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Garth Erasmus is an artist and musician based in Cape Town, South Africa. 'Threnody for the KhoiSan' is his first album under his own name. Since 1985 his artistic interests have broadened to include music-making, designing and making his own instruments based on indigenous KhoiSan knowledge. From 1999 to 2012 he was a member of the South African First Nation activist group Khoi Khonnexion. In the past couple of years Garth Erasmus has also been a pivotal part of various international performance pieces and exhibition projects which brought him regularly to Europe. Most of these activities were developed and performed in collaboration with the Hamburg based band Kante and his band Khoi Khonnexion. In April 2024 Garth Erasmus will be part of the group exhibtion 'Oscillations' at Akademie der Künste, Berlin.

His works in music are predominantly characterized by a restless quest for alternative forms of expression and materials including self build instruments, field recordings or various electronic music devices.

In this context the music on 'Threnody for the KhoiSan' takes on a primal and metaphorical meaning. Rather than a formal, physical initiation, this process is more spiritually inclined, yet it is a spirituality which is consistently put into action.. “Ever since I was an art student I have experimented with alternative materials to release me from the Western education values I received. When I started to make these instruments in the 1980s, my intention was to create art objects but when I discovered the sound they made, it unlocked a door that transported me deeper in my quest in the realization that I was on the right path.

In fact all instruments which appear on 'Threnody for the KhoiSan' are products of a process of discovery starting from square one. All this is based and founded on the beauty of simplicity and minimalism as symbolized by the single string Khoisan musical bow and arrow as trance musical instrument. In this sense it soon became manisfest for Garth Erasmus to combine the bow instruments with various electronic instruments. Besides developing his own unique language in music he also shared an expressed interested in experimental sound aesthecis, Avantgarde composition and Free Jazz. However, his non - academic approach towards sound and music was always fueled by the desire for a reconnection to the land and to the idegenious knowledge of the KhoiSan, whose struggle for First Nation status continues.

Song for Morenga
This song is dedicated to a guerilla leader, named Jacob Morenga, who was the leader of the nama/herero anti-german uprisings that occured between 1904 and 1907.

Amaseh Amen
This is a classic mouthbow piece that conjures the spiritual nature of Khoisan cultural praxis.

Gwaing Reverie
It was composed as a personal gift to the other members of newly formed electro-acoustic trio „Gwaing". „Gwaing" is an ancient Khoisan place name, meaning the mouth of the river.

Mcinci Song
A typical meditation on the traditional Mcinci flute. This flute was originally played by shepherds and was made of reed.

The Ascension of Milford Graves
This piece attends to capture the risen spirit of the legendary African American drummer Milford Graves. It was composed soon after his death in 2021.

Song for The Sisters of the Soil
A live improvisation dedicated to Lucelle and Melissa (The Sisters of the Soil) on the occasion of visiting them at their residence, known as „Oppieyaart" on the Cape Flats. On 10 September 2022 there is an online event with them at Kunsthaus Hamburg.

Arguably one of the best punk albums of the 70s, The Boys self-titled debut (produced by Dangerfield & Steel) is a cult UK classic. The album is filled with the pop punk gems, the kind of immediate salvos that would elevate Buzzcocks into the charts. In the intervening years, the history of punk rock has been written and re-written and a whole heap of bands have been sidelined. The Boys’ debut album, re-mastered here still sounds as fresh and immediate as it did back then and it also includes two classic punk rock singles in ‘I Don’t Care’ and ‘First Time’ (the latter, along with The Undertones "Teenage Kicks", the ultimate punk anthem of teenage romance and adolescent angst). Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’.

LANY haben im Alleingang den Mainstream geknackt - als eine der allgegenwärtigsten, unberechenbarsten und unverzichtbarsten Alternative-Rock-Bands dieser Zeit. Ihre energiegeladene, mitreißende und sich ständig weiterentwickelnde Live-Show zieht Fans auf allen Kontinenten in ihren Bann und ist weltweit ein Publikumsmagnet. Für ihr lang erwartetes fünftes Album hat sich die Band wieder mit dem legendären Produzenten Mike Crossey zusammengetan.

Die Londoner Band Home Counties veröffentlicht nach ersten EPs ihr Debütalbum 'Exactly As It Seems', produziert von Bandgitarrist Conor Kearney und gemischt von Andy Savors (Black Country New Road, Rina Sawayama, Sorry). Home Counties haben sich als eine der wichtigsten neuen Alternative-Bands Großbritanniens etabliert, die mit Shame, Psychedelic Porn Crumpets, FEET, Courting und bdrmm auftraten und von BBC Radio-DJs sowie Elton John (Apple 1) unterstützt werden. Der Band gelingt es, lyrische Offenheit über die besch******* Details des modernen Lebens und musikalischen Schwung mit Begeisterung in Einklang zu bringen. Nach dem treffenden Motto: 'Mein Leben ist ruiniert, weil ich mir die Miete nicht leisten kann, aber ich werde darüber tanzen.'

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

White Vinyl

Loved is the third album by the British band Cranes, released in 1994. Elements of alternative rock, shoegaze, dream-pop and darkwave are mixed in their attractive music. Their gothic elements made a return, while they retained the feeling of their previous album Forever. It was another artistic experience, with nicely orchestrated and constructed songs. Loved gives the title all the credits, as it is an album which shows most of their feelings and emotions.

Siblings Alison and Jim Shaw formed the band Cranes back in 1989. They recorded several successful albums, including 1991s Wings of Joy and 1994s Loved.

Available as a limited pressing of 1000 individually numbered copies on blue marbled (transparent blue & gold mixed) coloured vinyl and the package includes an insert.

Laura Quirke and Claire Kinsella’s collaboration charms audiences into a world of intimate observations and uncomfortable questions with irresistible chemistry, charisma, and humour. ‘Why are all the good men, too old, taken or dead?’ The rare alchemy of the duo’s voices together cuts through a minimal and dramatic soundscape; coloured by the warmth and grit of Kinsella’s Cello, and distinctly underpinned by Quirke’s cyclical, trance-like guitar playing. While embedded in Irish and Folk roots, Lemoncello’s sound embraces the freedom of carving out its own song structures, entwined with a love of off-kilter Indie Pop, Jazz extemporisation and Romantic and Contemporary Classical music. A vital voice in the thriving alternative folk scene in Ireland, Lemoncello have been nominated for Best Folk Song and Best Emerging Folk Act at the RTE Radio 1 Folk Awards and opened for and collaborated with many esteemed artists such as Lisa O'Neill, Sam Amidon, Glen Hansard, Cormac Begley & Joshua Burnside. Now, they present their self-titled debut album, available on CD & vinyl.

To celebrate Gene Clark"s landmark 1974 record, No Other, turning 50, 4AD are proud to be releasing the album"s session tracks for the first time on vinyl. Mixed from their original multi-track tapes and spread over two discs, these 18 alternative versions taken from No Other"s recording sessions at LA"s infamous Village Recorder studio offer a fascinating insight into the making of this timeless album. Housed in a mirror board, gatefold sleeve and containing photos from the 1974 recording sessions as well as comprehensive song notes, this special edition is being pressed on double black vinyl with the first disc containing the best / most interesting take of each track and the second disc being every first full take.

1000 copies worldwide. Deluxe freshly remastered edition of Royal Trux's seminal debut album, originally released on their own Royal Records label in 1988. Fierce and uncompromising, this long overdue re-issue comes with rejuvenated artwork and brand-new liner notes. Formed in 1987 by Neil Hagerty (vocals, guitar), formerly of Pussy Galore, and his then girlfriend Jennifer Herrema (vocals), Royal Trux successfully dismantled alternative rock with a discordant guitar and time signatures akin to Miles Davis on an unholy mission circa 'Bitches Brew' or Manson strumming in his prison cell. Often described as a garage rock act, Royal Trux were far more complex, an unravelling surge of ideas, influences, mangled theories and out-there meandering, setting the blueprint for lo-fi indie amid their intricate reflections on their self-destructive lifestyle. "Their music was wild and their lives even wilder." The Guardian // "A chop-shop approach to pop history." Pitchfork

Das Noise-Kollektiv Knives aus Bristol hat die britische Alternative-Szene mit ihrer poppigen Mischung aus Post-Punk, Hardcore, Rap und Noise im Sturm erobert. Die Band kehrt mit ihrem Mini-Album "What We See In Their Eyes" zurück, um ihre Unzufriedenheit mit bestimmten Personen aus Bristol zum Ausdruck zu bringt, die dem einladenden Image der Stadt widersprechen. Die EP ist ein vertontes Spiegelbild und lädt den Hörer dazu ein, sich in die Lage der Unzufriedenen zu versetzen. Die Knives haben eine beeindruckende Resonanz zu ihren Live Shows erfahren. Vom ausverkauften Rough Trade Bristol bis hin zu Auftritten an der Seite von Bands wie Mclusky, CLT DRP, Tokky Horror, LIFE und Enola Gay - ihr chaotisches Liveset zieht jeden im Publikum in seinen Bann. 2024 wird ein aufregendes Jahr für die Knives werden, denn sie versprechen weitere schreiende Hymnen, die unsere gesellschaftlichen Herausforderungen kritisieren, sowie viele weitere Shows in ganz Großbritannien und der EU.

Ltd 140G Crystal-Clear-White Marbled Vinyl und 140G schwarzes Vinyl erhältlich!

Ltd Edition!

Das Noise-Kollektiv Knives aus Bristol hat die britische Alternative-Szene mit ihrer poppigen Mischung aus Post-Punk, Hardcore, Rap und Noise im Sturm erobert. Die Band kehrt mit ihrem Mini-Album "What We See In Their Eyes" zurück, um ihre Unzufriedenheit mit bestimmten Personen aus Bristol zum Ausdruck zu bringt, die dem einladenden Image der Stadt widersprechen. Die EP ist ein vertontes Spiegelbild und lädt den Hörer dazu ein, sich in die Lage der Unzufriedenen zu versetzen. Die Knives haben eine beeindruckende Resonanz zu ihren Live Shows erfahren. Vom ausverkauften Rough Trade Bristol bis hin zu Auftritten an der Seite von Bands wie Mclusky, CLT DRP, Tokky Horror, LIFE und Enola Gay - ihr chaotisches Liveset zieht jeden im Publikum in seinen Bann. 2024 wird ein aufregendes Jahr für die Knives werden, denn sie versprechen weitere schreiende Hymnen, die unsere gesellschaftlichen Herausforderungen kritisieren, sowie viele weitere Shows in ganz Großbritannien und der EU.

Ltd 140G Crystal-Clear-White Marbled Vinyl und 140G schwarzes Vinyl erhältlich!

Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard-led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club. Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly_rather than Eno penning lyrics to music generated by Max and company's jamming, Orton started with Eno and Max writing together before adding the band. With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope's sound quicker and more instinctual than before. "Ross is from Sheffield, which has an edgier, more industrial vibe than London," Grunhard explains. "He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going." In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way. As a result, Pull the Rope is a nimble, sleek machine that's thrilling from the first note of the opening title track, Eno's otherworldly voice and PK Ambrose's throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. "We are the places we grew up, the places we've been, and the people we've met along the way," Williams says. "Hopping around the globe, we've found that people are fundamentally the same_they're people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering." Lead single "Got to Be Who U Are" literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are. Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. "Mama Say" and "Let My Yes Be Yes" touch themes of female empowerment. They're indicative of the band's depth as they push further into the electronic; "Mama Say" hits notes of electropop while "Let My Yes Be Yes" fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams' vocals and voice has never felt more necessary. The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.

The first regular Dave Brubeck Quartet with Paul Desmond included Joe Dodge on drums and, alternatively, brothers Bob or Norman Bates on bass. In 1956 Joe Morello took over as the quartet’s drummer in place of Dodge (the Bates brothers would be replaced by Eugene Wright on bass a few months after the recording of this album, and with his arrival the “Classic Quartet” was born). Jazz Goes to Junior College is, therefore, a recording that shows a transitional phase of the quartet. It also marks a return to “live” albums after making various studio LPs. This was a “sequel” to the Brubeck Quartet hit Jazz Goes to College, recorded during various college concerts in 1954. THE COMPLETE ALBUM - 180-gram VIRGIN VINYL - LIMITED EDITION -

2023 sees the return of multi-talented Norwegian producer Espen Horne to Wah Wah 45s, after a 24 year hiatus. The man behind the label's very first release, the now seminal Magnetica, never lost his connection with the imprint and has remained very much part of the Wah Wah family, making a comeback this year with his first solo material under his own name since that club classic from 1999.

Back in the spring, the first single from the project, the gorgeous soul-jazz beauty Bakeren, featuring the stunning vocals of Resonators' Faye Houston, quickly found a home on Gilles Peterson's internationally renowned BBC Radio 6 show as well as that of Jazz FM legend Robbie Vincent, Bandcamp Weekly and the Fresh Finds Jazz Spotify playlist.

Following that, Bergen Sunrays, became a weekly fixture on the Craig Charles Funk & Soul Show on BBC 6 Music, with the limited 7-inch of both singles selling out within hours of release.

Next up was the wistful Den Franske Gitaren, a lugubrious soul-jazz piece with drum & bass leanings featuring Bergen based MC and vocalist Aich, which found favour with legends Laurent Garnier and Jazzanova as well as hot Japanese production outfit Dazzle Drums.

This was closely followed by the final single to be taken from the album, the stunning and outspoken vocal jazz waltzer Nada Pode Me Calar (which roughly translates to Nothing Can Shut Me Up!) featuring the sublime talent of Olav Wöllo on vocals and Juno - anotherr big one with Gilles Peterson on Worldwide FM and Deb Grant on BBC 6 Music.

And now the full album, entitled The Anatomy Of Serene Eloquence is available for your aural delectation. Recorded largely during lockdown, the LP is a sophisticated and composed piece of work that sees the Norwegian producer make connections with musicians from across Europe, and some closer to home, to collaborate on this sedate and peaceful collection of songs.

The aforementioned Faye Houston also appears on the soulful, dub flavoured Don't Fall Asleep, a piece of music that explores the feeling of being isolated whilst sharing a mutual love and drive to explore new sonic possibilities.

Elsewhere, Olav Wöllo pops up again too, this time on O Mar E A Lua and once again singing in Portuguese to give this track a certain Tropicalia feel, as Espen explains:

"Olav Wöllo is a close friend, an excellent musician and vocalist, and a capoeira professor here in Bergen. He has spent much of his life living in Brazil and speaks Portuguese fluently. He wrote the lyrics for this tune years ago and had just been waiting for the right collaboration to come along.

We went to his lovely studio out on this remote island, made a massive gyoza meal, had some serious good wine and stayed the whole night to record his vocal harmonies and outspoken lyrics."

The single Bergen Sunrays also appears on the album in instrumental form with featured keys courtesy of London based player Rory More - here entitled Rory's Sunrays. His Lowrey organ adds a more melancholic feel to the track, as it does on the stunning Belle Époque, alongside the ivory work of Eirik Blåsternes - an emotional, contemplative and atmospheric track that was tested and shaped in the eclipse of Covid.

As with Belle Époque, La Psychosomnie is a playful yet explorative cut that examines insomnia, paralysis and hypnosis courtesy of some enigmatic French spoken word spinning around a framework of drums, bass and swirling keys.

And finally, the album offers up an alternative version of the single Den Franske Gitaren, this time featuring Martin Halla, a vocalist out of the Bergen Grieg Jazz Academy and winner of the Norwegian version of The Voice back in 2012! The perfect flip to Aich's more mournful interpretation of this bass and drum future classic.

Die vier-köpfige Band Porij aus Manchester gehört mit ihrem Alternative-Dance-Sound zu den aufregendsten und spannendsten Newcomern aus UK und durfte bereits Größen wie Coldplay, Metronomy, Friendly Fires und Jungle supporten. Nicht umsonst steht die Band auf „ones to watch“ Listen von u.a. The Guardian, NME und BBC 6. Nun erscheint das Debütalbum 'Teething'. Ein Coming-Of-Age Album, eine Kollision von Indie-Rock und Dance, das organische und elektronische Klänge einzigartig vermischt zu zärtlichen und zugleich transzendenten Songs.

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

Bullion ist Nathan Jenkins, ein Produzent und Songwriter der elektronischen Musik, der Künstler, Genres und die britische Subkultur miteinander verbindet. Seine Credits reichen von Carly Rae Jepsen, Ben Howard, Nilüfer Yanya und Avalon Emersons Durchbruchsalbum „& The Charm“ bis zu Platten für Westerman und Joviale. Bullions gefeierte Solo-Veröffentlichungen sind bei Young, The Trilogy Tapes, Jagjaguwar und seinem eigenen Label DEEK Recordings erschienen. Es ist ein kreativer roter Faden, den Bullion auf seinem neuen Überraschungsalbum „Affection“ verknüpft - ein warmes, gelegentlich schräges und wunderschön umgesetztes Pop-Album. Bullions Musik war schon immer schwer zu fassen, aber absolut unverwechselbar - und auf „Affection“ ist es ein großes Vergnügen zu hören, wie dieser kompromisslose Ansatz zum Teil durch Weichheit verstärkt wird. Das Album fragt laut nach der Bedeutung von Intimität in der Beziehung zu anderen und zu sich selbst. Nathan wendet auf Bullions neuestem Album an, was er seinen Künstlerkollegen schon seit Jahren im Studio ans Herz legt: offen für Abenteuer zu sein. „Affection“ betritt einen emotional präsenteren, oft verspielten Raum, mit den Kollaborateuren Carly Rae Jepsen und Charlotte Adigéry, die Songs zieren, in denen Gefühle Vorrang vor festen Bedeutungen haben. „Rare“ zum Beispiel entstand während der Sessions für Jepsens jüngstes Album in Toronto: hohe Energie, die sich schüchtern gibt, um etwas "tief im Herzen" auszudrücken. „World_train“ ist ein exzentrischer und brillant schräger Blickwinkel auf Bullions Liebe zum Pop, der mit seiner Lokomotivkraft eine verlorene Vergangenheit inmitten der Unsicherheiten des Alltags heraufbeschwört. „I can hardly understand what it takes to be a real man'", singt Bullion. „…and nobody can“, bestätigt Adigéry. Dennoch, Verbindungen - verpasste, eingebildete oder immer noch mögliche - umhüllen einen Großteil von „Affection“, mit der Panda Bear Kollaboration „A City's Never“, die entstand, nachdem Noah und Nathan zur gleichen Zeit in Lissabon lebten, sich aber nie wirklich trafen. Für Bullion geht es bei der Bereitschaft, andere in seinen Songwriting-Prozess einzubeziehen, sowohl um die Öffnung der Welt des Albums als auch um die Verbesserung des Werks und der Person. Durch die Vermischung von Beobachtung und Introspektive entzieht sich der Avant-Pop von Affection jeder Kategorisierung. Die Texte des Albums sind ebenso unaufdringlich und hingebungsvoll wie neugierig auf alternative Möglichkeiten des Seins. Nathan hat seinen Sound gemeistert, aber das Leben - mit seinen Erwartungen, Widersprüchen, Impulsen und Sehnsüchten - bleibt unkontrollierbar. „Affection“ ist ein unaufdringlich kraftvolles Streben nach einer mitfühlenderen Form des Vertrauens.

Für den Nachfolger ihres Debütalbums haben sich die bekannten Rocker Ian Crichton (Saga), Nigel Glockler (Saxon) und Robert Berry (The Greg Kihn Band), auch bekannt als SiX By SiX, in einem Studio in der San Francisco Bay Area zusammengefunden und ihre gemeinsame Alchemie entfesselt. Sie arbeiteten das ganze Jahr 2023 hindurch, um ihre vielfältigen musikalischen Talente zu biegen, zu formen, zu hämmern und zu streicheln und daraus 11 beeindruckende Tracks zu machen. Mit diesem Album setzt das klassische Power-Trio seinen einzigartigen melodischen Raum fort und verschmilzt gitarrengetriebenen Rock, Metal und Prog zu einem einzigartigen und kraftvollen Klangbild. "Beyond Shadowland" wird als limitiertes CD-Digipak, Gatefold 180g 2LP und als digitales Album erhältlich sein. Das Vinyl enthält Bonusmaterial, darunter zwei alternative Instrumentalversionen und ein ganz besonderes Orchester-Medley mit klassisch interpretierten Versionen ausgewählter Stücke von "Beyond Shadowland", gespielt von einem Orchester in Budapest, Ungarn.

We Release JAZZ is very happy to announce an exciting new body of work by Joseph Deenmamode aka Mo Kolours. The singular musical spirit’s new 21-track album Original Flow is available as a double LP housed in a heavy 350gsm sleeve with original artwork by Mo Kolours himself and the classic WRJ obi strip, as well as in digipack CD and digital formats.

A catalog of critically acclaimed records, including his self-titled debut (2014), ‘Texture Like Like Sun’ (2015), 2018 album ‘Inner Symbols’ and three companion EPs, established Deenmamode as a prodigious musician and vocalist. Pitchfork extolled his “hypnotic, tribal-infused dance grooves”, DJ Mag appreciated the “colourful celebration of soundsystem culture”, and Resident Advisor advocated that “no one sounds quite like Mo Kolours”. Musical analogies were drawn by The Guardian as “The best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry” and Mojo as “like Marvin Gaye produced by J Dilla”.

Five years ago, Deenmamode moved to the Japanese countryside. Far away from familiarity, he contemplated his place and further questioned his identity. “I had none of my ‘own’ people around. I had time to really find what makes me tick musically. Japan has helped me go back to those subconscious leanings, really go deep, and reflect the aspects that make up my story”.

The tracks on ‘Original Flow’ have been constructed from sessions, improvisations and soundbites captured around the world during this time; collecting contributions from musicians including Deenamode’s brothers Reginald Omas Mamode and Jeen Bassa plus Andrew Ashong, Charles Bullen, Dwaye Kilvington, Eddie Hick, Stefan Asanovic, Myele Manzanza, Ross Hughes, and Tom Dreissler. Deenamode says “I’m proud of this album’s creative process. Coming from a tradition of scouring through hours of records, I wanted to create my own samples, to find that perfect loop that no other producer could put their hands on. I decided to invite a group of friends and acquaintances, who also happen to be incredible musicians, to a studio in Crystal Palace to improvise based on some loose ideas I had. We spent all day, and recorded everything”.

‘Original Flow’ is an album of UK street-soul nouveau, future indigenous jazz fusion, Rasta Segga, Nyahbinghi jazz, Malagasy Hebrew hip hop. While retaining a spirit of exploration and improvisation, it sees Deenmamode grow and flex beyond beat tape brevity, expanding composition and stretching his musical muscle to play live with other musicians. Themes of empowerment, overcoming adversity, and mental liberation coexist with notes from ancient history, futurism, and science, as well as musings on family and togetherness.

‘Magik Momentum’ springs from a discussion that features at the start of the song, an inspiring mentor answering a question from Deenmamode about improvisation and what role it plays in life when planning and manifesting the future. ‘Rockets to Mars’ questions the lack of care for the billions of people with nothing, while governments plan to explore space. “This sparked a comparison in my mind to a Sonny Okuson song that I would reference when performing. Okuson’s song talked of the lack of resources in many communities in the world, while governments go to the moon”.

He says the music behind ‘The News These Days’ is “possibly my favourite on the album”. Looped like he would a late sixty jazz-fusion sample, there was nothing added and the track was complete within a matter of minutes. “It was the first and best moment from the entire Crystal Palace session”, he adds. The album’s contrasting title track with minimal instrumentation played solo by Deenamode. While frustratingly searching for gems in past recordings, he thought in a burst of ego, “I don’t need no-one else to make a dope beat!” picked up his ravanne, (the traditional frame drum of his fathers home-land of Mauritius), pressed record, and started to play. He says, “In my thoughts were the rhythms of the Nubians in Upper-Egypt and Sudan, the swing of the huge drums played by Mauritanian women, of-course the Sega beat of Mauritius, and the ever inspiring beat of James Yancey”.

Driven by UK broken beat, Cuban congas, Nigerian and Mauritian inflections, ‘Love Vibration’ follows the concept that all emotions carry a vibratory frequency and pays homage to the frequency of creation and the power of love. The two part ‘Tatamaka’ tells of the history of Deenmamode’s ancestors, the maroons of Mauritius. “We are people who managed to run from our oppressors and find refuge in a corner of the island called ‘Le Morne’ where they could not reach us. One bloody day they came in numbers to re-capture, to revenge. Many of us chose to jump to our deaths, rather than be taken back into subjugation. The poem by Creole Richard Sedley Assonne says; “there were hundreds of them, but my people, the maroons chose the kiss of death over the chains of slavery”. Tatamaka was the name of a famed maroon leader who was murdered for claiming his, and our people’s freedom. The song is the imagined journey of escape and freedom by an ancestor of the maroons of Le Morne”.

Born in the west midlands and raised on the traditional sega music of his father’s Indian Ocean homeland of Mauritius alongside records by the likes of Jimi Hendrix, Santana and Michael Jackson; his influences expanded with late 90s jungle and drum and bass nights in Bristol, experiments at art college in Camberwell, and the rich culture of Peckham, “at the time we called it the Afro Quarters of London” says Deenmamode, adding hip hop, dub, soul and soundsystem styles to his individual sound.

He explains, “I love drum music, from hand-drums to 808s. I love music from the ancient past, heritage music, indigenous music, traditional music passed down from the beginning of time. Music from the body, hand claps, grunts and foot stomps. Music with audible depth, busy, bustling, highly charged. Music from the soul, the music from beyond. I love music from the islands and the mountains. The music of the streets, hustle music, alleyway beats. Club music”.

He describes the creative process as thinking in images. “The visual world and the world of sound seem to intermingle in my thought process. When I play the drum with my eyes closed, a world of imagery dances and moves with beat. Improvised drumming feels like I am listening to what I want to hear, rather than trying to play what I want to hear. Following the rhythm and finding new pathways to walk within the patterns is what I experience. In this way I often feel I am just a listener, instead of the player”.
Original Flow is pressed on biovinyl, a sustainable alternative to traditional vinyl. Biovinyl replaces petroleum in S-PVC by recycling used cooking oil or industrial waste gases, resulting in 100% CO2 savings in bio-based S-PVC production. Furthermore, it is 100% recyclable and reusable, embracing the circular economy ideology.

Mutant präsentiert den OST zur US-Horrorkomödie LISA FRANKENSTEIN (2024). Zelda Williams' Filmdebüt kitschig und bissig und zelebriert auf gewagte Weise eine Vintage-Attitüde, unterlegt mit einer einzigartigen Playlist aus Post-Punk-/Alternative-Highlights (Pixies, Galaxie 500), modernen Coverversionen von Klassikern ("I Can See Cleary Now", "Can't Fight That Feeling") und einem unglaublichen Score von Isabella Summers (Florence & The Machine), die mit inspirierten Synths, Streichern und Keyboards sowohl das Monströse als auch das Wunderbare feiert. Rotes Vinyl mit exklusiven Linernotes von Drehbuchautor und Oscar-Gewinner Diablo Cody.

Japanese emo rockers nim have released their latest EP "Mushy" via Austin, TX label Shifting Sounds Records (Magnet School, Startographers, Gentlemen Rogues, Swallow The Rat). The style of nim is based in emo-rock, but the songs are unconventional and full of melodies. The band mixes male and female vocals to perform a gentle but overwhelming live performance with their sound. nim has grown in harmony with the independent scene both domestically and internationally. So far, they have released 3 full-length albums and many other singles, and have also conducted large-scale overseas tours in Australia, China, and South Korea. Their new EP "Mushy" is being released by Shifting Sounds on 10" Classic Black Vinyl. On their new EP "Mushy" the band further their emotionally charged alternative rock with a melodic and dreamy landscape. The songs are driven by chiming layered guitars and clean vocal harmonies under an indie pop song structure with lots of quiet to loud dynamics, often ending in climatic guitar explosions while sounding beautiful all at once. The band clearly draws inspiration from 90s sounding emo, shoegaze, dream pop, and jangly indie/emo rock are are not afraid to showcase these influences in their songwriting on the new EP. Japan has a number of up and coming bands paying homage to 90s emo, shoegaze and dream pop and nim should definitely be in the discussion.

Es gibt nur wenige Alben in der Geschichte der zeitgenössischen amerikanischen Musik, die die Bezeichnung ”Original Jazz Classic” mehr verdienen. Es ist das erste von zwei Riverside-Alben, die vom legendären letzten Auftritt des ersten Bill Evans Trios stammen - aufgenommen am letzten Tag eines Village VanguardEngagements, kaum zehn Tage vor dem tragischen Tod des Bassisten Scott LaFaro. Die Aufnahmen sind seit langem bekannt dafür, dass sie die Essenz der einzigartigen Interaktion zwischen den drei Musikern einfangen, die das Trio auszeichnete.

Diese Neuauflage von Sunday At The Village Vanguard erscheint als Teil der OJC-Serie und wurde bei RTI auf 180-Gramm-Vinyl gepresst.

Alternative rock.

Das erste offizielle Album von Jean Yves Tola nach der Auflösung von 16 Horsepower anno 2005. Als Gründungsmitglied der Alternative Country Band aus Denver waren Tolas Arrangements, Ideen und sein Einfluss innerhalb der Band immer präsent. Jetzt kommt endlich seine ganz eigene musikalische Vision auf "Feathers" zum Vorschein und präsentiert dabei zehn wunderschöne, dunkle Folk Songs. Als Gastmusiker:innen sind hier Chantal Acda, Calvin Dover (Dover Brothers), Steve Taylor (ex-16 Horsepower) und Theo Hakola (Orchestre Rouge, Passion Fodder) zu hören.

Hello and welcome to Cult Value, the new album from Manchester-based band Oort Clod, released by Safe Suburban Home in the UK and Repeating Cloud in the US this April. We are very excited to introduce this mercurial and unique collection of songs. The album includes garage stompers such as “#7”, off-kilter indie whining like the title track “Cult Value”, perfect indie pop songs like ‘Car Talk’ and much more. Featuring members of Unpaid Intern, the Hipshakes, Jeuce and the Early Mornings, Oort Clod was originally conceived by songwriter Patrick Glen as a fluid project with shifting members. Over the course of pandemic-era practices above the empty Peer Hat pub (the epicentre of DIY music making in Manchester) the current line-up solidified. In 2021 Oort Clod released a split E.P. with fellow Manchester band Priceless Bodies, pursuing a darker and more experimental sound. The EP received international airplay including BBC6 Music and KSFX. After playing gigs with bands like Porridge Radio, Jeffrey Lewis, and Garden Centre and even more practices above the Peer Hat, Oort Clod have mounted up once more to make Cult Value. The album’s sound is hard to pin down but it is Oort Clod’s most accessible and complete work so far. The band finds common ground in the alternative rock bands of the 1980s and 1990s, the post-punk and indie bands on Flying Nun Records and trashy compilations of post-British Invasion 60s garage gems like Nuggets. All of which come through, warped by Oort Clod’s particular sensibility, on this record made at Delicious Clam studios in Sheffield under the watchful eye of Ed Crisp. You’ll even get their cover of ? &the Mysterians “96 Tears”—rated the best ever cover of the song by the Blanketing Covers podcast, beating Jonathan Richman, Aretha Franklin, the Stranglers and Suicide (this actually exists, honestly). So there you have it the short and sweet lowdown on the new album Cult Value by Oort Clod. We hope you enjoy listening to it as much as they did making it and spread the good word as you see fit. Good luck in your endeavours and take care.

Stone Temple Pilots roared on to the scene in 1992 with their raucous debut Core. A breakout success, the album peaked at No. 3 on the Billboard 200 chart, dominated radio waves with hits like "Sex Type Thing" and "Wicked Garden," and has been certified 8x platinum by the RIAA. The band also took home the 1994 Grammy Award for Best Hard Rock Performance for their smash single "Plush."

Although it faced initial criticisms for being derivative of other grunge bands, such as Pearl Jam and Alice in Chains, time has gained Core recognition as a classic of the 1990s alternative rock era and remains a pivotal album in the Stone Temple Pilot's discography. Critics praised the band's musicianship, Scott Weiland's charismatic vocals, and the album's songwriting.

Core showcases a diverse range of musical styles, blending elements of alternative rock, grunge, hard rock, and even psychedelic influences. The band's sound is characterized by powerful guitar riffs and a melodic bassline.

The album strikes a balance between heavy, grunge-infused tracks and more introspective, melodic compositions. Songs such as "Sex Type Thing" and "Wicked Garden" exemplify the band's heavier, hard rock side, while tracks like "Plush" and "Creep" showcase their ability to craft emotionally charged, radio-friendly ballads. The album's eclectic mix of styles contributed to its widespread appeal and longevity in the alternative rock scene.

The top-notch Analogue Productions reissue earmarks are all here: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Mit der Veröffentlichung ihres fünften Albums betreten Imminence verschiedenste musikalische Bereiche und zeigen auf ihrer Reise als Band eine große Vielfalt.

Das bahnbrechende Alternative-Metalcore-Ensemble Imminence stammt von der Südküste Schwedens und hat sich in den letzten Jahren mutig eine Nische im Musikbereich geschaffen. Allen Erwartungen zum Trotz hat das Quintett akribisch einen Klangteppich geschaffen, der die Grenzen des Genres überschreitet. Ihre mutige Verschmelzung klassischer Streicharrangements, verwoben mit der rohen Kraft wilden skandinavischen Metals, erschafft ein fesselndes Hörerlebnis. Sowohl klanglich als auch visuell erweisen sich Imminence als ein Leuchtfeuer der Innovation und Spannung und etablieren sich nicht nur als Band, sondern auch als Pioniere, die neue Gebiete in der sich ständig weiterentwickelnden Musiklandschaft erschließen.

Angeführt vom Sänger und Geiger Eddie Berg, den Gitarristen Harald Barrett und Alex Arnoldsson, dem Schlagzeuger Peter Hanström und dem Bassisten Christian Höijer; Imminence entfesseln ihr musikalisches Können auf dem kommenden Album „The Black“. Machen Sie sich bereit und atmen Sie tief durch, während Imminence uns auf den großen Sprung in die Tiefen von „The Black“ vorbereiten, einem kühnen Versprechen einer beispiellosen musikalischen Odyssee, die sich allen Konventionen widersetzt und Sie einlädt, sich auf den Aufstieg eines neuen Genre-Klassikers einzulassen.
Die Band wagt sich in eine düsterere und stärker auf Orchester ausgerichtete Welt vor und definiert die Grenzen der modernen Alternative-Szene immer wieder neu. Imminence Erforschung ist mehr als nur Musik; Es ist ein mutiger Abstieg in unbekannte Gebiete, der ihre Position als Pioniere in der Landschaft einzigartiger und hochinnovativer musikalischer Ausdrucksformen festigt.

- „Dies ist die größte Annäherung an eine selbstbetitelte Veröffentlichung, denn diese Platte spricht Bände darüber, was Imminence als Band ausmacht.“ Durch die Einflüsse aus unserer gesamten Diskographie, gemischt mit unseren skandinavischen Wurzeln, kann man Elemente aus unserer gesamten Geschichte hören, die jedoch von einem unstillbaren Hunger angetrieben werden. Das Album ist wahrscheinlich das konzeptionellste, das wir je geschaffen haben, und ich war noch nie so stolz auf ein Werk. Die lyrischen Konzepte setzen den Weg früherer Veröffentlichungen fort und drehen sich um psychische Gesundheit und Depression. Aber dieses Mal gibt es kein Zurückhalten. Es ist wütend, verzweifelter und aus den Fugen geraten, durchdrungen von Angst und Dunkelheit. Wir haben es uns auch erlaubt, das Album in unerwartete Räume schweben zu lassen und so eine musikalische Reise mit starken Kontrasten zwischen Licht und Dunkelheit zu schaffen. Es ist ein „Eat Your Heart Out“, ein kompromissloser Beweis dafür, was „Imminence“ geworden ist. Das ist das Schwarze.“ – Eddie Berg

Mit der Veröffentlichung ihres fünften Albums betreten Imminence verschiedenste musikalische Bereiche und zeigen auf ihrer Reise als Band eine große Vielfalt.

Das bahnbrechende Alternative-Metalcore-Ensemble Imminence stammt von der Südküste Schwedens und hat sich in den letzten Jahren mutig eine Nische im Musikbereich geschaffen. Allen Erwartungen zum Trotz hat das Quintett akribisch einen Klangteppich geschaffen, der die Grenzen des Genres überschreitet. Ihre mutige Verschmelzung klassischer Streicharrangements, verwoben mit der rohen Kraft wilden skandinavischen Metals, erschafft ein fesselndes Hörerlebnis. Sowohl klanglich als auch visuell erweisen sich Imminence als ein Leuchtfeuer der Innovation und Spannung und etablieren sich nicht nur als Band, sondern auch als Pioniere, die neue Gebiete in der sich ständig weiterentwickelnden Musiklandschaft erschließen.

Angeführt vom Sänger und Geiger Eddie Berg, den Gitarristen Harald Barrett und Alex Arnoldsson, dem Schlagzeuger Peter Hanström und dem Bassisten Christian Höijer; Imminence entfesseln ihr musikalisches Können auf dem kommenden Album „The Black“. Machen Sie sich bereit und atmen Sie tief durch, während Imminence uns auf den großen Sprung in die Tiefen von „The Black“ vorbereiten, einem kühnen Versprechen einer beispiellosen musikalischen Odyssee, die sich allen Konventionen widersetzt und Sie einlädt, sich auf den Aufstieg eines neuen Genre-Klassikers einzulassen.
Die Band wagt sich in eine düsterere und stärker auf Orchester ausgerichtete Welt vor und definiert die Grenzen der modernen Alternative-Szene immer wieder neu. Imminence Erforschung ist mehr als nur Musik; Es ist ein mutiger Abstieg in unbekannte Gebiete, der ihre Position als Pioniere in der Landschaft einzigartiger und hochinnovativer musikalischer Ausdrucksformen festigt.

- „Dies ist die größte Annäherung an eine selbstbetitelte Veröffentlichung, denn diese Platte spricht Bände darüber, was Imminence als Band ausmacht.“ Durch die Einflüsse aus unserer gesamten Diskographie, gemischt mit unseren skandinavischen Wurzeln, kann man Elemente aus unserer gesamten Geschichte hören, die jedoch von einem unstillbaren Hunger angetrieben werden. Das Album ist wahrscheinlich das konzeptionellste, das wir je geschaffen haben, und ich war noch nie so stolz auf ein Werk. Die lyrischen Konzepte setzen den Weg früherer Veröffentlichungen fort und drehen sich um psychische Gesundheit und Depression. Aber dieses Mal gibt es kein Zurückhalten. Es ist wütend, verzweifelter und aus den Fugen geraten, durchdrungen von Angst und Dunkelheit. Wir haben es uns auch erlaubt, das Album in unerwartete Räume schweben zu lassen und so eine musikalische Reise mit starken Kontrasten zwischen Licht und Dunkelheit zu schaffen. Es ist ein „Eat Your Heart Out“, ein kompromissloser Beweis dafür, was „Imminence“ geworden ist. Das ist das Schwarze.“ – Eddie Berg

”Honor Roll Of Hits” is a 4 way vinyl split featuring 20 hard hitting tracks from the Lövely Records associated bands Sweet Teeth, GASP, First in Line, and Statues. It perfectly sums up the essence of the label and provides a glimpse into the alternative scene of Sweden, offering everything from ´90s inspired alternative rock to highly energetic hardcore punk.

"Honor Roll Of Hits" includes the following tracks: "Mercury", "Burning", "Running", "Move on" and more.

This version of the split album comes as a 1LP on transparent red vinyl.

Pulp’s debut and one of their most honest recordings - capturing a band at the beginning of their startling career. ‘It’ is a gentle, mainly acoustic album that hints at the musical directions Pulp would later pursue. The album touches on the majestic, theatrical ballads of Scott Walker, as well as the stark, folky song poems of Leonard Cohen. Certainly an album by a young band trying to pinpoint their direction, and absorbing many an influence from all around, ‘It’ has aged beautifully into a charming collection. Fire are to reissue Pulp’s 1983 debut album ‘It’ as part of the Fire reissue series with bonus material. Liner notes by Everett True. Featuring 4 Bonus tracks including single version of ‘My Lighthouse’ and alternative mix of ‘Blue Girls’, ‘Sink Or Swim’ and ‘Please Don’t Worry’ from Pulp’s John Peel session in 1981.

"Veneer of Tolerance Remixes" is the nine-headed rebirth of KR3 Records' Chapter 07, signed by JK Flesh, an icon revered within the UK's alternative music realm for a trailblazing three-decade career.
Each track of this double-vinyl project unveils a unique reinterpretation, birthing a bespoke tapestry of techno music, a dark sorrowful ode to the genre's diverse landscape.
Traversing realms of power electronics, noise, breakbeat, industrial, gabber, and ambient drone, the 9 tunes are sculpting an evolution within the techno genre.

The second studio album from UK Alternative artist Cosmo Sheldrake. Following 2018's "Much Much How How And I" which has sold over 100,000 units globally and embarked 250m streams on DSPs, Cosmo continues to take the listener onto a journey into his musical world with a brand new 21 song release.

Eye To The Ear by Cosmo Sheldrake, released 12 April 2024.

This version of Eye To The Ear comes as a 2xLP in a(n) Gatefold Sleeve packaging.

"What Lies Beneath" ist das zweite Studioalbum der fi nnischen Künstlerin Tarja. Ursprünglich 2010 veröffentlicht, ist es mit Hits wie "Until My Last Breath", "I Feel Immortal" und "Falling Awake" ein echter Fanliebling und bis heute eines ihrer erfolgreichsten Alben. Die 2024 Re-Issue ist als "2CD Deluxe Digipak" und, zum ersten Mal, als "Heavyweight 2LP Vinyl" (Gatefold, 180g, schwarz) erhältlich. Beide Formate bieten ein wunderschön restauriertes Artwork, und alle Tracks wurden bei Sterling Sound remastered.

Das macht die 2024 Re-Issue zum ultimativen "What Lies Beneath"-Erlebnis. Das 2CD Deluxe Digipak enthält außerdem 15 weitere Songs, darunter alternative Versionen, Single-Edits und Remixe. Viele davon wurden bis heute noch nicht physisch veröffentlicht. Außerdem enthält es den Track "The Good Die Young" von The Scorpions & Tarja, welcher ursprünglich nur als Bonustrack auf dem 2010er Ltd. "Dreamers" Boxset enthalten war.

Another great artist from the 80s back to vinyl: Roberto Buti has been involved in many important projects in the past, sometimes as a composer, sometimes as an arranger and many times by giving his voice for the project: “Xenon – Symphony”, “Next – You’re An Illusion”, “Reeds – In Your Eyes”, “Dr. Martini – You Are The One”, “Bob Robert – Storm In A Teacup”, just to name a few.

After almost 40 years, Mr. Buti is back in the 80s Italo Disco scene with a beautiful new track “You’re The Only One”. The vinyl release has an original production by Buti on the A side and as an alternative, the Flashback Remix (by Electro Potato) on the B side. Limited edition of 175 copies on the market.

2025 Repress

Chicago legend, Green Velvet, returns to Toolroom as he locks horns with label founder Mark Knight and studio partner, James Hurr, for 'The Greatest Thing Alive'. A low slung, chunky affair that screams Miami Space terrace at 8am! Quirky, full of character and Green Velvets unmistakable vocal re-work of the classic 'Mannish Boy' from Muddy Waters pushes this record into a really special place. Green Velvet debuted on the label back in 2015 alongside Technasia with 'Suga', a record that went onto to be an overall Beatport #1 and remained as their highest selling track for many years that followed, the track also sits on an impressive 9m streams. On the flipside, head honcho Mark Knight, returns with studio cohort and DJs favourite James Hurr, as they take on one of House music's all-time classic records; 'Lady (Hear Me Tonight)'. No messing around, Mark and James offer up an alternative take to this stone cold classic, bringing the infectious vocal and iconic guitar riff to the forefront, mixing into a signature Mark Knight club heavy beat. Having previously collaborated on 'Make You Happy' with Todd Terry and last year's 'You Are A God' with vocalist Cari Golden, Mark Knight and James Hurr are fast becoming a killer duo in the studio, and throughout the scene. Offering up a killer reinterpretation of legendary House classic 'Lady (Hear Me Tonight)' by French House duo Modjo, a record which transcended the boundaries of dance music back in the early 2000's and has since become a record synonymous with the era. True to form, Mark Knight and James Hurr mix their musical prowess together and deliver yet another stomping hit for the clubs!

Countless radio plays on Radio 1 from Danny Howard, Sarah Story, Pete Tong Other notable radio plays – Kiss FM, Toolroom Radio, Sirius XM, Data Transmission Radio, Radio 1 Dance Anthems, Radio 1 Party Anthems, Rinse FM, Select Radio, Tomorrowland Radio

DJ Support from Danny Howard, Annie Mac, Mistajam, Pete Tong, Charlie Hedges, Kraak & Smaak, Maxinne, Todd Terry, Alex Preston, Full Intention, GW Harrison, DJ Rae, Rudimental, Alaia & Gallo, Illyus & Barrientos, Johan S, David Penn, Sam Divine, Riva Starr, Claptone, Nice7, Dario D’Attis, Mousse T, S-Man, Huxley, KC Lights, Friend Within, Dombresky, Gorgon City, Chris Lake, Format:B, Pirupa, TCTS, Alan Fitzpatrick, Low Steppa, Mat.Joe, Raumakustik, Eskuche

When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.

It was an acceptance speech that rattled the room and built anticipation for their next projects.

Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.

Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.

This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.

From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.

The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.

Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.

Flung is an emerging experimental pop artist with a refreshing sound. Her music has been described as shimmering, unpredictable, and propulsive all at once. “Intrinsic” feels like a warm breeze blowing over you, featuring bouncing drums, bleary samples, and a soaring vocal hook that will stay in your head for days. Flung is generating buzz from Pitchfork, The Alternative, and other outlets and is ready to burst onto the scene with this release.

MAGNOLIA PARK, the Florida based genre-bending alternative rock band who play more than 200 shows a year, are releasing their third album, entitled HALLOWEEN MIXTAPE II. The band"s following has grown substantially in the past year (with over 710k TikTok followers/63M views, 187k Instagram followers), as they move from opening slots on tours with everyone from Sum 41 to Simple Plan, to sold out headline tours and top slots at festivals including When We Were Young (LV /Oct 23), Reading / Leeds Festival 2023 (UK). It"s no secret that Epitaph Records has been the breeding ground for some of the most legendary bands in existence and MAGNOLIA PARK carry on in that tradition. Since forming in Orlando, Florida, in 2019, the five-piece act-vocalist Joshua Roberts, guitarists Tristan Torres and Freddie Criales, drummer Joe Horsham and keyboardist Vincent Ernst-have released two albums, three EPs, and a handful of singles, bringing their upbeat brand of alt-rock to the masses. While MAGNOLIA PARK"s music is at times lighthearted, the ethnically diverse band are also serious about spreading a message of inclusivity and inspiring other kids like them to start bands as a form of creative expression. "Our goal when we"re together is to make sure the next generation doesn"t have to face as much racial backlash for being a rock band," Torres explains. "In the industry, people look at us a certain way and try to impose things on us-and we want to make sure the next generation of rock bands don"t have to go through what we"ve been through."

Nachdem sein drittes Studioalbum “The Show“ im Jahr 2023 in zahlreichen Ländern die Charts anführte, kehrt Niall Horan mit “The Show: The Encore“ zurück - einer Deluxe-Edition mit neun Bonustracks. Horan arbeitete mit Lizzy McAlpine an der neuen Version von ”You Could Start A Cult” und mit John Legend an einer neuen Interpretation des Titelsongs “The Show“. Neben diesen beiden Neuauflagen enthält die Deluxe Version außerdem neue Live-Aufnahmen vom Electric Picnic Festival und den Spotify Studios sowie alternative Versionen von ”Meltdown” und ”On A Night Like Tonight” aus Horans Vevo Extended Play Session.