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REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

LIMITED RED COLOURED VINYL!
REKORDER is "a kind of retrospective of myself", says M.RUX about his second, long-awaited solo album. For over 10 years, Marten Rux aka M.RUX appears as a DJ, producer, editor, remixer and multi-instrumentalist all over the world and has developed an idiosyncratic sound that opens up subtle fields of tension: M.RUX mixes a sound between experimental sound design and hooklines that stay in your ears forever. Between wild percussion and contemplative harmonies, between ecstasy and meditative calm. In his DJ and live sets, M.RUX usually steps up to the controls with a smile, discreetly bobbing his head, while the audience goes wild. He circumnavigates clichés with trustworthy certainty and develops his very own guiding threads in his selection beyond BPM or genre straitjackets. One constant is his warm, often stoically slow kick drum, which holds all that playfulness together. REKORDER is a manifestation of this typical M.RUX sound. Similar to his concept album "Vermonische Melodien" from 2020 (on the Pingipung label), the artist's curiosity is directed towards the musical visions of the past. When new music technology projected great visions of the future and when new sounds had not yet solidi ed into clichés. REKORDER refers to the recording device, spelled in a German way, because most of the recordings were made in Germany (and in England as well). Phonography is a miracle that has only been around for 150 years: Technology gifts upon us prosthetics for remembering sound. Every recording is a process, and every playback a new performative act. Recordari (Latin) is a beautiful word. It literally means to take something to heart (cor) once again (re-). This doesn't just refer to remembering, but also to a ponderous, loving, sometimes doubtful contemplation. It is a perfect headline for M.RUX’ approach to processing sound. REKORDER draws deeply from its own archive, which has ourished quite splendidly during the pandemic. Multi-instrumentalist M.RUX mixes his own recordings of banjo, guitar, auto-harp, synths, percussion and jews harp with fragments from sessions with friends that have accumulated since 2020. They unfold in the process of re-listening in the mix and transform into a solid musical tapestry. A typical gesture for this album? M.RUX bows deeply to the history of pop music - especially the blues and its melancholy, coolness and shuf ing groove. The harmonic framework of the album is based on blues scales throughout. Instead of conveying blue emotions via lyrics or the tone of the voice, as the original genre does, the synthesizer takes on this role on REKORDER. With his sound design, M.RUX achieves an ecstatic sorrow in his melodies, this gurgling portamento that is reminiscent of R&B (or even the ingenious title melody of the series "Bojack Horseman”). If voices are heard on REKORDER, then as hypnotic fragments that guide us through the groove as conjunctions: "Because...", says the voice in the track of the same name. That's enough. There are no lyrics, no literal weariness, no love-songs or storytelling, REKORDER processes all of this into timbres and groove as vessels for the album’s individual, contemplative melancholy. Never forgetting, with a gentle smile, to swing a leg.

2024 Repress

To celebrate its 30th anniversary, Plastikman's redefining acid techno masterpiece, Sheet One, has been mastered from the original tapes and reissued on vinyl via Mute and NovaMute.

Released in 1993 on Mute's subsidiary label NovaMute, this record was the debut for Richie Hawtin's alias Plastikman. 30 years on Sheet One is a landmark album in the field of electronic music, it changed the shape of what the genre could be and became.

Introducing one of techno's most recognisable logos, the album achieved a degree of notoriety for its acid blotter-style perforated artwork. Musically it focuses on laser-precise minimalist rhythms to drive a series of echo-box acid lines that gradually acquire power over the course of lengthy album tracks, with frequent use of the Roland TB-303, which gained prominence in the electronic music world as a staple of Chicago's acid house scene. Hawtin once described Sheet One perfectly in an interview with MusicRadar, saying "...It's music for the end of the party as you're melting into the floor, which is exactly what the name Plastikman was made to represent."

This seminal album helped to establish the template for minimal techno, and is a must listen for lovers of electronic music.

Available on double bio vinyl.

Anlässlich des 50-jährigen Bestehens der berühmtesten Vier aus Birmingham werden die "Erfinder" des Heavy Metal von dem prominent besetzten Tribute-Trio um Gitarrist und Sänger Zakk Wylde mit dem Doppelalbum "Doomed Forever Forever Doomed" erneut geehrt. Mit dieser liebevolle Hommage liefern die Amerikaner brillante Interpretationen von BLACK SABBATHs zweitem und drittem Album ab, also die klassischen Heavy Metal-Meisterwerken "Paranoid" (1970) und "Master of Reality" (1971).

ZAKK SABBATH wurden von BLACK LABEL SOCIETY-Gitarrist und Sänger Zakk Wylde gegründet, der auch als langjähriger Lead-Gitarrist von OZZY OSBOURNE und inzwischen auch noch von PANTERA bekannt ist. Nachdem ZAKK SABBATH anfangs mit wechselnden Mitgliedern nur live auftraten, fand die Band schließlich mit dem OZZY OSBOURNE- und ROB ZOMBIE-Bassisten Blasko und Joey Castillo am Schlagzeug (DANZIG, QUEENS OF THE STONE AGE) eine stabile Besetzung. Inspiriert durch das 50-jährige Jubiläum von BLACK SABBATHs selbstbetitelten Debütalbum, veröffentlichte ZAKK SABBATH im Jahr 2020 eine Hommage an diesen monumentalen Heavy Metal-Meilenstein unter dem Titel "Vertigo". Das Album wurde von Kritikern und Fans gleichermaßen mit Lob überhäuft. Das Trio feierte einen weltweiten Erfolg, der sich in beeindruckenden Platzierungen in diversen Charts widerspiegelt: Das Album stieg auf Platz 5 in den US Hard Music Charts, Platz 7 in den Current Rock Albums Charts und Platz 27 in den Billboard Top Album Charts ein. In Frankreich gelang sogar ein Platz 1 in den Metal Album Charts und neben einem Platz 3 in den deutschen Album Charts sowie Platz 9 in den UK Top 40 Rock/Metal Charts finden sich weitere Einträge in anderen Ländern.

Die glühende Leidenschaft für Heavy Metal hat ZAKK SABBATH dazu getrieben, BLACK SABBATH mit dem Doppelalbum "Doomed Forever Forever Doomed" ein noch monolithischeres Denkmal zu errichten. Nicht allein Headbanger dürfen sich über fantastische Interpretationen dieser klassischen Songs freuen, die sicherlich zu den einflussreichsten und folgenreichsten zählen, die je von Menschenhand komponiert wurden!

Anlässlich des 50-jährigen Bestehens der berühmtesten Vier aus Birmingham werden die "Erfinder" des Heavy Metal von dem prominent besetzten Tribute-Trio um Gitarrist und Sänger Zakk Wylde mit dem Doppelalbum "Doomed Forever Forever Doomed" erneut geehrt. Mit dieser liebevolle Hommage liefern die Amerikaner brillante Interpretationen von BLACK SABBATHs zweitem und drittem Album ab, also die klassischen Heavy Metal-Meisterwerken "Paranoid" (1970) und "Master of Reality" (1971).

ZAKK SABBATH wurden von BLACK LABEL SOCIETY-Gitarrist und Sänger Zakk Wylde gegründet, der auch als langjähriger Lead-Gitarrist von OZZY OSBOURNE und inzwischen auch noch von PANTERA bekannt ist. Nachdem ZAKK SABBATH anfangs mit wechselnden Mitgliedern nur live auftraten, fand die Band schließlich mit dem OZZY OSBOURNE- und ROB ZOMBIE-Bassisten Blasko und Joey Castillo am Schlagzeug (DANZIG, QUEENS OF THE STONE AGE) eine stabile Besetzung. Inspiriert durch das 50-jährige Jubiläum von BLACK SABBATHs selbstbetitelten Debütalbum, veröffentlichte ZAKK SABBATH im Jahr 2020 eine Hommage an diesen monumentalen Heavy Metal-Meilenstein unter dem Titel "Vertigo". Das Album wurde von Kritikern und Fans gleichermaßen mit Lob überhäuft. Das Trio feierte einen weltweiten Erfolg, der sich in beeindruckenden Platzierungen in diversen Charts widerspiegelt: Das Album stieg auf Platz 5 in den US Hard Music Charts, Platz 7 in den Current Rock Albums Charts und Platz 27 in den Billboard Top Album Charts ein. In Frankreich gelang sogar ein Platz 1 in den Metal Album Charts und neben einem Platz 3 in den deutschen Album Charts sowie Platz 9 in den UK Top 40 Rock/Metal Charts finden sich weitere Einträge in anderen Ländern.

Die glühende Leidenschaft für Heavy Metal hat ZAKK SABBATH dazu getrieben, BLACK SABBATH mit dem Doppelalbum "Doomed Forever Forever Doomed" ein noch monolithischeres Denkmal zu errichten. Nicht allein Headbanger dürfen sich über fantastische Interpretationen dieser klassischen Songs freuen, die sicherlich zu den einflussreichsten und folgenreichsten zählen, die je von Menschenhand komponiert wurden!

Anlässlich des 50-jährigen Bestehens der berühmtesten Vier aus Birmingham werden die "Erfinder" des Heavy Metal von dem prominent besetzten Tribute-Trio um Gitarrist und Sänger Zakk Wylde mit dem Doppelalbum "Doomed Forever Forever Doomed" erneut geehrt. Mit dieser liebevolle Hommage liefern die Amerikaner brillante Interpretationen von BLACK SABBATHs zweitem und drittem Album ab, also die klassischen Heavy Metal-Meisterwerken "Paranoid" (1970) und "Master of Reality" (1971).

ZAKK SABBATH wurden von BLACK LABEL SOCIETY-Gitarrist und Sänger Zakk Wylde gegründet, der auch als langjähriger Lead-Gitarrist von OZZY OSBOURNE und inzwischen auch noch von PANTERA bekannt ist. Nachdem ZAKK SABBATH anfangs mit wechselnden Mitgliedern nur live auftraten, fand die Band schließlich mit dem OZZY OSBOURNE- und ROB ZOMBIE-Bassisten Blasko und Joey Castillo am Schlagzeug (DANZIG, QUEENS OF THE STONE AGE) eine stabile Besetzung. Inspiriert durch das 50-jährige Jubiläum von BLACK SABBATHs selbstbetitelten Debütalbum, veröffentlichte ZAKK SABBATH im Jahr 2020 eine Hommage an diesen monumentalen Heavy Metal-Meilenstein unter dem Titel "Vertigo". Das Album wurde von Kritikern und Fans gleichermaßen mit Lob überhäuft. Das Trio feierte einen weltweiten Erfolg, der sich in beeindruckenden Platzierungen in diversen Charts widerspiegelt: Das Album stieg auf Platz 5 in den US Hard Music Charts, Platz 7 in den Current Rock Albums Charts und Platz 27 in den Billboard Top Album Charts ein. In Frankreich gelang sogar ein Platz 1 in den Metal Album Charts und neben einem Platz 3 in den deutschen Album Charts sowie Platz 9 in den UK Top 40 Rock/Metal Charts finden sich weitere Einträge in anderen Ländern.

Die glühende Leidenschaft für Heavy Metal hat ZAKK SABBATH dazu getrieben, BLACK SABBATH mit dem Doppelalbum "Doomed Forever Forever Doomed" ein noch monolithischeres Denkmal zu errichten. Nicht allein Headbanger dürfen sich über fantastische Interpretationen dieser klassischen Songs freuen, die sicherlich zu den einflussreichsten und folgenreichsten zählen, die je von Menschenhand komponiert wurden!

Anlässlich des 50-jährigen Bestehens der berühmtesten Vier aus Birmingham werden die "Erfinder" des Heavy Metal von dem prominent besetzten Tribute-Trio um Gitarrist und Sänger Zakk Wylde mit dem Doppelalbum "Doomed Forever Forever Doomed" erneut geehrt. Mit dieser liebevolle Hommage liefern die Amerikaner brillante Interpretationen von BLACK SABBATHs zweitem und drittem Album ab, also die klassischen Heavy Metal-Meisterwerken "Paranoid" (1970) und "Master of Reality" (1971).

ZAKK SABBATH wurden von BLACK LABEL SOCIETY-Gitarrist und Sänger Zakk Wylde gegründet, der auch als langjähriger Lead-Gitarrist von OZZY OSBOURNE und inzwischen auch noch von PANTERA bekannt ist. Nachdem ZAKK SABBATH anfangs mit wechselnden Mitgliedern nur live auftraten, fand die Band schließlich mit dem OZZY OSBOURNE- und ROB ZOMBIE-Bassisten Blasko und Joey Castillo am Schlagzeug (DANZIG, QUEENS OF THE STONE AGE) eine stabile Besetzung. Inspiriert durch das 50-jährige Jubiläum von BLACK SABBATHs selbstbetitelten Debütalbum, veröffentlichte ZAKK SABBATH im Jahr 2020 eine Hommage an diesen monumentalen Heavy Metal-Meilenstein unter dem Titel "Vertigo". Das Album wurde von Kritikern und Fans gleichermaßen mit Lob überhäuft. Das Trio feierte einen weltweiten Erfolg, der sich in beeindruckenden Platzierungen in diversen Charts widerspiegelt: Das Album stieg auf Platz 5 in den US Hard Music Charts, Platz 7 in den Current Rock Albums Charts und Platz 27 in den Billboard Top Album Charts ein. In Frankreich gelang sogar ein Platz 1 in den Metal Album Charts und neben einem Platz 3 in den deutschen Album Charts sowie Platz 9 in den UK Top 40 Rock/Metal Charts finden sich weitere Einträge in anderen Ländern.

Die glühende Leidenschaft für Heavy Metal hat ZAKK SABBATH dazu getrieben, BLACK SABBATH mit dem Doppelalbum "Doomed Forever Forever Doomed" ein noch monolithischeres Denkmal zu errichten. Nicht allein Headbanger dürfen sich über fantastische Interpretationen dieser klassischen Songs freuen, die sicherlich zu den einflussreichsten und folgenreichsten zählen, die je von Menschenhand komponiert wurden!

For the five members of Punchlove - multi-instrumentalists Jillian Olesen, Ethan Williams, Joey Machina, Ian Lange-McPherson, and visual artist Viz Wel - moving into a maze of a house in Brooklyn together was the transition that created the album they had been writing their whole lives. Quietly evolving from a bedroom project to a headlining live phenom, Punchlove has geared up a densely layered bed of emotionally serrated pain-pop songs that coalesce around a digitally-stimulated, emotional brand of modern neoshoegaze. Channels, out March 1st on Kanine Records, is an album of deeply prepared sounds, sharply honed instrumentals, and a band performing them that knows each other all the way through. Having met studying music technology in college, multiple members of Punchlove work mixing live bands at prominent NYC venues and in the studio. Using that expertise, the inhouse production, mixing, and recording is a palpable highlight; mastered by 2000s shoegaze stalwart Kurt Feldman (The Depreciation Guild), the record melds DIY recording and experimental sonic visions with studio quality. Punchlove is dedicated to pushing the envelope of experimental sonic practices in live performances, where they can be seen performing with real-time audio reactive analog visuals, executing real-time sampling and looping, self-mixing onstage, running radios and tape loops through effects, improvising, and playing guitar with everything from double bass bows to vibrators. In their home recording environment, experimentation is at the core of their creative process, where they integrate self-programmed digital signal processing systems, psychoacoustic phenomena, tailored feedback, elements of 3D audio, immersive field recording soundscapes, early electronic instruments, and experimental recording and mixing techniques into the greater backdrop of pop songwriting. FOR FANS OF: Radiohead, Wednesday, Hum, DIIV, my bloody valentine, The Smashing Pumpkins, bdrmm, A Place to Bury Strangers

The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled ‘Wyrd Psearch’ (out March 1st on Upset The Rhythm).
‘Wyrd Psearch’ was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson / Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.
Subjects covered lyrically on ‘Wyrd Psearch’ include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie.
Walker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird / wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by ‘Wyrd Psearch’ is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. ‘Wyrd Psearch’ is a document of The Pheromoans mastering their unquiet moment.

Als Mark Shelton am 27. Juli 2018 im Alter von nur 60 Jahren nach einem Auftritt von Manilla Road beim Headbangers Open Air in Brande-Hörnerkirchen starb, war der Schock in der Heavy-Metal-Underground-Gemeinde groß. Die Band löste sich auf, während 2019 auf dem Keep It True Festival eine Manilla Road-Tribute-Show zu Ehren von Mark gefeiert wurde. Fünf lange Jahre hat es gedauert, bis sich die Ex-Manilla-Road-Mitglieder Bryan Patrick (Gesang), Phil Ross (Bass) und Andreas "Neudi" Neuderth (Schlagzeug) entschlossen haben, eine neue Band zu gründen und das Erbe der Epic-Metal-Meister fortzuführen. Sie werden von Kalli Coldsmith an der Gitarre unterstützt. Der Name der Band ist Sentry und sie unterschrieben direkt nach einem ersten Lebenszeichen - einer Zwei-Track-Promo-EP (mit "Heavensent" und "Black Candles") - bei High Roller Records. Das Ergebnis ist ihr selbstbetiteltes Debütalbum, das aus sechs brandneuen Kompositionen sowie den beiden Songs der Promo-EP besteht (die CD-Ausgabe enthält einen zusätzlichen Bonustrack, "Incarnation Of Evil" von den mächtigen Candlemass). Das Material auf dem Album wurde in Kalli Coldsmiths Studio in der Nähe von Darmstadt sowie in Phils eigenem Studio in Wichita, Kansas, USA, aufgenommen.

Eines ist Sentry sehr wichtig - sie wollen nicht als Kopie von Manilla Road gesehen werden, wie Gitarrist Kalli Coldsmith unmissverständlich klarstellt: "Wir sind einfach eine andere Band mit eigenen, originellen Songs und ohne einen großen Backkatalog. Wir versuchen, für uns selbst zu stehen und unseren eigenen Stil zu finden, an dem man erkennt 'Das ist Sentry!'" Er fährt fort: "Da ich das meiste Material geschrieben habe und nie bei Manilla Road war, gehen die Songs nicht auf die Zeiten von Mark zurück. 'Heavensent' ist ein Song, der unter den Eindrücken der Mark Shelton Tribute Show im Keep It True geschrieben wurde, die für alle beteiligten Musiker und Freunde eine emotionale Achterbahnfahrt war. Dieser Song wurde also sozusagen vom Himmel geschickt. Die meisten anderen Songs waren brandneu, zusammen mit einigen alten Ideen aus meinen Riff-Kellern." Bassist Phil Ross fügt hinzu: "Diese Band würde ohne Mark nicht existieren, also kann man es natürlich in gewisser Weise als Tribut an ihn bezeichnen. Textlich gibt es viele Hommagen, die man als 'für oder an' Mark bezeichnen könnte. Wir glauben, dass ihm diese LP gefallen würde, aber wir versuchen absolut nicht, Musik 'für Mark' oder 'für Manilla-Fans' zu schreiben. Wir machen das, weil wir denken, dass wir innerhalb der Struktur dieser Band etwas Neues schaffen können, das Metal-Fans interessiert, und das schließt Manilla-Fans ein! Ich denke, jedes Mitglied hat auf eine Art und Weise zum neuen Album beigetragen, wie wir es bei anderen Aufnahmen nicht getan haben. Wir sind darauf bedacht, zu respektieren, woher wir kommen und wie wir hierher gekommen sind, aber es ist natürlich und organisch passiert. Wir haben die Band nie gegründet, um Mark 'Tribut' zu zollen."

Als Mark Shelton am 27. Juli 2018 im Alter von nur 60 Jahren nach einem Auftritt von Manilla Road beim Headbangers Open Air in Brande-Hörnerkirchen starb, war der Schock in der Heavy-Metal-Underground-Gemeinde groß. Die Band löste sich auf, während 2019 auf dem Keep It True Festival eine Manilla Road-Tribute-Show zu Ehren von Mark gefeiert wurde. Fünf lange Jahre hat es gedauert, bis sich die Ex-Manilla-Road-Mitglieder Bryan Patrick (Gesang), Phil Ross (Bass) und Andreas "Neudi" Neuderth (Schlagzeug) entschlossen haben, eine neue Band zu gründen und das Erbe der Epic-Metal-Meister fortzuführen. Sie werden von Kalli Coldsmith an der Gitarre unterstützt. Der Name der Band ist Sentry und sie unterschrieben direkt nach einem ersten Lebenszeichen - einer Zwei-Track-Promo-EP (mit "Heavensent" und "Black Candles") - bei High Roller Records. Das Ergebnis ist ihr selbstbetiteltes Debütalbum, das aus sechs brandneuen Kompositionen sowie den beiden Songs der Promo-EP besteht (die CD-Ausgabe enthält einen zusätzlichen Bonustrack, "Incarnation Of Evil" von den mächtigen Candlemass). Das Material auf dem Album wurde in Kalli Coldsmiths Studio in der Nähe von Darmstadt sowie in Phils eigenem Studio in Wichita, Kansas, USA, aufgenommen.

Eines ist Sentry sehr wichtig - sie wollen nicht als Kopie von Manilla Road gesehen werden, wie Gitarrist Kalli Coldsmith unmissverständlich klarstellt: "Wir sind einfach eine andere Band mit eigenen, originellen Songs und ohne einen großen Backkatalog. Wir versuchen, für uns selbst zu stehen und unseren eigenen Stil zu finden, an dem man erkennt 'Das ist Sentry!'" Er fährt fort: "Da ich das meiste Material geschrieben habe und nie bei Manilla Road war, gehen die Songs nicht auf die Zeiten von Mark zurück. 'Heavensent' ist ein Song, der unter den Eindrücken der Mark Shelton Tribute Show im Keep It True geschrieben wurde, die für alle beteiligten Musiker und Freunde eine emotionale Achterbahnfahrt war. Dieser Song wurde also sozusagen vom Himmel geschickt. Die meisten anderen Songs waren brandneu, zusammen mit einigen alten Ideen aus meinen Riff-Kellern." Bassist Phil Ross fügt hinzu: "Diese Band würde ohne Mark nicht existieren, also kann man es natürlich in gewisser Weise als Tribut an ihn bezeichnen. Textlich gibt es viele Hommagen, die man als 'für oder an' Mark bezeichnen könnte. Wir glauben, dass ihm diese LP gefallen würde, aber wir versuchen absolut nicht, Musik 'für Mark' oder 'für Manilla-Fans' zu schreiben. Wir machen das, weil wir denken, dass wir innerhalb der Struktur dieser Band etwas Neues schaffen können, das Metal-Fans interessiert, und das schließt Manilla-Fans ein! Ich denke, jedes Mitglied hat auf eine Art und Weise zum neuen Album beigetragen, wie wir es bei anderen Aufnahmen nicht getan haben. Wir sind darauf bedacht, zu respektieren, woher wir kommen und wie wir hierher gekommen sind, aber es ist natürlich und organisch passiert. Wir haben die Band nie gegründet, um Mark 'Tribut' zu zollen."

What the listener might encounter on this album goes all the way down to the sound of a neuron transmitting pain, beatitude or any one of the countless senses and impressions we feel on any one day of life. N E U R O is the debut album by CURA MACHINES, a new project by Daniel Lea whose tracks are at once scientific in their capturing of the morphing of body cells as well as the larger expanses of a poetic filmscape of the contemporary metropolis.

The name CURA MACHINES comes from a sign Lea saw on a trip to Ancona, Italy at an abandoned hospital: Prima E Dopo La Cura (Before and after the cure). The sound in between, of what was lost or found, transmuted in the heavily manipulated and pulsating synthesisers, is the restoration here. With a physically visceral mix by Ben Frost and soaring re-amped bass textures from Yair Elazar Glotman, the album is lush with trans-morphing apeggia that shudder, quack and soar into ashen sparks.

Back in the turn of the 20th century the poet Rilke posited that the suture patterns of fused skull plates could potentially be played by the then-new technology of the gramophone, with each of us having our own personal tonal source code or anthem etched onto our skulls. And with a track like 'Suture' we have such an embodied sound: the close-up exhumation of the neural brain casing, stitched and sewn together in fleeting pulses of whisper and alarm.
The individual is exposed and isolated, but not without the promise of succour.

Or one also has the soundtrack to the loneliness of a morose private eye – a pulp novel set in a future time of neurosis or washed out euphoric beauty. It is here in tracks such as 'Terminal Zone' or 'Inversion Layers', music that is blinking in celluloid frames. The plot could easily be a sci-fi, paranoid tale of brain emulation, transhumanist crimes against humanity itself. After all this is Lea's soundtrack to Los Angeles, the city of angels that has been captured in countless movies: the racing tracking shot of the 2nd Street Tunnel at night, the freeways spreading out in a glorious sprawl of lit up veins and arteries. The last track 'Zosa' marks out the boundary line that delineates between day and night, when the lunar strains wane, the tides subside and the city comes to life.

Faye Webster hat heute ihr neues Album “Underdressed At The Symphony” für den 01. März 2024 bei Secretly Canadian angekündigt und teilt gleichzeitig ihre neue Single “Lego Ring (feat. Lil Yachty)”.

Eine Art Unbeschwertheit, allerdings mit melancholischem Rückgrat, ist die treibende Kraft hinter dem Song, auf dem Atlanta-Multikünstler Lil Yachty zu hören ist.

Im zugehörigen Musikvideo spielen Faye und Yachty ein Videospiel, bei dem Fans die Möglichkeit haben, über diesen Link mitzuspielen.


Faye Webster - “Lego Ring (feat. Lil Yachty)” (Official Video)


Die Songs von Faye Webster sind ein direkter Draht zum menschlichen Unbewussten, und "Underdressed at the Symphony" dokumentiert, was passiert, wenn man beginnt, aus den Trümmern der alten Routinen ein neues Selbst aufzubauen. Schon ihre zuvor veröffentlichten Songs "But Not Kiss" und "Lifetime" zeigen das selten erforschte Gebiet emotionaler Intimität, in dem Verlangen und Leidenschaft im Konflikt mit Trost, Verständnis und sogar platonischer Liebe stehen. Diese Themen finden sich in “Underdressed at the Symphony” wieder, zusammen mit hyper-spezifischen Symbolen, die ein Bild von Websters Leben zeichnen, wie z.B. "eBay Purchase History" oder die Objekte, die sie bei "Lego Ring"begehrt.



“Underdressed at the Symphony” wurde mit ihrer langjährigen Band in den Sonic Ranch Studios in Texas aufgenommen und schwelgt in Experimentierfreudigkeit, Verspieltheit und Abenteuerlust. Vocoder-Momente, Schnörkel eines Orchesters, gruselige Harmonien und Synthesizer kommen zum Vorschein, ohne die räumliche Qualität von Websters früherer Musik zu beeinträchtigen, sodass ihre Texte nach wie vor genügend Raum haben, mit zusätzlichen Bedeutungsebenen an die Oberfläche sprudeln. Matt „Pistol“ Stoessels Pedal Steel-Klänge sorgen für genau den richtigen Schimmer, während Nels Cline von Wilco seine unbestreitbar gefühlvollen Fingerfertigkeiten zu einer Reihe von Songs beisteuert. Das Zusammenkauern an der buchstäblichen Grenze zwischen den USA und Mexiko bot den Musiker*innen Raum zum Isolieren, Konzentrieren und Experimentieren. Alle Songs auf diesem Album sind Live-Aufnahmen, von denen einige bereits beim ersten oder zweiten Take aufgenommen wurden und Websters Talent zeigen, aus einem ganz bestimmten, scheinbar kleinen Moment eine universelle Erfahrung zu ziehen.

Faye Webster hat heute ihr neues Album “Underdressed At The Symphony” für den 01. März 2024 bei Secretly Canadian angekündigt und teilt gleichzeitig ihre neue Single “Lego Ring (feat. Lil Yachty)”.

Eine Art Unbeschwertheit, allerdings mit melancholischem Rückgrat, ist die treibende Kraft hinter dem Song, auf dem Atlanta-Multikünstler Lil Yachty zu hören ist.

Im zugehörigen Musikvideo spielen Faye und Yachty ein Videospiel, bei dem Fans die Möglichkeit haben, über diesen Link mitzuspielen.


Faye Webster - “Lego Ring (feat. Lil Yachty)” (Official Video)


Die Songs von Faye Webster sind ein direkter Draht zum menschlichen Unbewussten, und "Underdressed at the Symphony" dokumentiert, was passiert, wenn man beginnt, aus den Trümmern der alten Routinen ein neues Selbst aufzubauen. Schon ihre zuvor veröffentlichten Songs "But Not Kiss" und "Lifetime" zeigen das selten erforschte Gebiet emotionaler Intimität, in dem Verlangen und Leidenschaft im Konflikt mit Trost, Verständnis und sogar platonischer Liebe stehen. Diese Themen finden sich in “Underdressed at the Symphony” wieder, zusammen mit hyper-spezifischen Symbolen, die ein Bild von Websters Leben zeichnen, wie z.B. "eBay Purchase History" oder die Objekte, die sie bei "Lego Ring"begehrt.



“Underdressed at the Symphony” wurde mit ihrer langjährigen Band in den Sonic Ranch Studios in Texas aufgenommen und schwelgt in Experimentierfreudigkeit, Verspieltheit und Abenteuerlust. Vocoder-Momente, Schnörkel eines Orchesters, gruselige Harmonien und Synthesizer kommen zum Vorschein, ohne die räumliche Qualität von Websters früherer Musik zu beeinträchtigen, sodass ihre Texte nach wie vor genügend Raum haben, mit zusätzlichen Bedeutungsebenen an die Oberfläche sprudeln. Matt „Pistol“ Stoessels Pedal Steel-Klänge sorgen für genau den richtigen Schimmer, während Nels Cline von Wilco seine unbestreitbar gefühlvollen Fingerfertigkeiten zu einer Reihe von Songs beisteuert. Das Zusammenkauern an der buchstäblichen Grenze zwischen den USA und Mexiko bot den Musiker*innen Raum zum Isolieren, Konzentrieren und Experimentieren. Alle Songs auf diesem Album sind Live-Aufnahmen, von denen einige bereits beim ersten oder zweiten Take aufgenommen wurden und Websters Talent zeigen, aus einem ganz bestimmten, scheinbar kleinen Moment eine universelle Erfahrung zu ziehen.

Donovan’s Original
A Gift From a Flower to a Garden made for a few firsts: the first double LP of Donovan’s
career, one of the first box sets in pop and, most importantly for Donovan himself; the first
pop album for the children of tomorrow.

He resolved to make A Gift From a Flower to a Garden an album of two halves. The first,
Wear Your Love Like Heaven, was intended for his own generation as they started to think
about the kind of world they wanted to leave behind. The second, For Little Ones, was for
the children they had or would have in the years to come. The result was a kaleidoscopic
folk-jazz suite on the power of love, imbued with all the romance and mystery of an Arthur
Rackham illustration for an ancient English fairy tale. The songs, remarkably adventurous
given Donovan was a globally famous singer at his commercial height, combined the
influences he had amassed so far.

There is something about A Gift From a Flower to a Garden that could never be repeated,
though. It is such an innocent evocation of the childlike imagination, so redolent of its time,
yet set apart from it too. All these years later, the peaceful qualities of this pioneering,
enchanting, deeply unusual album feel more valuable than ever.

The state51 Box Set
With authenticity core to the project, The state51 Conspiracy engaged one of the UK’s
leading experts in box set design, Daniel Mason at Something Else, to painstakingly recreate
the box, records and accompanying ephemera. The first challenge was to find the deep blue
leatherette paper the original box set was covered in; a problem since it was no longer in
production. “I knew people who had stacks of it, gathering dust on top shelves, so I bought it
up wherever I could find it,” says Mason. Then came the reproduction of 12 loose leaf lyric
sheets on fine art watercolour paper, each of them featuring a watermark and a fairytale-like
illustration by Donovan’s artist friends Sheena McCall and Mick Taylor. Where, though, to
find the same paper stock? “I found out that it was made at a paper mill in North Wales
called Abbey Mills. Unfortunately the mill dissolved in the early 70s and very little of the
paper remained. However enough paper remained to allow us to produce the numbered
certificate also signed by Donovan that sits within the box.”

Then to the iconic cover image. Donovan and Jimi Hendrix’s personal photographer Karl
Ferris, used infra-red film to achieve the psychedelic effect on the cover, but the original
negatives couldn’t be found. Mason then used digital technology to ramp up the colour levels
on a reproduction from an original copy of the album while allowing it to remain a little bit
faded, as it would be after half a century. The same labour of love and care has gone into
producing all elements of the box; from the rebuilding of the famous front cover font to the
hand-numbered and signed certificate; letterpress printed on the original paper stock of the
1968 UK release lyric sheets.

To cap it all off the original mono master tapes were waiting safely in the EMI Donovan
Archive and transferred from tape to digital by Abbey Road Studios where new lacquers
were cut, ensuring Donovan's favoured mono version of the album would be presented both
physically (and digitally for the very first time) in striking audiophile quality. The final touch to

Tessen were folding fans with concealed outer spokes made of heavy iron plates. Some swordsmanship schools provided training of the tessen as a weapon. Besides using the razor-sharp spokes as an attacking tool, the tessen was also used as a throwing weapon, for fending off knives and darts and as a swimming aid. Samurai could also secretly take them to places where overt weapons were not allowed.

LYSISTRATA hat die Kurve zu ihrer dritten Platte mit einer unglaublichen Geschmeidigkeit gemeistert. Das Indie-Rock-Trio aus Saintes, Frankreich markiert den Übergang zum Erwachsenenalter, indem sie ihren Pop-Aspekt sublimiert. "Veil" - produziert von dem New Yorker Ben Greenberg (Metz, Algiers, Beach Fossils, DIIV usw.) - ist ein Album, das geschaffen wurde, um zu tanzen, zu singen und seine Gefühle bis zur Hingabe auszuleben. Ein verbindendes Album, das weit über den ersten Kreis der Fans dieser so ehrlichen Band hinaus richtig und stark berühren wird.

Hailing from Brittany, historical center of France's industrial scene and in close proximity to Belgium's infamous rave and EBM innovations, Ekors set out to deliberately blacken and burn the sophisticated sounds emanating from Paris. With releases on Amsterdam's harsh Leyla imprint, fellow French hardcore iconoclast Umwelt's Flesh or Die, and JoeFarr's User Experience, the trio undoubtedly made their name in their lonely redoubt in the timberland, and Rant & Rave is honored to host their theme EP, Forest Killers, as our fifth release.

'Woodchip' conjures nightmares of dead bodies run through a woodchipper rather than more pastoral scenes, its distorted kicks, bone-crushing bass and blasted-apart leads chopping air and anyone unlucky enough to stand in its way. Title track 'Forest Killers' is murderous, the lurching breakbeat and shrapnel percussion approaching like axe falls ever closer until the horror score melody enters, then accelerating frantically as the killers close in. 'Evil Sapp' only seems subdued in comparison, its hammering techno pulse providing scant breathing room as industrial machinery fells nearby trees. Self-explanatory 'Chainsaw Requiem' ups the discomfort as the titular tool buzzes overhead, more Texas Chainsaw Massacre than weekend warrior woodpile work. Amidst squalling leads, ricocheting percussion, fearful blasts of noise, and pounding bass and kicks, Ekors escort us out of the haunted wood, sighs of relief and evil laughs joining in chorus.

Das mit einem Grammy ausgezeichnete Tuareg-Kollektiv Tinariwen veröffentlicht eine limitierte Picture-Disc mit den 4 Bonustracks der digitalen Deluxe-Version ihres gefeierten neunten Studioalbums 'Amatssou' (2023). Der Leadtrack 'He Layla' ist von einem Traditional aus der Djanet-Region inspiriert, wo das Album aufgenommen wurde. In typischer Tinariwen-Manier erzählt der Song von der Vergangenheit, als die Sahara unter französischer Kolonie stand, während poetische Metaphern des wilden Lebens in der Wüste verwendet werden.

In den zwei Jahrzehnten, seit Tinariwen aus ihrer Basis in der afrikanischen Wüste hervortraten, um den Globus zu bereisen, haben sie viele renommierte Country-, Folk- und Rockmusiker aus den USA kennengelernt, darunter Kurt Vile, Stephen O'Malley, Jack White und Wilco. Tuareg-Nomaden und Cowboy-Wanderer. Kamelzüge und Mustang-Pferde. Der zeitlose Horizont der endlosen Sahara und die wilde Grenze des Wilden Westens – mehrere tausend Meilen Ozean trennen den Wüstenblues von Tinariwen und die authentische Country-Musik des ländlichen Amerikas, aber die Links sind genau so spürbar wie romantisch.

Senegalese singer Faada Freddy releases a new album entitled "Golden Cages" after a seven-year hiatus. With an organic approach, he uses mainly his voice, hand-clapping and body percussion. The album features original tracks that reflect his critical yet benevolent thinking, tackling themes such as the standardization of thought, lack of reflection and dehumanization in today's society. Faada Freddy defends the idea of freedom, combining conscience and emotion, reflection and wonder. The album also celebrates the singer's African roots and expresses his attachment to his country and continent. "Golden Cages" is an ode to freedom and harmony, a vibrant love song for overcoming divisions.

LIMITED RED VINYL

Sheherazaad ist eine US-amerikanische Komponistin und Sängerin, derenzeitgenössische Folk-Pop-Synthese, produziertvon Arooj Aftab, einer neuen Welle der klanglichen Innovation aus der Diaspora Teil wird. In der modernen Welt ist Migration omnipräsent. Sie durchzieht sämtliche Lebens- und Alltagsbereiche, steckt oftmals verschlüsselt in unseren Gewohnheiten. Während unzählige Menschen sowohl mental als auch körperlich mit nie da gewesener Aggressivität die Globalisierung vorantreiben, werden einst stabile "Genres" und Identitäten jeder Art zerlegt - aufgespalten und abgeschafft, überflüssig gemacht und wieder neu geboren. Alles migriert, alles ist in Bewegung. In genau diesem fluktuierenden Feld findet Sheherazaad Inspirationen für ihre Songs. Ihr Minialbum Qasr entstand während einer Phase der familiären Entfremdung. Auch die Trauer über einen Todesfall in der Familie und die rassistische Polarisierung ihres Landes, das plötzlich kaum wieder zu erkennen war, prägten die Aufnahmen. Der Titel des Albums bedeutet auf Urdu (der Nationalsprache in Pakistan und einigen indischen Bundesstaaten) so viel wie "Burg" oder "Festung". Und tatsächlich ist Qasr ein Monument: Es verkörpert die Last der Vertreibung, die widersprüchlichen Sog- und Anziehungskräfte der Diaspora - und das schreckliche Problem der Auslöschung, des Vergessens der eigenen Wurzeln. Um genau diese Art der Erfahrung geht es, um die Gewalt, die Hysterie, auch um die Romantisierungen, die damit einhergehen, wenn Sheherazaad klanglich eintaucht in jenes In-Between - ins Reich des Dazwischen. Die Aufnahmen fanden im Herzen von Brooklyn im Glass Wall Studio statt. Die unbeschreibliche Energie der nächtlichen Sessions speiste sich dabei vor allem aus der einzigartigen (und einzigartig internationalen) Konstellation der Mitwirkenden: u.a. mit dabei waren auch Basma Edrees (Ägypten), Gilbert Mansour (Libanon) und Firas Zreik (Palästina); gemastert von Heba Kadry (Björk, Ryuichi Sakamoto). Auf Qasr lädt uns Sheherazaad in eine betörende und vollkommen neue Klangwelt ein: in ein Reich der Musik, das genau genommen noch gar nicht von dieser Welt zu sein scheint. Zugleich lässt sie die Fackel der nomadischen Erfahrung auflodern, gibt auch diesem Feuer einen sehr viel prominenteren Platz. Insgesamt entwirft die Künstlerin mit diesem betörenden Album ihre eigene Festung. Denn sie will auch uns dazu ermutigen, unsere eigenen Festungen, unsere eigenen klanglichen König:innen-Reiche und unmöglichen Traumwelten zu entwerfen

The cinematic opening track Inthenever starts off as a film >> somewhere on a desolate coast, where everything has already ceased. This is going to be an album with a story and depth, a fearless tour of the barren shores of our days // or is it possibly just a mirage conclusion of their razor-sharp sound brutalism? Tittingur's third album, Epiphany, is here, pounding with waves they had not done before.

It seems as though this dyad has disposed of all the genre confines that had locked them in, and have grasped the sound of new subject matters, for which the moniker of experimental techno is finally too narrow. With utter urgency and candid to their emblematic, thunderous sound, Dominik's and Matus's deafening mallets collide in beats which are now, more than ever, drenched in a mass of palpable gloom and anguish. As though we could touch the rising levels of the oceans, and smell the melting of the glaciers themselves.

In one way or another, the music of Tittingur has always been about nature, its fierce essence, and its stark contrast with the post-era that we have found ourselves living in. However, whereas before, it was the sound of old, weather-stained concrete, and the pounding of abandoned, overgrown buildings, now it is, unavoidably, their most direct and honest return to nature landscapes, and to human, age-old traditions, referenced in the Slovak folk motives, recordings and found sounds.

On Epiphany, Tittingur's sound becomes yet more abstract, in a sound world that is ambiguous but also unified, and works on its own. The duality of nature and technology, of inland human folklore and the trenches of deepest oceans, invite us to come closer and observe the volatile obliteration taking place. Can we even attempt to re-assess our position with nature, or is this whole experiment doomed to fail?

Unsurprisingly, in the echoes, all the ingredients of the classic Tittingur sound are still present, distilled into new forms >> the ever-present over-saturation, the exaggerated, maximalist approach and megalomania >> the sound of impending climate change, doom, and near-apocalyptic visions, the scent of borovička mixed with the wild North Sea, the agony of contemporary urban life, and the adventure of wilderness: ferocious synths, monumental beats, aggressive basslines and crumbling noise-scapes built of a found-sound, music concréte-like, collagist approach.

At moments, it seems the means have changed. Just until you realise that the sentences of this story are spoken in a new language. If you dive deep enough, and listen to the essence that the music of Tittingur articulates, it's surprisingly easy to understand >> although the notions and emotions are difficult to put into words. The profound narrative of Epiphany is that of an endless inner struggle of society, anxiety, crises, and ambiguously easy // difficult solutions in the post-modern global chaos. It is the calm before a storm. It is the storm. Is it the calm. It is all of it, in itself. credits

For the past five years, Projekt Ruiny has been rejuvenating abandoned and decaying industrial landmarks by using them for concerts, exhibitions and discussions. This refusal of disuse also defines the character of SILO by Kolektív Ruiny, which disposes of all aspects of such cultural urban exploration besides the two most monumental >> sound and time.

The trio of musicians // sound artists kept returning to sugar and brewery silos in Rimavská Sobota in southern Slovakia for over six months to listen to their sounds and reply with improvisations. The silos' ambience proves that these places in a state of decay are living environments that hear plenty themselves, both from outside and inside, and spread what they hear wholeheartedly.

Kolektív Runy builds on this acoustic generosity with a combination of empathy and boldness. The attitude is most apparent on the few tracks that are musically harsh, but still offer the same discernible respect towards their industrial venues as the most serene pieces on SILO. It is an homage to these places, teeming with attention and care, and the ninth release by the devout label Weltschmerzen.

Blending sounds of early 70s Funk & Soul, Latin-Jazz, and Afrobeat, Mestizo Beat kicks the year off with a heavy dose of new material. First up is “She’s A Rose b/w Lotsapapa,” their next 45, offering two sides of masterful instrumental soul music written & produced by The Magaña Brothers out of their hillside studio, Spc 166 in Topanga, CA. Side A’s “She’s A Rose” takes us back to the golden years of the Blaxploitation film genre and the soundtracks we have grown to love. This song was inspired by the compositional and orchestral arrangements from the greats, such as Curtis Mayfield’s “Superbad,” Johnnie Pate’s “Shaft in Africa,” and Bobby Womack’s “Across 110 Street.” Featuring Tim Felten of Surefire Soul Ensemble on keys, with horns written and arranged by Jesse Audelo, Mestizo Beat takes the listener on an evolving journey, exploring the mood and cinematic elements of flute, saxophone, and wha’d-out guitar, topped off with a funky drum and percussion break. On the flip, “Lotsapapa” rounds out the B-Side, blending the musical styles of Latin and Nigerian disco-funk into a track that’s perfect for the dancefloor and those late nights out. Written about Bernard “Lotsapapa” Crowe, a notorious drug dealer who survived an attempted murder by Charles Manson, this side is sure to get the body moving with the afro-disco rhythms and chant vocals, dubbed out around a tightly arranged horn section written and arranged by Jesse Audelo and Jason Cressey. “Lotsapapa” features guests Steve Haney from Jungle Fire on Percussion and Cressey of the True Loves on trombone.

With each side highlighting the various talents of the ensemble, Mestizo Beat always stays true to their sound and recording techniques. Both tracks are mixed by Sergio Rios at Killion Sound and are featured on the forthcoming LP, Jaraguá, coming mid-2024.

We welcome the English creator from Manchester Mark Wilkinson aka Kid Machine to HC Records.This album of 12 songs on vinyl and 4 digital bonus tracks, already seemed historic to us at the time of closing the album, but now it seems like a real event as it is the last one that the artist will publish under the pseudonym KID MACHINE.

Maybe your demands of punk are a little too high. Maybe they're a little too exacting - you know what you want, but you don't know how to get it. Maybe you've got an itch that's needed scratching since you first heard '(I'm) Stranded' (sounds like a doctor needs to look at that, mind). Maybe all or none of these things are true and you're just in search of three or four chords and some righteous snot. Reader, you have come to the right place. Split System came sauntering out of Melbourne back in 2022 with a self-titled 7" and a debut LP (the sensibly-titled 'Vol. I'), and as a listener of exquisite taste, one or both of those items will have carved out their own spaces within easy access of your record player. With members of acer-than-ace garage punkas Stiff Richards and Speed Week among their number, not to mention the redoubtable Jackson Reid Briggs, they deal in a gloriously back-to-basics take on punk that's part Undertones, part Royal Headache and part Chris Bailey - all hooks and glory, all the time. They're so much more than the sum of their parts and they make this shit sound effortless. Well, here's an update for you: they're back! Second album (the equally-sensibly-titled 'Vol. II') is now upon us, and a thoroughly tremendous follow-up it is too. As soon as opener 'The Wheel' slams into your speakers, it's clear that they've lost none of the pep or power that made their debut such an essential listen; if anything they're even more raucous and revved-up than before. Yep, that's jargon for 'they rule hard', and let me add here that you could listen to this album 100 times in a row or simply try inserting dynamite sticks with lit fuses into your ear canal; either way, your poor little mind is gonna blow. It's an album made entirely of bangers (still on that explosion metaphor, are we?) - the concise questioning of 'End of the Night' is as pure a punk rock nugget as you could ever wish to uncover, and 'The Drain' is just energy distilled to a perfect series of hooks - with a passion for rock'n'roll in its most scintillating form. Just listen to it. That's all you need to do. Your demands have been met - here's your new favourite record.

First ever vinyl edition of the landmark 1980 cassette by synth wizard Don Slepian. Utilizing the fabled and notoriously complex Alles digital synthesizer at the Bell Laboratories scientific research center, Sea Of Bliss features two transcendent cascading sidelong tracks, to easily qualify as one of the ultimate pinnacles of the new age genre. Cut with care using the Direct Metal Mastering process, and featuring cover artwork by visionary artist Jonathan Meader.

"10th anniversary product suite for Nick Mulvey’s debut album, ‘First Mind’.“Nick Mulvey’s debut is a charmingly simple and rarely produced album full of beautiful melodies, extensive guitar skills and exotic ryhthms – it feels like the missing soundtrack for the beginning of a perfect summer.” NBHAP
“A total package of pop hooks, instrumental genius and gorgeous rhythms, Mulvey presents us with an intelligent record that demonstrates his passion for sounds outside of insular scenes.” THE LINE OF BEST FIT
“‘First Mind’ is captivating, full of intricacies and influences that should see it celebrated as one of the great albums of 2014.” CLASH"

Albert Hammond is one of the most prolific, versatile songwriters and performers of his or any generation. His earliest solo hits include “It Never Rains in Southern California” and “The Free Electric Band.” His contributions to popular music (writing and and/or contributing to hit songs by Tina Turner, Whitney Houston, Willie Nelson and Julio Iglesias, Diana Ross, Starship, The Hollies, Joe Cocker, Johnny Cash, Aretha Franklin) cross genres and generations.  Body of Work is an all-new, original, and essential addition to this iconic canon. Written during a time of tumultuous change, Body of Work is the moment a master songsmith takes a step back to reflect on the world, “This is the first step I had to take and the album is what I discovered about me and all of us once I started here,” says Albert. “I can feel the discomfort and impatience in it. That’s just the honest feeling when the world changes for you from oasis to desert, from beauty to chaos… freedom to fences.” From gutsy opener “Don’t Bother Me Babe” through the wistful “Looking Back” and closing with the reflective “Goodbye LA,” Body of Work is an album for the ages, crafted with 50 years of words, experience, and wisdom.

For a long time, the music of Congo-born Bony Bikaye had to be sought in the purgatory of "world music", where diamonds in the rough cohabited with bland nightmares of white dudes who froze rumba like fish sticks. Worse, they did put it on the menu, when so many longed to move on. Take Bikaye, who grew up listening to modern european music, digs Krautrock, struggles with tradition, obviously looking for trouble in the genre. In Brussels, he recorded a few albums with CY1 (Loizillon/Micheli), and brilliant defectors from Aksak Maboul, produced by Hector Zazou. Now it's up to french trio TONN3RR3 to take up the torch and build this project that proudly brags: "It's a bomb". Thought up at home by Guillaume Gilles (compo/keyboards), the album was finished at One Two Pass It studio, with Olivier Viadero and Gae"lle Salomon on percussion, Yoann Dubaud (machines & bass) and Guillaume Loizillon (synth of CY1 fame, and matchmaker of this affair). It's a deeply musical record, crafted by no-attitude reference players with nothing left to prove, and you can hear it. Floats well above the fray. "Keba na butu", beware. Indeed : beyond the simple pleasures of soukouss, or the rumba guitar riff that spins like a merry-go-round that skipped technical inspection, lie lush orchestrations. Freestyle, synthetic : something old, something new, something what-the- fuck-is-that-now. There's straight, there's syncopated, there's 808 and knee-jerk inducing bass patterns_with a vision. BIKAY3 plays his voice more than ever. His crazy vibrato has improved like hard liquor over the years. In "Zela" and "Balobi" in particular, he puts it to good use with flamboyant, Screamin' Jay Hawkins-style antics. He can also resort to pure storytelling : "La fore^t et les dieux", is a French-spoken excursion into the wild, moving along in grasslands of synths and percussion with TONN3RR3. A tale of gods and spirits, plain and simple. Nicole Mitchell brings the occasional flute in "Akei" for this trip in the bush of ghosts where lingala and kikongo rub with English and French. They saved "It's a bomb" for the end, a bastardized rumba, with rimshots that slap like a cool hand on willing skin. We're living in a golden age of reissues coming out in droves and satisfying our desire to catch up on our neighbors' musical heritage, but let's not miss the boat : it's now or never to listen to the music of the living. - Halory Goerger

The Minneapolis Uranium Club Band, along with Static Shock Records are proud to present “Infants Under the Bulb”; The Uranium Club’s fourth album and first full length since 2018’s "The Cosmo Cleaners". Precisely timed ahead of the band’s debut tour of Australia commencing March 19, Infants Under the Bulb will light up stores across the globe from March 1st. Recorded in Minneapolis over the course of 2023 by long time collaborator Grant Richardson and just as rampant and agitated as ever.

The Uranium Club once again win their dear listeners over with eccentrically wild guitar parts, revolving voices, elastic-tight drums and the addition of their very own Saints-styled horn section. Lyrically, Under the Bulb opens up the history books of unsolved mysteries - unidentified, unsolved, unanswered subjects of suspicious acts or individuals across the last century. Who, what, when and where… but mostly, why? Ignorant humanity of earth orbits the sun once again.

The Somerton Man, Bergmann, Bauby, Denton, phone phreakers, and just what is lurking behind the cosmic organ of The Wall? As always, the artwork was handled in-house by the Club and ambitious as ever. The spectacular cover shot captures a carefully coordinated event orchestrated by the Club to photograph a crowd of the local volunteers wearing ponchos standing together in an open field to make the shape of a giant spiral. The spiral pictured is 120 feet (36.5 meters) wide, photographed by drone, and was plotted out on the ground using a protractor specially fabricated for the occasion by the band with a pivoting centre and 60ft long adjustable

Anlässlich des 50-jährigen Bestehens der berühmtesten Vier aus Birmingham werden die "Erfinder" des Heavy Metal von dem prominent besetzten Tribute-Trio um Gitarrist und Sänger Zakk Wylde mit dem Doppelalbum "Doomed Forever Forever Doomed" erneut geehrt. Mit dieser liebevolle Hommage liefern die Amerikaner brillante Interpretationen von BLACK SABBATHs zweitem und drittem Album ab, also die klassischen Heavy Metal-Meisterwerken "Paranoid" (1970) und "Master of Reality" (1971).

ZAKK SABBATH wurden von BLACK LABEL SOCIETY-Gitarrist und Sänger Zakk Wylde gegründet, der auch als langjähriger Lead-Gitarrist von OZZY OSBOURNE und inzwischen auch noch von PANTERA bekannt ist. Nachdem ZAKK SABBATH anfangs mit wechselnden Mitgliedern nur live auftraten, fand die Band schließlich mit dem OZZY OSBOURNE- und ROB ZOMBIE-Bassisten Blasko und Joey Castillo am Schlagzeug (DANZIG, QUEENS OF THE STONE AGE) eine stabile Besetzung. Inspiriert durch das 50-jährige Jubiläum von BLACK SABBATHs selbstbetitelten Debütalbum, veröffentlichte ZAKK SABBATH im Jahr 2020 eine Hommage an diesen monumentalen Heavy Metal-Meilenstein unter dem Titel "Vertigo". Das Album wurde von Kritikern und Fans gleichermaßen mit Lob überhäuft. Das Trio feierte einen weltweiten Erfolg, der sich in beeindruckenden Platzierungen in diversen Charts widerspiegelt: Das Album stieg auf Platz 5 in den US Hard Music Charts, Platz 7 in den Current Rock Albums Charts und Platz 27 in den Billboard Top Album Charts ein. In Frankreich gelang sogar ein Platz 1 in den Metal Album Charts und neben einem Platz 3 in den deutschen Album Charts sowie Platz 9 in den UK Top 40 Rock/Metal Charts finden sich weitere Einträge in anderen Ländern.

Die glühende Leidenschaft für Heavy Metal hat ZAKK SABBATH dazu getrieben, BLACK SABBATH mit dem Doppelalbum "Doomed Forever Forever Doomed" ein noch monolithischeres Denkmal zu errichten. Nicht allein Headbanger dürfen sich über fantastische Interpretationen dieser klassischen Songs freuen, die sicherlich zu den einflussreichsten und folgenreichsten zählen, die je von Menschenhand komponiert wurden!

Superb album of a kind... Breakcore killerz for a Fukdup superb prod !!

Der Modern Roots Classic ist wieder als Original US-LP Vinyl erhältlich! Der Longplayer wurde 1997 von Robert "Digital B" Dixon produziert und von Barry O'Hare, Benjy Myres, Bongo Herman, Dalton Browne, Dean Frazer, 'Dish', Donald Dennis, Ernie Wilks, Jazzwad, Melbourne Miller, Paul Crossdale, Paul Henton, Robbie Shakespeare, Ronald "Nambo" Robinson, 'Saxie' und Sly Dunbar eingespielt, die Backing Vocals übernahmen Dalton Browne and Marie Gittens. Als Riddims kamen u.a. diverse Klassiker von Coxone Dodd/Studio One Label, und/oder von Black Uhuru und The Abyssinians zum Einsatz: "Stars", "Drum Song", "Queen Of The Minstrel", "Leaving To Zion", "Satta", "He Prayed".

Repress!

Mr Bongo are delighted to present an officially licensed re-issue of this underground Japanese rock rarity 'Uganda (Dawn of Rock)' by Akira Ishikawa & Count Buffaloes. This album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

The respected Japanese jazz drummer Akira Ishikawa was not messing around when he recorded the 'Uganda (Dawn of Rock)' album with his band the Count Buffaloes. For this offering, originally released in 1972 on Toshiba Records, Akira Ishikawa takes us on a deep tripped-out journey. 'Uganda (Dawn of Rock)' is a fusion of progressive and psych rock with African percussion workouts, dergy-wah wah blues-funk, and jazzy sensibilities; with different genres morphing and uniting as they progress.

A long way from his funk and afrobeat album 'Back To Rhythm’, re-issued on Mr Bongo in 2019, this record has a darker, deeper, abstract and experimental stoned tone with the listener being pulled into its vortex for the ride. This record doesn’t pull any punches.

For this album, Akira is joined by Hideaki Chihara on bass, guitarist Kimio Mizutani, sounding at times like an early 70s Peter Green, percussionist Larry Sunaga and composer Takeru Muraoka.

The album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

We are delighted to present an officially licensed re-issue of this underground Japanese rock rarity.

Available in 2 formats: Original LP in Box version & Tip-on Sleeve with OBI version.


• Highly sought-after underground Japanese rock rarity, originally released in 1972.

• Feat. Hideaki Chihara, Kimio Mizutani, Larry Sunaga and Takeru Muraoka.

• Available as the original LP in Box version & Tip-on Sleeve with OBI version.

Acclaimed Japan “minyo footwork” duo WaqWaq Kingdom - aka Shigeru Ishihara (DJ Scotch Egg / Seefeel) and Kiki Hitomi (ex-King Midas Sound) - return with feverishly joyous new album Hot Pot Totto, a bubbling hot pot of dance music that responds to ecological anxiety.

“Two words are conjoined: hot pot and ottotto,” vocalist Kiki Hitomi tells us. “Ottotto is the Japanese equivalent of “oops”, or said when someone nearly falls over but manages to get their balance back: “it was dangerous but now we are safe!” Combined with the heady brew of their musical styles (“like a psychedelic Nabe hot pot: melting traditional Japanese Minyo with Jamaican dancehall, footwork, dub, techno, tribal polyrhythms and Super Nintendo soundtracks”), producer Shige Ishihara’s time in East Africa working with local musicians, and the dayglo hallucinogen of the duo’s visual aesthetic, WaqWaq Kingdom’s thumping, thrilling, irresistible third release is a unique ride.



Thematically - despite its ostensibly celebratory impact - Hot Pot Totto addresses the world’s grave ecological state. “Now our earth is on the way to catastrophe, as global warming becomes a serious problem through humanity’s fault. We are on the edge,” Hitomi writes. “We need to get back on the right track.” The ottotto of the album title refers to this experience - the need to get back on track. However, this is not lamenting music: it is fiercely defiant, full of colour and rapture, maintaining an optimism that we can.



Opening single “Hakke Yoi” ties treated voice, a floor-shaking beat, and a dizzying, transforming colour palette to a heart-quickening BPM. The track is named after the traditional cry of a sumo wrestling match, shouted by the referee to maintain tempo, commonly translated as “put some spirit into it!” The lyrics refer to humanity’s sacrifice of our planet for our own material gains. Later, key track “Buri Buri” features Ugandan experimental dance producer Catu Diosis and centres around the lyric “Turn disaster to our advantage / good fortune and happiness will come to those who smile,” offering not regret but encouragement and empowerment with its neon alien sonics and relentless vibrancy.



Kiki Hitomi was formerly a member of Ninja Tune / Hyperdub’s King Midas Sound (along with The Bug and Roger Robinson), and co-founded iconic Japanese dubstep-noise duo Dokkebi Q. She is also a celebrated illustrator and designer, having created artwork for countless record sleeves (including this one) and brands. Shigeru Ishihara - aka DJ Scotch Egg - has been orbiting the dance music galaxy for over a decade, releasing radiantly unpredictable solo records through Lightning Bolt’s Load Records, as a member of Warp Records’ legendary Seefeel, and performing with both projects across the world. He recently undertook a residency at the Nyege Nyege Villa in Uganda, working with Phantom Limb alumnus MC Yallah. More recently, Ishihara has been releasing music under the guise of Scotch Rolex, collaborating with the likes of Shackleton, Swordman Kitala, Lord Spikeheart and more.



Hot Pot Totto is WaqWaq Kingdom’s third release for Phantom Limb, following the rapturously received album Essaka Hoisa in 2019 and follow-up EP Dokkoisho in 2020. The band recently performed at the label’s sold out 5th anniversary event in London, setting an ecstatic venue alight with energy.








f B1 Buri Buri feat. Catu Diosis

Jesse James returns to the Soul Junction roster with a new 45 that features his own unique interpretation of a classic song that is backed with one of the more popular songs from his 1990 “Looking Back” album now brought to you for the first time as a 45 release.

Beginning with the A-side, “Everybody’s Talking At Me” which is Jesse’s unique cover of the folk rock singer Fred Neil’s penned song “Everybody’s Talkin’”. Which although recorded by Neil originally, was made internationally famous by Harry Nilsson when used as part of the theme score for the acclaimed United Artists 1969 film “Midnight Cowboy”. The song has been much covered in the style of a ballad but Jesse’s version recorded under the production skills of close friend Willie Hoskins (Wilhos Productions and Boola Boola Records) is a great up-tempo piano driven version of the song. “Everybody’s Talking At Me” is yet another find from the unissued tapes from the self- financed sessions that Jesse recorded at the Searra Sound Studios in Berkley C.A during 1971 that also has brought us SJ543 “(The Girl In) Clinton Park” and SJ544 “If A Man Ever Loved A Woman (Baby I Love You)”.

While the b-side, features the much, admired modern soul favourite “You’re More Than A Friend Of Mine” which first gained a release on the 1990 ‘Looking Back’ album (Gunsmoke Records). “You’re More Than A Friend Of Mine” was up to that point a previously unissued mid 70’s recording produced by the late song writer /producer Ron Carson. Carson the original owner of the San Francisco Soul Clock Records label remains highly respected for his work with the hit group, ‘The Whispers’ (both on Soul Clock and some of their later Janus recordings). Carson had produced and co-wrote Jesse’s 1975, 20th Century Records release “If You Want A Love Affair/I Never Meant To Love Her” now regarded worldwide as Jesse’s signature song. Carson had a follow up release in the can, which never came to fruition due to Jesse and 20th Century parting company for the second time. Carson by then had moved on and was heavily involved in the production of the Janus distributed blackploitation album “Black Fist” for Happy Fox records. “Black Fist” was a various artists compilation which also featured the Jesse James composition “The Same Thing Happens (Part1 & 2)”. The shelved, proposed 20th Century follow up release would have been “Your More Than A Friend of Mine/I Don’t Want It To End” recorded during 1976. Carson had pitched the idea of a song in a similar vein to the Jackson Sisters 1973 Prophesy Records release “(Why Can’t We Be) More Than Friends” to the songs original songwriting team William Peele Jr and Warren Sams. They duly obliged, coming up with the aforementioned “Your More Than A Friend Of Mine”. Warren Sams along with his half-sister Christine Adams Tripp and their friend Rachel Sanders were none other than the respected vocal trio “Water & Power” who recorded the acclaimed 1975 album of the same name for Fantasy Records and a solitary 45 “Mr Weatherman/If You Don’t Want Me”.

Reissued on vinyl for the first time, Juno Reactor’s 1997 ‘Bible of Dreams’, also newly mastered and available of
double black vinyl.
‘Bible of Dreams’ was Juno Reactor's fourth album. It had a very different sound from the group's previous albums,
and moved away from the traditional dance beats by implementing tribal influences. The band collaborated with
Amampondo, a traditional South African percussion act, on the single ‘Conga Fury’. Watkins and Amampondo went on
a five-week tour of the US, opening for Moby.
Featuring music from the film soundtracks The Matrix Reloaded, Animatrix, Mortal Kombat Annihilation and Beowulf.
Composer, producer, musician and performer Ben Watkins is an essential innovator of modern electronic music and a
pioneer of Trance. Over the course of nearly 30 years, Watkins has created a unique driving fusion of electronica,
orchestral and global music executed on an epic & symphonic scale.
Juno Reactor was formed as an art project in 1990. Ben Watkins wanted to collaborate with other artists, producing
exciting projects that were not commercially driven. He wanted to create experimental music and non-musical
soundtracks that would work with installations, art pieces, and film projects.
As well as releasing a string of influential albums as Juno Reactor, Watkins’ tracks have been placed in numerous highprofile feature films, television programmes and computer games and Ben Watkins composed large sections of the
original score for the films The Matrix Reloaded and The Matrix Revolutions, as well as composing the entire orchestral
score for Japanese anime feature film Brave Story.

Marcello Cassanelli is back on Ten Lovers Music after previously appearing on TLM030 with the incredible track Fantasia. This time Marcello delivers a fantastic 7″ project for us with two superb tracks where he plays keys, bass, percussion and drum programming himself. He also wrote, produced and mixed both the tracks.

On the A side Espresso is an uptempo number showcasing Marcello’s trademark sound just superb music which carries on with the AA side They Groove which slows the tempo down but still keeps his unique sound running throughout the track. An exciting release to start 2024.

Analogue Productions (Atlantic 75 Series) Celebrating the 75th Anniversary of Atlantic Records! Iconic musician and singer Ray Charles' classic 1957 album! Includes the hits "Hallelujah I Love Her So," "Ain't That Love" and "I Got a Woman" 180-gram 45 RPM double LP Mastered directly from the original master tape by Bernie Grundman Pressed at Quality Record Pressings Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing Hybrid Mono SACD Mastered directly from the original master tape by Bernie Grundman Ray Charles' self-titled 1957 album was one of the first handful of LPs issued by Atlantic (and was later retitled Hallelujah I Love Her So). As AllMusic reviewer Bruce Elder notes, the album is weighted about three to one in favor of Charles' own compositions, with the hits "Hallelujah I Love Her So" and the pounding, soaring "Ain't That Love," which opens the LP, its raison d'etre. Charles does just as well with his interpretations of others' work, most notably the ominous, gospel-focused rendition of "Sinner's Prayer" (which offers a virtuoso piano performance, and comes courtesy of the pen of Charles' former mentor Lowell Fulson) and Henry Glover's wrenching ballad "Drown in My Own Tears," which is topped out on each verse by a gorgeous chorus. "Funny (But I Still Love You)" offers a guitar break played in such an understated fashion that it almost doesn't seem so much a part of R&B as it was usually being offered in 1957 as it does a part of Charles' early career output. The second side of the LP is even better, opening with the title track, a number that is almost too ubiquitous in its various cover versions — the original has a mix of urgency and playfulness that's absolutely bracing, and the album carries this mood forward with "Mess Around," an Ahmet Ertegun-authored piano- and sax-driven romp with Charles at his most ebullient as a singer. "This Little Girl of Mine" offers him in a surprisingly light, almost acrobatic vocal mode, while "Greenbacks" is a knowing, clever cautionary narrative that is almost a throwback to 1940s-style R&B. "Don't You Know" is as salacious a piece of R&B as one was likely to hear in 1957, and "I Got a Woman" closes the record out on a pounding, driving note. All the hallmarks of a top-notch Analogue Productions reissue are here for you to savor: Mastered directly from the original master tape by Bernie Grundman and cut at 45 RPM. Pressed on 180-gram at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.