20 Jahre nach ihrem letzten Longplayer “the juice“ bringen die Sissies ein “neues“, sechsundzwanzig Jahre umfassendes Album heraus. Der Wunsch DAS Album zu machen, welches man auch als Nachfolger von “FIXED“ hätte betrachten können war ein Anliegen, welches die Band aus dem hohen Norden schon lange verfolgte. Auf das Wesentliche und die eigenen Stärken konzentrieren, sprich griffige Riffs, schleppende Doom Anleihen, "Auf ´s Maul Rock" mit prägnantem Gesang und IMMER mit einem zwinkernden Auge (z.B.: BRUCE LEE IHM SEIN GRAB), Liebe fürs Detail (NICHT LANG FACKELN IM STURM), bewahrten Kindheitsbegeisterungen/Erinnerungen (NORDSEE). Bewusst wurden diese drei Songs mit deutschen Texten versehen, um den authentischen Inhalt möglichst greifbar zu machen. Die Liebe der Band zum Rock der 70er-90er spiegelt sich in jeder Note wieder, die Nähe zu anderen Schubladenvermeidern a la Melvins, Faith No More, Life of Agony wird aufrecht erhalten (BLOODLUST, BLACK, COCKROACH SWING, NO PREGUNTAS, PROTEST), aber die Band möchte auch zeigen, dass Black Sabbath, Pentagram…weiterhin verehrt werden (5 REASONS, SHE JUNK OF THE WEAK). Die SISSIES fassen mit diesem Album 26 Jahre Platten hören, Platten erleben, Platten lieben zusammen und machen das Album, welches perfekt in ihre Plattensammlung passt. Laut, kompromisslos, catchy und absolut unabhängig. Genau so überrumpeln sie das Publikum, welches sie zum ersten Mal sieht und genau so haben sie sich über 4 Dekaden Leute vor die Bühnen gezogen , die Tanzen und Schreien und friedlich die Fäuste ballen, bis der der letzte Ton von “ROCKER“ (Album: FIXED) verklungen ist. Die auf dem Album erhaltenen Songs wurden zwischen 1997, also direkt nach dem Einstieg von Tiffy, und 2022 geschrieben und bei Thomas Götz (Beatsteaks) Tomatenplatten Studio in Berlin live aufgenommen, gemixt hat der langjährige Begleiter Max Power und das Artwork stammt von Daniel Gerhard Holc ( Askii Disco/ Satans Fun Brigade).

"There have already been some monster LPs released in 2023, and the sophomore album from The Unknowns just might be the best of the lot. The Brisbane-based then-trio released one of the greatest punk albums of the roaring twenties (so far) with Nothing Will Ever Stop back in late 2020. Now a foursome following the addition of The Chats' Eamon Sandwith on guitar, The Unknowns have returned with an even better follow-up. East Coast Low manages to take most of the musical genres I hold dear and mash them together in the most delightful way. Basically the sound is classic punk rock with a ton of energy and catchy tunes (what else would you expect from Australia?). Yet at the same time, this album aligns beautifully with modern-day garage punk, power pop, and straight-up rock n' roll. East Coast Low packs ten tracks of punchy sing-along punk rock into 23 and a half minutes of pure fun. Songs like "Dianne," "Rid of You," "Thinking About You," and "I Don't Know" prove once again that there's a certain kind of itch that only old school punk rock n' roll can scratch. These guys are doing nothing new. But man, they do it so freaking well! If we're talking about the cream of the contemporary Aussie punk crop, The Unknowns have earned a place in the conversation." Josh/ Faster and Louder

Following their four-song demo from 2022, FUERA DE SEKTOR are back with their debut LP. Sharing members with BARRERA and ALGARA, the Barcelona-based band have carved their own sound, mixing the amphetamine edge of 80’s punk with the angular post punk sensibility. The extremely isolated guitar work takes centre stage, navigating a sea of mid-tempo riffs, and backed by an extremely solid rhythm section to perfectly seal the recording. Think the pop side of LOS ILEGALES or LOS TRAIDORES, the sexuality of DESECHABLES, and the uniqueness of LA’s X. FUERA DE SEKTOR lyrics look at the world from an existentialist angle with a dark and poetic approach to complement their music perfectly. Full of desire, lust, loss and confusion, each song unravels as a very modern anxious tale. It’s an album that stands on its own in the current DIY landscape.

KRIEGSHÖG is back. Five years after their last single and 14 since their debut album, the Tokyo Hardcore band finally delivers a new release. Love and Revenge is a record of consummate savagery and monster riffs. Picking up where Paint It Black 7” left, and moving forward as a heavy toned hardcore record that finds the band in its own realm. While following the Japanese tradition of long running bands operating at their own pace and mastering their sound along the way. The band leave behind their speedier sound, moving now at a slower tempo but still pummelling their riffing sound. The incorporation of a new drummer, adds much more than a steady beat, amplifying the KRIEGSHÖG sonic experience. Their sound is bass-driven to the point of near hypnosis, becoming quasi-psychedelic at times. The guitar tone is a nasty crunch and the vocal delivery has only got more brutal, with a glass eating demon on the mic conjuring the darkest side of your soul. Perfect for night rides into the abyss.

Home Front are here to offer relief – you loved Games of Power and you loved “Nation” so here it is on 12?s of the deepest widest grooves imaginable. Blast this out of every open window you have access to and make sure they hear you screaming in the commons. Backed by “Slice of Paradise” – an unthinkably catchy neo-diy new wave ballad that could win Eurovision and shine your boots at the same time, and “Jupiter” – a synth grooved, Tangerine Dream tinged lost soundtrack to Rock Em Sock Em 10. Bang the walls, bang your head, cry yourself to sleep, and Scream at a Nation. -Jonah Right in time to kick off Home Front’s UK/EU Tour we decided to release a tour only 12? with an extended mix of Nation and two beef’ed up outtakes from the Games Of Power session. Come out and snag one!!!

Der deutsche (Post-)Punk fand nicht nur in Düsseldorf, Hamburg und Berlin statt. Mit ein, zwei Jahren Verspätung erreichte er die Provinz, wo an unwahrscheinlichen Orten wie Limburg, Varel, Kulmbach oder Verden noch unwahrscheinlichere Anlaufstellen für die abtrünnige Jugend entstanden. Auch um die schwäbischen Metropole Stuttgart (wo es eher ruhig blieb) bildeten sich produktive Zentren. In Pforzheim und Reutlingen. Oder in Tübingen, wo von knapp 20.000 Studierenden nur eine Handvoll mitbekommen hatte, dass da draußen eine kulturelle Revolution im Gange war. Je weniger Leute verfügbar waren, desto mehr Bands mussten sie gründen, um all die neuen Klänge und Ideen auszuprobieren. Die meisten davon waren eher potemkinsche Dörfer als aktive Gruppen. In Tübingen hießen sie Autofick, Zimt, Gäste Aus Ungarn, Moralische Entrüstung oder Attraktiv & Preiswert. Das wichtigste Organ des Tübinger Untergrunds war die Familie Hesselbach, die sogar eine richtige Band war. Sie konnte außerhalb des eigenen Postleitzahlenbereichs auftreten, die allerneusten Einflüsse adäquat verarbeiten, die durch Zeitschriften wie Sounds und Spex bis nach Tübingen gelangt waren und musste sich auch nicht zwischen dem Krach-Jazzfunk der Contortions und dem DIY-Pop der Times entscheiden. Die Familie Hesselbach konnte nämlich beides. Die Kassette „Froh zu sein“, mit der die Familie Hesselbach im Frühjahr 1982 in interessierten Kreisen von sich reden machte, fängt die produktive Unruhe, die über ausgewählte Vertreter_innen der deutschen Provinzjugend hereingebrochen war, daher sehr genau und vermutlich sogar besser ein als die ein paar Monate später produzierte LP (PlayLoud! 2020). Wir veröffentlichen sie zusammen mit den Stücken vom „8-Ep-Sampler“ (1983) und ausgewählten Soloaufnahmen von Handke Hesselbach (1959-2019). Die Mini-LP „Süddeutschland“ plus die letzte Kassette wird die Discographie voraussichtlich 2024 abschließen.

You know as a musician if you ever supported Wat Tyler you really should consider giving up. Luckily for you Jesse ignored that non-existent rule and despite a European Tour together, they ploughed ahead and recorded this LP. It never sold in massive numbers but that’s neither here nor there. it still holds a special place in my heart. Sean Forbes (Wat Tyler / Rugger Bugger Discs - Gypsy Hill, London Town)

The concert was filmed on June 4th, 1982 at Sartory Säle in Cologne (Germany) during the 82' COLLISION DRIVE tour. In 1981 Alan Vega had released his second solo LP under the title Collison Drive. It forms part of the "play loud! (live) music series". The “play loud (live) music series“ is based on three precepts: Alan Lomax´s work as an archivist and chronicler, John Peel´s BBC radio sessions, and the work of Direct Cinema pioneers, such as the Maysles Brothers, Leacock, Wildenhahn, Blank and Pennebacker. play loud! aims to create an extensive archive of interesting popular music and culture that includes both material from the filmmakers' large amount of unreleased footage and material from other sources. Other artists in this series: Damo Suzuki, Lydia Lunch, Floating di Morel, Hans-Joachim Irmler, FM Einheit, Faust, Die Regierung, Limpe Fuchs, Guru Guru, Friedman + Liebezeit, Camera feat Michael Rother & Dieter Moebius, and many more. Rockpalast (Rock Palace) is a German music television show that broadcasts live on German television station Westdeutscher Rundfunk (WDR). Rockpalast started in 1974 and continues to this day. Hundreds of rock, heavy metal and jazz bands have performed on Rockpalast. For this vinyl and DVD release play loud! has licensed the Alan Vega show from 1982.

In 1968, the Austrian Classical and Jazz pianist Friedrich Gulda organized the First International Music Forum of Ossiachersee with the theme “Improvisation in Music – Yesterday, Today and Tomorrow”. Influenced by current musical movements such as Free Jazz, Freak-out and Free-form Improvisations, the festival rapidly gained recognition. During the third edition of the festival, Gulda got to know the band Anima-Sound and was fascinated by their “absolute free music”, which they played on home-made instruments. Anima-Sound was Limpe and Paul Fuchs, who had already released two albums in 1971, Stu?rmischer Himmel (Stormy Heaven) on Rolf-Ulrich Kaiser’s OHR label (now re-released as play loud-47) and the self-released Musik fu?r Alle (Music for All; play loud-51). Musik fu?r Alle developed during a 4,000 kilometer tour throughout Europe when the band and their two children hitched a handmade mobile home and stage to an old Hanomag tractor, bringing their anarchic, uncompromising improvisations to an impromptu public free of charge. German documentary filmmaker Helga Tiedemann captured part of the tour for the film Mit 20 km/h durch Europa (VOD pl-72). Friedrich Gulda’s excitement about Anima-Sound could be seen throughout the seventies, and they often toured together. The band became regulars at Gulda’s festivals of Free Music. In 1972, they released the simply titled LP Anima (pl-52). In 1973, Tiedemann captured one of the shows, and the film Gruppe Anima in Salzburg has also been released on play loud! (pl-72). The International Music Forum of Ossiachersee ended in 1974. In the same year, Gulda and Limpe and Paul Fuchs went on tour with some of their festival musicians and recorded the double vinyl LP It’s Up To You (see info on reverse*). Also in 1974, they recorded a 7” single at the famous Munich Jazz club Domicile (**). Throughout the seventies, Friedrich Gulda and his partner Ursula Anders cherished Free Music. The festival in Ossiach attracted top-class guests, including among others Pink Floyd, Weather Report, Tangerine Dream and many great Jazz and World Music musicians. The follow-up festival, Tage Freier Musik (Days of Free Music) at Castle Moosham in the Lungau region of Salzburg, Austria in 1976 again offered a high-class bill: Albert Mangelsdorff, Cecil Taylor, Ursula Anders, Barre Phillips, Stu Martin, John Surman and Friedrich Gulda himself. A year later in 1977, the guests were Don Cherry and Moki, Hannibal Marvin Peterson, The Revolutionary Ensemble, Otto Muehl, Gu?nther Rabl, Paul Fickl, Makaya Ntshoko, Andy McCloud, and Anima-Sound with Limpe and Paul Fuchs. The recordings you are holding in your hand were made during the 1977 festival and have been restored and are released for the first time ever.

Limpe Fuchs is a legend in the experimental music scene. In the late sixties, this percussionist drummed on self-made instruments, together with her then husband Paul Fuchs, in the Ensemble Anima. During that time, Limpe and Paul Fuchs cooperated with the classic pianist star Friedrich Gulda, as well as with jazz luminaries like Albert Mangelsdorff, and continually attracted the interest of their audiences in new constellations. Limpe Fuchs' solo performance with "variable wood and stone rows, ringing bronze in the pendulum strings, and a variety of skin and bronze drums" is a rare occasion to witness one of the early avant-gardists of the scene from the old Federal Republic Of Germany. She attempts, while playing live, to develop her musical ideas from the "resonance of the location where the performance takes place" - "to make music in the flow of time, with simplicity and emotion"! Her main concern is to sensitize the process of hearing: "Every tone is a sensation. Listening instead of shutting one's ears. Establishing silence."

On May 28, 1969, four American musicians — reed/wind players Roscoe Mitchell and Joseph Jarman, bassist Malachi Favors, and (accompanied by his wife, singer Fontella Bass) trumpeter Roscoe Mitchell — boarded the ocean liner S.S. United States, bound for Le Havre, France. After landing five days later, they moved on to Paris, where they got to work. On August 22, 1970, in the waning days of their stay overseas, the group, with Bass on vocals, would record their second release for EMI’s Pathé Marconi: the movie soundtrack Les Stances à Sophie. The record, an exciting, eminently listenable combination of soul, classical, and jazz strains that survives as the Art Ensemble of Chicago’s most stylistically diverse album, has long been admired by a devoted cult. Its durability is largely due to the popularity of its “hit”: Over the years, “Theme de Yoyo” has been covered repeatedly, essayed by acts as varied as German funk band the Boogoos (and the offshoot Deep Jazz, both featuring singer Julia Fehenbeger), British nu-jazz combo the Cinematic Orchestra, Polish jazz man Wojtek Mazolewski, Norwegian rockers Motorpsycho, French dance music artist Étienne Jaumet, and London-based remixer Shall I Bruk It.

Sabine Blodorn and Kai Drewitz return with their fifth album as Floating di Morel, presenting their work under that name with Thorsten Neu on the A-side and their work with Ulf Goretzki as Ulf / FdM on the B-side. As they put it, "The new (5th) Floatin' LP is divided in two parts. On one side you hear the last works together with Thorsten Neu, which you know from the records 'said my said' and 'goal less play'. The other side is a new more electronic experience with ULF." Recorded by Ulf / FdM. Mastered by Jan Wagner.

Mona Mur, born in Hamburg, met FM Einheit, Alexander Hacke and Mark Chung from "Einstürzende Neubauten" and Gode B. from "Front" during the punk explosion. As "Mona Mur & Die Mieter" they released their first 12" single “Jeszcze Polska” in '82, which immediately claimed the "Single of the Week" slot by London's New Musical Express. Mona Mur then lived a wild life in Paris and Berlin. In fall 1984, she formed a new Mona Mur band with FM Einheit and Alexander Hacke, joined by "Flucht nach Vorn" keyboardist Nikko Weidemann (today "Moka Efti Orchestra"), Siewert Johannsen (guitar, "Stricher") and Thomas Stern (bass, "Crime and the City Solution"). This "Mona Mur Band" was recorded and mixed live by Raymond "Nainz" Watts ("Einstürzende Neubauten", "Psychic TV", "KMFDM") at his Building Site studio in Hamburg. The band played acclaimed concerts in Germany and Europe, as well as festivals, such as the renowned PANDORA's BOX in Rotterdam. Their manically intense live performance in guitar thunderstorms and morbid slowbeat chic and especially their seminal Brecht/Weill interpretations ("Surabaya Johnny", "Der Song von Mandelay", "Die Ballade vom Ertrunkenen Mädchen") are still cult today. The band broke up in spring of '86, and Mona Mur embarked on a solo career.

In 1989, before the wall came down, Mona Mur and her producer Dieter Meier (“Yello”) came to Poland. Under the musical direction of Polish rock star Grzegorz Ciechowski (“Republika”) and with renowned Polish musicians, arrangers and the Warsaw Philharmonic Orchestra, she recorded her album WARSAW in early 1990. “WARSAW deals with the old topic of love as a marginal experience. Why does this intrigue me? Because this is how I experienced it at a very young age. There is hardly a more relevant subject for me as an artist, maybe apart from war. Both confront you with the possibility of annihilation.” Mona Mur During six months of production in Warsaw, from September 1989 to March 1990, Mona Mur observes historical changes in Europe and the whole world. The recordings take place at Polish Television’s legendary studio S4 – 10 songs of great intensity, three of which are given genre-redefining orchestration by renowned composer and conductor Krzesimir Debski. Producer Dieter Meier is enchanted. But WARSAW faces challenges. Its release does not happen as planned. Mona Mur‘s record company back then, German RCA, feels the album is not mainstream enough. More illustrious bidders follow, including Stevo Pearce of Some Bizarre, then the album vanishes. In 2000, four of Mona Mur‘s songs from WARSAW are covered by Polish singer Katarzyna Groniec on her album “M??czy?ni“ (SONY). Producer: Grzegorz Ciechowksi. The album gets high chart rankings, the single with Mona‘s song “Paintings“ (polish: “Dzi?ki za mi?o??”) sells over 70,000 copies. Soon after, in late 2001, producer Gzegorz Ciechowski dies suddenly at the age of only 44, under tragic circumstances. His work as a musician, singer, frontman and rock poet is unique in Poland. An annual memorial concert in the medieval city of Torun, as well as several new interpretations of the "Republika" hits keep the memory of "Citizen GC" alive. In 2011, Mona Mur is invited to Torun, where she performs live with Grzegorz Ciechowski's band members. Finally, in 2015, Mona Mur’s album WARSAW is released by Mystic Productions, but only on CD and exclusively in Poland.

"Gods Gift were around when lots of Manchester groups were gaining fame and fortune. Manchester spawned a bleak soundtrack for the music loving youth of the time. The Gothic catacombs were the breeding place of much anger and consternation. Some groups wanted to be amusing, some wanted to be arty, some wanted to be doom-laden, but most wanted to be famous. Gods Gift wanted to shout their rage and hatred at a world that wasn’t listening to anything as irrelevant as people. Too many groups chose the route of audience appeasement but GG never had any intention of doing that, choosing to harangue and assault the audience. When people cooly chattered whilst they played, the volumes were turned to ear bursting volumes, creating a wall of dissonant noise punctuated with the anthemic shouting of another livid chorus. GG played a club in Manchester that was the spiritual home of whatever was the topical sound that week. Surrounded by inestimable numbers of David Bowies and Gary Numans, the singer stopped the group and decided he would tell them that he looked more like Bowie than they did. He didn’t; he had an ill-fitting work suit on. The room emptied of the fakers, but those who stayed appreciated it. The infamous rant, at people dancing in very cool London, to a 40-minute version of White Light / White Heat. “What you dancing for, it’s tuneless you pillock”. The huge fight at the Mayflower, when supporting the Dead Kennedys. The singer gleefully telling an identi-punk audience that the DKs didn’t care and were being paid a fortune, whilst the group hammered through Discipline. The singer always maintained that it was a fair fight “1500 onto 1”. It seems that some people have caught up with what the group was. Never a stance, never fancy haircut or fancy clothes, never a nod to their betters. GG were honest, committed and angry. Anti-authoritarians who didn’t break rules. They completely ignored them. Gods Gift NEVER backed down to anybody or anybody’s attempts to intimidate them. Their daily work in psychiatric hospitals made them unafraid of anything or anyone. The songs on this new album were a long time in the making. They are angry songs and anti-everything. The entire back catalogue of Gods Gift songs and a video will be available as digital downloads very soon through the German outlet play loud! They are priceless jewels from a group that cared and mattered. Buy them, listen to them as loud as you can and go out and demand to be heard!" (Steve Murphy, June 2023)

To release a tape in East Germany in 1986 called “Ihre großen Erfolge” (‘Their Great Successes’) illustrates how every situation produces people unwilling to accept that situation. Claus Löser and Florian Merkel were two such people. Their band Die Gehirne and their many side-projects ensured that their hometown of Karl-Marx-Stadt, today’s Chemnitz, could assert its role in the independent art world of the GDR. Inspirations included Frank Bretschneider from the experimental electronic band AG Geige, the artist friend Klaus Hähner-Springmühl, the jazz guitarist Joe Sachse and the free jazz figures Conny Bauer and Luten Petrowsky. A small batch totalling some 35 copies of "Their Greatest Hits" by Die Gehirne was gradually handed out around the scene to trade with other musicians. For tapetopia 002 we’ve put together a shortened vinyl version. (Robert Mießner) 1986 in der DDR ein Tape unter dem Titel „Ihre großen Erfolge“ herauszubringen, zeugt davon, dass sich in jeder Situation Menschen finden, die sich nicht mit ihr abfinden. In Karl-Marx-Stadt waren das z.B. die Künstler Claus Löser und Florian Merkel. Ihre Band Die Gehirne und deren diverse Seitenprojekte sorgten mit dafür, dass ihre Heimatstadt, das heutige Chemnitz, seinen Platz in der Geschichte unabhängiger Kunst der DDR behaupten konnte. Impulsgeber waren Frank Bretschneider von den Experimental-Elektronikern AG Geige, der Künstlerfreund Klaus Hähner-Springmühl, der Jazzgitarrist Joe Sachse und die Freejazzer Conny Bauer und Luten Petrowsky. „Ihre großen Erfolge“ wurden in einer Kleinstauflage von etwa 35 Exemplaren gestreut und diente dem Austausch mit anderen Musikern. Für tapetopia 002 wurde nun eine gekürzte Vinyl-Version erstellt, das komplette Tape ist als Download auf playloud.org erhältlich. (Robert Mießner)

French rock outfit Irnini Mons approach post-punk in an oblique and candid way. With the intent of contributing to the relevancy of modern guitar-based music, they put their four personas at work since 2021 to craft a mixed, diverse solution of indie, progressive, pop and grungy rock. Formed with ex-members of the former punk band Decibelles (endorsed by the legendary producer Steve Albini), the four musicians all sing, sometimes in solo, sometimes in polyphony, always in French. After touring intensely in Europe, including a run with Shellac in 2022 and prestigious festivals (Trans Musicales de Rennes, MENT Ljubljana).

Long Knife's sophomore release Meditations on Self Destruction LP from 2015 back in print. Crazed hardcore. Feral punk hardwired with brutality seemingly on the edge of collapse. Long Knife continue their path of destruction while refining the Portland hardcore sound.

In fact we must confess that if we had to choose at this moment a reference band in the US or in AU of what many name "egg", "weird" or as we like to call it "punk" it would probably be this huge line-up. We can't help it, these three youngsters who also add a fucking drilling synth to their hyper-accelerated tennis-core-lofi-garage of infamous guitar sound, stole our hearts from the very first moment I’ve really fallen in love with this album. A great combo of sounds: hard-edged synth-punk rhythms below with a charming disaffected vocal on top. With just one listen to their upcoming LP, it becomes evident that Busted Head Racket shares a kindred spirit with modern punk. Their music radiates an electrifying energy, bursting through the speakers with campy hooks and exhilarating restlessness. While their songs are irresistibly catchy, it's their lyrics that truly shine, offering a whimsical sense of humor. From humorous odes to fast food to insightful explorations of human relationships and the dynamics of personal agendas, Busted Head Racket delves into the intricacies of how people interact with one another. Prepare to be captivated by their zany synth punk sound and infectious enthusiasm. The Busted Head Racket LP on Erste Theke Tonträger is set to be a must-have addition to any punk music collection. Don't miss out on this exhilarating musical experience!

BRUX are back with four tracks of their trademark sound. Four flanged out hard hitting anthems, mixing the sharpest possible post punk with the roughest street rock’n’roll vocals. They keep their boots firmly pressed between two styles which seem polar opposites, resulting in new sounds made up of old formulas. Too angular for boot boys yet too crude for trendy post punkers. Blending both BLITZ eras with Death rock and current punk wave, and resulting on a fully formed band not afraid of displaying all their influences at once.

The New Wave of Brutality and Hardcore Massacre has arrived. Tokyo punks KRIEGSHÖG are back with their first full length. After 3 7”s that we love at LVEUM they finally went for the album. Thirteen tracks of extremely bass driven hardcore destruction. The recording is relentless, full of energy and distorted. Yet moving from the ultra blown out recording of their earlier output. This is the band’s most dynamic recording so far and in our humble opinion is destined to be a classic and genre defining album.

Jaqee's last album with the promising title "Fly High" leads the inclined listener into a sometimes idiosyncratic fermentation of street-ready R'n'B, pop aesthetics, jazz intellect, world music earthiness, chanting Afro soul and sensitivity and softness of classical music and orchestral warmth, which is defined by Jaqee's voice throughout all tracks, but never overridden. Thilo "Teka" Jacks, who produced "Fly High", is looking for musical salvation and the courage to change things up in order to illustrate unity, also in busy, heated, African sub-currents like High Life, but also in European dancefloor stereotypes and even traces of soca and merengue, all of course always only thought of, because the real main actor is and remains Jaqee's sustained singing, her unique intonation and her voice, which sometimes sounds clear and angry, other times fragile and sensitive - that's the way it should be. Despite or precisely because of this immensely expressive character of the album, it is advisable to listen to the work several times: Jaqee makes music with sophistication and expression and a look that also allows for sheer black music entertainment, "Fly High" proves this with lasting effect. "Fly High" is now available on vinyl for the first time.