Search:al x e

Welcome to a whole new stage from Akasha Records, introducing the label into the analog world.

To begin with, Delazar brings us three delightful dancefloor dishes together with an ambient mix from the timeless gem "Memory Access", released in the first Akasha's digital appearance.

Monkey Slayer, this new EP, brings us so much flavour with acid touch, funny percussive bounces and synth sounds. A1 brings the perfect mood. It's remix version from master Deep Mariano takes us to an intense and happy trip, so that alter on, "Reincarnation" makes us close the stadium. "After" well... You already know when to play this one. And to come back to Earth at some point, as dessert, you can delight with an ambient masterpiece.

Kevin Fingier returns with a brand new 7” single on his own Acid Jazz imprint Fingier Records. Known for his explosive Latin sound and classic-style production, Kevin has released a string of sell-out soul 45s, a world music vinyl series, and an album and LP respectively.

Here Kevin returns to his Jamaican-influenced roots. He formerly led Acid Jazz-signed reggae band Los Aggrotones and has produced tracks for reggae legends Derick Harriott, Pat Kelly and The Cimarons. Now for the first time this distinct flavour hits wax on the Fingier label.

This release presents a unique, driving Ska-tinged take on Mod/R&B classic ‘Comin’ Home Baby’, paired with a Fingier original, the deeply authentic Trojan-styled ‘Leaving Samsara’ on a limited edition 7” vinyl single.

Presented in the Fingier Records graphic housebag, the perfect addition to the summer DJ box.

IZIPHO SOUL are extremely proud to present first time on a 7” NIMBISS - PARADISE b/w YOU AND I

NIMBISS were a talented group from Chicago, consisting of Barry Burford, Charles Riley, Toni Moore, Kevin Burford and Al Lake; they released a couple of 12”s in the early 80s.

The original NIMBISS 12” is extremely tough to find and an evergreen modern soul classic - it was released slightly later to the group Jewel’s version - both are excellent with the NIMBISS variant raising the boogie stakes by including prominent synths and driving percussive electronic claps.

On the B Side we present YOU AND I - a ballad of epic proportions, the vocals of Charles Riley are truly magnificent.

Brazilian Psychedelic Rock Artist Firefriend via Cardinal Fuzz and Little Cloud Records announce a first time vinyl pressing for the classic - “999 to 666 ts Street” Prepare to take the long way through the void — Brazilian sonic architects Firefriend present the searing “999 to 666 TS Street”, a full-length LP that bends time, bleeds color, and dives deeper into the cracked corridors of psychedelic rock. With roots tangled deep in the underground of São Paulo and their eyes forever fixed on the cosmic unknown, Firefriend has carved out a space uniquely their own — a distorted dreamscape where shoegaze meets fuzz, noise folds into melody, and every track is a doorway. “999 to 666 TS Street” is a concept record that navigates a haunted psychogeography: an address etched between realities, where spiritual unrest collides with dystopian daydreams.

A Journey Through Sound and Shadow Drenched in fuzzed-out guitars, whispered vocals, analog synths, and pulsing rhythms, this LP sees the trio — Yury Hermuche (guitar/vocals), Julia Grassetti (bass/vocals), and Cacau Bandeira (drums) — begin to forge the fearless vision they seek. From the opening surge to the final fractured lullaby, “999 to 666 TS Street” is both a destination and a transmission: a call to the wanderers, the outsiders, and the seekers. But Firefriend's mission isn’t just sonic — it’s political.

As proudly left-wing artists with an internationalist vision, the band channels the disillusionment and resistance of a generation watching the world teeter. Their music radiates both critique and hope, connecting the dystopia of late capitalism with a dream of liberation. Whether playing São Paulo basements or European festivals, Firefriend brings an urgent message beneath the haze: solidarity is louder than silence. "This album is a street you can't find on any map — it's the place your mind goes when you turn the lights off," says frontman Yury Hermuche. "It's noise, beauty, and a little bit of danger." "We wanted to build a record that feels like a fever dream on vinyl," adds bassist Julia Grassetti. "Something physical, something that glows in the dark." About Firefriend Known for their hypnotic live shows and cult international following, Firefriend has shared stages with underground legends and graced the grooves of multiple celebrated independent releases.

They’ve become essential listening for fans of Spacemen 3, The Brian Jonestown Massacre, and The Velvet Underground — yet remain wholly, defiantly themselves. “999 to 666 TS Street” marks the start and is another milestone in their prolific catalog, pushing the limits of psychedelic rock while remaining anchored in the beautifully bleak emotionalism that defines their sound. Beneath the distortion lies a worldview — anti-authoritarian, borderless, and defiantly alive.

"In 1995 In The Red released the Cheater Slicks fourth full length album, Don’t Like You. The band, based in Boston at the time, travelled to New York to record at Jerry Teel’s Funhouse studio with Jon Spencer acting as producer. The result was a completely over the top noisefest that remains one of my favorite ITR releases to this day. Admittedly, Jon’s production was heavy-handed and extreme but, I thought it suited the band and this material well. "Prior to the recording the band demoed their material at a couple of different eight track studios in Boston. The demos showed that the band had enough material for an album that would be (in my opinion) their strongest to date. When the album was released it was very well received but there was a small number of people close to the band and myself who were critical of Jon’s production and preferred the straight forward recording of the demos. "With vinyl for Don’t Like You being out of print for decades I figured the album’s 30th anniversary was a good time for a re-release and to finally release the demos as well. I think both stand the test of time." – Larry Hardy

No one can help you build something beautiful quite like those who know you best. Alan Sparhawk knows this well. In his years in Low, he built decades of stirring music with his wife and lifelong creative partner Mimi Parker. In recent years, he has performed around Minnesota with his son Cyrus in DERECHO Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There's an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. So it made sense that Sparhawk would turn to fellow Duluth musicians Trampled by Turtles to realize his latest record. As friends and mentees of Low's, taken under Sparhawk and Parker's wing from their earliest days as a bar band, Trampled by Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: "There's a certain vibe that has to do with underdog syndrome, coming from a small town," Sparhawk muses. "Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you." The two artists hold the kind of ironclad bond. Following Parker's passing in 2022, Trampled by Turtles invited Sparhawk to join them on tour to give him a space to be surrounded by friends. Occasionally, he would join them onstage. The outpouring of love was palpable every time they played together, a surge of warmth. When playing together is that powerful, why stop there? In winter, 2024, Sparhawk and Trampled by Turtles created With Trampled by Turtles, a record exactly as its name implies: Collective. Communal. Fraternal. Empathetic. A vessel for comfort, a reminder of the harmony that can exist when surrounded by those closest to you. Where White Roses, My God, Sparhawk's last album, plunged headfirst into electronica and radical vocal modulation, With Trampled by Turtles leans into the folk and bluegrass stylings of its backing band, Sparhawk's voice now completely unvarnished. With Trampled by Turtles is far more than just Alan Sparhawk and Trampled by Turtles. It's an affirmation of all the people who have been vital in Sparhawk's life and music, and an opportunity to hold each of their gifts into the light. It's producer Nat Harvie, who has been collaborating and performing with him for years. It's Sparhawk's daughter Hollis, who duets with her father on "Not Broken." And it's Mimi Parker, too: "Too High," "Princess Road Surgery," and "Not Broken" were all tracks she and Sparhawk had been working on in the last few years. These songs finally found a setting that stirringly commemorates them, bolstered by a full ensemble to make every note sing. Their presence is a kind of eternal connection to Parker, a way her musical grace will keep flourishing.

“The Mighty Tiny & The Many Few have released their debut Album ‘Be The Good People’

A life- and love-affirming record crafted with vintage techniques and timeless principles.

Walshy Fire (Major Lazer) bridges cross-continental connections in collaboration with Grammy-winning composer and writer Randy Valentine, a South London-based artist hailing from Clarendon, Jamaica. Joining them is Copenhagen-based improvisational jazz visionary Steven Jess Borth II, aka CHLLNGR (I Am An Instrument) along with the crème de la crème of Danish jazz talent, including Morten McCoy, Jonathan Bremer, Rumpistol, Mikkel Hess, Laurits Qwist Bilén, Frederik Scharff and more.

For over two decades, Randy Valentine has cultivated a distinctive voice in music, and his latest work with the concept band The Mighty Tiny and the Many Few brings this artistry to life in a fresh, vibrant way. Brought together by Steven Jess Borth II and Walshy Fire, the band unites over 15 musicians from three continents, celebrating collaboration and shared joy. Alongside Ånd&, the team has crafted a musical masterpiece that resonates with a global perspective and a collective spirit of creative expression.

"Be The Good People" is both a statement and a declaration of revolutionary love—a bold call to action. This seven-track album blends soul-drenched, horn-driven, and timeless instrumentation with forward-thinking, insightful lyrics inspired by life’s triumphs and challenges. The result is a powerful musical journey, promising to be a rewarding ride for every anchoring ear.

‘Be The Good People’ is released independently on new label imprint Ånd&.”

It’s been ten years since Drew Lustman aka FaltyDL last released on Planet Mu. In the meantime he's been running his own label Blueberry Records, been in-house producer for Mykki Blanco and has become a dad. The best things come out of play and it was Drew’s relationship with his young daughter that switched on this playful side of his music. The album in question, ‘Neurotica,’ expresses Drew’s fun in creating such energetic pieces people will want to move to. It's a dizzying sugar-rush at a high-speed bounce; the music is fresh and inviting and most important of all, joyful."Summer of ’24, we were in Catalonia. My girl, our young daughter, the old folks. Days by the village pool, afternoons on the dirtbike. At night, I made salads. Simple things. Good things. One afternoon, lying back, phone in hand, I saw a friend post a GRWM. The music behind it stopped me. A song grabbed hold. The track was ‘Secret’ by Mietze Conte, which is fast-paced euro-pop dance music, like soft fluffy gabber with childlike vocals. I hunted down the full version. Played it again. And again. Twenty times over the next few days. It unlocked something. The best music does that. Like the first time I heard Burial. Had to know what was happening under the surface. That time, it led to ‘Love Is A Liability’ in 2009. This time, it led to ‘Neurotica.’“ “I started to record, getting down fast, bright, sugar-rush sounds. 185 to 200 BPM. I wrote them quick—half a day per track. In between, I slowed things down. Gave space for breath. Mike Paradinas helped shape the album, his ear guiding the flow. I tested the tracks. Played them for kids barely out of diapers and grown folks who still move like they are. It worked, on all ages. I kept it simple. Only two rules: keep it moving and don’t look at my phone. Cut the vocals like I used to.” ‘Neurotica’ is FaltyDL with his mojo refreshed, a new life squared, do yourself a favour, crack a smile and feel the joy.

The Bar-Kays were originally formed in Memphis, Tennessee, 1966, as a sextet backing group for Stax Records. They had a promising career in front of them as a session band & recording outfit before the backbone of the group was killed, along with Otis Redding who had hired them as his backing band for a tour, in a plane crash. Only Ben Cauley survived the crash and went on to form what could be dubbed Bar-Kays Mark II. James Alexander (Bass) was also one of the original members but was not aboard the plane because of limited seats on Redding's plane. For Alexander and Cauley and new members Michael Toles, Willie Hall, Ronnie Gordon and Harvey Henderson, the track 'Sang & Dance' was one of the first tracks from the new group, cut in late 1969. They recorded steadily for Mercury records in the 70s & 80s, the two tracks on this 7” among their best loved and sought after. “Open Your Heart” only previously a 7” B-side in Spain

The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

Internet's favourite music critic and Youtube star Anthony Fontana aka Needledrop has gotten a liking to the Grande Mahogany vinyl & digital album 'As Grande As'. The bald funny guy has been raving about the album to his millions Youtube, TikTok and Instagram follower on several occasions, also covering the record in his 'one of the great albums of 2024' round up.

The album is also already making waves in the UK with continuous plays on BBC Radio 1 by Jazz Supernova and BBC Radio 6 by Cerys Matthews as well as the New Music Fix show.

If this is the first time you're hearing about Grande Mahogany, now is the time. Behind the alter ego of Grande Mahogany is Finnish-Ghanaian multi-instrumentalist Jesse Essel, who relocated with his family from Finland to Manchester, England, at the age of 11. It was in Manchester where Essel found his own style, drawing inspiration from the city's diverse music scene.

Grande Mahogany's unique blend of Funk, Rock, Afro-Psychedelia, and R&B has already garnered international interest. Singles from the album, such as "Angle of The Dangle," "Thundercurls," and "SUPER ROCKER," have caught the attention of prominent music critics, for example Anthony Fantano of Needledrop.

"As Grande As" stands as a testament to relentless creativity and perseverance, much of it crafted during tumultuous times. It invites listeners to embrace its raw authenticity, serving as a chronicle of the artist's journey towards unfiltered expression. Mastered by Guy Davie, whose credits include work with Kaytranada, Jon Hopkins, and Mikael Kiwanuka, the album ensures a high-quality sonic experience.

MEMOTONE, aka Will Yates, has announced details of a new 12-track album, smallest things, set for release on World of Echo on 1 August 2025 on vinyl and digitally.

The album launches today with first track, ‘Time Is Away Theme’, a live favourite that is finally available on album. Watch the video HERE Talking about the release, Will has said, “Staring at a square inch of neglected concrete, I recognise the beauty of existence. Quietly hysterical. While humanitarian catastrophes bubble across the planet, the tides remain in constant and disinterested motion. Your money is worth less than the dusty moss that powders this pavement.

It's certainly not worth a life. We are the smallest things, along with everything else." Will Yates has made music as Memotone since 2007. He operates in the tradition of what Robert Fripp has called 'a small, independent, mobile, and intelligent unit.' If you book him, he will come. When he arrives, he will have everything he needs to make his complex, engaging music: a clarinet, a guitar, synths, samplers and pedals, quickly unpacked in the corner of a club, gallery or village hall. Starting small, he will build layer upon layer of melody, accompanying himself and cutting across himself, creating a music that avoids cliche and moves beyond easy description. His recordings have followed the same trajectory. Moving quickly, he has released fifteen or so albums across various labels (including Trilogy Tapes, Discrepant, Soda Gong). Taken together, these recordings are the sound of a skilled, inventive composer pushing at the edges of what he wants to listen to himself. It is possible to hear a variety ofinfluences in his music: folk and jazz forms, the textural inventiveness of British DI electronica and Chicago post-rock and the blurred sci-fi brass of Jon Hassell are all discernible. But mostly, Will's work seems to stem from a constant drift between long hours in his home studio, and time spent outside in the woods and hills around his home in Wales.

Listening to the album, lushness creeps in at the edges, tiny green shoots appear on what might at first appear to be bare soil. smallest things sheds the skin of Will's previous recordings, removing the electronics and the looping and layering of previous work, to create something almost entirely acoustic. But don't be fooled into imagining music that's folksy, pastoral or twee. Opening track 'I Could See the Smallest Things' is a statement of intent. Widely spaced guitar is underpinned by earthy cello and sleepwalking clarinet, making a gorgeous threadbare pattern, which recalls a Morton Feldman miniature or a Morandi still life.

Beyond the skill involved and the years of self-taught music making that have gone into putting this record together, it is Will's close, careful attention and his talent for existing, observing and creating in the moment that make his work special. Memotone will perform at World of Echo’s annual birthday celebration on 8 Nov Expected Music, when they take over Walthamstow Trades Hall for an inter-genre, day-long investigation into some of the more outré manifestations of the contemporary worldwide underground.

Im Jahr 2024 veröffentlichten Fu Manchu ihr 14. Studioalbum, The Return of Tomorrow, und begaben sich bald auf eine Welttournee, um die neuen Songs zu präsentieren. Die Band hatte das Gefühl, dass diese Tour etwas Besonderes sein würden, also nahmen sie die Shows auf. Als sie zurück kamen und sich die Aufnahmen anhörten, waren sie sicher, ein neues Live-Album zu veröffentlichen, das aus Recordings dieser Auftritte zusammengestellt ist. The Return Of...Live ist ihr erstes offizielles Live-Album seit 20 Jahren und enthält einige Fan-Favoriten wie ,Eatin' Dust" und ,Hell On Wheels" sowie die neueren ,Loch Ness Wrecking Machine", ,Hands Of The Zodiac" und den Titelsong von The Return Of Tomorrow. Scott Hill, Leadsänger/Gitarrist/Gründer kommentiert: "Diese 9 Songs wurden während unserer 2024 The Return Of Tomorrow UK/Europa-Tour aufgenommen. Wir hatten bei allen Shows eine großartige Zeit und das Publikum war unglaublich. Wir hatten das Glück, in den letzten 35 Jahren zu touren, und die Songs auf diesem Album sind einige unserer alten und neuen Lieblingssongs." Das Album wurde vom langjährigen Fu Manchu-Produzenten/Mixer Jim Monroe (Adolescents, Ignite) gemischt und von Carl Saff gemastert. Die Vinyl-Pressung ist eine auf 2000 Exemplare limitierte Auflage auf weißem Vinyl mit blauen, lila und orangen Sprenkeln aka Splatter

Limitiertes Orange mit schwarzem Splatter Vinyl! Gnosis ist das 8. Album von Russian Circles. Auf ihren bisherigen sieben Studioalben hat das in Chicago ansässige Instrumental-Trio Russian Circles mit seinem begrenzten Arsenal an Schlagzeug, Bass und Gitarre eine vielfältige Topografie an Klängen, Stimmungen und Ansätzen durchquert. Es ist schwierig, eine Entwicklung in ihrem Sound nachzuvollziehen, wenn sich ihre Platten immer wie gut kuratierte Playlists angefühlt haben. Es war nicht ungewöhnlich, dröhnende Meditationen, schillernde Prog-Übungen, knüppelharte Riff-Festivals, eindringliche Folk-Balladen und spannungsgeladenen Noise-Rock innerhalb eines Albums zu hören. Dennoch ist es schwierig, die Entwicklung von den nachdenklichen und komplizierten Melodien von Enter (2006) zu den verzerrten Klängen von Blood Year (2019) zu ignorieren. Es war eine allmähliche klangliche Veränderung, die auf den rigorosen Tourplan der Band und ihre Vorliebe für das Spielen ihres maßgeblichen Materials auf der Bühne zurückzuführen ist. Doch mit ihrem neuesten Album Gnosis verlassen Russian Circles das abwechslungsreiche Terrain ihrer früheren Arbeiten und bahnen sich einen Weg durch das turbulenteste und erschütterndste Gebiet ihres Sounds. Wie bei so vielen Künstlern im Zeitalter von COVID zwangen die Hindernisse der Geographie und der Isolation Russian Circles dazu, ihren Schreibprozess neu zu bewerten. Anstatt im Proberaum aus fragmentarischen Ideen Songs zu basteln, wurden komplette Songs unabhängig voneinander geschrieben und aufgenommen, bevor sie mit den anderen Mitgliedern geteilt wurden, damit ihre ursprüngliche Vision erhalten blieb. Obwohl das gesamte Album aus der Ferne geschrieben wurde, wurden die Songs mit der gesamten Band aufgenommen, um das Live-Gefühl des Materials zu bewahren. Dem Klima der Zeit und einer neuen Schreibmethode geschuldet, schufen Russian Circles ihr bis dato rauchigstes und fokussiertestes Werk - ein Album, das den Exorzismus der Spannungen von zwei Jahren der Melancholie und Zurückhaltung vorzieht, die oft ihre früheren Unternehmungen prägten.

2025 Repress

Loose Grooves & Bastard Blues is Tommy Guerrero's sublime debut. Of this beloved masterpiece, the legendary skater himself says: "my 1st album. It was never meant to be released. I was just recording for the fun of it.. still my fave. Oh so naive..." And you know what? It's definitely Be With's fave too. An astonishingly great record. A chill, blissful, deeply moving album, it was rightly garlanded as an instant classic.

A laidback, fusionistic ride replete with loopy drum tracks underpinning Tommy's trademark reflective guitar stylings, Loose Grooves & Bastard Blues remains powerfully evergreen. Originally released in 1997, there's elements of jazz, trip hop, rock and downtempo groove. All shot through with a heavy dose of soul. Thirteen tracks of lo-fi (mostly) instrumental freshness fused with Cuban, Latin and blues, it's a must for fans of Money Mark, J Dilla, RJD2, DJ Shadow and Pete Rock. As ever with Tommy's records, the title sums up the music contained within most aptly. And writing about his songs, his vibes, is one of the trickier things to do, it has to be said. It's just all gorgeous!

A total vibe throughout, to blast Loose Grooves & Bastard Blues is a majestic experience, one that suits a start-to-finish listen and renders the picking out of highlights totally redundant. Featuring nagging, deeply melodic guitar lines - both electric and acoustic - over simple rhythms with such sumptuous elegance, the hypnotic playing against unrushed percussion releases a crystal clear stream of healing frequencies. It's ust divine. This album laid the blueprint from which Tommy Guerrero would subsequently explore further on A Little Bit of Somethin' and Soul Food Taquiera.

Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland. The original and iconic sleeve, designed by Natas Kaupas, has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Sunshine and Balance Beams, das neunte Album von Pile, ist eine Sisyphus-Parabel über Arbeit und Leben. Um es zu schreiben, begab sich Sänger Rick Maguire an ,einen dunklen Ort" und rang mit dem Konzept, dass es keine Erleuchtung und kein Ende des Leidens gibt. Maguire erforscht den Workaholismus, den Mythos der Leistungsgesellschaft und die Akzeptanz der Sterblichkeit - und das alles in einer teuflischen Allegorie, in der es darum geht, durch einen schattigen Wald zu stapfen und dem ungewissen Traum einer hellen Lichtung entgegenzugehen. Pile ringt mit existenziellen und sozialen Widersprüchen, indem er klangliche Zwischenräume heraufbeschwört. Die Musik existiert irgendwo im temporären Gleichgewicht von Licht und Schatten, Chaos und Ordnung. Heiße, regenähnliche Gitarren, sich verschiebende Drums, die gewundene Wege in Klang und Tempo ebnen, unheimliche Synthesizer und wässrige Streicher fügen sich zu einem Panorama aus lauter und leiser Dynamik zusammen, das der Emotionalität der donnernden Auftritte der Band entspricht. Die Gruppe bevorzugte auch freilaufende Darbietungen, die das Erzählen von Geschichten belebten, während sie eine Streichergruppe (Geigen, Bratsche, Cello) engagierte, um glühende, durchkomponierte Arrangements zu spielen, die von der Cellistin Eden Rayz und Pile mitgeschrieben wurden. Sie ließen sich von Kino- und Opernpartituren von Chopin, Bernard Herrmann und Ralph Vaughan Williams inspirieren, was Sunshine einen überlebensgroßen Sound verleiht, der Piles blitzschnelle Umsetzungen einiger ihrer bisher zugänglichsten Songtexte noch verstärkt. Die Aufnahme ist ein deutlicher Sprung im Produktionswert und stellt Maguires Gesang auf neue und aufregende Weise in den Mittelpunkt. Pile reiste nach Pawtucket, RI, um zwei Wochen lang bei Machines with Magnets mit der langjährigen Tontechnikerin Miranda Serra (Kal Marks, Kira McSpice) aufzunehmen. Das Album wurde von Seth Manchester (Lightning Bolt, Mdou Moctar) gemischt und von Matt Colton (Aphex Twin, Swans, Muse) gemastert. Sunshine and Balance Beams ist das erste Album von Pile für das Chicagoer Label Sooper Records.

Multi-award winner Jack Garratt makes his very welcomed return with the announcement of third album Pillars - out on Cooking Vinyl. Marking his first full-length project in five years, Pillars is vibrant, emotionally charged and a celebration of love, community, and self-discovery. Pillars is a testament to Jack"s evolution as an artist and individual. Following the release of his 2020 album "Love, Death & Dancing" Jack found himself yearning to reconnect with his fans and his craft. This album is his answer: a bold, unflinching exploration of love in all its forms - romantic, platonic, and self-love - woven into a tapestry of lush melodies, infectious beats, and heartfelt storytelling. Since winning the Brits" Critics" Choice Award and the BBC Sound Of poll in 2016, Jack Garratt has released two critically acclaimed albums, Phase (2016) and Love, Death & Dancing (2020). Known for electrifying live performances and a genre-defying sound, Jack continues to push boundaries with his deeply personal and sonically adventurous music, with Pillars being no exception.

Multi-award winner Jack Garratt makes his very welcomed return with the announcement of third album Pillars - out on Cooking Vinyl. Marking his first full-length project in five years, Pillars is vibrant, emotionally charged and a celebration of love, community, and self-discovery. Pillars is a testament to Jack"s evolution as an artist and individual. Following the release of his 2020 album "Love, Death & Dancing" Jack found himself yearning to reconnect with his fans and his craft. This album is his answer: a bold, unflinching exploration of love in all its forms - romantic, platonic, and self-love - woven into a tapestry of lush melodies, infectious beats, and heartfelt storytelling. Since winning the Brits" Critics" Choice Award and the BBC Sound Of poll in 2016, Jack Garratt has released two critically acclaimed albums, Phase (2016) and Love, Death & Dancing (2020). Known for electrifying live performances and a genre-defying sound, Jack continues to push boundaries with his deeply personal and sonically adventurous music, with Pillars being no exception.

One of the absolute classics from the Swedish prog-rock scene, for the first time ever on vinyl! The Hemulic Voluntary Band (2007) is the fourth studio album by Swedish progressive rock band Ritual. Its title references a fictional brass band from Tove Jansson's Moomin universe, but the music leans more toward folk, symphonic rock, and '70s-style prog, resulting in a richly imaginative sound. Although not a concept album, it's thematically tied by literary influences and a sense of childlike wonder. Drawing on Jansson's work, the lyrics explore imagination, nature, and the fantastical. Ritual's songwriting focuses on storytelling and emotional depth, creating an immersive experience. Critics praised the album's inventive arrangements and emotional range. It's mix of complexity and accessibility appeals to both prog fans and casual listeners, with a strong balance of technique and feeling. In short, The Hemulic Voluntary Band showcases Ritual's skill at crafting intricate yet heartfelt music. Its fusion of folk, rock, and prog, paired with thoughtful lyrics, makes it a standout in the genre.

Dutch upstart Epsie pulls a rabbit, or maybe a Roland, from the hat with Rule of Thumb, a
debut EP that’s as wobbly and wide-eyed as a warehouse party at the early morning
hours. It’s a small marvel of mangled synth wizardry and chopped-to-hell drum patterns
that somehow stay locked tighter than your last three-day weekend. There’s a charming
messiness to it all.

“Fedde” kicks things off with a percussive punch to the frontal lobe, big-room bravado
laced with a subtle wink. “Electric” takes a left turn down acid alley, tripping over a
broken beat and landing in a puddle of molten 303 line. But nothing here feels tacked on
or stitched together post-hangover; it’s all curiously cohesive, like chapters in a fever
dream authored by a bedroom producer with a dusty sequencer and an interstellar
agenda.

Nostalgic without being derivative, danceable without chasing a trend, Rule of Thumb is
fit for all forms of dancing, and the roof tops that dare to hold it.

Triple LP pressed on oxblood red, silver and deep ocean pearl vinyl. Pearl Abyss, in collaboration with Black Screen Records, is announcing the release of a special vinyl album set, commemorating the 10th anniversary of its flagship MMORPG, Black Desert. The 3xLP collection celebrates a decade of the game's rich musical legacy, marking a milestone in the globally successful Black Desert IP. Music has been a core pillar of Black Desert's immersive experience since its inception. The anniversary vinyl set pays tribute to that legacy, offering fans an opportunity to revisit their in-game memories through the iconic compositions that have accompanied them on their adventures. The album features a handpicked selection of tracks, composed by Hwiman Ryu and his team, spanning a wide range of genres including jazz, ethnic fusion and alternative rock. Each piece reflects the emotional depth and cultural vibrancy of the Black Desert universe. "I believe vinyl is a journey through time, through music," said Hwiman Ryu, music director at Pearl Abyss. "Since it's common to listen to one side in its entirety, each track builds on the next, complementing each other and deepening the emotional experience. When you listen to the Black Desert soundtrack on vinyl, we hope it will stir something in your adventuring heart and bring about unforgettable memories." In addition to the music, the album's richly designed sleeves are collectible artworks in themselves, making the 10th anniversary set a must-have for audiophiles and longtime fans alike.

Buh Records presents "El tiempo quiere cantar" ("Time Wants to Sing") the debut album by Pacha Wakay Munan, a duo formed by Peruvian musicians and researchers Dimitri Manga Chávez and Ricardo López Alcas. This album explores the sonic possibilities of pre-Hispanic instruments in a contemporary musical context. Through their performance, they explore their tonal possibilities, the interaction between their frequencies, and their ability to generate new dialogues. The work of Pacha Wakay Munan aligns with the tradition of sound explorers such as the Peruvians Arturo Ruiz del Pozo and Luis David Aguilar or the Colombians Yaki Kandru. The album's repertoire consists of pieces that explore diverse sonorities and musical concepts. "Pacha Wakay Munanqa" introduces the timbral variety of the instruments used. "El Taki Onkoy" draws inspiration from historical accounts and the meaning of its name ("Sick Song"), based on a Culina chant documented by Rodolfo Holzmann. It features vocals by the experienced singer Ximena Menéndez. "Mundo Posible" is a reinterpretation of an improvisation session with musicologist Chalena Vásquez Rodríguez, where the piano dialogues with ceramic antaras. Other pieces delve into the sonic construction of these instruments in relation to their cultural contexts. "Machu Tara" explores the concept of tara, a rough and vibrant sound quality found in certain Andean musical traditions. "Túpac Huaca" references the Huaca Aliaga in Lima, creating a sound palette where pututos, whistling vessels, and quenas converge. "Agua, Cuarzo y Viento" introduces quartz sikus and bowls tuned to different frequencies, evoking the interaction between natural elements and resonant vibrations. In the piece "Qinray Tema", Camilo Angeles plays the metal transverse flute, creating a contrast with the pre-Hispanic ceramic flutes and pelican bone flutes.

Special fifth anniversary repress of 2020 debut album by bdrmm. Named after a postcode in their native Hull, the HU5 Edition comes pressed on blackand amber vinyl, features alternate artwork and a printed lyric insert. The almost self-titled Bedroom was hailed by The Guardian as a lockdown classic on its original release and ended up in Rough Trade's top ten albums of the year. The 10-track album was recorded in 2019 at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles and EPs. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshinera DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar "Assured and brilliant" - The Line Of Best Fit

Die mit Platin ausgezeichneten Hardrock-Titanen Chevelle kehren mit ihrem ersten Album seit fast fünf
Jahren zurück: „Bright As Blasphemy“. Das Album enthält die aktuelle Single „Rabbit Hole (Cowards, Pt.
1)“ und präsentiert die Grammy-prämierte Band in Topform. Die Band hat außerdem eine US-Tournee
zum neuen Album angekündigt.

Repress on transparent green vinyl. With Loneliness Road, pianist Jamie Saft, legendary bassist Steve Swallow, and versatile drummer Bobby Previte present a work that is as unexpected as it is captivating_elevated by the haunting voice of none other than Iggy Pop. Far from being just another jazz album, this recording is a bold artistic exploration that fuses contemplative jazz, elements of blues, and the gravelly baritone of a punk icon turned poet. At its core, the album is deeply rooted in modern jazz tradition. Saft's lyrical piano, Swallow's fluid electric bass lines, and Previte's dynamic, nuanced drumming create a soundscape that is intimate and atmospheric. The true surprise, however, comes with Iggy Pop's appearance on three tracks. Here, he doesn't snarl or shout as in his rock persona _ instead, he delivers words with a weathered, introspective tone that feels more spoken than sung. The lyrics touch on loneliness, impermanence, and existential searching _ perfectly in tune with the album's title. Tracks like the eponymous "Loneliness Road" and "Don't Lose Yourself" are steeped in lyrical depth and emotional gravity, drawing the listener into a reflective, late-night world.

For Fans Of: New Mastersounds, Soulive, Jimmy Smith, Khruangbin. Over the course of the last five years, the Delvon Lamarr Organ Trio have established themselves as the world's premier funky organ trio. The organ trio, along with founder and manager Amy Novo, continues to devise the perfect blend of raw, passionate music and engaging industry practices. Through a firm partnership with label Colemine Records, the trio has garnered Billboard charting albums, sold out shows, tens of thousands of albums sold, and millions of streams. Lofty accomplishments for an instrumental organ trio. Now, with permanent drummer Dan Weiss behind to kit, DLO3 is proud to present Cold As Weiss, their third studio album to date that finds them tighter than ever, and continuing to push funky instrumental music to a new generation of fans. Third full-length LP. Their KEXP video has over 8 million views and no other KEXP upload in the last three years has more views 60k followers on Spotify. Previous studio album entered at #1 on Billboard Jazz charts. “An obvious mastery of their craft….” MOJO // “keyboard cool recalling bygone times…” UNCUT // “…purveyors of the snappiest grooves…” SHINDIG

Country, Township-Jazz und Pop-Hits aus der Hochphase der sambischen Freiheitsbewegung. Der Sänger, Gitarrist und Bandleader Alick Nkhata bewegt sich mühelos zwischen einsamem Country-Slide, Big-Band-Pop und luftdichten Gesangsharmonien, die alle ihre Wurzeln in Bemba- und anderen afrikanischen traditionellen Liedern und Rhythmen haben. Es ist eine schwindelerregende, umfassende und weitreichende Mischung von einem Künstler und Musikarchivar, der zur Stimme des Freiheitskampfes seines Landes wurde. Die Texte und die Musik spiegeln die Zeit wider - einsame ländliche Klagelieder wie ,Nafwaya Fwaya" und ,Fosta Kayi" driften entlang der Eisenbahnlinien in die städtischen Zentren und Kupferminen. "Nalikwebele Sonka (I Told You Sonka)", gesungen in ,Deep-Bemba`, verbindet honiggetränkte Jodler mit einer Warnung vor der Abwärtsspirale der Arbeitslosigkeit in den Townships, während "Mayo Na Bwalya" (Mother of Bwalya) die Bitte einer Mutter an einen traditionellen Singvogel ist, ihren missratenen Sohn zu führen. Lieder wie ,Shalapo", ,Kalindawalo Na Mfumwa" und sein größter Hit ,Imbote" vereinen Klavier, Big-Band-Hörner und sogar frühe elektronische Instrumente zu atemberaubenden synkretistischen Pop-Meisterwerken. Diese LP ist das erste Mal, dass seine Musik auf Vinyl wiederveröffentlicht wird. Auf hochwertigem schwarzem Vinyl mit 12-seitigem Deluxe-Booklet mit unveröffentlichten Fotos, Texten, Übersetzungen und Anmerkungen des NTS-Radiomoderators Jamal Khadar.

CATCHY, MESMERIZINGLY BEAUTIFUL, DREAMY CHAMBER POP WITH A FOLKY TWIST

Music can have a multitude of emotional impacts and can create inner worlds out of voices, sounds, and moods.
If you open heart and ear to the mesmerizing, hauntingly beautiful soundscapes of AURI, you might find a beacon of light inside a sonic realm untouched by today’s often scary, grim realities; a dreamscape that can be profoundly uplifting.
On their third studio album, III - Candles & Beginnings’ the stars have aligned yet again. Propelled by the unique and celestial voice of Johanna Kurkela, the magical textures of Nightwish mastermind Tuomas Holopainen and the almost unlimited musical palette of Nigtwish multi-instrumentalist Troy Donockley, Auri have presented a world to be unlocked with the senses, blending folk, progressive and symphonic elements, world music, pop and avantgarde.
Right after completing Nightwish’s 2024 monument Yesterwynde, the songwriting for the third chapter in Auri’s musical adventures started in 2023, with Troy writing in Yorkshire and Tuomas and Johanna working their creative magic in Kitee, Finland. By Autumn 2024, a 10-song demo was complete, setting the stage for what would become another breathtaking Auri journey. The band and their trusted engineer Tero “Teecee” Kinnunen took the mixing process to sunny Spain, letting the Andalucian vibes infuse the music whereas in March 2025 mastering was wrapped up by Tim Oliver at the legendary Real World Studios - a ground-breaking recording complex started by Peter Gabriel in 1989.
The album is a tapestry of emotions - each song a world of its own, touching on childhood memories, vivid life experiences, and even a nod to one of the group’s most beloved places on Earth - The Lion Inn at Blakey Ridge, a historic spot nestled in the North York Moors and one of the most remote pubs you will ever find.
Visually, the cover artwork by Pete Voutilainen, layout and watercolors by Mikko Pankasalo plus calligraphy by Johanna Kurkela provide wonderful illustrations perfectly capturing Auri’s unique musical visions.
With guest musicians like Frank Van Essen (strings), Jonas Pap (cello), Juho Kanervo (basses), and the incredible drumming and percussion courtesy of Nightwish’s Kai Hahto, Auri III - Candles & Beginnings is as lush as it is atmospheric and provides astonishing dynamics.
Having been a studio endeavor in the past, Auri is finally going on tour with their first-ever live European trek kicking off in August 2025, followed by summer festivals in 2026, allowing you to hear, see and feel songs from their previous two albums, as well as brand new pieces from III - Candles & Beginnings.

Zur Feier des 40-jährigen Jubiläums des Debütalbums "First And Last And Always" von The Sisters Of Mercy wird ein 4LP-Vinylset veröffentlicht.

Es enthält das Originalalbum sowie die drei EPs auf Black & Red Marbled Vinyl, die vor der Veröffentlichung erschienen sind - »Body & Soul«, »Walk Away« und »No Time To Cry«. Jede EP enthält Bonustracks, die nicht auf dem Album enthalten sind.

Die 1980 in Leeds von Gitarrist Gary Marx und Sänger Andrew Eldritch gegründete Band veröffentlichte im März 1985 »First And Last And Always«, den Höhepunkt von fünf Jahren unabhängiger Veröffentlichungen, mit denen sie sich eine große Fangemeinde erspielte.

Ihre erste Veröffentlichung bei Warner (die sie 1984 unter Vertrag nahmen) erreichte Platz 14 der UK Album Charts. Zu dieser Zeit spielte die Band mit Wayne Hussey an der Gitarre und Craig Adams am Bass - beide verließen später die Band und gründeten The Mission.

Making Room for Light, Mae Powells Debütalbum für Karma Chief Records, ist wie ein Lagerfeuer im Morgengrauen, wenn die Feuerstelle vom ersten Aufbruch des Tages abgelöst wird. Glut, Asche und Rauch der Erinnerung weichen dem Duft von frisch gebrühtem Kaffee und einem Frühstück aus gusseisernen Pfannen. Powells jazzige Stimme umhüllt die Kopfhörer mit einem hauchzarten Schleier, während schimmernde Akkorde und Klänge die aufkommende Wärme ausstrahlen. Der Klang ist ein Traum, der vollständig dem Morgen weicht, geteilt mit Freunden und Liebenden, die sowohl abwesend als auch anwesend sind. Powells zweites Album, das sie in einer Übergangsphase ihres Lebens geschrieben hat, präsentiert die Singer-Songwriterin sowohl als Heilerin als auch als Geheilte, geerdet durch ihre Verbindung zur Natur und zum Klang, immer auf der Suche nach Räumen, um sich als Künstlerin zu entfalten und zu wachsen. Das Album wurde von David Parry, dem Multi-Instrumentalisten von Loving, produziert und im Risque Disque Studio vor der Küste von Vancouver Island aufgenommen. Making Room for Light ist ebenso sehr ein Albumtitel wie Mae Powells künstlerisches Manifest. Begleiten Sie Mae Powell zum Campingplatz am Bach, tauchen Sie Ihre Zehen in das warme Wasser und genießen Sie den Nachhall dieses Sommeralbums.

Making Room for Light, Mae Powells Debütalbum für Karma Chief Records, ist wie ein Lagerfeuer im Morgengrauen, wenn die Feuerstelle vom ersten Aufbruch des Tages abgelöst wird. Glut, Asche und Rauch der Erinnerung weichen dem Duft von frisch gebrühtem Kaffee und einem Frühstück aus gusseisernen Pfannen. Powells jazzige Stimme umhüllt die Kopfhörer mit einem hauchzarten Schleier, während schimmernde Akkorde und Klänge die aufkommende Wärme ausstrahlen. Der Klang ist ein Traum, der vollständig dem Morgen weicht, geteilt mit Freunden und Liebenden, die sowohl abwesend als auch anwesend sind. Powells zweites Album, das sie in einer Übergangsphase ihres Lebens geschrieben hat, präsentiert die Singer-Songwriterin sowohl als Heilerin als auch als Geheilte, geerdet durch ihre Verbindung zur Natur und zum Klang, immer auf der Suche nach Räumen, um sich als Künstlerin zu entfalten und zu wachsen. Das Album wurde von David Parry, dem Multi-Instrumentalisten von Loving, produziert und im Risque Disque Studio vor der Küste von Vancouver Island aufgenommen. Making Room for Light ist ebenso sehr ein Albumtitel wie Mae Powells künstlerisches Manifest. Begleiten Sie Mae Powell zum Campingplatz am Bach, tauchen Sie Ihre Zehen in das warme Wasser und genießen Sie den Nachhall dieses Sommeralbums.

Making Room for Light, Mae Powells Debütalbum für Karma Chief Records, ist wie ein Lagerfeuer im Morgengrauen, wenn die Feuerstelle vom ersten Aufbruch des Tages abgelöst wird. Glut, Asche und Rauch der Erinnerung weichen dem Duft von frisch gebrühtem Kaffee und einem Frühstück aus gusseisernen Pfannen. Powells jazzige Stimme umhüllt die Kopfhörer mit einem hauchzarten Schleier, während schimmernde Akkorde und Klänge die aufkommende Wärme ausstrahlen. Der Klang ist ein Traum, der vollständig dem Morgen weicht, geteilt mit Freunden und Liebenden, die sowohl abwesend als auch anwesend sind. Powells zweites Album, das sie in einer Übergangsphase ihres Lebens geschrieben hat, präsentiert die Singer-Songwriterin sowohl als Heilerin als auch als Geheilte, geerdet durch ihre Verbindung zur Natur und zum Klang, immer auf der Suche nach Räumen, um sich als Künstlerin zu entfalten und zu wachsen. Das Album wurde von David Parry, dem Multi-Instrumentalisten von Loving, produziert und im Risque Disque Studio vor der Küste von Vancouver Island aufgenommen. Making Room for Light ist ebenso sehr ein Albumtitel wie Mae Powells künstlerisches Manifest. Begleiten Sie Mae Powell zum Campingplatz am Bach, tauchen Sie Ihre Zehen in das warme Wasser und genießen Sie den Nachhall dieses Sommeralbums.

Cleaning Out The Empty Administration Building ist Ross Farrars neuestes Werk aus rohem, gesprochenem Wort und experimentellem Sounddesign, hier präsentiert unter dem Namen R.J.F.. Der Frontmann der amerikanischen Bands Ceremony und SPICE begann dieses Soloprojekt zunächst als persönliche Herausforderung: Songs von Grund auf selbst zu schreiben, sich mit Instrumenten vertraut zu machen und dabei zugleich sein Unterbewusstsein freizulegen. Dabei ging es weniger um musikalische Virtuosität als um Verletzlichkeit - darum, etwas Ehrliches aus einem ungeschützten, unbearbeiteten, unpolierten Moment zu ziehen, kompromisslos amateurhaft und rein.Diese Sammlung zeigt Farrar im offenen, poetischen Dialog: mit Drumloops und gefundenen Klängen, durchbrochen von Gitarren, Bass und Tasteninstrumenten. Nach über zwanzig Jahren in der vertrauten wie chaotischen Welt von Band-Kollaborationen, legt Farrar all das ab - als Experiment. Das Ergebnis ist unverwechselbar und bewegend.Farrars Punk-Pathos ist in Spuren vorhanden, doch seine deutlichsten Einflüsse stammen von repetitiven Musikformen: Drone, No-Wave, Avant-Jazz und darüber hinaus. Seine nüchternen Texte erinnern an Lou Reed, Rowland S. Howard und andere große Exzentriker. Farrars Texte kreisen um Liebe, Sucht, Vaterschaft und das Leben in der heutigen Welt. ,Ich wollte Bilder schaffen, die die Menschen klar vor sich sehen können", sagt er. Farrar unterrichtete früher Schreiben und Literatur - und wendet hier ein einfaches Prinzip an, das er auch seinen Schülern mitgab: Nicht zu viel nachdenken. ,Ich habe mir einfach gesagt: Diese Songs sollen Spaß machen. Sie sollen nicht stressig sein. Zwei, drei Takes aufnehmen und dann gut ist. Nicht über jedes Geräusch den Kopf zerbrechen. Mach einfach das, was natürlich aus dir herauskommt - und wenn es sich gut anfühlt, dann nimm es."Aus hunderten freier Songs, die Farrar in den letzten Jahren mit geliehenem Equipment aufgenommen hat, kristallisierte sich dieses Album langsam heraus. ,Es kam einfach immer wieder."Der Ton von Cleaning scheint die Zeit zu verbiegen, versetzt die Hörer in eine Art Gang voller Songs, bei denen jede Tür in einen neuen Raum führt - Räume, die oft auf unheimliche Weise vertraut wirken. Der gurgelnde Bass des Openers ,Advance" taucht auch in anderen Stücken wieder auf, etwa im gespenstischen ,Ovidian", benannt nach Ovids Metamorphosen, in dem Farrar über das Wunder der Veränderung sinniert - begleitet von fernen Glockenklängen. Instrumentalstücke wie ,Gravity Hill" - ein Flattern aus Synth-Brummen und statischem Rauschen - oder ,Frogs", mit Saiteninstrumenten und perkussivem Topfschlagen, wirken wie tranceartige Zwischenspiele und verstärken die Wirkung der Texte drumherum.,Exile" blickt zurück auf Verluste, die sich nicht mehr reparieren lassen: ,So much of your heart caught in my exile", singt Farrar mit sanfter Resignation - über einer einsamen Klaviermelodie und schlingernden Gitarrenakkorden. Es ist das strukturierteste Stück der Sammlung und erinnert daran, dass Farrar ein Gespür für melodische Linien besitzt.Das Album endet mit ,Traveling Light From Afar", deutlich schneller als alle vorherigen Songs. Hier, über einem stoischen Motorik-Beat, spricht Farrar das zentrale Thema des Projekts direkt an:,I've been so young in my old age / Selfish & self-pitying / But that's just narcissism - man."Genau dieser Balanceakt - zwischen schonungsloser Selbstbefragung und der Klarheit, die mit dem Älterwerden kommt - schafft Raum für Entwicklung. Farrar leert das Gebäude - Zeile für Zeile.

"For the first time, A Rush of Blood to the Head by Coldplay will be manufactured on EcoRecord. EcoRecord sounds and looks as great as a traditional vinyl record, but it’s been manufactured using 100% recyclable PET, instead of PVC. EcoRecords are also produced using injection moulding technology, with energy savings of up to 85% compared to the traditional vinyl process.
A Rush of Blood to the Head includes the singles In My Place, Clocks, The Scientist and God Put a Smile Upon Your Face. Produced by Coldplay and Ken Nelson, the album earned the band three Grammy Awards, including Best Alternative Album and Record of the Year (for Clocks)."

Musique de Niche Vol.1 barked for a Vol.2. The second opus of any relevant trilogy (did I just spoil a Vol.3?) undergoes always the hardest trial by fire: but the bois, Pierre Marty and Admo, once again delivered these flavors you didnt know your collection was missing.

Same city, different district and new inspirations: following the world premiere in Berlin of their Liveset, they hit the home studio, refining the last bits of this new EP and giving it a new twist while still echoing the first volume.

Tech-house yes, but is it really ?

Indecisiveness feels like we could've said maybe yes but no but...
Well: Alpyren did the quite impressive feat of pressing this feeling on a record - that's A1. The haunting voice sample is this sassy inner self trying to tell you whats up. At least, you're not alone: the quirky bleeps and the punchy bassline are there lending you a hand to make that surely bad decision.

By flipping the record or the usb, you get to the two tracks where they let their new inspirations hit the speakers.

B1 is out before GTA VI, but it could've been in the soundtrack if the game was actually happening between Los Santos and Marseille.G-funk with the Alpyren touch: for the floor, a tune that will make you sway. Broken beats, almost broken legs.

B2 is the freaky one of the bunch: starts with the gloomy sound signature of the duo, but we're back with more 80's inspirations.Darker synth pop with a twist: you end up following the kick with the head bobbing in sync, while all the FX sounds bring to the track this extra spice.

It's 5pm here at the Ordinateuf HQ and we've just finished listening to the latest masters of the new E.P by Alpyren 'Musique de Niche vol2'. Before we're back to more phone calls, we'd like to thank all the friends that bought the first volume: the support has been quite amazing so far.

Enjoy this new one - its got our paw of approval.

Buh Records presents Primera Secuencia, the debut album by Ballet Mecánico, the project of Fernando Pinzás. After his time in the synth-punk band Varsovia, Pinzás embarks on a new phase as a solo artist and producer, exploring electronic styles from the 1980s like synthpop, Hi-NRG, Italo disco, and techno pop. The album blends synthesizers, programmed sequences, and pulsating basslines to create a nostalgic yet danceable soundscape. Set against the backdrop of the pandemic and social movements in Peru, each track tells a story, featuring guest vocalists from the Peruvian independent scene, including Susana Fátima (Gomas), Noelia Cabrera (Blue Velvet, Silveria), Kat Kathia, Luxsie, Luminiscencia, Anabhell (Las Ratapunks), Laura Rosales (Solenoide), and Elva Cío (Specto Caligo). Singles No Cederé and Testamento define the project's dark and ethereal pop aesthetic. No Cederé, featuring Susana Fátima, critiques societal notions of success over an Italo disco and Hi-NRG beat. The track includes a remix by Italoconnection, the duo of Fred Ventura and Paolo Gozzetti, who take it into a hypnotic, spacey realm. Testamento, with Luminiscencia, reflects on the emotional weight of the pandemic, blending synthpop and ethereal pop. Other standout tracks include La ciudad de los incendios, a dystopian vision of Lima with dark disco rhythms, and Como la última vez, a synthpop-driven, melancholic song featuring Noelia Cabrera.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

A stunning reissue of Delano Smith's album on Sushitech, originally released in 2017.

This collection of previously hidden tracks from the master's archive was brought together into a beautiful album that has become highly sought after over the years, largely due to its exclusive vinyl only tracks.

This limited edition repress comes on special silver vinyl, released to celebrate the label's 20th anniversary.