Collectors box

    Indigenious Hiphop Sound aus Uganda vom Nilotika Cultural Ensemble! Die Nilotika Collectors Box kombiniert feinsten Sound und handgefertigte Kunst zu Gunsten eines sozialen Projekts. Und zwar nicht irgendeinem: Wir supporten das Nilotika Cultural Ensemble aus Uganda! Die Crew um Jajja Kalanda organisiert Sozial- und Kulturarbeit in den benachteiligten Vierteln in Kampala. Sie geben Anleitung in Workshops; bringen den Jugendlichen Schneidern und die Technik des traditionellen Niyabingi-Drumming bei. Power! Das Kollektiv ist auch selber musikalisch aktiv und hat einen Song zum Release beigesteuert. Der Track verbindet traditionelle Niyabingi Percussion mit melodischen Rap-Vocals von Spyda MC. Gerappt wird sowohl auf Englisch als auch auf Luganda, der Landessprache. Die Kölner Produzenten Ancient Astronauts haben für die B-Seite einen Remix von diesem Track abgeliefert, der stark in die Hüfte geht. Die Ancient Astronauts sind seit mehr als 20 Jahren am Musik produzieren und haben schon mit den Jungle Brothers, The Pharcyde, Shawn Lee oder Azeem zusammen gearbeitet. Neben der 7“ Vinyl-Scheibe enthält die Sammlerbox einen exklusiven, signierten Druck der Münchener Graffiti Legende Loomit, der sich für die gute Sache eine Wand geschnappt hat. Und damit noch nicht genug! Wir haben einen Kunstdruck von Patrick Thomas – Professor an der ABK-Stuttgart, weltbekannt für seine Siebdruckposter und Workshops, mit reingepackt! Ein Sammlerstück mit Tiefgang, signiert und rar, wat willste mehr? Außerdem gibt es ein handgenähtes Afro Bag vom Nilotika Culture Ensemble selbst. Unsere nigelnagelneue Box ist wieder auf 100 Stück limitiert. Das aufwändig illustrierte Gatefold-Cover wurde von Julian Rentzsch gestaltet. Und das Beste an der ganzen Nummer: Die Erlöse aus dem Verkauf der Box fließen in den direkten Support des Nilotika Kollektivs.
    7" lim
  • 01. Vi ska vara kejsaren
    02. På trottoarer


    Vi ska vara kejsaren

    Killer Garagepunk aus Schweden ala Dead Moon! limitiert auf 130 Stück!!!
    7" lim
  • 01. The Art of EMCEE
    02. Keep My Name Out Your Mouth
    03. Respect the Vinyl (Skit)
    04. Dutch (You All Caught Up)
    05. All On Me
    06. Take Your Lumps
    07. Changing Culture with Revolvers
    08. Once Again
    09. Forefathers (I Owe It to You)
    10. That Ol' One-Two
    11. Just a Mess
    12. A Friendly Reminder
    13. No Admission
    14. Barely At My Peak


    Changing Culture with Revolvers

    [engl] IconAclass is a passion project from MC/producer Will Brooks. Best known as MC dälek, the front person and co-producer in experimental Hip Hop group Dälek. He has explored the left of center/ wall of noise world ala My Bloody Valentine meets Public Enemy on 8 studio albums and numerous collaborations. Their sophomore full length album Changing Culture with Revolvers features MC dälek back on production and Emcee duties, and recruits long time deadverse massive & Labteksmember, Dev-One on vocals as well. The contrast in voice and rhyme style provides the album with a brand new take on hard hitting gritty East Coast Hip Hop. As always, cuts are provided by Mixmaster Motiv. Changing Culture with Revolvers is poised to open eyes and in?ltrate eardrums. Pure hip-hop, hypnotic, heavy beats serve as more than just a backdrop. They focus a spotlight squarely on the lyrics, and iconAclass has a lot on their mind! 12 tracks with a heady blend of lyrics and grimy East Coast Boom-Bap beats skewed through the Deadverse prism.
  • 01. NINA MARTIN - I'm aggressive (Germany 1976)
    02. NORAH - The Battle For My Love (Spain 1974)
    03. PHILADELPHIA - School's back (USA?? 1977)
    04. PAULA LINCOLN - It's the monster again (Netherlands 1975)
    05. VERMILION - I Like Motorcycles (UK 1979)
    06. BOBBIE McGEE - Upside down (UK 1974)
    07. NQB - Long long weekend (Sweden 1973)
    08. THE ALISON MARKLEW BAND - Midnight rider (UK 1975)
    09. LORENZA JOHNSON - Mr. Teaser (UK 1973)
    10. RADAR - Nobody knows (Netherlands 1977)
    11. ROCK FOLLIES - Good Behaviour (UK 1976)
    12. THE (NEW) SETTLERS - Lifelight (UK 1974)
    13. PUNCHIN' JUDY - Settle down (UK 1974)
    14. JUDITH CROWNE - Steam hammer (UK 1973)


    Knuckle Girls Vol. 2 (14 pugilistic platters from the only glitter girls that matter )

    [engl] An extract from the novel “Bovver Birds Rool” (…continued) “That must hurt”, said Dave. He hovered over Sue as she shakily tried to return to her feet. “Well help me, then”, barked Sue with a pained expression, “don’t just flippin’ stand there”. “I think this fell off”, said Dave as he handed Sue back her bloodied Marc Bolan rosette. “Great”, snapped Sue, “Steve’s only just given me that… Which way did they go?” “Don’t be daft”, said Dave, “you’re in no fit state.” At Tuesday night’s Stall Street Disco, Dawn and Jane were busy victory dancing to their anthem, Hector’s “Wired Up”, darting hard-faced Knuckle Girl glares at any boy daring enough to comment on their togetherness with an ill-advised wink and a nudge to his immediate neighbour. Meanwhile, Sue had invested her last 2p in a phone call to her best mate “Sand”, short for Sandra. “Sand” was the self-elected leader of the Bovver Birds, the female contingent of The Larkhall Legion, who were beginning to assemble around the entrance to the disco. “Tired of living?” were the last words Dawn heard as her face hit the floor. “You cow!,” Dawn screamed, as she pulled out the remnants of her own front tooth and threw it in the face her towering tormentor. “The Knuckle Girls buckle and the Bovver Birds win. Again!,” announced Sand in a loud but deadpan voice over the continuing Hector music. “We’ll leave you alone now to bury your dead. … “Birds” is still the word, and you’ve should been shat on from a great height. Next time, bitches!” A bow-tied bouncer strong-armed “Sand” from the hall, dragging her by the arms as she still tried to pitch a globule of carefully-harvested spittle over her agitator. “And there’s a greeny for you,” she shrieked with delight as it landed successfully. (to be continued…)
  • 01. Outside Over There
    02. Wir sind die Roboter


    Dual Visions

    [engl] Somewhere in a remote place called Hawkfield, not far from the city of Stockholm, Sweden, music, dreams, visions, goblins & robots, come to life. There are stories to tell, signs and paths to follow, towards the horizon and beyond. Beyond Louie (Love Jonasson) is a singer and an artist who creates tunes and melodies on synths and guitars. On this recording he’s joined by Frank E. Male (Henry Fiats Open Sore), guitar and bass, Staffan Zeroboy Fagerberg (Vidro), drums and Li Jonasson, backing vocals, the daughter of the artist. Beyond Louie has been an active musician since the 90s as a singer in the Stockholm based garage band Sons of Cyrus, the Berlin band Ray Omega and different music projects like Last Crusade. Beyond Louie is the artists new solo project. This single is the first release, two songs that show two sides of music.
    7" lim
    EAN 4260016922048
  • 01. Shakin All Over
    02. What Do You Want Me To Do?
    03. Hey Little Anne
    04. Please Be True
    05. My Vision of Love
    06. Dream About Judy
    07. I Don't Wanna Know
    08. Throw It Away
    09. How Could You?
    10. On the Boulevard
    11. She
    12. Seventeen
    13. Now I Know
    14. Please Come Home


    Another Whiff

    [engl] Can you smell what The Whiffs are cookin? Hint: it’s not Phish, Meatloaf or a String Cheese Incident. Nope – Kansas City’s prodigal sons of power pop are sticking to what they know on Another Whiff, their debut full-length for Dig! Records. Since 2017’s Take A Whiff EP, the band has been busy allowing their auditory aromas to ripen with the addition of Joey Rubbish (of The Rubs) for a fuller, more robust sonic bouquet. While the band can still get it up for Stiff Records – their pop-centric punk remains in full force – the album takes detours down lonelier roads in broken-hearted ballads from the heartland. No rocks left unturned on a journey forged by pioneers like Chilton and later Westerberg, the looming legacy of Petty and the cosmic country harmonies of The Byrds before them. In a year’s span, The Whiffs took their time recording, on and off, in their makeshift basement practice space: Electric Babyland. This pace and environs allowed the new lineup to coalesce, and get tour-tight on the road with La Luz, Bad Sports and Patsy’s Rats. The result is a unique album that is at once sprawling in direction and precise in execution, with all the sonic stank you’d expect from sweaty beer plied basement sessions. Out of the gate, “Shakin All Over” will register to all of the senses, like you’re squatting in the corner of the basement, imbibing with the band and absorbing every hit from Jake’s C&C kit (note the frivolous plug for Jake’s drum company). After untold nights into the wee hours of the morning, 14 tracks emerged as Another Whiff. Expertly recorded by Joey, mixed by Vince Lawhon and mastered by Jordan Richardson; the final package sounds like the sum of its parts, and all the beers in between. Another Whiff shirks a sell-by date and trends de jour, in favor of honest guitar driven, vocally infectious love songs for the ages. Timeless tunes and the triple-threat of Rory, Zach and Joey’s vocals set The Whiffs apart from their peers. Three distinct songwriters with their own personal flavors, delivering three-part harmonies for a unique rotation of upbeat punk belters (“Now I Know”), achy ballads (“She”) and triumphant tearjerkers (“How Could You”) that our troubled troubadours dispense like a Greatest Hits Factory for the last half-century of all of our all-time favorites.
  • 01. I'm Not Giving Up
    02. Teenage Punk


    I'm Not Giving Up / Teenage Punk

    [engl] Haters be damned, and punishers beware; Dancer don’t suffer no fools! Here with an anthemic scorcher of an A-Side: “I’m Not Giving Up”, channels equal parts Cheap Trick & Thin Lizzy, delivering the ROCK GOD goods so convincingly its time to THROW your Kiss records out! Flip it over for “Teenage Punk”, a swirling synth punk slice of misfit solace with words to live by (“all our friends, we don’t have friends”). Six singles in, and Dancer proves there are sick new moves comin’ from the crew responsible for Apache, Glitz, and Slick! Recorded by Greg Ashley in a one and done press featuring awesome album art by the Human Lawnmower’s inimitable Avi Spivak.
  • 01. The Enormous Midnight
    02. Late Last Night
    03. Fright Time Chills
    04. They Went That'a Way
    05. Wah-Wah Baby
    06. On the Elevator Up
    07. Down in the Subterranean
    08. Rib It
    09. Should I Choose (?)
    10. The High Flavored


    The Enormous Midnight and Nine Other Nocturnes

    [engl] Clyde and the Nightswingers came together to record the Theme song for a 1967 “Art Film.” If LSD ingested during a gathering of members of the U.S. Air Force and delinquent girls is your idea of an Art Film, then the only way to see it is to close your eyes and let The Enormous Midnight seep into your brain. The film is lost, but Nightswinger sounds are found on this Arcania International LP. Sounds kind of psychedelic, yes. But there’s more to the story and indeed a story it is. For the most part we hear a Garage band that seems to have been dropped into a vat of acid, then coming out as if totally Psyched! So – experimentation! That adds to a lost, M.I.A. quality, with a folkie (Clyde) trying his best to conjure up “lyrics as art” while singing/screaming them across this entire album. Yes, this tells a story, but despite death wish words and a long night of the soul, it ends happily. Because it’s just a (fuzzy/feedback/explosive/electrical) dream. But not music to go to sleep to.
  • 01. Unkraut Vergeht Nicht
    02. Spionat
    03. Verfolgungsjagd
    04. Wir
    05. Tanz Der Mutanten
    06. Verrat Im Schlafrock
    07. Türsteherkrieg
    08. Raumpatrouille Blauschimmel
    09. Zensurbehörde



    [engl] fast finger piano-punk from germany. all lyrics in german. no crust,d-beat,grind,hc-punk !! this is the new wave of punk ! a wild and fantastic mix of german anarcho classics like TonSteineScherben,Quetschenpauer with dirty garage/77-style punk like The Shocks,Zack Zack, Spits and so on. lp comes in full-colour gatefold cover, incl booklet. lmtd to 500 copies.
  • 01. Hunger for a Way Out
    02. Cross Me Out
    03. Blue
    04. Out Again
    05. Safe Now
    06. Falling Forward
    07. Upright
    08. Atelier
    09. An Appetite
    10. Trust


    Hunger for a Way Out

    [engl] Straight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented ""single mic technique"" just before quarantine, ""Hunger for a Way Out"", is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises' sound. There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on ""Hunger for a Way Out"".
  • 01. Yaral Sa Doom
    02. Thiante
    03. Mouhamodou Lo and His Children
    04. Salamaleikoum
    05. Gouné Yi
    06. Yaral Sa Doom II
    07. Riddim Rek Sa Niouy Mom
    08. Mame Cheikh Sidy Anta Mba
    09. Si Tu Savais Juste
    10. Legui Legui


    Yaral Sa Doom

    Kosmische Avantgarde Sounds aus Senegal: "Yaral Sa Doom" ist ein bahnbrechendes Album, das Grenzen und musikalische Szenen überspannt. Inspiriert von westafrikanischen Traditionen, Sufi-Lobpreisliedern, spirituellem Jazz und Dub-Rhythmen, ist das Ergebnis ein genreübergreifender Einstieg in einen internationalen Sound, der seinesgleiche sucht. Hypnotische Perkussionsschleifen über wogenden Flächen, Call-and-Response-Gesänge, die sich über elektronische Beats legen, und Kinderstimmen, die zu Aufnahmen von rauschenden Wellen singen. 2018 reiste der schwedische Musikarchäologe und Leftfield-Musiker Karl Jonas Winqvist nach Toubab Dialaw im Senegal, einem kleinen Fischerdorf, das zum Zentrum der senegalesischen Boheme-Kunstszene wurde. In den nächsten Wochen kamen dort Musiker, Perkussionisten, Dichter und Beatmaker zusammen, um Ideen zu skizzieren und freie Improvisationen aufzunehmen. Winqvist kehrte nach Schweden zurück und tauschte die Aufnahmen über WhatsApp mit dem im Senegal lebenden Kollaborateur und Studiotechniker Arouna Kane hin und her. "Yaral Sa Doom" ist eine Wolof-Phrase, die "die Jugend erziehen" bedeutet. Im Zentrum des Albums steht das Thema Bildung, mit Songs, die sich direkt mit den sozialen Problemen des heutigen Senegals, mit Bildung und Immigration auseinandersetzen. "Heute muss man Kinder mit einem Instrument und Kunst erziehen, wenn man ihnen ein Instrument beibringt, lehrt man sie, ihren Geist zu benutzen", sagt Djiby Ly. Mit über 20 Mitwirkenden aus dem Senegal und Schweden ist das resultierende Album vielschichtig und komplex, behält aber eine zentrale Vision bei. "Es ist, als würde man ins Meer eintauchen", erklärt Kane. "Da schwimmen alle möglichen Arten von Fischen herum, aber zusammen bilden sie den Ozean." Nichtsdestotrotz ist es auch eine geografische Anomalie, die nur durch den Austausch im Internetzeitalter möglich wurde. "Yaral Sa Doom" ist eine außergewöhnliche Aufnahme und ein visionärer Einstieg in die Zukunft der transglobalen Zusammenarbeit.
    EAN 0602318137265
  • 01. KUNY - I can see the changes
    03. DESIRA - Gorilla
    04. ROCK FOLLIES - O.K.?
    05. TWINKLE RIPLEY - Caroline
    06. MISTY - Resurrection shuffle
    07. KRISTINE SPARKLE - Eight days a week
    08. GLO MACARI - Lookin' for love
    09. LELLY BOONE - When will I be loved
    10. C. STAR - Bad boy
    11. VICKY FURY - Flipper story
    12. AYSHEA - Farewell
    13. HEART - Lovemaker
    14. VIC LEZAL'S PROFESSIONALS - Blitz at the Ritz


    Knuckle Girls Vol. 1 (14 Bovver Blitzers from the Sequined Sisters Tuff Enuff to Rumble with any Mister)

    [engl] an All-Girl Foot-Stompin' Bovver Rock Compilation!
  • 01. MARCUS HOOK ROLL BAND - Natural Man (1972)
    02. COLOURED BALLS - Heavy Metal Kid (1974)
    03. STEVIE WRIGHT - Hard Road (1974)
    04. FAT DADDY - Roll Daddy Roll (1976)
    05. RABBIT - I Like To Hear My Music (1976)
    06. JACKIE CHRISTIAN & TARGET - The Last Time I Go To Baltimore (1974)
    07. SKYHOOKS - Living In The 70s (1974)
    08. JOHNNY DICK - The Warrior (1975)
    09. TED MULRY - You've Got It (1977)
    10. JOHN PAUL YOUNG - Yesterday's Hero (1975)
    11. HUSH - Mindrocker (1974)
    12. LA FEMME - Chelsea Kids (1979)
    13. SUPERNAUT - The Kids Are Out Tonight (1977)
    14. TASTE - Boys Will Be Boys (1976)


    Sharpies (14 Aggro Aussie Anthems From 1972 To 1979)

    [engl] Sharpies were the terror teen cast of a Richard Allen novel that never was. Although largely synonymous with the early-to-mid 1970s, reports of their violent clashes with rival gangs of Mods are documented as early as 1966. Bored, working-class, suburban kids, their teenage rampage began in Melbourne, Australia, but soon there were Sharpie gangs forming in Sydney, Perth and beyond. For a while they were the untouchables, ruling dances, discos and public transport with their fists. Sharpies were fiercely territorial and divided into different chapters according to location. They would often wage aggressive wars within their tightly delineated sub-gangs, although Mods always remained their arch-enemy. Sharpies were the scourge of the railways. Although they would seldom attack members of the general public, if you gave them a second look you’d be lucky to escape with your wallet intact. Violence was their world, but always with a strict moral code. Sharpie boys and girls wore similar uniforms: a slim-fitting, ribbed and collared cardigan called a Conny, T-shirts, tight jeans (Lee or Levis) and big platform shoes. Girls’ shoes had 100% cork heels. Boys’ shoes were often two-coloured. Hair was worn short or shaved with long wisps at the back, influenced by the British ska, mod and skinhead subcultures. Sharpie girls had their hair slightly longer and often with coloured streaks - Bowie-red was their colour of choice. Boys often bleached their hair. Tattoos were popular, although many were homemade and poorly executed. Their diet was anthemic glam-rock (Slade, Sweet, T.Rex, Bowie, Gary Glitter) kung-fu movies and A Clockwork Orange. The music of local heroes like Lobby Loyde and The Coloured Balls, AC/DC, Skyhooks and Hush provided their daily soundtrack. They even had their own tribal dance, a rhythmic sway with knees bent and fists clenched and pumping upwards across their chests. As the 1970s drew to a close, and new styles like punk and disco began to emerge, Sharpies started to fade. By 1979 they were all-but gone. Today they are recognised as an important part of Australian youth culture and social history. Enjoy their music...
  • 01. Slack Alice - Motorcycle Dream
    02. Cherry Vangelder-Smith - Silver Boy
    03. Kristine Sparkle - Eight Days A Week
    04. Babe Ruth - Ain't That A Living
    05. Nqb - Long Long Weekend
    06. Bobby Mcghee - Rock N Roll People
    07. Carol & The Boston Garden - Suzuki 75
    08. Bonnie St Claire & Unit Gloria - That's My Music
    09. Vicky Fury - Flipper Story
    10. Cool Breeze - Mony Mony
    11. Pan's People - Can You Really Rock N Roll Me
    12. Die Fee - Halli Hallo
    13. Punchin Judy - Settle Down
    14. Gisela Dressler Und Die Electra-Combo - Can The Can


    GLAMSTAINS Volume 3: Cherry Bombs

    [engl]  All girl Volume, with Linernotes and 45 sleeves (black and white) on the back.
  • 01. Harpo - My Teenage Queen
    02. Rabbit - Wildfire
    03. Vodka Collins - Automatic Pilot
    04. Shakane - You Go Your Way
    05. Bilbo Baggins - Dance To The Band
    06. Rats - Don't Let Go
    07. Strange Fox - Tiger Woman
    08. Katz-Kasenetz Singing Orchestral Circus - Quick Joey Small
    09. Feather - Stupid Girl
    10. Renegade - A Little Rock'n'Roll
    11. Stevie Wright - Evie
    12. Albatross - Tobacco Road
    13. Arrows - I Love Rock'n'Roll
    14. Big Wheel - Shake A Tail


    Glamstains Vol. 4: Toughen Up

    [engl] More obscure Glam Rock that never made it.
  • 01. Beislanarchie
    02. Lebendig Begrabn
    03. Siebzehn Jahr Blondes Haar
    04. Braune Nostalgie
    05. Terror in Klein Babylon
    06. Nette Mörder
    07. Stingert Reich
    08. Fetisch
    09. Kiss The Flag
    10. The Motorsound
    11. Ibanez SG
    12. Cosa Nostra


    Terror in Klein Babylon

    1977 gegründet gilt Chuzpe wohl als eine der ersten - wenn nicht sogar die erste - Punkband Österreichs. Nach Hitparaden Songs wie dem Joy Division Cover von "Love will tear us apart" orientierte sich die Band um Robert Räudig musikalisch schon 1980 in eine etwas andere, poppigere Richtung. "Terror in Klein Babylon" ist jedoch eine Zusammenstellung älterer Songs - die Bezeichnung "Outtakes und Demos" würde der Qualität dieser Songs jedoch nicht gerecht werden. Druckvoll gemastered, mit Linernotes und Texten versehen, und großteils unveröffentlichten Liedern, wenn auch Klassiker wie "Beislanarchie" nicht fehlen dürfen.
  • 01. Followed it Down
    02. Something Else
    03. Ford Fairlane
    04. Power Station
    05. You're Taking Me Over
    06. Physical Form
    07. Chat
    08. Fishing Line
    09. Let's Get to Work
    10. Electric House
    11. Noise Floor
    12. Children's Son


    Power Station

    [engl] Freak Genes continue their descent into angular electronics with Power Station. Musicians are replaced by machines, natural sounds are swapped for noises. The result is synthetic pop for problem times. Charlie Murphy (Internal Credit / Isolation) and Andrew Anderson (Proto Idiot / KAKE?) orchestrate affairs, wrangling synths, drum machines, guitars and found sounds. Think 154-era Wire but with a reduced budget, or DAF minus the disco. The album was recorded in bedrooms and borrowed spaces from 2018 to 2020. It was mixed and mastered by Mikey Young. Formed in 2016, Freak Genes previous albums are Playtime, Qwak Qwak and III. They’ve performed in both shitty and swanky venues across Europe. They’ll be on stage again in 2021, pandemics and other global catastrophes depending.
  • 01. PD2TB
    02. Dance to the Beat
    03. Song for the Eagles to Sing
    04. Silicone Prairie
    05. Lay in the Flowers
    06. America
    07. Open Module
    08. Born into Trouble
    09. Goodbye
    10. River of Time
    11. Picnic at Hanging Rock
    12. Song for Patrick Cowley
    13. Come Away


    My Life on the Silicone Prairie

    [engl] Direct from Kansas City and encased in a layer of four-track analog glory comes the debut album from Silicone Prairie. You may have enjoyed Ian Teeple in action with Warm Bodies or The Natural Man Band, though Silicone Prairie is where Teeple has been focusing his solo creative energies over the past couple years, culminating in these 13 tracks. A trebly & jittery, landlocked Midwestern punk sound comes into effect straight out of the gate, much in the lineage of Gulcher's 'Red Snerts' comp or the Dow Jones side of 'Hoosier Hysteria' - with a dash of hardcore DEVO or even D.L.I.M.C. thrown in for contemporary spuds. But there's far more to Silicone Prairie - with quantitatively great songwriting and instrumentation bursting any preconceived sub-subgenre bubbles and occupying a kindred creative plain that made just about any Mould, Kirkwood, or Sage composition of the mid-80's oh so delightful & memorable. Heck, there's even a synth-heavy instrumental dedicated to electronic pioneer Patrick Cowley. 'My Life on the Silicone Prairie' dances across the sonic spectrum, from bedroom jangle to basement devolution, carrying big guitars, sharp synthesizers, and a hopeful grin into 2021 and beyond. A carefully crafted debut alive with the kind of creative rock'n'roll energy that simply cannot be quarantined, now or ever.
  • 01. Marie Touchet - Collège infernal (House Paradise version)
    02. Michel Moers - La route
    03. Anne Zamberlain - Attention danger
    04. Thalie - C'est pas sorcier
    05. Histoires de Filles - House Tube
    06. Fred de Fred - En Amour (Edit 2020)
    07. Techno 90 - Everybody Dancing
    08. Jean-François Maurice - Top Model
    09. Claire An - Près de toi (Je n'ai pas peur)
    10. Artiste inconnu - Opium (Pirate mix)


    DYNAM'HIT - Europop Version française - 1990/?1995

    [engl] France, 1990. Fun Radio, NRJ, Skyrock set a new pace, and their crushing hegemony irrevocably marks the end of the free radio utopia. The giants become vital in the hit industry and carry on fuelling France’s greatest invention: la variété. A quintessentially French version of British dance pop with a very specific tang to it, too coy to emulate trendy clubs’ and rave parties’ music, europop cautiously tests the waters of what will soon turn into a tsunami : house music.
    EAN 3521381562620
    EAN 3521383462614
  • 01. Adam's war
    02. No Igel dares
    03. A 1000 Eyes
    04. wow & Flutter
    05. Top of the bridge
    06. Line the walls
    07. Bread
    08. Water
    09. K.A.O
    10. Gray Manders


    30 minutes of

    EAN 3521381563139
    EAN 3521383463123
  • 01. Bill Case - I'm Your Hero
    02. 32nd Turn Off - Used To Be a Tiger
    03. Boots - You Better Run
    04. Leather Head - Give Me Your Money Please
    05. Big T - Tea For Two
    06. Phil Canning - Sell Out
    07. Things Fall Apart - Bye Bye My Rose
    08. Redhead - We Ran And We Ran
    09. Giggles - Just Another Saturday Night
    10. Westland Sreamboat - Born Under A Bad Sign
    11. Brother Susan - Flash
    12. Scruff - Get Out Of My Way
    13. ? r ² - Jerk Rhythm
    14. The Knuckle Dusters - The Yob


    Bootboy Discotheque (14 Bovver Rock Bruisers)

    [engl] if you went down the wrong alleyway, took a shortcut through the park or crossed the wrong open space after dark in the UK in the 1970s, you stood a fair chance of being accosted by someone with a big mouth, low morals and some gurning mates to impress, usually reeking of fags and cheap booze and always ready to put the boot in. And, before you could say, “sickening violence”, a short but chaotic scuffle would ensue and a winner eventually emerge, battle scarred and bruised. The boot boy was the worst kind of hooligan. There wasn’t anything you could do or say to appease him. You had the same chance as a fly caught up in a spider’s web. Zero. Your best bet was to run. His intent was always to give you, and vicariously the rest of the world, a good kicking. Thugs, long-haired louts, short-haired louts; the anti-hippy. Birds, booze, bovver and football on their criminal minds. So fasten your braces for a white knuckle-duster ride. 14 bovver rock bruisers for all of you peace-loving losers. Somebody’s going to get their head kicked in tonight... Put the boot in.
  • 01. Naquela Base
    02. Devaneio
    03. Primavera
    04. Simplesmente
    05. Feitiço da Vila
    06. Dueto
    07. Amor de Nada
    08. Eugenie
    09. Minha Saudade
    10. Desenhos



    [engl] This is the incredibly rare and Coltrane influenced debut of Brazilian sax great Victor Assis Brasil (1945-1981) for the cult label Forma, of Roberto Quartin. Vitor Assis Brasil lead this session on January 11th 1966 with his quartet which featured the legendary pianist Tenório Jr plus double-bassist Edison Lôbo and drummer Chico Batera. It’s one of the greatest jazz albums ever recorded in Brazil and the highlights go to the originals and the wonderful João Donato tracks. Victor Assis Brasil was the best Brazilian jazzman of his generation, having being praised by international critics. Vitor Brasil showed early evidence of talent for music, excelling at the harmonica and the drums. In 1961, at age 16, he was presented with an alto saxophone. In 1965, while already a professional, Brasil recorded his first album, Desenhos, consolidating his pioneering role as a Brazilian jazz musician. He studied at Berklee College of Music and later taught improvisation technique in Brazil. During the following four years he spent in the U.S., Brasil wrote most of his 400 works. Also from that period are his albums Trajeto, Victor Assis Brasil Toca Jobim, Esperanto, Victor Assis Brasil Quinteto, and Pedrinho, his last one. His last three years of life were marked by noted international performances. This is Victor Assis Brasil – “Desenhos” (1966), for Forma, featuring the sax of Victor with the accompaniment of Tenório Júnior (piano), Edson Lobo, with the age of 19 (bass) and Chico Batera (drums). Victor had 19 years old at this recording session.
  • 01. Burçak Tarlas
    02. Zühtü
    03. Yali Yali (Cay Elinden)
    04. Yaylalar
    05. Seninleyim
    06. Adam Mi Oldun
    07. Ya Smra (Esmerim)
    08. Sofu Baba
    09. Binnaz
    10. Adana Yollar?nda
    11. Sivri Ak?ll?lar


    Yeralti Oyun Havalari

    [engl] Beynelmilân is delivering some funky turkish sound to your ears. A drumbreak in each track, psychedelic vibes and funky groove revisited classic turkish folk songs. If you like 70’s anatolian Rock/Pop, Yeralti Oyun Havalari (Underground Belly Dances) is for you for sure. He recently contributed 2 tracks to the new Arsivplak record ’Mirror’, which is a compilation of turkish disco folk with the typical psychedelic touch. After it was only released on tape finally with the slightly different vinyl version of Yeralti Oyun Havalari, there is a full length LP containing 10 delightful tracks to take you on a trip to the turkoholic mekka of 70’s anatolian psychedelic rock. Beynelmilân knows how to bring some heat to the dancefloor with tunes like ’Adam Mi Oldun’ but also brings you down to a hypnotizing trip with tracks like ’Yaniyorum’ which is topped with some melancholic vocals. Never missing the heavy drum breaks and intense melodies topped with some discoid flavour. Limited edition of 500 copies!
  • 01. Mi Nian Mure
    02. Dimignan
    03. Nabwo
    04. Pari
    05. Mama
    06. Sina Mami Boba
    07. Hagnan
    08. Yori Yori
    09. O Ya Fani
    10. Zatie
    11. Eh Yaho
    12. La Ori


    Sira Kura

    Zwischen Aarhus und Bamako liegen 6.593 Kilometer – und ein tiefer sozioökonomischer Graben. Aus Afrika zieht es deshalb schon lange Menschen nach Europa – umgekehrt ist das leider nur selten der Fall. „Sira Kura“, das Debütalbum der dänisch-malischen Band Faratuben, zeigt was möglich ist, wenn sich Musiker aus der eigenen Komfortzone herausbewegen, um sich auf Augenhöhe zu begegnen. Die Musik der in Bamako lebenden Band ist keine weitere Variante des Afrobeat, keine retroselige Erinnerung an Fela Kuti, wie so oft. Es ist eine elektrifizierte Version der jahrhundertealten Bwa- und Bobo-Musik, die sich von den traditionellen Kora-Klängen eines Toumani Diabate und Salif Keita durch mehr Druck und Tempo unterscheidet. Die drei Da?nen Mikas Bøgh Olesen, Jakob de Place und Mads Voxen kamen nach Mali im Rahmen eines Austausch-Programms des Conservatoire de Arts et Metiers Multimedia (CAMM), wo sie zum ersten Mal traditionelle Bobo-Music hörten. Bobo, so nannten die französischen Kolonisatoren das Volk der Bwa, eine unterdrückte Minderheit, die in Burkina Faso und im Norden von Mali lebt. Die perkussive Musik der Bwa wird getrieben von diversen Percussion-Instrumenten und dem Klang des Balofon, eine Art Xylofon mit untergehängten Kalebassen. Die drei dänischen Musikstudenten waren total begeistert von dem dynamischen Sound, der in Mali religiöse Zeremonien ebenso begleitet, wie Hochzeiten und Partys. Zusammen mit Gitarrist und Studiobesitzer Dieudonne Koita, Sänger Sory Dao und dem Balofon-Virtuosen Kassim Koita formierte sich eine Band, die ursprünglich nur ein einziges Mal auftreten sollte: beim Bamako Jazz Festival. Auf den Plakaten stand damals noch der Name Bobo Jazz Experience. Doch der Auftritt war zu grandios um nicht weiterzumachen. Im Bogolan Studio in Downtown Bamako spielten die Musiker kurze Zeit später die Songs „Terete“ und „Pari“ ein, die beim TV-Sender ORTM und diversen malischen Radiostationen schnell auf heavy Rotation liefen. Die Band hatte sich inzwischen für den Namen Faratuben entschieden, eine Kombination der Worte „Farafin“ (= Schwarz) und Toubabou (= weiß). Die Musiker proben und leben oft zusammen in den Bergen außerhalb Bamakos, in einem Dorf namens Kati, wo die Familie Koita zuhause ist. Ein großer Clan, der schon viele bedeutende Musiker hervorgebracht hat. „Die Elektrifizierung ist ziemlich neu in unserer Tradition, und der erste, der Bwa- Music auf einer elektrischen Gitarre gespielt hat, war unser Vater Pakuene Koita“, sagt Dieudonne Koita. Sein Bruder Kassim wurde bereits vier mal zum besten Balofon-Player Malis gewählt. Auch Faratuben werden in Mali immer erfolgreicher, sie spielen auf Hochzeiten, Festen und zunehmend auch auf großen Festivals, wie „Spot on Mali Music“. Kurz: Es war höchste Zeit für ein Debütalbum! „Sira Kura“ ist eine extrem abwechslungsreiche Fusion, in der sich die pulsierenden Polyrhythmen der Bwa-Music mit Elementen aus Jazz und Art-Pop organisch verbinden – gespielt auf traumhaft hohem Niveau. „Eine moderne Mischung aus 10CC und Osibisa“, nennt es Keyboarder Mikas. Und tatsächlich, eine so überwältigende Melodiösität, ein so komplexes Songwriting findet man im Afrobeat nur selten. Auf Bambara, eine der vielen Sprachen, die in Mali gesprochen werden, bedeutet „Sira Kura“ soviel wie „neue Richtung“. Doch Faratuben geht es um mehr als um Partys und gute Laune. Das mitreißend kämpferische „Mi Njan Mure Mure“ erzählt von den Tagen, als Mali eine französische Kolonie war: „You took our land, you took our space, you torture us, you treated us with barbarity“. Die Musiker sehen ihre Band als gelebten Anti- Rassismus, oder, wie Diedonne sagt: „Ich hätte vorher niemals gedacht, dass ich Weißen gleichberechtigt und auf einer Ebene begegnen kann. Dass Weiße in meinem Haus wohnen, essen und schlafen, und mit meiner Familie zusammenleben, so wie ich auch. So etwas ist sehr selten in Mali. Wir sind glücklich und stolz, dass wir mit Faratuben zeigen können, dass es möglich ist, eine Gemeinschaft zu erschaffen, jenseits von Rassen und Hautfarben. Inzwischen hat sich die Band auch in Skandinavien eine treue Fan-Gemeinde erspielt. In Dänemark, wo das Album bereits letztes Jahr erschienen ist, wurde „Sira Kura“ mit dem Danish Music Award für das beste „Globalpop“-Album ausgezeichnet. Und im August erhielten die Musiker dazu noch eine Nominierung für den DMA-Roots-Award. Es läuft also wieder für Faratuben, die von März bis August wegen Corona in Aarhus festsaßen und erst Ende des Monats nach Mali zuru?ckkehren konnten. Im Gepäck, die während der Quarantäne entstandenen Songs für das zweite Album. Doch bis es soweit ist, wird „Sira Kura“ dafür sorgen, dass der Herbst in Deutschland ziemlich heiß wird. Bwa-Music rules!
    EAN 4260016921997