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Die dänisch-brasilianische Band The Courettes war von Anfang an eine Rock'n'Roll-Sensation und ist mit ihrem vierten und bisher besten Album zurück: "The Soul Of... The Fabulous Courettes". Und dieses Mal sind sie größer, breiter und tiefer als je zuvor, denn sie haben ihrem fulminanten Ramalama, mit dem sie in Großbritannien, Europa, den USA und Japan für Furore sorgen, noch mehr hinzugefügt. The Courettes treffen genau den richtigen Punkt zwischen Garage-Rock, Girlgroup-Pop, Doo-Wop-Harmonien, Herzschmerz und allem, was dazwischen liegt, und bauen auf dem Schwung des Vorgängers "Back In Mono" mit einer Sammlung von Songs auf, die ihren klanglichen Spielraum erweitern, während sie sich mit dunklen, emotionalen Themen auseinandersetzen, um "The Soul Of_ The Fabulous Courettes'" zu enthüllen. "Wir wollten kein "Back In Mono 2" machen", betont Schlagzeuger Martin Couri. "Wir versuchen immer, uns in eine Zone des Unbehagens zu begeben, in der meiner Meinung nach aufregende Dinge passieren, anstatt immer wieder das Gleiche zu tun", stimmt Sängerin, Gitarristin und Multiinstrumentalistin Flavia Couri zu. Mit jeder Albumveröffentlichung hat sich das Duo weiterentwickelt und "The Soul Of... The Fabulous Courettes" lässt sich von den zahlreichen Vorbildern des Duos inspirieren, die zuvor nur angedeutet wurden. "Wir wollten unsere Liebe zur Spector Wall Of Sound und Motown zeigen", verrät Flavia. "Es war eine klare Mission und wir haben sie absolut erfüllt." Von den glorreichen Eröffnungsbeats und den stechenden Fuzz-Hupen von "You Woo Me" bis hin zu der abschließenden emotionalen Rührung von "For Your Love" über die fuzzige Dringlichkeit von "SHAKE!" und die feierliche Wärme von "California" haben The Courettes ihren Sound mit einer Instrumentierung und einer allgemeinen Raffinesse erweitert, die sowohl in ihrer Produktion als auch in ihrem Songwriting deutlich wird. Und vor allem haben sie dies erreicht, ohne etwas von dem Rock'n'Roll-Kern zu opfern, der von Flavias Gitarrensaiten und Martins ramponiertem Schlagzeug abgekratzt wurde. Bei ihrem Streben nach klanglicher Perfektion haben sie einige Gastmusikern und Klang-Zauberer im Hintergrund unterstützt, z.B. La La Brooks (The Crystals) mit Backing Vocals bei "California" und "Run Run Runaway" (bei denen auch noch Brian Wilson-Kollaborateur Darian Sahanaja den Gesang gemischt und mit einem Beach Boys-Vibe versehen hat). Produzenten-Legende Richard Gottehrer hat "Keep Dancing" und "Boom Boom Boom" abgemischt, Peter Kehl und Kasper Wagner (beide Black Tornado) geben sich mit diversen Blasinstrumenten bei "Shake!", "Better Without You" und "Stop! Doing That" die Ehre. Zu den Courettes gesellt sich in ihren eigenen StarrSound Studios in Dänemark erneut der Multi-Instrumentalist Soren Christensen, der Mellotron, Orgel, Klavier und Backing Vocals beisteuert und das Album gemeinsam mit C.T. Levine produziert hat. Während sich die Musik akustische und 12-saitige Gitarren, Bass, E-Bögen, Kastagnetten und Pauken einbezieht, haben sich auch die Emotionen entwickelt, die man zuvor nicht mit The Courettes in Verbindung gebracht hat. "The Soul Of... The Fabulous Courettes" richtet sich an Herz und Kopf, es tanzt durch die Dunkelheit und feiert die Freude am Leben.

LUMINOUS ELECTRO-ACOUSTIC COMPOSITIONS LAYERED WITH SUPERB IMPROVISATIONS

Frida Kahlo said, "Can we invent verbs? I'd like to tell you one: I sky you, so my wings stretch, enormous, to love you without measure". It was this message of love from the Mexican poet and painter that inspired the debut album Yo Te Cielo ("I Sky You") by the French southern quartet Chocho Cannelle. It's a canvas on which the different worlds of the four band members blossom. Full of nuances and contrasts, between harmonic softness and rhythmic subtlety, it bears witness to the musical maturity acquired within the quartet. Chocho Cannelle follows in the footsteps of contemporary jazz groups who have abolished stylistic boundaries. From the very first notes, the electro- llanera harp propels us into the band's colorful universe. The eclectic compositions are luminous, evocative and layered with superb improvisations. The musicians play with their timbres and seem to dance, all in balance. Across a wide range of musical influences, the fluidity and coherence of the tracks are self-evident, confirming once again the quartet's strong identity. The album exudes a life force reminiscent of Frida's own personality.

In 2013, Marc Almond realised the then ambition of his creative
career when he collaborated with legendary producer Tony Visconti
(David Bowie, Hazel O'Connor, T-Rex, Morrissey). The evocative
results of their unique collaboration can be heard on the opening
tracks ‘The Dancing Marquis’ and ‘Burn Bright’.
In collaboration with record producer Tris Penna, Tony Visconti also
lends a helping hand with string arrangements and mixing duties on
two further tracks; ‘Tasmanian Tiger’ and ‘Death of a Dandy’, the
latter lovingly inspired by the tragic and sudden death in 2010 of
Soho’s renowned hedonist, the writer and artist Sebastian Horsley.
Continuing in this collaborative vein, ‘The Dancing Marquis’ also
features the talents of Martin McCarrick (Siouxsie and the
Banshees, Therapy?) contributing cello on the hearteningly buoyant
‘Burn Bright’, and strings on title track ‘The Dancing Marquis’, a song
which Marc penned with Henry Paget, the 5th Marquess of Anglesey
very much in mind. Jarvis Cocker (Pulp) contributes an infectious
electro-pop song that he wrote especially for Marc, ‘Worship Me
Now!’ - he also features on backing vocals and production duties in
conjunction with Jason Buckle (The All Seeing I).
‘Love Is Not On Trial’ saw Marc once again collaborating with Carl
Barât (The Libertines), his co-star in the 2012 opera ‘Poppea’ as
performed at Théatre du Châtelet in Paris. Produced again by Tris
Penna, the song was written especially for Marc by Carl, who also
features on guitar and vocals.

This album is about memories. About a feeling of nostalgia and longing, both beautifully comforting and devastating. It is an attempt to transform an unspoken sensation of the past to a solid object serving the future, an urge to remember and hold onto moments that we can't keep forever. On the 6th of October 2023, the release date of her third solo album ‘Ghosts’, Hania performed a very special album release concert with a string ensemble in a uniquely special location - Witold Lutosławski's Concert Studio at the Polish Radio in Warsaw. Over the years, the spaces of Polish Radio have become an important part of Hania’s life - both privately and professionally.

Visiting for the first time as a student of Chopin University of Music and returning to make her first recordings in late 2018, just before the release of the debut album ‘Esja’. It was also in these studios that Hania recorded her Live from Studio 2 video and EP. But whereas that featured a much-loved solo performance, for this very special recording from the larger Studio 1, Hania is joined by her regular collaborator Ziemowit Klimek on double bass and moog as well as a luxurious eight-piece string ensemble featuring Karolina Gutowska violin Jan Pietkiewicz violin Marta Piórkowska violin, Paweł Czarny viola, Tomasz Rosiński viola, Dobrawa Czocher cello, Marianna Sikorska cello, Mateusz Błaszczak cello.
Beautifully mixed by Greg Freeman in Berlin the music takes on a new life as Hania’s ethereal vocals, beautiful playing and exhilarating compositions are brought fully to life by the beautiful sweeping strings of the expanded ensemble. The concert is included here in its entirety with the addition of one beautiful extra performance – the title track ‘Nostalgia’ a beautiful interpretation of a much-loved piece from the Ghosts album taken from her concert at the Roundhouse in London. In addition the LP features a beautiful 16 page booklet of photographs of the Polish radio studios taken by Hania herself and featuring her thoughts on the recording, studios and the compositions themselves and the CD includes the photos in a beautiful glued in 12 page booklet.

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

On October 4, 2024, Vel will make a splash with the release of her debut LP, MTY-011 «There is Always a Solution», through Anetha’s label, Mama Told Ya. After 3 exciting EPs and the recent rise of her Live performance, Vel made waves last year with the track «Velds1» on MTY-AIR «Mille Attaques, Les Vents Contrèrent» in collaboration with LDS. She is now ready to unveil her first full-length album.
«There is Always a Solution» flows with two slippery vinyl records and 10 immersive tracks. Nine tracks are produced solely by Vel, while one is co-produced by Vel and Anetha. Once again, Mama Told Ya returns with a valuable lesson: no matter the challenge, you will flow a way.

Vel is back with a mesmerizing new album featuring 10 tracks that draw you in with her captivating energy. Are you ready to heed the call? The High Priestess of Drums plunges us into a world of vibrant Techno and brisk Tribal rhythms, while her Ambient passages offer a calming retreat and her Mental influences are bound to stir your emotions. Rest assured, “there is always a solution.” Renowned for her expertise in rhythmic innovation and spatial soundscapes, Vel presents a revitalizing and dynamic release. MTY-011 promises to cleanse and rejuvenate—let yourself be immersed.
With a hint of irony, The Babe (A1) playfully teases, “Do you love me? Do you love my music?” But Vel’s real question is more reflective: you’re in deep water. Dive into the sound bath of Humans in Cafe (A2), close your eyes, and let the drums, the kicks, the bangs, and the buzz wash over you. One Xanax Introspection (A3) later, Vel is inviting us to explore the full spectrum of frequencies—a galloping race of deep bass and high treble in this ambient choreography.
« Don’t let the relentless BPM Anxiety (B1) drown you. Its tortured synth may try to hold you back, but you’re free. You’re in your Pop Tribe (B2), and nothing can stop you—DRUM BIG. »
Darling it's better down where it's wetter: joining Vel for a jam session « under the sea », it’s Anetha! Driving percussions are combining with a pulsating psytrance bassline, pure magic: « Ain’t We Mermaids (C1), dear? » Vel, ever the master of the salty beats, slows it down just enough to say, «I Don’t Care (C2),» as she deconstructs. A few moments later… She’s at it again—just when the BPMs are peaking, she draws us into a state of floating lethargy. That’s the absorbing power of Ambient Core (C3).
The current is strong with this one—prepare for a challenge. Deep Tracks Don’t Sell (D1) will drift you away in a swirl of intertwining undulations and dripping drums. It’s time to return to the surface: with a bubbly twist of whimsy, Oh La La (D2) pops in, full of new-wave energy. Vel gently swims us back to shore.
For this new LP, the artwork was crafted in-house under Vel’s artistic direction. The design was skillfully executed by Diplomatie Studio, while mastering was entrusted to In Aeternam Vale, Vel’s close friend and mentor.

Ruby Wine Vinyl. Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown.The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown.The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

In 2011, an eponymous, self-recorded EP led to touring, and before long The Lumineers started attracting devout fans. They're drawn by songs like "Ho Hey" and "Stubborn Love," Americana-inflected barn burners in the vein of the Avett Brothers and Mumford & Sons. The roots revival of the last few yeas has primed listeners for a new generation of rustic, heart-on-the-sleeve music. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics.

In 2011, an eponymous, self-recorded EP led to touring, and before long The Lumineers started attracting devout fans. They're drawn by songs like "Ho Hey" and "Stubborn Love," Americana-inflected barn burners in the vein of the Avett Brothers and Mumford & Sons. The roots revival of the last few yeas has primed listeners for a new generation of rustic, heart-on-the-sleeve music. The Lumineers walk that line with an unerring gift for timeless melodies and soul-stirring lyrics.

Info: Appearing on The Voice in 2012. A semi-finalist on Sir Tom Jones team. Performed nationwide including multiple appearances at London Fashion Week, the alternate Effie White in the London production of Dreamgirls (Sonia Friedman Production). Ruth Brown has also been busy with a successful 2-night sold out show at The Other Palace, a regular for Sofar sounds. Ruth returns with her EP - A Moment Of Truth.

American singer, songwriter and guitarist Boz Scaggs rose to fame in the 1970s with several top 20 hit singles in the United States. In 1976, he teamed up with a group of session musicians who would later form Toto and recorded his seventh album, Silk Degrees, which became a huge hit. The album reached #2 on the US Billboard 200, #1 in a number of countries around the world, and spawned three hit singles: “Lowdown,” “Lido Shuffle,” and “What Can I Say,” as well as the MOR standard “We’re All Alone,” which was later recorded by Rita Coolidge and Frankie Valli.

Silk Degrees is available as a limited edition of 750 copies on translucent blue coloured vinyl and includes an insert.

Two seminal 12" mixes of a pair of Michael Wycoff heavy hitters from 1982. One a two-step favourite and one a Loft classic, these sought-after versions have never been paired on the same record.

Side A features the smooth-gliding anthem "Looking Up To You". The unmistakable snap of that sighing intro is unlike anything else. As such, it's no surprise that Leon Ware, celebrated master of the unexpected chord, has his fingerprints all over the track. Co-written with Zane Grey, "Looking Up To You" stands among the very best of Leon's staggering bank of compositions, both solo and with Michael Jackson, Minnie Riperton and Marvin Gaye. It's such an influential track, serving as the sample foundation of a massive top five R&B hit for Zhane in 1993, but it has never been bettered upon. Original 12" copies - if you can find them - go for over £50 today, making this side worth the price of admission alone.

If that wasn't enough, it's arguable that the B-Side wins again. A staple of David Mancuso's New York Loft parties, the Tee Scott mix of uplifting boogie gem "Diamond Real" is on another level entirely. A DJ legend of infamous clubs Better Days and Zanzibar and a trailblazing innovator, Tee Scott mastered the art of the reconstructive club mix.

For maximum destruction of discerning dancers, we've opted for here for his heavenly dub. 7 minutes of devastatingly slick dance floor dynamite, at once polished and dilapidated, its ecstatic charm is universal.

Devout lovers of modern soul have long worshipped the rapturous, sophisticated funk of Michael Wycoff. In combining that richly elegant voice, redolent of Donny Hathaway, with the production of keyboardist and arranger Webster Lewis, it's no surprise that both of these tracks became vital club classics of the early 80s R&B scene. Clear, full-bodied and bright - the 12" versions of these tracks are notoriously punchier than those featured on Wycoff's LP, and feature boomin' low end and neck-snapping drums. Buy on sight.

The Decades Collected compilations are part of the Collected compilation series, which is a collaboration between Universal Music and Music On Vinyl. The compilations bring together the biggest names of each decade, combined with forgotten hits and less discovered gems, giving the listener an experience of listening to their favourite tunes while uncovering new musical grounds at the same time.

Punk collective TOKKY HORROR have released their brand new EP 'KAPPACORE', today via Venn Records. Order the EP - HERE. To celebrate the release the band have released new single 'MAXINE'. Speaking about the new single the band said, “Maxine is a perfect example of collaboration breathing new life into an idea. We’d been sat on the instrumental version for over a year, and wasn’t until we got into the studio with Blazer that it really came into its own. We wanted to capture the atmosphere of rave culture but play it as a band. It’s got all the breaks, bass lines, stabs that a rave track would carry. It’s just done live” Speaking about the EP the band said, “This is the last thing we’ll put out before disappearing to record our album. It’s road tested, high energy material from the first era of Tokky Horror. We’ve wanted to meld breakbeats with visceral guitars as we usually do, but expanded our range of sampling further and pushed our weirdness at times, there’s less out-and-out riffs and more times where our love of Orbital and Aphex Twin shines through. It’s still a record for the punks, just not purists.” KAPPACORE Tracklisting: MAXINE (feat Blazer Boccle) HAMMER 2 THE FACE JAZZ MUSIC TOILET TRANMERE RAVER (feat. MC NULTi) Tokky Horror who recently supported Enter Shikari on their sold out tour, have announced a headline tour for this October..

To launch Mr Bongo’s new Cuban Classic Series, we are thrilled to present this sought-after, psychedelic-funk masterpiece. A fusion of traditional Latin and Afro-Cuban rhythms meets disco, jazz, and funk, with hints of 70s soundtrack productions, this much-loved cult album featuring nine predominantly instrumental tracks is a real treasure that deserves a much wider appreciation. One look at the trippy artwork and you know it is going to be special.

Originally released in 1977 on Areito Records, a sub-label of the state-owned label Egrem, it has become one of the rarest (even in Cuba) and most in-demand albums to come from the label. It is the sole album from Grupo Los Yoyi and was composed, orchestrated, and produced by the mysterious, Jorge Soler Leó.

After Castro ring-fenced Cuba with an embargo on, among other things, Western music, the ‘Yoyi’ album had a sound more left of centre than what was normally allowed to be recorded there at the time. It subtly and covertly flirts with disco, jazz-funk, and electronic sounds coming from the US and Europe. It is probably best known for the space funk, bubbly club cut 'Paco La Calle’. A track that was edited in 2008 by the fantastic DJ / producer, Nick the Record, and one that is guaranteed to set a discerning dancefloor alight. However, ‘Yoyi’ is far from a one-track album. Other highlights include, 'Banana’, with its call and response trombone and horn section, squelchy keys, pulsating breaks and percussion, and a loose, floating vocal arrangement. 'Tu No Me Puedes Conquistar' is a beautiful, bouncing plodder with a variety of instruments interchanging as the track progresses. 'Ruta 30' takes things in a straighter Latin direction, which we are accustomed to from Cuba at that time, yet it is still full of personality, treats and vigour. Take our word for it, this album is strong throughout.

This is one of our favourites and most beloved albums to come out of Cuba and is the perfect flagship for our Cuban Classics Series. Look out for plenty more to come real soon.

New album of Housse de Racket member Pierre III - previously seen on Ed Banger.

Throughout my musical journey, electronic music was always a discreet companion, like that cousin who's not so close, but always fun to hang with.

So I put aside my beloved guitar aside for a while, knelt to the Roland Holy Trinity 303, 808, 909, and focused on rhythm, repetition, loops, four on the floor and the search for trance. By the way, the evocative working title for the album was ‘body music.'

Which is ironic because I haven't clubbed less than these last few years. So this music is more like a fantasy, a personal interpretation.

Thinking outside the box, leaving my comfort zone, felt like a producer's challenge, a game. We ‘play’ music. But don’t get me wrong, I play very seriously. I’m not a content creator, I am a musician.

You’ll hear many influences on this record, from Chicago House to Homework-era Daft, Talking Heads, ESG, early 90’s Dance Music… Club music for indie heads I guess.

I don’t want to sound self indulgent, but I love this record very much and I really loved doing it. Music is about pleasure and pleasure is a success in itself.

So please, step into my ‘Discotheque’.

THE OMEGA SWARM, eine atmosphärische Death-Metal-Band aus Deutschland, begann im Jahr 2022, sehr bescheiden, sehr zurückgezogen. T., der bereits vier großartige Alben mit Sulphur Aeon veröffentlicht hat, hatte keinen vollwertigen Live-Act im Sinn, als er frühe Demos komponierte und das Skelett seiner - damals noch namenlosen - neuen Kreatur formte. Im Herzen ein wahrer Schöpfer, umarmt T. die akribische Arbeit an Riffs, Tönen, Klängen, den abenteuerlichen Geist des Aufbaus und der Verwirklichung von Ideen, das Experimentieren mit seinen geliebten Gitarren und Synthesizern, um erstaunliche Vibes und Songs zu produzieren, die bedeutungsvoll und doch extrem, melodisch und doch hart sind und sich in THE OMEGA SWARMs Debütalbum vereinen, einer Platte, einem Zeugnis, das der Essenz der Kunst selbst gewidmet ist.

So bodenständig T. auch ist, er ist nicht der Typ Mensch, der sich an eine Klangformel hält, er sucht nach "etwas mehr", "etwas anderem". Nachdem Sulphur Aeon mit dem monumentalen "Seven Crowns and Seven Seals" von 2023 vorerst abgeschlossen haben, was sie ausdrücken wollten, sind THE OMEGA SWARM jetzt sein Hauptaugenmerk, und das Line-up der Band, das von Sänger Christian Schettler (bekannt durch seine Arbeit bei den Labelkollegen Wound) und Schlagzeuger Max Scheefeldt (ex Misanthrope Monarch) komplettiert wird, passt perfekt zusammen. Musikalisch entstanden THE OMEGA SWARM aus T.s Experimenten mit rhythmischen Mustern, übereinanderliegenden Synthesizern, ausgefeilten Leads und etwas technischeren Riffingstrukturen.

Die wohl einzigen offensichtlichen Parallelen zu Sulphur Aeon sind die Betonung einer dichten, fesselnden Atmosphäre, epische Elemente und eine übergreifende Dunkelheit sowie die Erkenntnis nach der Fertigstellung der ersten Aufnahmen, dass auch THE OMEGA SWARM die Qualität besitzen, mehr als nur ein 'Schlafzimmerprojekt' zu sein.
Aufgenommen in den Studios von Feire Records und s/w records, gemischt und produziert von Langzeitpartner Simon Werner, wurde V. Santura (Triptykon, Dark Fortress) für das Mastering angeheuert und sorgte für den letzten Schliff von "Crimson Demise", einem Album, das stolz und mühelos zwischen Death und Black Metal changiert und von einer herausragenden Gesangsleistung abgerundet wird, bei der Chris eine ähnliche Bandbreite an Growls, Screams und cleanen Parts erreicht wie Peter Tägtgren in seinen besten Zeiten.

Vom Konzept her verzichtet die Gruppe auf uralte Lovecraft'sche Schrecken und wendet sich stattdessen geradlinigen apokalyptischen Themen zu. Ob Viren, bösartige Bakterien, verrückte Diktatoren, Klimawandel, religiöse und politische Ideologien, korrupte Technologie, Terrorismus oder Krieg, die Menschheit hat sich selbst für den Untergang gezeichnet - in leuchtenden Neonfarben, damit selbst eine außerirdische Spezies, die Galaxien entfernt ist, erkennen kann, was für Narren wir wirklich sind. "Die Menschheit kann sich nicht auf eine gemeinsame Wahrheit einigen, geschweige denn auf eine Strategie zur Lösung ihrer mannigfaltigen Probleme", erklärt Chris, "und bildet somit überhaupt keine Einheit. Der einzige gemeinsame Nenner, der uns alle eint, ist unsere Zerstörungswut, die irgendwann die gesamte Existenz der Menschheit gefährden könnte. Die Utopie wurde durch dystopische Szenarien ersetzt. Welche Formen des negativen menschlichen Verhaltens uns und die Gesellschaft derzeit beeinflussen und letztlich in eine zukünftige Endzeit führen, ist Teil des lyrischen Konzepts von THE OMEGA SWARM."
Aber keine Angst, bevor die Weltuntergangsuhr zum letzten Mal schlägt, soll euch das Vergnügen vergönnt sein, ein abwechslungsreiches, intensives und fesselndes Stück Metal zu erleben, das das neu formierte Trio aus dem Schlafzimmer auf die Bühne bringen will!

Leif Vollebekk ist ein Philosophiestudent, der sich zum Troubadour entwickelt hat. Auf dem treffend benannten Album "Revelation" verbindet er Carl Jungs I Ging-Gedanken, Wittgensteins Liebe zur Sprache und die lyrische Poesie von Bob Dylan. Die 11 Tracks, darunter zwei orchestriert-cineastische Versatzstücke, erinnern an die erzählerischen Skills seiner Landsleute Leonard Cohen und Gordon Lightfoot, an den kristallinen Sound der Eagles und den üppigen Pop von Nick Drake und Scott Walker. Das vollendete Werk, organisch, erdig und handgemacht, verwebt Naturthemen zu einer Meditation über das Leben in einer sich ständig verändernden Gegenwart, durchzogen von existenziellen Zweifeln und der Suche nach einer höheren Macht.

Ein Album wie eine Nacht in Paris: Eli & Fur zwischen Introspektion und Euphorie.

Das in London gegründete und in LA lebende Duo Eli & Fur gehört zur Speerspitze der modernen House- und Techno-Szene. Ihr zweites Album 'Dreamscapes' entfaltet sich in den introspektiven und doch transformativen Räumen, die zwischen der Dämmerung und dem Morgengrauen lebendig werden. In diesem nächtlichen Zwischenspiel wird der Schleier zwischen dem Selbst und der Umgebung dünn und die Zeit steht plötzlich still. Wenn die Außenwelt verblasst, stellt sich ein Gefühl von Trost und Zuflucht ein, das dem Gewöhnlichen den Weg zum Außergewöhnlichen öffnet. 'Dreamscapes' ist ein elektrisierendes Werk, das das komplizierte Zusammenspiel von Gedanken und Emotionen anregt. Es ist eine Hommage an die kathartischen Grübeleien unserer einsamsten Wanderungen durch alle Ecken der Nacht und die Blitze dazwischen, mit 15 Tracks.

Dieses neueste Werk, das über das traditionelle Hörerlebnis hinausgeht, bestätigt Eli & Furs unvergleichliche Fähigkeit, verschiedene musikalische Elemente mit universell verbindenden Themen in Einklang zu bringen. 'Dreamscapes' ist mehr als ein Album, es ist ein Gefühl. Es ist das durchschlagende Gefühl einer Nacht in Paris, die man in Erinnerungen an die Sterne schwelgt. Es ist die Aufregung und die Beklemmung, wenn man sich fragt, was einen am nächsten Horizont erwartet. Es ist die anhaltende Euphorie, wenn man jemanden vermisst, den man liebt, und es ist eine Solo-Taxifahrt nach einer durchzechten Nacht, bei der man dem Sonnenaufgang hinterherjagt, während das erste Licht der Morgendämmerung naht.

- Ltd. Col. 2LP: (White Vinyl)

The Villain I Never Was is the debut studio album from Ghanaian singer and rapper, Black Sherif. Originally released on October 6, 2022, the 14-track album was supported by five singles, “Second Sermon (Remix),” “Soja,” “45,” “Konongo Zongo,” & the smash hit, “Kwaku The Traveller,” which debuted at number 2 on the UK Afrobeats Singles Chart. Since the release of The Villain I Never Was, Black Sherif’s career has seen considerable growth and accolades, such as Artist of the Year (Ghana Music Awards UK 2022), West African Artist of the Year (The Headies 2023), & Best International Flow (BET Hip-Hop Awards 2023). Now for the first time, fans are able to enjoy this momentous album on vinyl. First pressing limited to 500 copies worldwide.

Speckled Dragon Egg Color Vinyl. Being Dead knows how to make an entrance - within the first several seconds of EELS, the duo's new record, the bright, hard-strummed guitar line on "Godzilla Rises" conjures cinematic immediacy, a creature emerging from the depths of the ocean in campy, freaky stop motion, fittingly so. Being Dead's records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead's psyche, it is, most importantly, in the year of our lord 2024, a 16-track record that is genuinely unpredictable from one track to the next: a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil' house in the heart of Austin, Texas. They decamped to Los Angeles for two weeks to record with GRAMMY-winning producer John Congleton, writing songs for the record until days before they left. The radical shift in process was welcome - a good balance and a challenge, Congleton helping them find new ways to work and helping peel back the layers on the core of their songwriting. Being Dead has grown from a duo to a trio live, including bassist Ricky Motto (who is immortalized finally on record here, particularly in the giggles on "Rock n' Roll Hurts") The resulting EELS is a darker record, tapped more into the devilishness within, but it's also a more raucous, rougher ride sonically. There's heartbreak, excitement, enchantment, dancing - we move through it all at a high-octane pace. Falcon Bitch and Smoofy never want to do the same thing twice on any song, and they don't. From the pummeling garage rock distortion of "Firefighters" to "Dragons II," which appears in its demo form taped on a hand recorder, it's unexpected but intuitive, and, most importantly, singularly Being Dead. Like its animal namesake suggests, the songs on EELS are malleable, the record like slithering through murky waters or strange half dreams, mysterious and beautiful in how it moves, reflective in a wavering sheen. Dipping into each song feels like uncovering a new cavern, plunging into depths unknown but fully open to what will be revealed. On the album artwork, an illustration by the artist Julia Soboleva, there are some weird disparate spectral creatures, a stark glimmer against a cloudy darkness. It's a fitting encapsulation of Being Dead, exuding a welcoming, playful energy even if something foreboding lurks just beyond the pale - more out of frame that's left to uncover, no path unexplored, strange and beautiful in the light.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

'SOPHIE', das selbstbetitelte zweite Album der visionären Künstlerin, Produzentin und Pop-Pionierin, wird am 27. September 2024 über Transgressive und Future Classic veröffentlicht.

Dieses Album wurde von SOPHIE und einigen ihrer liebsten Kollaborateure geschaffen. Es stand kurz vor der Fertigstellung, als sie auf tragische Weise starb, und wurde von denjenigen, die ihr am nächsten standen, liebevoll fertiggestellt. Als SOPHIEs Studiomanager und vertrauenswürdiger Gesprächspartner für über ein Jahrzehnt war Benny Long maßgeblich an der Veröffentlichung von 'Oil Of Every Pearl's Un-insides' beteiligt und zeichnete für Mastering, Produktion und Mixing verantwortlich. Die beiden arbeiteten dann über mehrere Jahre zusammen, um das Konzept und die Produktion dieses Nachfolgealbums zu entwickeln, das Benny liebevoll vollendet hat, um SOPHIEs Vision zu ehren.

- Ltd. Col. 2LP: (Crystal Clear Vinyl)

Tahiti 80, the cult French group, is back with a tenth album entitled Hello Hello.

Since their formation in Rouen in the 90s, Tahiti 80 have built a substantial discography, collaborating with artists such as Cornelius, Tore Johansson, Adam Schlesinger and Richard Swift. The indie pop quintet offers us today twelve irresistible and captivating songs on a solar tenth album. With its welcoming title, Hello Hello presents itself as a desire to merge the spontaneity of live performances with the chemistry of a band working in the studio. Xavier Boyer, lead singer and songwriter, explains: “We felt a slight frustration with our previous album, Here With You, released in 2022. The pandemic had forced us to record separately at home. When we realized our new demos were going in this live direction, we looked for the perfect place to capture that spirit."

It is at the Paraphernalia studio, located in the French countryside, that the members of Tahiti 80, including in addition to the singer, Pedro Resende, Médéric Gontier, Raphaël Léger and Hadrien Grange, perfected their musical interactions for ten days during the summer 2023. Integrated very early in the process, Stéphane Laporte, aka Domotic, brought his distinctive experimental touch to the arrangements and production. The vocals and additional synthesizers were then finalized between Paris, Rouen and Montpellier in the fall

The twelve songs that make up Hello Hello form a homogeneous suite, highlighting the creativity, diversity and maturity of a group which has just celebrated twenty-five years of career. Opening the album, “Every Little Thing” subtly mixes shoegaze guitars and synth pop. It’s also one of the rare Tahiti 80 tracks that keeps the same chords from start to finish. The singer confides: “It was an exercise in minimalism, with the constraint of finding varied vocal melodies revolving around the same chords. Singing the line ‘I Love Every Little Thing About Us’ made me realize that it could also be about us as a group.” The title song also plays the simplicity card with Boyer’s unique timbre, complemented by a drum machine passed through a tape echo and a catchy recorder theme – proof that years of practice of this instrument in French schools was not in vain!

The other distinctive trend is Brazilian: “Lose My Head”, “Soft Echo” or “Poison Flower” each display tropicalist attributes: swaying rhythms, rounded bass, soft guitars, all enhanced by a reverberated sound treatment. “From Caetano Veloso to Tim Bernardes, there is a unique way,” notes the vocalist, “of linking rhythm and melody that has always inspired us.”

However, the Tahiti 80 touch is not being put aside. “About Us”, sung by guitarist Médéric Gontier who can also be heard on “1+1” and “Anyway”, marks a return to the roots of indie pop. An impression confirmed by the hit “Vertigo” and its signature all in major sevenths supported by the elastic groove of bassist Pedro Resende. The song which sounds like a quick return trip between late 70s California and Tokyo City Pop, will find its place after “Crush!” and “Heartbeat” in the Rouennais’ songbook. Xavier Boyer concludes: “ if we manage to surprise ourselves, it will also work for the listener. but when you reach the tenth album, you must also manage to renew ourselves without denying ourselves what we did previously.”

With their innovative and unique approach to indie pop, their timeless melodies and their sophisticated productions, Tahiti 80 has never ceased to resonate with fans around the world. Their latest collection, Hello Hello, should easily consolidate their status as a singular group and esteemed personalities on the international music scene.

Das Debütalbum des für einen Grammy nominierten R&B/HipHop-Künstlers Blxst, der zu den heißesten Newcomern im Hip Hop gehört.
Produziert von Grammy-Preisträger Sounwave (Kendrick, Taylor Swift, Beyonce, Baby Keem, Kali Uchis), ist I'll Always Come Find You das bisher
klanglich vielfältigste und introspektivste Projekt von Blxst. Das 20 Tracks umfassende Konzeptalbum besteht aus vier Akten, in denen Blxst in die
Rolle von "Birdie" schlüpft, einem jungen Mann, der den Chauffeurservice Evgle & Son" seines Vaters erbt.
2022 erklärte die LA Times: "Blxst führt die neue Welle des L.A.-Hip-Hop an", und wir bereiten uns jetzt darauf vor, dass er mit der Veröffentlichung
seines Debütalbums I'll Always Come Find You erneut die Führung übernimmt.

Unreleased boogie-funk tracks from 1982 London. Music from an obscure, yet adored era/location, featuring the band that laid the groundwork for McKenzie and Gardiner, a certified UK Boogie Funk group from back in the day, known by funk/boogie aficionados and crate-diggers worldwide. “I’ll Keep Loving You” and “No Use Hidin’” are the final demos from the group Class of ‘78, which is the 7-piece band that predated the duo of McKenzie and Gardiner. It showcases a more loose live group feel on these two unearthed cuts recorded in 1982. “I’ll Keep Loving You” and “No Use Hidin’” are proper boogie-funk era tunes: both are spacey upbeat love songs with elements of disco, funk, lounge, and new wave

Take a trip to Paradise Pop. 10 with beloved singer-songwriter and producer, Christian Lee Hutson. Following his 2022 release Quitters - produced by longtime collaborators Phoebe Bridgers and Conor Oberst - he enlisted the help of Bridgers once again to produce. The album title is based on a real-life small town where Hutson spent a portion of his childhood. He takes listeners on a journey of autobiographical fiction with his signature wit and sharp storytelling. There are retable themes of love and the limbo of life in his narration across an elevated indie rock sound. In addition to Bridgers assist, Hutson"s partner Maya Hawke contributed vocals and co-wrote several songs.

Take a trip to Paradise Pop. 10 with beloved singer-songwriter and producer, Christian Lee Hutson. Following his 2022 release Quitters - produced by longtime collaborators Phoebe Bridgers and Conor Oberst - he enlisted the help of Bridgers once again to produce. The album title is based on a real-life small town where Hutson spent a portion of his childhood. He takes listeners on a journey of autobiographical fiction with his signature wit and sharp storytelling. There are retable themes of love and the limbo of life in his narration across an elevated indie rock sound. In addition to Bridgers assist, Hutson"s partner Maya Hawke contributed vocals and co-wrote several songs.

The group formed by the legendary Joseph Hill, accompanied by his two acolytes Albert Walker and Kenneth Dayes, delivers an album recorded at Mixing Lab and mixed at the Lion & Fox studio (reference studio for the RAS label) in 1989.

Recorded with 3 brass instruments, bass, drums, keyboards and percussion, it's in the pure roots tradition, with a few interesting dub twists. There's also a tribute to Bob Marley entitled ‘Psalm of Bob Marley’ and the excellent ‘Cousin Rude Boy’.

This is a pure roots album remastered to the highest standards, with a 350g cardboard sleeve showing off the full extent of Mitch Goldberg's graphic design. Never reissued on vinyl since its release, and only once on CD in the 90s.

ie stehen wie keine andere deutsche Band für modernen Rock 'n'Roll-Sound im Stile der 1950er und 60er Jahre.
Gleich mit ihrem ersten Album "Strike!" eroberten THE BASEBALLS 2009 die Spitzenpositionen der Charts, nicht nur in Deutschland, O?sterreich und der Schweiz, sondern in zahlreichen europäischen Ländern. Sie erhielten Gold- und Platinawards, spielten ausverkaufte Touren und gewannen Auszeichnungen wie den finnischen Musikpreis EMMA, den European Border Breakers Award und zweimal den ECHO.
Beinahe auf den Tag genau vor 70 Jahren erschien mit "That's Alright Mama" die erste Single von Elvis Presley und nichts mehr war wie vorher.
Bei The Baseballs ist auch kaum noch etwas wie es war. Als Duo haben Sam & Basti die Band einer völligen, beinahe schon radikalen Frischzellenkur unterzogen, denn The Baseballs klingen moderner denn je. Dafür haben sie auch einige ihrer Kulthits neu aufgenommen und nichts ist entsprechend treffender, als ihr neuntes Album eben "That's Alright" zu taufen.

Seit der Veröffentlichung ihrer 2020 erschienenen Single "Cleansed Existence" werden die Industrial-Metalcore-Hellraisers HERIOT aus Bristol von Künstlern, Journalisten und Fans gleichermaßen als die nächste Hoffnung für extreme Musik gehandelt. "Devoured by the Mouth of Hell" verdoppelt nicht nur die erdrückende Klaustrophobie von HERIOTs früherem Material - es enthält auch Ideen, die sie zuvor nicht angerührt haben. Die Opener "Foul Void" und "Harm Sequence" beweisen das mit einem schwindelerregenden Doppelschlag, wobei der erste Song ein Kraftwerk des Grooves mit melodischen Anklängen ist, während der zweite ein Metalcore-Amoklauf mit Vollgas ist. In anderen Stücken wie "Opaline" und "Visage" werden die Ambient-Töne, die HERIOT zuvor nur angedeutet hatten, zu kompletten Songs verarbeitet. Die Band klingt immer noch so roh und direkt wie eh und je, doch es gibt eine Verfeinerung, die nur von ihrem schieren Drang kommen kann, etwas zu erschaffen, das dem ganzen Hype um sie herum würdig ist. Die internationale Aufmerksamkeit inspirierte HERIOT dazu, sich so intensiv wie möglich auf ihre Instrumente und ihr Handwerk zu konzentrieren, und "Devoured by the Mouth of Hell" wurde in monatelanger Schreib- und Aufnahmearbeit akribisch verfeinert. Allein das Komponieren und das Aufnehmen der Demo-Versionen nahmen fast ein Jahr in Anspruch - als die Band dann Anfang 2024 ins Studio ging, holte sie sich Hilfe vom Who's Who des modernen Metals: Sylosis-Leader und Ex-Architects-Gitarrist Josh Middleton produzierte, während Justin Hill von den Prog-Metal-Koryphäen Sikth das Schlagzeug bearbeitete und Grammy-Preisträger Will Putney (der bei den Metal/Hardcore-Schwergewichten End, Fit For An Autopsy und Better Lovers spielt) das Album abmischte. HERIOT haben ein dichtes, beklemmendes und doch abwechslungsreiches Meisterwerk geschaffen. Ihr Momentum wird sich fortsetzen, wenn die Metal-Massen ihre neuen Ideen gehört haben, und es wird nicht mehr lange dauern, bis die Band von den hellsten "Rising Stars" des Metals zu ganz normalen 'Stars' aufsteigt. "Devoured by the Mouth of Hell" ist erhältlich als: Standard CD Jewelcase, 180g LP und Digitales Album.

Uptempo funk-soul ’Vou Morar No Teu Sorriso’ is a real favourite of ours and a regular spin in DJ sets. Tough drums, breaks and percussion, big vocals, horns and bass.
Taken from their self-titled LP from 1971.
Dancefloor Samba-funk-MPB business on ’Quem Vai Querer’,
originally released in 1977 on RCA.
A rolling samba groove, layered percussion and a lovely lead vocal from Eliana build into a big chorus and increased drum pressure!

Bringing a dance floor sensibility to the deeper end of the electronic spectrum, the Dutch duo Jordi van Achthoven and Micha Heyboer a.k.a. Tinlicker have courted the attention of global labels and tastemakers since breaking out in 2013. Prolific musicians with backgrounds in dubstep and pop production, their journey so far has seen them release on the likes of Mau5trap, Armada, Sotto Voce and Anjunadeep - with an a eclectic array of DJ support from Above & Beyond to Oliver Heldens, Tiësto to Yotto. Able to turn their hand to deep house, techno and electro, the pair have reworked the likes of Lane 8 and Deadmau5; their stunning update of Reflekt ‘Need To Feel Loved’ becoming a sought after mix among fellow DJs over the last 12 months. A showcase for their dynamic songwriting and forward thinking sound design, Tinlicker’s debut artist album ‘This Is Not Our Universe’ will be released on Anjunabeats this September.

New Milestone AOR Album Release by Joseph Williams, Bill Champlin, and Peter Friestedt!

Exciting Collaboration: TOTO singer Joseph Williams teams up with former Chicago singer Bill Champlin and Swedish guitarist/producer Peter Friestedt for an exhilarating new milestone AOR release! This collaboration follows the immense success of their album "CWF II" and the "Live In Concert" DVD, which soared to the top of the Swedish charts.

Within the quiet, cascading corners of Pittsburgh lies a community - essentially one large family - that spans neighborhoods and generations. Upon this foundation, Merce Lemon built her latest album: Watch Me Drive Them Dogs Wild. These are earnest songs, of belonging and longing, in which romantic and familial love rip into and out of themselves in a flurry of reckoning. There is a fierceness, a persistence in this vulnerability, that is matched by the wildness of her band. Merce took a step back from music in 2020, after releasing her debut album Moonth, to reassess. "Music was just something I'd always done, and I didn't want to lose the magic of that - but I was just having less fun." In this time of restless confusion, she got back to her roots. "I got dirty and slept outside most of the summer. I learned a lot about plants and farming, just writing for myself, and in that time I slowly accumulated songs." A creative hunger, supported by her community, had been newly fertilized. From this rediscovery, imbued with the vitality of earth's green magic, Watch Me Drive Them Dogs Wild sprouted forth.

Limited Bubblegum Pink Vinyl. Within the quiet, cascading corners of Pittsburgh lies a community - essentially one large family - that spans neighborhoods and generations. Upon this foundation, Merce Lemon built her latest album: Watch Me Drive Them Dogs Wild. These are earnest songs, of belonging and longing, in which romantic and familial love rip into and out of themselves in a flurry of reckoning. There is a fierceness, a persistence in this vulnerability, that is matched by the wildness of her band. Merce took a step back from music in 2020, after releasing her debut album Moonth, to reassess. "Music was just something I'd always done, and I didn't want to lose the magic of that - but I was just having less fun." In this time of restless confusion, she got back to her roots. "I got dirty and slept outside most of the summer. I learned a lot about plants and farming, just writing for myself, and in that time I slowly accumulated songs." A creative hunger, supported by her community, had been newly fertilized. From this rediscovery, imbued with the vitality of earth's green magic, Watch Me Drive Them Dogs Wild sprouted forth.

Neue Farbauflage des begnadeten Horace Andy-Albums "Midnight Rocker" aus 2022 auf On-U Sound. Die streng limitierte Auflage wird hauptsächlich im Label-Webshop und in Japan angeboten, die Exemplare im europäischen Handel sind somit sehr begrenzt. Alle vorherigen Vinylauflagen sind ausverkauft.

JD McPherson has created something unique and amazing with his latest album, Nite Owls. His first album release since 2018’s critically acclaimed Christmas classic, SOCKS. Over the past 5+ years, McPherson has stayed consistently busy writing new songs while at the same time touring with Alison Krauss and Robert Plant. Being a touring musician offers the chance to see the sights, tour the town and pick up some inspiration from the local record shop. With Nite Owls, JD wanted to try something new and different. He wanted to take the inspiration from multiple decades and styles and incorporate them into his own sound. “The initial idea for the record was: It’s like if The late-60s Ventures were the session band on the first New Order record.” Says, McPherson. Idea achieved. Nite Owls delivers the signature sounds of vintage garage-rock while also seamlessly bridging the sounds of Bowie and Alan Vega. Songs such as “Sunshine Getaway”, “The Rock and Roll Girls” and “I Can’t Go Anywhere with You” sound like Chuck Berry is jamming with Buddy Holly. While song’s like, “Nite Owls” and “Don’t Travel Through the Night Alone” give a nod to the Factory sound from the UK. The throwback sound of the lone instrumental track “The Phantom Lover of New Rochelle” would make Dick Dale ride and Link Wray rumble. With Nite Owls, McPherson takes inspiration from multiple genres of the past and combines them together to evolve a sound that is all his own.