Search:the world

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

"‘A virtuoso guitarist with a galvanising charm that electrifies her audience.’ - Guardian

Molly Tuttle & Golden Highway release a new six-song EP, Into the Wild, via Nonesuch Records. The EP, a follow-up to their Grammy-winning and critically acclaimed 2023 album, City of Gold, includes three new songs as well as previously released covers of Jefferson Airplane’s ‘White Rabbit’ and Olivia Rodrigo’s ‘good 4 u’, and an alternate version of the City of Gold track ‘Stranger Things’.

In addition to the band’s previously scheduled US tour dates, which include a performance at the Ryman in Nashville in September, they have announced a new batch of US dates in November, including stops in North Carolina, Virginia, Maryland, upstate New York, Massachusetts, and more.
.
Of the new release, Tuttle says: “With this new EP we invite you to come on a journey with us Into the Wild. I wrote the title track with Ketch Secor after a week spent in the redwoods. This song is about getting lost in the wilderness even if it’s just in the forest of your mind. ‘Getaway Girl’ was an unfinished song I had started writing for our last LP City of Gold. It’s about a whirlwind romance set in New York City, kind of like Carrie Bradshaw meets bluegrass. In addition to these two new original songs, we included some of our favorite covers that we’ve woven into the live show, ‘White Rabbit’ by Jefferson Airplane and ‘good 4 u’ by Olivia Rodrigo.”

She continues: “We paid tribute to one of my favorite California songwriters Kate Wolf with a new version of her song ‘Here in California’ which features my dad, Jack Tuttle, and longtime friend AJ Lee singing with me. I used to play this one with my family band back in the day! On ‘Stranger Things’ (Down the Rabbit Hole Version) I wanted to go for a stripped back ethereal version of this song originally played by the full band on City of Gold. It features a trio with Dominick Leslie on mandolin, and Nathaniel Smith on cello and synth. I hope you enjoy trekking deeper into the woods with us as we pick up where we left off on City of Gold and explore new territory as a band.”

Earlier this year, Tuttle and the band—fiddler Bronwyn Keith-Hynes, mandolinist Dominick Leslie, bass player Shelby Means, and banjo player Kyle Tuttle—earned their second consecutive GRAMMY win for Best Bluegrass album for City of Gold, released last year on Nonesuch Records. Earlier this month, the band was nominated for eight IBMA Bluegrass Music Awards: Tuttle and the band are up for Entertainer of the Year, Vocal Group of the Year, Instrumental Group of the Year, and Album of the Year for City of Gold. Tuttle is nominated for both Female Vocalist of the Year and Guitar Player of the Year, and Bronwyn Keith-Hynes for Fiddle Player of the Year and New Artist of the Year. Additionally, Jerry Douglas, who produced City of Gold with Tuttle and is up for Resophonic Guitar Player of the Year, will be inducted into the Bluegrass Hall of Fame.

Raised in Northern California, Tuttle moved to Nashville in 2015. In the years since, she has received many accolades; in addition to the two GRAMMY wins she was also nominated for Best New Artist. She has earned three wins at the 2023 IBMA Bluegrass Music Awards and Tuttle won Album of the Year at the 2023 International Folk Music Awards. Additionally, she has earned Instrumentalist of the Year at the 2018 Americana Music Awards, and Guitar Player of the Year at the IBMAs in both 2017 and 2018. Tuttle has performed around the world, including shows with Billy Strings, Béla Fleck, Hiss Golden Messenger, Jason Isbell, Old Crow Medicine Show, and Dwight Yoakam, as well as at several major festivals including Newport Folk Festival and Pilgrimage."

Big Crown Records is proud to present Dave Guy’s debut album Ruby. Having lent his talents both on stage and in the studio to artists like Amy Winehouse, Lizzo, Pharrell, and Sharon Jones to currently playing every night on The Tonight Show as a member of The Roots, Dave steps out on his own with a jazz record that is both unique and modern. Ruby mixes his musical in­fluences with the energies of the city that raised him, capturing different moods and inviting the listener into the world as Dave Guy sees and feels it. Recorded in Queens at The Legendary Diamond Mine, the album is produced by Homer Steinweiss and Nick Movshon and features musical contributions from Leon Michels, Marco Benevento, Claire Cottrill, and more.

Ruby instantly sits with the classics as an album that is fully realized and not simply a collection of songs. Lead single “7th Heaven” opens the album with an anthemic energy as Dave’s horn lines soar over thundering drums, ethereal vocals, and dancing piano. Keeping the energy high, “Footwork” is a Latin inspired number that is sure to soundtrack many a dance fl­oor from SoHo to Harlem. The synth intro of “Pinky Ring” cleanses your palate for the mood shift when the track drops. Deep bass tones underline the impeccable drumming and

Dave effortlessly finds the pocket wasting no notes as the verses and choruses trade off. The record leans into spiritual jazz vibes on “Diamond Encore” with a dark and deep almost “Axelrodish” rhythm track then picks the energy back up with the stomper “Still Standing”. “Dave Wants You” has a bop all its own with an unorthodox drum pattern that Dave anchors with his trumpet hits. The otherworldly arrangement of “Drony Boy” puts the production on a pedestal. The first intro almost serves as an intermission on the album while the second

intro sets up the neck snapping track that is about to drop. A menacing guitar signals the builds and the whole thing is juxtaposed by Dave’s beautiful trumpet riffs. “Quesodillas” & “Green Door” begin the autumn of the album with their mellow & intimate energy and “Ruby’s Rubies”, the album’s closer is the perfect ending to the journey.

Nina Ryser's music has always inhabited its own world; a singular and cohesive collection of Keyboard-centric home recordings that marry her undeniable pop sensibilities with a truly bizarre dreamlike aesthetic. With a solo career spanning 7 releases as well as her work in the highly influential art-punk trio Palberta, Nina's artistic voice has been a staple in the American underground for over a decade, her distinctive and consistent sound earning a cult following. Her latest effort Water Giants signifies a departure in both sound and artistic practice - her first solo release recorded outside of her home studio, with a myriad of first time collaborators, it's Nina's most lavish and expansive offering to date, honing in on the heartfelt songwriting at the core of her work. After completing her usual process of demoing the songs for Water Giants, Nina felt that she wanted to try something new, escaping the confines of her minimal studio setup and the limitations of working alone. At the recommendation of several friends, she began working with Lucas Knapp, a Philly based producer who has contributed work to many Dear Life releases (including Florry's The Holey Bible, Hour's Ease the Work, and Joey Nebulous's Joey Spumoni Creamy Dreamy Party All the Time ). Lucas and Nina's recording sensibilities aligned quite seamlessly, breathing new energy into the songs in what she describes as an "effortless collaboration". The result is some of her most pristine experimental pop offerings to date, centering Nina as a dynamic performer and lyricist without foregoing the surreal qualities of her previous work. The album features contributions from many of her peers in the Philly music community, including Jill Ryan (Great Time), Victoria Rose and Nino Soberon (@, Brittle Brian), Eli Kleinsmith (The Knee Jerk Reaction), and her husband Gabe Adels, whom she frequently collaborates with in the synth-pop duo Data. Even the cover art is a departure for Nina, who has previously crafted it herself or with longtime friend/visual artist Izzy Kross, this time assembling a collage of photographs taken by Eve Alpert (Palm) fit for the album's newfound dimensionality. Lyrically, Water Giants stands as Nina's most personal work to date. Taking a cue from her previous release, I Miss My Dog, which was written as Nina was processing the imminent loss of her and Gabe's dog Billy, Nina approached the writing process with unbridled honesty and chose not to edit or overthink her words as she had in the past. The result is a number of candid, heartfelt reflections on love, illness, addiction, anxiety, and the beautiful absurdity of a trash pile on the street. Interspersed throughout the album are Nina's signature woozy instrumentals, which add some escapism to the grounded nature of the material. By putting faith in a newfound collaboration without straying from her natural instincts, Nina has crafted the most dynamic album in her discography, an exciting testament to her songwriting prowess and what can be accomplished by stepping out of your comfort zone as an artist.

The unconscious and unknown must be really nice places. In any case, if you take the second album of Menelaos Tomasides under his given name as travelogue. A trip into dreamlike territory, yet concrete enough, a journey without target yet looking forward and looking back into familiar places, „dreamhike“ both continues and departs from the style Menelaos has found earlier, in “When the Moon Comes Through”, or his more conceptual-intentional “31 Minuten” works. As the album title - which roughly translates to “dream hiking” but also hints on “walkabout” and “songlines” – suggests, we are rambling between the real and the imaginary. From the bucolic border triangle of Belgium, Germany, and the Netherlands to the buzzing streets of the capital of Cyprus, where Menelaos has lived for many years, the tracks are about real places, about real experiences and emotions yet interwoven with a dreamlike fabric. Something that is just not tangible, yet substantial and palpable. Something concrete that manifests in the genuine and special sound design of this records - basically all of Menelaos’ works - his really special treatment of dynamics and loudness. It is one of the very few records where the established language of music making, specifically Techno, House, Dub, and early 2000’ Electronica, the clicks, thumps and plops from an earlier age of electronic music, transmogrify into slow movements of something new. Something that is gentle and truly personal, looking inwards. There are four-to-the-floor beats, there is wobbly bass, and dubby chords, even sublimated clarion calls. There is an immense energy in these tracks, the sheer materiality of low frequencies of a massive sound system manifested in a tiny room. Yet it is without any aggression, stripped bare of sonic pressure. It is quiet music no matter how high you turn up the volume. A rare treat, that requires exceptional skills and exceptional restraint and control on the technical side of music making. Probably it is a result of Menelaos specific combination of instinctual, intuitive approach to making music, which meets a genuine love for sound in seemingly endless loops of refinement that can lead to such a result as „dreamhike“. The elegant floating balance of control and playful experimentation manifests for example in a track that continues the ongoing collaboration with seasoned Cologne improviser Achim Fink on bass trumpet. Not only in this respect, the album can be described as a product of openness. It comes from a lot of taking in the world, of travel, of places and people met, of friendship and conversation (not necessarily with words). The deep trip of “dreamhike” further manifests Menelaos as one of the truly independent voices of electronic Cologne and beyond. Somewhat alike in character and attitude probably to what late Pete Namlook has established for Frankfurt with his label Fax +49-69/450464 (though ultimately warmer and much less uncanny) Menelaos has found his very own sound and vision. Music that answers to no one but speaks to everyone. Uncompromising yet gentle to the core: kind sounds from a kind spirit, arguably the most extraordinary and valuable quality music can have these days.

Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’ in random-colour reground vinyl. “Lewis’s catchiest and finest album” - (Grade: A) Vice. Blang Records are thrilled to announce they’ll be bringing the wild streets of Manhattan to the UK and Europe this autumn with the vinyl re-release of Jeffrey Lewis’s 2015 masterpiece ‘Manhattan’. The LP sold out of its first pressing and has been impossible to buy anywhere for years…until now. Out on exclusive Random Mix Colour Reground EcoVinyl in record shops from 20th September. Blang Records and Jeffrey Lewis have history: before Blang was a label, it started life as a live night at the 12 Bar Club in Denmark Street, hosting many a set of the NY Antifolk artists over on UK shores, including Jeffrey Lewis. Now 20+ years since Jeffrey first played Blang, it feels fitting that tour support comes from UK antifolk linchpins, Blang Records mainstay, and arguably one of the UKs most criminally underrated bands, David Cronenberg’s Wife (“A mix of 80’s fall and the Velvet Underground” - NME). Native New Yorker Jeffrey Lewis is a comic book writer/artist and a musician. A cult hero birthed from the now infamous antifolk movement that sprung up on Manhattan’s Lower East Side in the 90s, Jeffrey has released dozens of albums showcasing his unique blend of bleakly witty observations, scratchy, lo-fi punk and croaky folk/anti-folk, all firmly rooted in a strong DIY sensibility. Jeffrey and his band have toured the world multiple times over, released albums on Rough Trade, Moshi Moshi and Don GIovanni Records, and have been featured by NPR, The History Channel, The NY Times and more. ‘Manhattan’ was mixed by John Agnello (Dinosaur Jr., Phosphorescent, War On Drugs) and recorded by Brian Speaker at SpeakerSonic Studios NY, produced by Brian Speaker and Jeffrey Lewis. “We’ve been fans of Jeffrey Lewis since seeing him at the Sidewalk Cafe in 2001, so we’re really really pleased to be really-re-releasing the excellent album ‘Manhattan’ just in time for his September UK Tour. This all started when Jeffrey asked for help looking after his merch after his UK tour finished last year and we said we’d help him press some records in Europe from a UK address as the postage costs from the US were way too much. This ultimately led to us re-releasing his classic album (and respectful nod to Lou Reed's New York) ‘Manhattan’. It's beyond a dream come true. Blang is the home of fantastic lyricists and that's exactly what Jeffrey is - this is a perfect fit.” - Blang Records. “Jeffrey Lewis is an amazing musician, and if you don’t know his songs you probably have a hole in your heart that can only be filled by his words… I did!” – Regina Spektor. “Jeffrey is the best pure songwriter I know of… ‘Sad Screaming Old Man’… is one of my favourite songs ever written.” – David Berman, Silver Jews. Tour Dates: Jeffrey Lewis & The Voltage, w/ support from David Cronenberg’s Wife - Aug 29th Hertford – Corn Exchange, 30th Coventry – The Tin Music & Arts, Sept 1st Stockton-on-Tees – Georgian Theatre, 2nd York – The Crescent, 3rd Stirling, Scotland – The Tolbooth, 4th Birkenhead – Future Yard, 5th !SOLD OUT! – Halifax – The Grayston Unity, 6th Norwich – Norwich Arts Centre, 7th Northampton – The Black Prince, 8th Carmarthen – CWRW, 9th Nottingham – The Old Cold Store, 10th Southampton – The Joiners Arms, 11th Hastings – The Pig // Jeffrey Lewis solo: 12th London – West Hampstead Arts Center, 13th London – West Hampstead Arts Center

crys cole returns to Black Truffle with Making Conversation, her third solo release for the label. After the intimate song-like constructions of Other Meetings (BT096), Making Conversation documents a different facet of cole’s work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.

The side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia / San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she ‘observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place’. Drawing on field recordings as memory aids (but including none in the finished piece), cole’s piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to ‘imitate nature in her manner of operation’.

‘Valid ForeverrRrrRRrrr… (pt. 1)’ began as cole’s contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood’s Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole’s piece begins from Beth Anderson’s Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on ‘two large similar paper things and one 5-pin bowling ball’. Rolling from one side of the stereo field to the other, the bowling ball’s uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.

On ‘Valid ForeverrRrrRRrrr… (pt. 2)’, cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. The result is refreshingly puzzling, comparable perhaps only to the sparsest moments of Keiji Haino’s classic “C’est parfait…” Accompanied with extensive liner notes, photographic documentation and a download code, Making Conversation is an exciting next step in cole’s work, extending her signature concerns in new sonic and conceptual directions.

REISSUED!!! Received an 8.1 rating from Pitchfork. "Sadly, many will hear Chris Corsano & Bill Orcutt's latest LP, Made Out of Sound, as 'not-jazz,' though it would be more aptly described as 'not-not-jazz.' In a better world, it would warrant above-the-fold reviews in Downbeat, or an appearance on David Sanborn's late-night show (if someone would only give it back to him). More likely, we can hope for a haiku review on Byron Coley's Twitter timeline to sufficiently connect the various improvised terrains trodden by this long-time duo—but if you've been able to listen past the overmodulated icepick fidelity of Harry Pussy, it should surprise you not an iota that Orcutt's style is rooted as much in the fractal melodies of Trane and Taylor as it is in Delta syrup or Tin Pan Alley glitz. As for Corsano, well, it may seem daft to call this particular record 'jazz' (because duh, it has a drummer), but to me Corsano is beyond jazz, almost beyond music, his ambidextrous, octopoid technique grappling many stylistic levers and spraying a torrent of light from every direction. Corsano's ferocity has elevated many 'mere' improv records to transcendence, but here he's crafted his polyrhythms within more narrative channels, bringing to mind his 'mannered' playing in the lamented Flower-Corsano duo. It's not 'groove' playing precisely, but it follows many grooves simultaneously, much like Orcutt's own melodic musings—which is why they're so naturally lock-in-key here. Which maybe makes it all the more surprising that Made Out of Sound was in fact recorded in different rooms on different coasts at different times, and stitched together by Orcutt on his desktop. Corsano recorded the drums in Ithaca, NY, and (as Orcutt states), 'I didn't edit them at all. I overdubbed two guitar tracks, panned left/right. I'd listen to the drums a couple times, pick a tuning, then improvise a part, thinking of the first track as backing and the second as the 'lead', though those are pretty fluid terms. I was watching the waveforms as I was recording, so I could see when a crescendo was coming or when to bring it down.' Fluidity ties the tracks together. With a little more groove and a little less around-the-beat maneuvering, one could almost hear the boiling harmonic layers as Miles-oid in 'Man Carrying Thing,' but with new-found Sharrockian modalities, Corsano accentuating the tumbling nature of the falling notes. The Sharrock vein continues with 'How to Cook a Wolf,' its Blind Willie-esque melodic simplicity and repetition extrapolated 360-style in a repetitive descending riff that falls into Cippolina-isms (by way of Verlaine ) until the end crashes upon the shore. Much like Orcutt's last solo album, Odds Against Tomorrow, there's a gentler, almost pastoral flow to some tracks ('Some Tennessee Jar,' 'A Port in Air,' 'Thirteen Ways of Looking') that calls to mind the mixolydian swamplands of Lonnie Liston Smith—but unlike Odds , other tracks ('The Thing Itself') smash that same lyricism into overdriven, multi-dimensional melodic clumps that push several vector envelopes at once in an Interstellar Space vein. With the help of Corsano, Orcutt has managed to slither even further out of the noise/improv pigeonhole lazy listeners/writers keep trying to shove him into. Looking at the back cover of Made Out of Sound , we should not see Orcutt hurling a guitar into the air with post-punk bravado, Corsano toiling behind him in the engine room—we should witness an instrument levitating from his hands, rising on invisible major-key tendrils of melody, fired by percussion, spiraling into an invisible event horizon..."—Tom Carter

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

2024 Repress

The much anticipated album by Another Taste released on Space Grapes — an eclectic ooze of boogie, funk, and obscure disco. Comes in a Tip-on sleeve and with a download code.

Another Taste's debut brings together a blend of boogie, 70’s funk and obscure disco - birthed from unearthing forgotten sounds and reinventing them for the modern era. A recipe they’ve been cooking up successfully over the last years in the studio, through their label Space Grapes and on tour through some of Europe’s finest stages.

Another Taste is a Rotterdam-born concept band formed by a group of longtime friends, consisting of Bobby van Putten (keys), Bob Roche (bass), Barend Lippens (keys) and Teun van Zoggel (drums).

Inspired by the obscurity and the do-it-yourself approach of private press culture of the late 1970s and 80s, their first releases were mostly a product of late night sessions between the four of them at the studio of their co-producer Danilo Plessow (MCDE), leading to the founding of Space Grapes Records.

The band’s first songs were released under various pseudonyms such as Mad Honey, GALXTC or Jambonne and quickly gathered them a loyal following and support from the likes of Gilles Peterson, Kenny Dope and many more.

Another Taste ripples their sound beyond the studio and onto the stage. In their live performances they introduce additional band members in Sarina Voorn (Vox), Diogo Carvalho (percussion) and Florian Verhagen (guitar). A core group with whom they’ve played at prestigious festivals such as Worldwide or Kappa Futur and legendary venues such as Jazz Cafe London, New Morning Paris, and Tresor Berlin.

The March-scheduled album release is the latest iteration of the band’s evolution. From the A-side opener "Turn Up" to the B-side closer "Perfect Night," the album is a testament to Another Taste’s ceaseless creative exploration. Each of the 6 songs on the album presents a new invitation to experience their genre-defying sound and bring people together in delight!

With Our Latest Release, We Proudly Introduce the Exceptionally Talented Italian Producer, Younger Than Me. Since 2016, He Has Been a Consistent Force in the Music Scene, Gracing the Catalogues of Exceptional and Friendly Labels Like Bordello a Parigi, Tusk Wax, Xxx, and Dischi Autunno. His Impressive Body of Work Showcases a Diverse Musical Landscape, Blending Elements of Trance, Breakbeat, Techno, and Progressive House, All Interwoven With His Very Personal Touch. Younger Than Me's Relentless Dedication and Distinctive Style Have Seen His Popularity Soar, Gaining Recognition and Admiration From Music Enthusiasts Worldwide. His Hard Work Has Recently Culminated in a Meteoric Rise, Catching the Attention of Esteemed Venues Such as Le Berghain and Hör Berlin, Which Didn't Hesitate to Extend Invitations to Showcase His Extraordinary Talent. the Ep Consists of Six Compelling Tracks That Embody the Essence of Younger Than Me's Musical Prowess: "Artemide," "The Narcissist" "Ghost in the Rave" (Featuring Kiara Scuro), "Sonnenalle," and Two of These Tracks Undergo Exciting Remix Treatments. "The Narcissist" Receives a Remix by the Prodigious Figure in Dark Disco, Mahkina, While "Artemide" Gets Reimagined by the Equally Talented GЯeg. Each Track on This Ep Is a Testament to Younger Than Me's Sonic Innovation and Prowess, Showcasing His Ability to Traverse Various Genres While Infusing His Signature Style Into Each Composition. From the Haunting and Mesmerizing "Ghost in the Rave" to the Pulsating Energy of "Sonnenalle," the Ep Promises an Immersive Journey Through a Diverse and Richly Textured Musical Landscape. Younger Than Me's Collaboration With Kiara Scuro on "Ghost in the Rave" Adds a Captivating Layer of Depth, While the Remixes by Mahkina and GЯeg Elevate the Ep to New Heights, Offering a Fresh Perspective on Younger Than Me's Original Creations. This Ep Is a Must-Listen for Any Music Enthusiast Seeking an Unparalleled Blend of Musical Genres, Expertly Crafted by an Artist Whose Trajectory Continues to Ascend Within the Electronic Music Scene. Younger Than Me's Artistry Knows No Bounds, and This Release Stands as a Testament to His Evolving Brilliance and Unwavering Dedication to His Craft....

In this electrifying 2024, we're buzzing with excitement as we celebrate 40 years of Flexi, the record emporium that's weathered countless storms amidst the ever-shifting tides of the music industry, catering to vinyl aficionados across the ages. Alongside the raves and swag, no doubt, there's a killer compilation dropping on the indie label "Flexi Cuts," dubbed evocatively as "Musica Solida" spread across 3 or perhaps 4 12-inch samplers, boasting a carefully curated selection of singles from cherished Flexi-affiliated artists and producers. The vision? To cultivate a virtuous movement of sublime tunes, echoing the fervor and zeal to persist within the realm of quality that Flexi embodies within the Italian scene, alongside kindred spirits... despite the daunting challenges of the market in recent years.



Musica Solida # 1 showcases

DJ Rocca: One of the most solid producers on the panorama, a respected maestro of the clubbing scene in Italy and worldwide.

Club Soda: Live electronic ensemble, still dreamin' from their latest EP 'Basso e Batteria', which packs an unreleased track recorded directly from their house-flavoured jam sessions.

Lex (Athens) & Locke : A Greek producer who is well established in today's dance house scene, with quality-vibey releases and a very nice and classy and groovy sound. We will definitely hear from him in the future!

Hiroyuki Kato: Emerging Osaka-based multi-instrumentalist makes his debut with a very punchy and catchy track!

The Mechanical Man (feat. Bob Vito) : Neapolitan super producer. Raw-sounding, gritty, powerful and never dull, a pleasure to have him with us.



The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful silver cover.



Compiled by Simone Guerra aka Relative

Mastered by Francesco Brini (except track B1, Mastered by Marco Spaventi)

Distributed by Rubadub, Glasgow

Pressed by Desslab

Design by GLZ

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

Nubya Garcia isn’t an artist you can easily classify. Is it jazz? Sure, the London-born saxophonist, composer and bandleader grew up studying the genre under the noted pianist Nikki Yeoh at Camden Music. But it isn’t until you listen to albums like 2020’s Source and 2024’s Odyssey that you hear broader creativity shining through: It’s jazz, classical, dub, R&B and whatever else Garcia wants to convey. It all comes from a place of exploration and self-study, of wanting to do all the things across all disciplines while ignoring arbitrary boxes that don’t t.

Garcia’s sophomore album Odyssey, out in September 2024 via Concord Jazz, is a majestic feat on which she blends orchestral arrangements with R&B, jazz, broken beat and dub, resulting in a grand, nuanced record that feels airy and celestial without sacricing the groove. It’s a deeply personal oering about her trek to falling back in love with musical composition over the past four years.

Source, her 2020 debut album, was released via Concord Jazz to massive critical acclaim, an NPR Tiny Desk (Home) Concert, a Pitchfork “Best New Music” review and a Rolling Stone “Album of the Month” mention. In a prole, The New York Times called Source “a sweeping set of jazz with Afro-Caribbean inuences that funnels a life’s worth of experiences into an hourlong listen.” Also upon release, the album entered the UK charts in the Top 30, and she was just one of three artists selected to perform live at Glastonbury’s 2020 Experience, which aired on the BBC to thousands of viewers. Source was also nominated for the Mercury Prize, a prestigious award given to the best albums from the UK or Ireland.

In 2022, Garcia toured the US in support of Khruangbin, performing in sold-out venues including Radio City Music Hall in New York, the Ryman in Nashville and the Met in Philadelphia. She then headlined her own tour in the UK and US, performing at various festivals including Glastonbury, Love Supreme, Pickathon and Newport Jazz.

Garcia continues to tour worldwide while also collaborating with major brands like Lululemon, Paul Smith, Labrum, Nicholas Daley and Burberry. She was one of three creatives selected for Fossil’s “Moment In Time” campaign, which was published globally in VOGUE, GQ, and GLAMOUR magazines. Elsewhere, Garcia has been featured in numerous print publications, including Mojo, Vogue and Ebony.

As a composer, Garcia’s original music has been placed with Apple TV (Ted Lasso); OWN Network (Cherish The Day); FX TV (Atlanta); EPIC GAMES (Fortnite); and on multiple podcasts (including the theme tune for Anika Noni Rose’s Clio award-winning podcast Being Seen).

"“Few artists combine the thrills of danceable pop with a higher purpose, but that's exactly what Israeli singer Noga Erez does”
– NPR Music

“One of Israel’s few breakthrough indie stars… and one of the country’s most hyped artists”
– The Guardian

July 17, 2024 (New York, NY): Today, alt-pop singer, rapper & multi-hyphenate Noga Erez debuts her brand new single and accompanying music video entitled “AYAYAY” featuring sensational Argentinian rapper Dillom, out via Neon Gold/Atlantic Records. The track marks the latest single off Erez’s highly-anticipated, third studio album THE VANDALIST out Friday, September 20.

“AYAYAY” sees Erez and partner ROUSSO dabble in the world of reggaeton, layering her dynamic and wide-ranging vocals with lyrically packed bars, over a frenetic house beat. The sexy, tropical track emblemizes the romantic appeal of the “papí azucar” (“sugar daddy”) along with extravagant living from both the male (provided by Dillom through a brilliantly crafted verse) and female perspectives, the desire to maintain it, and the self-imposed expectation to chase it when a relationship doesn’t live up to standards. Directed by Erez & ROUSSO, the music video for the track, filmed almost entirely through a kaleidoscope lens DIY-style, is brimming with personality as Erez lives her best life.

THE VANDALIST is a satirical, yet confessional look at real and online life, the project arrives brimful of monster tunes, intricate production, wit, charm and attitude, representing a significant leap from her previous work, expanding her emotional range from sultry to savage, and demonstrating even greater ambition with quickfire lyrics, broadened vocal styles, and the elaborate backing crafted with partner and producer ORI ROUSSO. THE VANDALIST primes Noga for yet another evolution in her musical journey, which is set to resonate strongly with listeners everywhere.

Recently released singles include “PC People (feat. ROUSSO),” along with title track “Vandalist,” and “Come Back Home,” all of which are joined by official “Against The Machine (Live)” performance videos, streaming now at YouTube
"

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

For as much as Sammy Rae & The Friends may be a band, this collective of dreamers and artists considers themselves a family first. That all-for-one and one-for-all camaraderie ignites their unforgettable and can’t-miss live shows, which serve as a catharsis for both the musicians and their fervent audience. Fronted by singer/songwriter Sammy Rae and honed through years of touring, the group is capable of flourishing in any spotlight thanks to its signature blend of palpable chemistry, deft virtuosity, and vocal fireworks.

Their sound, which has attracted new fans by the thousands in the past few years, is a unique mélange of Sammy’s influences: classic rock, folk and funk and sprinkled with soul and jazz. Rae has been building toward this moment since moving to NYC from Connecticut in her early 20s. Finding herself without a built-in peer group, she simply built it herself: the literal and proverbial Friends. When she started playing shows, she made sure the audience was part of the family too. Everything that’s happened since, from the EPs The Good Life (2018) and Let’s Throw a Party (2021) to sold-out shows in major markets and secondary markets alike across North America and the UK & Europe, to high-profile festival sets around the world, including Bonnaroo’s main stage, Sound on Sound and more, has been based on friends telling friends. As they prepare for the release of their long-awaited debut full-length album in 2024, Something for Everybody, Sammy Rae & The Friends have come to represent more than just a band: they are a full-on movement being adopted with a refreshingly diverse clientele.

After their internationally successful releases 'Mosaic' and 'Babel', Dutch band Lesoir launches their new full-length album 'Push Back the Horizon'. With this album, the band shows its most melodic side. 'Push Back The Horizon' is characterised by traditional song structures, catchy hooks and a groovy rhythm section, with the pinch of prog this five-piece is known for. The 10 songs are inspired by the collective challenges humanity faces and the glimmers of hope from which we draw positive energy to push boundaries. 'Push Back The Horizon' was produced by John Cornfield, known for his work with Muse, Kashmir, Razorlight, Supergrass, New Model Army and Ben Howard.

Gatefold LP on all LPs with a 4 page booklet. Clear vinyl LP comes with a slipmat (150 only), 250 on each of the other colours, 350 on black. At AMERICANAFEST in September veteran journalist Jewly Hight hosts discussion, ’Drag Queens in Limousines Forever: The Importance and Influence of Gauthier’s Songs”.⁠ Mark September 2024 on your calendars as Mary Gauthier’s sophomore release “Drag Queens In Limousines” will finally be out on vinyl. This 25th anniversary limited edition package is being put together by Cow Pie Recordings out of London and will feature four colourways, gatefold packaging, lyrics booklet with liner notes from the artist and an extra limited slip mat for those lucky enough to find the clear vinyl version. This is a truly seminal record from 1999 which provided insight to growing up queer but also a wider group with songs about true mavericks, rebels and outcasts. As Mary said in a recent interview for her book Saved By A Song, “I knew that “Drag Queens In Limousines” needed to be in there,” she said. “I needed to talk about being queer and being an outsider, but I also wanted to show how a song can even transcend the experience of the queer person in country music singing it. Suddenly, otherness becomes cool, and everyone who hears it wants to be one because the outsider experience is not unique to gay and lesbian people. I tapped into that without even knowing, and I was surprised with who related to the song.” This is the first of Gauthier’s releases that was available worldwide and put her on the map of the folk music community. Now it will be heard the way it should be for the first time!

Suicide Squeeze is thrilled to deliver a reissue of Interloper, the 2020 album from Holy Wave. Interloper sees Holy Wave adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on its most esoteric and thought-provoking themes. "I'm Not Living in the Past Anymore" is a mantra about breaking the cycle of the mundane, and "Escapism" is a dream-like meditation. "Interloper" serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward to blissed-out moments on album opener "Schmetterling," the saccharine haze of "R&B," and the freak-out catharsis of live favorite "Buddhist Pete." With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

2024 Repress

Pitch Black’s “Electronomicon”, a landmark album in New Zealand’s electronica scene, finally gets pressed on vinyl.First released in 2000, “Electronomicon” shows Pitch Black developing their deep dubby sound further by creating long and involved song structures that traverse a range of sonic experiences. The resultant album journeys from organic ambience and layered soundscapes to skanking keyboards, cutting acid riffs and thumping rhythmic grooves, with dub being the glue that holds it all together.

“Electronomicon” reached 28 in the New Zealand album charts and led to a sell-out 30-date tour of New Zealand and Australia. It has since gone on to become one of the duo’s most popular albums, regularly finding new fans around the world.

To celebrate the 20th anniversary of the release, the band dug out the original audio files and Angus McNaughton has remastered them for this vinyl release. Hamish Macaulay has also adapted the original artwork, creating a brand new collage for the centerfold out of pictures taken at the time.

In 2007, Céu debuted her self-titled album, becoming one of the select Brazilian artistsnominated for an American Grammy in the World Music category and is widely regarded as one of the most in_¼éuential Brazilian artists of her generation. With now six albums to her credit, Céu has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival, Coachella, Roskilde, Rock in Rio and Lollapalooza. She is renownedfor her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil and Emicida. Recorded in the USA, the album features musical production by Céu as well as Brazilian musician and producer Pupillo (drummer of Naçao Zumbi) and American multi- instrumentalist and arranger Adrian Younge (co-founder of Jazz Is Dead). Recorded at Linear Labs Studio in Los Angeles, Novela is Céu"s sixth studio album. It was captured live on tape, in a dynamic moment that demands total presence. A number of artists feature on the record: American MC and songwriter LadyBug Mecca, Franco-Senegalese singer and songwriter anaiis, American singers Loren Oden and Jensine Benitez, American DJ and producer Frankie Reyes, French artist Hervé Salters (General Elektriks) and Brazilian national treasure Marcos Valle. In Novela, ancient technologies, healing, creaminess, bolero, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides emerge. Throughout the record, there is a reaffirmation of the author"sfearlessness, committed to her time, in the complexity and beauty of creative work. Always keeping the diversity of Brazilian music on the horizon.

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

Gatefold LP on all LPs with a 4 page booklet. Clear vinyl LP comes with a slipmat (150 only), 250 on each of the other colours, 350 on black. At AMERICANAFEST in September veteran journalist Jewly Hight hosts discussion, ’Drag Queens in Limousines Forever: The Importance and Influence of Gauthier’s Songs”.⁠ Mark September 2024 on your calendars as Mary Gauthier’s sophomore release “Drag Queens In Limousines” will finally be out on vinyl. This 25th anniversary limited edition package is being put together by Cow Pie Recordings out of London and will feature four colourways, gatefold packaging, lyrics booklet with liner notes from the artist and an extra limited slip mat for those lucky enough to find the clear vinyl version. This is a truly seminal record from 1999 which provided insight to growing up queer but also a wider group with songs about true mavericks, rebels and outcasts. As Mary said in a recent interview for her book Saved By A Song, “I knew that “Drag Queens In Limousines” needed to be in there,” she said. “I needed to talk about being queer and being an outsider, but I also wanted to show how a song can even transcend the experience of the queer person in country music singing it. Suddenly, otherness becomes cool, and everyone who hears it wants to be one because the outsider experience is not unique to gay and lesbian people. I tapped into that without even knowing, and I was surprised with who related to the song.” This is the first of Gauthier’s releases that was available worldwide and put her on the map of the folk music community. Now it will be heard the way it should be for the first time!

Gatefold LP on all LPs with a 4 page booklet. Clear vinyl LP comes with a slipmat (150 only), 250 on each of the other colours, 350 on black. At AMERICANAFEST in September veteran journalist Jewly Hight hosts discussion, ’Drag Queens in Limousines Forever: The Importance and Influence of Gauthier’s Songs”.⁠ Mark September 2024 on your calendars as Mary Gauthier’s sophomore release “Drag Queens In Limousines” will finally be out on vinyl. This 25th anniversary limited edition package is being put together by Cow Pie Recordings out of London and will feature four colourways, gatefold packaging, lyrics booklet with liner notes from the artist and an extra limited slip mat for those lucky enough to find the clear vinyl version. This is a truly seminal record from 1999 which provided insight to growing up queer but also a wider group with songs about true mavericks, rebels and outcasts. As Mary said in a recent interview for her book Saved By A Song, “I knew that “Drag Queens In Limousines” needed to be in there,” she said. “I needed to talk about being queer and being an outsider, but I also wanted to show how a song can even transcend the experience of the queer person in country music singing it. Suddenly, otherness becomes cool, and everyone who hears it wants to be one because the outsider experience is not unique to gay and lesbian people. I tapped into that without even knowing, and I was surprised with who related to the song.” This is the first of Gauthier’s releases that was available worldwide and put her on the map of the folk music community. Now it will be heard the way it should be for the first time!

Gatefold LP on all LPs with a 4 page booklet. Clear vinyl LP comes with a slipmat (150 only), 250 on each of the other colours, 350 on black. At AMERICANAFEST in September veteran journalist Jewly Hight hosts discussion, ’Drag Queens in Limousines Forever: The Importance and Influence of Gauthier’s Songs”.⁠ Mark September 2024 on your calendars as Mary Gauthier’s sophomore release “Drag Queens In Limousines” will finally be out on vinyl. This 25th anniversary limited edition package is being put together by Cow Pie Recordings out of London and will feature four colourways, gatefold packaging, lyrics booklet with liner notes from the artist and an extra limited slip mat for those lucky enough to find the clear vinyl version. This is a truly seminal record from 1999 which provided insight to growing up queer but also a wider group with songs about true mavericks, rebels and outcasts. As Mary said in a recent interview for her book Saved By A Song, “I knew that “Drag Queens In Limousines” needed to be in there,” she said. “I needed to talk about being queer and being an outsider, but I also wanted to show how a song can even transcend the experience of the queer person in country music singing it. Suddenly, otherness becomes cool, and everyone who hears it wants to be one because the outsider experience is not unique to gay and lesbian people. I tapped into that without even knowing, and I was surprised with who related to the song.” This is the first of Gauthier’s releases that was available worldwide and put her on the map of the folk music community. Now it will be heard the way it should be for the first time!

Mit "The Machine in the Ghost" erreichen HAUJOBB den beeindruckenden Meilenstein des zehnten Studioalbums. Auch ihr neuestes Werk unterscheidet sich von all seinen Vorgängern. Das derzeit in Leipzig residierende Duo verweigert sich weiterhin standhaft jeder Wiederholung. "The Machine in the Ghost" unterscheidet sich bereits durch die Verwendung von Feldaufnahmen, um die Sounds für dieses Album zu erzeugen. Um die gewünschten Effekte zu erzielen, haben HAUJOBB bewusst auf eine Mischung aus Software und Hardware gesetzt - letzteres in Form von mit Alltagsgegenständen erzeugten Tönen. Diese symbolische Anspielung auf eine Zeit, in der es weniger Software und mehr analoges Drehen an den Reglern gab, ergänzt das Thema von "The Machine in the Ghost" um einen Hauch von Retro-Feeling - ohne jede nostalgische Verklärung. Das Album dreht sich um die spannungsgeladene Beziehung zwischen analog und digital, Geist und Materie. Als sich HAUJOBB im ostwestfälischen Bielefeld zunächst zu einem Trio formierten, kamen ihre Haupteinflüsse noch aus der Vancouver-Schule des Industrial - und speziell SKINNY PUPPY sowie FRONT LINE ASSEMBLY. Dies ist auf ihrem ersten Album "Homes & Gardens" (1993) noch hörbar, doch schon bald wurden HAUJOBB selbst als Aushängeschilder eines modernen elektronischen Industrial-Sounds angesehen. Auf den folgenden Alben "Freeze Frame Reality" (1995) und "Solutions for a Small Planet" (1996) entfernten sich die Deutschen zunehmend von den kanadischen Einflüssen, indem sie damit begannen, IDM (Intelligent Dance Music) mit Industrial und EBM zu verschmelzen. Damit katapultierten sich die Deutschen mitten in die internationale Szene und verschafften sich sogar in den USA einen Kultstatus. Auch nachdem HAUJOBB zum Duo mutiert waren, blieben sie einflussreich und insbesondere ihr 2011 in Eigenregie veröffentlichtes Album "New World March" gilt als weitere Großtat. Mit "The Machine in the Ghost" schlagen HAUJOBB ein neues spannendes Kapitel in ihrer bemerkenswerten Karriere auf. Unmittelbar zu Beginn der nächsten industriellen und kreativen Revolution, die der rasante Aufstieg der künstlichen Intelligenz auszulösen verspricht, legen HAUJOBB ihre metaphorischen musikalischen Finger erneut direkt an den Puls der Zeit.

2024 marks 10 years since the release of Perfume Genius" critically acclaimed album Too Bright (Matador). The third studio album by Perfume Genius (Mike Hadreas) marked a significant departure from his earlier work with its bold, avant-garde sound and introspective lyrics. The LP featured the standout single "Queen"- Hadreas" confrontational dissection of "gay panic" which Pitchfork said "sounds like triumph amid the pathetic relevancy of its subject matter in 2014." The song was jolt in the cultural discourse and has since become a fan-favorite. Hadreas grew up in Seattle, WA and started his music career in 2008. He put himself on the map with the release of debut album Learning in 2010 via long-time label home Matador Records, earning him widespread praise from music critics and fans around the world.The momentum only intensified with his subsequent albums, 2012"s Put Your Back N 2 It, and 2014"s Too Bright, which exhibited a massive leap forward in both production and confidence.

" The myths of our Western tradition have often captivated me, whether they be Greek, Roman, or Judeo-Christian. Myths are a transcendent collective narrative; a buried memory, not intellectual but spiritual, alive to all the senses of another world. These stories often describe forbidding passages guarded by terrifying monster-like creatures, which, if conquered, give access to other planes. 'Door 1 - Door 2' are two of these planes, opening to prophecy and kingship." (Christopher Chaplin)

Following the release of his powerful and dark album trilogy "Je suis le Ténébreux", "Paradise Lost" and "M", British avant-garde composer Christopher James Chaplin has unveiled his latest project in 2021: "Patriarchs", released to critical acclaim. This project is a musical exploration of the Antediluvian patriarchs, from Adam to Noah, and is another captivating and daring work of art that straddles experimental electronic music and the avant-garde. Chaplin has also been wowing audiences with his live performances, releasing the concert album "Patriarchs Live" to shorten the wait for his new studio album "Door 1 Door 2", which will be released on September 20, 2024.

It is another powerful work of art, located between electronic music and avant-garde. Once again, Christopher Chaplin breaks genre boundaries and manages to condense experimental and colorful electronics in chamber music in a unique way, transporting the listener into mental and spatiotemporal intermediate states. A completely unique musical microcosm that can also be experienced in his impressive solo live performances.

German Powerhouse Labels Public Possession and Running Back Team up to bring you a nostalgic tribute to 80s Disco-Synth-Pop and Balkan Self-Pity. In a blend of cultural nostalgia and contemporary resonance, be-friended artists Krystal Klear and La Raf are set to release their first collaborative record titled "Boli Boli" (It hurts, it hurts) this autumn. The record is a steamy homage to the 80s disco-synth-pop. La Raf’s vocals equipped with Krystal Klear’s sound remind us of the bittersweet memories of the bygone yet still beloved music-era from former Yugoslavia.
The song came to life during a spontaneous creative outburst when Krystal and Raf reunited in a studio in London last year. Singer La Raf, a Croatian native based in Berlin, channeled the raw emotions of a not so recent break-up regret into the lyrics of "Boli Boli."
Infused with Balkan self-pity, the song delivers a very personal experience of pain and regret, not as mere sorrow but as a confident, joyful indulgence in one's own grief. This emotional depth finds a perfect counterpart in Krystal Klear’s talent for crafting melodies
that evoke both happiness and melancholia. Together, they have created a track that is as introspective as it is danceable, offering its listeners a glimpse into a world where sadness is embraced with a sense of pride and joy, capturing the cultural tapestry of the Balkan region.

GLACIAL TOMB are set to leave their mark on 2024 as they prepare for the release of their second full length studio album, Lightless Expanse. The Denver, CO trio have embraced the foundations of sludge-corrupted death and black metal from their debut album while leveling up instrumental technicality and nuanced song writing. Glacial Tomb’s unique blend of “sludge-corrupted blackened death metal” sets them apart from the bulk of modern extreme metal outfits. Featuring Ben Hutcherson of Khemmis on guitar and lead vocals, the group has made a name for itself as a devastating force whose releases have received critical acclaim. Careening from hardcore-tinged death plod to full-on D-beats to a cavernous blackened grind with a nitro tank of blasts, Denver's Glacial Tomb, deliver the goods with their Prosthetic Records Debut, Lightless Expanse.

For years, Benjamin Herman has formed a frighteningly tight trio with Ernst Glerum and Joost Patočka. Whether its compositions from Misha Mengelberg, jazz evergreens or original works, these are all interpreted with vision and “rollicking virtuosity’’ (Volkskrant). Erupting from Herman's creative spirit and the two worlds of Glerum (ICP Orchestra) and Patočka (Rita Reys), the formation’s work is always of the highest class.

The new album Trouble with the young and exceptionally talented singer/pianist Daniel von Piekartz adds a new chapter to their collaboration. Songs from Fats Waller, Henry Mancini and Sly Stone get a postmodern make-over that will inspire many concert-goers to willingly miss that last tram home. And naturally, the musical fireworks that we’ve come accustomed are still

Cher's FOREVER mit 21 neu gemasterten Songs ihrer großen Hits wie „Believe“, „If I Could Turn Back Time“, „The Shoop Shoop Song“, „Strong Enough“ die von Cher persönlich kuratiert wurden.

Neue Vinylauflage des Debütalbums EXITS (2005) der britischen Indie-Rock-Band The Boxer Rebellion, die am Ende der Brit-Pop-Ära einen frischen Entwurf britischer Rockmusik vorlegte, der traditionelle Wege verliess und mit Post-Rock experimentierte. EXITS erschien - remastered - 2023 erstmals auf Vinyl.

Die vier Berliner der Band BONSAI KITTEN machen, was sie wollen. Das ist auch der Grundtenor ihres 2017er Albums MINDCRAFT. Der Sound ist kompakt und huldigt energischem Riot-Rock. Das treibende Schlagzeug und die kühnen Gitarren-Riffs werden jetzt durch eine drängende dreisaitige Bass-Gitarre ergänzt, perfekt abgerundet durch Tiger Lilly Marleens schöne Stimme und scharfe Zunge. Diese Band hat Spaß! Das zeigen auch die schweisstreibenden Liveshows, die BONSAI KITTEN jedes Jahr quer durch Europa führen. Wer also denkt, Gitarren-Musik sei tot, kann jetzt aufatmen, denn BONSAI KITTEN hauchen dem Genre frisches Leben ein. Nun wieder erhältlich, Vinyl klassisch schwarz.

Chain Of Light by Nusrat Fateh Ali Khan & Party, released 20 September 2024.

This version of Chain Of Light comes as a 1xLP. This release comes with (a) Booklet.

The vinyl is pressed as a opaque disc.

Chain Of Light by Nusrat Fateh Ali Khan & Party, released 20 September 2024.

This version of Chain Of Light comes as a 1xLP. This release comes with (a) Booklet.

The vinyl is pressed as a opaque disc.