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The Alien Dub Orchestra is ragtag collective of Bavarian musicians, featuring members of The Notwist and G.Rag y los hermanos Patchekos. The cohort formed around the idea of performing the standards of the fabled Breadminster Songbook, aka the back-catalogue of lone dubman Elijah Minnelli. Minnelli is known for constructing wheezy, forlorn odes to his hometown, both as highly sought-after self-released 7" singles, and a critically-acclaimed debut album, ‘Perpetual Musket’ for FatCat Records, lauded by the likes of The Guardian, The Wire, and The Quietus. ‘The Alien Dub Orchestra: Plays the Breadminster Songbook’ finds group covering Minnelli’s cumbia-infused dub reggae with full band, playing an eclectic array of instruments including: guiro, accordion, melodica, sousaphone, trumpet and assorted percussion.

The tale begins in 2022, when Minnelli was invited to lend his unique dubbing style to a pair of remixes for The Notwist, and what followed was an ever-flourishing relationship between the Breadminster native and the wider Munich scene. The seeds of the Alien Dub Orchestra were sown during a support gig for The Notwist, where assorted musicians joined Minnelli for a encore, reinterpreting one of his dub remixes across woodwind, brass and assorted percussion.

“The idea of real, competent professionals playing something you’ve muddled together on a computer in a damp basement is quite overwhelming,” reflects Minnelli on the process, “hearing them interpret and improve these melodies is a real joy and privilege.”

Despite the non-traditional origins of the source material, the inherent musicality of Minnelli’s songwriting shines through across his releases, and this creative kinship is what attracted the Orchestra to reimagining his work. The first live collaboration led to recording sessions and further gigs, with the Orchestra building a full set of Minnelli’s music.

The resulting album puts forward the strongest case yet of the shared musical throughline between the acts, where cumbia, dub and folk sensibilities coalesce to something all together unique. The tracks are wrought new, with melodies fleshed out and broader instrumentation expanding the sonic possibilities of the compositions. The tactility of the tracks is perhaps best demonstrated on the gorgeous ‘Vine and Fig Tree’, with it’s layed vocals and expressive bassline returning as a cavorting sousaphone line. Elsewhere, fan favourite ‘SLATS’ sounds as if it was simply written to be performed this way.

To further instill the cylindrical nature of these collaborations, the entire second half of the album is made up of dub versions of the Orchestra’s renditions. For these dubs, Minnelli is joined by Raimund Wong, who had caught his ear with his ambitious live sets, a daisy chain of tape machines and FX pedals. Again, despite their differing creative processes, the two bonded over a shared love of dub music. Each dub was a one-take, with Minnelli riding the faders and Wong’s filters and FX supplying a sound that doesn’t seek to imitate dub, so much as it tries to be it’s own chaotic self. The droning, psychedelic hypnosis of ‘Pundit Dub’ stretches the material to a whole new realm that feels outside of anything else Minnelli has produced before, an ode to the benefits of recycling sound if ever there was one. The whole second half is a perfect closing note to an album that is undoubtedly a love letter to folk tradition, dub ideology and, most importantly, the joy of uninhibited collaboration.

​Elijah Minnelli - voc, guiro, percussion
Philip Gross - accordion, melodica
Theresa Loibl - clarinet, melodica
Cico Beck - electronics, keyboards
Sascha Schwegeler - congas, steel drum, percussion
Micha Acher - sousaphone, trumpet
Markus Acher - drums, voc
Dub mixes performed live by Elijah Minnelli & Raimund Wong at Breadminster County Council Studios

New compilation by Coco Maria on her own new founded imprint Club Coco. Comes with a 4 page folded insert.

There are albums that aren’t just listened to—they’re lived in. Club Coco – New Dimensions in Latin Music is one of them. This compilation, curated by Coco María, marks the first release on her own label and serves as a sonic portrait of what Latin music can become when it’s guided by intuition rather than labels. Eleven tracks open the windows and cross continents as effortlessly as changing a song. Here, Neapolitan synthesizers coexist with digital cumbias, voices whisper from within the groove, and rhythms invite movement—without urgency or pretense.

This selection isn’t defined by a genre but by a feeling: that of someone dancing with an open heart and keen ears. Each track is a postcard from a corner of the world, and also a love letter to rhythm and the emotions it stirs. From Bogotá to Naples, passing through Lima, Amsterdam, and New York, this compilation offers a journey where past and future brush against each other in the present moment. Club Coco doesn’t aim to define a sonic truth, but to invite listeners to discover new ways of hearing and feeling.

The party has already started. Come on in.

Bret McKenzie ist ein Grammy- und Oscar-prämierter Künstler, der vor allem durch seine Band Flight of the Conchords und die gleichnamige Fernsehshow bekannt wurde. "Freak Out City" ist sein zweites Album mit geistreichen, anspruchsvollen Solosongs und baut auf den Stärken seines Debüts "Songs Without Jokes" auf (das vom FarOut Magazine als "musikalische Version eines Kurt Vonnegut-Romans" beschrieben wurde) und wird sicherlich Fans von nachdenklichen Singer-Songwritern wie Harry Nilsson, Elvis Costello, Father John Misty und klassischem Pop-Rock der 70er Jahre Freude bereiten. McKenzie ist international bekannt dafür, witzige, seltsame und einzigartige Songs zu singen und zu schreiben, vor allem für Film und Fernsehproduktionen. Bret McKenzies Lieder wurden bereits von Kermit dem Frosch, Celine Dion, Lizzo, Benedict Cumberbatch, Brittany Howard, Homer und Lisa Simpson, Fred Armisan, Miss Piggy, Amy Adams, Jason Segal, Ricky Gervais, Benee, Isabela Merced, Spongebob Schwammkopf, Tony Bennett, Mickey Rooney und vielen anderen gesungen. Das selbstbetitelte Debütalbum von Flight of the Conchords wurde 2025 mit Gold ausgezeichnet und ging prompt in einer limitierten Gold-Vinyl-Variante über den Ladentisch.

Seattle punk rock 'n rollers The Drowns are proud to present their brand new live album Live At Rebellion, on Pirates Press Records. This is the band's first foray into recording a live performance, but it has been an idea on the table from very early on. While the band are rightfully acclaimed for their studio albums, the first thing anyone in the know talks about is their electrifying live shows. "Within the first year of starting the band, we saw the reactions we were getting from people live, and we had the idea to record a live album," says guitarist and singer Rev. "Almost a decade later now, we felt like the time was right." While a live album recorded during the first year may have captured the raw power of a hungry band kicking off their momentum, Live at Rebellion is the sound of a seasoned band playing in front of a veritable army of international fans on their largest festival stage at Rebellion Festival in Blackpool, UK - fans that they have earned one by one, sweating it out with relentless transcontinental touring. "Rebellion has always been a highlight of our year, and we love the performances there because the energy from the crowd is raw and visceral," explains Rev. "That's why we made the choice to do it there in Blackpool." While far from a "Greatest Hits Live" preserved in amber, the setlist features selections from every era of the band's career and was determined by the band's knowledge of what songs get their audiences fired up - all killer, no filler, as the saying goes! The gritty attack of "Them Rats" exemplifies the band's streetpunk influences and lyrical calls to unite against abusive authoritarian power. Meanwhile, the vital ass-shaking boogie of "Live Like Yer Dyin'" was a direct result of the band fully embracing their collective appreciation of the energetic joys of both 70s glam and original 50s rock 'n roll! Their choice of cover song - "Ballroom Blitz," - truly hits the Sweet spot, if you'll pardon the pun, as one of the foremost glam-proto-punk-bovver rock masterpieces. It is executed here in masterful hands by The Drowns. The band acknowledges Daz Russell & Daryl Smith, the organizers at Rebellion, for backing the making of the record. David Casey (Success, One Step Beyond) helmed the boards to capture the recording, mixing and engineering was done by Evan Douglas Foster (The Sonics, Boss Martians), and the final master was produced by Seattle legend Jack Endino (Nirvana, Mudhoney, Soundgarden), who also recently oversaw the re-master of The Drowns' debut album View From the Bottom. "This album was a cumulative effort between people who still believe in rock 'n' roll," sums up Rev. "We couldn't be more proud."

Berlin-based Colombian DJ, producer, and curator Edna Martinez presents a sonic journey into the electrifying world of Picó—the vibrant and dynamic sound system culture that has defined the streets of Cartagena and Barranquilla for decades. More than just a musical movement, Picó is a way of life, a bold expression of identity, community, and resistance. From its roots in the working-class neighbourhoods of Colombia’s Caribbean coast to its deep connections with Africa and the Caribbean, this compilation captures the pulse of a culture where music is played at full volume, rhythms travel across oceans, and dance is both a form of celebration and storytelling. For those unfamiliar, Picós are hand-painted sound systems, often adorned with dazzling colours and striking imagery, each with its own name and sonic identity. These mobile discos became the heart of neighbourhood bailes, where the sounds of champeta, highlife, soukous, mbaqanga, zouk, soca, and cumbia would turn every street corner, market, and terrace into a dancefloor. Initially built by local craftsmen using modified speaker components, Picós became legendary for their powerful bass and exclusivity, with DJs sourcing rare vinyl from African and Caribbean ports and rebranding them with unique piconemas—new names adapted to local slang, making the tracks instantly recognisable within the community.

This compilation brings together a carefully curated selection of these rare and sought-after tracks, tracing the deep-rooted musical exchanges between Colombia, West and Central Africa, and the Caribbean. Featuring artists like Los Corraleros De Majagual, Peacocks International Highlife Band, Pedro Lima, Zaïko Langa Langa, and more, the album also includes edits by Edna Martinez, reimagining these timeless rhythms for contemporary audiences while staying true to their original spirit.

Strut presents ‘Picó! Sound System Culture From The Colombian Carribbean’ across 2LP Vinyl, 1CD & Digital focusing on a celebration of the raw, undiluted energy of Picó culture. Through Edna Martinez’s curation, and extensive liner notes, this compilation offers a powerful and authentic glimpse into one of the most vibrant musical traditions of the Colombian Caribbean

With its cinematic origins The Odd Couple is the natural title for the second album by a pair who seem to spend as much time in wardrobe as the studio and whose recordings are often compared to film scores. Their greatest hit, 2006's "Crazy" was even built around a chunk of a spaghetti western soundtrack. Yet after the success of 2006's excellent St Elsewhere, the collaboration of singer Thomas "Cee-Lo Green" Callaway and producer Brian "Danger Mouse" Burton has become a permanent institution.

Two years on, The Odd Couple stands up proudly alongside its predecessor. The basic recipe hasn't been drastically altered--Danger Mouse's skittering beats and snap-crackle-pop production still provide the perfect platform for Cee-Lo's mighty, soulful wail. If anything, the pair have refined and sharpened their approach to a razor's edge. The key is the way the musical flavors intersect: the Arthur Lee-meets-N.E.R.D. stroll of "Surprise," the jubilant jumble of gospel/soul/synthpop on "Going On," the Otis Redding-shares-a-treadmill-with-Outkast feel of the single "Run (I'm a Natural Disaster)." The cumulative effect is one of a group whose trick-bag has a never-ending supply of happy surprises.

Mr Bongo proudly presents the third album by Melbourne/Naarm multi-instrumentalist, Don Glori, entitled ‘Paper Can’t Wrap Fire’. A kaleidoscopic genre-surfing odyssey that brings together the worlds of jazz, soul and funk. Feeling both contemporary and classic, familiar yet novel, it’s an assured third release that sees an artist in full flight, showcasing their creative prowess and the uniqueness of their musical voice.

Steering in a new direction, Don Glori (aka Gordon Li) has delved headfirst into his songwriting with ‘Paper Can’t Wrap Fire’. Deftly showcasing his talents as a writer and bandleader, he brings with him a whole host of friends from the creative crossroads that is Naarm. It’s an album enriched with more soul, R&B, and funk-oriented songs than his previous jazz-rooted productions, yet there’s still plenty of jazz material for those familiar fans of Don's earlier works.

The album’s title is an old Chinese proverb, roughly translated as 'you can’t deny the truth'. This underlying thread is woven between the songs. “A lot of them are in some way about truth-seeking, observations and the masks you put on to deal with life (hence the cover art)”, Don mentions. Take, for instance, the sensational soul single 'Brown Eyes' featuring silky lead vocals by ML Hall. A dissection of the minority experience, and the power and comfort in building those communities. Elsewhere, 'Disaster' is a satirical take on the structures serving everyone but the artists, and 'Flicker' tackles notations of truth and clarity after introspection.

To marry that meaning with the level of musicianship on these tracks is what really stands out. Don has set out his stall here as an artist who can write songs that hit home in the heart, as much as they do in the head. It’s a journey infused with a glistening jazz finesse, layered with nourishing vocal harmonies and powered by an instantly relatable human soul.

Recorded over two hot summer days in Rolling Stock Studios in Collingwood, Naarm, the lineup of musicians is built up of Don's friends and family. Featuring the backbone team of Tim Cox, Al Kennedy, Joel Trigg, Robyn Cummins and Lachlan Thompson, who were part of Don's touring band before he relocated to London, and a stunning selection of vocalists in the form of ML Hall, Ruby Dargaville, Isadora Lauritz, and Bianca Kyriacou. Also gracing the album are trumpeter extraordinaire Audrey Powne, saxophonist Joshua Moshe, and Alcides Neto who sprinkles some Brazilian magic into the record.

Taking influence from artists including Azymuth, SAULT, Jordan Rakei and Lynda Dawn, as well as from London musical beacons such as NTS and Total Refreshment Centre, Don has run with this, leaned in and come out with a record truly unique to himself and his distinctive core, with no mask necessary.

There are bands that you feel you have known forever -- recent ones, new
ones even -- because you are already so familiar with what you know they are
going to offer, familiar with the anticipation and the need, with the pleasure
you expect them to, quite rightfully, provide the masses (by which I mean
people who have once considered calling their first-born Kang)
VERDICT is such a band. It has members of MEANWHILE, NO SECURITY,
WARCOLLAPSE, 3- WAY CUM, TOTALITAR, and too many other bands, and even
though I have never actually met any of them, I still have had more interactions with
them through (over)playing and rocking to their records than I have had with some
members of my family, which, to be honest, is definitely for the best. VERDICT is a
rather new (but experienced in the things of the D) kang hardcore band, and they know
exactly what they are doing and how to do it. Had they produced something different,
that would have completely taken me aback -- something horrendous like ska- punk
would have made so little sense that I would have had to quit punk altogether. Alright,
what about The Rat Race, then. This is the follow-up to last year's Time to Resign, and
this one has even more punch, fury, and pummeling power than its predecessor.
Unoriginal, in a good way, and thoroughly checking all the correct boxes: the
drumming is pure and relentless, the riffs' efficiency is religiously executed in a
"Scandicore 101" way, the vocals are angry, direct, and raspy. Think a joyous orgy
between NO SECURITY, UNCURBED, and TOTALITAR.
This is the kind of record that makes the world a better place to rock. Thank you
Phobia Records. Kang up your life.

Basing himself off the works of Cuban guitarist-composers José Angel Navarro and Hector Angulo, Italian guitarist Walter Zanetti intimately recreates sacred Afro-Cuban batá drum songs on guitar. Santería draws heavily on music for its ceremonies. This Afro-Cuban syncretic religion, sometimes called La Regla de Ocha, saw the Orisha deities of the West African Yoruba peoples codified with Catholic saints. Yoruba practitioners, brought by force to the West, continued to worship their gods under the nose of those who sought to dehumanize them by adopting their spiritual language. The chants that became Santería’s prayers were often accompanied by the beat of the batá drum. This heartbeat runs through every invocation, through every sacred song. In the same way that the shuffling chains on the feet of enslaved African peoples dancing defiantly in Colombia birthed the distinctive rhythm of cumbia, syncretism has been present in music as much as it has in religion. It has always been about challenging the odds, about creation, creativity, and heart.

*180g virgin leaded vinyl in a deluxe textured heavy gatefold cover, with paste-on artwork and special anti-static innersleeve.* Note: The pressing is absolute on point!!!!

Vincent Gallo and Harper Simon with a beautifully recorded suite of songs and instrumentals.

" More than two decades since he blew minds with a suite of brilliant releases on Warp, Vincent Gallo returns to the world of music at long last in Butterfly, his duo with Harper Simon, with the project’s full-length debut, “The Music of Butterfly”. A gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, while interweaving fascinating flirtations with minimalism and experimentalism, it’s a truly captivating piece of work that’s hard to get off the turntable after the first needle drop.

In the arts, the lines between genius and madness, as well as fact and fiction, often blur. Such, it seems, has always been the life of the artist, filmmaker, actor, musician, and composer Vincent Gallo. A cult figure and a member of various creative undergrounds for the better part of half a century, Gallo has courted controversy, ruffled feathers, and made some of the most singular statements to flirt at the outer edges of popular culture that can be called to mind. Arguably most well known for his work in film, during the late '90s and early 2000s - notably with his soundtrack for “Buffalo 66” and a suite of releases on Warp - Gallo became something of a sensation in the world of independent music for a visionary, incredibly unique and sensitive approach to sonority. For a time, the world was abuzz, waiting on bated breath for more, and yet time passed. Bar a few fragments, appearing here and there, almost nothing has been heard from Gallo, within the world of music, for more than 20 years. That is, until now, with the release of “The Music of Butterfly”, the debut full-length of Butterfly, his duo with Harper Simon: beautifully produced and issued by Family Friend Records - Gallo’s own label, founded in 1981 - in a deluxe edition that simply left us speechless: 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve. More or less picking up from where we last encountered him, spinning captivating melodies and gentle song-craft within the quieter temperaments of DIY, left-field pop, once again, and at long last, Vincent Gallo, encountered in an incredibly successful collaboration with Harper Simon as Butterfly, reminds us that he’s as much a force within the realm of music as he is within film. Not to be missed. This one isn’t going to sit around for long.

Vincent Gallo’s biography reads like the stuff of blaring beauty: a figure of moderate fame in his own right, who has remained at the centre of cultural ferment as the decades have rolled by. Born in 1961, in Buffalo, New York, as the story goes he ran away to New York City at the age of 16 and fell into the brewing counterculture of the Downtown scene, William Burroughs and John Giorno, in addition to the cream of his own peers, and began making paintings, music, and experimenting with film. In addition to being a member of the now legendary band Gray, with the artist, Jean-Michel Basquiat, and the filmmaker, Michael Holman, Gallo appeared in the cult 1981 film “Downtown 81”, before slowly beginning a career as an actor and catching the eye of Claire Denis, who brought his talents into the broader cultural gaze. Catapulted into the public by his own subsequent career as a filmmaker with “Buffalo '66” (1998) and “The Brown Bunny” (2003), both of which were marked by controversy and praise, Gallo further captivated the public with a partially brilliant, if not relatively brief, flurry of activity in the realms of music.

While Gallo had already been making music for roughly two decades at the time of his release of the “Brown Bunny” soundtrack, and the four release issued by Warp in rapid succession between 2001 and 2002 - “When”, “Honey Bunny”, “So Sad”, and “Recordings of Music for Film” - the almost fanatical fandom reached a fever pitch at the moment, allowing him, for some, to be regarded as much, if not more, as a musical artist than an actor and filmmaker. Anyway you cut it, in a few short years, he proved himself to be a polymath of rare talent. Somewhere along the way, while both were working as members of Yoko Ono's Plastic One Band, Gallo met the New York based, highly regarded singer-songwriter, guitarist, and producer, Harper Simon, who also happens to be the son of Paul Simon. The pair fell into an incredibly fruitful duo collaboration, which came to be called Butterfly, and “The Music of Butterfly” being their debut full-length release.

Written, performed, and recorded by Vincent Gallo and Harper Simon in New York City between the winter of 2018 and the spring of 2019, the ten tracks comprising “The Music of Butterfly” are cumulatively a gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, making one feel like barely a moment had passed since we’d encountered his graceful hand at song-craft. Stripped back and raw, while retaining a sense of warmth and intimacy, across the length of “The Music of Butterfly” the duo of Gallo and Simon weave something completely captivating at the juncture of minimalism, experimentalism, and pop: meandering moments of texture and tone, slowly forming toward flirtations of melody that flower into song and back again. Somehow playful and light, while also remarkably emotive and personal, it’s almost as though each of these tracks crystallised out the air, unlabored and exactly as they should be without a note or beat more.

An engrossing immersion into both Gallo and Simon’s remarkably accomplished minds, having followed the path toward one another after radically different experiences and careers, “The Music of Butterfly” is one of those records that’ll be hard to get off the turntable after that first needle drop, and rarely leave the listening pile for some time to come. Issued by Family Friend Records in a beautiful deluxe edition that is unmatched even among the most stunning recent productions we can call to mind - 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve - it’s lovely to have Gallo back in the musical mix after so many years. "

After digging deep into the overwhelming archives of Discos Fuentes and Codiscos in our previous volumes, this third instalment in the series "Cumbia Cumbia Cumbia!!!" comprises a selection of 28 Peruvian cumbia bangers for the dance floor from the deep vaults of Discos MAG, all of them originally released between 1964 and 1987. "Cumbia Cumbia Cumbia!!!" combines well-known classics and rarities that are difficult to find in their original formats. An invitation to enjoy and be amazed, above and beyond ethnographic and academic concerns. The historical origins of cumbia are nebulous and imprecise. The mythology surrounding it suggests an ancient past when Amerindian, African and European musical sounds were mixed together. MAG had released porros since the label was set up, and by 1957 it was already selling records by the Colombian Lucho Bermúdez, a leading figure in porro and cumbia in orchestra format, from Buenos Aires. Colombian cumbia has come a long way in Peru since those years and put down its own roots, just as it has in other Latin American countries. This third volume of the series "Cumbia, cumbia, cumbia" demonstrates how the rhythm has persisted over three decades of Peruvian recordings, ranging from versions by orchestras and ensembles to original cumbias with electric guitars, with lingering echoes of Caracas-born Hugo Blanco, Tulio Enrique León, Los Teen Agers and Amparito Jiménez. These records were played nonstop in the Peruvian coast, mountains and jungle to the cry of "¡que sigue la cumbia!". Double vinyl LP!

It's hard to imagine El León Pardo, a loyal advocate of some of the most advanced projects in which folklore is the road map and the destination itself, without his kuisi. It's hard to see him with his hands free. Always holding on to that ancestral instrument, that pre-Colombian flute that survived the conquest and has become a symbol of resistance, overcoming the ravages of time, the imposition of ideologies, dogmas and religions. Despite all that, the kuisi continues with its liberating sound, the power of its cry, its invitation to dance, its sound a cure and a blessing. That's why it leads the way in this Viaje Sideral ("Space Voyage"), an astral journey in which the kuisi is the vehicle and the life force of the rhythm. Viaje Sideral feels like floating eternally in the infinite cosmos. This second long player from El León Pardo is inspired by humanity's relationship with the stars, escaping to mythical planes and led into a trance by Caribbean percussions, analog synths, deep bass, electric guitars and the hypnotic vibrations of the kuisis and trumpets that complete the soundtrack of this voyage. Through these nine songs, El León Pardo continues to create a sound of his own, evolving in his intention to pay tribute to the psychedelia of the tropical world of the Caribbean in the 1970s and 80s, but this time also taking as reference artists like Terry Riley, Kraftwerk and Mad Professor, including the roots of ambient and electronic music with the characteristic sound of the kuisi, an encounter of dreamlike and astral sounds, with the music of the bandas pelayeras of the tropics and figures like Pedro Laza and Juan Lara. In this new universe the Cartagena trumpeter dialogs with the past, processing the ideas that have emerged over the years and morphed into his personal search that gives an identity to his ideas, nurtured by figures like producer Diego Gómez (Llorona Records, Discos Pacífico, Cerrero) who awoke his interest in electronic instruments, Edson Velandia and kuisi maestros like Juan Carlos Medrano and Fredy Arrieta. In his sound there is a particular feature, one that contains histories of personal experiences, accompanied by the kuisi, including ancient Zenú flutes dating from between 600 and 800 AD and which helped create the atmosphere of "Invocación." "Viaje Sideral," the song that gives the album its name, was born from a dream in which two stars speed towards the earth and an imminent collision. As the record continues, the stellar connection becomes clear with songs like "Urmah" with Edson Velandia, inspired by an article about extra-terrestrial races and how the Urmah were a race of hominid felines, the greatest geneticists of the universe; and "Cumbia espacial," featuring rapping from N. Hardem, seeking to create that aura of immensity and consciousness of the infinity of the universe.

"The Beatles spread the use of electric guitars all through the world, and Bolivia was no exception. “The British Invasion” hit a politically convulsed country, and it fell upon a rich multi-cultural scene that was further expanded when the psychedelic counterculture youth movements coming from San Francisco also took the hearts of the country’s youngsters.
It was a big mixture of influences thrown in a cauldron that saw a link between the LSD drenched hippie generation and the country’s native ancestors. Bolivians were not new to mind-expanding experiences, the acid experiences promoted in the USA by Ken Kesey and Timothy Leary found their local counterpart in the old indigenous traditions of using plants such as the ayahuasca to open their doors of perception.
On this compilation you will find some of the more interesting young bands from a 1960s Bolivia bringing the sounds of a new generation and marrying them with the rich musical background of the country. The garage-sounding psychedelic beat made by these young musicians would soon open new horizons, and Bolivia would soon see how traditional sounds, like their local version of the cumbia, would evolve in a similar way as it would do in the neighboring country of Perú."

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo Moderna is back with his female alter ego singer Krage, for a perfect fusion of Afro-Latin and Caribbean rhythms with modern synth pop. Highly entertaining, Clever and unique blend of organic sounds, samples and vintage synths tweaking, "Daïsm" is a fun and enjoyable journey to the frontiers between electro, mento, dub, rocksteady, contemporary African rhythms and cumbia with a twist.

Certainly not your average tropical music. This new album is definitely a step up for the eccentric artist, as he's now reached the next level of mastering the fusion of genres and the art of blending organic sounds with electronic elements. Solo Moderna is one of the few “electro” artists you can immediately recognise when you hear one of his songs. In the creative process of “Daïsm”, Solo Moderna met his soulmate singer, Krage, who sings in a delightful mixture of English, French, Spanish and Jamaican Patois. Together, they found their very own way of expressing their love for nature and diversity through universal language.

Introducing the ultimate Rock and Power Ballads collection - NOW That’s What I Call Rock Anthems – Out 31st May! Get ready to crank up the volume and let the music take you on a journey through 79 epic hits, spread across 4 CDs.and with 45 epic hits on 3-LP’s pressed in stunning Neon Violet Vinyl

Carrying the torch of psychedelic cumbia, with a healthy dose
of surf guitar and Amazonian dancefloor flourishes from Peru
and Brazil alike, Fiesta en la Jungla by Los Dexter’s de Uchiza
is the first release from the newly formed London-label Ritmo
del Barrio. Originally released in 1982, it captures the finest
cumbia being made in Peru at the time, decked out with
frenetic surf-rock guitar riffs, rhythms floating on crisp
cumbia percussion and occasionally punctuated by carimbó
breakdowns native to the Pará region of north-eastern Brazil.
The album is filled with energy, a gem that was always
intended to animate any dancefloor. Peruvian cumbia came to national attention in the late 60s
through the recordings of Juaneco y su Combo, Los Destellos
and Los Wembler’s de Iquitos, but it’s had many revivals, and
Fiesta en la Jungla arrived when the style was going through a
major transition. In 1977, a passenger plane carrying most of
the members of Juaneco y su Combo crashed, killing everyone
on board. In 1980, Los Destellos retired, and Los Wembler’s
released their tenth and final record, they were ready for a
break. This left a big void in Peruvian music. Wasting no time,
Los Dexter’s Emerson Ruiz Mosquera took the opportunity and
gave his band new life, filling the band’s ranks with young and
energetic musicians who were hungry for success. He built the
new band around a solid base of dexterous guitars, a dynamite
rhythm section, and added oodles of percussion and an electric
organ, giving them a powerful psychedelic sound that called
back to the sounds of the original chichamasters, but added a
new sheen. Along with bands like Los Shapis and Los Walkers
de Huánuco, Peruvian cumbia was reborn as chicha in the
1980s, and was now the sound of Peru’s barrios up and down
the country.
Based in the city of Uchiza, on the edges of the Amazon basin,
Los Dexter’s were uniquely located in central Peru, closer to the
largest urban centres of the country than Amazonian outposts
like Pucallpa or Iquitos, and therefore better positioned to
travel to the furthest reaches of the country with ease. In a
sense, Los Dexter’s were a bridge between the Amazon and the
rest of Peru, a bridge over which the sounds of Amazonian
cumbia could travel to the rest of the country on their way to
becoming one of the most ubiquitous elements of Peru’s musical
identity. Fiesta en la Jungla represents Los Dexter’s in their third
iteration. Led by Emerson Ruiz Mosquera, who was just a
young boy in 1970 when his older brother founded the group
with four of his friends, the ensemble by the time of Fiesta en la
Jungla included Orlando Abad on the timbales and lead vocals,
Lucho Bendezú on lead guitar, Javier Quiroz as second
guitarist, Alejandro Almeira on bass, Rufino Bustamante on
keyboard, Ramon Siu on bongos and bells, Ivan Rios on conga,
and Emerson as musical director and composer. Remarkably,
most of the group’s members helped to write at least one
track, Los Dexter’s were a collective endeavour.
Reissued on vinyl for the first time by Ritmo del Barrio, this
record is essential for any collector of Peruvian cumbia.
Showcasing the unique sound of Los Dexter’s, it carries hits
like “Fuga en la Selva” and “El Shiringuero”, which are sure to
set any dancefloor on fire, combined with slower, carimbó-
infused cumbias like “Fiesta en la Jungla,”and “Agua de
Cachilde.” Its closing track, “Tragedia en Uchiza'', is a key
piece of local history and tells of the flooding of the
Chontayacu River in 1982, a mortal tragedy that affected
thousands of people. Despite the subject matter, the album
maintains a joyful vibe throughout, with high energy riffs and
irresistible rhythms, contrasted with terse love ballads, like “A
Jhenny.” It is both a piece of musical history, and a sure-fire
tool for the dance floor.
Los Dexter’s became a fixture of festivals and celebrations in
the provinces of San Martin and Huánuco, and from expanded
across the country, taking Amazonian cumbia from the
Peruvian Amazon, to the heights of the Peruvian sierra, the
coastal plains, and the capital city of Lima.

After a near-total silence of twenty years, Edith Frost is back again, and in full bloom with In Space. Her first new record since 2005"s It"s a Game is just in time - the world needs Edith"s voice back in the conversation. And her ineffable way with a tune . . . It seems Edith needed something, too: from the notebooks of her long hiatus, a line like "I say too much/I wait too long/I wait forever/And notice that it"s gone" speaks volumes about feelings of lack. Overwhelmed by the demands of day-to-day living and the details and anxieties that always come, Edith squirreled herself away for as long as she could - only to find herself isolated, spun even farther into the doldrums. In Space isn"t simply a song-cum-album title so much as a very real exploration of the remote place she"d found herself, with her songs registering this recognition and measuring the vast distances between herself, the life that is and the life that was. It was the only way back in! Over the years away, Edith was immersed in music everyday, and spent lots of time learning - in addition to new lyric perspectives, her reinvention of herself as a keyboard player is one of the waves lifting the album In Space. The keys suggested different places within Edith"s harmonic palette; for us listening, this attenuation seems to create a deep focus on emotional life within the songs and a breathtakingly visceral presence in the performances. Her voice as well, in all its iterations, sounds quite fine and vital. The songs, as ever, are low-key brilliance elevated by the vitality of Edith"s voice. Mark Greenberg, alongside longtime Frost A&R man Rian Murphy, brought fresh arrangement ideas to complement the strange-new-world vibe of Edith"s songs. Recorded at The Loft in Chicago, with invaluable contributions from Jim Becker (Califone, Air Blue Gowns), Sima Cunningham (Finom, formerly OHMME), Bill MacKay and Jeff Ragsdale, In Space feels like the most Edith Frost record yet made, pulled from deep inside with great feeling, awash in harmonized voices and - more often than ever before - featuring her own playing. Alternatively approaching and avowing connection, Edith"s crafty songwriting orbits the human exchange with an increasing sense of possibility. It"s what the world needs the most of today.

Album features and was co-produced by Joseph Shabason. String arrangements by Owen Pallett. Thom Gill has written songs for Chaka Khan, in addition to contributing to albums by The Mountain Goats, Owen Pallett, Joseph Shabason, Bernice, and many others. Way Through is a collaborative album by Toronto musicians Chris Cummings, Joseph Shabason, and Thom Gill (as Cici Arthur). Inspired by moments of discovery in familiar places, the album's title reflects the feeling of uncovering hidden paths in life. Musically, it blends mid-century influences like Jobim and Sinatra, with producer-instrumentalists Shabason and Gill crafting lush, expansive soundscapes. Featuring a 30-piece orchestra led by Owen Pallett, the album brings a grand scale to Cummings' intimate, reflective lyrics. The project began in 2020 when Cummings lost his job and turned to full-time music for the first time in his life. His collaborators tailored the arrangements to showcase his understated vocal delivery against sweeping orchestral backdrops. Songs like 'Cartwheels for Coins' and 'Prior Times' explore themes of regret and emotional complexity, contrasting the grandeur of the music with Cummings' quiet introspection. Tracks like 'Damaged Goods' provide upbeat moments with doo-wop harmonies, while the cinematic closer 'No Fight Or Flight' emphasizes the filmic quality of the album. Through its orchestral richness and deeply personal lyrics, Way Through captures the tension between ambition and realism, offering a poignant reflection on life's unpredictable journey

Beaten To Death’s brutal and innovative sound is somewhat melodic, in a strange way, and that’s why their sound is often called ‘melodic grindcore’; an oxymoronic definition, some might even say a moronic definition, but still the definition that best applies to this Norwegian quintet’s music. Beaten To Death consists of members from Insense, Tsjuder, The Cumshots, Gothminister and She Said Destroy and have won fans over globally for their energetic, strangely melodic and innovative approach to grindcore. With their combination of hysterical blast beats, meaty grooves, double guitar twang attack, asshole-of-god-earthquake bass and tongue in cheek lyrical approach to the shittiness of life, Beaten To Death have dug out their very own little niche in the music world. Their new sixth album “Sunrise Over Rigor Mortis” was recorded and mixed by Tommy Hjelm, and the amazing artwork is once again by William Hay. Since their last album from 2021, all the band members have aged horribly, and this is also the theme of the album. The positive thing about getting closer to the grave, is that profound grindcore poetry comes much easier than when the member were still carefree youngster, frolicking in the Norwegian forests…

Hooray for Boobies ist das dritte Studioalbum der Bloodhound Gang.
Zur Feier des25-jährigen Jubiläums des Albums wird es auf 180g-Vinyl in Splatter-Optik neu aufgelegt.
Das Album war ein großer kommerzieller Erfolg und hat sich weltweit über 4 Millionen Mal verkauft.
Das Album erreichte Platz 14 in den US Billboard 200 Charts und wurde in Deutschland, Australien und
Österreich zur Nummer eins.
Hooray For Boobies enthält fünf Singles: „Along Comes Mary“, ‚The Bad Touch‘, ‚The Ballad of Chasey
Lain‘, ‚Mope‘, und ‚The Inevitable Return of the Great White Dope‘. „The Bad Touch“ war ein großer
internationaler Hit, der in fünf Ländern die Nummer eins und in weiteren 10 Ländern die Top 20 erreichte.
Das Album enthält verschiedene Sketche zwischen den Songs. Der erste dieser Sketche mit dem Titel
„Mama’s Boy“ ist ein improvisiertes Telefongespräch zwischen Jimmy Pop und seiner Mutter. In „That
Cough Came With A Prize“ wird 15 Sekunden lang gehustet. „This Is Stupid“ ist ein willkürlicher Track,
der von dem Gesangsduo vorgetragen wird, das auch in ‚Right Turn Clyde‘ zu hören ist. „R.S.V.P.“ enthält
einen kurzen Monolog der erwachsenen Schauspielerin Chasey Lain. Und „The Ten Coolest Things About
New Jersey“ schließlich besteht einfach aus zehn Sekunden Stille!
Die Jubiläums-Trackliste enthält auch drei seltene Remixe: The Bad Touch (Eiffel 65 Remix), The Ballad
Of Chasey Lain (The Flirt Mix), Mope (The Pet Shop Boys Extended Remix).