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Indie exclusive Peak Edition on Orange & Black Swirl Vinyl, in a gatefold cover + poster.



It's spring of 2023 in the North Carolina Piedmont, and songwriter and singer M.C. Taylor - leader of the band Hiss Golden Messenger - is feeling alive. Joyful. Eternal, he might say. For the Grammy-nominated musician, whose albums have traced an internal path through adulthood, fatherhood, spirituality, and depression for well over a decade, this is something new. "The tunes on Jump for Joy were composed in free moments throughout 2022, a year during which Hiss was on the road more or less constantly," explains Taylor. "And perhaps because the post-pandemic energy out in the world felt so chaotic and uncertain, I found myself thinking a lot about the role that music has played in my life and how exactly I ended up in the rarefied position of leading a band and crew all over the globe through dingy graffiti-scrawled green rooms, venerated music halls, dust-blown roadside motels.

Sometimes playing in front of 5,000; sometimes 200. Sleeping sitting up. Laughing until my stomach hurts. Not being able to fall asleep at 3 a.m. in some anonymous bed because my mind is spinning with anxiety or depression or adrenaline, or because my ears are still ringing. Robbing Peter to pay Paul, then robbing Paul to pay Peter back. Over and over again. It's an outlaw life but one, I'm coming to realize, that makes me happy." The songs that make up Jump for Joy - the sharpest and most autobiographical that Taylor has written under the Hiss name - read as a sort of epistolary, postcards between the present-day songwriter and his alias Michael Crow, a teenaged dreamer very much like Taylor himself, who trips his way through the 14 tunes that make up the record. In this way, Jump for Joy is a meditation on a life lived with art, and the ways that our hopes and dreams and decisions bump up against_ and, with a little bit of luck, occasionally merge with real life. "Creating this character became the way that I could explore these vulnerable, tender moments that were so decisive in my life, even if I didn't know it at the time," explains Taylor.

Produced by Taylor and engineered by longtime Hiss compatriot Scott Hirsch over two weeks in the late fall of 2022 at the fabled Sonic Ranch studio in Tornillo, TX, just a short walk from the Mexican border, Jump for Joy dances with joyful, spontaneous energy that feels like a fresh chapter in the Hiss Golden Messenger oeuvre. Taylor is accompanied throughout the album by his crack live band: guitarist Chris Boerner, bassist Alex Bingham, keyboardist Sam Fribush, and drummer Nick Falk, a collection of musicians that have helped make Hiss Golden Messenger's live performances legendary affairs

Give It Up Or Turnit a Loose (Edit) by James Brown b/w Web (Edit) by Hampton Hughes / Give It Up or Turnit a Loose (Bonus Breaks) by James Brown| Galaxy Sound Company — GSC45-044, test pressing | The long-running @galaxy_sound_company imprint has been responsible for some superb re-edits over the years, most of which are pleasingly purist in tone — meaning they are pro rearrangements with no added effects but & needless new beats or cheap trickery like so many out there— making any of their releases cop-on-site. & as you can hear from the test pressing, the 44th in the stellar series delivers yet again.

Side A is a masterclass in breakbeat editing of a b-boy classic sample source. Yes, there are many killer JB edits out in the universe, but when you see that the legendary Black Cash & Theo AKA Thelonious Beats take a turn, you know you gotta cop this mutha on site. Here the edit master bravely returns to one of the main sources of the dawn of hip-hop — JB’s comp “In The Jungle Groove” which was released in 1986 to capitalize on it’s popularity in the genre at the time. The comp is named for a breakdown section that appears in “Give It Up Or Turnit a Loose” which is the workout we have here. JB quiets the band down to handclaps, footstomps & congas played by Johnny Griggs. After he raps a little, JB cues legendary drummer Clyde Stubblefield back in, followed by bassist Bootsy Collins & the rest of the band. JB wasn’t intentionally trying to create a perfect batch of hip-hop samples in the late 60s & early 70s, but he couldn’t have succeeded any better if he had been. This edit may enter well-worn territory but he uniquely delivers an edit that showcases why it inspired so many & still delivers the goods to help you get your party started off right & quickly.

Next up on the flipside we are treated to an edit of “Web” by Hampton Hughes, from his 1974 David Axelrod produced & arranged album “Northern Windows”. Heads will recall it as the core sample for “Off the Record” by Hieroglyphics, from the 1998 LP “3rd Eye Vision”. This jazz-funk burner features a stellar line-up:
Piano/keyboards = Hawes
Trumpet = Allen DeRienzo, Snooky Young
Trombone = George Bohanon
Sax/flute = Jackie Kelso, Jay Migliori, William Green
Electric Bass = Carol Kaye
Drums = Spider Webb

But wait, GSC ain’t done yet! We get some bonus beats from the A-side. Another reason why doubles are highly recommended when you need assistance in your set.

After the conceptual depth of "Parallel Traces of the Jewel Voice" (2021), dj sniff returns to Discrepant with a more direct and visceral document: Turntable Solos.

Composed from live recordings made during the latter half of 2024, Turntable Solos captures dj sniff’s improvised performances in their rawest form. At the core of his setup is Cut ’n’ Play, a software sampler he originally built in Max / MSP in 2007. Since then, he has continued developing custom tools and instruments that extend what Derek Bailey called the “instrumental impulse” — the tactile, responsive relationship between musician and machine that defines improvisation.

Following a summer 2024 tour of Japan with Gonçalo Cardoso, sniff was encouraged to document and release a selection of his live sets. Not long after, a performance at 20α (Alpha) in Hong Kong would become the emotional and conceptual anchor for the project.

In the liner notes, sniff reflects on the eerie parallels between recent footage of protestors in Los Angeles — assaulted by police using so-called “less-lethal” weapons, and civilians being abducted into detention centers — and the 2019 Hong Kong protests. A place once filled with personal nostalgia began to feel like a grim foreshadowing of what might unfold in Western societies.

In this turbulent context, 20α stands out as a space of resistance and renewal — a beacon for a new generation of experimental musicians, growing in defiance of increasing censorship and surveillance. "Turntable Solos" is both a personal statement and a public act of sonic resilience.

Inspired by the lyrics of Ric Ocasek, Beroshima's "This Could Be Love" was released in a more stripped down fashion some years ago. Thanks to new technology, voice modulation and the recent attention it gained, it now appears in as a totally different version, on vinyl for the first time. For the lovers of the golden Electroclash era, this is your jam.

Released by Hegoa Records and Night School Records.
Greatest Heads is the fourth album by the radical Basque- Berlinesque group Al Karpenter. A deconstruction of structured “rock” music, here Al Karpenter re-imagine “the band” to explore the intersection between Free music, afro-beat, the avant garde and gonzo rock.
If Theodore Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al Karpenter attempts to answer the difficult question today; what kind of music can be done in the face of a genocide? Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin’s response to the planet’s slipping into a vortex of hate is to create a music ecstatic, a music of protest bursting with multiple musical languages and glossaries, full of overlapping histories and thrilling tensions.
Greatest Heads posits a plurality of musics both in opposition and intertwined: Al Karpenter play rock instruments pulled apart in the studio in post-production. Distorted rhythm chunks bit-crushed and dissipated, segments of freedom oppressed by waves of sound invading from every direction. The interplay between the chief instrumentalists and renowned, storied sound artist Mattin creates something akin to ESP freedom-seekers Cro Magnon playing in Miles Davis’ early 70s groups, The Los Angeles Free Music Society tightening up into a clenched fist of plunderphonics and runaway percussion.
We Are All Karpenters opens Greatest Heads with the most straight-forward song refrain of the record accompanied by a band that soon crash into eruption, imagining Sun City Girls in full free rock mode.
The modulating synth sound soon sucks the band into its wake to create a spine-chilling climax of distorted sound, made fully orgasmic with mastering engineer Rashad Becker’s attention to detail. On Izugarrizko Buruak (Greatest Heads), Matilla intones in Basque over a mangled distorto-beat. A Brand New Astraphobia creates a black space for a heavily processed guitar to blow up before falling to earth at night, a gentle figure serenading the coming end.
On Side B, the band begins by being masticated by a brutal phaser, squelching and stretching the music into new territories. The overt message of Stop The Genocide! is besieged by violence before Worm City aggressively samples the ghosts of soul music, mixing in noise bursts, prepared piano and swiping, abstracted sound. Epic closer Perfect Love feels like a beat poetry performance on a burnt world, still grasping for community, for home, for some sort of human love. A Mad love, then; an angry love fuelled by solidarity and collaboration.
The band’s cascading layers of references and polyglottal musics attempt to create the perfect lover, alive with rage and disorientating ecstasy: Al Karpenter.

JADE has announced the release of her hugely anticipated debut solo album 'THAT’S SHOWBIZ BABY!'. The record will be released on September 12th and sees JADE work with a variety of A list collaborators on the project including Mike Sabath, Lostboy, Cirkut, RAYE and Pablo Bowman. The album includes previously released singles ‘Angel Of My Dreams’, ‘Fantasy’, ‘FUFN (Fuck You For Now)’, ‘IT gir’l and ‘Midnight Cowboy’.

JADE has described this project as being about discovery, finding herself again and a love letter to little JADE.

JADE has announced the release of her hugely anticipated debut solo album 'THAT’S SHOWBIZ BABY!'. The record will be released on September 12th and sees JADE work with a variety of A list collaborators on the project including Mike Sabath, Lostboy, Cirkut, RAYE and Pablo Bowman. The album includes previously released singles ‘Angel Of My Dreams’, ‘Fantasy’, ‘FUFN (Fuck You For Now)’, ‘IT gir’l and ‘Midnight Cowboy’.

JADE has described this project as being about discovery, finding herself again and a love letter to little JADE.

A first-time 7-inch release of Free Soul-style covers of classics by Bill Withers and Tania Maria!

Mallorcan DJ and trackmaker Pepe Link brings an exciting new 7-inch release! This limited-edition Japanese release includes specially edited versions by Pepe himself.

Side A features a Balearic-flavored cover of Bill Withers' 1977 classic "Lovely Day," featuring the soulful vocals of Glen Anthony Henry. Side B presents "Vem Menina", a devilishly slick samba-bossa nova version of the Brazilian funk classic 'Come With Me' by Tania Maria, poured over with flamenco guitars and the effortlessly beautiful voice of Brazilian singer Marta Santamaria.Especially for this release, Pepe himself handled the editing, making this the first-ever 7-inch release as a Japan-exclusive edition!

"Bite Reality", das neue Album des New Yorker Indie-Duos Cafuné, präsentiert die Band sowohl musikalisch als auch textlich in einem konfrontativeren Umfeld. Das Ergebnis ist ein selbstproduziertes Album über digitale Erniedrigung, das zweischneidige Schwert der Realitätsflucht und das Bedürfnis, sich von Menschen und Gefühlen zu lösen, die einem nicht guttun. Cafunés Sound bewegt sich zwischen traditionellem, wohltuendem Dream-Pop und Indie-Rock, die beiden Protagonisten teilen eine Liebe für ihre Vorbilder Two Doors Cinema Club. Der Song "Tek It" aus ihrem Debütalbum "Running" (2021) ging viral und steht heute bei - über alle Versionen hinweg - bei über 1 Milliarde(!!) Streams.

"Eternal Life EP" is a double A-side release featuring two mixes of the title track by father-daughter duo, Floorplan alongside two new solo tracks by Robert Hood.


The glorious "Eternal Life" is an infectious track to raise the roof as only Floorplan can, whether it's Lyric and Robert's tough House A1 version or the more stripped back Mix 2. Flipping to the AA-side Robert delivers his signature "real" minimal Techno sound on the shimmering "God Flow" before closing out with the darker tones of "The Throne". It's an essential release that can take you all the way from daytime festival fields through to late night warehouse dance floors on one EP.

Floorplan x Robert Hood "Eternal Life EP" will follow the vinyl release of Robert Hood's "Art Project EP" which will hit record stores from 13 June.

When NYC-based experimental dance punks Guerilla Toss, active since 2011, were in Vermont recording their new full-length album You're Weird Now, frontwoman Kassie Carlson would prepare what she called 'punk lunch': a communal meal made by raiding the studio fridge for whatever was left and assembling a sandwich from the most random ingredients imaginable. Regularly joining punk lunch were two legends from their own corners of the weird music world: Stephen Malkmus (Pavement, The Jicks) and Trey Anastasio, Phish guitarist and owner of The Barn; the recording studio where Guerilla Toss were making You're Weird Now, with Malkmus in the producer's seat. Engineer Bryce Goggin, who has worked with Malkmus since Crooked Rain, Crooked Rain, and Ben Collette, Phish's longtime engineer at The Barn, were also part of the crew. While the idea of the guy from Phish and the guy from Pavement sitting around with Guerilla Toss, congenially assembling sandwiches from random foodstuffs dug up from the depths of a studio fridge, might seem absurd, it also makes total sense. Because really, if there's any band that serves as the natural bridge between slacker punks who saw Pavement way before you did, wild-eyed wooks who've seen Phish more times than you ever will, and even the eccentrics in '90s drip following former GT tourmates Primus-it's Guerilla Toss. A band so imaginative and unapologetically themselves, they're basically the real-life manifestation of a utopian, post-snob world where all musical ideas are worthy of expression and everyone is welcome. You're Weird Now powers this message. Guerilla Toss' fifth album and second for Sub Pop is a hugely creative and joyful statement about the joy of creativity. With You're Weird Now Guerilla Toss reclaim the word "weird" for everyone brave enough to let their freak flag fly and stay true to their artistic vision no matter what-a way riskier act than it's ever given credit for, and one that requires a certain amount of serene self-confidence that it takes time and effort to cultivate and sustain. And they do so with the enthusiastic support of their musical predecessors: a standout moment arrives with "Red Flag to Angry Bull," which builds to a campfire sing-along-worthy outro featuring Malkmus and Carlson duetting over a chatty, classically Phish-y (there's really no better word for it) solo from Anastasio. The band hopes the message of You're Weird Now will resonate not only with music heads but anyone who struggles with feeling weird in a world where it will always be hard to be different. At the end of the day, it's all about the spirit of punk lunch: there's room for everyone because music is for everyone. "Everyone loves and appreciates music," says Carlson. "If you don't like music, you're kind of an asshole." That's not weird-that's just true.

glo-worm produce chiming pop music of a nonbouncing variety that sounds pure, forlorn and unencumbered. Glo-Worm are at the heart of the `90s East Coast independent pop music scene that brought us Slumberland Records, Velocity Girl, Versus and chickfactor magazine. glimmer KLP054 brings all the various glo-worm 45s together under one roof. It's a real charmer, and now available for the first time as a long playing (LP) phonograph record. glo-worm formed in Washington D.C., summer 1993 and features the voice of Pam Berry ( cofounder of chickfactor magazine) accompanied by Dan Searing (drums, percussion) and Terry Banks (guitar). Previously, Pam had sung in Black Tambourine. Terry played in Tree Fort Angst and a stint in English underground combo St. Christopher. Dan had been in Whorl. During the course of glo-worm's two-and-a-halfish year lifespan, the band released three 7" EPs (issued by the Somersault, Slumberland and K labels) and had songs on a couple of compilations, all leading up to the glimmer [KLP054] album, which compiled the 7" EPs and added a cover of The Cure's `Friday I'm in Love' and was released by K in 1996.

Was würdest du tun, wenn du wüsstest, dass in 5 Monaten die Welt untergeht? Diese tiefgründige Frage steht im Mittelpunkt von Arjen Lucassens neuestem Werk "Songs No One Will Hear". Es ist eine klangliche Reise durch die letzten Tage der Mensch-heit, während ein Asteroid auf die Erde zurast, eine Mischung aus düsterem Humor, rohen Emotionen und der chaotischen, sur-realen Natur der Endzeit. Einige geraten in Panik, andere feiern Partys, wieder andere brechen zusammen - aber einige wenige finden inmitten des Chaos ihren Frieden."Es ist tragisch, es ist absurd, es ist der Soundtrack zur Apokalypse"."Songs No One Will Hear" ist ein eklektisches Meisterwerk, das aus einem breiten Spektrum von Stilen schöpft - Rock, Prog, Pop, Elektronik und Akustik - und sowohl von heiteren Momenten als auch von tiefer emotionaler Intensität durchdrungen ist. Es er-forscht das gesamte Spektrum menschlicher Emotionen, von Panik bis hin zu unerwarteter Gelassenheit, mit der für Arjen typi-schen Mischung aus Komplexität und Zugänglichkeit. Die Fans werden einen gitarrenbetonten, modernen, eher prog-orientierten Sound zu hören bekommen, der die Energie und das Gefühl seiner früheren Ayreon-Arbeiten heraufbeschwört, während er gleichzeitig eine straffe, konzeptorientierte Erzählung beibehält.Das Album enthält mehr Gitarrensoli, mehr weiblichen Gesang und eine bandähnlichere Atmosphäre als sein Vorgänger, was zu einem dynamischeren und unmittelbareren Sound führt. Es ist nicht nur eine Sammlung von Songs, sondern ein Konzeptalbum, das die letzten Tage vor dem Asteroideneinschlag beschreibt, voller Wendungen und einer unerbittlichen Energie, die den be-vorstehenden Untergang widerspiegelt.Arjen hat unermüdlich daran gearbeitet, alles selbst zu produzieren und einzuspielen, um die Vision dieser apokalyptischen Klangwelt von Anfang bis Ende einzufangen. Zu den Höhepunkten gehören der atemberaubende Gesang von Floor Jansen (auf "The Clock Ticks Down") und eine Vielzahl von Gastmusikern wie Robert Soeterboek, Marcela Bovio, Patty Gurdy an der Dreh-leier und Mike Mills, der einen schaurigen Moment der Geschichte erzählt."Songs No One Will Hear" ist eine atemberaubende Ergänzung zu Arjen Lucassens bereits legendärem Gesamtwerk.

Released in 1985, Misplaced Childhood includes the hit single ‘Kayleigh’, hit #1 in the UK and stayed in the charts for 41 weeks. As the band’s first concept album, Misplaced Childhood explores themes of lost love, sudden success, acceptance and the fading innocence of youth.

Was tun die Menschen um uns herum? Wie tun sie’s? „Wollen wir das nicht alle die ganze Zeit verstehen?“, fragt Alli Neumann, die mit ihrem dritten Studioalbum methaphorisch als funkelnder Stern auf hartem Asphalt landet. Als „ROQUESTAR“ muss sie sich dort erstmal orientieren. Inspiriert von David Bowies Ziggy Stardust, der fürs Seltsamsein bekannt wurde und sich was traut, auch um gesehen zu werden, blinkt Alli zwischen Auffallen und Anpassung. Die Musikerin bewegt sich längst fließend in dieser Dualität und changiert zwischen den Polen – man will ja doch von allen geliebt werden, oder?! Die Musikerin spielt mit diesem ambivalenten Gedanken, der unlösbar scheint und liefert mit ihrem Album „ROQUESTAR“ 12 Songs, die von genau diesem dringlichen Hunger nach Anerkennung getrieben sind. „Sie erzählen von dem Willen, geliebt zu werden.“ Eine Wahrheit und auch psychosoziale Utopie, vielleicht, „in der sich viele wiederfinden“, meint Alli, und ja doch schambehaftet daherkommt, weil deutlich wird: Wir sind schrecklich abhängig vom Außen, von dem wir so oft die Schnauze voll haben. Mit „Ich kann gar nichts“ schreibt Alli genau dagegen an: Eine selbstironische Hommage an die Imperfektion – wider jeder Erwartung. Geliebt werden wollen, trotz oder gerade wegen ... Rockstar sein, Alli sagt: „everybody’s favorite misfit“. Wie es geht, das mit dem Lieben, das ja auch immer damit einhergeht, wie es um die Liebe zu sich selbst steht, zeigt sich in der Gleichzeitigkeit ihrer Songs: Während Alli in „Vom anderen Stern“ zu Funk eine neue Liebe als Eskapismus zeichnet, „Baby lass dich fallen, um fliegen zu lernen“, erinnert sie in der Grungerock-Ballade „Nie wieder verlieren“ daran, wie giftig es sein kann, sich für einen Menschen aufzugeben. Auf „ROQUESTAR“ scheint alles in Bewegung. Es sind Anstöße, die die Musikerin gibt. Manchmal Anklagen, Aufforderungen, aus denen Sehnsüchte sprechen, nur nie Antworten. Auch weil das nicht zu Alli, der Artist, passen würde, die sich doch so gerne bewegt, wie die Welt, durch die sie fliegt. Durch Genres und Formate – als Musikerin, Schauspielerin, auf Bühnen, auch im Fernsehen, eine Künstlerin, die sich erfährt, (er)lebt, ein bunter Hund, Alli liebt, auch ihre Integrität. Und während die Songs in sich und auch im Miteinander organisch aufgehen, hört man mit etwas Genauigkeit zwei ungewöhnliche Instrumente spielen. Zwei barocke, die Allis „ROQUESTAR“-Modus musikalisch markieren. Zusammen mit ihrer Produzentin Novaa lässt sie Cemberlo und Fagott sich an vorherrschende Synthie- und Kraut-Pop-Sounds schmiegen, während das Fagott von den allermeisten aus der Popmusik verbannt wird. Sich wirklich zeigen, das kann Alli. „Being loved for not being loved“, beschreibt sie selbst, nur immer als Versuch. Bemerkenswert ist, dass die Musikerin bei ihrem Tempo und ihren Kurven der vergangenen Jahre nie Splitter ihres Ichs verloren hat. Während sie also 2025 zwischen den Zeilen über eine „ROQUESTAR“-Identität textet, ist sie es längst: Ein Stern, der vom Himmel auf den Boden einer steinigen Realität fällt, sich umschaut und unaufhörlich probiert. Im ewigen Gerangel zwischen laut und leise, Kraut und Folklore, Protest und Rückzug. Zwischen amüsiert und politisch, Großstadt und Landleben, 80ies und Barock. Alli und ihre Musik strahlen manchmal gleißend hell und manchmal gedimmt hinein in diese Welt, aber leuchten, das tun sie wirklich immer.

Broken Homes and Gardens, das letzte Studioalbum von Michael Hurley, wurde im März 2025 fertiggestellt, kurz bevor Hurley zu seinen letzten Konzerten in Asheville und Knoxville aufbrach. Er hatte in den letzten drei Jahren im The Rope Room Studio in Astoria, Oregon, mit derselben Crew wie bei seinem 2021 erschienenen Album ,The Time of the Foxgloves" (Kati Claborn und Luke Ydstei von The Hackles sowie Toningenieur Brian Bovenizer) an diesen elf Titeln gearbeitet. Wie bei Hurleys LPs üblich, gibt es neben neuen Songs (,Fava", ,The Monkey") auch Überarbeitungen älterer Kompositionen (,Indian Chiefs and Hula Girls", ,Abomidable Snowman"), die eine brillante letzte Sammlung ergeben und eines der bedeutendsten Werke eines amerikanischen Songwriters krönen.

"Room for the Moon Live" dokumentiert einen ekstatischen Abend, den die facettenreiche Produzentin und Performerin Kate NV ins Leben gerufen hat. Das Album wurde während einer einmaligen Show aufgenommen, die einige Jahre nach der Veröffentlichung von "Room for the Moon" (2020) stattfand. NV malt innerhalb und außerhalb der expressionistischen Linien ihrer Solo-Persönlichkeit und steht an der Spitze einer eklektischen achtköpfigen Band, die Material aus ihrem skurrilen und endlos faszinierenden zweiten Album aufgreift und weiterentwickelt. Für NV ist "Room for the Moon Live" mehr als nur ein Meilenstein, der die fünf Jahre seit der Veröffentlichung ihres zweiten Albums markiert. Die Aufnahme dokumentiert einen wichtigen und seitdem einmaligen Abend, an dem der Sound und die Seele des Albums und ihrer musikalischen Vertrauten einen Raum der Zuflucht in einer besonders schweren und isolierenden Zeit schufen. ,Das wichtigste Thema des Konzerts war, ein Team zu sein - zusammen", sagt NV. ,Musik zu spielen und zu versuchen, in dunklen Zeiten Freude zu verbreiten. Das war für mich sehr wichtig." Die Band wurde von NV aus einer eng verbundenen Gruppe von Musikerfreunden und häufigen Kollaborateuren zusammengestellt, wobei der Kern aus Mitgliedern von Glintshake besteht, der Post-Punk-Band, die sie 2012 mitbegründet hat. Unter NVs leichtfüßiger Leitung begann das Ensemble, die Richtung der Performance zu skizzieren und sich vorzustellen, wie sie einige der synthlastigeren Stücke von Room mit neuen Ideen und akustischen Texturen neu gestalten könnten, unterstützt durch ihre Offenheit für Improvisation, ,Jam"-Ästhetik und vor allem durch ihren freigeistigen Spaß an der Sache. ,Der Ansatz war in etwa: ,Leute, wir spielen Songs, aber hier können wir richtig wild werden`", erinnert sie sich. ,Ich hatte einige ,Musts`, die wir so originalgetreu wie möglich nachbilden mussten, weil sie für die Songs entscheidend waren, aber es war nie eine Priorität, alle in einen Käfig der Originale zu stecken. Die Tracks haben dadurch nur gewonnen und klingen kraftvoller als die Originalversionen." NV hebt ,Marafon 15" und ,Telefon" als besonders eindrucksvolle Beispiele für die tief groovenden, groovigen Art-Rock-Kräfte hervor, die die Originale auf der Bühne belebten. Aber auch über diese beiden Tracks hinaus sind alle Songs weiter ausgelegt und fließen freier, oft eine Minute oder mehrere Minuten länger als die Originale, da die Band einige der eher poporientierten Arrangements von Room aufbricht. NV verweist auch auf die ausgedehnten Solo-Passagen in ,Ça commence par" und die euphorische Coda von ,Lu Na", die während einer Probe der Band entstanden sind und dann für immer Teil des Songs geblieben sind, als einige der verspieltesten Momente des Albums. Live-Alben folgen, sei es aus Notwendigkeit oder aus Gewohnheit, meist einem altbewährten Muster: Sie dokumentieren eine Reihe von Abenden auf Tournee, an denen Künstler vor einem aufgeschlossenen, aber oft verschwommenen Publikum in fremden Städten spielen, die in einem impressionistischen Nebel aus Orten, Räumen, Bildern und Geschmäckern vorbeiziehen. Die Performance auf "Room for the Moon Live" ist etwas ganz anderes. Es ist Musik, die von Freunden für Freunde gemacht wurde, um zu heilen und zu fühlen, voller Freude und grenzenloser Großzügigkeit. Kate NVs "Room for the Moon Live" erscheint fast genau fünf Jahre nach der Veröffentlichung des Originalalbums, als limitierte Doppel-LP und in unbegrenzter digitaler Auflage.

Can you believe it? Devendra Banhart's Cripple Crow - originally released by XL in 2005 - is turning 20 years old. This was the 5th album from the Venezuelan American artist who is considered the pioneer of the "Freak Folk" and "New Weird America" movements. To celebrate - Devendra has compiled a reissue of the out of print release that features a 3rd Bonus LP (on Clear Green Smoke Vinyl) featuring 9 bonus tracks, including 1 B-Side, 5 previously unreleased demos, 2 previously unreleased live tracks, and 1 unearthed smash hit from the recording sessions. This release is the first on his newly created Heavy Flowers label. The album received a "Best New Music" 8.4 review from Pitchfork upon its release. The release date will fall 1 day prior to the actual 20th Anniversary, which will be the first time Devendra is early for anything. Now THAT is something to celebrate! Limited to 2000 units on 3xLP with Bonus LP on Clear Green Smoke Vinyl. 36 tracks of music and 1 track of .... well... you decide! "Cripple Crow is undoubtedly impressive, vastly singular but entirely accessible, and an inspired listening experience where Banhart again proves himself as one of the more talented and charismatic forces in modern music." - Pitchfork

Bushbaby's mixtape, 'EVERY TIME', is a statement piece from one of the UK's most exciting club producers.

Known for blending UKG, house, and raw rave energy, this 10-track project showcases the full scope of his sound.

The mixtape lands off the back of a huge 12 months. 'Shake and Slide' went viral on socials, 'Feel The Rush' showed his melodic side, and his DJ sets have lit up dancefloors across the UK, Europe, USA and Australia. With major support from Four Tet, Disclosure, Danny Howard, Chris Stussy, bullet tooth, DJ Seinfeld, NOTION, Y U QT, Ben UFO, Diffrent, Hamdi, Interplanetary Criminal and Sammy Virji, Bushbaby is leading a new wave.

Pressed to vinyl and backed by a full world tour, 'EVERY TIME' marks the start of a new chapter.

Bushbaby's mixtape, 'EVERY TIME', is a statement piece from one of the UK's most exciting club producers.

Known for blending UKG, house, and raw rave energy, this 10-track project showcases the full scope of his sound.

The mixtape lands off the back of a huge 12 months. 'Shake and Slide' went viral on socials, 'Feel The Rush' showed his melodic side, and his DJ sets have lit up dancefloors across the UK, Europe, USA and Australia. With major support from Four Tet, Disclosure, Danny Howard, Chris Stussy, bullet tooth, DJ Seinfeld, NOTION, Y U QT, Ben UFO, Diffrent, Hamdi, Interplanetary Criminal and Sammy Virji, Bushbaby is leading a new wave.

Pressed to vinyl and backed by a full world tour, 'EVERY TIME' marks the start of a new chapter.

"Irritating Post Punk New Wave Kraut Disco Trash Duo from Switzerland in Glitter Tights and Spandex Wigs with obscure and high potential Dancing Beats and and songs that stick in your brain like chewing gum". It's their fifth' full lenght amd second for VVR! DIE GROSSE KUNST DER REDUKTION: BLIND BUTCHER ist ein abstraktes musikalisches Künstler/Musiker-Duo aus Luzern der Schweiz, welches Glitzer-Leggings trägt und das Gesicht hinter einem Leuchfarben-Spandex Vorhang versteckt. Ihre Ästhetik und Outfits werden angefertigt von Corinne Odermatt, aber vor allem überzeugen sie durch ihre Musik, die einem, wenn mensch sie live erlebt, nicht aus dem Staunen herauskommen und perplex im Raum stehenlässt. Wie zwei obskure Kreaturen von einer anderen Galaxie treiben sie ihren Disco Beats durch den Raum, oder wie hier durch die Rille einer Vinyl-Schallplatte. Aufgenommen wurde diese zweite Produktion für Voodoo Rhythm beim renommierten Swamp Land Studio in Toulouse Frankreich mit Lo Spider (Destination Lonely) und gemastert in Detroit von Bill Skibbe at Third Man Mastering. Das Coverfoto und Artwork entwarf Ralph Kuehne. Classic black Vinyl LP 180g including Booklet and free Download Card

Whitney K returns with 'Bubble', his first album for Fire Records and follow-up to 2022's acclaimed 'Hard To Be A God'. Whitney K continue his migrant mind games, summoning up a series of intriguing characters, littered with everyday foibles and fantasies. Along the way, he pens a journal of possibilities as he travels further into transient America, touching on everything from bar room chatter, rumour and distortion to misinformation, daydreams, misunderstanding and self-realisation; with anecdotes lifted from the paperback in his back pocket and his half-forgotten past. 'Bubble' is a 13-part cerebral mystery that unravels on songs that bring to mind the gruff sentimentality of the late Kris Kristoferson, Lennon's 'Jealous Guy', Eels at their most troubled and the American Gothic sketches of David Ackles; the perfect soundtrack for a Raymond Carver book club. Recorded in Montreal, it's self-produced by band members Josh Boguski and Michael Halls at their home studio. This stripped back release is Whitney K's most raw yet refined work to date-an honest, sonically paradoxical collection that finds fresh possibilities in the familiar shapes of rock, pop, and folk with the same unfiltered energy and poetic gravity we have come to expect from this modern-day troubadour whose descriptive storytelling is filled with sketchy characters and rudimentary comment. RIYL Bill Callahan, Silver Jews, Leonard Cohen, Lou Reed, Cate LeBon, Kurt Vile, Wilco, MJ Lenderman, Waxahatchee, Cass McCombs, Giant Sand...

‘Acker Bilk was a bowler-hatted Titan of Trad jazz who conjured a warm, sentimental sound from his clarinet.’ So began the Daily Telegraph’s affectionate obituary for Acker Bilk, who died in November 2014, aged 85. It inevitably and correctly identified ‘Stranger On The Shore’, his biggest hit, as ‘among the best-selling records of the 20th century. Enjoy not only ‘Stranger…’ but many more examples of his mellifluous mastery here on this 180g Vinyl set.

Everybody loves the vocal sound of Bob Marley. But what about the music that supports his songs? This album contains a variety of mostly instrumental remixes of well-known Bob Marley songs. An eclectic mix of names have put their personal stamp on some of Bob’s classic tunes with some Interesting results. Cypress Hill’s Sen Dog has taken on ‘African Herbsman’, while Sheep On Drugs have had a stab at ‘Don’t Rock My Boat’. These and many more versions will keep the head nodding at the very least.

There can be no doubt that Nina Simone was one of the great Black American women who bridged the movement from Blues and R&B to Soul. She was nicknamed 'The High Priestess Of Soul' and spoken of in the same awed tones as the likes of Etta James, Aretha Franklin and Ruth Brown, but in so many ways she trumps all of them with her musicality and versatility. This release emphasizes her bluesier side

Legendary and pioneering Träd, Gräs och Stenar is considered Sweden's oldest rock band to introduce psychedelic underground music. The group originally formed in 1967 as International Harvester, later became Harvester, and eventually evolved into Träd, Gräs och Stenar. Their unique blend of psychedelic rock and traditional Swedish folk music was groundbreaking at the time-and still resonates with new generations of listeners today. This long-awaited "Green Album" from 1970 marks their very first release under the name Träd, Gräs och Stenar. Now, for the first time since its original release, it's being reissued on vinyl-complete with rare photos, an in-depth story, and a 30x60 cm poster. Decades later, the band continues to perform under the name TRÄDEN, now with only one original member. He is joined by a new generation of acclaimed musicians, who are keeping the spirit alive and carrying the sounds and legacy of Träd, Gräs och Stenar into the future.

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Pop-punk veterans Teenage Bottlerocket are primed to release their new LP Ready to Roll, the band's first full length for Pirates Press Records. "This time around, there was no big concept, no pressure. We just wrote songs that felt good to play," explains bassist Miguel Chen. "That freedom brought something fresh. It reminded us why we started doing this in the first place. The vibe is all about reconnecting with the joy of making music together. "The band returned to The Blasting Room in Fort Collins, CO, with Andrew Berlin behind the board & Jason Livermore overseeing the final master. "The Blasting Room is like home for us," says Miguel. "Working with Andrew and Jason is always a smooth ride-they know how to pull the best out of us." Fans got their first taste of what's to come via the lead single "She's the Shit." Ray Carlisle wrote the song for his wife Rachel, who he says "loves to give me a hard time-she rolls her eyes when I rock out in front of the mirror, makes fun of the music I love, and calls me an old man when I bring up movies she's never seen. And I totally love her for it." As for the song, Ray says, "It kicks the door open. It sets the tone for the whole record-fast, catchy, and not taking itself too seriously. Just the way we like it." This back to basics approach carries through the album, making it equally satisfying for longtime fans & newcomers alike. "Whether it's your first TBR album or your tenth," says Miguel. "There's something here for you." It's packed with everything you'd expect from TBR with a few surprises the band think you'll love - including a couple of songs where Miguel steps up to the mic for his first-ever lead vocals! "We're lucky to still be here, making music with our best friends, and connecting with people who get it," sums up Miguel. "Ready to Roll is exactly what it sounds like-we're stoked, and, in a way, we're just getting started."

Echo Beach proudly presents: Don Letts - The Rebel Dread - legendary film and video director, disc jockey and musician. Don Letts, in his capacity as a selector (it"s not for nothing that he hosts his own show on BBC6 radio), enthusiastically accepted the invitation to create a compilation from Echo Beach"s extensive catalog to mark its 30th anniversary. A splendid and crisp selection.

Stripping away excess layers, Dispossessed lives up to its title. The band went into Causa Sui's Jonas Munk's studio on the last day of February 2025. In an a priori session, the first note played together since 2023's Dens - the conclusion of a trilogy and a live album all in less than a year. Has something shifted during the silence? Added aggression? Faster tempo? Darker ambiance? The feeling of losing time? Or is it simply the listener who's world has tilted? In a fast paced world, Edena Gardens shows us how to resist and tune to our own inner chord. Edena Gardens deals in subtle shifts that can only be summoned from something played for the first time. From the sludgy blasts of opener Hiraeth to the droning ambience of 10-minute ender Aftenstjerne. As always, the band travels far yet stays in the same internal realm. The band's own Jakob Skott has made minor edits to cut a record from hours of free improvisation, and every dubbed ambience has been culled directly from the material recorded that day, bringing into play the band's gestalt in a way that shows their both outer and inner workings: Dispossessed. Edena Gardens is: Jakob Skott: Drums (Causa Sui) Nicklas Sorensen: Guitar (Papir) Martin Rude: Baritone guitar & Bass (London Odense Ensemble)

"Entweder du machst, was alle machen, besser als alle anderen oder du machst, ganz was anderes..." Was Sergio Leone für den Western war, ist Johnny Indigo für die Rock Musik. Anders, rauher, echt und kompromisslos. Johnny Indigo ist das Soloprojekt von dem Wahlwiener Mathias Kollos, der bereits für viele Künstler hinter den Kulissen und auf verschiedensten Bühnen tätig ist und war. Jetzt hat er den Schritt nach vorne getan und tritt mit seiner Band "The El Dorado Wildfire" mit eigens für Live arrangierten Versionen von seinem Debut Album "American Daydreams" gemeinsam auf. Wie klingt das verschmitzte Grinsen von Terence Hill? Was hört man, wenn Clint Eastwood seine unvergleichliche Miene verzieht? Den eigenständigen Mix aus Alternative Rock, Southern Rock, Country und Blues von Johnny Indigo. Das Album vermischt Roots und Country Elemente mit modernem Rock und Blues. Ästhetisch geprägt von dem Image der Spaghetti Western, ohne in unnötige Cliches zu verfallen. Vergangene Acts wie Led Zeppelin, Jimi Hendrix oder die Rolling Stones werden ebenso nicht vernachlässigt wie moderne Formationen wie Queens Of The Stone Age, The Black Keys oder Rival Sons.

After recent sold-out vinyl and cassette releases garnering plays on BBC 6Music and NTS, among other Radio Play, 0282 are back with another choice double-sider.

Travis Street’s ‘Jackie Morris Said’ is an instrumental mid-tempo soul stomper, with Advance copies being very well received on contemporary Northern Soul Dancefloors throughout the UK. DJ feedback has likened it to all-time classic instrumental Mod & Soul numbers by the likes of Googie Renee and Wynder K Frog.

The flipside sees a remix by Barden Juniors, fresh from recent DJ gigs with the likes of Keb Darge, DJ Food, and Doug Shipton from Finders Keepers records. Their wonky angular deconstruction is in the vein of classic European Library Tunes from the late 60s / early 70s, and feedback on promo copies has seen it described as “a lost KPM out-take”, “the soundtrack to a lost public information film from 1973”, and “a time-travelling Kool Keith instrumental”.

It has already had radio play support from the likes of Markey Funk (Delights).

Neue Auflage, Fu Manchus komplette Performance 2003 beim Roadburn Festival, ein legendäres Fu-Set mit den Klassikern "Squash That Fly", "Hell On Wheels", "Boogie Van" und "King Of The Road". Die Band fand die professionellen Originalaufnahmen, die direkt vom Soundboard aufgenommen wurden, und hat diese speziell für diese Veröffentlichung mastern lassen. Scott Hill, Leadsänger/Gitarre von Fu Manchu kommentiert: "Roadburn im Jahr 2003 zu spielen, war ein Riesenspaß! Es war das Jahr, bevor wir "Start The Machine" herausbrachten, und wir spielten zum ersten Mal auf dieser Tour ein paar Songs davon live. Einer der Songs, der auf diesem Live-Album zu hören ist, "I Wanna Be", ist ein anderes Arrangement als das, was dann auf der Studio-Veröffentlichung gelandet ist". 2025er Pressung als rot-gelbe- blauees Splatter-Vinyl!

Continuing the sensational Spring Revisited series - Acid Jazz presents a new 12” release – Fatback Band: ‘Night Fever (Kenny Dope Mix)’ / ‘(Hey) I Feel Real Good (DJ Spinna Refreak). Spring Revisited is an exciting and unique mix project that explores the musical legacy of legendary New York label Spring Records, with a series of new mixes from top mix artists, using the original masters. Fatback Band are a disco/funk group that were at the peak of their success in the ’70s, and they were one of Spring Records’ most iconic artists. This is the second release in the series featuring the band’s classic work. ‘Night Fever’ is an electro-disco track released in 1976.

Keeping the soulful vocal and strings from the original, house legend Kenny Dope beefs up a looped section of the percussion that forms the backbone of his version. He lifts the tempo and creates a DJ friendly version, while keeping the improvised feel of the original. This rough and ready remix has the kind of bumping groove that’s infectious on a dance floor. On the flip, DJ Spinna gives a new take on the Fatback’s ‘(Hey) I Feel Real Good’. Presented in the signature Spring Revisited house-bag, looking as if it were hand delivered to you from a 1970s record pool.

Limited edition…

‘Tedere Baldadigheden’, Guido Belcanto's new, long-awaited album in a production by Firmin Michiels and Guido Op De Beeck, was released on 4 October, 2024 at the beginning of a very extensive, sold out tour. It is a special retrospective from an award-winning singer who looks back with melancholy and humour on the many mischievous adventures that marked his life. Love prevails, but tragedy and tristesse also leave their mark on Belcanto himself and the scarred souls of the many colourful characters who come to life in his songs.

This 15th studio album undoubtedly represents a new high point in Belcanto's oeuvre, which now numbers over 300 songs, with 11 of his own songs and 2 surprising adaptations of songs by Eels and Guido's idol Renaud. Besides members of his loyal backing band Het Broederschap, guest musicians such as Stoy Stoffelen, David Poltrock, Evert Verhees, Jan De Smet, Alban Sarens, Adriano Cominotto and Chris Peeters also play along. Also notable are certainly the passages of Lara Chedraoui (Intergalactic Lovers) and The Bonnie Blues.

For more than 40 years, Guido Belcanto has been creating a universe all his own with his songs. A warm, recognisable home for everyone, young or old, rich or poor, winner or loser. A home too, masterfully brought to a stage where the audience is allowed to be themselves without embarrassment, praising happiness, measuring the damage suffered, letting the tears flow and the laughs ring out.

The Belgian leading punk band The Kids, founded by Ludo Mariman, made their debut in 1978 with their landmark titleless album, surely deserving to be part of the global top list of great seventies punk albums. After another four studio albums, the band called it a day... only to resurface a good ten years later, at the end of the 1990s. Since then, The Kids have become an international cult punk band, much in demand in Belgium and abroad (USA, Germany, France, Italy, Japan…), mainly focusing on their initial seventies punk repertoire, with many classic songs that have effortlessly survived the ravages of time.

The Kids are still the most angry Belgian band, which says a lot about the eagerness and sharpness of Ludo Mariman and his mates. The Kids, for sure, still are an absolute top band!

"Flabbergasted" was recorded early 2001 at the AB Club in Brussels and released the following year on CD, which sold out quickly. Starman Records issued the album in 2015, making it available on vinyl for the very first time, with restored audio and entirely new artwork. Sold out long ago, it was followed by a second print run in 2023 on limited colored vinyl. An album you can’t miss—sharp as a razor blade and containing many of The Kids' classics, along with a couple of contemporary punk covers. The band still tours actively and will celebrate, in 2026, their 50th anniversary.

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series by the press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks, mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s material; the albums offer restored and remastered sound quality and are specifically curated to appeal to all sixties rock fans.

Starman Records, the Belgian label also specialized in re-releases of Belgian rock from the 60s, 70s, and 80s, has so far released five volumes in the highly anticipated and widely acclaimed Belgian Vaults Series, praised by both press and fans.

These unique albums focus entirely on the sixties and early seventies, compiling many very hard-to-find tracks—mainly originally released as singles on small, long-forgotten labels. Pop, beat, rock ’n’ roll, psych... gems worth rediscovering. The Belgian Vaults are not just collector’s items; the albums feature restored and remastered sound quality and are carefully curated to appeal to all sixties rock enthusiasts.

Record Collector (4-star review): “Devotees of late 60s/early 70s fuzz will be entranced.” — “All high vaultage stuff.”
Shindig: “True obscurities, long overdue their moment in the sun.”
OOR: “A marvelous piece of rock history.”
De Standaard (4-star review): “An amazing piece of Belgian heritage.”
Cobra.be: “The Belgian equivalent of ‘Nuggets’!

The Shakes was a legendary Belgian psychedelic blues rock band founded by multi-instrumentalist Alain Verdier and active between 1967 and 1969. They played approximately 100 gigs in Belgium, Holland, France, and Germany, and once supported The Who. The young virtuoso guitarist in the group was none other than the late Dany Lademacher, who later gained fame as a sideman for Herman Brood and co-author of some of his biggest hits. Lademacher, also known for his own band Innersleeve and his work with Kleptomania, Vitesse, and The Radio’s, contributed to Shoot Me Baby with a wealth of previously unreleased material from personal archives.