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Violent Delights is an anthology of stories that meanders through themes of grief, rage, desire and identity. There are stories of the toxicity of addiction, and growing up around religion; stories of overwhelming obsession, isolating abandonment, and empowering anthems of identity, and stark laments about sexual violence. They are each lived experiences, laid bare, reclaimed with every syllable whether dripping in spite or swagger, anger or anxiety. "Loss is a central theme of the album," explains vocalist Kate Price. "For us, we have our own specific version of what that is in these songs, but for anyone listening, it could be the loss of something else - a loved one, a relationship. But we're never mourning loss. We're celebrating it. Loss is almost universally looked at as a negative, but we're finding the positives in those moments. We had to go through hell to get to heaven. Violent Delights is about looking back with gratitude, and even fondness, the closing of one chapter and beginning of another." Jools - comprised of Kate Price, Mitch Gordon, Chris Johnston and Callum Connachie, Joe Dodd, and Chelsea Wrones - has been a name on the lips of clued-up fans and tastemakers since its collective of musicians found each other in the earliest days of 2023. Quickly gaining a reputation for their cathartic, unpredictable and specular live performances, the band have been consistently championed by BBC Radio One, including two `Tune of the Week' placements on Daniel P Carter's esteemed Rock Show. Violent Delights was recorded across two week-long stints at Southampton's The Ranch studio in August and December of 2024, with Lewis Johns helming production and mixing duties. When pressed, Jools may identify as a punk band - in its truest sense that punk is a mentality, rather than a sound - but Violent Delights equally lends from the worlds of metal, rap, post-hardcore and hip-hop as much as it does the post-punk of its surface layer. Gordon and Price are as likely to point to Turnstile, Mannequin Pussy and Amyl & The Sniffers as influences on the record as they are to Little Simz and The Streets' Mike Skinner. "We don't necessarily look at music in sounds or structures," nods Gordon. "Instead we look for attitudes."

Das neue Studioalbum des schwedischen Quartetts GÖSTA BERLINGS SAGA. Furchtlos experimentell, köstlich respektlos und seit 25 Jahren der Kategorisierung trotzend - Gösta Berlings Saga aus Stockholm präsentieren ihr mit Spannung erwartetes siebtes Studioalbum Forever Now. Eine meisterhafte Kollision von komplexem Songwriting, roher Rockspontaneität und der charakteristischen Missachtung aller Genregrenzen - Forever Now ruht sich nicht auf seinen Lorbeeren aus. Vielmehr treibt es die musikalische Reise entschlossen voran und deutet darauf hin, dass das Beste der Band auch nach mehr als zwei Jahrzehnten noch vor uns liegt. Das Werk besteht aus 10 Tracks voller handgemachtem Chaos, die die ganze Brillanz von Gösta Berlings Sagas 25 Jahren respektloser Innovation in sich tragen. Das Album wurde zum ersten Mal komplett von der Band geschrieben, aufgenommen, produziert und abgemischt. Synthesizer und arpeggierte Gitarren schrauben sich immer höher und kollidieren auf dem Weg dorthin mit hektischer Percussion und pulsierendem Schlagzeug, während das angeborene Vertrauen der Band ineinander und in ihre Musik den treibenden Kern eines immerwährenden Energiemotors bildet, an dem fünf Jahre lang gearbeitet wurde. Für Fans von King Crimson, Magma, Yes, Focus, Captain Beefheart, This Heat und The Mars Volta. CD und/oder LP.

Das viel gesuchte klassische Orchester-Breakcore-Album "Rossz Csillag Allat Született" von Venetian Snares aus dem Jahr 2005 wird anlässlich seines 20-jährigen Jubiläums auf schwarzem Vinyl neu aufgelegt. Was wäre, wenn wir beide nur einen Tag lang Tauben sein könnten? Manchmal kann ein Moment in der Zeit eine so große Bedeutung erlangen, dass er zu einer endlosen Welt für sich wird und alles außerhalb dieses Moments, vergangene und zukünftige Zeitpunkte, zur Folklore dieser Welt werden. Was wäre, wenn wir beide die Királyi Palota überfliegen und sie so sehen könnten wie diese Tauben? Eine schöne Kultur von ungleichen Winkeln als Eselsengel über dieser Stadt. Aber auch in der Welt des unendlichen Augenblicks können wir uns die Feder unseres Vogels nicht aussuchen, und die Taube mag sich danach sehnen, die Gans zu sein, der Esel die Taube und so weiter. Und während unsere Welt aus diesem einen Tick in der Zeit erblüht, ist sie für die eine Taube eine wirbelnde romantische Flut euphorischer Möglichkeiten und Faszination, für die andere ein minderwertiges Leben, in dem sie auf jeden vom Himmel aus scheißt, unbeholfen und beschämt, und sich damit abfindet, die elende Plage zu sein, als die sie von denen, auf die sie scheißen, dargestellt wird. So schnell wie unsere Welt blüht, so schnell ist sie auch wieder im Unfrieden und unsere Tauben sind verwundet, und wenn unsere Welt stirbt, sterben auch wir, und wir sind ausgestorben. Wenn wir uns doch nur immer wieder umbringen könnten, bis wir es richtig machen. So wie ein ganzes Musikgenre aus einem einzigen beschleunigten Zehn-Sekunden-Breakbeat geboren werden kann, so kann ein komplettes Symphonieorchester in harmonischem Einklang zusammenkommen, um diesen perfekten Moment in der Zeit zu erschaffen, so kann jeder Moment eine völlig neue Welt hervorbringen, und jede Welt kann den perfekten Moment beherbergen, und so wie dieser Breakbeat bis zur Unkenntlichkeit gebrochen werden kann, so kann sich das Orchester zusammenschließen, um ein dissonantes Sperrfeuer kolossalen Kummers hervorzubringen, und so löst der Moment seine Welt auf, und diese Welt erstickt den Moment unter ihrem Zusammenbruch.

After breaking through with a gold selling debut in the late 1990’s, Harlem emcee Cam’ron quickly emerged as a leading figure in hip-hop, just as the genre was reaching mass audiences for the first time. A platinum-selling classic on Roc-A-Fella Records came a few years later, followed by the founding of the iconic collective Dipset and the release of three more seismic solo albums over the course of the 2000s. The last chapter in his historic run was 2009’s Crime Pays, which drew praise from critics while also lighting up the Billboard Charts, showcasing Cam’s sonic evolution while proving his pen game remained unmatched. More than 15 years after it’s release, this vital collection is now receiving an official vinyl pressing for the first time ever. A perpetually underrated lyricist with transcendent rhyme mechanics embedded in his leisurely flow, Cam’ron is in peak form on Crime Pays, effortlessly walking listeners through the details of his fascinating life and times. With suprisingly modern production supplied by AraabMuzik, I.N.F.O., Skitzo, and more, this memorable album is an important chapter in the story of a truly essential artist.

Winner of Channel 4’s ‘The Piano’, Brad Kella
releases his debut album, ‘Phoebe’s Melody’.
Since winning the show, Brad has recorded with
world renowned string arranger Rosie Danvers in
RAK Studio, sold out The Liverpool Philharmonic,
played The Royal Albert Hall and sold out two
nights at The Southbank Centre’s Purcell Rooms.
Brad has also worked alongside John Lewis for
last year’s Christmas campaign, as well as
Liverpool Football Club and EA sports, as he was
nominated as a super fan and ingrained into the
‘FC25’ game.
Brad is also going on a 36-date tour supporting
Gary Barlow across the UK and Ireland.

"Remains" war das kühnste Experiment von Annihilator, ein gewagter Vorstoß in die Industrial-geprägte Härte, der sich den Erwartungen widersetzte. Jeff Waters war für fast alle Aspekte der Aufnahmen verantwortlich und verfolgte einen mechanischeren und Groove-betonteren Ansatz. Obwohl es eine Abkehr von den früheren Thrash-Wurzeln der Band darstellt, bleibt sein charakteristisches Gitarrenspiel erhalten. Das Album erscheint erstmals überhaupt auf Vinyl

TXT ist, im Anschluss an die Name Chapter-Alben und die zuletzt erschienene minisode 3: TOMORROW, mit einem neuen Minialbum „The Star Chapter: SANCTUARY“ zurück. Zum ersten Mal in einer VinylVersion mit dem Hit ”Over The Moon”.

Zu den Inhalten des Albums gehören eine malvenfarbene und klare Splatter-Vinyl, eine Außenhülle, ein Poster-Set (je 8 Stück), ein Sticker-Pack und ein Lyric-Buch (8 Seiten).

Rascal Flatts’ Album LIFE IS A HIGHWAY: REFUELED DUETS enthält zehn neu interpretierte, geliebte Rascal Flatts-Hits - darunter das fan-favourite „Mayberry“ mit Blake Shelton und das ansteckend gefühlvolle „I’m Movin’ On“ mit Kelly Clarkson - sowie einen rekordverdächtigen neuen Song, „I Dare You“ mit den Jonas Brothers. Die vielseitige Auswahl an Gastkünstlern vereint ihre individuellen Musikstile zu völlig neuen Arrangements der zeitlosen Hits aus dem gefeierten Katalog des Trios.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Sleeve, wattierte Innenhülle.

Serge Chaloff - Blue Serge
Als einer der ersten Baritonsaxofonisten des Bebop verblüffte Serge Chaloff, (1923-1957) die Jazzwelt mit seiner bemerkenswerten Fingerfertigkeit und seinem zutiefst emotionalen Spiel. Da er jedoch nur sieben Alben unter seinem Namen aufnahm und bereits mit 33 Jahren verrstarb, ist er weitgehend in Vergessenheit geraten. “Blue Serge” von 1956 ist laut Penguin Guide To Jazz sein bestes Album: “Chaloffs Meisterwerk ist kraftvoll und bewegend zugleich, nicht weil man weiß, dass er dem Tod so nahe war, sondern wegen der unsentimentalen Stringenz seines Spiels.

Endlich: der Steely Dan-Katalog ist wieder auf Vinyl erhältlich. Unter der Leitung von Walter Becker und
Donald Fagen veröffentlichten Steely Dan zwischen 1972 und 1980 sieben Alben. Die Vinyl-Serie endet
mit The Royal Scam, das Album von 1976 mit ”Kid Charlemagne” und ”The Fez”.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

Howdy punkè rocke fans, welcome to FORCED COMMUNAL EXISTENCE - the wonderful and frightening world of ALIEN NOSEJOB’s EP’s & singles. Anti Fade and Agitated Records are teaming together to bring you a paint stripping, mind altering, rare collection of EP and compilation tracks recorded in various Australian bedrooms and garages between 2017 and 2022. The sound of goofy obnoxiousness will soon be permeating your bedroom airwaves and perforating your eardrums. Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016.

There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation.

500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover.

Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine.

No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown. FORCED COMMUNAL EXISTENCE binds this mouthful of releases into one neat package from June 6th, 2025. Catch the ALIEN NOSEJOB band on tour in Europe & UK from June 13 - July 2nd, 2025.

K U T E get rambling on through the perpetual fog and herald a spectacular mould-melting sound on their forthcoming album 'Intrigue/Fatigue'

After breaking out of Glasgow's live circuit and releasing a critically acclaimed demo tape, the band of dissenters is ready to break the unsuspecting public. Never Sleep are proud to present a landmark moment in the Glasgow hardcore scene. The modus operandi of 'Intrigue/Fatigue' is as political as it is social, a fusion of post rock, art, hardcore, punk, and performance. It’s their first for the Berlin label (founded by Gabber Eleganza) following the elusive demos that circulated Glasgow's underbelly.

Ahead of the release K U T E brought their fervorous live show around the UK and beyond leading to award nominations in Scotland for 'Best Live Act' supporting bands like Militarie Gun, Angel Du$t, The Serfs to name a few. The band also played at Outbreak and .core festivals

The band member's Amy, Kenni, Fletch and Matty have been performing as K U T E for just over a year. Amy's frontwoman reputation has already garnered huge attention and her lyrics honesty, social awareness and humility has also made waves as a true new voice in music.

The result is a mesmerizing powerhouse of a debut, where they have found a singularity where hardcore meets Battles, or Godspeed goes full windmilling in the basement.

Playing singles 'For You', 'One More For The Walk' and 'Intrigue/Fatigue' have been released in the lead up to the record and have been making big waves at BBC6 with support from members of Mogwai. The band's technical yet gargantuan sound has crossed over into the public spectrum and led to a whole wave of new fandom.

They have shared their self produced videos for Singles ‘For You’ & ‘One More For The Walk’ as well as a 2 song live session ‘LIVE AT THE LAWBURN’

The band are embarking on their first UK Tour in 2025 supporting ‘Fentanyl’ in June and a slew of UK & EU dates

„PRINCESS OF POWER“ ist das mit Spannung erwartete sechste Studioalbum von MARINA. Inspiriert von der Superkraft der Liebe ist es die erste unabhängige Veröffentlichung der international gefeierten und preisgekrönten Künstlerin. Das Album erforscht die Konzepte von Macht und Führung für eine neue Generation. Es basiert auf der Überzeugung, dass Liebe uns nicht schwach macht, sondern etwas ist, das uns Kraft gibt und das wir feiern.

LONG AWAITED DEBUT ALBUM PRODUCED BY LIAM WATSON (THE WHITE STRIPES) AT TOE RAG STUDIOS
A RECORD WITH NO DOWNTIME BETWEEN BLUES PULSATIONS, SUNNY MELODIES AND FUZZ GUITARS

The Doors Of Perception is among the most experimental and innovative releases by famed jazz vibraphonist Dave Pike. Recorded in 1966 and released in 1970, the album finds Pike indulging in full-fledged psychedelic jazz, with trippy grooves and a new sound. Produced by Herbie Mann, The Doors Of Perception features an all-star cast of musicians, including Eddie Daniels, Lee Konitz, Don Friedman, and Chuck Israel. Their talents are complemented by a wide range of sound effects, from echo chambers to piped-in applause to thunderstorms to fuzzy distortion, making for a dynamic and unique listening experience.

"Max Knouse’s voice feels like laughter that follows a well-loved joke. Only afterward, it dawns on you that you don’t fully understand the punchline. Or for that matter the set up. In fact, you’re not even sure what language the joke was told in. What to make of such a laugh—inexplicable, delightful, surprising, seemingly nonsensical? And what to make his voice, at once comforting, beguiling, and just beyond the bounds, like a blues moan or a Mingus lick or some ancient guttural holler? It’s the kind of haunt that lingers long after the record fades, echoing back in your imagination, laden with cryptic possibilities and occulted meanings.

Chipmunk’d Away is his third album. Known for his sessions and live shows with artists like Califone, Jolie Holland, Adan Jodorowsky, Psychic Temple, Simon Joyner, Alex Dupree, and others, Knouse has established himself as an essential factor in the West Coast indie pop underground, brandishing guitar chops that mirror the rawness of his voice; he treats his instrument like a divining rod of spiritual tension and joyful racket, pushing and pulling on it with affection and sometimes something darker.

From the swelling cosmic folk of “Mint and Tobacco,” which features Knouse intoning apocalyptically over engineer Michael Krassner’s washing guitars, “Your breathing ain’t so deep,” to the jazz standard swooner-meets-West Coast psych-pop title track, to the nightmare-scape blues of “Clumsy Hunter,” to the concluding audio collage sway of “Banana, Orange, and Something Else,” Chipmunk’d presents the range and scope of Knouse’s style: bold, adventurous, frightening, and then frequently, when you least expect it, heartbreakingly lovely, like a joke that clarifies your feelings before you could actually verbalize what those feelings even are. They had been hidden from you, chipmunk’d away, but now Max Knouse has revealed them."

B.o.B präsentiert: The Adventures of Bobby Ray ist das Debütalbum von B.o.B, das ursprünglich am 27. April 2010 veröffentlicht wurde. Die Produktion für das Album erstreckte sich von 2008 bis 2010 und wurde von einem talentierten Team übernommen, darunter B.o.B selbst, Crada, Dr. Luke, The Smeezingtons, Jim Jonsin, Lil' C, Alex da Kid, Polow da Don und DJ Frank E. Diese erstmalige Vinyl-Veröffentlichung als 2-LP enthält nicht nur die mit RIAA Diamant ausgezeichnete Single Airplanes mit Haley Williams von Paramore, sondern auch Gastbeiträge von Bruno Mars in Nothing On You und Janelle Monae in Ghost In The Machine.

Mit On My Way lieferte Gwen McCrae 1982 ein souliges Meisterwerk ab, das ihre Stimmgewalt und zeitlose Grooves zur Schau stellt. Das Album glänzt mit dem Kult-Hit Keep The Fire Burning, einem Muss für Dance- und R&B-Liebhaber, aber auch mit emotionalen Titeln wie I Need To Be With You, dem herausfordernden I Didn’t Take Your Man und dem ansteckenden Doin’ It. Es ist ein Beweis für McCraes bleibenden Einfluss auf Soul sowie Disco und hebt ihre Kunstfertigkeit hervor, die sie zu einer Ikone des Genres machte.

Following the success of his debut album Echoes of Prayer - featuring singles like Communicate, Calm Waters, and Silent Chaos - Ghanaian-Dutch artist Bnnyhunna announces the album's first-ever vinyl release, set for May 30, 2025, via the renowned Belgian label Sdban Ultra.

Originally released digitally in October 2024, Echoes of Prayer stands as a deeply personal and spiritual work that reflects Bnnyhunna's faith, his early experiences growing up in church, and his West African heritage. Every track on the album serves as a form of prayer, a conversation with God. The album showcases his ability to weave poetic lyrics, vivid visuals, and captivating melodies, creating an immersive experience that resonates on a spiritual and emotional level.

Bnnyhunna's signature fusion of jazz, hip-hop, gospel, and Afro rhythms highlights his versatility and musical integrity. Next to the the warm jazz textures of Calm Waters, the vibrant Afrobeat pulse of Communicate, and the soulful, piano-driven Silent Chaos, Echoes of Prayer also blends elements of '70s P-Funk grooves, gospel harmonies, and modern hip-hop rhythms. Each song represents a different facet of Bnnyhunna's artistic vision. Tracks like SHOULD'VE BEEN YOU carry nostalgic R&B undertones, while Sum Love brings gospel-infused choir arrangements that recall sacred spaces. Interludes such asAvanti add moments of intimacy and reflection through gentle guitar lines.

The album's diverse sound is elevated by collaborations with The Cavemen, who lend their signature highlife revival, and Jembaa Groove, who contribute with West African-inspired rhythms.

His debut project EP SINTHA, released in 2021, quickly established Bnnyhunna as a rising talent, leading to collaborations with artists like Asake, Rimon, and José James. He gained momentum by selling out his first headline show, which included a surprise performance from Kokoroko, and receiving global recognition from platforms like Highsnobiety, VICE, and Complex, as well as performing at prestigious festivals such as North Sea Jazz and Montreux Jazz. Bnnyhunna challenges conventional music by engaging all the senses through photography, videography, and poetry.

The release of Echoes of Prayer follows a year of significant achievements for Bnnyhunna. In2024, he performed for Highsnobiety at Paris Fashion Week, appeared at prestigious festivals such as Dekmantel and Zwarte Cross, and played a standout performance at the Steam Down Weekly series in London. Additionally, he composed an original score for the Dutch National Opera and won the Edison Pop Award, one of the most prestigious music awards in the Netherlands (often referred to as the Dutch Grammys), in the Soul/R&B/Funk category.

With the vinyl release of Echoes of Prayer, Bnnyhunna offers fans a tangible, collectible edition of his powerful debut. The release via Sdban Ultra invites listeners to experience the full depth of his sound in its most intimate and analog form yet.

Mit 'Under a Familiar Sun' veröffentlicht The Vernon Spring alias Sam Beste ein faszinierendes Album zwischen Jazz, Ambient, experimentellem Pop und elektronischem Songwriting. Beste, einst Pianist in Amy Winehouse’ Band und Kollaborateur von u. a. MF DOOM, Joy Crookes und Beth Orton, entfaltet hier ein vielschichtiges Werk voller emotionaler Tiefe und klanglicher Finesse.

Entstanden in seinem Heimstudio in Brighton, verarbeitet das Album persönliche Themen wie Vaterschaft, Verantwortung und Selbstverortung in einer instabilen Welt - getragen von Beste’s charakteristischem, improvisationsnahem Klavierspiel und feinfühliger Produktion. Mitwirkende wie Autor Max Porter (Grief is the Thing with Feathers), Cellistin Kate Ellis und die in Brooklyn lebende Künstlerin aden verleihen dem Album zusätzliche Tiefe.

Ein durchkomponiertes, atmosphärisches Werk mit klarer Handschrift - für Fans von Bon Iver, James Blake, Nils Frahm oder Moses Sumney.

Der US-amerikanische Musiker Pachyman veröffentlicht am 23. Mai sein neues Album 'Another Place' über ATO!

Über vier Alben hinweg hat sich Pachyman als meisterhafter Handwerker des Dub-Reggae bewiesen. Inspiriert von Legenden wie King Tubby und Scientist, nutzt er Vintage-Equipment, erschafft monumentale Klangwelten und versteht intuitiv die hypnotische Kraft der Wiederholung. Mit 'Another Place' geht er einen Schritt weiter: Er verbindet Dub mit den vielfältigen Einflüssen moderner Musik - von der Synth-Pop-Ästhetik eines William Onyeabor und Yellow Magic Orchestra bis hin zu den tiefen, atmosphärischen Klängen von Basic Channel’s Dub-Techno. Ein Album, das Tradition ehrt und zugleich neue Klangräume erschließt.

The stunning debut album by Peki Momés is back in store after selling out the first edition in a few weeks! This 2nd pressing has a different label design. Featuring twelve outstanding original tunes. Turkish psychedelic, global disco and outernational!

Peki Momés is a Turkish artist living in Germany - who only started to record music by accident in 2024. Blessed with style and intuition rather than formal education, her fresh and uncompromisingly authentic approach to music took hearts and ears by storm.

Ever since her debut 45 on Mocambo Records, Peki Momés has become a little sensation in and outside the organic groove scene: turntablist DJ Koco played doubles of "Göc Mevsimi" in his set, Iggy Pop announced "Rüya" on his "Iggy Confidential" show on BBC and the second vinyl single surprised everyone with a mesmerizing cover of Marco Valle's much loved "Estrelar" in the turkish language. Both records sold out quickly and are in the bags of tastemakers like Coco Maria.

Peki Momés' music is an eclectic mix of sounds from the global underground, tastefully crafted by producer Dustin Braun and a troupe of ridiculously talented jazz musicians. Dirty disco, fuzzy funk, anatolian rare grooves, experimental synth, library music and japanese city pop all blend naturally with her distinct vocals to create a unique ethereal outernational sound that is all her own.

Once dubbed as 'turkish discodelic', Peki's songs have a dreamlike, enchanted and psychedelic quality and instantly take the listener on a journey. In a poetic way, she approaches topics like "dreams and a naive fear of losing or not fulfilling them" or expresses "worries about our weary world and call for solidarity from all" - always with an outlook of hope. You do not have to speak turkish to understand - the message is transported by a universal language.

With her debut album, Peki Momés is now telling her full story. Displaying a young Peki on the cover, the artwork hints at the freshness and enthusiasm of the project. We should consider ourselves lucky that Peki chose to disrespect rules in favor of self-empowerment and made this wonderful longplayer that you never knew you needed.

Little Simz hat ihr sechstes Album Lotus angekündigt, das am 9. Mai über Awal Recordings erscheinen wird. Gleichzeitig präsentiert sie die erste Single Flood, featuring Obongjayar und Moonchild Sanelly. Der Albumtitel Lotus steht für Simz als Symbol für Erneuerung und Wachstum – ein zentrales Thema, das sich durch die musikalische und inhaltliche Reise des Albums zieht und die komplexen Phasen des Lebens reflektiert.

Little Simz gilt als eine der spannendsten und visionärsten Künstlerinnen Großbritanniens – Musikerin, Geschichtenerzählerin und Kulturkuratorin zugleich. So wird sie das diesjährige Meltdown Festival in London kuratieren, wie zuvor schon Superstars wie David Bowie, Yoko Ono, The Queens oder David Byrne. Mit mehreren Brit Awards, MOBOs und einem Ivor Novello Award sowie einer beeindruckenden Diskografie aus Mixtapes, EPs und fünf von Kritikern gefeierten Alben erzählt ihre Musik ihre eigene Geschichte – und die einer ganzen Generation. Simz' Vorgängeralbum "No Thank You" Ende 2022 hat es hierzulande auf die #11 der Charts geschafft. Im Jahr 2023 setzte sie ihren Weg als gefeierte Schauspielerin fort und kehrte in der letzten Staffel des Netflix-Dramas Top Boy zurück. Little Simz' Auftritt auf der Pyramid Stage des Glastonbury Festivals im Jahr 2024 festigte ihren Ruf als unnachahmliche Live-Performerin.

Norwegian electronic pioneer Lindstrøm returns with Sirius Syntoms – seven tracks of melodic, cosmic disco and shimmering synth grooves. This album marks a more focused and open sound than his previous work, with warm analog textures, pulsating rhythms, and hypnotic basslines at the core.



Combining the uplifting energy of house and the introspective tone of ambient synth music, Sirius Syntoms blends dancefloor elegance with emotional depth. The lead single “Cirkl” sets the tone for a record that’s both refined and playful.


This is also the relaunch of Lindstrøm’s Feedelity label, with artwork by longtime collaborator Ole Martin Lund Bø. For fans of cosmic disco, nu-disco, synth-driven house, and electronic explorations with heart and soul.

It’s a follow-up long in the making as Ukrainian artist Volodymyr Gnatenko re-enters Kalahari orbit.

Somewhere between submerged video game OST and ritual incantation, Mershiy LP recalls the finest psychoacoustic ambient dub the ‘90s had to offer. Less direct than the previous album, allowing space for IDM introspection and some proper contemplation. A mind-melt but keeping it widescreen and pretty meticulous throughout.

Imagined vistas shot in pristine 4K, impeccably crafted with close listening in mind. Repeated listens reveal more insectoid detail and a knack for detailed sonic immersion.

A 6-track zone-out where diaphanous texture makes way for ominous dread as the narrative unfurls. Balancing urges and inclinations with a fathomless churn of acid, trance, dub and pointelist electronics.

Written and Produced by Volodymyr Gnatenko
Design by Susanne Janssen.
Mastered and cut by Anne Taegert at Dubplates And Mastering.
Distributed by One Eye Witness.
2025

Ein Abend, der fast 30 Jahre auf sich warten ließ! Was einst ein Witz in der Fernsehserie Die Simpsons war,
wurde am 10. Juli 2024 Wirklichkeit, als Cypress Hill zusammen mit dem London Symphony Orchestra
in der historischen Royal Albert Hall auftrat. Cypress Hill & das LSO unter der Leitung von Troy Miller
präsentieren das Vierfach-Platin-Album „Black Sunday“ in seiner Gesamtheit mit einzigartigen Orchesterarrangements, die von den Originalaufnahmen von DJ Muggs inspiriert sind, sowie eine Reihe von Songs aus
dem umfangreichen Katalog der Band. „Black Sunday Live At The Royal Albert Hall“ ist auf 180g-Vinyl
gepresst und die Matrizen wurden mit halber Geschwindigkeit geschnitten, um eine hochwertige und präzise
Wiedergabe zu gewährleisten. Außerdem erhältlich als 2CD sowie als 2CD inklusive BluRay oder DVD, die
den Konzertfilm enthalten.

"Nilam" folgt auf das letztjährige Album "Daughter Of A Temple", das von Gilles Peterson zum BBC 6 Music "Album of the Year" gekürt wurde. The Guardian erklärte es ebenfalls zu einem der 10 besten Alben des Jahres 2024 und lobte GANAVYAs Fähigkeit, "die Kraft der gemeinschaftlichen Harmonie zu nutzen, um etwas Tieferes als den Gesang zu berühren". Wenn man sich das bemerkenswerte "Nilam" anhört, scheint es unwahrscheinlich, dass jemals Zweifel an seiner Entstehung bestanden haben könnten. Die Stille ist so erstaunlich, die Vermittlung von Gefühlen so tiefgreifend, dass man das Gefühl hat, dass es schon immer so gedacht war. Es ist eine Feier der Bande, die uns verbinden, und möglicherweise die zärtlichste Musik, die wir dieses Jahr hören werden. Sie ist intim und ehrlich, ein ergreifender Ausdruck der Dankbarkeit für die Segnungen, die uns auf dem Boden halten, wenn wir sie nur erkennen und willkommen heißen. In der Tat könnte es direkt von der Seele auf die Stereoanlage übertragen worden sein, von der Art und Weise, wie "Not A Burden" eine Last von den Schultern der Welt nimmt, bis hin zum friedlichen "Sees Fire", mit dem sanften Groove von "Land" voller Raum, dem heiteren "Nine Jeweled Prayer" und durchweg GANAVYAs Gesang wie Wellen in einer Lagune. New York-born, Tamil Nadu-raised singer and transdisciplinarian GANAVYA - "among modern music"s most compelling vocalists," according to the Wall Street Journal - has announced details of a new album, Nilam, due May 23, 2025. It follows last year"s Daughter Of A Temple, Gilles Peterson"s BBC 6 Music Album of the Year, similarly declared one of 2024"s Top 10 Best Global Albums by The Guardian, who applauded GANAVYA"s ability to harness "the power of communal harmony to touch something deeper than song." Co-produced by Nils Frahm at LEITER Studio in Berlin"s Funkhaus complex, the new album by "the singer whose work," says the New York Times, "feels like prayer...with listeners hanging onto her every word" will be released by LEITER on vinyl and via all digital platforms. Listening to the remarkable Nilam, it seems implausible now that its inception might ever have been in doubt. So astonishing is its stillness, so profound its communication of sentiment, it feels as if it was always meant to be. A celebration of the ties that bind, and possibly the most tender-hearted music we"ll hear this year, it"s intimate and honest, a poignant expression of gratitude for the blessings which keep us grounded, if only we"ll recognise and welcome them. Indeed, it could have been transmitted directly from soul to stereo, from the way "Not A Burden" lifts a weight off the world"s shoulders to the peaceful "Sees Fire", with "Land""s gentle groove full of space, "Nine Jeweled Prayer" serenely precious, and, throughout, GANAVYA"s vocals like ripples on a lagoon.

This novelty album, released in 1966 during the height of the Batman & Robin craze, was initially credited to the "The Sensational Guitars of Dan and Dale" and featured an album full of tracks based on the popular TV show like "The Batman Theme Song", "The Penguin Chase", and "The Batcave". The album is entirely instrumental, except for someone singing "Batmaaaan!" in the theme song. But the interesting thing about this album, and what makes it an absolute cult gem, are the musicians who are behind it all: basically a joint collaboration between Sun Ra's Arkestra and Danny Kalb's Blues Project (one of the first psychedelic rock bands as well as one of the world's first jam bands). "Dan and Dale" were actually blues guitarist Danny Kalb and Steve Katz (later of Blood, Sweat & Tears) on dueling guitars, while Sun Ra and Al Kooper take over organ duties (a Hammond B-3) and members of Ra's Arkestra play sax.

To kick off Ace Records 50th Anniversary we are delighted to offer up a 2-LP version of one of the most seminal and important heavy metal albums of all time.

Funded by and released on Chiswick Records in 1977, Motörhead’s debut album was a sonic blister of epic proportions capturing the musical lighting generated by Lemmy (bass/vocals), Phil Taylor (guitar) and Eddie Clarke (drums).

This 2-LP set not only offers up this classic first album featuring tracks like ‘White Line Fever’, ‘Violator’ and ‘Keep Us On The Road’ but also collates together, on sides three and four, ‘City Kids’ the “Beer Drinkers EP” as well as different mixed and alternative versions of ear-bleeding classics like ‘Motörhead’, ‘The Watcher’ and ‘Keep Us On The Road’.

The album cover features a silver hot foil replication Joe Petagno’s original Motorhead logo in all its glory. Sleeve notes are by Ted Carroll who takes the reader through the story of how Chiswick Records managed to scrape together the money to fund the recording and write themselves and Motörhead into rock and roll history.

It’s one hell of a way to kick off Ace’s 50th Anniversary re-issue schedule.

In an ever-expanding musical universe, Azymuth have long existed as a celestial giant, drawing countless artists, musicians and followers into their orbit. Marking fifty years since their 1975 debut album Azimuth, their new album Marca Passo proves that the band’s alchemic brew of Brazilian jazz-funk and cosmic samba soul remains as vital as ever, as the group honours the profound legacy of their departed founders.

Recorded in Rio de Janeiro, Marca Passo is the first full-length release since the passing of founding drummer Ivan "Mamão" Conti in 2023, following the earlier loss of keyboardist José Roberto Bertrami in 2012. Alex Malheiros, the sole remaining original member, sees his stewardship of the band’s musical legacy as his spiritual duty. He is joined by the equally devoted Kiko Continentino (Milton Nascimento, Djavan) on keyboards, who has been with the group since 2016, and new recruit Renato Massa (Marcos Valle, Ed Motta) on drums.

Yet since their earliest recorded music, Azymuth have always been far greater than the sum of their parts. The "three-man orchestra’s" unmistakable sound is rooted in Brazil's MPB studio scene of the 1970s and early 1980s—a time when artists blended traditional Brazilian rhythms with global jazz, rock, and emerging psychedelic and progressive elements. Marca Passo continues this legacy, seamlessly fusing Brazilian musical traditions with global influences while showcasing the exceptional musicianship that powers Azymuth's distinctive, multi-dimensional sound.

The album is produced by studio mastermind Daniel Maunick, responsible for Azymuth’s two previous studio albums, Fênix in 2016 and Aurora in 2011. Daniel’s credits also include albums by Marcos Valle, Sabrina Malheiros and Terry Callier. Azymuth also invited Daniel’s father, British jazz-funk royalty Jean Paul “Bluey” Maunick, of Incognito, to play guitar on a new version of Azymuth’s eighties classic “Last Summer In Rio”, in tribute to the song’s composer, José Roberto Bertrami. Equally, “Samba Pro Mamao” is a new composition dedicated to Azymuth’s beloved original drummer, Ivan “Mamão” Conti.

Credits:

Alex Malheiros - Bass, Acoustic Guitar & Vocals: 1,2, 3, 4, 5, 6, 7, 8, 9, 10
Kiko Continentino - Keyboards, Organ, Vocoder & Vocals: 2, 3, 4, 5, 6, 7, 8, 9, 10
Renato Massa - Drums & Vocals: : 2, 3, 4, 5, 6, 8, 9, 10
Ian Moreira - Percussion: 1, 2, 3, 4, 5, 6, 8, 9, 10
Sidinho Moreira - Percussion: 1, 2, 3, 4, 5, 7, 8, 9, 10
Dudu Viana - Keyboards & Vocals: 1
Victor Bertrami - Drums: 1
Mangueirinha - Repinique: 3
Jean Paul ‘Bluey’ Maunick - Electric Guitar: 5
Jose Carlos Bigorna - Soprano Sax: 9
Daniel Maunick: Additional Percussion, Synths & EFX: 1, 2, 3, 4, 5, 6, 7, 8, 9

Produced, Engineered, Mixed & Arranged by Daniel Maunick
Co-Produced & Arranged by Alex Malheiros
Executive Producer: Joe Davis


Recorded by:
Daniel Maunick & Leonardo Vieira @ Estúdio Nos Trilhos, Santa Teresa, Rio, Brazil
Daniel Maunick & Amadeu Signorelli @ Sigstudio, Niterói, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estúdio Basslab, Piratininga, Rio, Brazil
Mixed by Daniel Maunick @ The Sugar Shack, Carluke, Scotland


Artwork & Design: Tyler Askew

The Understated Debut That Launched a Peerless Career: Bob Dylan Is the Clearest Connection to the Singer-Songwriter's Folk Roots
Pressed on MoFi SuperVinyl for Reference Playback: Mobile Fidelity 33RPM SuperVinyl Mono LP Features the Direct Sound Dylan Intended

1/4" / 15 IPS analogue mono master to DSD 256 to analogue console to lathe

Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the initial efforts of giants like Elvis Presley and the Rolling Stones.

Nodding to Woody Guthrie and re-imagining Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He authoritatively displays the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his then-20-year-old age.

Sourced from the original master tapes, housed in a Stoughton jacket, and pressed on MoFi SuperVinyl at Fidelity Record Pressing, Mobile Fidelity's numbered-edition 180g 33RPM mono SuperVinyl LP brings the contents of this seminal release as close as they've ever come to live-in-the-studio quality. Transparent to the source, Dylan's voice, acoustic guitar, and harmonica come across with exceptional realism — the "husk and bark" to which Robert Shelton referred in his legendary New York Times review of a Dylan appearance at Gerde's Folk City — courtesy of the format’s nearly non-existent noise floor, groove definition, and quiet surfaces.

Heard in the original mono configuration, Dylan’s vocals are in the heart of the musical action and as one with the accompaniment. This reissue paints an incredibly accurate portrait of the concrete mass of sound that features no artificial panning and offers a straight-ahead immersion into the music producer John Hammond recorded in just two days in November 1961.

Though much has been made of the commercial indifference that greeted the album upon its low-key release, focusing on sales figures and the reaction of a public not yet hip to Dylan's name miss the forest for the trees. Distinguished from the era's other folk efforts by way of the singer-songwriter’s determination, brazenness, and lived-through-this worldliness, Bob Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

As Dylan scholar and pop-culture critic Greil Marcus observed in 2010: "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin."

Mono is how almost everyone first heard Dylan’s opening salvo. A career like none other starts here.

MoFi SuperVinyl:

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Celebrate 20 years of Jazzanova"s groundbreaking debut album In Between with this stunning live reinterpretation. Recorded at Little Big Beat Studios, the Jazzanova Live Band breathes fresh energy into timeless tracks like That Night, No Use, and Days To Come. This performance seamlessly blends the album"s sample-based origins with the vibrancy of live music. A must-have for fans of jazz, soul, and electronic fusion

Pierre Bastien and Michel Banabila return with Nuits Sans Nuit, their second collaboration following their Baba Soirée debut from 2023. Recorded as an intuitive exchange between Rotterdam and Valencia, the album emerged from a simple ping-pong process: Banabila sculpted sounds and atmospheres, to which Bastien responded with his distinctive instrumental palette: flute-augmented cornet, mechanised log drum, and more. Mixed by Banabila, the result is a raw yet immersive work that resonates with a somnambulant, wide-awake presence. Nuits Sans Nuit unfolds through shifting shades of melancholy. "I don"t know how to describe the feeling of these crazy times we live in," says Banabila. "Les plus désespérés sont les chants les plus beaux," Bastien quotes De Musset. Wordless yet deeply expressive, the album invites listeners into a space of contemplation, where meaning emerges through immersion - like ritual music carrying an unspoken message. Echoes of saudade, blues, fado, and soleá surface in the duo"s playful noise, reimagined through their singular vocabulary.

2LP silk screened + insert

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects

2LP silk screened + insert

Before Guaracha UFO propelled Meridian Brothers onto the international stage, Eblis Álvarez was already shaping his singular sonic universe in the shadows. Released only on CD in between 2009 and 2012 via local label La Distritofónica, Meridian Brothers VI and VII never had wide distribution or media exposure. Yet, these albums represent a crucial phase in the band’s evolution, capturing the energy of Bogotá’s experimental cumbia scene at the time.

On VI, Álvarez crafts a hallucinatory patchwork of cumbia and vallenato, using his guitar as the guiding thread before layering other instruments on top. VII pushes experimentation even further with a custom-built sampling algorithm, generating unpredictable loops and grooves. These two albums laid the foundation for the radical fusion and irreverent spirit that would later define Meridian Brothers.

Now reissued on vinyl for the first time, these historic recordings offer a raw and fascinating glimpse into the origins of one of Latin America’s most forward-thinking musical projects.

Die 10 Tracks des brandneuen Albums gehören zu den melodischsten, optimistischsten und eingängigsten der langen Bandgeschichte. Die positive Mischung aus hymnischen Beats und emotionaler Tiefe führt den vertrauten Sound von VNV Nation zu neuen Höhen und bietet ein perfektes Antidot in ungewissen Zeiten.

This is a single taken from UK jazz-funk outfit Funkshone's debut album which features a cover of the classic free-soul anthem 'I Believe In Miracles' by the Jackson Sisters. It's a raw and direct funk-soul sound that has been increasingly popular in recent years with champions like Floating Points often weaving it into his sets. On the B-side, they offer a freshly recorded take on 'Panama' by Roy Porter Sound Machine, which was previously only found on select CD editions. It is powered by an explosive drum break that hits with near-manic intensity from the very first beat and is a nice driving counter to the soulful A-side.

Ein dynamisches und erhabenes Werk voller Emotionen und Sensibilität, "From Where You Came" als eine Reihe nächtlicher Übertragungen, altertümlicher Verfeinerungen und lebendiger Geschichten, die reich an erhellenden Qualitäten sind. Die Kombination von programmatischer Musik des 19. Jahrhunderts mit Jazz aus der Mitte der 70er Jahre und ihrem unverwechselbar farbenfrohen und mehrdimensionalen Kompositionsansatz, der die Improvisation einschließt, ermöglicht Coverdale die Synthese mit Live-Instrumenten in einer genrefreien, aber deutlich erkennbaren Geste der Wiederverbindung mit Land und Körper durch Klang zu verbinden. Sie betrachtet Komposition als diagnostische Methodik zu spirituellen Zwecken, leitet emotionale Resonanz wie Ladungsströme und verdrahtet das rein Gefühlte in elektronische Signale. Obwohl sie auf mehreren Kontinenten komponiert und aufgenommen hat, unter anderem im GRM Studio in Paris und dem Elektronmusikstudion EMS in Stockholm, wurde "From Where You Came" im ländlichen Ontario, Kanada, fertiggestellt. Mit Beiträgen der multidisziplinären Klangkünstlerin und Cellistin Anne Bourne und dem mit einem Grammy ausgezeichneten Posaunen-Wunderkind Kalia Vandever, enthalten die 11 ausgedehnten und doch verdichteten Kompositionen des Albums Streicher, Holzbläser, Blechbläser, Tasten, Software und modulare Synthese, die eine musikalische Sprache einschreiben, die Animationen mit ungefilterter, beeindruckender Klarheit wiedergibt. ,Alles kann eine Stimme haben", sagt sagt Coverdale. ,Für mich ist die Stimme mehr als nur menschlich." Passenderweise ist es die eigene Stimme der Künstlerin die sich im einhüllenden Schwellwerk des Albumauftakts in Luft auflöst: ,Everything you know is real", singt sie in ,Eternity`, "I'm sorry, life is beautiful." Als zwischen Animismus und Animalismus oszilliert, ist das folgende Album absolut voll von Leben in all seiner atemberaubenden Komplexität. Coverdale rechnet mit der Erfahrung von Trauer, Entwurzelung und dem Druck der totalen Freiheit und Unabhängigkeit ab, und beweist eine übernatürliche Fähigkeit, die Trübsal in höchst fantasievolle und inspirierende Fantasy-Epen aus Klang zu verwandeln.

Strut proudly reintroduces a sought after independent disco gem from the Topomic catalogue: Beckie Bell"s "In Need Of...", reissued in full for the first time. Originally released in 1980, In Need Of... quickly became a cult classic of the French disco scene. After relocating from New York to Paris in the late 1970s, Bell carved out a unique space for her sound, blending the soulfulness of New York disco with the high energy sophistication of the European market. The full debut album features some of Bell"s earliest recordings, including the full length version of "Super Queen" (1979) and "In The Right Place" (1980), showcasing her commanding vocal delivery and distinct musical style. Standout track "Music Madness" has since become a much-loved disco anthem, revered by collectors and DJs alike.