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Mit über 30 Jahren aktiver, schändlicher Arbeit unter ihren Stacheln und Kugelgürteln sind NECROPHOBIC unbestrittene Legenden der Death- und Black-Metal-Szene. Gegründet 1989 von Schlagzeuger Joakim Sterner, vertraten die Stockholmer Blackhearts von Anfang an eine einzigartige und furchtlose Vision. NECROPHOBIC schufen eine kühne eigene Identität und zauberten eine dicht melodische, aber unendlich verruchte Version des makabren Extrem-Metals, die seitdem von unzähligen Bands nachgeahmt wurde. Trotz zahlreicher Besetzungswechsel und Momente des Aufruhrs ist das dunkle Licht von NECROPHOBIC nie erloschen. Als sich das effektivste Line-up der Band für das 2018er Album "Mark Of The Necrogram" wieder zusammenfand, war es für Fans und Kritiker offensichtlich, dass das schwedische Quintett wieder zu der glühenden Form zurückgefunden hatte, die ihren Ruf einst zementierte. Mit den Gitarristen Sebastian Ramstedt und Johan Bergeback, die nach einer 5jährigen Pause wieder dabei sind, war es ein Karrierehöhepunkt für alle Beteiligten. Es war nicht nur das am besten klingende Album der Bandkarriere, sondern auch eines der monströsesten, dramatischsten und zerstörerischsten des Jahrzehnts und machte die Aussicht auf die nächsten NECROPHOBIC-Alben noch verlockender. Mit ihrem 10. Studioalbum "In the Twilight Grey" tauchen die schwedischen Blackened-Death-Metal-Meister noch tiefer in pechschwarze Schatten ein. Erneut wurde das Album von Fredrik Folkare (von den Death Metal-Ikonen Unleashed) in den Chrome Studios in Stockholm produziert, gemischt und gemastert und in enger Zusammenarbeit von Folkare und der Band selbst aufgenommen. "In the Twilight Grey" bietet nicht nur klassische NECROPHOBIC-Schätze wie "Stormcrow" oder den Titeltrack, sondern auch feierliche Reisen in die Düsternis wie das fesselnde "Nordanvind".

Footballhead is a Chicago-based alternative rock band headed by singer/ songwriter Ryan Nolen - At its heart, the band is a vessel to toil forward through internal and external insecurity It also serves the unrelenting spirit of new- millennium Midwestern youth, with MTV and skatepark dreams in the core of their memories. By blending pop structures with alt and emo sounds, Footballhead channels the frantic, dramatic, and anthemic to map the pressure points of existence. It's outcast music, revitalized in search of a modern, blissful awakening. Nolen was a skate kid from the western Chicago suburbs; the one who only kicked it with older neighborhood kids. The punkish attitude of late-90s and earlyaughts alt- rock galvanized Nolen, from the infectiously fun music down to the fashion.

A teenage relocation to Palm Springs, CA coincided with Nolen inundating himself with all the music he could: Warped Tour, 411 videos, Limewire, and the like. The Footballhead ethos comes from this comfort zone of pop impulses and raucous energy, carried by a DIY spirit that grants Nolen the autonomy to facilitate honesty and reflection. Joined by Adam Siska, snow ellet, Liam Burns, and Robbie Kuntz, Footballhead crafts supercharged rock songs like brief, open secrets. However weathered one is from their struggles and mistakes, this music offers unbridled fun as a reprieve, and salves for the shaken. These are your old friends inviting you in to commiserate, elevate, and believe.

HJirok is a mythical figure, conceived as a fictional character by Iranian-born Kurdish singer and artist Hani Mojahedy. Together with versatile music producer And Toma of Mouse On Mars, she combined a variety of sounds collected during their joint travels to Iraqi Kurdistan and elsewhere with heavily processed recordings of Sufi drum rhythms and setar melodies. The result is a driving, dubbed-out, and deeply intricate soundscape that perfectly sets the stage for Mojahedy's extended, unconventional vocal techniques and polyglot lyrics. Both informed by tradition and rigorously forward-looking, »Hjirok« (with a lowercase J) is at once a profoundly personal album and a universal utopian promise. As a ghost from the past, HJirok draws on Mojtahedy's memories to mould a new future out of them.

The foundation for »Hjirok« was laid in the city of Erbil in the Kurdish part of Iraq. During one of their stays in the region, Mojahedy and Toma recorded the three percussionists Hadi Alizadeh, Jawad Salkhordeh and Serdar Saydan as well as setar player Ali Choolaei from Motahedy's backing band while they were playingthe rhythms and notes that she had grown up with in the house of her grandfather in the Iranian city of Sanandaj. Her memories of that place revolve around hypnotic Sufi music, dervishes in deep trance, and ecstatic singing. Much like this music seemed to open a portal to other dimensions, the inhabitants of the house lived in a sort of alternative reality: It provided them with a hideaway from political circumstances. Following the Iranian revolution in 1979, a Kurdish rebellion ensued but was met with the utmost brutality by the new regime, which resulted in the death of thousands.

It is no coincidence that the music on »Hirok« would draw on rhythmic patterns that were passed on from one generation to the next for hundreds of years. »The project is rooted in the figures of the Sufi dervishes and thus a culture that precedes today's political, social, cultural, and religious systems,« explains Mohtahedy. »The Sufi sound travelled around the entire world. I like to think of it as a dialogue between peoples-one based on the rhythms of the drums and the sound of their voices.« Toma adds that by electronically transforming the recordings and enriching them with field recordings from both rural and urban spaces, they were able to use the stories told by the drums and the setar to create an entirely new narrative.

The story told by these eight pieces is hence a deeply personal, but also inherently political one. Moitahedy herself left Iran in 2004 and relocated to Berlin in 2010. Having continued to use her art as a platform to tirelessly advocate for the rights of the Kurdish people and women under oppressive regimes, she has not been allowed to return to her country of origin ever since. »Hani is singing for equality and there are people who are afraid of that-her femininity, her strength.« Toma says. Much like earlier Hirok sound installations addressed human-made climate change and other systemic ills, also »Hjirok« can hardly be disconnected from far-reaching struggles for liberation and equality.

This is also true on a thematic and even linguistic level. »The lyrics are about a promise,« Mojahedy says, citing Kurdish writer Ebdulla Pesêw as an inspiration. »At their core, these are about that day on which violence and fear become a thing of the past; what they tell you is ot not give up, to keep hoping,« she adds. The promise embedded in them is an emancipatory one. These contents are mirrored on a linguistic level: The lyrics were written in both Kurdish and Farsi, blurring the lines between the two languages and thus, Kurdish and Persian cultures.

Mojahedy, or rather HJirok, conveys these philosophical themes with elegance. Herversatile vocal performance is only loosely basedo n established styles. »Of course everything started with traditional rhythms, but we kept pushing things further and further, so Idid the same with my voice,« Mojahedy explains. »There were no boundaries.« The same can be said of the field recordings that she and Toma used. Whether it's conversations between members of the Pesmerge, the Kurdish armed forces, having a chat in meadow full of bunnies or the humming and buzzing of metropolises like Tehran: »Hirok« paints a sonic picture that is quite literally autopian one; that of a non-place in which different soundscapes, cultures and ways of life coexist peacefully.

What the album conjures up from Mojahedy's memory is not only a very specific place during a unique time in history as experienced by a single person. It is also ametaphorical home open to anyone who wishes to enter - promise of a better, more egalitarian future for everyone. Hence, HJirok will bring it on tour, presenting the material as an audio-visual live show that makes use of the photo and video material that Mojahedy and Toma have collected during their travels through Kurdistan.ja

Wewantsounds continue its extensive Meiko Kaji reissue program in partnership with Teichiku Records and Meiko Kaji herself, with the release of "Gincho Wataridori," her debut album from 1972. This is the first time the album is reissued since release and it comes with its original Japanese artwork and newly remastered audio. Famous for her 70s exploitation movies ("Lady Snowblood", the "Female Prisoner Scorpion" and "Stray Cat Rock" series) and revered by Quentin Tarantino, Meiko Kaji also released a string of great albums on Teichiku mixing Japanese Pop and cinematic grooves. This reissue comes with deluxe Gatefold sleeve LP, OBI strip and a 2-p insert featuring new liner notes by Hashim Kotaro Bharoocha.

Mercurio is the debut album by Opuntia, the solo project of Mexico City producer Camila de Laborde. After three albums with her duo/band, Camila Fuchs (ATP/Felte, etc.), Camila decides to embark on a new path of musical and interpersonal exploration with Opuntia as her new alias, and with the album Mercurio as a statement of metamorphosis and creative process.

Broadly speaking, Mercurio is a direct impact of beautiful melodies, rhythms, and voices that traverse a leftfield electronic pop axis, sprinkled with elegant nods to experimental transitions. In Mercurio, you can sense the spaces, textures, and echoes, akin to a sort of retro Sci-Fi analogy. Bass hits or percussions carry a weight that bursts forth yet delicately dissolves instantly – perhaps another analogy, akin to liquid metal. From softness to fury across the ten songs, Opuntia proposes an artistic reinvention in constant movement. Speeds and spaces change, but the narrative remains consistent from beginning to end – finding a place, a resolved utopia. Mercurio is darkly joyful, with substantial doses of sophisticated pop.

Die amerikanische Band SKELETAL REMAINS bereitet mit "Fragments of the Ageless" für Century Media einen weiteren Death Metal-Angriff vor. Die Besetzung mit Chris Monroy (Gitarre/Gesang), Mike De La O (Gitarre), Pierce Williams (Schlagzeug) und Brian Rush (Bass) verkörpert das Genre und geht dabei tiefer, dunkler und bis an die Grenzen der Brutalität. "Fragments of the Ageless' ist eine stampfende Platte aus purem Death Metal", sagt die Band. "Ein tyrannisches, blastlastlastiges Sperrfeuer aus schnörkellosen Riffs und Kompositionen. Alles an diesem Album ist verdammt brutal und direkt ins Gesicht." SKELETAL REMAINS schrieben 'Fragments of the Ageless' zwischen Europa- und US-Tourneen/Festivals u.a. mit Emperor, Morbid Angel, Mortician, Left to Die und Defeated Sanity. Die Songwriting-Sessions waren von einer No-Limit-Mentalität geprägt, bei der Kreativität und bekannte Genre-Rituale gleichberechtigt nebeneinander standen. Das Ergebnis war nicht nur ein definitives Death-Metal-Showpiece, sondern eine Evolution. "Wir haben einen Gang höher geschaltet und die technische Seite und die zunehmende Intensität verbessert, ohne die Eingängigkeit zu vernachlässigen", sagt die Gruppe. "Mit jeder neuen Platte streben wir danach, uns in unserer Musikalität und unseren Songwriting-Fähigkeiten zu verbessern. Auf der einen Seite haben wir an Dichte und Brutalität zugelegt, auf der anderen Seite haben wir ein paar Songs mit längeren und 'epischeren' Strukturen geschrieben." Die lyrischen Themen von "Fragments of the Ageless" umfassen Folklore, Science-Fiction, Geschichte und persönliche Kämpfe. Inspiriert wurden sie von dem eindrucksvollen Cover von Dan Seagrave (Entombed, Memoriam). Das Album wurde von der Band und dem Studioexperten Dan Swanö (Opeth, Incantation) koproduziert, der auch den Mix und das Mastering übernahm. Der Death Metal ist mit "Fragments of the Ageless" nicht tot. Er war noch nie tödlicher!

Carribean, Jazz, Afro, Reggae - das ganze Spektrum der Weltmusik, raffiniert und genial verschmolzen mit Electronica. A08 ist das Brainchild der beiden Berliner Dirk Leyers und DJ Nomad. Früher bekannt als "AFRICAINE 808" - das Studio/Live-Musikprojekt mit einem Album und verschiedenen EPs auf NYC's Golf Channel Recordings und Vulcandance.

AFRICAINE 808 begann als ein Experiment, bei dem es den beiden gelang, das rhythmische Erbe der Weltmusik mit dem Zeitgeist und der Ästhetik der elektronischen Tanzmusik zu verschmelzen. Nach zehn erfolgreichen Jahren, in denen sie als Live-Musikprojekt rund um den Globus tourten, einem hochgelobten Doppelalbum, fünf EPs und Remix-Arbeiten für Legenden wie Tony Allen, Amadou & Mariam und viele andere, beschlossen die beiden, ihren Sound für ein neues Album neu zu erfinden und dabei Jazz und karibische Musik neben ihren "klassischen" Arbeitsgenres der elektronischen Welttanzmusik zu erkunden. Für die Produktion holten sich A08 eine illustre Schar von Gästen in die Bandbesetzung, darunter Künstler aus Kolumbien, Ghana, Kenia, Trinidad und Deutschland. Das Ergebnis ist "Waiting For Zion", ein Doppelalbum, das im Winter 2023 auf Compost Records erscheinen wird. Als Live-P.A. treten A08 entweder als Soundsystem mit Dirk Leyers und DJ Nomad auf, die live spielen und auflegen, oder als Live-Act mit Live-Percussion.

schwarz, Gatefold, limitiert und mit Wende-Poster

Cam aka Cam the Wizard is a Canadian MC from Edmonton, Alberta. Gram, aka Graham Murawsky, better known as Factor Chandelier, is a Canadian producer from Saskatoon, Saskatchewan and owner of Side Roads Records. G.A.M. aka Giovanni Allen Marks, aka Subtitle, is an MC/producer hailing from Los Angeles, California. He is affiliated with the legendary Project Blowed Crew and one half of Lab Waste, with partner Thavius Beck.

FÜR FANS VON: Scorpions, Victory, Jane, Epitaph, Eloy, Mob Rules, Thunderhead, Nitrogods / Vinyl Farbe: schwarz, bedruckte Innentasche, 140 g
Fargo zählten Anfang der Achtziger zu Deutschlands wichtigsten Rock-Acts. Mit vier Studioalben zwischen 1979 und 1982 und ihren Tourneen unter
anderem mit AC/DC und Mothers Finest hat sich die Hannoveraner Band einen echten Kultstatus erspielt. Am 23. Februar 2024 werden ihre vier
frühen Klassiker wiederveröffentlicht, darunter auch "Frontpage Lover" (1981), welche neu gemastert wurde.

FÜR FANS VON: Scorpions, Victory, Jane, Epitaph, Eloy, Mob Rules, Thunderhead, Nitrogods / Vinyl Farbe: schwarz, bedruckte Innentasche, 140 g
Fargo zählten Anfang der Achtziger zu Deutschlands wichtigsten Rock-Acts. Mit vier Studioalben zwischen 1979 und 1982 und ihren Tourneen unter
anderem mit AC/DC und Mothers Finest hat sich die Hannoveraner Band einen echten Kultstatus erspielt. Am 23. Februar 2024 werden ihre vier
frühen Klassiker wiederveröffentlicht, darunter auch "F" (1982), welche neu gemastert wurde.

A stunning display of powerful emotion shines from the post-hardcore glory that defines The Appleseed Cast. The End Of The Ring Wars is a moving story about tragic loss and the battle to overcome the sorrow that lingers on. Disturbingly honest and passionately realized, The Appleseed Cast reminds us that sometimes the only way to feel alive is to grip closely the pain that made us who we are. This record will make your heart soar. This is a reissue of the long out-of-print vinyl version of the bands classic debut album on Deep Elm Records. 2xLP on heavy 180 gram vinyl. New artwork by Zum Heimathafen. Partly gloss printing on heavy deluxe gatefold sleeve.

2023 Repress

Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue.

Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.”

There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe. Like the best library music, Tulips creates a cinematic universe through sound alone, evoking moving images in the listener’s technicolour imagination. It turns out that was accidentally on purpose: “I was discovering a lot of library music for the first time… listening to a composer’s entire catalog or finding all this obscure stuff. I wasn’t entirely conscious of the influence until I started making this music and realized I was channeling the vibe. That’s when I began focusing more on weaving melodic themes throughout the record to make it function more like a soundtrack”.

Tulips was recorded between 2015 and 2017 in a small studio in a village called Zwaag in Holland, during downtime from Frank’s touring duties with Jacco Gardner’s band. “Tulips” comes from the title of the very first demo he made in Holland, it was the first thing that came to mind. Makes sense.

Recording in Europe with some very European influences in mind, Frank wanted to eschew any American influences. But we can still feel the studio wizardry of the likes of Brian Wilson and Harry Nilsson in there somewhere. A psychedelic bedroom-pop song-cycle, full of hypnotic hooks and dusty drums, Tulips manages to sound charmingly homemade yet wholly widescreen.

Dreamy opener “Swans” is an exquisite soul instrumental and recalls the soft-psych of Koushik, which Be With loves of course. Tropicalia influences abound in the cool and breezy “New Danger” and the KPM-references are loud and proud on the lush organ pop of “Old Habits”. Fast-paced “Chase Theme No. 1” manages to be both tense and laid back, decorated by acid-drenched spaghetti Western guitars. The glorious Gainsbourg-esque melancholia of “Infinite Bliss” is all gauzy flutes and happy-sad vocalizing and the title is almost perfect: it’s bliss, no question; *if only* it went on forever. Side A closes with “Evening”, a subtle bossa nova beat thing. Gorgeous.

Side B opens with the heat-shimmer guitars of “Rain Dance”, evoking an unreleased Byrds or Buffalo Springfield backing track. Yes, it’s that good. “Sure Thing” is music to accompany an elevator ride you never want to end, but in a good way! The ornate “Garçon Manqué” is as beautiful as the instrumentals on Pet Sounds (think “Let’s Go Away For A While”) and the wistful “Turning In” starts like a stroll in the park before Maston introduces a scorched-Earth guitar solo that would startle if it wasn’t so pitch-perfect. “Chase Theme No. 2” is a briefer, more keening counterpart to what we hear on side A. The head-nod bass-drums-keys funk of “Hues” rounds out this staggeringly assured set; still opening each phrase with a plaintive strum, but using vibrato and heavy reverb to accent the electric organ melody. Sublime.

All these top drawer musical references might sound like just more of the usual release notes hyperbole, but there’s a reason that this still-young LP already changes hands for big money. It really is that good. Of course that first pressing didn’t hang around for long and Frank’s regularly been asked about a re-press pretty much ever since.

Re-issuing Tulips on Be With made sense to Frank “because the record would fit in so well with the catalogue”. Having already delved into the archives of KPM and Themes, and beginning to do the same with Coloursound and Selected Sounds, the collaboration “just makes sense and seems inevitable”. We agree.

Frank wasn’t sure a record of instrumentals with obscure soundtrack references would be an easy sell when it was originally released, and was surprised when Tulips turned out to be exactly what some people wanted to hear. We reckon its timeless beauty ensures that it’ll *always* have an audience.

The record was originally cut to be played at 45rpm, a technical quirk that grants the home listener the opportunity to go deeper, for longer. Played at 33rpm, the more languid unfurling of the tracks proves just as wonderful a trip. As a psilocybin-soaked case study from Aquarium Drunkard back in January of 2019 describes, some of the songs sound as if they were intended to be heard that way. The slower speed allowing the listener to step inside and perhaps even “crack the code” of the music’s meaning.

Mastered for this vinyl reissue by Simon Francis and featuring alternative burnt orange artwork from Maston himself, this Be With pressing is limited to just 500 copies. Hypnagogic it may be, but please don’t sleep.

In diesen Tagen, in denen Ausgrenzung und Abschottung zu regieren scheinen, braucht es Künstler wie Christian Kjellvander. Der schwedische Singer/Songwriter ist einer, der das Fremde umarmt und das zutiefst Menschliche auslotet. Bereits der Titel seines neunten Albums, "Wild Hxmans", zeigt: etwas ist anders, irritierend. Denn Kjellvander macht uns ein X für ein U vor. Das ist gut, denn er macht uns nachdenklich und sensibilisiert. Wir nutzen ein X, um unsere Stimme abzugeben. Aber auch, um einen Fehler grob unkenntlich zu machen. "Einfach durchstreichen und weg - wenn Leute versuchen, dieses Prinzip auf andere Menschen anzuwenden, haben wir ein Problem", sagt der Musiker, dessen Wunderstimme mal an Leonard Cohen, mal an Neil Young und mal an David Sylvian erinnert. Und so erzählt uns der 42-JaÌêhrige in sieben rauen wie soghaften Songs zwischen Folk, Blues, Americana und Free Jazz von Abschied und Aufbruch, von Flucht und dem Gefühl, neu in einer Welt zu sein. So erschafft Kjellvander einen Sound, der ruhig atmet und pulsiert, um sich dann aus dieser Intimität in eine unglaubliche Dynamik hineinzufiebern, in etwas Dunkles, Sattes, Schwüles. Mitunter scheint seine Musik zu entschwinden, um kurz darauf flirrend und transparent zu strahlen.

"Webster explores themes of different relationships through her broody tunes, tackling the notion of writing only sad songs by writing her "saddest song" yet. In a way, the record feels like a comingof-age for the singer-songwriter into her own perfectly curated moment, which surely will lead to bigger and better things." - NYLON // "Faye Webster is filled with lush bluegrass sounds, featuring plenty of slide guitar and the occasional trill of a fiddle, which Webster's fragile voice flits through like that of a younger Natalie Prass." - W Magazine // "_a soulful offering heavily inspired by the country and western music she grew up listening to." - Pitchfork "Her self-titled record will win fans across the musical spectrum for its left-of-center approach to folk. Webster is a lifelong student of country-western songwriting and Americana sound (...) But she punctuates her own tunes with subtle flourishes of funk. Her voice hits a sweet spot somewhere between bluegrass powerhouse Alison Krauss, Natalie Prass, and Tennis's Alaina Moore, whose light vocals glide across any melody." - VICE // #8 album of 2017 - Gorilla vs. Bear

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and the second to celebrate the ‘90s, NOW – Yearbook 1990; 79 tracks from a fantastic year in Pop! Available on 4CD deluxe book format with 79 tracks , 4CD std digi with 79 tracks and 44 tracks from a fantastic year in Pop, pressed on gorgeous translucent triple orange vinyl. Disc One includes #1s from New Order, New Kids On The Block, Steve Miller Band, and The Beautiful South, as well as Pop smashes from The KLF, The B-52’s, Kylie Minogue, Whitney Houston Kim Appleby, and concluding with the theme from Twin Peaks, Julee Cruise’s ‘Falling’, Chris Isaak with ‘Wicked Game’ and Pet Shop Boys defining ‘Being Boring’. Dance floor-fillers kick off Disc 2 from Deee-Lite with ‘Groove Is In The Heart’, #1s from SNAP!, and from Adamski & Seal plus club classics from Bass-O-Matic and Adventures Of Stevie V with ‘Dirty Cash (Money Talks)’, plus the unexpected collaboration between DNA & Suzanne Vega. Disc 3 opens with the still-breathtaking interpretation of Prince’s ‘Nothing Compares 2 U’ from Sinéad O'Connor. Up next are film related hits; Maria McKee’s ‘Show Me Heaven’, from the ‘Days Of Thunder’ soundtrack, and the ‘Young Guns II’ track ‘Blaze Of Glory’ from Jon Bon Jovi

Achtung, Meisterwerk! Die Jungs von Souls of Mischief aus Oakland (gegenüber von San Francisco) definieren den Sound dieses Jahres neu. 1993. Nach dem Vorbild von De La Soul oder A Tribe Called Quest nimmt ihr Sound sowohl Anleihen aus dem Funk als auch aus dem Jazz. Dieses Album ist ein Muss für jeden Liebhaber des US-Rap der 90er Jahre. 140G Doppelvinyl in zweifarbigem Splatter in Rot und Orange.

4 10 is the fourth full length album from Superlynx, recorded in 2022 and released in September 2023 as they celebrate their 10th anniversary as a band.

Jamming has always been important to Superlynx in addition to songwriting. This time all the music on the album was created through jamming sessions where the music that came out of it lead the way and turned into these songs.

The focus on 4 10 is imagination, dreams, connection and an open view. Here Superlynx further explores fuzzed out heavy psych, improvisation and the depths of dreams and surrelism.

Zum 25-jährigen Jubiläum des Kult-Animes "Cowboy Bebop" erscheint die Doppel-Vinyl "COWBOY BEBOP: The Real Folk Blues Legends" mit liebevollem Design von Icon Toshiaki Uesugi. Die Musik kommt von der Originalkomponistin des Animes Yoko Kanno und enthält Titel aus der gesamtem Cowboy Bebop-Reihe wie Blue, No Disc und Knocking on Heaven's Door, mit dem kultigen "The Real Folk Blues". Mit diesem Release werden erstmals Klassiker wie "Call Me Call Me" und "Blue" auf der Vinyl zu hören sein - ein einzigartiges Klangerlebnis für Fans!Dieses Vinyl-Set umfasst zwei rosa-dunkelblau marmorierte Deluxe-LP Discs, ein Einlegeblatt mit der Tracklist, Song-Credits sowie ein ausführliches Booklet mit Interviews zu Yoko Kanno.

Anna Calvis fesselnde und atmosphärische Kompositionen für der 5. und 6. Staffel von Peaky Blinders, der rekordverdächtigen BBC-Fernsehserie, werden über Domino Soundtracks veröffentlicht. Der Original Score umfasst 37 Tracks, die verschiedene Mitglieder der Shelby Company Limited sowie neuere Charaktere wie Oswald Mosley einbeziehen. Das Album enthält auch die zuvor veröffentlichten Originalsongs "You're Not God" und das schwungvolle "Ain't No Grave" sowie Calvis Cover von "Red Right Hand", dem Peaky Blinders-Titelsong von Nick Cave & The Bad Seeds.

Kein anderes Konzert wird auf der ganzen Welt mit so viel Spannung erwartet wie das alljährliche Neujahrskonzert aus Wien. In diesem Jahr wird das Mega-Klassik-Event in über 90 Länder übertragen und von mehreren Millionen Menschen verfolgt.Am Pult des Neujahrskonzerts 2024 steht Christian Thielemann, Chefdirigent der Sächsischen Staatskapelle Dresden und künftiger Nachfolger von Daniel Barenboim an der Berliner Staatsoper Unter den Linden. Thielemann ist den Wiener Philharmonikern seit dem Jahre 2000 musikalisch eng verbunden, und 2019 leitete er erstmals eines ihrer Neujahrskonzerte. Darüber hinaus dirigiert er das Orchester regelmäßig in Abonnementkonzerten im Wiener Musikverein, bei den Salzburger Festspielen sowie auf Tourneen in Japan, China, Europa und den USA. Nach der Referenz-Einspielung eines gemeinsamen Zyklus sämtlicher Beethoven-Symphonien begannen die Wiener Philharmoniker und Christian Thielemann noch während der Pandemie mit der Arbeit an einer Gesamtaufnahme der Symphonien von Anton Bruckner, die im Oktober 2023 bei Sony Classical erschien.Bruckner wird auch im Neujahrskonzert 2024 mit einer dortigen Erstaufführung seiner Quadrille op. 212 geehrt.

Previously Unreleased Album. In the Fall of 1993, between contracts with Capitol and RCA, The Smithereens ventured into Crystal Sound Studios NYC to write and record a new album for their own label. The results of those one month marathon recording sessions is this album, unheard by the outside world until now, and appropriately titled “Lost Album”. The Smithereens’ take no prisoners sound, reflecting their Garden State roots, has resonated with fans worldwide over the course of 17 albums and 2500+ live shows. They've also inspired generations of musicians, including Kurt Cobain, who counted The Smithereens as a major influence. Founded in New Jersey in 1980, The Smithereens have been creating electrifying, original rock’n’roll for 41 years. Jim Babjak (guitar) Dennis Diken (drums) and Mike Mesaros (bass) grew up together in Carteret and lead singer, the late Pat DiNizio, hailed from Scotch Plains. The Smithereens’ fame escalated, they were in heavy rotation on MTV and appeared on The Tonight Show, Conan O'Brien, and Saturday Night Live.

Impossible to find in the wild, KPM's Image is exactly that; this record paints extraordinary, hyper-vivid scenes with music, in the way only the library greats can. Originally released in 1974, Image is an absolutely stunning listen from start to finish, and arguably the most wanted KPM grail that's still not been reissued - until now! Just too good…

Worth the price of admission alone, and likely the reason you're all already drooling about this release, the mellow, dramatic beat of "Image", Brian Bennett's opener and title track, is a Jaylib-sampled firecracker. A reflective, scenic underscore which grows to full orchestra and ends as it begins - it's just beautiful. Next up, swoon to "The Little Orphan" by Neil Richardson featuring strings and harp. It's a deeply emotive, sweeping orchestral piece. Just straight gorgeous. It's followed by "Paradise Island", a lush, horizontal Balearic gem courtesy of Gordon Rees and David Gold; it'll send you into a blissful reverie with its elegant strings and gentle drums. From the same pair, "Forbidden Fruit" is, again, string-drenched but the strings are more insistent, stabbing even, and, with drums and Blaxploitation guitars high up in the mix, it's definitely a funkier proposition. "The Enchantress", again a Rees-Gold special, is a slower, groovy, synthy wonder. Closing out the A-Side, "Phenomena" is a mysterious gem, a Gold solo effort set at a breezier tempo with propulsive percussion and head nod, fast-paced breaks with ace keys.

Flip over for "Infinite Expanse", John Scott's dramatic panorama adorned with proud, triumphant horns. Scott's "Static Objects" paints patient, pastoral scenes; there's a serenity and stillness to the proceedings. Next up, Be With favourite John Fiddy delivers shifting shapes and patterns with his wonderful "Metamorphosis", all wah wah, harps, dramatic percussion and strings. It's by turns billowy and blasting. "Cubist Pictures" follows, Neil Richardson's brilliant nebulous, fragmentary piece. Better yet, Richardson's gorgeous, beatless "Analysis" follows, and it's an orchestral beauty featuring cello, harps and woodwind. It's no exaggeration to describe this as transcendental. His "Crystal Ball" presents more static scenes with cello, twinkling percussion and strings, before Steve Gray's fantastically-titled softly-ace "Gliding Through Clouds" closes out this remarkable set.

As with all of our KPM re-issues, the audio for Image comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity.

BADBADNOTGOOD is a young supremely talented trio of musicians made up of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums. Since their inception at Humber College’s Music Performance program in 2011, the three have challenged the rule book on improvised instrumental music and taken jazz tradition into the future.
With early champions including acclaimed BBC broadcaster Gilles Peterson and Tyler The Creator who helped fuel their discovery with a series of live jams that instantly went viral and dubbed them the “Odd Trio”, the band released their first EP BBNG in June 2011 to wide praise. The marriage of jazz virtuosity and hip hop source material offered a fresh take on the traditional “standard” applied to hip hop classics by taking on choice cuts from the golden era rap cannon and writing inspired arrangements for them instead of one-dimensional covers.
The band hit a landmark by introducing original material into their composi- tions with BBNG2 in 2012. New songs like “Rotten Decay”, “Vices” or “UWM” carried on the proud heritage of musical juxtaposition by bringing together jazz, hip hop, punk, and dance music into vigorous balance. Since then, they’ve won praise from the four corners of the globe and collaborated with Frank Ocean, Earl Sweatshirt, MF Doom, Pharaoh Monch and RZA among many. Their no- torious live performances have brought fans across the whole musical spectrum together, taking the band around the world from Coachella to Glastonbury.
Now, the inseparable friends are prepping to release their biggest project to date III on prodigious young label Innovative Leisure, a highly-anticipated project ushering in the group’s newest explorations which are proving to be limitless.

Second release for Jordan GCZ on RAWAX!
After his fantastic debut "Dizzy Dizzy Dizzy" early this year,
we are happy to release Polyphonic Glide EP in November.
Don't miss this highly recommended beauty!

CHIWAX CLASSIC EDITION presents Dana Kelley "Beta".
Originally released in 1999 on Sugardish Recordings.

Der OST des zweifach GRAMMY-/BAFTA-nominierten Komponisten Benjamin Wallfisch zum US-SciFi-Action-Film 'The Flash' von Regisseur Andy Muschietti mit u.a. Ezra Miller, Michael Keaton, Sasha Calle, Ben Affleck und George Clooney. Die zweite Verfilmung der Comicfigur The Flash aus dem DC Extended Universe kam im Sommer 2023 auch hierzulande in die Kinos. Wallfisch adaptiert darin auch Batman-bezogene Themen wie z.B. Danny Elfmans 'The Batman Theme'. Beide Formate umfassen 42 Titel mit über 80 Minuten Musik. Die Farbe des Triple-Vinyl basiert auf dem ikonischen rot-gelben Anzug von The Flash, während das Triple-Gatefold mit The Flash, Batman und Supergirl verziert ist.

Es gibt nur einige wenige große Bands auf unserem Planeten, die man innerhalb weniger Sekunden unfehlbar identifizieren kann. Das einzigartige
Melodieverständnis, die geschmackvolle Instrumentierung, die richtige Balance aus Tiefe und Eingängigkeit, und dann natürlich diese charismatische
Stimme: Magnum sind Magnum!
Dies gilt auch für ihr neuestes Studioalbum ‚Here Comes The Rain‘, das am 12. Januar 2024 über Steamhammer/SPV als CD+DVD, Doppel-Vinyl-LP, als
Boxset und als Digitalversion veröffentlicht wird und einmal mehr beweist: Stimmungsvoller kann klassische Rockmusik kaum klingen.
Das fantasievolle Artwork stammt wie gewohnt aus der Feder des großartigen Rodney Matthews, der bereits für zahlreiche Magnum-Scheiben das
äußere Erscheinungsbild an die atmosphärisch dichte Musik der Band perfekt angeglichen hat.
Kein Zweifel: Mit ‚Here Comes The Rain‘ ist Magnum in der Besetzung Catley, Clarkin, Keyboarder Rick Benton, Bassist Dennis Ward und Schlagzeuger
Lee Morris erneut ein farbenfrohes, abwechslungsreiches und in jeder Sekunde inspiriertes neues Studioalbum gelungen.

The band features two former members of Demented Are GoFor Fans Of: New
York Dolls, The Cramps, Stooges , Black Leather Motorcycle Club, Demented Are
Go!SELLING POINTS

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
The Lamb Lies Down On Broadway — Genesis' gold-selling sixth studio album!
180-gram 45 RPM 4LP
Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Genesis' sixth studio album was released as a double album in November 1974 by Charisma Records and is the last to feature original frontman Peter Gabriel. The group's longest album to date, The Lamb Lies Down on Broadway peaked at No. 10 on the U.K. Albums Chart and No. 41 on the Billboard 200 in the U.S..

The album is a concept album and tells the surreal story, devised by Gabriel, of a young Puerto Rican named Rael who embarks on a journey through a series of strange and bizarre events in New York City.

Musically, the album is a departure from the band's previous works, incorporating a wide range of styles including progressive rock, art rock, funk, and jazz fusion. The album features complex rhythms, intricate melodies, and dense layers of instrumentation, showcasing the band's virtuosic musicianship.

The album is notable for its use of storytelling, with each track contributing to the larger narrative of Rael's journey. The lyrics are often cryptic and abstract, and the album's surreal imagery has been interpreted in a variety of ways by listeners and critics.

The Lamb Lies Down On Broadway gained acclaim in the years after its release, reaching gold certification for sales in the U.K. and U.S.. In 1978, Nick Kent wrote for NME that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together." In a special edition of Q and Mojo magazines titled Pink Floyd & The Story of Prog Rock, The Lamb ranked at No. 14 in its 40 Cosmic Rock Albums list. The album came third in a list of the 10 best concept albums by Uncut magazine, where it was described as an "impressionistic, intense album" and "pure theatre (in a good way) and still Gabriel's best work." A Rolling Stone poll to rank readers' favourite progressive rock albums of all time placed The Lamb fifth in the list.

The Lamb Lies Down On Broadway is widely regarded as one of Genesis's most important and influential works, inspiring generations of progressive rock musicians.