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Dompe Delivers Peak-Time House Energy on New Reload EP.
Definitive Recordings welcomes a brand-new three-track EP from Dompe, showcasing his unmistakable blend of classic house foundations, driving grooves, and modern club attitude.

Dompe aka Dominic Wagner is a DJ and producer driven by relentless passion and an instinctive feel for the dancefloor.
Known for pairing distinctive vocals with finely crafted basslines and arrangements, his sound is always moving forward while staying rooted in house tradition. Based in Berlin since 2011, Dompe founded Jackfruit Recordings in 2017 as his personal creative playground, releasing a steady stream of music that has earned both national and international attention. His doublevinyl album ‘Hippie Crack’ sold out quickly and charted strongly on Beatport, followed by ‘French Collection’. In 2025, Dompe made his debut on Definitive Recordings with a standout remix of the label classic ‘Let It Go’ by John Acquaviva, Olivier Giacomotto and Dan Diamond further cementing his connection to the imprint.
Now returning with a full EP, Dompe opens with ‘Reload’, a classic house groover built around a tight rhythm, a looping piano motif, and a chopped, repeated male spoken-word vocal that locks into the groove. It’s raw, hypnotic, and instantly effective on the floor. ‘Wave’ shifts into more percussive territory, drawing on classic tech house energy. Built almost entirely around drums, the track evolves through rolling percussion, catchy vocal snippets, and sharp house synth work before snapping back into a full percussive drive designed for late-night momentum. Closing the EP, ‘Sundown’ delivers a no-nonsense house stomper. Big 909 drums, a 90s-inspired piano theme, and a vocal sample declaring ‘ecstasy’ capture the peak-time feeling of a packed club
in full flow: direct, euphoric, and unapologetically house.

With their third studio album New Thing, Reggae Workers Of The World take a bold step forward while staying deeply rooted in the timeless sounds that define them. Scheduled for release in March 2026 on Badasonic Records, the album captures the full scope of this transcontinental supergroup’s musical identity: soulful, genre-defying, and driven by classic songwriting.

Formed by Vic Ruggiero (The Slackers), Jesse Wagner (The Aggrolites), and Nico Leonard (The Badasonics), Reggae Workers Of The World unite the musical spirits of New York, Los Angeles, and Charleroi into a seamless collaboration. Across 11 tracks, New Thing moves freely between reggae, ska, soul, mento, rhythm & blues, and early rock ’n’ roll, reflecting both the trio’s deep roots and their creative freedom.

The album is enriched by an exceptional list of guests, including Efren Santana (Hepcat), David Hillyard (The Slackers), and renowned harmonica master Steven Troch, who all appear on the title track “New Thing.” The result is a warm, organic, and vibrant record—equally suited for vinyl collectors, radio programmers, and live audiences.

Ahead of the album release, the first single will debut as a Japan-exclusive 7” vinyl on January 18, underlining the band’s strong international reach and collector appeal. Following the release of New Thing, Reggae Workers Of The World will return to the road with a European tour in April 2026, reaffirming their reputation as a powerful and authentic live act.

SKYLAX RECORDS presents a monumental new release by two of France’s most revered electronic music icons: ARNAUD REBOTINI & ACID WASHED. This record marks the first chapter of a secretive 4-part project — each release forming a piece of a bigger picture — a bold and mysterious tribute to the roots and future of rave culture. Following in the footsteps of Rebotini’s landmark album "Musical Component", this new project feels like a natural evolution — deepening his vision while expanding it into new sonic territories. Without giving too much away, this is SKYLAX BLACK 2 (after the LAXBLACK 1 "Winter Sequences EP" which marked the collaboration between Rebotini & Skylax) and features a set of four stunning tracks. On the A-side, Redshifts to Blueshifts opens the EP with an epic and soulful Detroit-style journey, evoking the finest moments of Underground Resistance — militant yet emotional, full of futuristic melancholy. 99 Shakes follows with a more direct club-driven assault, propelled by massive synth riffs and machine-gun rhythms, pushing the boundaries of dancefloor energy. Flip to the B-side and discover Futur Race, a pure electro odyssey à la Juan Atkins and early Metroplex (think 1985 sci-fi transmissions), sharp, robotic, and ultra-funky. Closing the EP is Gen Mix, a powerful and cinematic slice of what can only be called Wagnerian techno — intense, dramatic, orchestral in scope, and unmistakably Rebotini. This release is a statement — timeless and forward-thinking. This release is the first in a series — a mysterious and powerful journey through sound, vision, and legacy. What’s next? You’ll find out… one piece at a time.

Let us introduce to you the third volume of the brand new series
"OBSCURE TRACKS", made of essential, stand-out and rare italo and
electro tracks, remastered and repress on vinyl for the first time ever
offering DJs the chance to get hold of suche as gems previously tucked
away in the Mr. Disc Organization back to catalogue.

Magic Source is back with an exclusive 2 tracks single filled with their special rootsy cosmic funky touch.

Led by producer & notorious tape operator Björn Wagner (of Mighty Mocambos, Bacao Rhythm & Steel Band and Mocambo Records), the group follows up to the release of their 2nd LP last year, Voyage Spectral. This time again, the German band dives into the Tropical and international aspects of Disco and Funk music, always using 100% organic production and recordings material.

On this 2 tracks single, you’ll first find a blazing and unexpected covers of “Voodoo Ray” the classic acid-house track by A Guy Called Gerald, with special vocals by Mounam & Gizelle Smith. Following up to this already dancefloor classic, comes “Interplanetary Bounce”, a new and exclusive composition from the band also tailored to make you move, with its Boogie touch and heavy breaks.

Proudly presenting, ‘Калі ты запытаеш (If You Ask)’, a brand new, blissed-out pop production with a ‘70s AOR touch, by the ever-on-point SOYUZ (СОЮЗ). Coming at a period between albums, the single features guest appearances from the sensational musicians, Biel Basile (O Terno, Sessa) and Anthony Ferraro (Toro Y Moi, Astronauts, Etc.). Friends of the band, they add their signature touch on the drums and synth respectively. To complete the package, SOYUZ back the title track with a short but sweet, Wurlitzer-laden, MPB-tinged number, ‘Tenório’.

‘Калі ты запытаеш (If You Ask)’ tells the story of lost dreams. A track that can be interpreted either as a bittersweet longing for childhood times, or for a native place you can’t return to. For the writer Alex Chumak he suggests, "In my case, as in the case of many Belarusians, it’s both".

For this song, Alex chose to sing in his native Belarusian tongue. As he explains this language "to me feels underrepresented in pop music, also it’s a beautiful legacy and sonority that I wanted to share with the listeners of our project around the world". One of the key inspirations was a Belarusian band “Песняры” (“Pesniary”), who produced a host of great progressive folk, jazz fusion and AOR, from the ‘70s to the ‘90s, predominantly sung in Belarusian.

Another key influence was the music coming out of the Brazilian state of Minas Gerais in the ‘70s, drawing inspiration from the sentimental and harmonious music of Beto Guedes, Lô Borges, Fernando Oly and Wagner Tiso.

Having parted ways with their drummer Anton, SOYUZ needed to find a new way to produce songs. The answer was to go remotely. Alex contacted the brilliant Biel Basile, who had recorded Sessa's contemporary classic ‘Estrela Acesa’, in which Alex also participated. Utilising Biel and Sessa’s newly built studio in São Paulo, SOYUZ had Biel record the drums directly to tape to get the rich sound they were after. Adding the final magic into the mix, California’s Anthony Ferraro provided a beautiful Solina String Ensemble synth arrangement, with drummer/recording engineer Albert Karch expertly assisting with the production.

To capture the essence of the single visually, Alex and the Brazilian one-man-industry visual artist Gabriel Rolim, spent a blazing sunny May day in Berlin shooting film and stills – one of which became the perfect cover image. We hope you enjoy this little nugget of SOYUZ mastery, a sweet taster to savour while the new album is recorded.

Joyce Cooling went on to become a hugely successful pop and jazz singer and guitarist but before all that she recorded Cameo, a much-revered debut album that now gets reissued for the very first time. It's a tune with rich Brazilian influences that veers from swing to pop and back again with her vocals on three of the seven tunes as much of the focus is on her guitar. She is joined by skilled sideman such as keyboardist Jay Wagner and it makes for a superb listen featuring several fine performances.

With Figures of Glass (Piano Etudes – Edits), Vanessa Wagner offers a new listening perspective on Philip Glass’s Piano Études, shaping a curated selection of edited versions drawn from her acclaimed recording of the complete cycle. These edits do not alter the substance of the works; rather, they refine their temporal focus, revealing their emotional force with renewed clarity.

Conceived in parallel with Figures of Glass, a hybrid project developed with visual arts collective Scale, the release extends a dialogue between piano and light, sound and space. Between piano and light, Vanessa Wagner interprets Glass’s Études at the heart of a scenographic installation, exploring the visual imagination embedded in the composer’s music. Minimal structures become spatial gestures; repetition opens onto perception, colour, and resonance. Taken together, these edits form a coherent arc through Glass’s language: from tension and propulsion to suspension and introspection, from rhythmic urgency to contemplative stillness. Wagner’s approach is marked by precision, restraint, and a deep attention to resonance, allowing each piece to unfold with an assumed expressive sobriety.

Figures of Glass also exists as a live creation, presented for the first time in Paris at the Théâtre du Châtelet on April 7, 2026. In both recorded and staged forms, the project invites contemporary listening contexts — from focused headphone listening to immersive visual environments — while reaffirming the Piano Études as a major landmark of 21st-century repertoire. Bridging modern classical piano, minimalist writing, and spatial listening formats, Figures of Glass (Piano Etudes – Edits) speaks equally to traditional classical audiences and new listeners discovering Philip Glass through curated, editorial-driven experiences.

Decca Classics präsentiert Lise Davidsen: Live at the Met - aufgenommen während des bahnbrechenden
Soloauftritts der Sopranistin an der Metropolitan Opera im September 2023.
„Es kommt selten vor, dass die Met einen Künstler zu einem Solokonzert in ihrem Auditorium mit 3.800
Plätzen einlädt. Und noch seltener ist es, dass diese Sängerin ihr Debüt in New York City gibt. Aber
Davidsen ist etwas ganz Besonderes: eine echte dramatische Sopranistin.“ (The New York Times). „Keine
Kulissen, keine Kostüme, kein Orchester: Aber die ganze Oper war da.“ so die Zeitung weiter.
Davidsen hat eine enge Beziehung zur Met, wo sie seit ihrem Debüt 2019 regelmäßig in Hauptrollen von
Tschaikowski, Wagner, Strauss, Verdi, Puccini und Beethoven auftritt. „Ich betrachte die Met als mein
zweites Zuhause“, sagt Davidsen. „Aber um so etwas gebeten zu werden, war etwas ganz Besonderes.“
Zu den Höhepunkten zählen Wagners „Dich, teure Halle“ aus Tannhäuser, Amelias Arie aus dem dritten Akt von Verdis ”Un ballo in maschera” und Puccinis „Vissi d’arte“. Dazu kommen Lieder von Schubert
sowie Musik von Grieg und Sibelius als Hommage an Davidsens skandinavische Herkunft.
Die Veröffentlichung folgt auf Davidsens gefeiertes Wagner-Album ”Der fliegende Holländer”, welches den
Gramophone Award 2025 für die beste Opernaufnahme gewann und von Kritikern weltweit hoch gelobt
wurde.

Trouble’s absolute classic: the legendary album from 1990 and the pinnacle of Trouble’s impressive career. Heavy Metal was never better than this! Includes a live bonus CD recorded in Dallas, Taxas (USA)! Trouble’s debut album did great things for Metal and remains one of the darkest, thrashiest Doom albums to date. A lot of things can change in six years, especially when you’re talking Metal and the dates are 1984 and 1990. The decade may have changed them, but not in a way that suggests decay or a decline in the quality of their resolve or their skill as musicians and performers. On the contrary, Trouble’s 1990 self-titled release is arguably their most mature, boasting a fleshed out sound with unparalleled songwriting, a great production, and the time-crafted vocals of Eric Wagner which had improved major in the years since their previous efforts. All of this culminates in what is my mind the most “complete” thing Trouble ever created. From the mid-paced chug of a killer opener in “At the End of My Daze” to the last notes of “All Is Forgiven”, I can’t see filler or anything resembling a weak link. The riffs here are some of the best ever written, by Trouble or anyone else; every song has a manically awesome main riff that demands a display of headbanging. Riffs are undoubtedly the point of focus here; they make the songs, and they’re a timeless variety of great. Also, the interplay between guitarists Bruce Franklin and Rick Wartell is some of the best lead work you will ever hear in Metal. Trouble basically reinvented themselves with this release, and while I think it was a fantastic rebirth, those who aren’t so keen on the laid back stoner vibe they chose to adopt may not see it as a rejuvenation, but a step back (they did go from doom and gloom to collectively embracing their inner acid dropping free love hippie, after all). But the Metal remained fully intact! And as I’ve said, I think this is Trouble at their best. This is originality and innovation at its best, it is supreme quality. A leader of bands paves the way and then steps aside to create something that will serve as an example of how to improve upon an established formula: that is, by doing it really damn well.

The Complete Piano Etudes of Philip Glass available for the first time on vinyl, housed in a 4LP Box set (also available as a 2CD format).



After more than thirty years of working with and performing the great repertoire, the music of Philip Glass has, in a way, almost revolutionized my life as a musician,” confides Vanessa Wagner.

An emblematic artist on the French music scene, winner of a Victoire de la musique award and director of the Chambord and Giverny festivals, Vanessa Wagner is as inspired in her interpretation of Mozart, Debussy, Tchaikovsky and Dusapin as she is alongside Murcof and Rone.

With her innovative and daring approach, she has established herself as a major influence on the classical music landscape, crossing boundaries and blazing inspiring trails.

A tireless pioneer of new repertoires, she has been exploring the repertoire of minimalist composers for several years. For InFiné, she has dedicated 4 albums to the major figures of this movement, John Adams, Meredith Monk, Brian Eno, Ryūichi Sakamoto, as well as to the new generation Caroline Shaw, Bryce Dessner and Nico Muhly.

After giving numerous concerts based on these works, she felt the need to record in their entirety this essential monument in the history of music, which bridges the gap between the 20th and 21st centuries: Philip Glass's 20 Etudes for piano
by Philip Glass.
His approach helps to place these two books in the great repertoire, alongside the great cycles of studies by Ligeti, Debussy, Dusapin, and before them, Chopin and Liszt.

Philip Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Dissatisfied with much of what was then considered modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with sitar virtuoso and composer Ravi Shankar.

The thread linking Philip Glass to Vanessa Wagner may be as simple as a detail: a moment, a pedagogy, a way of looking at the piano. In Words Without Music, Glass recalls his apprenticeship with Nadia Boulanger in Paris - a lesson in rigorous received just as the Nouvelle Vague was about to shatter the conventions of cinema the conventions of cinema, just as the composers of the minimalist movement had done with with the language of music. Nurtured by Ravel and Debussy, the great French pedagogue disciplined yet inquisitive minds, capable of embracing modernity without denying modernity without denying their heritage.

FOR FANS OF: Helloween, Gamma Ray, Primal Fear, Grave Digger, Running Wild, Blind Guardian, Hammerfall
Beginnen wir diese kleine Abhandlung mit einer selbstbewussten These: In der langen erfolgreichen Karriere der deutschen Band Rage hat es
vermutlich noch kein Album gegeben, dass in einem so hohen Maße die positive Stimmung unter den beteiligten Musikern, ihre Spielfreude, die
Kreativität und den Optimismus widerspiegelt wie ‚A New World Rising‘. Knapp zwei Jahre nach dem eher dystopischen Vorgänger ‚Afterlifelines‘
feuern Peavy Wagner (Gesang, Bass), Jean Bormann (Gitarre) und Vassilios „Lucky“ Maniatopoulos (Schlagzeug) diesmal ein positives, ultra-heavy
Thrash Metal-Feuerwerk ab, das den typischen Rage-Sound mit modernen Elementen kombiniert und in seiner Gesamtheit das bis dato
abwechslungsreichste Werk der Band darstellt. „Nicht nur für uns, sondern für alle Menschen gilt: Wir müssen rauskommen aus dem destruktiven
Mindset, das derzeit überall zu finden ist. Viele denken, die Welt geht unter, alles wird schlechtgeredet, und manches davon ist sogar gezielt
gesteuert, denn mit Angst kann man Menschen besser kontrollieren. Deswegen lautet unsere Botschaft: Denkt für euch selbst! Und glaubt nicht alles,
was man euch erzählen will!“ erklärt Bandgründer Peavy Wagner den Grundtenor von ‚A New World Rising‘.

Connection is the new ten song LP from Los Angeles powerhouse Orgone featuring collaborations with Cyril Neville, Kelly Finnigan, Pimps of Joytime, and more. The album is the inaugural release on 3 Palm Records, distributed by Colemine Records and Secretly Distribution. A spiritual follow up to fan favorite Bacano, Connection is gritty, lean, and tight soul and funk at its best. It explores the invisible threads that bind us all, spiritually, emotionally, and artistically. Much like the collage that adorns the cover, this hard hitting collection of songs illuminates the essence of Orgone: a musical pastiche of different vocalists, heavy riffs, vintage production, and a core rhythm section that never disappoints. The synergy created in these songs demonstrates that the whole is truly greater than the sum of all the individual parts and players.

WOW. Daniel O'Sullivan's transcendent new album, Eros, is one of the greatest things we've ever heard. A simply stunning song cycle of hypnotic, experimental contemporary chamber music composed for a 14-piece ensemble. Combining minimalism, complex syncopation, detailed acoustic textures, weird intervals and samurai precision, this record will elegantly blow your mind. When Daniel first sent us this, he pitched it as “Liquid Swords meets Michael Nyman”. Trust us, he wasn't wrong. A "unique hybrid orchestral music", it presents a confluence of Daniel's longstanding fixations; indeed, there's elements of Nyman, Antonio Carlos Jobim, Magma, Aaron Copland and RZA. But this is wholly O'Sullivan's. Originally commissioned for the Sonoton Music Library in Munich, Eros now receives a deluxe vinyl release courtesy of Be With Records, bringing this meticulously crafted work to a wider audience. Limited to just 500 copies for the world, these are gonna fly.

An English composer and multi-instrumentalist, Daniel O'Sullivan’s career has been marked by versatility and innovation. In addition to his work with Sonoton, he has composed extensively for the legendary KPM music library, contributing to its storied legacy of production music. As a deep virtuoso and collaborator, O'Sullivan has also played in a number of influential projects, including Ulver, Sunn O))), This Is Not This Heat, Grumbling Fur and Miracle (with Steve Moore), leaving an indelible mark on the contemporary experimental music landscape.

O’Sullivan’s first foray into classically informed chamber music, Eros is a culmination of his long-standing fixations and expansive musical influences. The album features arrangements that are as detailed as they are emotionally resonant, showcasing his unparalleled ear for intervals and mastery of counterpoint. The music brims with complex rhythmic syncopation and a sensitivity to texture and space, resulting in a soundscape that is both intoxicating and dauntingly precise.

Recorded June 2023 and February 2024, in Brussels, London and Carmarthenshire, Wales, Eros features members of Echo Collective (Neil Leiter and Margaret Hermant), Thighpaulsandra (from seminal post-industrial band Coil), and jazz pioneer Oren Marshall. Daniel's sonic weapons of choice, in his own inimitable words, were "Big Bad Drum, Pee Anne Oh, Low End Brass, Willowy Winds & Samurai Strings." You get the picture. As a cyclical suite, this is a record that really needs to be heard in its entitreity, from start to finish, to truly appreciate the genius at work here.

A jaw-dropping statement of intent, the minimalist "Golden Verses" sets the tone with its complex cue which has your neck snapping right when it feels like it needs to. Listen and you'll understand. A syncopated tangle of sharp strings, crunchy bass, drums percussion and bright piano and mallets vie for position with French horn and woodwind melody in the most compelling and unexpected ways. Quite simply, it's one of the finest album openers I've ever heard. It's followed by the atmospheric rippling minimalism of "Lyre Lyre", a gorgeous gem with shimmering chimes, bright melody, human percussion and syncopated pizzicato strings. It kinda comes on like a less-abstract Boards Of Canada, bursting with typical wonderment. The piano and string-drenched "Dolorous Stroke" effortlessly builds its warm, pastoral orchestration with flowing piano arpeggio, steadfast drums, expressive string quartet, rich low brass, woodwind and lyrical flute. Just sublime.

The insistent frenetic propulsion of "Plain Paper" is utterly beguiling, featuring a determined string motif, urgent drums and percussion, driving low brass and breathless, energetic flute. The haunting, interweaving string arpeggios that propel "Grapes Draped" presents a claustrophobic minimalism for chaos and darkness, with growling low woodwind and brass, spiky harpsichord, skittering flutes and tight drums. Up next, "Xanix Annum" is a stately minimalist waltz with expressive lyrical string quartet and delicate woodwind, anchored by drums and percussion. "Painting Rose" is a bouncy stop-start track with angular syncopated strings and a piano pulse underneath bright harpsichord and flutes. "Rotunda Garden" presents ethereal textural minimalism for landscapes and reflection with flowing string arpeggios, warm, low woodwind drones, floating choir and cymbal swells. Closing out this extraordinary side of music, the glowing, flowing minimalism of "Flowry Orb" features urgent organ, piano and woodwind arpeggios, half-time drums with shimmering cymbals, a soaring, beautiful violin solo and hypnotic vocal chant.

Side 2 opens with "Theia Mania" a determinedly off-kilter, angular track featuring low wind, brass and drum stomp in dialogue with lively string trio, woodwind and solo horn. The light, airy minimalism of "Painting Percy" is built around an interplay of rhythmic motifs for piano, low brass, bassoon, fluttering flutes, urgent strings, drums and percussion whilst "For Archetypes" is a delicate, gently syncopated chamber cue for nostalgia, nature, reflection and moments of calm, with steady piano motif, intimate woodwind and French horn, and warm, graceful strings. The urgent Ars Memoriae is a propulsive march for progress, processes and industry, underpinned by driving tuba, with determined strings, resolute drums, and vivid, expressive flute, clarinet and French horn.

The syncopated energetic minimalism of "Mirrored Seven" presents layers of melodic and cyclical piano, drums, low brass, harp, flute and strings. "Pure Ornament" follows, a slowly evolving chamber cue with flowing clarinet, string and harp arpeggio, plodding tuba and percussion, fluttering flute and graceful, lyrical solos. Stunning! Up next, "Brave Boy" moves from its tender, warm, lullaby-like intro with lyrical flute, clarinet and strings before opening into a playful backend driven by a bouncy tuba riff and syncopated piano, woodwind, string trio, and drums and percussion. Rounding out this astonishing piece, "Waxen Waned" is a warm, pastoral chamber cue with light lyrical woodwind, tender French horn and subtly pulsing string trio.

The album's title is a reference to Plato’s conception of Eros, which is more than romantic or physical desire. It is a dynamic and creative force that drives individuals to seek perfection whether in art, relationships, philosophy or the pursuit of truth. Wholly appropriate, here, we think. When asked what his influences were in making this astounding record, he answered thusly: "Non-musical: Householding, Pythagoras, Goethe, Grail romances, Hermeticism, Doctrine of Signatures (Parcelsus, Bohme, Pliny), Eric Rohmer, John Stezaker, Yasujiro Ozu. Musical: Duke Ellington (late suites), Smile-era Brian, early RZA, Wagner (Parsifal Overture), Magma, Mancini, Axelrod, YMO, Hildegard, Nyman, Penguin Cafe Orchestra, Jobim (Stone Flower), Alessandro Alessandroni, Tavener, Moondog, Orthodox Music, Secular Music." That's some pretty deep shit. Makes you want to dive in, no?

Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. Truly, Eros is a work of extraordinary depth and sophistication. It invites listeners to immerse themselves in its intricate layers, to lose themselves in its hypnotic rhythms, and to marvel at the precision of its execution. With this release, O’Sullivan reaffirms his position as one of the most inventive and uncompromising voices in contemporary music. Do. Not. Sleep.

Das brandneue Studioalbum des brasilianisch-dänischen Garage-Rock-Duos! The Courettes präsentieren stolz ihr drittes Album, Back In Mono. Es ist ein Meilenstein in ihrer bisherigen Karriere. "Spit 'n'Snarl Garage Rumble-meets-Phil Spector Pop", der die Band in Bestform zeigt - großartiges Songwriting, Spector-esque Arrangements, mit weiteren Nuancen, Einflüssen und Produktionsqualitäten, die ihr Garagenrock-Rezept ergänzen. Vierzehn wagnerianische Teenie-Tragödien-Meisterwerke - es ist, als wären The Ronettes und The Ramones zu einer wilden Party in die Echokammer der Gold Star Studios eingeladen worden. Fuzz-Gitarren, laute Drums, trashige Pianos, Jingle Bells, Tamburine und dreiminütige Dancefloor-Garagenkiller, bei denen eine Wall of Sound die Songs aus den Lautsprechern schmettert! Produziert und aufgenommen von Soren Christensen in den Starr Sound Recording Studios in Dänemark und abgemischt vom Top-Produzenten und Wall of Sound-Liebhaber Seiki Sato in Japan.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

Ben Lukas Boysen’s new album, Alta Ripa, signifies a seismic shift in his artistic journey. It revisits the foundational impulses of his youth, shaped amidst the serene beauty of rural Germany—a bucolic backdrop where his creative palette flourished. However, it was his move to Berlin in the early 2000s that electrified his sound, infusing it with the city’s pulsating energy and diverse cultural influences. Alta Ripa captures this transformative experience, blending the introspective melodies of his rural beginnings with the bold, experimental tones born from Berlin’s vibrant electronic music scene. This album is a testament to Boysen’s evolution, showcasing how geographical shifts can profoundly shape artistic expression.

Boysen’s fourth studio album under his own name, Alta Ripa is a nod to his beginnings as much as a hint to his future, and as a work, it’s almost contradictory in its boldness and humility. He invites the listener on a journey of self-discovery; both for himself and for them, describing the music as “something the 15-year-old in me would have liked to hear but only the grown-up version of myself can write.”

His last two albums involved working closely with other musicians, including cellist Anne Müller, flugelhorn player Steffen Zimmer, and drummer Achim Färber. However, inspired in part by a recent return to live performance, Alta Ripa sees Boysen circling back to his passion for pure computer music.

For Boysen, the return to his youthful musical language marks a major turning point in his career. It represents a departure from his roots in classical music – his mother was an opera singer and his father an actor with an appreciation for Wagner, Arvo Pärt, Keith Jarrett, and Stockhausen. Although these are still important influences, Alta Ripa encapsulates a new, exploratory interplay between Boysen’s careful craft and his ability to let go of some of the process.

The album’s title comes from the original Roman name of the town that Boysen grew up in, Altrip, where he lived until his early twenties. This formative period is central to the ideas behind this album, from Boysen’s parental ‘schooling’ in classical music through to his sonic journeys through drum and bass, Aphex Twin, and Autechre — all of which changed his idea of what music could be. The extreme energy of tracks like ‘Acperience 1’ by Hardfloor, ‘Tracks & Fragment’ by Cari Lekebusch, ‘Focus2 Implan’ by Jiri.Ceiver, and ‘Low On Ice’ by Alec Empire are also pivotal influences.

For Boysen, this time of his musical development also involved knocking down the pillars that he previously thought had carried his world. A key moment for Boysen was being given a precious (pre-internet) club cassette at school that featured artists like Source Direct, Photek and Goldie. Excited by this new discovery, he introduced his father to the song ‘Dred Bass’ by Dead Dred. After the song finished, Boysen Sr. turned off the tape and proclaimed it was “the end of all music”. This heated exchange sparked a new, and more mature dialogue between the two that involved them sharing and discussing music on a regular basis.

Boysen’s classical and jazz music upbringing might not be easily noticeable from the electronic palette that he uses. But it can be found in its bones; the structure of the tracks and their dynamic shifts. On Alta Ripa, he intentionally embraces a spirit of controlled chaos, churning out sonic ideas to see what sticks.

One of Brian Eno’s Oblique Strategy cards contains the phrase “gardening, not architecture”, and the trajectory of Boysen’s creative path reflects this metaphor. In much of his previous work he followed a sort of Brutalist architect’s approach; here, he was fully responsible for the tracks’ austere structures and planned them with deliberate care. But by sacrificing some of that control on Alta Ripa, he sets the right conditions for a dark and unpredictable, organic growth. It’s a push forward into a new world.

‘Only Fans’ ft. Digital Liquid, taken from Joseph Malik’s acclaimed ‘Proxima Ebony’ album of last year, gets the first-class remix treatment from London’s legendary production duo, X-Press 2. Joseph delivers an impactful vocal, waxing lyrical on his memories of being brought up around sex workers, underpinned by Digital Liquid’s acid worm lead, as X-Press 2 unleash a sublime dance floor slayer loaded with catchy hooks, jackin’ beat wizardry and dynamic production. Propelling the song into another stratosphere, the duo have created the chugging Lo-Fi 'Back Room' behemoth, armed with slo-mo breakbeats and a badass dubby bass groove, culminating in hypnotic groover that would make the late and great Mr Weatherall very proud.

Scotland’s Joseph Malik has crafted a fantastic catalogue of music over the decades and is highly respected for his distinctively soulful voice and on point song writing skills. Together with co-producer, David Donnelly, he released his first album, ‘Diverse Part 1’ (Compost) in 2002. This was followed by ‘Aquarius Songs’ album (2004), and ‘Diverse Part 2’ album (2018) on Ramrock Records which was ‘Album of the Month’ on Gilles Peterson’s BBC 6Music show. Joseph’s ‘Diverse Part 3’ album (2018) was Craig Charles’ BBC 6Music ‘Album of the Year’. Joseph then released ‘Diverse Part 3 Variant Issue’, the remix album (2022) and most recently his outstanding ‘Proxima Ebony’ album (2023) on Ramrock Records to great acclaim.

London’s X-Press 2 have been at the vanguard of British electronic music for three decades. In that time this acclaimed DJ and production duo, alongside Ashley Beedle, have turned out many hits. Both Rocky and Diesel have a truly pioneering spirit that fueled early nineties underground anthems such as the percussive ‘Muzik Express’, ’Kill 100’, the 2003 Ivor Novello Award winning single ‘Lazy’ and ‘Give It,’ with vocalists Talking Heads’ David Byrne and Lambchop’s Kurt Wagner. They’ve continued to turn out powerful club cuts such as ‘Tonehead Chemistry’ and ‘Siren Track’, and recently delivered big remixes for Gabriels, David Holmes, JIM and David Kitt. To date, X-Press 2 have released 4 albums, including their recently released, ‘Thee’, album on Acid Jazz. Rocky and Diesel are still fanatical about the music they play and produce, they still very much have their finger on the pulse and continue to lead from the front.

Once the last few copies of the 2LP version (BC013LP) have sold through it will be deleted, this new version will be the only vinyl version of this album available. Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut '55' on Brooklyn's own Big Crown Records. Long time multi-instrumentalist and band leader Bjorn Wagner spent a few months in Trinidad & Tobago where he became fascinated with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith. Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed Funk, Soul, and Hip Hop sensibilities. The outcome is an updated take on a classic format, a truly unique sound. Their first two recordings were covers of The Meters 'Look A-Py-Py' & 'Ease Back' which they self-released on a 45. Looking back on these two sides you can tell they were just getting their chops up for what was to come next. This is evidenced by how all hell broke loose when they went on to cover 50 Cent's hit PIMP taking the DJ and vinyl collecting communities by storm. Many people thought the recording was the original sample and probably still do to this day when it is played. The original Mocambo pressing sold out quickly and is now a collector's item fetching heavy prices when it changes hands. It was this tune that made the introduction between Bjorn and Danny Akalepse of Big Crown. They immediately hit it off and starting making plans to do a full length project with the band. Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple Funk tracks and some of all that falls in between. BRSB's 55 is reinvigorating tunes both well-known and helping to shed some light on tunes still largely undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on 'Beetham Highway Ride' and 'Port Of Spain Hustle' to the ugly face inspiring drums of 'Laventille Road March'. Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world, using production aesthetics from across both eras and genres, all coming together seamlessly. If the 45s that have already come out on Mocambo, Plane Jane, and Truth & Soul are an indication, this full length is going to be a staple to both casual listeners and Disc Jockeys alike.

Elf Songs und ein Klavier-Intro bieten den Hörern erstklassigen Speed/Thrash Metal, der sich locker zwischen internationalen Klassikern der 80er und 90er-Jahre, sowie aktuellsten Tipps von Heute einfügen wird.
Die Aufnahmen wirken wie ein zweiter Frühling der Band: ehrlich, direkt, frisch und ultra heavy!
Dies mag mitunter am bisher stärksten und reifsten Line-up in der Geschichte der Band liegen. Zu Beginn des Vorjahres rekrutierte man niemand geringeren als den aus Bulgarien stammenden und in Dänemark lebenden Saitenhexer Nikolay Atanasov (u.a. AGENT STEEL). Er komplementiert mit dem bereits davor dazugestoßenen Bassisten Lorenz Kandolf (u.a. TRAITOR) das Line-up. Den Kern der Gruppe bildet, seit dem mittlerweile als Klassiker gehandhabten, im "New Wave Of Thrash Metal" geltenden Debüt "Have Gun, Will Travel" (2010), Band-Gründer, Sänger, Gitarrist und Hauptkomponist Ricky Wagner, sowie der Ausnahme-Schlagzeuger Bastian "attt" Santen. Noch nie hat REZET so frisch geklungen und vor Angriffslust gestrotzt.

Produziert, gemixt und gemastert wurde das Album erneut von Eike Freese (HELLOWEEN; DEEP PURPLE; HEAVEN SHALL BURN uvm.), Hamburgs Rock & Metal-Produzenten par excellence, wobei Teile der Aufnahmen in den bandeigenen "Rad Toad Studios", im hohen Norden Schleswig-Holsteins, selbst durchgeführt wurden.
Pär Oloffsson (Exodus, Aborted, Pathology, Traitor, Finsterforst uvm.) bietet die dystopische Visualisierung der Scheibe und zeichnet das Bild einer mechanischen Landschaft, die von neuem Leben zurückerobert wird. Der "große Reset" war vermutlich noch nie so nah…

Elf Songs und ein Klavier-Intro bieten den Hörern erstklassigen Speed/Thrash Metal, der sich locker zwischen internationalen Klassikern der 80er und 90er-Jahre, sowie aktuellsten Tipps von Heute einfügen wird.
Die Aufnahmen wirken wie ein zweiter Frühling der Band: ehrlich, direkt, frisch und ultra heavy!
Dies mag mitunter am bisher stärksten und reifsten Line-up in der Geschichte der Band liegen. Zu Beginn des Vorjahres rekrutierte man niemand geringeren als den aus Bulgarien stammenden und in Dänemark lebenden Saitenhexer Nikolay Atanasov (u.a. AGENT STEEL). Er komplementiert mit dem bereits davor dazugestoßenen Bassisten Lorenz Kandolf (u.a. TRAITOR) das Line-up. Den Kern der Gruppe bildet, seit dem mittlerweile als Klassiker gehandhabten, im "New Wave Of Thrash Metal" geltenden Debüt "Have Gun, Will Travel" (2010), Band-Gründer, Sänger, Gitarrist und Hauptkomponist Ricky Wagner, sowie der Ausnahme-Schlagzeuger Bastian "attt" Santen. Noch nie hat REZET so frisch geklungen und vor Angriffslust gestrotzt.

Produziert, gemixt und gemastert wurde das Album erneut von Eike Freese (HELLOWEEN; DEEP PURPLE; HEAVEN SHALL BURN uvm.), Hamburgs Rock & Metal-Produzenten par excellence, wobei Teile der Aufnahmen in den bandeigenen "Rad Toad Studios", im hohen Norden Schleswig-Holsteins, selbst durchgeführt wurden.
Pär Oloffsson (Exodus, Aborted, Pathology, Traitor, Finsterforst uvm.) bietet die dystopische Visualisierung der Scheibe und zeichnet das Bild einer mechanischen Landschaft, die von neuem Leben zurückerobert wird. Der "große Reset" war vermutlich noch nie so nah…

Shrouded in mystery, hailing from Hamburg, Germany, Bacao Rhythm & Steel Band (BRSB) releases their long awaited debut “55” on Brooklyn’s own Big Crown Records. Long time multi-instrumentalist and band leader Bjorn Wagner spent a few months in Trinidad & Tobago where he became fascinated with Steel Drums. His initial intrigue with local steel pan music culture led him to learning the instrument both through help of local players and on his own. After he became proficient on the pans Bjorn had his own instrument built from a used oil barrel by legendary pan man Louis C. Smith. Upon returning home to Germany, Bjorn set out to blend the Tropical Steel into his already sharply honed Funk, Soul, and Hip-Hop sensibilities. The outcome is an updated take on a classic format, a truly unique sound. Their first two recordings were covers of The Meters “Look A-Py-Py” & “Ease Back” which they self-released on a 45. Looking back on these two sides you can tell they were just getting their chops up for what was to come next. This is evidenced by how all hell broke loose when they went on to cover 50 Cent’s hit PIMP taking the DJ and vinyl collecting communities by storm. Many people thought the recording was the original sample and probably still do to this day when it is played. The original Mocambo pressing sold out quickly and is now a collector’s item fetching heavy prices when it changes hands. It was this tune that made the introduction between Bjorn and Danny Akalepse of Big Crown. They immediately hit it off and started making plans to do a full length project with the band. Keeping in the tradition of Steel Drum records, 55 is a journey through re-interpolations and covers with an updated approach, pushing Steel Pan music to uncharted territory. Flawlessly bringing previously untouched genres into the steel pan cannon ranging from Underground Hip Hop tunes to staple Funk tracks and some of all that falls in between. BRSB’s 55 is reinvigorating tunes both well-known and helping to shed some light on tunes still largely undiscovered. However, some of the strongest tunes on the album are original compositions, from spaced out Disco vibes on “Beetham Highway Ride” and “Port Of Spain Hustle” to the ugly face inspiring drums of “Laventille Road March”. Recorded to analog 8 track tape at The Mocambo Studios in Hamburg, 55 is a gritty, punchy journey in sound drawing on music from around the world, using production aesthetics from across both eras and genres, all coming together seamlessly. If the 45s that have already come out on Mocambo, Plane Jane, and Truth & Soul are an indication, this full length is going to be a staple to both casual listeners and Disc Jockeys alik

Gamma' is the highly anticipated new album from the enigmatic French techno producer Gesaffelstein, and is the follow up to his 2019 release 'Hyperion'. While 'Gamma' retains Gesaffelstein's trademark raw and industrial sound, it also finds him giving 'the mask' a new voice for the first time via Yan Wagner's vocals. 'Gamma' was produced, recorded and mixed in its entirety by Mike Levy in Paris and New York. "Gamma" is an x11 trk single Black LP Vinyl. Promo & marketing activity. Limited stock.

BALANCE OF POWER are back with new band members and a brand-new album! Founding members Tony Ritchie (bass) and Lionel Hicks (drums) are joined the band's new lead vocalist Hazel Jade as well
as guitarists Chris Young and Adam Wardle, who have since taken over the reins from guitarists Chris Masimore and Stoney Wagner, with whom the band worked on and recorded the upcoming album
"Fresh From The Abyss"
BALANCE OF POWER melden sich mit neuen Bandmitgliedern und einem brandneuen Album zurück!
Zu den Gründungsmitgliedern Tony Ritchie (Bass) und Lionel Hicks (Schlagzeug) gesellen sich die neue Leadsängerin Hazel Jade sowie die Gitarristen Chris Young und Adam Wardle, die inzwischen in die Fußstapfen der Gitarristen Chris Masimore und Stoney Wagner getreten sind, mit denen die Band am kommenden Album "Fresh From The Abyss" gearbeitet und es gemeinsam aufgenommen haben.
"Fresh From The Abyss" ist eine Kollektion von Songs, die entweder die Uhr anhält und auf einen bestimmten Moment in der Zeit verweist oder zurückblickt und die Unendlichkeit von Zeit und Raum, des Lebens und des Sterbens thematisiert.

Representing the astrological symbols and the planets of the solar system, The Planets has become one of the most famous suites of all time. Used across film, TV and social media, this is a classic work deserving of a place in everyone’s collection. Gustav Holst was one of Britain’s finest composers, influenced by the likes of Wagner and Strauss he rose to prominence with The Planets and has cemented his place in history as one of the great composers.

90 Day Men spent a decade boldly in conflict with the world, catering to no one and careening toward its own abyss. Forged by Midwestern teens amid a late-90s spike in angular indie rock, the band wrote itself into the lexicon of Chicago music history. Eschewing trend and time, 90 Day Men was as ornate as it was alienating, transcending genre and embracing the strange. This 5LP set, remastered by Heba Kadry, collects the band's three studio albums and a previously unreleased 2001 Peel Session, plus EPs, singles, and outtakes, all detailed within a 68-page oral history curated by Joan of Arc's Tim Kinsella.

90 Day Men spent a decade boldly in conflict with the world, catering to no one and careening toward its own abyss. Forged by Midwestern teens amid a late-90s spike in angular indie rock, the band wrote itself into the lexicon of Chicago music history. Eschewing trend and time, 90 Day Men was as ornate as it was alienating, transcending genre and embracing the strange. This 5LP set, remastered by Heba Kadry, collects the band's three studio albums and a previously unreleased 2001 Peel Session, plus EPs, singles, and outtakes, all detailed within a 68-page oral history curated by Joan of Arc's Tim Kinsella.

In the wake of Young Marble Giants’ breakup, two acts were created, with Stuart Moxham taking minimalist, geometric play to extremes while Alison Statton added more warmth and feeling to a similar template, creating something stunning yet based in popular forms. Those two opposing means of forging paths away from one of music’s most astonishingly unique debuts both included Stuart’s brother, Phil. More recently, both have reversed course, with Stuart proving himself a master of classic pop form, with Alison’s work again approaching a modern abstraction of quiet folk music - experimental but accessible. But that’s another tale. With no template to guide him, Stuart’s new music - as The Gist - was regarded as wildly uneven. Stuart admits that he didn’t know which way to go, so perversely, he decided to take all directions at once. The Gist’s original discography stood at a scant 18 songs, yet only seven featured Stuart’s own voice, often in heavily processed and oddly-mixed form. The Gist’s label, Rough Trade, dropped the band. Starting with a critical re-evaluation of The Gist’s sole album Embrace The Herd in an issue of Mojo, the tide begin to turn. Ambience in pop has long enjoyed a cult following, and the nonlinear structure of many of The Gist’s songs have parallels with artists such as Aphex Twin and Seefeel. One song from the era was covered by Etienne Daho in France - sounding rather advanced for French pop at the time, it ended up selling over a million copies and was later covered by Lush and sampled by DJ Koze with Lambchop singer / songwriter Kurt Wagner. Recent discovery of a trove of unreleased recordings show that Stuart had held back an array of excellent material, in demo and completed forms, often in different arrangements. Interior Windows adds 13 new performances or alternate versions to the band’s catalogue, and does the service of making both sides of The Gist’s first 7” 45 (recorded at the same session as the final YMG single) available again, along with their contribution to the NME / Rough Trade cassette compilation C81, and in keeping with The Gist’s tradition, at least one song on which Stuart does not appear

Its been five years since Belgium's WeMe Records lovingly selected the first ever collection of Heinrich Mueller's (Drexciya/Doppleffekt) best remixes/remodels for a new generation of listeners that won't have to pay collector prices to have them on vinyl. Volume 2 of False Vacuum is now with us and still has riches to choose from.

These 13 rare and hard to find tracks (3 of which make their vinyl debut) all deliver in different ways as he systematically reinvents each one.

Beginning with his raw and now classic remix of Ultradyne's 'Clones', the hard-edged dance-floor friendly 'Woman's Scent' by Cisco Ferreira (The Advent), the more laidback and futuristic sounding 'Bohrium 274' by Jauzas the Shining and Victoria Lukas, the slow and mysterious and first time on vinyl 'Somehow' by Rough Days For Diamond Trade, reinventing the darkest of dance-floors on 'Rytumtraks 0002' by Albert van Abbe, the moody masterpiece and first time on vinyl 'Now We Continue' by White Car, Duplex's 'Autoslug' sounding like its been rearranged inside a black-hole, a balancing act between the light and darkness on Fasenuova 'Cachito Turulo', an insistent rise and falling workout for As One's 'Where Did He Go and Why', a tightly wound and almost meditative 'The Truth' by The Exaltics, an angular stomping march of the robots 'Longwang' by 6D22, a jumpy fidgety groove for first time on vinyl 'Forty Eight Hours' by Yan Wagner and perhaps one of his most sublime pieces is kept for last with 'So Long For A Small Storm' by Dollska.

DAVID NUNEZ - STRANGE FEELING b/w I SEE YOUR FACE

New Mexico musical stalwart, John Wagner, is best known in these parts as the producer of Freddie Chavez’s Northern Soul classic ‘They’ll Never Know Why’. Throughout his career, John produced various styles of music, flying the flag for the New Mexico sound. His long time friend and collaborator, the singer, songwriter and multi instrumentalist David Nunez, released a couple of albums in the 70s with John on production duties. Prior to these LPs, a batch of unreleased songs were recorded and recently unearthed from John’s archives.

IZIPHO SOUL is honoured to play its small part in preserving the musical legacy of Albuquerque, New Mexico, with two songs freshly pressed on a 7” single!

STRANGE FEELING: a Latin, Funk / Soul styled opus that lures you in … then pow … into a full-blown salsa jam, before returning to the song’s theme for a dazzling finale.

The flip, I SEE YOUR FACE: a haunting melody with thought-provoking lyrics.

Collectors and DJs … looking for something left field that’s previously unreleased and recorded circa fifty years ago? Then this may be the record for you!

Mastered from the original studio tapes.

"Commemorating the 25th anniversary of Sir Georg Solti’s passing “The Greatest Recording Of All Time” Now sounding better than ever before
Transferred and remastered in HD sound at 24bit / 192kHz from the original two-track stereo mastertapes.
The first all-new transfer in over twenty-five years.
The first-ever stereo production of Wagner’s Ring cycle, still considered the benchmark today."

"Commemorating the 25th anniversary of Sir Georg Solti’s passing “The Greatest Recording Of All Time” Now sounding better than ever before on Hybrid SACD Transferred and remastered in HD sound at 24bit / 192kHz from the original two-track stereo mastertapes The first all-new transfer in over twenty-five years The first-ever stereo production of Wagner’s Ring cycle, still considered the benchmark today. “Here is the greatest achievement in gramophone history yet”, wrote Gramophone in 1965. For many, it still is!
ALL FOUR OPERAS IN THE CYCLE WILL BE RELEASED IN DELUXE HYBRID SACD EDITIONS:This iconic recording is released internationally for the first time on Hybrid SACD, delivering Solti & Culshaw’s sonic vision in the highest quality possible. The Hybrid SACD format combines the high density 24bit / 192kHz stereo mix with a standard CD layer meaning these discs will also play in any normal CD player, delivering unrivalled listening flexibility . Each edition includes lavishly illustrated booklets featuring technical information on the new HD remaster and original recording techniques, introduction to each opera by Producer John Culshaw, synopses and libretti in English & German plus many original session photographs and rare facsimiles “The greatest recording of all time”: Gramophone Magazine 1999 · BBC Music Magazine 2011 Grammy Award · Edison Award · Grand Prix Mondial du disque.

French pianist Vanessa Wagner collects solo piano studies of graceful minimalism and rare finesse for new album Mirrored.

Quickly following March 2022’s Study of the Invisible album, Vanessa Wagner returns with a new collection of work that paints in many colours. The application of shadow in Mirrored evokes haunting poignancy; the care and delicateness of its negative space leaves room for undulating melodic motifs to ebb and flow; its bold splashes of luminescence are striking and rich. And while the album collates re-interpretations of works by composers as varied as Philip Glass, Nico Muhly, Moondog, Leo Ferré and Camille Pepin, the potency and effect of the collection as a whole reflects only Vanessa Wagner and the extraordinary breadth of her abilities.

Performing solo, exposed to timbre, tempo and clarity, many of the pieces here - such as “Sea Horses” by (Vanessa’s one-time mentor) Moondog or Philip Glass’ “Etude 4” - demand virtuosic abilities as a performer and interpreter. But in Vanessa Wagner’s hands, they are not only made her own, but made mesmeric and magical by the sensitivity of her touch.

At the spearhead of the music press, Tsugi presents for the first time its selection in this vinyl ELECTRO from Cassius through Kompromat and Paradis.

First time reissue of one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
Features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles… The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil.

For those into Milton Nascimento, Caetano Veloso, Arthur Verocai… 180g vinyl edition. First time reissue.

DESCRIPTION
This 1982 Chico Lessa album is one of the milestones of independent production in Brazil and one of the greatest achievements of MPB (Brazilian Popular Music) ever that deserves wider recognition, and shines with a depth that makes it an instant classic to our ears!
The arrangements on the beautiful ‘Choveu’ and ‘Me Pega, Me Larga’ can easily bring names like Verocai to your mind. No wonder the album features some of Brazil's leading musicians, arrangers, and composers of all time: Wagner Tiso, Mauricio Maestro, Robertinho Silva, Pascoal Meirelles…
The songs on this album sound so fresh they could have been recorded today while also retaining the feel of the best post-Tropicalia work of 70s Brazil. It has become a much sought-after album in recent times after being rediscovered by top collectors worldwide

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!

The Mansion were initially a prison group formed by Charles Lorenzo Blakely in 1970 while serving time in the Green Bay Reformatory at Allouez, Wisconsin. The Mansion’s line up included at different times Michael Locke, Stanley Newburn, Carl Anderson, John Crawford, Michael Smith, Larry Moses, Ronald Hardin, Jerome Wagner, Larry Lister, Maurice Payne and Charles himself. One day while rehearsing in the prison chapel, the Mansion attracted the attention of the warden’s wife who happened to be showing some local dignitaries around. Impressed by what she heard the warden’s wife was instrumental in the Mansion being invited to perform for the city’s television station WBAY, where they recording two holiday programs. The warden later gave them permission to perform outside the prison which brought them to the attention of a Milwaukee neighbourhood program adviser by the name of Al Dunlap of the Commando Project One. It was through Dunlap that the Mansion recorded their solitary 45 release in 1974 “The Girl Next Door /Stop! Let Your Heart Be Your Guide” for a local Milwaukee label Gibbs (406). The label’s owner Bill Gibbs held the release back until some of the members of the Mansion were granted their release papers as at that time prisoners were unable to sign any contract agreements while still incarcerated. Although Charles Blakely remained incarcerated, he was later moved to a medium security prison in Fox Lake County, Wisconsin. While there he formed a gospel group, called the ‘Bell Tones’ who’s line up included Charles, Mayweather Lee, Joe Hayes, and Levell Rudd. The formation of this group was seen as major factor in Charles’s rehabilitation which led to his eventual parole in 1976. Once on the outside Charles with former ‘Bell Tone” member Mayweather Lee were joined by Charles (Sonny) Bryant and Jimmy Taylor to form a new ensemble by the name of The “Final Chapter”. As the final Chapter they recorded a solitary release for Marvel Love’s New World Label “Now I Know/Get Down For Your Action” (NW800) during 1980, a brief association that for several reasons was to eventually brake down. Although Jimmy Taylor left to pursue a career as a blues musician the remaining three members of the ‘Final Chapter’ continued to perform until they finally disbanded in 1987. Three previously unissued Final Chapter songs can be found on Soul Junction Various Artists CD compilation “We Got A Sweet Thing going On” Volume II. The Mansion’s Gibbs 45 is now is a highly prized and sort after item amongst Sweet and Group Soul collectors.

Surging brass and organ-laden funk wonderment! Formed in 1967, Crow
combines gritty blues with nasty, hard-charging garage rock
Inspired by the likes of The Ventures and The Trashmen, Minnesota natives Harry
Nehls, Dick Wiegand, and Larry Wiegand combined forces with ex- Jokers Wild
members David Wagner and Dave Kink Middlemist. Originally known as South 40,
the band released two singles and one album, Live at Someplace Else, on
Metrobeat Records.
After winning a recording session with Columbia from a battle of the bands
contest in Des Moines, Iowa, the band recorded five demos: Evil Woman, Time to
Make a Turn, Busy Day, and White Eyes. Columbia didn't offer the band a contract,
but Dunwich signed the band.
To give their sound a more commercial appeal, Dunwich added horns to Evil
Woman without the band's knowledge- and it worked! Crow signed with Capitol
subsidiary Amaret Records after turning down Atlantic, hoping to be a big fish in a
small pond. Recording their first electrifying album, Crow Music, in 1969, Crow
delivered their very best. Before it was covered by Black Sabbath and Ike & Tina
Turner, their acclaimed single, Evil Woman (Don't Play Your Games With Me), hit
the Top 20 that Fall. Reminiscent of Blood, Sweat & Tears, Deep Purple, and
James Gang, Crow blends an alluring mix of soul, funk, blues, psychedelia, and
garage rock into one package. I'm sure you'll agree Crow Music is a holy grail of
heart-poundin', grease grindin' rock!