laugh Love finds the members in their prime as musicians. Their parts trace intricate patterns over one another, but there's room to breathe between the layers. Everyone contributes to the writing, sometimes switching instruments, and for the first time, all four members sing a song. It's never been more apparent that they are creative siblings, cut from the same belt. "We've been playing music with each other for over a decade," says Shapiro, "so it really does feel like we're all fluent in the same language, and a lot of it just happens naturally.""Laugh" seeks in the balm of friendship, aware of the anticipatory nostalgia that hits during a good time that you're already missing before it's gone; the heavier guitar tones on "Chemtrails" streak ominous chord progressions over Grimm's precision timekeeping, lamenting memories that won't fade easily. During a transitional time, Truscott came across a note in their phone that read, "it's not hard all day, just sometimes," which inspired a poignant line in the chorus of "Kool-Aid," their first song as lead vocalist on a Chastity Belt recording. Another standout, "I-90 Bridge" shines with a silvery melody that soars as Lund belts one of the most resounding moments on the album: "Tell your girlfriend she's got nothing to fear/I'm set in my head/My body's a different story." The track "Blue" saunters nonchalantly with a wink; you can almost hear Shapiro's smile as she sings "Faking it big time/So I can hit my stride/Man, it feels good to be alive," channeling early Chastity Belt channeling early '90s before channeling the late Elliott Smith in a spiral of distortion and insight: "Don't get upset about it/It's gonna pass/Tell all your friends about it/They're gonna laugh.""We have such a strong sense of each other's musical inclinations" says Lund. "I think this allows for a lot of playfulness_we can kinda surprise each other, like a good punchline would."

Der US-Hitmaker veröffentlicht sein Debütalbum
"Fireworks & Rollerblades?, während seine Single
"Beautiful Things? auf Platz 1 der deutschen
Single-Charts steht - und das nunmehr seit bereits fünf
Wochen. International sieht es nicht anders aus: In den
UK-Charts ist der Song ebenfalls auf Platz 1, in den USA
erreichte er #2 und in den "Global 200"-Charts von
Billboard stand "Beautiful Things" ebenfalls fünf Wochen
an der Spitze (aktuell #2). Beste Voraussetzungen also
für das Album, das voller großartiger Songs steckt.

"Fireworks & Rollerblades" beginnt mit einem
rauschenden Intro gefolgt von "Be Someone", einem
Track voller unterdrückter Leidenschaft und Sehnsucht.
Ebenfalls Teil des Albums sind die epische neue Single
"Slow It Down" - aktuell bereits ein viraler Hit -, der
Fan-Favorit "Cry" über die toxische Beziehung zu einem
narzisstischen Menschen und "Friend", eine liebevolle
Ode an die Menschen, die Benson auf seinem
atemberaubenden Weg zu weltweiter Bekanntheit begleitet
haben.

Die Veröffentlichung von "Fireworks & Rollerblades" ist
der nächste große Moment in der Karriere des Benson
Boone, der Anfang dieses Jahres von iHeart Radio zum
"On The Verge Artist" ernannt wurde, im vergangenen
Jahr kürte ihn MTV zum Global PUSH Artist Oktober und
seine EP generierte mit Songs wie "What Was?, "Little
Runaway? und "Sugar Sweet? mehrere zehn Millionen
Streams.

Released in 1999 on Taylor Deupree’s 12k label, »optimal.lp« was the debut album by Dan Abrams under his Shuttle358 moniker. For its 25th anniversary, Keplar presents it on vinyl for the first time with three previously unreleased tracks—the digital version also includes a alternative version of »Tank«—as well as a new artwork recreated by Daniel Castrejón and a remaster by Andreas LUPO Lubich based on the original pre-masters that were been restored and cleaned up for the reissue project by Abrams. »optimal.lp« was inspired by the rich tradition of ambient music and the rhythmic complexity of 1990s electronica while also sharing many traits with the then-emerging clicks’n’cuts movement, making it a true sui generis piece of work—both informed by tradition and visionary, idiosyncratic and seminal for many artists after him.

Abrams developed an interest in ambient music when he was still a child, scouring through cassette tapes of environmental sounds, new age music, and world percussion. Discovering Brian Eno’s »Thursday Afternoon« as a young teenager marked a turning point for him. »It gave me the idea that ambient music could be an intentional creative act, that tone itself is a legitimate form of expression,« he says today. During the 1990s, he increasingly immersed himself in the electronica scene and the output of labels such as Instinct, where Deupree worked as an Art Director and released his first records as Human Mesh Dance. Abrams found a home on 12k after sending Deupree a demo tape that would later evolve into »optimal.lp,« released as the label’s fifth catalogue number.

Abrams was still in college when he started experimenting with a sound module, his laptop and a mixer as well as a MIDI card and a small controller. »Each note was composed in MIDI and played back when I was ready to record,« he explains his working process at the time. »The tracks could be replayed, but the sound interactions with glitches and noise would be a little different each time. I decided to base the concept of the album on these interactions.« Each piece started with a single sound or tone that, as Abrams puts it, already contained the entire composition: »I let these interactions guide me, and tried to complement them as I added sounds. It’s a conversation of sorts with the medium.«

While refining this technique that he would go on to use on every album until 2004’s »Chessa,« reissued by Keplar in 2021, he also used the first-ever Native Instrument product, the Generator soft synth, to write the record’s title track—possibly making it the first album on which it was being used. »optimal.lp« is marked by this curious interplay of cutting-edge technology, the limitations with which every college student with a small budget is faced, and boundless creativity. »I’ve talked with other artists about how we feel about our early work,« Abrams says today. »We all agreed that there were elements that remain a part of us in a timeless way, despite our techniques—or lack thereof—at the time. ›optimal.lp‹ has a lot of things that will always be with me, that are me. I think I left some clues in there for my future self.«

This sense of timelessness remains tangible after a quarter of a century after the album’s original CD release and is even being expanded upon by the vinyl reissue, which is complemented by three pieces that were made while Abrams was working on the album. The digital release even features an entirely new take on the original album’s final piece, »Tank.« While Abrams let one of the masters go through his customised reverb unit when preparing the reissue, he started recording the results of this accidental dialogue between past and present. It’s a fitting tribute to an album whose delicate circular rhythms, rich textures, and ethereal melodies are precisely so exhilarating because their interplay seems to suspend the passing of time altogether.

Nach einer 13-jährigen Pause kehren Kittie zurück, um den Thron mit einigen ihrer bisher besten Songs zurückzuerobern. Unter der Leitung von Nick Rasculinecz (Foo Fighters, Deftones) verwebt Kittie’s siebtes Album „Fire“ 12 Songs zu einem Thrash-inspirierten Wandteppich, der durch charakteristische Klänge und unerforschte Gebiete führt - und das alles in einem rasanten Tempo, das den Hörer bis zum letzten Akkord mitfiebern lässt

From P60 is an alias of Zoltan Nagy who this year marks the significant milestone of a quarter of a century in the music game. He celebrates that by launching his new label Midnight Fashion Chill with his own first EP for it. Over the years, Nagy has done it all from deep house to Balearic to lounge and downtempo and here brings that touch of class to six superbly soothing sounds that fuse all that and more. The opener is pure horizontal bliss, 'The Times We Spent Together' is a slow-motion daydream, 'Fallin' (with Jaidene Veda) is pure soul-soothing magic and 'When' is a gently lilting ambient soundscape crafted to perfection.

After the resounding success of their last album "Garden Island," released in 2021, the octet hailing from Tenerife is back with a new album titled "Ganzfeld."
While "Garden Island" drew inspiration from the philosophy of César Manrique and his groundbreaking ecological work on the island of Lanzarote, for this new album, Gaf & The Love Supreme Arkestra turn their creative gaze to the lowland areas of northern Tenerife aka Isla Baja (the low island). Here, they envision a retro-futuristic soundtrack for a misty coastal drive, filled with humid atmospherics and expansive jams featuring their trademark blend of avant-jazz, psychedelia, and freestyle rock.
Evoking a natural synergy to the proceedings, this new work presents the octet in a more ethereal tip than its predecessor. Saxophones, trumpet, bass, guitar, synths and marimba come together with added winds (Herreño and Vietnamese flutes) to create a wide spectrum of auditory escapism that, were it not for the band’s aforementioned natural instincts could result into a nightmarish vision. Instead they create an holistic esoteric sound where sea and earth come together in ecstatic ways conjuring images of peace and menace whilst never letting their raw, explosive energy go unchecked.
Another standalone work from a band that rejects banality, constant in their pursue of experimentation at the edge of the Atlantic ocean. Drive on!

*REMASTERED ROUGH TRADE 4 TRACK E.P LIMITED TO JUST 500 COPIES*

Everything on “Up Home!” is bigger, richer; the guitars are huge, as though they’re being played through the clouds, massive gusts of blue-green noise that move across the stereo spectrum like weather systems. “Baby Milk Snatcher” is built around face-flattening dub bass, with glinting piano and shards of guitar ricocheting through the song. “W.O.G.S.” is delirious to the point of expiration; “One Way Mirror” is their attempt at weird, lopsided ‘anti-funk’, the song’s melody crushed by avalanches of six-string interference. And the closing “Up” is AR Kane’s masterpiece, a disembodied thud pulsing at its heart as a six-note guitar melody spirals ever onward, Ayuli’s voice lost in its own reverie, hymning escapism via references to Jamaican political activist Marcus Garvey’s ‘black star line’.
• Jon Dale, lead review in Uncut Magazine
who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and
artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that!
The duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in
1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here – a tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.

The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. SimonReynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding
landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This
remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

Actress' zehntes Studioalbum, das himmlische und meditative „Statik“, wird am 07.06.24 von Smalltown Supersound veröffentlicht. Die Zusammenarbeit zwischen Darren Cunningham und dem geschätzten Osloer Label entwickelte sich organisch nach dem Actress Remix für eine 12“-Auskopplung eines Carmen Villain-Songs aus ihrem Album „Only Love From Now“. In diesem Sinne war das gesamte "Statik"-Projekt, von der Konzeption über die Entstehung bis zur Veröffentlichung, mit einer fast unnatürlichen Leichtigkeit gesegnet. Für Actress, der den Großteil seines subtil majestätischen neuen Albums in einem ausgedehnten Deep-Flow-Zustand schrieb, dient das Projekt als zusammenhängendes Zeugnis künstlerischer Befreiung. Das Ergebnis ist ein kontemplatives Album, das von einem Gefühl der Freiheit durchdrungen ist, während es gleichzeitig die Expertise seines Schöpfers durch forensische Aufmerksamkeit für texturale Details und die für Actress typischen Resonanzen unterstreicht. Bei genauem Hinhören können sich einflussreiche Visionen von Wasserwelten, wie dem mythischen Atlantis, und Beschwörungen von fliegenden Vögeln (und vielleicht auch Menschen) offenbaren. Egal, ob Statik dazu inspiriert, über oder unter dem Horizont zu schweben, Actress und Smalltown Supersound versprechen eine sichere und transzendente Reise.

Outrageous white label manoeuvres from Manchester mates AR & BS, transporting a Yacht legend to the furthest reaches of the cosmos. Psychedelic sprawl, robo-drama, AOR emotion - this disc's got it all !

AR extends, expands and excels on his A-side epic, delivering a dance floor journey which moves from weirdo wonk to the hands-in-the-air heaven in a transformative ten minutes. The loose and lysergic groove of the intro builds into a How Shroom Is Now wall of sound, takes a detour into heavy hip hop headnod and settles into vocal sincerity, all before dropping that HUGE chorus. Festival tested and club ready - everyone say Armen!

On the flipside, we catch up with Stockport staple BS, who puts down the Pet Nat, swaps the grape vape for a gary and gets stuck into a serious slice of cosmic chug.

Slo-mo and sleazy, this arpeggiator heavy heater sees a crooning 80's vocal surf a mechanical groove purpose made for backwards dancers and eyeball lickers. The combination of wild emoting and synthetic drama is pretty much everything, but just wait for that breakdown.

Double A-side coz you gotta double drop your GARIES!

Three years in the making, Livity Sound alumni Azu Tiwaline and Forest Drive West combine their distinct but compatible styles into an EP of advanced, reduced soundsystem immersion.

The idea for the collaboration took shape not long after Tiwaline’s first Livity release, the Magnetic Service EP, and the pair took time to settle on a sound set which now shapes out Fluids In Motion. Drawing on a cohesive palette, the tracks they pieced together in a remote exchange between Tunisia and the UK explored a variety of tempos and rhythms ranging from pure ambience through to spring-loaded 4/4, with a focus on minimalism and dub-spirited spatial sound design.

The end result naturally evolves from each artist’s existing work, matching subtlety and space with intricate detail to present a complete, considered release that runs as deep as an album over the course of four tracks.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

After releasing “Columbo No.5” last September, the band went into the infamous Tunbridge Wells Forum to record their debut album. Having never recorded a debut album before, perhaps the idea of nailing it in 5 days may have been optimistic but with the budget blown and the studio engineer committed to other work for the rest of the year the band were left scratching their heads.

They knew a local bee keeper was the mother of a producer who was raised on metal but recently had engineering credits with artists such as Stefflon Don, Stormzy and Skepta...
..... A call was made, and Jake Jones delivered!

Wytch Pycknyck are LOUD yet maintain a trashy garage feel. Off the blocks with Rawkuss, almost distort with the guitar cacophony hitting the redlight in parts, and ending with Frostbite a spoken word / rap intro metamorphosis into a space rock psychedelic wig out with bassist Ewan Fitzgerald’s passion for analogue synths coming to the fore.

Sometimes the guitars shred and sometimes the bass takes pole position. Two and half minute thrash-outs sit shoulder to shoulder with nine-minute psych monsters AND it all makes sense.

Marissa Marcel was a film star. She made three movies. But none of the movies were ever released. And Marissa Marcel disappeared. An interactive trilogy from Sam Barlow, creator of Her Story.The soundtrack to this interactive film video game is composed by the inimitable and Emmy Award-winning Nainita Desai, IMMORTALITY's haunting and complex soundtrack has captured the attentionand imagination of players the world over. Both rich and austere, the soundtrack contains deep emotional complexity and stands as a soaring achievement that brings the player in closer conversation with Marissa Marcel and The One.

Compassion combines ethereal pop with ‘80s synth textures, and slacker-rock charm. It's got a bit of Matthew E. White, chilled out BC Camplight and Conor Oberst.

The inviting and perceptive songs on Rui Gabriel’s debut LP Compassion all tackle growing up. It’s about how the older you get, your priorities shift, friendships evolve, and responsibilities become inescapable. For Gabriel, the Indiana-based, Venezuela-born artist and co-founder of the acclaimed band Lawn, the changes in his own life inspired him to write a solo full-length that sounds like nothing the indie rock journeyman has done before. Across 10 vibrant tracks that combine ethereal pop with slacker-rock and piano-driven dance music, it’s a galvanizing showcase of personal growth and the grace you give yourself to push forward.

Work on Compassion started in 2018 when Gabriel was living in New Orleans. “I was living a pretty teenage life in many ways,” says Gabriel. “I worked at a pizza restaurant and would just go to shows or parties. I wasn’t doing anything other than music. I didn't have many responsibilities.” The songs he was working on at the time—tracks that didn’t fit Lawn but Gabriel still liked—initially went unfinished. But as Gabriel’s life changed, so did his songwriting and his desire to see his ideas through. “When I was writing lyrics, I was settling down with my partner and about to become a dad,” says Gabriel. “I was making choices about my life that contradicted the existence I had before. I had a different set of priorities.”

The songs on Compassion deal with youthful carelessness ("Dreamy Boys") and coming face-to-face with newfound responsibilities ("Change Your Mind"). It's consistently a biting, observant look at getting older thanks to Gabriel's unique perspective as a South American immigrant who's lived across the United States for the past 13 years. “When you are Hispanic, English isn't your first language, and you're in a music scene with a bunch of white people, you're going to stand out a little bit,” he says. On “Church of Nashville,” “Hey, Leonard Cohen is singing poems by the gentrified alley” he humorously aims at scene pretension and industry gatekeepers.

Compared to Gabriel’s work with Lawn, where he writes frenetic post-punk songs and yells, for Compassion he explores more straightforward pop sensibilities and showcases his singing voice. “I wanted to do a solo record to prove to myself that I could sing,” says Gabriel. Take the meditative, piano-based lead single “Target,” which is inspired by Dido and finds Gabriel gorgeously harmonizing with singer Kate Teague. He reaches similar infectiousness on the sunny rocker “Summertime Tiger,” which guests Stef Chura. Co-produced by Gabriel and Nicholas Corson (The Convenience, Video Age), Compassion is consistently warm, generous, colorful, and adventurous.

“Compassion is a record about change,” says Gabriel. “It's a coming-of-age record but for somebody who's coming of age into their thirties.”

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

Die schwedischen Heavy Rocker GREENLEAF haben mit ihrem neunten Album "The Head & The Habit" den vorläufigen Gipfel ihrer langen Evolution erklommen. Die musikalische Handschrift und Virtuosität von Gitarrist Tommi Holappa, seit mehr als 25 Jahren einer der Vorreiter und tragenden Säulen der europäischen Stoner Rock Szene, zeichnen sich deutlich ab. Die Gitarren werden perfekt ergänzt durch den gefühlvollen, intuitiven Sinn für Melodien und die charakterliche Tiefe, die der klassisch ausgebildete Sänger Arvid Hällagård dem Sound von GREENLEAF verleiht. Neben den erstklassigen Gesangslinien sowie den massiven Fuzz-Power-Riffs hat sich der Frontmann intensive Gedanken zu seinen Texten für "The Head & The Habit" gemacht, die weit über den Standard des oft klischeebeladenen Genres hinausreichen. Wie bereits der Albumtitel ("Der Kopf & Die Gewohnheit") andeutet, sind die neuen Songs als symbolische Kurzgeschichten angelegt, die sich um das Ringen mit Gefühlen bis zu psychischen Erkrankungen drehen. In Hällagårds Lyrik spiegeln sich seine Erfahrungen aus der Arbeit mit Menschen wider, die mit Sucht und anderen psychischen Problemen zu kämpfen haben. Die Heavy Rock Liebhaber GREENLEAF wurden ursprünglich als informelles Privatprojekt unter Freunden gegründet. Alle spielten bereits in anderen Bands, worunter sich so klangvolle Namen wie DOZER, LOWRIDER und DEMON CLEANER finden. Die Schweden suchten einfach nur nach einem Ventil für ihre gemeinsame Liebe zum Hard Rock und Proto-Metal der 70er Jahre, das frei von den Erwartungen und dem Druck ihrer Hauptbands sein sollte. Trotz der Absicht, GREENLEAF nur zum Vergnügen zu betreiben, führte die ungetrübte Freude beim Erschaffen eingängiger Songs dazu, dass ihr gesamtes Umfeld nach Aufnahmen von diesem Material verlangte. Dies führte schließlich zur Veröffentlichung einer selbstbetitelten Debüt-EP im Jahr 2000, der nur ein Jahr später das erste vollständige Album "Revolution Rock" folgte. Die Jahre mit wechselnden Besetzungen waren vorbei. GREENLEAFs stabiler Fokus wurde durch ihr fünftes Album "Trails & Passes" (2014) gekrönt, auf dem erstmals Arvid Hällagård als Sänger zu hören war. Dieser Meilenstein markierte den endgültigen Beginn einer neuen Phase der Band. Mit "The Head & The Habit" verbinden GREENLEAF nun das Bewusstsein für vergangene Triumphe mit reifem Handwerk. Die Schweden wissen, wie sie mehr als je zuvor stärker, härter und auf den Punkt rocken. GREENLEAF verschmelzen donnernde Riff-Magie, mitreißenden und mit Soul getränkten Gesang, frenetische Rhythmen und treibende Takt-Attacken zu einer ohrwurmverdächtigen, funkelnden Legierung von Hardrock-Hymnen!

2024 Reissue

Alphacut Records reloads its third wave with an upfront jungle plate. Meticulously selected over the years since the last allover amen statement Fundamentals EP as of cat.nr. ACR 3001, these four new killer tunes take no prisoners as well.

Sumone (with his Planet Mu fame) and Dan Miles (formerly Skubi like on Modern Ruins) as the midwest cowboys meet the North Sea sailors Istari Lasterfahrer (running his Sozialistischer Plattenbau) and Ill_K (on Nord and re:st)to execute this smashing Darka Mentors EP!

"Wicked Man Sound" is one of the most sinister jungle sciences we came across lately. Choppage on point, layerslike spread, stabbing basses, dark percussion, oldskool pads - you name it. "Crash!" feels like a UK hardcore banger, but is refreshingly switching breakbeats instead of gabba kicks. "Echo Chamber" drops an irresistible rave stab into the dubber dungeons and "Kuro" celebrates a very samurai style of a halftime cut to round up this breaksfest menu with ease.

Alphacut operates on a non-profit level, most releases cover their costs, if even. Half of any returns will be donated to Webster's Amen Break Gesture campaign II raising funds for the original creator of The Winston's Amen Brother breakbeat: Richard Spencer. With the deepest respect for this milestone of a sample!

Mick Harris is one of the world's greatest compositional treasures. Starting his career as the energy dynamo behind the drum kit of the UK's Napalm Death, he made the term Blastbeat a household reference, wrote the band's music on his mother's one string guitar, and joined the Guinness Book of World Records for composing the world's shortest song. In the decades succeeding, he has re-inventedmusic several more times, from the wild abstract jazz of Painkiller with John Zorn and Bill Laswell, to the drowning ambience of his Lull project, all while continuing to build a world that he can truly call his own - the dark post-dub of SCORN. "Reaching 54 this year - this won't stop the challenge, driving me more so now than ever" - says Mick Harris, commenting on the recent phase in his creativity. The pandemic isolation and lockdown pushed the work of the maestro more than anything else could have. In 2021, his output is ever-increasing, releasing the newest collabs with Justin K. Broadrick and the single "Distortion", featuring one of the most outstanding voices of hip-hop - Kool Keith - his closest collaborator, Ohm Resistance founder - Submerged. Commenting on the release of "Distortion", Mick Harris said to mxdwn: "I enjoy collabs - they bring something different to the swim." Working on his own and collaborating with everyone from Sleaford Mods' James Williamson, on the previous SCORN release or with Kool Keith and Submerged on "Distortion", Mick Harris never had problems with putting energy into beats and sound landscapes, combining various surreal elements with three basic elements that always push Harris further, that are extremely crucial for both Mick Harris and SCORN as a project - frustration, anger and anxiety. Combining the signature soundscapes of Scorn with tartareous textures, the newest album "The Only Place" reaches a psychedelic groove, based on what Harris calls "Pushing an original idea further" with his own shades of light and dark and celestial electricity of what SCORN is. These 10 new tracks add elements unheard in Scorn since Evanescense and Gyral - ethereal ambiences and floating, near-melodic-but-not-quite moments, a signature of Harris' abilities to generate feelings in a lost world of his own creation. 2024 vinyl version on orange coloured vinyl!

Zur Jubiläums-Europatour der Australier der Nachfolger des 2018er-Comebacks "Loudmouth Soup" von 2021, jetzt erstmals in europäischer Pressung! Astreines pissgelbes Vinyl, sorgfältig eingefärbt von Subway Records. In ihrer 40-jährigen Karriere haben die Cosmic Psychos absolute Hymnen aufgenommen: 'Hooray Fuck', 'David Lee Roth', 'Down on the Farm', 'Go the Hack', 'Nice Day to Go to the Pub', 'Fuckwit City' und viele mehr. Und das 2021er Album enthält viele Songs, die bei den kommenden Konzerten gespielt und gesungen werden. Die Psychos wurden in den frühen 80er Jahren in Melbourne gegründet und sind immer noch aktiv. Sie wurden von der Punk-Gemeinde in Australien und im Ausland begeistert aufgenommen und erreichen nun eine neue Generation von Fans. Wie die Ramones, Motorhead und AC/DC haben sie eine Formel, die seit 40 Jahren funktioniert: Songs über Alkohol, Mädchen und Landwirtschaft, gespielt in einem frenetischen Tempo. Mountain of Piss macht da keine Ausnahme, und genau das ist das Tolle daran! Die Höhepunkte von Mountain of Piss sind der Titelsong, in dem es darum geht, für Australien einen Berg von Pisse zu erobern, und Sin Bin, in dem es um schwachsinnige Fußballer geht, sowie die Stücke Dickson und Munted. Aber der Mid-Tempo-Country-Song Too Old to Drink in Pubs" ist das wahre Juwel des Albums. Genial ist auch das vom Mount Rushmore inspirierte Cover, auf dem die Gesichter der Cosmic Psychos mit Hilfe eines Stapels von Holzgegenständen in einen Berghang "gemeißelt" wurden. 500 Stück für Europa!

Schwarz, Grau und Silber dreigeteiltes Farb-Vinyl. Trotz der großen Aufmerksamkeit, die ihrem Durchbruchsalbum "Tramp" zuteil wurde, kehrte Sharon Van Etten ins Studio zurück, bereit und gewillt, eine neue Richtung einzuschlagen, tiefer zu gehen und ehrlicher und vulgärer denn je zu schreiben. Das Ergebnis dieser Bemühungen war "Are We There", ein selbstproduziertes Album von außergewöhnlicher Intimität, erhabener Genialität und immenser Kraft. "Are We There" wird dieses Jahr zehn Jahre alt und erweist sich erneut als eine ihrer kraftvollsten und zeitlosesten Sammlungen. Von den ersten Akkorden des ersten Songs "Afraid of Nothing' an ist klar, dass wir Zeugen eines neuen Bewusstseins sind. Van Etten in voller Fahrt schreibt, produziert und performt von einem Ort, der fast mythisch erscheint, wäre er nicht so greifbar und real. Stets direkt und selbst vor den persönlich schmerzhaftesten Erzählungen nicht zurückschreckend, handeln viele der Songs von scheinbar unmöglichen Entscheidungen, Vorfreude und dann Auflösung. Sie singt von der Natur des Begehrens, der Erinnerung, des Verlorenseins, der Leere, von Versprechen und Loyalität, von Angst und Veränderung, von Heilung und dem wahren Selbst, von Gewalt und Zuflucht, vom Warten, von Stille. Die Künstlerin, die mit einer solchen Stimme spricht, fordert uns auf zuzugreifen und tiefer zu gehen. Auf diese Weise bleiben die Fragen des Lebens lebendig, so nah und beständig wie der Atem. Inmitten all dieser wahrhaft brutalen Ehrlichkeit findet Van Etten Momente der Leichtigkeit. "Every Time the Sun Comes Up" hebt das Album am Ende an, vervollständigt die Welt, in die sie uns einlässt, und stellt uns sanft auf das ein, was folgen mag. Seitdem ist es zu einem unauslöschlichen Bestandteil von Van Ettens Live-Shows geworden. Es ist schon genug, seine Musik zu leben, ohne auch noch die Rolle des Produzenten zu übernehmen, aber Van Etten wusste, dass es an der Zeit war, ein Album zu machen, das ganz nach ihren eigenen Bedingungen entstand. Gleichzeitig erkannte Van Etten, dass dies nicht bedeutete, dass sie es alleine machen musste, und sie stellte eine geliebte, jetzt gefeierte Gemeinschaft zusammen, um ihre Vision zum Leben zu erwecken. Für die Aufnahmen fand Van Etten in dem erfahrenen Musikproduzenten Stewart Lerman einen verwandten Geist. Lermans Studioexpertise gab Van Etten die Freiheit, "Are We There" so zu machen, wie sie es sich vorstellte. Van Etten nutzte auch die individuellen Talente ihrer Band, bestehend aus Heather Woods Broderick, Doug Keith und Zeke Hutchins, und holte ihre Freunde Dave Hartley und Adam Granduciel von The War on Drugs, Jonathan Meiberg (Shearwater), Jana Hunter (Lower Dens), Peter Broderick, Mackenzie Scott (Torres), Stuart Bogie, Jacob C. Morris und Mickey Freeze hinzu. Der unvergleichliche Richard Swift arbeitete mit Van Etten am Endmix. Man könnte den Strom abschalten, alle Instrumente entfernen, und Sharons Stimme und Worte würden bleiben. Sie sind heute noch so kraftvoll wie vor zehn Jahren und sie werden sicher noch viele Jahre überdauern.

2024 Reissue

redux packaging. aja monet's poems are a work of gravity. They are a fundamental for which all things are attracted, considered upon and enacted towards. Her work moves, constantly, between origin and outcome, allowing them to exist in converse. In her debut album when the poems do what they do, we glimpse her indefatigable commitment to speak. Those thematic origins of this album at times center around Black resistance, love and the inexhaustible quest for joy.In when the poems do what they do aja monet appears as a woman of letters and storm, her poems do not roar in pentameter - but rather in storm surge because, "Who's got time for poems when the world is on fire?!." And this work isn't one to pull apart into one liners, these are poems of things felt. There is a fullness here that can't be encapsulated in even the boundaries that language offers. aja monet is a griot, a storyteller, a chronicler, and your grandmother telling you about her first love all at once. These are baby making poems - literally the spring enacting upon the cherry trees. These are poems of urgency and want and the rallying cry to demolish the insidious systems from which our futures seem to be wrought, in other words, "If we had a sense of humor we'd be more radical. More migrant than citizen we'd breathe the air clean and ration our resources...we would melt ALL the guns." You will find yourself readying arms because of these poems, and simultaneously mourning the unstoppable loss of names already destined to be immortalized. aja monet crafts a work as she always does, that can be entered from many doors. These aren't poems for poets, but poems for everyone.She is joined in effort on this album by musicians Christian Scott (trumpet), Samora Pinderhughes (piano), Elena Pinderhughes (flute), Luques Curtis (bass), Weedie Braimah (djembe) and Marcus Gilmore (drums). Together creating music that is insistent and unrelenting. There are songs reminiscent of jazz club virtuosity and melee, others of a healing balm in gilead, and the chords of Castaway move like that of the call to intercessory prayer.

'Make It Up' ist der Nachfolger zu FEETs Debütalbum 'What's Inside Is More Than Just Ham', das sie 2019 ins Rampenlicht des Indierock katapultierte und zu einem der aufregendsten Gitarrenacts der Szene machte. Aufbauend auf diese Sound-DNA hebt der fein abgestimmte, kohärente und fesselnde neue Output die Band auf die nächste Ebene, wie die erste Single 'The Real Thing' mit spitzen Gitarrenlines, liebenswertem Groove und messerscharfen Lyrics eindrucksvoll beweist. 'Make It Up' wurde von Andy Savors (Black Country New Road, The Magic Gang, The Horrors) produziert, von Caesar Edmunds (Beach House, Wet Leg, Foals) gemischt und von Christian Wright in den Abbey Road Studios gemastert.

Monochord are Vienna-based musicians Bernhard Hammer and Jakob Schneidewind, two thirds of Elektro Guzzi, though Monochord paints a different picture. Electroacoustic experiments and filmic elements define the music that develops instinctively yet irrevocably, a sense of forward motion setting them apart. Compositionally minimal, their tracks maximise their inherent potential all the way through to their logical and even illogical end.
Referencing electronica, ambient, shoegaze and at times modern classical harmonics, Monochord builds and unbuilds in a slow heartbeat. Introspective and filmic, its quiet and non-confrontational nature makes Monochord move in the interzone between various spheres. Their music escapes definition and that is its truest definition. Its subtle pulse and evocative and drony feel invite and inspire.

"In partnership with WaterTower Music, Waxwork Records is thrilled to release GODZILLA x KONG: THE NEW EMPIRE Original Motion Picture Soundtrack by Tom Holkenborg! The epic monster-battle continues with an all-new adventure that pits the almighty Kong and the fearsome Godzilla against a colossal undiscovered threat hidden within our world. Godzilla x Kong: The New Empire (Original Motion Picture Soundtrack) features 23 new tracks created for the film by Grammy-nominated composer Tom Holkenborg, aka Junkie XL (Mad Max: Fury Road, Deadpool, Zack Snyder’s Justice League) as well as composer Antonio Di lorio. Composer, Tom Holkenborg says, “I’m a huge Godzilla and Kong fan, and loved working with director Adam Wingard on 2021's GODZILLA VS. KONG, so returning to these monsters to score their biggest adventure yet was a dream come true. These are two of the most enduring names in Hollywood and Adam has done an amazing job implementing his vision for these icons. I was also delighted to be able to name Antonio Di Iorio, an incredibly talented composer, who has worked with me for many years, as my co-composer on this movie. I couldn’t be more enthusiastic to continue my adventures with Adam and expand our creative relationship in the Monsterverse.” Waxwork Records is excited to present GODZILLA x KONG: THE NEW EMPIRE as a deluxe double LP featuring the original soundtrack by Tom Holkenborg pressed to 180 Gram colored vinyl, housed in heavyweight gatefold jackets with matte satin coating, a 12x12 heavyweight art print insert, and design and layout by Matt Needle."

Godzilla X Kong: The New Empire by Tom Holkenborg & Antonio Di Iorio, released 21 June 2024, includes the following tracks: "Monarch Base - Red Dream", "Leaving Colosseum - New Dossier", "Friendship", "Approaching the Lake" and more.
This version of Godzilla X Kong: The New Empire comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

The vinyl is pressed as a swirl splatter, neon & pink & blue etc. disc. Another vinyl is pressed as a swirl splatter, neon & pink & blue etc. disc.

Zweimal jährlich, wenn die Sonne direkt über dem Äquator steht, sind Tag und Nacht fast gleich lang. Sofia degli Alessandri-Hultquist, alias Drum & Lace, fasziniert diese Symmetrie. Ihr neuestes Album 'ONDA', inspiriert von den Wellen des Ozeans, spiegelt ihre musikalische Reise wider, von der Kindheit in Florenz bis zur elektronischen Avantgarde.

'ONDA' vereint Tanzrhythmen und tiefe Bässe, eine Hommage an ihre Zeit in Florenz und ihre Leidenschaft für europäische House-Musik und experimentelle Klänge. Drum & Lace verbindet darauf elektronische Texturen mit natürlichen Aufnahmen und schafft so eine erdverbundene, organische Klangwelt.

Sofia studierte Musiktechnologie an der NYU und wurde u.a. von Größen wie Morton Subotnik inspiriert. Ihre bisherigen Alben 'Natura' (2022) und 'Frost' (2023), sind beide stark von der Natur beeinflusst. In Live-Performances kombiniert sie audiovisuelle Elemente und teilte bereits die Bühne mit Künstlern wie Suzanne Ciani, William Basinski oder Kaitlyn Aurelia Smith.

'ONDA' (Fabrique Records), das sich tief in Tanzrhythmen und die Schönheit des Ozeans vertieft, markiert auch einen neuen musikalischen Weg für Drum & Lace.

- Ltd. LP: (Transparent Vinyl)

A Gilles Peterson-approved deep jazz-rap classic.

2024 first time vinyl release, 140g double vinyl, remastered audio with restored artwork.

Limited and Non-Returnable.

Holy grail hip-hop alert! Superstar Quamallah's Invisible Man was never released on wax so, to celebrate the 15th anniversary of this astounding record, we present the first ever vinyl edition. A stunning record which gained accolades upon its initial release, such as a prominent feature on Gilles Peterson's renowned Best Of 2009 show, it's one of the most essential jazz rap albums of all time.

Deep jazz rap on that mellow-melodic tip, Invisible Man is an unforgettable album with nothing but dope beats and dope bars. There's a strong chance this album has passed you by but we truly believe it to be a lost hip-hop masterpiece. It supremely captures the essence of a golden age classic without being slavish to the past. No, this ain't some facile throwback rap. It's a fresh and deeply soulful, original album shot through straight from the heart. Perfect to chill to, Invisible Man is profoundly jazz-oriented and captures with simplicity and sincerity the essence of hip-hop circa 1983-1994. It sounds like vibing with your nearest, dearest and oldest friends on a long hot summer night as the tantalising thought that anything is possible fills the air. You know what, we can just call this "magic hour rap" and we think you'll know what we mean. It's just beautiful. Just Listen.

Brooklyn-born, California-based emcee, DJ, and producer Superstar Quamallah was active in the West Coast underground scene throughout the 90s and recorded extensively with such revered names as Defari and Tajai. His parents were some serious artistic heavyweights, too; his father was soul organist Big John Patton, a giant in the jazz world known for his releases on Blue Note whilst his mother was an active designer. However, he remains relatively unknown. Invisible Man, named ostensibly after the classic Ralph Ellison novel, could also refer to how he is viewed by the public at large. With close affiliations to the Hieroglyphics, Dilated Peoples and Likwit crew, his debut EP "Don't Call Me John" arrived in 1999 on ABB Records, after which he took a sabbatical from recording which included graduate school, travelling, teaching at Inglewood High and eventually a professorship of African Studies at Berkeley.

With a laidback flow and deep, relaxing presence on the mic, Superstar Quamallah is equal parts Big Daddy Kane, Rakim and Guru. Invisible Man is refined, soulful, feel-good hip-hop of the old school. Its wise, spiritual and literate sound, combined with the summertime vibes projected by the smooth beats and the nostalgia-inducing samples and vocal scratches, created jazzy boom-bap rap reminiscent of prime De La Soul, A Tribe Called Quest and Gang Starr.

Irresistibly bouncing opener "You Need Knowledge" loops sparkling pianos, horns and a nagging whistle refrain with scratched vocal refrains from Slick Rick, Mobb Deep and Guru. The super-smooth head-nod classic "88 Soul" also utilises a beautifully swelling piano line and dusty breaks whilst Quamé reminisces about his childhood in NYC. Deeply moving, the silky, sultry "Black Shakespeare" is built around an elegant piano loop and goes hard on the superman lover tip whilst "For My People...It's Spiritual" is transcendental rap in conversation with Rakim and older gods. The "Moment Of Truth"-sampling "Lonely At The Top" is striking for its undiluted boom-bap stylings and the staccato flute-hop of "Just Listen" is riddled with soulful refinement. The deeply-affecting, wistful-yet-triumphant bells and horn-drenched single "California Dreamin'" is top-tier rap of unimpeachable quality. What a flow!

Another highlight is the rich melodic piano-rap of "Purity", a beautiful ode to the foundations of rap and those keeping the culture authentically alive. Beautifully played instruments and spiritual jazz samples elevate the deep thinking present on "Kunta Kente" whilst the darker jazz-tinged battle-rap of "93 Shit" goes super hard both in a lyrical sense and with its no-holds drum punches. The breezy Rhodes and string loops that serve as the sonic backdrop to the slinky jazz rap of "We Got Plots" are just gorgeous as our hero evokes Common's "I Used To Love H.E.R." with a head-spinning tale of crime, deception and double crossing. And some twist! "Do Win-Dis" has a tense crime-funk backing and rolling beats which complement Quamé's flow perfectly before the record is rounded out by the tough yet jazzy brilliance of rap confessional "Hope She Remembers Me". Just sensational.

Upon its original release, Quamallah himself declared: "My favorite time period for Hip Hop music was definitely between 1983 and 1994 with 1988 and 1993 being two years that standout as extremely impressive years musically and culturally. The fashion, slang, movies, TV shows and vibe during those years was incredible. While totally submerged in the feelings and music of that entire time period, I went to work on Invisible Man and I am excited for people to hear the result! It is an album that I would want to hear from some of my favorite artists of the past and present today. This is not a RETRO trip for me; this is me at my best lyrically and spiritually using the accessories of the 80s and 90s to fuel me. I am a 88 soul as the song states!"

This album goes deep. It goes all in. When Invisible Man first came out it had a real hold on us here at Be With HQ. We couldn't stop listening to it. We'd venture to say it's one of the top 25 rap records of the 2000s. In the years since its release, it has remained a criminally underrated record, an increasingly hidden gem. We sincerely hope this first time double LP release will go some way to correct this.

It's been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. Finally available on the format it should always have been on, it must never be rendered invisible again.

Eleventh album consisting of eleven songs, Pink Air, by Elysian Fields, cult New York band led by Jennifer Charles and Oren Bloedow, was released in September 2018. Recorded in the mountains around Woodstock, Pink Air was finalized in Thomas Bartlett's studio (The National, Sufjan Stevens) in Manhattan. A single rock wave unites the tracks with its cavernous reverberation, as if shrouded in the darkness of a night club or pinned to the shadow of a modern nightmare. Pink Air is a post-apocalyptic rock'n roll getaway. The album tackles themes as varied as the ecological threat, the regime of a potential narcissist dictator, white supremacy, censorship, the erasure of history, the social drama of families ... as well as meditations on time, friendship, loss, death. Despite the biting tone, the words never sound too heavy, lightened by many touches of humor. Jennifer Charles's vocals are at their highest, infusing each song with its legendary languid charisma, in a lyrical breath whose spellbinding power has remained intact. By portraying the landscape of the present day with her precise, often caustic lyrics, Jennifer sets her special veil on the intimate, the spiritual, brushing her characters, friends and lovers, in a pure novelist style. All against a background of fear of our time, of its social and political drifts. With Elysian Fields, the angelic singer and her acolytes have always been carried by the highest currents of the sky. For Pink Air, they fold their wings, land on the ground, and roam the scorched lands of America, animated by the rock'n roll spirit of the animal. The feathers turned into so many spiky hairs

In den letzten zehn Jahren hat sich DANIEL DAVIES zu einem gefeierten Komponisten atmosphärischer, synthielastiger Instrumentalmusik entwickelt - für Film- und Fernseh-Musik, an der Seite von JOHN CARPENTER auf den "Lost Themes"-Alben des Regisseurs und auf Solo-Veröffentlichungen wie "Signals And Spies". In seinem früheren musikalischen Leben war DAVIES jedoch ein Rocker, der mit Bands wie YEAR LONG DISASTER und KARMA TO BURN durch die ganze Welt tourte. Mit seinem neuen Solo-Album "Ghost Of The Heart" kehrt DAVIES zu dem Alt-Rock-Sound zurück, den er vorübergehend beiseite gelegt hatte, und ergänzt ihn mit dem, was er beim Produzieren von Soundtracks und Instrumentalmusik gelernt hat. "Ein Rockalbum zu schreiben ist ein Ausdruck der Gefühle des Künstlers, während es bei der Vertonung eines Films darum geht, Klanglandschaften zu schaffen, die die Geschichte eines anderen ergänzen", sagt DAVIES. "Bei diesem Album wollte ich die schweren Gitarrenriffs aus meiner Rockzeit mit den atmosphärischen Synthesizerklängen verbinden, mit denen ich als Komponist experimentiert habe." Die Songs auf "Ghost Of The Heart" lassen sich nicht in ein bestimmtes Subgenre einordnen: Sie sind stimmungsvoll, schwer und ein wenig proggig, aber mit einer starken Pop-Sensibilität und viel Melodie. Das Album verrät DAVIES' Vorliebe für eingängige, zukunftsweisende Bands wie RADIOHEAD und BLUR, aber vor allem fühlt sich "Ghost Of The Heart" natürlich an, so als würde er etwas Grundlegendes über sich selbst als Musiker wiederfinden. DAVIES nahm "Ghost Of The Heart" im Laufe des Jahres 2023 mit dem Produzenten John Spiker auf, seinem langjährigen Freund und Mitarbeiter. Spiker steuert auch den Bass bei, während Matt Flynn Schlagzeug spielt. Alles andere auf der Platte wird von DAVIES selbst eingespielt.

180 Proof Records & BBE Music continue to bring new life to the Strata catalogue, this time with the short-lived label's swan song: Larry Nozero’s 1975 passion project, Time. The final album to be released on Strata Inc., Time is a dream- like mix of mood, an album full of range, tempo, and feeling; from the impulsive and airy rendition of the jazz standard “All The Things You Are” to the brooding melancholia of “Tony,” Nozero’s Time is destined to become known among aficionados as a classic of 1970s jazz. Like time itself, each song is open to individual interpretation - something Nozero himself confessed to on the album’s original liner notes, saying “It got so deep that we decided to call the group and our album after that concept of TIME, because it seemed to mean something to just about everyone.” A native of Detroit, Nozero spent time in Charles Moore’s Detroit Contemporary 5 (part of Strata Inc.) before being drafted into the military. While enlisted, Nozero capitalised on his time by honing his craft in the Army Band. By the time he returned to Detroit, Nozero had little trouble landing high-profile gigs. No stranger to success, Nozero’s previous credits and collaborators include Henry Mancini, Sergio Mendes, and playing Soprano sax on Marvin Gaye’s iconic 1971 album, What’s Going On. Working with his cousin and collaborator Dennis Tini, Time is unlike many albums of the era in that it truly feels like a work fuelled by freewheeling expressionism. The pieces are funky, soulful, strange and soothing all at once. Tini’s stand-out contribution to the album is “Tune for L.N.”, a funk-fuelled piece of rhythm-centric jazz. A distinguishing feature of the album is the use of wordless vocals. The scat work on part two of “Chronicle Of The Murdered House” adds a distinct counterpoint to Nozero’s reed work, while the high pitch bebop of “Baubles, Bangles and Beads” closes out the album with a carefree and buoyant groove. Time has been remastered by the Grammy nominated studio The Carvery, along with the artwork, which has been restored and includes never seen before photos.

Bereits 2012 von den Balfour-Brüdern Ryan und David gegründet, konnten sich MAVERICK aus Belfast, Nordirland schnell in der Szene etablieren. Mit ihrem ersten Album „Quid Pro Quo“ tourten sie gemeinsam mit den schwedischen Hardrock-Stars THE POODLES durch Europa. Mit dem zweiten Album „Big Red“ war der Fünfer mit den schwedischen Superstars TREAT unterwegs. Sie spielten u.a. auch auf Festivals wie dem H.E.A.T FESTIVAL (Deutschland), ICE ROCK und ROCKNACHT TENNWIL (Schweiz), WILDFEST (Belgien) und ROCKINGHAM in Großbritannien, was ihnen dabei half ihre
schon solide Fangemeinde weiter massiv zu vergrößern! Das nächste MAVERICK Album „Cold Star Dancer“ wurde 2018 veröffentlicht. Es erhielt ebenfalls beste Kritiken von der internationalen Presse und die Band spielte ihre erste Headliner-Tour durch Europa. Zudem spielte man mehrere Shows mit den schwedischen Glam-Rockern CRASHDIET. Ein Highlight war das Schweizer ROCK THE RING Festival wo sie zusammen mit WHITESNAKE,
TESLA und DEF LEPPARD auftraten. Im Jahr 2021 veröffentlichten sie das wieder vielbeachtete und überdurchschnittlich rezensierte Album
„Ethereality“. Aufgrund der Pandemie und deren Folgen konnten sie dieses Album aber leider nicht wirklich auf die Bühne bringen. „SILVER TONGUE“ ist das 5. Album der Band und das erste Lebenszeichen vom neuen Album war die bereits 2023 erschienene Coverversion des STEELHEART respektive STEEL DRAGON Hits „We All Die Young“ aus dem Blockbuster „Rock Star“, welche als
onustrack auf der CD enthalten ist. MAVERICK sind zurück, stärker als je zuvor und beginnen mit „SILVER TONGUE“ eine neue erfolgreiche Ära!

This is not just a tribute album. It is an endeavour borne of love. Tim Smith composer, principal songwriter, lead singer and guitarist of Cardiacs passed away on the 21st July 2020. The artists on this record came together to celebrate Tim's unique music and further it's dominion Everyone involved in the making of this album generously gave their time and creativity freely, a testament to the love they all shared for Tim. After articles about Tim Smith and Leader Of The Starry Skies have been written in The Guardian and the Sun this is what some reviewers have had to say; A treat for fans and a primer for everyone else, this is extraordinary and timeless music that glows and trobs with love for the very brilliant man who created it. Dom Lawson ~ Prog Classic ...the music of Mr Smith, has the uncanny ability to transform minds, delve deep into whatever it is that makes us think and feel and push and pull at it in a way that is utterly unique and endlessly rewarding... Prog Archives ...the most diverse eclectic and excellent mix of music styles, artistic execution and musical diveristy that this reviewer has had the privelege - nay, the JOY to hear in ages. Andi James Chamberlain ~ Subba-Cultcha These aren’t just pop songs, there’s something far deeper going on. Many have the familiarity and spirituality of hymns... he’s our generation’s Elgar . Sam Shepherd ~ Line Of The Best Fit ...smart, talented people performing great, unique songs in support of a very worthy cause. Matt Evans ~ Rockarolla

Pure Mania is the debut album by The Vibrators, who have always been considered one of the most important punk pioneers in the UK. The band was formed in 1976 by Ian 'Knox' Carnochan, Pat Collier, John Ellis and John 'Eddie' Edwards. In 1976 they were backed by Sex Pistols producer Chris Spedding, who recommended the band to the successful RAK label. The band had legendary shows on John Peel's BBC Radio 1 and played the pioneering punk venue: London's Roxy Club. The band supported Iggy Pop and Mott the Hoople frontman Ian Hunter. Pure Mania has always been considered a true punk classic that was essential to the birth of the British punk scene. Even the Stiff Little Fingers took their name from a track on the album. The Guinness Encyclopedia of Popular Music also named Pure Mania as one of the 50 greatest punk albums of all time. Pure Mania is available as a limited edition of 1000 individually numbered copies on translucent magenta coloured vinyl.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Ahead of her upcoming headline tour, eight-time GRAMMY®-nominated diamond-certified icon Avril Lavigne announces her first-ever Greatest Hits album set for a June 21 release via Legacy Recordings, the catalog division of Sony Music Entertainment. Avril Lavigne - Greatest Hits will be available on 12" vinyl, CD and digital formats and is now available for pre-order. The album will be available in 12" black vinyl and a Target-exclusive 12" vinyl neon green pressing. The album packaging includes new photos and a personal note to fans from Avril.

An essential compilation from all phases of Avril's pioneering career as one of the 21st century's breakout pop icons, Avril Lavigne - Greatest Hits features 20 career-spanning fan-favorites from her record-smashing catalog including the RIAA 3x platinum-certified "Complicated" and 2x platinum-certified “Sk8er Boi” from her chart-topping 2002 debut album Let Go (Artista) through her seventh studio album Love Sux (Elektra/DTA) with songs such as “Bite Me,” “Bois Lie” feat. Machine Gun Kelly and “I’m A Mess” with Yungblud.

Avril Lavigne will bring her Greatest Hits on the road for a series of unforgettable concerts in 2024. The Avril Lavigne: The Greatest Hits tour kicks off on Wednesday, May 22 in Vancouver, BC at Rogers Arena, with stops in Los Angeles, Las Vegas, Phoenix, 2x Toronto, Charlotte, Nashville, Chicago and more before wrapping up on Wednesday, Sept 18 in Calgary. All Time Low and Simple Plan will join Avril on select dates throughout the tour as special guests and direct support, with Royal & the Serpent and Girlfriends joining select dates as opening acts.

Four of Avril's studio albums – Under My Skin (Arista/RCA - 2004), Best Damn Thing (RCA - 2007), Goodbye Lullaby (RCA - 2011), and Avril Lavigne (Epic - 2013) – will be released for the first time in 12" vinyl editions expanded to include bonus recordings formerly available as digital-only tracks. Amazon will offer an exclusive metallic silver pressing of Under My Skin, an exclusive 2LP surge green pressing of Goodbye Lullaby (with nine bonus tracks) and an exclusive opaque baby blue pressing of Avril Lavigne (with three bonus tracks). Avril's D2C store will offer their own exclusives including a 2LP 12" neon pink vinyl pressing of The Best Damn Thing (with five bonus tracks).

Released in January 2023 in expanded digital and 2LP 12" vinyl formats as Let Go (20th Anniversary Edition), Avril's 2002 studio debut is being re-struck in a new 12" vinyl pressing for the Avril Lavigne catalog reissue celebration.

Let Go the debut album from Avril Lavigne, originally released in June of 2002. Let Go became an instant sensation with hits such as "Complicated," and "Sk8ter Boi" dominating the charts and airwaves.

Seit fast zwei Jahrzehnten bringen die schwedischen PORTRAIT die Massen mit ihrem düsteren Heavy Metal zum Staunen. Nach dem von der Kritik hochgelobten "At One With None" aus dem Jahr 2021 kehrt die Band mit ihrem sechsten Album "The Host" zurück, ihrem ersten Konzeptalbum überhaupt, das am 21. Juni über Metal Blade Records veröffentlicht wird. Gründungsgitarrist Christian Lindell beschreibt das neue Werk als "eine okkulte Geschichte über Schwert und Zauberei, begleitet von einigen der leidenschaftlichsten Heavy Metal-Aufnahmen aller Zeiten. Die Geschichte spielt im Schweden des siebzehnten Jahrhunderts und dreht sich um einen namenlosen Protagonisten, der aufgrund seiner Erfahrungen mit der Ungerechtigkeit und Heuchelei dieser Welt beschließt, Wahrheit und Stärke durch seinen 'Widersacher' zu suchen.

Nachpressung! Black Blue Splatter Vinyl Doppel-LP im Klappcover. "Beautiful Rivers And Mountains: The Psychedelic Rock Sound Of South Korea's SHIN JOONG HYAN 1958-1974": erzählt die persönliche, spirituelle und tiefgründige Geschichte von SHIN JOONG HYUN und zeigt das gesamte Spektrum der menschlichen Emotionen, die in wunderschönen und rastlosen Sounds münden. Zum ersten Mal ist diese Musik auch außerhalb von Korea erhältlich. "Beautiful Rivers." versammelt einen Überblick über die gesamte Karriere des Gitarristen, Songwriters, Produzenten, Komponisten und Talentscouts. Als er mit seiner Karriere Mitte der Fünffziger Jahre begann, spielte er vor den amerikanischen Truppen in Korea. Obwohl er nur wenig Englisch sprach, kommunizierte er durch seine Gitarren, konnte jedoch viel mehr ausdrücken als nur das, was ein Sessionmusiker konnte. Ein musikalischer Trip zwischen Motown, HENDRIX und THE VELVET UNDERGROUND, so süchtig machend wie eine Flasche des besten koreanischen Soju. Der erste asiatische Musiker und erst der sechste, der so wie zum Beispiel ERIC CLAPTON und EDDIE VAN HALEN, eine Fender Custom Shop Tribute Series Gitarre erhielt.