Suche:avant

JP’s historic restoration carpentry has continued to be a baseline for his relationship to music; the yin to his yang, the Burt to his Ernie, the Dolly to his Porter. It was through this concurrent line of work that he met another twice-initialed singer with a penchant for old Americana music, obscure film, and overly elaborate ethnic meal preparations: one JD McPherson. The two became fast friends and would eventually, through many twists, turns, false starts, and biblically-proportionate plagues, enter a modest studio in Nashville to record Harris’ latest album.

Over the course of nine months in 2023, they recorded a sometimes lush, sometimes sparse, and sometimes jarring country album of Harris’ originals, loudly and violently squelching any attempt to pigeon-hole a song into any subgenre of country music. Only albums by Lee Hazelwood and an obscure folk album Waylon Jennings made when his hair was still short were allowed to be mentioned in reference. Featuring the guest vocals of Erin Rae, The Watson Twins, Shovels & Rope, and producer JD McPherson himself, the record is equal parts satire, reflection, and apology to those that would listen.

In a musical landscape of period-correct reproduction, “outlaw” internet posturing, and flavor-of-the-month variants on country,

“JP Harris Is A Trash Fire” burns bright as a dumpster in a Walmart parking lot on a moonless night; some will fear it, some will gravitate to its acrid warmth, and most will have no idea what to make of the situation. Harris has been steadily elbowing the definitive boundaries of “country music” wider with every album, both sonically and lyrically, and his latest piece of self described “Avant-Country” is no exception.

Nels Cline, Gitarrist der US-Independent-Rockband Wilco, den der Rolling Stone in seiner Liste der “100
Greatest Guitarists of All Time” führt, ist in seinem „zweiten Leben“ Jazz-Gitarrist, und das seit 2016 auf
dem weltweit renommiertesten Label des Genres: Blue Note Records. Sein viertes in einer Reihe stilistisch unterschiedlicher Blue-Note-Alben hat er jetzt nach seinem neuesten Ensemble „Consentrik Quartet“
benannt - mit Ingrid Laubrock (Saxofone), Chris Lightcap (Bass) & Tom Rainey (Drums) - dessen Debü-
taufnahme dies ist.
„Consentrik Quartet“ ist Nels Clines bis dato stilistisch vielseitigstes Blue-Note-Werk, auf dem es ihm
gelingt, swingenden Modern Jazz und Avantgarde, Virtuosität und Coolness zu verbinden.

An der Seite von John Coltrane und Archie Shepp hatte Altsaxofonist Marion Brown ab 1965 bei Impulse!
Records zur Speerspitze der avantgardistischen ”New Wave in Jazz” gehört. Von einer vollkommen anderen
Seite - sehr entspannt, meditativ und melodienselig - zeigte sich Brown dagegen 1975 auf ”Vista”, seinem
vierten und zugleich letzten Album für das Label.

Samuel Locke Ward and Jad Fair are two of the most prolific musicians working today. Fair is a founding member of the band Half Japanese, and has released over 200 albums, including albums with Yo La Tengo, Daniel Johnston, Moe Tucker, Kramer, Teenage Fanclub, The Pastels, R. Stevie Moore, DQE, Tenniscoats, The Tinklers, Naomi Ishimaru, Jason Willett, Mosquito, and Strobe Talbot. Samuel Locke Ward has released over sixty solo albums as well as a myriad of collaborations with Bob Bucko Jr, Miracles Of God, SLW cc Watt (with Mike Watt) and the cult new age noise group Boundless Relaxation (with Joe Jack Talcum and The Bassturd). He is a cartoonist for Little Village magazine and like Jad Fair, his style musically and visually is wholly his own Pure Candy is the pair’s third album together following 2023’s Happy Hearts and Destroy All Monsters, both issued by Kill Rock Stars. Pure Candy is an album of love songs and is the feel good album of the Summer, Winter, Spring and Fall. The music was composed and performed by Ward who’s love of pop music and avant stylings offer seventeen unexpected turns over the course of a three minute song. The vocals and lyrics are by Fair, lyrics overflowing with words of love, joy, happiness, tenderness, hope and inspiration. Uplifting words for a time dearly in need of some upliftings. As with the previous two albums by Fair and Ward, this album was mixed and mastered by Jonathan Hansen and is being co-released on LP by Shrimper Records (who last worked with Fair on his collaborative three cassette box set Wonderful World) and Chicago’s Stationary (Hearts) Recordings.

Brian Auger’s Streetnoise, recorded in 1969 with Julie Driscoll and The Trinity, stands as a landmark of late 1960s eclecticism, where the boundaries of jazz, rock, folk, and soul blur into a cohesive, genre-defying masterpiece.

Auger was moving The Trinity on from their R&B, jazz beginnings and for Streetnoise, together with Driscoll, delivered a record that channelled their mutually progressive vision. Julie's haunting vocal performances were the perfect counterpoint to Auger’s innovative instrumentation, creating a sound that was both avant-garde yet deeply soulful. “We aimed to challenge expectations, ” Auger recalls. “Every track was a canvas to experiment and push the envelope.”

The album’s gatefold sleeve design, created by Ralph Steadman, inspired by William Hogarth's 18th-century satirical etchings, was as groundbreaking as its music. This was not just a cover, it was a bold statement about art and society, perfectly mirroring the music’s blend of historical reverence and forward-thinking innovation.

Musically, Streetnoise is a kaleidoscope of styles including jazz and R&B, fusion, folk, rock and gospel flourishes. "Ellis Island, " and “Finally Found You Out” are both intense instrumentals that embody the intense fusion of jazz and rock the group was known for. "Indian Rope Man" is one of the standout tracks. A cover of Richie Havens' original, that inspired The Charlatans ‘Indian Rope’ and All Blues, a bold reinterpretation of Miles Davis’ iconic Kind of Blue masterpiece, on which Driscoll's vocal performance may be the highlight. "Flesh Failures (Let the Sunshine In)" is a hauntingly beautiful cover of the finale from the musical Hair. Auger's own compositions from the opening instrumental 'Tropic Of Capricorn', to the introspective solo piano and vocal Looking In The Eye Of The World' display Brian's multiple talents.

Celebrated for its fearless creativity across all 16 tracks, the album is testament to Brian Auger and Julie Driscoll’s visionary artistry. It remains a must-listen for anyone exploring the dynamic intersections of jazz, rock, and soul. The album’s reputation has only grown with time, cementing its legacy as a cornerstone of experimental music.

Streetnoise; A wholly unique album from an equally unique group

2025 marks the return of Cologne-based electronic outfit Urban Homes with their first new music in over eight years, following an unintentional hiatus driven by side projects, relocations, the pandemic, and the unpredictability of »life.« After over eight years, the duo is back with their first new material: a fresh batch of purely instrumental downtempo and dub-influenced tracks, marked by a somber and atmospheric vibe that distinctly separates this new material from their previous work. Inspired by themes of extraterrestrial life and the paranormal, the four new tracks compiled on the »U.F.O.« EP release were crafted during recording sessions split between Cologne and Berlin before languishing for years on neglected hard drives, finally »ripening« into their current form.

Formed in 2008, Urban Homes initially emerged as a post-punk group, debuting live in 2009. Their first release—a four-track demo tape recorded in late 2010—already hinted at an evolving sound that would soon embrace a more experimental and electronic direction. By 2011, the band swapped their live drums for a drum machine, a shift that would profoundly shape their sound in the years to follow. Over the years, Urban Homes has explored a broad sonic landscape, merging electronic production, rhythm-driven compositions, and experimental song structures. Drawing influences from early house, balearic, disco, dub, avant-garde electronica, and pop, their music continues to defy easy categorization.

In March 2013, the duo released their debut album »Centres«, earning the Pop NRW Prize for Best Newcomers that same year. Their 2016 follow-up, »Jams«, was met with critical acclaim. A love letter to dance music's roots, Jams fused pop sensibilities with open-ended experimentation, built from years of MIDI-driven jam sessions that were painstakingly edited and reconstructed. Both released by Altin Village & Mine, »Jams« was also licensed by the Japanese label Fennely / Moorworks for an exclusive CD edition in 2017. Over the years, Urban Homes supported their releases with numerous tours and festival appearances across Germany and a memorable tour of Japan in 2017.

2025 Repress
Singing black-lit liturgies of bog bodies caked in mud, entranced by nocturnal landscapes flickering in the moonglow and powered by queer enchantment, Tristwch y Fenywod are a Welsh-language gothic avant-rock powercoven. Exhumed from the depths of Leeds’
experimental underground, the trio consist of Gwretsien Ferch Lisbeth (Guttersnipe, The Ephemeron Loop), Leila Lygad (Hawthonn) and Sidni Sarffwraig (Slaylor Moon, The Courtneys).
Stark, striking and bewitching, Tristwch y Fenywod’s self-titled album is their debut studio recording, following just 10 gigs and a live demo. Formed in 2022, Tristwch y Fenywod ("The Sadness of Women”) record exclusively in the Welsh language, conjuring an eldritch, subterranean, alien folk music played on dual zither, electronic drums and bass guitar. With towering, siren-like vocals curling around the Welsh consonants, accompanied by stark, martial rhythms and swirling claw-plucked strings, Tristwch y Fenywod feels like an early 4AD recording dredged from the waters of an Anglesey swamp. The effect is simultaneously chilling and stirring.
The eight tracks on the record constitute what feels like a recently rediscovered, unholy grail of edgy, atmospheric, occult feminist goth emissions. Gwretsien’s dual-zither playing scatters melodic fragments and spirals of harmony around the decimated space opened up by the lugubrious bass playing and pounding, brooding drum pads.
Coupled with the Welsh vocal, Tristwch y Fenywod embody a new, unique Celtic darkwave sound, equal part Pornography-era The Cure, Svitlana Nianio’s haunted hammered string-work and the dark beauty of Dead Can Dance or This Mortal Coil. Opener Blodyn Gwyrdd feels like the last ride of Princess Ukok, with lumbering bass and 6/8 rhythms in procession to the event horizon with an entreating, impassioned vocal and surprising lyrical theme. The doomed dancing of the zither provides the mysterious melodic bedrock throughout the album, particularly on Ferch Gyda’r Llygaid Du’s heavy funereal swa and the slowly building, paroxysmal banshee breakdown of Awen: an astonishing swell of thrilling chaos.
The album was recorded and produced by Ross Halden and the band at Hohm Studio, Bradford, Summer 2023.

2019 Repress of one of the most outstanding records in the history of german avantpop/punk. Originally released 1981 on the legendary ZickZack label, the debut LP by Freiwillige Selbstkontrolle soon reached cult status and became one of the most important NDW / german postpunk releases ever. Active since today (and right now working on their 13th longplayer) F.S.K. were one of John Peel's all time favourites and actually did more Peel Sessions than any other band - besides The Fall, of course. Comes with extensive liner notes by NDW-historiograph Frank Apunkt Schneider (in german).

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

Mannequin Records proudly presents the debut release from Children Of The Night, a dynamic duo whose music is rooted in cinematic soundscapes. The project brings together Mexican techno producer Alejandro Barba, also known as Dellarge, and French documentary/film producer Pierre Labret, forging a distinctive creative partnership. Their collaboration masterfully combines dark, atmospheric elements with driving electronic rhythms, drawing heavily from the worlds of classic horror and psychological thrillers. The result is a collection of soundscapes that are as eerie as they are captivating, creating an immersive and haunting listening experience.



This album stands as an unconventional horror soundtrack for a film that never came to be—a tribute to the legendary Spanish filmmaker Jess Franco, known for his prolific work in the exploitation and horror genres. Born out of the quiet chaos of the pandemic, this project was originally intended to accompany a slasher film that was halted due to financial constraints. Despite the film’s cancellation, the duo pressed forward, turning the unfinished narrative into an imaginative auditory experience. The soundtrack will serve not only as a homage to Franco but also as a nod to Juan Mendez, better known by his alias Silent Servant, whose dark, minimalist electronic productions have left a deep mark on the underground music scene.

Dellarge and Labret’s creative process is shaped by an eclectic array of inspirations, pulling from both literature and cinema. They’ve cited films such as Franco’s "Paroxismus," "Gritos," and "Faceless" as vital to their sonic direction, as well as the eerie black-and-white imagery of F.W. Murnau's "Nosferatu." Additionally, the duo draws on the disturbing psychological tension of Stephen King’s "Carrie" and "Misery," and the surreal dystopian world of Stanislaw Lem's "Congreso de Futurología." The giallo horror aesthetics of Dario Argento's "Deep Red" also serve as a significant influence, merging surreal visuals with nerve-racking, visceral soundtracks—elements mirrored in Dellarge and Labret's own compositions.



The LP is not only rich with atmospheric storytelling but also boasts a range of remarkable remixes by prominent artists in the electronic music scene. Contributions from Alessandro Adriani, David Carretta, Legowelt, and Broken English Club inject new life into the original tracks, offering reinterpretations that span from industrial techno to Italo disco, further enhancing the project’s depth and versatility. Each remix complements the overarching horror theme while adding a modern, avant-garde twist to the duo’s work.



This debut album promises to be more than just a musical release—it's a vivid exploration of the horror genre through sound, creating a sensory experience that brings forgotten films, unrealized visions, and nightmarish stories to life through music. As the lines between fiction and reality blur, Dellarge and Labret invite listeners into a world where the echoes of lost films can finally be heard.

“Eerie, wailing sounds over distorted feedback drones… Vibrato-heavy harmonies chirrup and throb in agonisingly slow motion.”
The Guardian, Album of the Month

“Cinematic...carefully orchestrated...delicately explores unfamiliar territory with uncanny finesse.”
The Wire

Acclaimed Icelandic theremin musician Hekla returns with Turnar, her third album of devastatingly heavy, spectral soundscape-songwriting, entering a sublime paranormal plane of haunting dread.

Now augmenting her virtuosic solo theremin work with cello, voice, and the sacred church organ of Icelandic master Kristján Hrannar, the evolution of Hekla’s unique magic summons new worlds with Turnar. The album was recorded partly in (and named after) a medieval castle tower in rural France, its ruinous black broken in spare beams of angelic stained-glass light. But, writes Hekla, “the sound of theremin kind of opens up a portal into a new realm that both looks into a dark old world and to the future.” The record is an alternately beautiful and crushing space voyage into a glacial underworld cascading with phosphorescence and cave drip, conjuring ancient choral ritual just as readily as redolent sci-fi gloam.

Opener “Inni” begins with swooning and shimmering lines of theremin that shiver with electrified energy before subfrequency bass elevates them into a glowing plasma, hovering above a crystallised surf. Key moment “Gráminn” wails with ghostly harmonics while distorted drones crash together in a stormy and blackened netherworld sea. It traces a neat progression from Hekla’s last album - the acclaimed Xiuxiuejar - while also welcoming an expanded timbral palette and flourishing compositional confidence. At the end of side A, “Var” delicately places sonic artefacts about a desolate negative space, creating a dense inverse gravity. As with the rest of the record, a claustrophobic gauze hangs over music that could otherwise be called subverted songwriting, aligning Hekla’s sonics with avant-garde, musique concréte and sound-art.

Orange-farbenes Vinyl mit DLC sowie Digisleeve-CD! Memorial Waterslides" ist das Debütalbum von MEMORIALS, dem Duo bestehend aus Verity Susman und Matthew Simms (zuvor bei Electrelane und Wire). Es handelt sich um ein surrealistisches Pop-Album, das sowohl zeitlos als auch zeitgemäß ist und eine seltene Mischung aus klassischem Songwriting und Avantgarde-Attitüde aufweist. MEMORIALS kreieren einen Panorama-Pop, der auf Vertrautes und Fremdes zurückgreift, aber bekannte Pfade aber auch neue Wege beschreitet. Mit ihrem verspielten und experimentellen Stil, kombiniert mit einer Liebe zu Melodien, stehen sie in einer Reihe mit Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo und Tortoise. Das Album ist voll von Bildern, die eine verlorene Zukunft, eine verschleierte Gegenwart und eine tagträumerische Vergangenheit heraufbeschwören, wobei jeder Song eine Rolle bei der Schaffung einer wirbelnden Breitwandatmosphäre spielt und den Hörer mit auf die Reise nimmt. Der Sound des Albums, das die beiden komplett selbst produziert haben, wurde von den Experimenten mit Tonbändern inspiriert, mit denen sie zunächst auf der Bühne herumspielten, als sie begannen, ihre vielschichtigen Aufnahmen für Live-Auftritte als Duo zu entwickeln. Nach ihren gefeierten 2023-Soundtracks "Women Against The Bomb" und "Tramps!", einer Europatournee mit Stereolab (sie wurden als "Stereolabs böser Zwilling" bezeichnet) und einem neuen Musikauftrag des Centre Pompidou in Paris kamen Verity und Matthew auf MEMORIALS in umgekehrter Richtung an, indem sie ihren Soundtrack-Alltagsjobs entflohen, um kosmische Reisen durch den Gartenschuppen in psychedelischen Rock, abgefahrenen Folk und wilde analoge Elektronik zu unternehmen. "Exciting and unpredictable" The Guardian. "Everything you'd expect from a duo adept in the strange and esoteric, while also in thrall to pop music's melodic bent." The Quietus.

The Local Moon (East Berlin 1987/88) The name The Local Moon originated from an intimation by the oriental jester Nasreddin that every city had its own moon. This idea did not go without a certain local colour in the bipolar frontline city of Berlin; from an astropolitical view, its divided sky never saw a full moon, the light conditions were ideologically broken. From the black light of those years emerged The Local Moon. René Le Doil and Ronald Lippok took wings like two crows from a pigeon’s nest when quite suddenly in 1987 light entertainment permeated East Berlin’s Offground and the two musicians were hired for the New Romantic revue New Affair. Before that, Le Doil had been involved in the Stattgespräch fashion spectacle and in Allerleirauh, the “thing of light, space, sound and leather”. Lippok had been the drummer for Rosa Extra, one of the earliest punk rock bands in East Berlin. Together with his brother Robert, who had already come into the picture with an avant-punk project named after the Jules Verne novel Fünf Wochen im Ballon (Five Weeks in a Balloon), Ronald Lippok then founded the post-punk commune Ornament & Verbre- chen, for whom Le Doil would occasionally guest as an... more credits released July 20, 2022 Tape (Side A, B, C – Track #1 - #16) Music by The Local Moon, recorded in April 1987 René Le Doil: accordion, bass, guitar, keyboards, piano, voice Ronald Lippok: acoustic guitar, keyboards, percussion, voice Produced by The Local Moon Single (Side D – Track #17 - #19) Music by The Local Moon, recorded in May 1988 René Le Doil: keyboard Ronald Lippok: keyboard, voice Charlotte Jansen: oboe, voice Alex Wolf: percussion Bo Kondren: emax, traktor Detelf Pegelow: guitar Robert Lippok: clarinet, ethno brass Produced by Bo Kondren Recorded at Gunther Krex Studio

Released for the first time on vinyl, ‘Brat and it’s completely different’ is the reworked version of ‘BRAT’ which reached number 1 on the UK’s official album chart, and includes the number 1 single ‘Guess featuring Billie Eillish’.



Avant-pop and electronic superstar Charli xcx has become an iconic figure in the arts, having helped expand the landscape of popular music over the last decade by seamlessly traversing the underground and mainstream with her artistic output.



Over the course of a trailblazing career, the multi-hyphenate creative has earned critical acclaim for her innovative style and entrepreneurial spirit and seen her forward-thinking approach reshape pop culture in the process.

She released her sixth studio album ‘BRAT’ in June which stands as the most critically acclaimed album of the year and landed at Number 1 on the UK Official Album Chart in October.



‘BRAT’ has well and truly made its mark on the cultural zeitgeist this year; the audacious campaign has seen Charli cause roadblocks around the world with her pop-up ‘PARTYGIRL’ DJ sets, break the internet with viral videos and surprise collaborations with the likes of Billie Eilish, Lorde, Addison Rae, Robyn, Yung Lean, Julia Fox, Chloë Sevigny, and Rachel Sennott and introduce a new tone of green to the social lexicon.



The album was nominated for the Mercury Prize 2024 while ‘Guess featuring Billie Eilish’ debuted at Number 1 on the UK Official Singles Chart, making Charli the first British artist to land at the top of the charts this year.



In October, Charli followed it up with ‘Brat and it's completely different but also still brat’ - a brand-new version of the critically acclaimed album featuring reimagined takes and innovative reworks of tracks from ‘BRAT’ featuring the likes of Julian Casablancas, Bon Iver, The 1975, Shygirl, Ariana Grande, Caroline Polachek and more.



Her lasting impact was cemented last year when Charli was honoured with the Visionary Award at the annual Ivor Novellos in London, while she also received the Powerhouse Award at Billboard’s Women In Music ceremony in March, the ASCAP Global Impact Award in May and Wall Street Journal’s Music Innovator Award in October.

Producer, songwriter and director Sevdaliza releases her highly anticipated sophomore album Shabrang in roaring 2020. Produced entirely by herself together with long-time collaborator Mucky, the 14- track album is the long awaited follow-up to the 2017 debut album ISON.

In just a few years time Sevdaliza established herself as an iconic, highly creative, versatile and independent artist who has landed on many celebrity moodboards. Her stunning visual for HUMAN of her debut album ISON has collected over 25 million YouTube views to date and masterpiece Shahmaran about mental slavery, won 2 UK Music Video Awards. Sevdaliza toured 35 countries in the last 2 years and amassed thousands of fans globally (Spotify 200.000, Youtube, 300.000, IG 230.000). In 2020 Sevdaliza will return with her follow up album Shabrang.

“Shabrang” is mentioned In Persian mythology, although there is no direct translation to capture it’s essence, the Farsi phrase Shabrang literally translates to color-palette of the night. This “palette” is visualized in the tones in Sevdaliza’s black eye on the album cover. The black eye represents the years of physical and emotional turbulence. In Sevdaliza’s words “This album represents to me that the essence of it all to me is love. It is a deep letter to myself, my own bible I have to write in order to trust and believe in life. Trust in myself and my character as a human being.”

Born in Iran and residing in the Netherlands, Sevdaliza has been a strong independent force in the creation of her art. She is a producer and engineer, an independent art director with critical eye for detail and storytelling and an unique songwriter. Her music has been described as “genre- bending”, drawing on various genres including alternative electronic, indie, triphop, alternative R&B and the avant-garde.

Shabrang is available on grey vinyl and the package contains a large poster and photograph ID-sheet.

The first-ever reissue of Gianni Marchetti's 1978 LP "Solstitium", released as part of RCA's venerable "Original Cast" series in a handful of promo copies only, sits among the most rare and enigmatic artifacts of Italian library music, it is heralded by collectors as one of the greatest free-standing gestures in the entire genre.

RIYL: Piero Umiliani, Egisto Macchi, Stefano Torossi

Gianni Marchetti's Solstitium, originally released in 1978 as part of RCA's prestigious Original Cast series, stands as one of the most elusive and iconic records within the realm of Italian library music. Its first-ever reissue brings this long-sought gem back into circulation, offering an opportunity for modern listeners to experience its raw, innovative energy and immersive soundscapes. Originally released in only a handful of promo copies, Solstitium quickly became a holy grail for collectors, its rarity only adding to its mystique and allure.
The album embodies a free-spirited, avant-garde approach to composition, blending elements of jazz, progressive rock, and experimental electronic music. Marchetti’s use of unconventional instrumentation and studio techniques marks Solstitium as an audacious departure from the more conventional library music of the era.
‘Solstitium’ remains a fascinating listening experience, revealing new layers with every listen, and it is not surprising that it has earned its place as one of Marchetti's most revered works, continuing to fascinate old fans and new listeners alike.