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The Relegation is something that we've been working on for roughly the last couple of years. With this being our first full length album following two previously self released EPs, Exemplifying Their Defeat and Dawn of Terror, we wanted to make sure that this effort stayed true to the Martyred recipe, but also allowed us to showcase the evolution of the band as well. During the time between the last release and working on this one we were able to harness our individual darker times & experiences, and translate them into this in the most honest and brutal way we could_as a band I believe that's what we have done with The Relegation.

Transparent vinyl. The Relegation is something that we've been working on for roughly the last couple of years. With this being our first full length album following two previously self released EPs, Exemplifying Their Defeat and Dawn of Terror, we wanted to make sure that this effort stayed true to the Martyred recipe, but also allowed us to showcase the evolution of the band as well. During the time between the last release and working on this one we were able to harness our individual darker times & experiences, and translate them into this in the most honest and brutal way we could_as a band I believe that's what we have done with The Relegation.

Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.

The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.

The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.

For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.

You had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.

Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.

But where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.

Perhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital and creativity that is now being recognised more broadly for the first time.

There’s a lot of buzz going on around The Strumbellas. Performances on Jimmy Kimmel, The Late Show
with Stephen Colbert and Late Night with Seth Myers. Won the 2017 Best New Rock/Alternative Rock
Artist Award at the iHeartRadio Music Awards and also got nominated for Best New Artist and
Alternative Rock Artist of the Year! Orange and Yellow Splatter vinyl.

Based in a small town near Modena (Italy), Browbeat formed in early 1998 from the ashes of local Hardcore and Metal bands with the intention to create the most intense music possible joining angst, heaviness and aggressive vocals.

Fronted by former South London lovers rock vocal harmony group, Alpha (sisters Jackie & Jean Heron and Marlene Richardson), Take Three was the brain-child of writer/producer trio "S.H.E." - Steve Sinclair, Peter Hinds & Kevin Ellis.

Meeting each other at The Factory community centre in Paddington (now known as the Yaa Asantewa centre and in the last few years, The Yaa Centre) Steve & Kevin began a partnership writing and directing their own theatre productions as part of The Black Theatre Co-Op, which called the centre home at the time. When a song they had written together for one of their productions received praise and plaudits, the path toward writing and producing records began, bringing in more seasoned hand Peter Hinds - formerly a member of key brit funk groups Light of the World and Beggar & Co, and player with Incognito, Imagination & Loose Ends - to complete the circle.

Take Three represented the first project for a creative partnership that would spawn multiple projects/aliases spanning the UK soul, funk & dance scenes, and still continues to this day. With this compilation we showcase for the first time the group's combined output as Take Three, complete with previously unreleased material.

“Nigh/T\mare’s” debut album on kontralamakina begins with an intense emotional journey through desolate landscapes of a distant world and rhythms that break everything that appears in its path. Industrial/experimental techno of the highest sphere. Titled ‘The oblivion of time’, this set of 5 original tracks + 1 remix by the legendary canadian duo techno “Orphx”

Oliver Coates' Throb, shiver, arrow of time is a portal into somatic chiaroscuro, aglow with the embers of imperfect memories and smudged with the plumes of internal echoes, which augment in vast, mercurial dimensions. For his third album on RVNG Intl., the British cellist, composer and producer offers a capsule of personal resonance and remembrance, assembled over the past six years. Throb, shiver, arrow of time traces the familiar metallic anatomy and viscous string modulations of his 2020 release skins n slime, while recentering his inner compulsions following a procession of lauded score writing projects, including the films Aftersun (Charlotte Wells, 2022), The Stranger (Thomas M Wright, 2022) and Occupied City (Steve McQueen, 2023). While working on Aftersun, Wells asked Coates how music could signal that someone is going on a trawl through their memory_a question that has stayed with him ever since and fosters a heartbeat running through the record. Throb, shiver, arrow of time is "all about inaccurate transmissions from our memories, overlaid with emotions from other sources," says Coates. The release is imbued with the ache and glow of recollections mulched together, where the guttural dissonance of misremembering is shrouded by strange orbs of sentiment. At the record's inner core is "Shopping centre curfew," a swift yet cavernous track that emerged five years ago when two real world events, both occurring in South London during the pandemic lockdowns, became fused in a dream: the demolition of Elephant and Castle shopping center, and the discussion of a curfew as a real possibility for all men following a violent crime. A strange simultaneity occurred with this piece of music and Coates built the album out from there, a sense of temporal entropy refracting shimmers of lurking convulsions into lucid sonic topologies. The ten compositions of Throb, shiver, arrow of time find weightless melodies soaring across after-image gradients, magnified and compressed. Misted tones within "Please be normal" and "90" soften drone-soaked shudders of inner acoustics messing up. Vocal invocations appear from long-term collaborators Malibu and chrysanthemum bear, as well as drifting synth radiance from Faten Kanaan. Throb, shiver, arrow of time furthers Coates' reach in collapsing the digital into the analogue and vice versa, allowing serendipity to reorganize the material and push out against the confines of flatness. This sculptural approach to sound is deeply influenced by the intricate installations of artist Sarah Sze, whose permutations of visual matter with its own after-image form kaleidoscopic epitaphs for ephemera and emotion. Coates' thinking about Sze's work and processes flowed together with his own playing and editing techniques, superimposing the textural relief of a live take back into a composition, and allowing the sound to succumb to a dream of itself. As Coates expands, "The cello is a kind of melancholic instrument with a light ethereal spirit. When the sound is flattened into digital processes, with shifted frequencies and time stretching I'm trying to give it even more of those qualities. Sometimes I'm distancing myself from it, so it becomes a piece of discarded debris that has soul in it, a down-sampling. Or other times, it's trying to maximize the present tense in the act of playing, and collapse that vivid color into a burnished, photocopied kind of sound. So the music acts like weather, weathering the listener, or as flames licking at the sides of objects." As the record unfurls, the compositions swell in duration, until the granular glimmers of its finale "Make it happen" persist in almost violent delight. "There's a feeling of not wanting to let this album go, trying to defy the extinguishing sound at the end of the music, trying to push the colors beyond the confines of the structure, to defeat the silence." In the scramble to resist denouement, Coates suspends the arrow of time in its eternal flight, just for a moment, to reveal the solace of the dust settling in the afterglow. Oliver Coates' Throb, shiver, arrow of time will be released on vinyl, Japanese import CD, and digital editions on October 18, 2024. On behalf of Oliver and RVNG Intl., a portion of the proceeds from this release will benefit The Traditional Music and Song Association of Scotland, an organization fostering opportunities for people of all ages to participate in the traditional music and culture of Scotland.

Freestyle Records drop a killer UK soul/early street soul reissue LP from 1988, in the form of Rick Clarke's hard to come by 'Time Keeps Moving On' album.

Originally appearing on the Raven label in 1988, Time Keeps Moving On constituted Rick Clarke's first LP following his work in the earlier eighties as part of brit-funk groups Potion and Side On, and solo output including Love with a Stranger (released on The Specials' Ghost Town's producer John Collins' Local Records imprint) and a few singles for RCA. Largely co-written and co-produced with Peter Hinds (Take Three, Atmosfear, Light of the World) and a guest turn from Master T aka Toyin Agbetu - this is foundational street soul that appeared at a time when the likes of Loose Ends were starting to break through to the US, and Soul II Soul just emerging.

The success of the 1962 Modern Sounds in Country And Western Music albums paved the way for Charles’ creative freedom as an artist. Throughout the rest of his career, he continued to show his deep affinity for country music. 1965’s Country and Western Meets Rhythm and Blues (aka Together Again) features Ray’s timeless version of the Buck Owens country standard “Together Again.” It also holds the distinction of being the first album Charles recorded in his own RPM International recording studio. While on 1996’s Crying Time album Ray delivers the definitive version of that Owens song and earned Ray the GRAMMY for Best Rhythm & Blues Solo Vocal Performance Male and recognition as Producer of Best Rhythm & Blues Recording by The National Academy of Recording Arts and Sciences. As if that weren’t enough, the album also boasts Charles #1 Billboard smash “Let’s Go Get Stoned.”

Spaceheads sind das fehlende Glied zwischen Post-Punk und Dance. Zwei Jungs aus Post-Punk-Bands der 1980er Jahre machen experimentelle, tanzbare Live-Musik, die sich an den euphorischen Bläsern und Rhythmen des Afrofunks, den motorischen Grooves von Krautrock wie Neu und Can und dem spirituellen, kosmischen Jazz der späten 1960er und 1970er Jahre orientiert, mit Elementen des Dub, des aufkeimenden elektronischen Tanzes (der zu dieser Zeit rapide auf dem
Vormarsch war) und sogar des amerikanischen R&B und Funk der 1970er Jahre.

Time and Spaceheads versammelt Material aus den frühen Veröffentlichungen des britischen Duos (1990-2003) auf wegweisenden Labels wie Dark Beloved Cloud, These, Merge & anderen,
bemerkenswerterweise zum ersten Mal auf Vinyl. Die Musik der Spaceheads ist sowohl für sich selbst als auch für unser historisches Verständnis von Innovation und Experimentierfreudigkeit in der
Post-Punk- und UK-Dance-Kultur von großer Bedeutung. Jeder, der sie jemals spielen gesehen hat, wird bei der bloßen Erwähnung ihres Namens aufleuchten. Es ist an der Zeit, dass diese Musik, die
seit 20 oder 30 Jahren durch die Sterne und digitale Umgebungen schwebt, ihren eigenen Moment in der Sonne hat, hier in all ihrer Pracht sequenziert, um die vielen Möglichkeiten dieser beiden Männer
einzufangen, die bemerkenswert sind, und verpackt, um die Ehrfurcht zu reflektieren, die wir hören, wenn wir sie anhören.

Rozen’s remastered album, Time Once Lost, is being released as a single LP vinyl available in 2 limited edition color variants: Dawn & Dusk. Gatefold jacket with a matte finish and spot UV gloss highlights, featuring artwork by Abigail Griglack (Silvermilk). Originally released in 2015, Time Once Lost journeys into the world of Majora’s Mask through 11 nostalgic arrangements. Featuring an additional track “Oath to Order (Time Twice Lost)” that is brand new for the remastered edition, performed by Sofia Session Orchestra, in Bulgaria. Composed and arranged by Rozen Audio mastered for vinyl by Ohad Nassim Gatefold artwork by Abigail Griglock (Silvermilk) Layout design by Rozen

Rozen’s remastered album, Time Once Lost, is being released as a single LP vinyl available in 2 limited edition color variants: Dawn & Dusk. Gatefold jacket with a matte finish and spot UV gloss highlights, featuring artwork by Abigail Griglack (Silvermilk). Originally released in 2015, Time Once Lost journeys into the world of Majora’s Mask through 11 nostalgic arrangements. Featuring an additional track “Oath to Order (Time Twice Lost)” that is brand new for the remastered edition, performed by Sofia Session Orchestra, in Bulgaria. Composed and arranged by Rozen Audio mastered for vinyl by Ohad Nassim Gatefold artwork by Abigail Griglock (Silvermilk) Layout design by Rozen

The band was formed in 2019 from an idea of musicians who at the time were part of acts such as Black Rage, In-sight, Atlas Pain and Sojourner. After a debut show supporting Asphyx and some line-up changes, the band entered the studio to record their debut album "Front: Toward Enemy" in 2020. After its release in 2021, HUSQWARNAH kept themselves busy on the live front, sharing the stage with acts such as Mortuary Drape, Baest, Discharge, High On Fire and Voivod. The latter show was recorded and then independently released under the title "Live At Bloom" in 2023. HUSQWARNAH's death metal is as genuine and convincing as it can possibly get, paying homage to certain traditional formulas dating back to the early nineties, with songs that are particularly compact in structure and dynamics, ideal for being performed live and thus reminiscent of bands such as Asphyx, Bolt Thrower and Benediction. "Purification Through Sacrifice" is a title that reflects the intent of the band to evolve musically, the themes range, as in the previous chapter, from films to crime news stories through visionary and bloody episodes. This time the sound is further enriched with technique and violence while remaining faithful to old school death metal.

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

"British-American Rock legends, Foreigner, have recently experienced some long overdue appreciation for their place in rock history, and they’d like to celebrate. In April, they were notified that they will be inducted into the Rock And Roll Hall of Fame, as part of the 2024 class alongside the likes of Cher, DMB, Peter Frampton, Ozzy Osbourne, Dionne Warwick and Big Mama Thorton. The band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs. With the wealth of media visibility and fan support around the induction ceremony, this double LP album offering releases at the top of October ahead of the festivities.

Highlights:
• he band is releasing a new career-spanning greatest hits compilation titled, Turning Back The Time, to seize on the moment and capitalize on their enduring catalog of hit songs"

Debut album from Los Angeles duo Los Yesterdays, Sweet Soul music meets Mexican Folklorico "Sweet soul music also known as lowrider oldies on the West Coast, rolas and souldies are typically early 60s-style tunes that emphasize vocal harmonies. Most songs are slow-to-midtempo, many are ballads, and the sub-genre is generally stripped down compared to the highly produced Motown hits of the time....there is a generations-long appreciation for sweet soul music among California’s Latino communities. Eastern Los Angeles teens.... helped foster a love of sweet soul in the early 60s by covering soulful ballads by artists like James Brown... Those sounds... were kept alive by record collectors and people who spent evenings cruising along East Los boulevards." BILLBOARD // Los Yesterdays are a Chicano soul band from Los Angeles based around the creative collaboration between Gabriel Rowland and Victor Benavides. They began working together when Rowland a drummer by trade, then creaky and exhausted from waking up at dawn to work construction decided to channel those struggles into song. He contacted Benavides, a former bandmate of Rowland’s deceased brother, to record the soul ballads that Southland Chicanos call “oldies.” Los Yesterdays filter love-struck R&B crooning through guitar-strumming Mexican balladeering; the result is something that sounds like the Los Angeles of yesterday and today the indelible, immovable Los Angeles of cruising Whittier Boulevard, of cold drinks on the porch on blazing summer nights, of watching a blue-orange toxic sunset and wondering if they are thinking about you. Los Angeles changes; Los Angeles stays the same. Los Yesterdays have changed, outgrown their childhood barrios and the bands of their early 20s and their private garage hermitude; Los Yesterdays are Frozen In Time. Tracks: A1. Nobody’s Clown A2. Frozen In Time A3. Something Happened A4. I Can’t Feel A5. Brown Boy B1. Last Request B2. I Want You To Stay B3. But You Did B4. Name On Me B5. Love Is A Game For Fools

In an age where the unyielding flow of time often overshadows the deeper resonances of our existence, Daniel Majer’s latest album, »Time for No Memory«, serves as an evocative meditation on the ephemeral nature of experience. Produced throughout 2023 and released in the latter half of 2024, this collection of tracks swerve through what seems like a cacophony of FM radio frequencies while oscillating between the familiar and the uncanny, leaving us with a sonic landscape that feels both timeless and retroactive yet palpably present.

In 2019, Daniel Majer released a collaborative album with Jonathan Scherk on Jan Jelinek's Faitiche label.

“Loves Love” jettisoned STÜM into 2024 and now “Beautiful Dancers” is here to take him ever higher.

As the second single off his forthcoming Essence Of Time EP, “Beautiful Dancers” is a blissful yet haunting take on techno. This track is total club rapture made up of ghostly vocal calls, static-like percussion and howling wind effects. A record of mixed emotions, pleasure and pain all blended up into 6 plus minutes.

Speaking on the tune, STÜM says “The songwriting process involved juxtaposing the organic with the synthetic weaving together contrasting sounds to mirror the duality of human emotion.”

Third in line is “Limbo”, a heaving acid hit full of hypnotic foreign instruments and vocals. This one gives off a massive street party feeling. From there we head to “Escape” a more dreamy and introspective bell-tone tune. A deliberate breather from STÜM before storming into the title track of the EP.

“Essence Of Time” is a shimmering rave piece. Dulcet piano intertwines with airy effects and hammering synths – another excellent example of STÜM’s ability to blend light and shade all at once.

Napalm Death's "Time Waits for No Slave," released in 2009, is a relentless onslaught of grindcore fury and socio-political commentary. This album sees the band continuing to push the boundaries of extreme music, delivering a blistering blend of speed, aggression, and thought-provoking lyrics.

With this album, Napalm Death reaffirms their status as grindcore pioneers, delivering a work that is both musically and lyrically uncompromising. "Time Waits for No Slave" stands as a testament to the band's enduring relevance and their unyielding drive to challenge the status quo through the power of extreme music.

Napalm Death's "Time Waits for No Slave," released in 2009, is a relentless onslaught of grindcore fury and socio-political commentary. This album sees the band continuing to push the boundaries of extreme music, delivering a blistering blend of speed, aggression, and thought-provoking lyrics.

With this album, Napalm Death reaffirms their status as grindcore pioneers, delivering a work that is both musically and lyrically uncompromising. "Time Waits for No Slave" stands as a testament to the band's enduring relevance and their unyielding drive to challenge the status quo through the power of extreme music.

Exzellente, Karriere umspannende Werkschau zum 80-jährigen Geburtstag des französischen Modern-Jazz-Vertreters Frederic Rabold, der seit Ende der 1960er bis heute aktiv ist, mit Avantgarde-Musikern wie Gunter Hampel, Leszek Zadlo und Lester Bowie arbeitete und neben Albert Mangelsdorff, Klaus Doldinger und Dave Pike auf der Bühne stand. Limitierte Deluxe-Auflage auf schwarzem Bio-Doppelvinyl im Gatefold mit ausführlichen Linernotes (dt. & engl.), bislang ungesehenen Fotos und Download-Code. 17 Tracks.

WRWTFWW Records is happy to further its collaboration with Japanese electronic/ambient group Interior by releasing their never-heard-before soundtrack for environmental artist NILS-UDO’s 1987 Laserdisc Sculpture of Time (Apocalypse). The intriguing sound design/kankyo ongaku/new age album is available as a limited edition LP housed in a heavyweight 350gsm sleeve and comes with a obi strip. It is also available in digital format.

In 1987, Intermission published a Japan-only Laserdisc showcasing one hour of works created by renowned German environmental artist NILS-UDO. To accompany the visuals, they commissioned electronic music group Interior, fresh off their Haroumi Hosono-produced self-titled debut (also available on WRWTFWW Records) and their Windham Hill Records-released sophomore album Design. For the first time ever, the soundtrack is now available in full HD glory, demonstrating Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto’s precise, subtle, and spellbinding approach to ambient sound design.

Calming nature sounds, ritualistic synths, meditative atmospheres, and eruptive forays into darker territories mesh superbly in a 4-part soundscape that flirts with oeuvres such Midori Takada’s Through The Looking Glass and Hiroshi Yoshimura’s Green, making Sculpture of Time one of one of the best kept secrets of kankyo ongaku – a must have for mystery hunters and levitating music lovers.

Sculpture of Time (Apocalypse) follows WRWTWW’s reissue of Interior’s debut album and precedes the upcoming release of Tarzanland, band member Daisuke Hinata’s pitch perfect solo from 1989.