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Blue Night is the expanded edition of Art Blakey and The Jazz Messengers recording released in 1985. Art Blakey led the Jazz Messengers
for 35 years, mentoring countless musicians and encouraging their growth into influential bandleaders. By 1984-85, his band included five
prodigious talents: Terence Blanchard (trumpet), Donald Harrison (alto/soprano sax), Jean Toussaint (tenor sax), Lonnie Plaxico (bass), and Mulgrew Miller (piano). Despite being 65, Blakey remained as vibrant as his young bandmates, inspiring and pushing them to develop their distinct musical voices. Blue Night showcases the Art Blakey and The Jazz Messengers hard bop excellence, featuring originals by Blanchard, Harrison, Toussaint alongside the classic “Body An Soul”. The 2LP expanded edition of Blue Night features alternate takes of “Two Of Kind”, “Blue
Minor” and “Mr. Combinated”, includes liner notes by Scott Yanow and is available on vinyl for the first time.

Sublime private-press piano improvisations channeled from another world by Willem Nyland. Remastered from the original tapes and reissued for the first time, with in-depth liner notes by Matt Marble of the American Museum of Paramusicology. A Columbia-educated chemist by profession and a self-taught pianist by affinity, Willem Nyland (1890-1975) is known as a spiritual teacher in the tradition of Greek-Armenian mystic George Gurdjieff. In the mid/late 1960s, a split with Gurdjieff led Nyland to start his own group in upstate New York. There, after a Friday night lecture on 'The Work' and a shot of brandy, Nyland would launch into remarkable piano improvisations on a specially tuned baby grand, sometimes playing for over an hour. Each improvisation was meticulously recorded and cataloged, a major part of Nyland's teachings. 16 of these recordings were released as standalone LPs on Nyland's own Gauge Hill Press, with artwork by Hungarian American decorative artist Ilonka Karasz, Nyland's wife of over 50 years. These records, with their cascading, deeply emotional playing and beautiful cover art, have become highly coveted by collectors and "paramusicologists." Each contains depths of spiritual information and lyrical, almost visual instrumental storytelling. Nyland deftly and subtly shifts moods and tones throughout these truly inspired extended improvisations.

A deeply personal journey of an aspiring artist (Solene) navigating the harsh realities of Hollywood. An album that explores the emotional toll of being a hopeless romantic in a city full of predators and narcissists. A raw look at survival — and the trauma that follows. A narrative arc that takes the listener from LA to Las Vegas, only to find the same demons follow: addiction, vices, self-destruction, and the allure of illusion but ultimately setting on a journey of healing: picking oneself up, learning from pain, and choosing hope again and again. A love letter to Jazz, honoring Solene’s roots, with Hip Hop providing the fire and framework, produced by J. Rawls, to create something new: a genre-bending sound that’s soulful, futuristic, and fearless. Midnight Angel is not just an album — it’s a testimony of recovery, and of rebellion.

Better Than Money is an explosive collaboration between funk powerhouse Lettuce and legendary hip-hop lyricist Styles P from The Lox. Blending Lettuce’s signature groove-driven funk with Styles P’s raw, introspective bars, the track delivers a dynamic fusion of tight horn arrangements, relentless basslines, and gritty storytelling. It’s a celebration of the hustle, the passion, and the drive that push artists beyond material success — proving that soul and authenticity are truly better than money. This genre-bending anthem is set to light up playlists, moving both funk heads and hip-hop fans alike.

The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.

Never ones to stop moving forward, and ever vigilant to avoid the realm of pastiche, The Sorcerers see the Ethiopique sound as a building block for their natural progression as a group, but a block that sits at the base of a much larger, ever expanding, structure, The addition of keyboardist Johnny Richards, whose use of the Jen 73 piano, Mellotron and Farfisa Compact Duo, alongside the core members of the group, has opened some exciting doors for The Sorcerers, fusing the future looking optimism of the late 60s and 70s (when artists began to experiment with the new electronic technology and synthesisers becoming more readily available) and more traditional sounds. Taking inspiration from Ethiopian keyboardist Hailu Mergia and Nigerian musician William Onyeabor, Other Worlds and Habitats, as the name suggests, showcases The Sorcerers' shift to a new, and deeply exciting, musical landscape.

The Sorcerers’ Other Worlds and Habitats is a natural progression in the world they have created for themselves. Richer for shared experiences, and accepting the rise of the machines, they prove that while their journey is always going forward, there are many different paths to take.

Harmonies so thick you could build a city on them. A supercut of the very best of 90s R&B, soul and gospel. Show-stopping vocals straight out of the gate. Your new pick-me-up that's got heart, bump and groove in all the right places. Praise be to our ears, RISSA has truly arrived.

Punk is the Preacher, Rock`n`Roll is the Teacher! Mäd Lynx ist die deutsch-schwedische Punkcore (Hard) Rock Band um Heicore & Anni, die zwischen Berlin und Stockholm 2020 im Umfeld von The Baboon Show und Mona Reloeaded geboren wurde. Ihr Sound ist beeinflusst von Motörhead, Misfits, und The Runaways, feinster & purer MÄDCORE, wie sie es selbst nennen, eine Mischung aus Hard Rock, Rock und Punkrock. Die Debüt-EP, welche auf dem 2022 Kassettenlabel Tape Or Die erschien, brachte ihnen viel Kritikerlob und eine erste Reihe von Live-Shows ein. Die zweite EP - benannt nach einem Song von der ersten - mit fünf neuen Tracks (auch als Kassette bei Tape or Die) kommt nun als limitiertes, einseitig bespieltes 12"-Vinyl (klassisch schwarz, nummeriert) über Smith & Miller Records.

Nach 6 jähriger Pause ist die Rockband Heisskalt wieder zurück. Dass die Fans das sehnsüchtig erwartet haben, merkt man nicht nur an den
Streamingzahlen, die in 6 Jahren Inaktivität beständig hoch waren, sondern auch an der kürzlichen Ankündigung der ersten Tour, die innerhalb
kürzester Zeit zu großen Teilen ausverkauft war und hochverlegt wurde.
Die Single "Wasser, Luft und Licht", mit der Heisskalt ihr kommendes Album "Vom Tun und Lassen" ankündigen, lässt keine Fragen offen und lädt mit
großem Ohrwurm-Potenzial direkt zum Tanzen ein. Doch wie es typisch ist für die Band, die zu den einflussreichten der letzten 10 Jahre im Deutschen
Band-Markt gehört, steckt dahinter auch eine tiefere Message:
"Es geht um einen Prozess des sich Gewahr werdens, dass alles irgendwie doch eins ist, auch wenn es für uns einfacher scheint, zu trennen und
voneinander zu unterscheiden. Wir atmen alle die selbe Atmosphäre, trinken das selbe Wasser, wärmen uns am selben Licht. Wenn wir uns als Teil
dessen erkennen, dann ist das ganz schön friedlich. Und es braucht Frieden."

Jethro Tull kündigt die Neuauflage des Compilation-Albums „Living in the Past“ im neuen 5CD/BR-Format an. Das ursprünglich 1972 veröffentlichte Album ist eine Sammlung von Singles, Albumtiteln und Outtakes, die weltweit in den Charts waren. Die neu erweiterte Ausgabe „Still Living in the Past“ enthält Remixe von Steven Wilson, Edits, Demos, „Live at Carnegie Hall 1970“ (Steve Wilson Remix) und vier Promo-Filme. Außerdem ist eine 2LP-Edition des Doppelalbums mit Remixe von Steven Wilson erhältlich.CD1: Original mixes, remixes, edits & demos 1968-1971CD2: Living in the Past (Part 1) - Steven Wilson stereo remixesCD3: Living in the Past (Part 2) - Steven Wilson stereo remixesCD4: Live at Carnegie Hall 1970 (Part 1) - 2025 Steven Wilson Stereo RemixCD5: Live at Carnegie Hall 1970 (Part 2) - 2025 Steven Wilson Stereo RemixBR: Steven Wilson remixes in 24/96 PCM stereo and DTS 5.1 surround, flat transfer of the original album and bonus unreleased original mixes, Live at Carnegie Hall 2025 remix in 24/96 PCM and DTS 5.1 surround plus four promo films










j Teacher (Us Album Version) [2025 Remix]



[n] By Kind Permission Of (Live) [2025 Remix]
[o] Dharma For One (Live) [2025 Remix]










[j] Teacher (Us Album Version) [2025 Remix]



[n] By Kind Permission Of (Live) [2025 Remix]
[o] Dharma For One (Live) [2025 Remix]

Zum ersten Mal seit seiner ursprünglichen Veröffentlichung im Jahr 1988 erscheint Chris Reas allererste Compilation „New Light Through Old Windows“ wieder auf Vinyl. Das Album wurde remastert, auf recycelte Doppel-LP und CD gepresst und wird am 11. Juli 2025 neu aufgelegt.

This is their first new album in almost two years, which is rather short considering the time it took them to prove this theorem.
The songs coexist with a vast amount of musical information, including funk, hip-hop, hard rock, gospel, southern rock, and electronica, and sound open in all directions.

Noda's talent is astonishing, but at the same time, he also uses the metaphor of word play to poke at the truth. Noda's sensitive gaze toward
love and life, which exist side by side with despair, nihilism, and death, cannot be faulted in a work that carefully and skillfully translates such detailed sensitivities into sound. It is an unquestionable masterpiece.

Hardcore Rap music is still here! Mike Redman is considered a cult legend known for his unorthodox music production in various genres. He's well known as an artist in the Jungle and Hardcore scene, as a renowned movie score composer and made a name for himself as organiser of the infamous 'Redrum Hip-Hop' events since the 90's which hosted international artists from Guru to Cannibal Ox, Public Enemy, Beatnuts and many more. He also set up Redrum Recordz, a pioneering independent record label focusing merely on anything musically unpolished. Even though Mike Redman (which is his name of birth by the way) was often linked to many Hip-Hop success stories and produced records for artists such as Public Enemy and Big Daddy Kane, Mike has just recently, after many years, decided to produce a solo record featuring the Rap artists he admires and form the foundation of his legacy. With great respect towards his mentors, in a non-profit manner, Mike now releases 'Redrum Relics' featuring Rap icons such as Kool Keith, Chuck D, Schoolly D, Sticky Fingaz, Young Zee, Chino XL, O.C. and many more. This album is truly exceptional and is not made with the intention to be commercially successful, but is a love-letter to a period in time where passion was the motivation. 'Redrum Relics' brings Rap music back to the golden era with a contemporary touch and keeps it unpolished and unyielding as ever. People that tend to say that Hip-Hop is dead might want to reconsider.

A1 - Symbiotic Link
Kicking off another stellar, varied EP, ASC opens Symbiotic Link with an eerie introduction telling of a tense interaction between orcas in open waters before a thunderous break with immensely sharp venom-fueled snares often used by the likes of Photek back in the day aggressively seizes the attention, jolting and stabbing as the juddering bassline rumbles below - as synthy melodies provide respite in the mix.

A2 - A Single Emotion
Serving up another raucous, nostalgia-driven treat for any breakbeat fan, ASC channels his old-school mastery with a thoroughly absorbing journey through a variety of breaks, edited, chopped and filtered to perfection with dense, earthy basslines lying beneath. Lifted by a soundscape filled with light horn melodies, echoing vocal hits and washes of pads, you'll experience more than a single emotion here.

AA1 - Whirl
Time for a Hot Pants break serenade through swathes of atmospheric synths as Whirl expands ASC's diverse repertoire further still - an earworm melody at the forefront is provided by the bassline on this occasion - simple yet immensely effective. The bass intertwines with the breaks effortlessly while sci-fi effects and samples whoosh and fall with several tonal changes keeping things fresh till the curtains close.

AA2 - Frontier
A rousing cymbal kicks off a curious, deep introduction punctuated by melodic keys and a simmering undertone of suspense. Chunky old school breaks suddenly enter the mix with a continuous, enveloping bassline as the atmosphere builds steadily via micro melodies, noir vocal samples and delicate bells, as ASC closes another Spatial EP in his inimitable, unpredictable engaging style.

Words by Chris Hayes (Spatial / Red Mist)

From the sunny shores of Miami, Florida, Fat Produce is leading the charge in today's soul-jazz scene. Their latest release features two classic tracks, "No Way" and "54-46 Was My Number," which are beautifully molded into Fat Produce's unique sound led by guitarist Addison Rifkind and drummer Michael Duffy. This limited 7" single offers a preview of what’s to come from this rising trio.

The influence of Boogaloo Joe Jones is undeniable, so incorporating his 1970s classic "No Way" into their repertoire was a fitting tribute for the band. With a deeper sound and an infectious groove, Fat Produce pays homage to this musical giant, guaranteed to get everyone moving on the dance floor. On the flip side, "54-46 Was My Number" is a reimagination of a Toots & The Maytals original, transformed into the instrumental style of a soul-jazz guitar trio. Rifkind's lyrical guitar work breathes new life into Toots' original vocal melodies, embodying the essence of soul-jazz and crossing genres to keep the spirit of feel-good music alive.

Both tracks were recorded on a Tascam 388 at Studio Del Sol in Boca Raton, Florida, by Travis Acker and mixed at The F-Spot HQ in Los Angeles by D.M.C. With upright bassist Nestor Del Prado joining the duo on this album, Fat Produce's forthcoming sophomore LP is set to be released in October 2025.

Originally released in late 2012, the third John Foxx And The Maths album brings together collaborations with The Soft Moon (the post-punk psychedelia of the title-track); Gazelle Twin (including the strikingly beautiful 'Changelings'); New York duo Xeno & Oaklander and Ghostly International's Matthew Dear, plus a Pink Floyd cover and some new Foxx/Benge material. This includes the rich analogue glow of 'Walk' and apocalyptic ballad 'Only Lovers Left Alive'. Meanwhile, regular Maths live band member Hannah Peel plays violin on 'My Town’. This new vinyl reissue includes only the vocal tracks from the album.

The original Madlib instrumentals to Georgia Anne Muldrow’s critically acclaimed album; “Seeds” which was released in 2012 on SomeOthaShip Connect. Heralded as one of her most captivating and immediate front-to-back statements of purpose, a deeply spiritual collection of songs. It was the first time in her career where she handed over all production duties to someone other than herself, that someone being the legendary Madlib.
The beats on “Seeds” are naturally heavy, funky, soulful, abrupt yet hypnotic. All the characteristics of Madlib’s signature sound we know and love.

On the B Side of the vinyl is a collection of Georgia Anne Muldrow instrumentals from across 3 Dudley Perkins albums, “Young Spirit”, “Self Study”, and “Holy Smokes.” Beats with synths reminiscent of J Dilla’s electronic era but with enough G-Funk influence to melt your Raiders hat. Bass lines that could get The Click back together. Georgia Anne Muldrow is a master of her craft on the beats and the microphone. This record is a testament to that. Rediscover “Seeds”, the magical powers of Madlib, and why beat tapes will never go out of style.

Cluster can be counted among the most important international protagonists of the electronic avant-garde. Some credit them with having invented ambient music, others as pioneers of synthesizer pop, whilst to some they are firmly embedded in the krautrock universe. There is some truth in all of these notions. Cluster (or Kluster as they were in the beginning) were founded in 1970 in Berlin by Conrad Schnitzler, Hans-Joachim Roedelius and Dieter Moebius. A change in direction and musical differences moved Moebius and Roedelius to split from Schnitzler after which the duo recorded 10 regular studio albums between 1971 and 2009. Their debut album ("Cluster 71") was in Wire Magazine"s "One Hundred Records That Set The World On Fire" list. "Cluster II" is influenced by Berlin and Hamburg; situated somewhere in the middle of artistic happenings, musical outrageousness and drug abuse: an urban mixture.

White & Black Smash Vinyl. Drab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like "The Other Side", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment. The first single, "Ellipsis", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on "Long Division", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in "Oxytocin", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence. Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

The latest EP from Drab Majesty marks the start of a stirring new chapter in the band's majestic legacy. Written during a 2021 retreat to the remote coastal Oregon town of Yachats, Deb Demure leaned into the neo-psychedelic resonance of a uniquely bowl-shaped 12-string Ovation acoustic/electric guitar. After early morning hikes in the rain, Deb would record ambient guitar experiments the rest of the day, tapping into "flow states," letting the sound lead the way. These sessions were then refined or recreated, and later elevated further with key collaborations by Rachel Goswell (Slowdive), Justin Meldal-Johnson (Beck, M83, Air), and Ben Greenberg (Uniform, Circular Ruin Studio). An Object In Motion is true to its title, capturing the chrysalis moment of an artist evolving, reborn and untethered, silhouetted against an open horizon."Cape Perpetua" kicks off the collection's divergent palette: sparkling acoustic finger-picking refracted through delay, equal parts raga and reverie. Melodies and moods congeal and dissipate, at the threshold of rustic American primitivism, brooding neo-folk, and pastoral melancholia. "The Skin And The Glove" deploys jangle to different effect - baggy, soaring, grey-skied kaleidoscopic pop in the spirit of Stone Roses, Primal Scream, and The Glove. Rachel Goswell lends her iconic freefall voice to The Cure-esque ballad, "Vanity," infusing poetic gravity to the doomed refrain: "If the valve breaks / then the earth quakes / and history finds a way / to put you in your place.""Yield To Force", the closing track of the EP, may be the most anomalous offering of the set. A 15-minute instrumental odyssey of cyclical strings, ominous slide guitar, and simmering synthesizer, the piece sways and spirals like a long zoom into distant storm clouds. Demure finesses the guitar with a restless but regal grandeur, unfolding a panorama of peaks, shadows, and plateaus. It's music both intuitive and prophetic, tracing the slow swing of pendulums across an endless plain. Taken as a whole, An Object In Motion presents a showcase of potential futures from Drab's evolving domain, their sound poised to bloom at the precipice of transformation.

Riki is the Los Angeles based dark synth-pop outfit commandeered by the mysterious Niff Nawor, a visual artist and musician active in the deathrock / anarcho-punk scenes of the California bay area (formerly a member of Crimson Scarlet), before founding her solo endeavor as Riki in 2017. Niff's desire to explore her own sound manifested in the recording of the Hot City cassette tape in 2017, which featured Chelsey Crowley of Crimson Scarlet, Skot Brown of Phantom Limbs and Pedaof Doomed to Extinction. Released on Commodity Tapes and later reissued on vinyl by the well-regarded Symphony of Destruction label, Riki followed the release of the single with several small tours and festival dates, performing with such acts as Light Asylum, Black Marble, and Trisomie 21.For her self-titled debut album for Dais, Riki explores courage, physicality, and romance across eight timeless synth pop anthems. Produced and engineered by hardware-based synthesist Matia Simovich of INHALT, influences and ideas are worn proudly without deviating from fresh and daring electro-pop territory. Nostalgic cues can be heard ranging from Neue Deutsch Welle, early Adrian Sherwood productions, classic ZYX Italo Disco, Japanese Visual Kei and even classic new wave/pop like Pat Benatar, Kate Bush, and early Madonna.The lead single, Napoleon, contains Riki's indelible sound design, reminiscent of 80's New York dance floor electro-pop that recalls the fusion of uptown and downtown styles and culture, told through Riki's present day West Coast narrative. For contrast, the second single entitled Böse Lügen (Body Mix) was previously released in demo form and re-mixed to emphasize its commanding presence and addictive nature. Translated simply to "Wicked Lies" and sung completely in German, Böse Lügen moves away from the upbeat romanticism found throughout the album and commands serious self-reflection guised within an infectious dance floor anthem.

The album opens with "Hypnagogia," an ode to the space between sleep and wakefulness where we are open to other realms of consciousness. The song slowly builds along a steady pulse provided by bassist Pickle (Nicole Smith) and drummer Rikki Styxx. Tripped out saxophone bleats from guest player Gabe Flores swirl on top of the organ drones laid out by guest keyboardist Gregg Foreman. The band's choral objectives for Under the Spell of Joy are established right off the bat, with Bonnie Bloomgarden's melodic invocations bolstered by a choir, giving the album a rich and vibrant wall-of-sound aesthetic. The song ominously builds on its hypnotic foundation until it opens up into a raucous revelry at the four-minute mark. The portentous simmer of the opening track yields to the ecstatic rocker "Hold My Hand," where verses reminiscent of Velvet Underground's "I'm Waiting For The Man" explode into big triumphant choruses. From there the band launches into the title track, which marries the griminess of The Stooges with an innocence provided by a children's choir chanting the album's primary mantra "under the spell of joy / under the spell of love." Death Valley Girls have always vacillated between lightness and darkness, and on "Bliss Out" they demonstrate their current exuberant focus with a patina-hued pop song driven by an irrepressibly buoyant organ line laid down by keyboardist The Kid (Laura Kelsey). A similar cosmic euphoria is obtained on "The Universe," where alternating chords on the organ help elevate soaring saxophone and keyboard lines out beyond the stratosphere. If you're looking for transcendental rock music, look no further.

Matt Duncan is one of the biggest artists you have not heard of yet. This particular album, "Soft Times" has almost 20 MILLION STREAMS on Spotify alone. You might not know Matt Duncan, but you have definitely heard his music. His music has been on "The Vampire Diaries," "Private Practice," and HBO's "Bored To Death." Most recently Matt was a featured performer in the Tony Award winning Broadway musical, "Hedwig and The Angry Inch." The album art was created by Robert Beatty, who has recently done art for Tame Impala, Flaming Lips, and more!Matt Duncan creates music that would have fit in perfectly on your Dad's AM Radio in the 1970's. Touches of Blue Eyed Soul await you on this LP. This album showcases the strength of Matt's arranging. Strings, horns, layered vocals all make this perfect mix of Motown and Bacharach. There is a track for any ear on this LP.

Die queere Singer-Songwriterin jasmine.4.t ist die erste britische Künstlerin, die bei Phoebe Bridgers' Label Saddest Factory unter Vertrag steht. Ihr Debütalbum wurde komplett von Julien Baker, Phoebe Bridgers und Lucy Dacus, auch bekannt als Boygenius, produziert. Jasmine und ihre Band sind nach L.A gereist, um das Album in den Sound City Studios aufzunehmen und haben das innerhalb von 12 Tagen fertiggestellt. Die Songs des Albums entstanden inmitten persönlicher Umbrüche im Jahr 2021: ""I came out as trans to my nearest and dearest. Some did not accept me, but some did." Trotz der schmerzhaften Erfahrungen, bietet "You Are The Morning" einen persönlichen Einblick auf ihr Liebesleben. Jasmine lernte Gitarre spielen, als ihr Onkel, ihr sein altes Instrument geschenkt hatte. Sie spielte zunächst Songs Ihrer Lieblingsmusiker nach, doch Musik spielen und Texte schreiben gehörte für sie immer schon zusammen. Der Titeltrack paart Jasmines gezupfte Gitarre mit Streichern, die ein Gefühl von Leichtigkeit und Sicherheit vermitteln. Textlich handelt der Song von Zugehörigkeit und Verbundenheit. Auf dem abschließenden Track "Woman" wird sie von dem Trans Chorus of Los Angeles unterstützt. Dieser generationenübergreifende Chor besteht aus Transpersonen, die genau wie Jasmine ihre Stimme als Quelle für Zusammenhalt benutzen. Der Song beginnt mit einer Solonummer, die in eine Gruppenperformance aufblüht und handelt von der inneren Kraft, die daraus entspringt zu wissen, wer man im tiefsten inneren ist: "I am, in my soul, a woman". Für jasmine.4.t sind Aktivismus und Performance eng miteinander verbunden. Mit ihrer Plattform sammelt sie weiterhin Spenden und macht auf die Trans Mutual Aid Manchester aufmerksam, eine Organisation, für die sie sich ehrenamtlich engagiert hat. Sie möchte Gleichgesinnten etwas zurückgeben. Um ihre Geschichte auf "You Are The Morning" zu erzählen, bezieht sie sich immer wieder auf dunkle Aspekte Ihres Lebens. Umgeben von Freunden, war der Aufnahmeprozess jedoch voller Hoffnung. Durch ihre Auftritte, ihren Aktivismus und ihr künstlerisches Schaffen läutet jasmine.4.t eine neue Ära ein.

Pelican has always been a band that's not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican's foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. "The `90s in Chicago was a free-for-all. Everyone was just coming from a place of pure creativity," says Shelley de Brauw. With Schroeder-Lebec returning to the band following Dallas Thomas' departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with Flickering Resonance. While longtime Pelican fans will recognize the album as an update to the band's ethos_one that's been constantly evolving since their very first EP_their new partnership with Run For Cover Records emphasizes something that's always been implicit to the Pelican formula. These songs take as much inspiration from titanic `90s post-hardcore, space-rock, and emo as they do traditional metal, showing that though Godflesh and Goatsnake records occupied the shelves of Pelican's songwriters, so too did Quicksand, Christie Front Drive, and Hum. "A lot of people didn't hear it at first," says Schroeder-Lebec. "I was like, well, I guess the metal world is where we fit. But now, we're more willing to acknowledge all the suits we're wearing."On Flickering Resonance, Pelican doesn't attempt to reinvent itself as much as emphasize the elements that were so often overlooked. Though Pelican's thick sonic backbone remains intact, the songs on Flickering Resonance show a more humanistic side of the band. Tracks like "Evergreen" and "Indelible" tease Pelican's doom-metal roots, but these songs feel equally, ebullient and truthful, playing like Texas Is The Reason songs transmuted into a post-rock landscape. Recorded with longtime musical compatriot Sanford Parker, who recorded their first EP, Pelican begins this new chapter of their career with an album that's neither full reinvention nor back-to-roots revivalism. After so much time apart, and with so much life having been lived between the original Pelican lineup's last recording sessions together, the band approached it with renewed vigor and a more communal spirit."There was more room for openness and critique with the understanding that we're all trying to craft the best song possible and that every suggestion is valid until it's proven invalid," says Shelley de Brauw. That process allowed everyone to embrace the material with a shared vision. "We didn't move forward unless we all wanted to move forward, and that felt like real community building," says Schroeder-Lebec of this unified approach. "I went from seeing it as my art and my craft to our craft that we were shaping together."In doing so, Pelican allowed themselves to look at their music less as a means of hard-earned catharsis and more as an appreciation for the glimmers of joy that occur even in the bleakest landscapes. Songs like "Cascading Crescent" and "Indelible" don't languish in what's been lost, these tracks see the band embracing what remains in their hands instead of lamenting what's slipped through their fingers. It's a concept that's mirrored in the artwork of Christian Degn that graces the cover of Flickering Resonance. It's a piece built off the concept of flame meditation, and how the smallest flames can often bring about the biggest transformations. A song like "Flickering Stillness" exemplifies this feeling through its sonic expanse, putting the band's sonic density and hyper-focused clarity on display, but with an emphasis on the profound human connections that have kept Pelican going all these years. "When Laurent left and we were able to carry it through, there became a real sense of gratitude for the fact we still have this artistic outlet and a community of people who want to be a part of it" That feeling of deep, grounded appreciation isn't just one that's within the band members, it's expressed in every track on Flickering Resonance. Because at the very core of Pelican, are four individuals who have grown both separately and together, and always will.Like a distant light faintly glowing in the darkest night, Flickering Resonance is a reminder of all that has passed us by, but also all that is still to come.

A Study of Losses", das siebte Studioalbum von Beirut, ist eine Odyssee mit 18 Tracks. Das Projekt entstand im Frühjahr 2023, als Viktoria Dalborg, Direktorin des schwedischen Zirkus Kompani Giraff, Condon fragte, ob er Interesse hätte, die Musik für ihr nächstes Projekt zu liefern, eine Show, die auf einer Adaption eines Romans der deutschen Autorin Judith Schalansky basiert. Die Hauptthemen in Schalanskys Buch "Verzeichnis einiger Verluste" und in der Adaption für die Zirkusshow befassen sich mit dem Konzept des Verlusts und der Vergänglichkeit von allem, was uns bekannt ist: von ausgestorbenen Tierarten, verlorenen architektonischen und literarischen Schätzen bis hin zu abstrakteren Konzepten des Verlusts durch den Prozess des Alterns. "A Study of Losses" reist durch elf Songs und sieben erweiterte instrumentale Themen, die nach den Mondmeeren benannt und von der erschreckenden Geschichte eines Mannes inspiriert sind, der davon besessen ist, alle verlorenen Gedanken und Schöpfungen der Menschheit zu archivieren. Musikalisch jedoch taucht er wieder in Chorgesang, Renaissance und andere Stile ein, die seine frühe Arbeiten inspiriert haben, sowie in Variationen von Klängen und Ideen, die sich auf eine seiner Lieblingsplatten, "69 Love Songs" von The Magnetic Fields, beziehen. Mit einer Länge von fast einer Stunde ist es das bei weitem umfangreichste Album, das Beirut je gemacht hat, und es gehört fraglos zu Condons bisher schönsten Arbeiten. "A Study of Losses" ist das zweite neue Beirut-Album innerhalb von nur zwei Jahren und die Fortsetzung eines weiteren, charakteristisch produktiven Kapitels für Zach Condon. Nach einem halben Jahrzehnt, das er damit verbrachte, sich von hartnäckigen Halsproblemen und einem drohenden mentalen Zusammenbruch zu erholen - was ihn daran zweifeln ließ, ob er jemals wieder vor Publikum auftreten würde - folgt "A Study of Losses" auf "Hadsel", das "einen neuen Anfang für Beirut" markierte, lobte Pitchfork und nannte es "eine aus Verzweiflung und Einsamkeit geborene Platte, die sich dennoch voller Leben anfühlt". Während sich "Hadsel" um eine gewaltige, antike Kirchenorgel drehte, die Condon während eines dunklen arktischen Winters in Nordnorwegen entdeckte, wird "A Study of Losses" durch Streichquartette und Arrangements der Cellistin und "No No No"-Mitarbeiterin Clarice Jensen aufgehellt. Geschrieben und aufgenommen von Zach Condon in Berlin (DE) und Stokmarknes (NO), wobei die Wurzeln des Albums in Schweden und Deutschland liegen, erweitert "A Study of Losses" auch die weite Welt, die er durch die Musik von Beirut aufgebaut hat, seit er das Projekt als neugieriger und umherziehender 14-Jähriger begonnen hat. "Als ich zum ersten Mal angesprochen wurde, einen Soundtrack für einen Zirkus zu schreiben, kam zunächst ein gewisses Trauma der 'Elephant Gun'-Ära hoch", erklärt Condon, als er Ende 2024 ,Caspian Tiger' von "A Study of Losses" vorstellt. "Ich war jahrelang in eine Schublade gesteckt worden, in der ich ein skurriles Zirkuskind war, voller sepiafarbener Bilder von Groschenromanen und vielleicht Löwendompteuren mit Schnurrbärten. Es hätte nicht weiter davon entfernt sein können, wie ich mir die Musik vorstellte, die ich machte. Es ist also eine Ironie, dass ich das Projekt von Kompani Giraff so verlockend fand."

Schwarzes Vinyl, Gatefold Sleeve. Der Hardcore-Klassiker ist zurück. "Brother Against Brother" liefert kompromisslosen 90er Oldschool-Sound mit brutaler Energie und NYHC-Attitüde. Fette Riffs, ehrliche Wut, kein Bullshit - ein Muss für jeden Hardcore-Fan. Ein Meilenstein des 90er Hardcore - jetzt endlich wieder in hochwertiger Gatefold-Ausführung verfügbar!

Das anglo-australische Indiepop-Quartett Allo Darlin' meldet sich nach über zehn Jahren mit dem neuen Album ,Bright Nights" zurück. Es ist die Rückkehr ihrer intelligenten, schönen Popmusik mit Texten, in denen Erfahrung mitschwingt, und Melodien, die klingen, widerhallen und schweben. Da sie sich und die Musik, die sie zusammen gemacht haben, vermissten, kündigten Allo Darlin' an im Oktober 2023 ein paar Konzerte in UK zu spielen, und die Reaktion der Fans war überwältigend. Die Tickets waren innerhalb Minuten ausverkauft, und die Fans reisten aus der ganzen Welt an, so dass die Band ihr Konzert in London in einen doppelt so große Halle verlegen musste. Es schien, als hätten ihre Fans Allo Darlin' genauso vermisst wie sie sich selbst. In diesem Jahr war die Band außerdem Headliner einer exklusiven Deutschland-Show auf dem Cologne Pop Fest und antwortete auf die herzliche Einladung mit einem speziellen Song mit dem Titel "Cologne". Bright Nights folgt den emotionalen Gezeiten der vorangegangenen zehn Jahre: "Es ist ein Album, das von Herzen kommt und sich mit Themen wie Liebe, Geburt und Tod beschäftigt - "Dinge, über die wir mehr nachdenken als bei unserem ersten Album. Ich hoffe, dass das Album zeitlos und fröhlich klingt, aber auch nachdenklich und emotional", sagt Songschreiberin und Sängerin Elizabeth Morris Innset. Inspiriert von einer Mischung aus klassischem (Indie-Guitar) Pop, Folk und Country, knüpft Bright Nights dort an, wo Allo Darlin' mit dem We Come From The Same Place von 2014 aufgehört hat, und erinnert an den selbstbewussten und anspruchsvollen Sound ihres zweiten Albums Europe. "Wenn ich es höre, denke ich an die Wüste, aber ich kann das Meer sehen. Die süßen Klänge der hellen Sommernächte in der nördlichen Hemisphäre, aber auch das Bewusstsein, dass der Winter eines Tages zurückkehren wird". Die Aufnahmen auf dem Album sind Live-Aufnahmen, die nach Meinung der Band die beste Art war, diese neuen Songs aufzunehmen. Allo Darlin' bringen uns an einen Ort, an dem wir uns geliebt fühlen. In einer wechselhaften Welt ist die warme Umarmung ihres neuen Albums ebenso notwendig wie willkommen. "Breezy rom-pop brilliance." 8/10, NME - "Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully." Pitchfork - "A masterclass of modern cult pop." The Guardian - "Terrific, witty and heartfelt, like a less moody Belle & Sebastian." The New York Times

Long overdue repress of 'Acid Guru Pond', the incredible collaboration between Bardo Pond, Japanese psych-experimentalists Acid Mother's Temple and cosmic kosmische legends Guru Guru. The fruits of an incredible collaboration, Acid Mothers Temple wrap their psych rock wizardry and cosmic space noise around Isobel Sollenberger's ethereal vocals and majestic flute playing, the collective brings out the best in one another, feasting on innovation and distortion while not losing the swirling lock groove. Classic rock riffs merge and morph into the surrounding world music influences to cook up an enchanting and meditative brew. The naming of each song after a colour only further reinforces the vibe heavy proceedings. Classic black vinyl

Legendary indie travellers Half Japanese return with their new album Adventure. The prolific outsider combo, helmed by the ever-optimistic Jad Fair, delivers a heartwarming set of upbeat sonnets celebrating the power of love, affection, and maturity. More than 50 years since Jad and his brother David emerged from their lo-fi bedroom in Uniontown, Maryland, USA, Adventure takes the latest incarnation of the band down new and more refined avenues. Recorded in London at Vacant TV and produced by Jason Willett and Jad, Adventure presents a more pristine and polished canvas for Jad to expand upon. The addition of Euan Hinshelwood to the sonic palette, with saxophone, harmonica, and piano, creates a smoother backdrop for the band's less lubricated sound. Lemonade Sunset is an ode to the world of wonder, a spacious overture built with melancholy in mind but relishing the positivity of life. By contrast, Step On Up revolves around a glorious rising piano motif that hints at Steely Dan if they were high on energy drinks and spinach rather than their usual tipple. It's a light-hearted evocation of the good times. Magnificent is a homage to living in the present tense, powered by the bittersweet saxophone, with a glorious piano-led sub-melody offsetting Jad's positivity: "magnificently magnificent," no less. Elsewhere, ringing percussion and sharp arrangements provide Jad with a sturdy and far reaching soundtrack to lament over. Adventure sees Half Japanese covering new ground, with Jad's considered soliloquies set in a sumptuous setting. The lineup for Half Japanese on Adventure includes Jason Willett (bass, keyboards), Gilles-Vincent Rieder (drums, percussion), John Sluggett (guitar, piano, bass), Mick Hobbs (guitar), Euan Hinshelwood (guitar, saxophone, piano, harmonica), and Jad Fair (vocals, percussion). Sadly, longstanding member Mick Hobbs passed away last year. "Absurdly underrated art-rockers" - Record Collector. * "Fair's ability to bang out music behind him is matched perhaps only by Mark E Smith" - The Wire.

Thanks to acclaimed live shows and radio appearances in both Norway and Germany, Heigh Chief has been steadily winning over a growing fan base with their high energy performances of songs from their first two albums. One Night Live solidifies their reputation as a formidable live band with incredible chops and songwriting skills. Their talent has earned them notable achievements, including winning the Notodden Blues Cup in 2013 and placing second in the Norwegian finals of the "Battle of the Bands." These successes helped them secure spots at the International Blues Challenge (IBC) in Memphis for two consecutive years, 2015 and 2016. The four-piece band brings serious talent to the stage - featuring none other than Norway"s top Hammond organ virtuoso, Lars Christian Narum. One Night Live is the band"s first live recording, and it doesn"t disappoint. Recorded in Norderstedt, Germany while the band was on tour in 2019, it"s an impressive testament to the band"s talents.

Black Moon Circle return with A Million Leagues Beyond - a powerful new album recorded live at Trondheim"s intimate and legendary Moskus club. Since 2014, the Norwegian trio has built a devoted following with their heavy blend of space rock, psychedelia, and raw jamming energy, earning acclaim for both studio albums and immersive live performances. Moskus is a small bar located in Trondheim that hosts about 70 concerts every year, showcasing genres as diverse as jazz, country, Americana, rock, progressive jazz and occasionally psychedelic hard rock. With a capacity of around 80, the audience faces the stage which barely has room for drums and a couple of amplifiers. Feeding off the intimate atmosphere, Black Moon Circle have done what they do best, conjuring up heavily improvised jams out of thin air.

Das anglo-australische Indiepop-Quartett Allo Darlin' meldet sich nach über zehn Jahren mit dem neuen Album ,Bright Nights" zurück. Es ist die Rückkehr ihrer intelligenten, schönen Popmusik mit Texten, in denen Erfahrung mitschwingt, und Melodien, die klingen, widerhallen und schweben. Da sie sich und die Musik, die sie zusammen gemacht haben, vermissten, kündigten Allo Darlin' an im Oktober 2023 ein paar Konzerte in UK zu spielen, und die Reaktion der Fans war überwältigend. Die Tickets waren innerhalb Minuten ausverkauft, und die Fans reisten aus der ganzen Welt an, so dass die Band ihr Konzert in London in einen doppelt so große Halle verlegen musste. Es schien, als hätten ihre Fans Allo Darlin' genauso vermisst wie sie sich selbst. In diesem Jahr war die Band außerdem Headliner einer exklusiven Deutschland-Show auf dem Cologne Pop Fest und antwortete auf die herzliche Einladung mit einem speziellen Song mit dem Titel "Cologne". Bright Nights folgt den emotionalen Gezeiten der vorangegangenen zehn Jahre: "Es ist ein Album, das von Herzen kommt und sich mit Themen wie Liebe, Geburt und Tod beschäftigt - "Dinge, über die wir mehr nachdenken als bei unserem ersten Album. Ich hoffe, dass das Album zeitlos und fröhlich klingt, aber auch nachdenklich und emotional", sagt Songschreiberin und Sängerin Elizabeth Morris Innset. Inspiriert von einer Mischung aus klassischem (Indie-Guitar) Pop, Folk und Country, knüpft Bright Nights dort an, wo Allo Darlin' mit dem We Come From The Same Place von 2014 aufgehört hat, und erinnert an den selbstbewussten und anspruchsvollen Sound ihres zweiten Albums Europe. "Wenn ich es höre, denke ich an die Wüste, aber ich kann das Meer sehen. Die süßen Klänge der hellen Sommernächte in der nördlichen Hemisphäre, aber auch das Bewusstsein, dass der Winter eines Tages zurückkehren wird". Die Aufnahmen auf dem Album sind Live-Aufnahmen, die nach Meinung der Band die beste Art war, diese neuen Songs aufzunehmen. Allo Darlin' bringen uns an einen Ort, an dem wir uns geliebt fühlen. In einer wechselhaften Welt ist die warme Umarmung ihres neuen Albums ebenso notwendig wie willkommen. "Breezy rom-pop brilliance." 8/10, NME - "Classic indie pop... doesn't rewrite the formula for wistful bedsit charm as much as show that it can still be carried out masterfully." Pitchfork - "A masterclass of modern cult pop." The Guardian - "Terrific, witty and heartfelt, like a less moody Belle & Sebastian." The New York Times

Celia Cruz was the undisputed Queen of Salsa. 23 gold albums and seven Grammy Awards attest to her longevity and popularity, and she was active right up until the year before her death in 2003. Eight years later, the United States Postal Service celebrated her life and legacy with a commemorative postage stamp, one of five honouring Latin music greats. She was the most influential female in the history of Afro-Cuban Music (as the Virgin Encylopedia of `Popular Music termed her) and her music lives on. Enjoy this 180g vinyl release and dance and drink a toast to her memory.

20 Jahre - das letzte Studioalbum der britischen Death-Metal-LegendeThose Once Loyal ist das siebte und letzte Studioalbum der britischen Death-Metal-Band Bolt Thrower. Ursprünglich 2005 veröffentlicht, zählt es bis heute zu den stärksten Werken der Band. Mit präzisem Songwriting, markanten Riffs und einer kompromisslosen Produktion verkörpert das Album alles, wofür Bolt Thrower bekannt sind: kraftvoller, schnörkelloser Death Metal mit Haltung.Die Texte behandeln Themen wie Loyalität, Erinnerung und die Auswirkungen von Krieg - ernst, reflektiert und ohne Klischees. Musikalisch bleibt die Band sich treu: midtempo-lastige Songs, eingängige Gitarrenarbeit und ein wuchtiger Sound, der auch nach zwei Jahrzehnten nichts an Wirkung verloren hat. Ein Album, das sich nicht nur an Fans der Band richtet, sondern auch an alle, die klassischen Death Metal mit Substanz schätzen.Jetzt erhältlich als 20th Anniversary Edition in der neuen Farbe Military Green.01. At First Light - 4:0202. Entrenched - 3:4203. The Killchain - 4:5704. Granite Wall - 3:4705. Those Once Loyal - 4:1706. Anti-Tank (Dead Armour) - 4:1507. Last Stand of Humanity - 3:2308. Salvo - 5:3209. When Cannons Fade - 5:44

Whitechapel - A New Era of Corruption (2010)15 Jahre - das kraftvolle dritte Album der US-Deathcore-PioniereMit A New Era of Corruption veröffentlichte Whitechapel im Jahr 2010 ihr drittes Studioalbum - ein zentraler Meilenstein in der Entwicklung der Band und ein fester Bestandteil der modernen Deathcore-Geschichte.Das Album markiert eine dunklere, intensivere Phase im Sound der Band. Technisch versierte Gitarrenarbeit, tiefgestimmte Riffs und eine durchgehend aggressive Atmosphäre prägen das Gesamtbild. Sänger Phil Bozeman überzeugt mit brutalem, aber kontrolliertem Gesang, der zwischen Growls und Screams kraftvoll variiert.Im Vergleich zu den Vorgängern geht A New Era of Corruption stärker in Richtung Groove und strukturierterem Songwriting, ohne an Härte zu verlieren. Mit Gastauftritten von Vincent Bennett (The Acacia Strain) und Chino Moreno (Deftones) wird das Klangspektrum zusätzlich erweitert.Ein Album für Fans kompromissloser Härte, das auch 15 Jahre nach Veröffentlichung nichts von seiner Durchschlagskraft eingebüßt hat.

Girl groups have come and gone over the years, but the Crystals’ name, along with the Ronettes, has become synonymous with the groundbreaking early-Sixties wave promoted by producer Phil Spector. As well as including some of their early recordings, the songs featured here on this 180g Vinyl set retain their period charm thanks to what one critic called the Crystals’ ‘sweet-butstreetwise vocal magic.’ File the music under Brill Building, GirlGroup Pop or whatever you choose, it wears its half a century of history lightly

Emerging from the Kansai underground with a sense of ritual and restraint, G Version III returns with a slab of meditative pressure, carved for sound systems. Following last year’s cassette release on Digital Sting, the Kyoto-based producer deepens his exploration of experimental steppers and sacred low-end science.

TRK 1 treads heavy—medium-tempo four-to-the-floor steppers, soaked in 80s/90s UK dub DNA and wired with flickers of celestial synth energy, edged with something unknown.

TRK 2 drifts off-grid—a 100bpm oddity conjuring sacred synth rituals and off-beat spatial tension. Droning and eerily weightless, it hangs like a vapor of frozen scent in an echo chamber.

Flip the plate and TRK 3 and 4 ignite—raw, unrelenting steppers built to test the physical limits of the rig. No compromise, no decoration—just ritual voltage for the floor.

Riddim Chango’s 16th release channels something ancient through circuitry, born for the weight.

Over sixty years into a life in music, Amina Claudine Myers revisits old compositions with a quiet force on Solace Of The Mind, her first solo record since receiving an NEA Jazz Master honours. Recorded for Red Hook Records and produced by Sun Chung, it hears Myers at the piano, Hammond B3 organ and mic, reinterpreting personal standards such as 'African Blues', 'Song For Mother E', 'Cairo' and 'Steal Away' with patient, spacious phrasing and the tonal sensitivity she's honed since her days with the AACM. Chung's production renders every harmonic shimmer and pause with startling clarity; a glistening move compared to last year's duo release with Wadada Leo Smith, adding a returnal layer to an otherwise eclectic discography, spanning free jazz and blues-rooted experimentalism. In her words, "I wanted to play (the originals) differently this time."

Written and played by GRÓA
Fríða Björg Pétursdóttir - Bass
Hrafnhildur Einars Maríudóttir - Drums, perc
Karólína Einars Maríudóttir - vocal, synthesis, guitar

Produced by GRÓA, co-produced by Atli Finnsson and Albert Finnbogason
Recorded by Albert Finnbogason
Mixed by Atli Finnsson

Utopia, Saunders’ fourth solo album, is an extraordinary exploration of all her past lives.

If the singer regards her first three solo records — 2014’s Y Dydd Olaf, 2018’s Le Kov and 2022’s Tresor as “childhood records”, rooted in her upbringing, her parents, her formative identity, then Utopia captures a time of self-determination and experimentation.

These are songs of discovery, of the years between being someone’s daughter and becoming someone’s wife and someone’s mother. They range from floor-fillers to piano ballads, via contributions from Cate Le Bon and H. Hawkline, and encompass William Blake, a favourite Edrica Huws poem, and the Number 73 bus. It is her finest work to date.

Full of Hell Coagulated Bliss bio Full of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed. They have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it.

A rework and rerecording of Anthony's break out and most beloved record, Avalon.

The Canadian folk singer renowned for her purity of voice and composer of the ever-fresh ’Morning Dew’; once at the heart of the Greenwich Village heyday when she sang at Gerdes Folk City alongside the likes of Paul Simon and Bob Dylan; and the UK’s premier purveyors of Cosmic Americana riding a wave of creativity and acclaim, following two successive classic albums Hollow Heart and On A Golden Shore. The spry octogenarian and the psychedelic cowboys proved a match ripe to be made. Since Bonnie’s reemergence, at Jarvis Cocker’s Meltdown in 2007, she’d been interacting with a host of London musicians, but when the Stars came onto her horizon she sensed she’d found the perfect accompanists for her new compositions. With no concrete plan they worked up a few songs, then went into Sean Read’s Famous Times studio to see what might happen. What might happen is now Dreams, comprising eight songs; six being recent compositions never before studio-recorded while a further two reach into and celebrate her back catalogue, along with the era that initially defined her, and as one of its now few active representatives – it’s her and Dylan and not many more – she stands for.

Despite the outright denial in its title, death is present in every one of the songs on Never Die, the collaborative album from MIDWIFE’s Madeline Johnston and Matt Jencik (of Implodes, Don Caballero, and Slint’s live band). Jencik held the tenderest thought imaginable when he came up with that phrase—Never Die—the fact that the people he loves eventually would, a certainty that feels impossible and remote, until the day it absolutely doesn’t. Never Die represents Jencik’s desperate bid to hold onto everyone he loves, to keep them on Earth so fiercely that they might enter the grave with claw marks on their skin.

Johnston, who recognizes the grace of mortality (and who, as MIDWIFE once sang: “I don’t wanna live forever,” over and over) serves as the spiritual guide for the album, transmuting the fear of death into an incentive to live more keenly and dearly. Following a number of ambient drone instrumental albums, Jencik felt the need to set himself a new creative challenge: to write vocal-heavy songs. He worked on them alone in his basement, recording directly to a four-track cassette. He sent those demos to a different collaborator to tinker with before that partnership eventually dissolved. Then, he thought of Madeline: the way her voice tended to glower in her songs, as well as her commitment to minimalism, which fell squarely within the project’s aesthetic and spiritual impulses.

“I was immediately drawn to what she was doing,” Jencik says. In both of their work, Jencik and Johnston understand minimalism as a vehicle for enormous, desperate and universal emotions. Entire worlds come in and out of existence between each of their sparse notes; a great breadth of feeling is bedded into the simple structure of their songs. Never Die offers a calm confrontation with the dour inevitability that bookends our lives. When the fact of death looms over life, it tends to denature every experience we have and every relationship we know we’ll eventually have to forfeit back to the Earth. No one, no matter how hard we love, makes it out of this alive thing. But we feel anyway. And we love anyway. And we sing anyway. Here, Jencik and Johnston have sung ‘die’ over and over, snowglobing life in the process.

Amy Macdonald hat großen internationalen Erfolg erzielt, indem sie konsequent ihren eigenen Weg geht.
Welttourneen vor 5 Millionen Menschen, über eine Milliarde Streams, fünf Top-5-Studioalben in ganz
Europa, darunter zwei Nr. 1-Hits in Großbritannien und drei in Deutschland, sechs Millionen verkaufte Alben
und der bahnbrechende Hit „This Is The Life“, der in zehn Ländern die Charts anführte und 2023 ein virales
TikTok-Comeback erlebte, bei dem Hunderttausende von Kreationen sie einem neuen Publikum zugänglich
machten. Sie hat ihren Ruf als weibliche Springsteen mit generationsübergreifender und internationaler
Anziehungskraft gefestigt.

Über Jahrzehnte hinweg erwarb sich George Harrison den Ruf eines der rätselhaftesten und kreativsten
Rock’n’Roll-Menschen. Wie bei jedem ehemaligen Beatle wurde Georges Loslösung von der Band durch
die anhaltende und manchmal obsessive Liebe der Welt zu den Beatles als eigenständiger Einheit gebremst.
Doch wie die Veröffentlichung seines epischen Albums „All Things Must Pass“ im Jahr 1970 zeigte, war
er ein Mann mit einer ganz eigenen Geschichte. Songs wie „My Sweet Lord“ und „What Is Life“ fanden
Eingang in eine umfangreiche Sammlung, die bis heute zu den großen Werken der Album-Ära zählt. Heute
erinnert man sich an George als jemanden, der seinen Leidenschaften bis zu bemerkenswerten Schlussfolgerungen folgte, als einen Mann der Widersprüche, dessen ungewöhnliche Balance aus spiritueller Hingabe,
trockenem Humor und echtem Mitgefühl das Leben vieler Menschen berührte.

The Kinks kündigen den dritten und letzten Teil ihrer ganz besonderen Anthologie-Reihe an: „The Journey
– Part 3“.
„Part 3“ behandelt ihre transformative RCA/Arista-Zeit von 1977 bis 1984, eine Zeit, in der die Band
endgültig in Amerika durchbrach, ihre legendären Pop- und Experimentalphasen hinter sich ließ und zu
einem frischen und prägnanten Stil des klassischen Songwritings zurückkehrte, der von ihrem eigenen,
ausgeprägten britischen Selbstverständnis zeugt.
CD 1 / LP 1 enthält Klassiker und Hits aus dieser Zeit, persönlich von der Band ausgewählt und von den
Original-Sampler- und Produktionsbändern remastert, darunter „Come Dancing“, „Destroyer“ und „Living
On A Thin Line“.
CD 2 / LP 2 enthält bisher unveröffentlichte Aufnahmen des Hit-reichen Auftritts der Band in der Royal
Albert Hall im Juli 1993, darunter fesselnde Interpretationen von „You Really Got Me“ und „Till The End
of the Day“ und vielen anderen.
Sowohl unsere 180-g-Doppel-LP als auch die Doppel-CD enthalten Track-by-Track-Kommentare der Band
sowie neue Linernotes von Phil Alexander.

Nach drei triumphalen, ausverkauften Konzerten im legendären Londoner Hammersmith Apollo im vergangenen Jahr haben die Teskey Brothers ihr neues Album „Live At The Hammersmith Apollo“ angekündigt –
es erscheint am Freitag, den 11. Juli, und ist ab sofort vorbestellbar. Das Live-Album ist eine umfassende
Erweiterung des umfangreichen und beliebten Katalogs der Band und enthält Songs aus ihrem dritten Album „The Winding Way“, das auf Platz 1 der ARIA-Charts landete, ein kraftvolles Cover von Otis Reddings
„Try A Little Tenderness“ (ab heute überall erhältlich) und erstmals auf Vinyl/CD einen ihrer frühen Hits,
„Forever You and Me“ (über 150 Millionen Streams).
„Live At The Hammersmith Apollo“ wird im Anschluss an ihren Auftritt im Londoner Alexandra Palace
vor über 10.000 Fans (dem bisher größten Auftritt) am Donnerstag, den 10. Juli 2025, veröffentlicht.
Ganz im Sinne der Liebe der Band zum Analogen wurde „Live At The Hammersmith Apollo“ vollständig
auf Band aufgenommen, genau wie Livealben von Bruce Springsteen (’75), David Bowie (Ziggy Stardust ’73) und zahllosen anderen im selben Raum aufgenommen worden wären. Der in London ansässige
Produzent/Toningenieur Declan Gaffney wurde mit der technischen Seite beauftragt, nachdem er zuvor
Livealben für U2 und die Rolling Stones produziert und gemischt hatte.

Die Gruppe, die es so nicht noch einmal gibt, eure Lieblings-Girlgroup TWICE, ist zurück mit ihrem 4.
Studioalbum mit dem Titel ”THIS IS FOR”!
Für die Girl Group ist „THIS IS FOR“ ein Jubiläums-Album für ihren 10. Geburtstag für TWICE and ONCE.
Die „THIS“, „IS“ und „FOR“ Version beinhaltet: CD, Fotobuch, PVC-Cover, gefaltetes Poster (1 von 9), Umschlag, Mini-Papierständer (1 von 9), Fotokarte (5 von 45), Lyric Poster, Fotokartenset und Poster.
Maße: 285 x 220 x 16,5 mm.
Die „CONFETTI“ Version beinhaltet: Mini-CD, CD-Halter, Mini-Buch (164 Seiten), Outbox, Fotokarte (1
von 9), Schlüsselanhänger, gefaltetes Poster, Aufkleber (3 Stück), Lyric Buch (28 Seiten).
Maße: 100 x 100 x 50 mm.
Die „DIGIPACK“ Version ist spezifisch für jedes Bandmitglied und beinhaltet: CD, Cover, Fotobuch (36
Seiten), Fotokarte (1 von 9), gefaltetes Poster, Aufkleber (1 von 9), Fotokarte (1 von 9) und Mini-Postkarte
(1 von 9).
Maße: 125 x 140 x 7 mm.
Außerdem ist das Album auch als Vinyl erhältlich. Die Vinyl Version beinhaltet eine exklusive DrachenfruchtGlitzer-Vinyl, exklusive Gatefold-Jacket, bedruckte Innenhülle, Poster (30,5cm x 61cm), „THIS IS FOR“-
Schablone, exklusive Fotokarte.

Der mehrfach mit Platin und siebenmal mit Diamant ausgezeichnete R&B- und Popstar The Weeknd
kommt mit seinem Album „Hurry Up Tomorrow“ zurück.
Nach seinem 2020 erschienenen Erfolgsalbum „After Hours“, welches auch das am häufigsten gestreamte
R&B-Album aller Zeiten ist, und dem 2022 veröffentlichten Album „Dawn FM“ bringt The Weeknd die
Trilogie mit „Hurry Up Tomorrow“ zu ihrem Höhepunkt. Dieses Album hebt seine künstlerischen Erzählungen auf ein neues Level und fängt existenzielle und selbstreferenzielle Themen des Sängers ein. Titel
wie „Dancing In The Flames“, „Timeless“ mit Playboi Carti und “Sao Paulo” mit Anitta werden bereits
seit dem Sao Paulo Konzert von den Fans gefeiert. Im Jahr 2023 wurde The Weeknd vom Guinness-Buch
der Rekorde zum „Beliebtesten Künstler der Welt“ ernannt.
nun erscheint Ltd. Score CD und Score LP

Fünf lange, meditative Titel zwischen Jazz, Ambient und World Music präsentiert „Openness Trio“, das
Blue-Note-Debüt eines einzigartigen musikalischen Kollektivs, bestehend aus Gitarrist und Produzent Nate
Mercereau, Saxophonist Josh Johnson und Schlagzeuger Carlos Niño. Die drei Künstler bringen umfassende
Erfahrungen aus der Zusammenarbeit mit Künstlern wie André 3000, Meshell Ndegeocello, Kamasi Washington, Shabaka, Jeff Parker, Makaya McCraven und vielen anderen in das gemeinsame Projekt ein.
Die Musik von Nate Mercereau, Josh Johnson und Carlos Niño ist mal überwältigend und bildhaft („Hawk
Dreams“), mal abstrakt und voll subtiler Stimmungen („Elsewhere“). Alle Titel verbindet die intensive
Kommunikation der drei Künstler, die eindringliche Emotionalität und die Faszination gemeinsamer Erkundungen und Entdeckungen. Die Aufnahmen entstanden in fünf verschiedenen Sessions in Los Angeles und
Ventura County – unter freiem Himmel in den Hügeln von Ojai mit Blick auf die Topatopa Mountains, in
einem stimmungsvollen Wohnzimmer im Elysian Park, in einer „Oak Tree Cathedral“ im Churchill Orchard
in Ojai, inmitten einer Sammlung elektronischer Instrumente im Hof eines Hauses in Echo Park und unter
einem Pfefferbaum in Elsewhere / Topanga Canyon

JOVA! LIVE! LOVE! is the perfect album for anyone who wants to relive the emotions felt during Jovanotti’s legendary shows!
Recorded during the PalaJova2025 tour dates, “JOVA! LIVE! LOVE!” is a Best Of album composed of 27
iconic tracks from Jovanotti’s career. Inside are all the historic hits, including ”Il più grande spettacolo
dopo il Big Bang”, ”Ragazza Magica” and ”L’ombelico del mondo”, but also more recent tracks such as
”I love you baby” and ”Un mondo a parte”.
The album is available in two unmissable formats: Triple LP and Double CD.

Los Angeles trio sunking marry hip hop, and electronic influences on their 2nd album I DON"T LIKE MY TELEPHONE. Childhood friends Bobby Granfelt, a jazz drummer and self-proclaimed hip-hop head, Antoine Martel, a synthesist and composer, branched off their mainstay High Pulp to explore their polar opposite tastes and make music as sunking in addition to multi-instrumentalist Victory Nguyen. Their 2022 debut Smug, was more jazz-influenced, while I DON"T LIKE MY TELEPHONE is akin to the early work of beat-driven artists Thundercat, Madlib, and Flying Lotus. They hand selected artists Salami Rose Joe Louis, Niki Randa, Deradoorian, and Takoda to lend vocals and help capture that spirit. I DON"T LIKE MY TELEPHONE as a series of self-contained "micro-compositions," built around Granfelt"s drum loops and Martel"s new gear. In addition to, they were fueled by an increasing love for electronic music artists like Galcher Lustwerk, The Field, and Susumu Yokota, whose 1994 cult classic Acid Mt. Fuji they cite as a particular inspiration. The result is a record as vibrant as a kaleidoscope, and compact as one too, shuffling through more styles and ideas in neat, three-minute chunks of virtuosity.

Random Colored Edition, Limitiert. Love A ist etwas Bemerkenswertes gelungen: Das, was ihr Debüt "Eigentlich" auszeichnet, haben sie sich bewahrt. Die volle Faust auf die Zwölf, diese unmittelbare und schnörkellose Konfrontation, das Getriebensein durch ein Leben, das mehr Fragen aufwirft als es Antworten anbietet, dem Scheitern immer näher als dem Gelingen. Stefans Gitarre, die ganz untypisch für Punk völlig unverzerrt daherkommt und Jörkks latente Hysterie über allem.

Mayssa Jallad is a Beirut-based bilingual singer-songwriter, architectural researcher and teacher. Her work deals with the highly personal as well as the political, as with her first solo album "Marjaa: The Battle of the Hotels", which explores the histories of urban battles that occurred before she was born, during the Lebanese Civil War, through a collaborative musical and architectural lens. "(Marjaa) is, as one might expect, a sombre affair largely comprised of Jallad's delicate vocals backed by acoustic guitar and ethereal synthesizer. Elsewhere, co-composer and producer Fadi Tabbal adds the crackle of distant artillery and a ghostly wind between the high-rise blocks." - Daniel Spicer, Songlines, April 2023 "Historical trauma, strings, drones, metallophones and buzuks wrap around powerful stories and gossamer vocals on Lebanese singer's tender, intimate debut. With shades of Nico, Jarboe and Elizabeth Fraser, '80s' 4AD fans will rejoice." - Andy Cowan, MOJO `Marjaa_' (tr. `reference') combined Mayssa Jallad's two main vocations: music and urban research/architectural history. The album was co-written with Fadi Tabbal and based on Mayssa's Historic Preservation master's thesis (`Beirut's Civil War Hotel District: Preserving the World's First High-Rise Urban Battlefield'). The thesis examined a 5-month conflict that took place within Beirut's skyscraper-laden luxury hotel district of Minet El Husn near the start of the Lebanese Civil War. Addressing a post-war generation who have never been taught this difficult history, `Marjaa_' was an attempt to process trauma, and "a call to protest for the renewal, rather than the recycling of the political class that once destroyed the country and holds us, to this day, hostage of its violence". In 2013, Mayssa founded indie-pop band Safar with guitarist Elie Abdelnour, releasing debut album In Transit with Lebanese indie label Ruptured in 2017, and follow-up EP Studies of an Unknown Lover in 2019. Both albums were produced by Lebanese producer Fadi Tabbal at Tunefork Studios in Beirut. Mayssa's most recent multi-genre collaborations include "Madina min Baeed" (2022) with electronic musician/producer Khaled Allaf; "Bi Kheir" and "Fil Aatma" (2022) with indie supergroup Baada Ab (Dani Shukri, Ezra Tenenbaum and Omaya Malaeb), released by Thawra records and Found Sound Nation. Next is the Versions version of Marjaa, which sees Civilistjävel! (aka Swedish producer Tomas Bodén) apply a stripped, dub methodology to Mayssa's original rich stems, refracting the Arabic source through the hazy prism of Northern European electronica. 140gsm vinyl, jacket printed on 20pt board with aqueous gloss coating, with a 3.5mm spine and a black paper inner dust sleeve.

The one-of-a-kind solo album by legendary jazz bassist Isao Suzuki—originally released in 1981—is now reissued on analog vinyl!

Crafted entirely by Suzuki himself through meticulous multi-track recording, the album features an eclectic mix of instruments including upright bass, Hammond organ, vocoder, Taishogoto, and erhu, along with his own vocals. Not only did he compose and perform all the music, but he also designed the jacket artwork and wrote the liner notes, making this truly a singular, self-contained expression of Isao Suzuki in every sense—a bold, genre-defying one-man masterpiece.

Some Other Suckers Parade is a fascinating addition to Del Amitri’s catalogue - Originally released on A&M Records in June 1997, the album captures a group secure of their success and gently kicking back against formula. This re-issue faithfully replicates the original 1997 A&M UK release and is pressed onto high quality 180g vinyl. The group, led by bassist-vocalist-writer Justin Currie and writer-guitarist Iain Harvie, had become equally known for their gentle pop and acoustic ballads as their jangling melodic rock. Overseen by Breeders producer Mark Freegard, the album was broadly recorded live and has touches of Crazy Horse and The Faces about it. Acoustic guitars were banned. The harmonious onslaught paid off: Some Other Suckers Parade complete with its much-loved singles Not Where Its At and Some Other Suckers Parade entered the charts at No 6 in the UK. I really love the record, because its probably our least pretentious, Currie said in 1998.

Ria Moran steps into a bold new chapter with Cubico, her debut solo album set for release in July 2025 via DeepMatter Records. A deeply personal and sonically rich project, Cubico sees Ria stepping forward as a producer and instrumentalist, blending R&B, neo-soul, and jazz with introspective songwriting that explores love, self-discovery, and emotional growth. The 12-track album moves fluidly between smooth R&B grooves and darker alternative tones, embodying the full spectrum of her artistry—sweet, emotional, moody, quirky, and fun. Ria made her long-awaited return in November 2024 with Take It or Leave It, a collaboration with Nubiyan Twist that showcased her evolving artistry and set the stage for Cubico and finding support from BBC Radio 6, Radio 1, Rinse Fm, Jazz FM, Worldwide FM, and more. Prior to this, her 2019 EP Moving into the Light gained widespread recognition from BBC Introducing, BBC Radio 6, and Worldwide FM, placing her among the UK’s most exciting contemporary soul voices. Her music sits at the juncture of forward-thinking UK soul music and nu-jazz, placing her alongside contemporaries including Ego Ella May, Yazmin Lacey and Cleo Sol, whilst also nodding to pioneers like Sade and Erykah Badu. Beyond her solo work, Ria has built an impressive career as a collaborator. Her contributions to Nubiyan Twist’s Freedom Fables earned a MOBO Award nomination, and she later appeared on Blue Note Records’ Blue Note Re:Imagined series, performing a BBC Radio 2 live session at the legendary Maida Vale Studios. She also worked with bassist Daniel Casimir on his acclaimed Boxed In album, joining a roster of UK jazz heavyweights including Nubya Garcia and Moses Boyd. Since 2019, she has been a touring vocalist with Gotts Street Park, sharing stages with Celeste, ENNY, and Pip Millett. With Cubico, Ria Moran is fully stepping into her own as an artist, delivering a debut album that is as raw as it is soulful, as vulnerable as it is empowering—a must-hear for fans of innovative and heartfelt music..

Tracks include unearthed fragments of BLADDER FLASK, circa ’80s by Richard Rupenus, a founding member of THE NEW BLOCKADERS.

STEVEN STAPLETON, ANDREW LILES, RICHARD RUPENUS.





New studio album “Backside” on vinyl by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, also released on Cd in 2024 (there is also a DIY “lathe cut”).
Cover art by Babs Santini.


The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies.


Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steven Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.



“As the closest release style-wise to classic old NWW in decades, the album’s opening track ‘Backside’ could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It’s quite an intense listen, but totally enjoyable. ‘Chernobyl Picnic’ feels more like ‘Cooloorta’-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted ‘Soliloquy For Lilith.’ An excellent release, especially for jaded old NWW fans who want more in the style of ‘the good old days’ (Alan Freeman)”.

This Chicago-based artist isn't just reconstructing soul music; they're reimagining it for a new generation. The album intertwines Soul Music’s rich history with contemporary production, creating a sound that's both familiar and fresh. St. James' unique vocals are rich and expressive -
soaring and soulful, conveying every emotion with raw intensity. But it's the songwriting that truly sets "Soul Nepotism" apart.

The album tackles weighty themes of personal struggles, family and heartbreak, but also celebrates the importance of freedom and self-confidence, all with a refreshing honesty and cleverness. Tracks like “Cocky (Can’t Tell Me Nothing” showcase St. James' sharp wit, while ballads (grooves) like “Saved By The Bell(s)” delve into the complexities of his past and self-discovery.

One of the most striking elements of "Soul Nepotism" is the use of vocal harmonies. Erthe doesn't just sing; he orchestrates a choir within the recording. The layers of harmonies are meticulously crafted and at times, swell like a full-fledged gospel choir, infusing the songs with an undeniable spiritual energy. This gospel influence adds another layer to Erthe's genre-bending mastery, creating a truly unique and unforgettable listening experience.

Juan Ramos is up to bat for the next Körperspannung release with the four-track stunner EP ‘Hard Bois’. Deeply connected to the ongoing pursuit of gay excellence and endeavors, Juan honors those who have come before us and touches us deeply in our soft spots at all the right moments. Across ‘Hard Bois EP’, the Berlin resident and behind the scenes operator (IYKYK) shows precisely why he’s one of dance music’s most exciting and dependable prospects. Opening the release, ‘Hard Bois’ combines snaking drums in a melange of samples with bff Kris Baha vocalizing sizzling and snaking lyrics winding around this propulsive club cut that could easily be a snapshot right out of a scene from Chicago’s iconic Medusa Club. ‘Saviour Sound’ is music that makes iron pipes sweat with hedonistic abandon. Exposed steel vibrates to a hardcore beat. Gears interlock to move the whole building into autonomous productivity. Conduits of electricity pulsate to the drama unfolding in a dim lit factory with dank corridors leading us on a path to a flowerbed growing and thriving in a subterranean hydroponic garden.
On the flip, the alarm strikes and it’s (shout it out): ‘Werk Day’! This is your call to get buttoned up and ready to make dreams reality. Head to the gym, pump those guns and then house your body. Technological funk winding through a sturdy and rock hard kick that helps you ride through the chasms of pleasure and pain. Rounding out the release is your ‘Acid BB’ rocking and roaring through the airspace of atomized acid matter, a perfect closer to a thoroughly exciting direction Juan Ramos takes with his newfound sound. Play it loud. Play it proud. Juan is one of our own and we do all we can to take care of each other.

Originally released in 1982 as double 7” on Jeep Records and reissued here for the first time as 12”, this is Chance Operation’s sophomore release. A dense four track EP full of hypnotic, infectious, sonic grooves. This is pure Japanese Post-Punk genius!

Promising label newcomer IGLO returns to Figure with his second EP this year, building on a distinct sonic identity shaped by a background in classical music and live performance. Across five tracks, he further refines his mix of atmospheric depth, precise rhythms, and melodic nuance.
This time, his own voice takes on a more central role, adding a personal and expressive layer to the productions. On opener Computed Love, restrained, longing vocals blend into squelchy synths and minimal grooves - hauntingly beautiful, yet gritty with rumbling machine funk. Determined follows with a more menacing tone, its sharp percussion cutting through a bleak, shadowy atmosphere - perfect for building tension on the floor.
On the flip, IGLO switches up the mood: Enter the State runs on hypnotic loops and chopped-up piano riffs, peppered with cheeky, spoken-word style vocals that nod to ghetto house traditions. It breaks into an irresistible, swinging groove that hits with full force.
Offering a smooth counterpoint, Enlighten drifts into dubby terrain. Soft, ricocheting vocal snippets and warm chords conjure a hopeful, human glow - a bouncy balm for the soul, without losing its forward momentum.
Digital bonus track Find Yourself closes the EP on a spacious, almost sci-fi note - twinkling synths and airy melodies float above crisp textures, like a breath of fresh air at the end of a long night.With X49, IGLO deepens his connection with Figure and sharpens his unique voice - equally grounded in introspection and dancefloor impact, continuing to shape a sound that's thoughtful, bold, and marks him as one to watch.

Lars Huismann drops fourth essential release on Mutual Rytm with 'Catharsis', following his successful 'Sounds From The Past' trilogy.

German producer Lars Huismann has a percussive and groove-driven take on techno that often comes with scintillating melodies and separates him from others amongst the genre. His releases have come on labels such as Dolly and Soma; however, he has also quickly become an essential member of the Mutual Rytm family, having contributed to the label's 'Federation Of Rytm III' VA as well as serving up a trio of forward-thinking EPs in the form of his 'Sounds From The Past' trilogy. Delivering yet more stellar material on SHDW's thriving imprint, his latest EP delivers the newest evolution in his sound while maintaining his signature sonic essence.

The hunched techno funk of 'Divergence' kicks off with plenty of plenty up energy and tight, bouncy synth vamps, while 'Portal' goes deep into a futuristic landscape with static-laced synths and oversized hi-hat ringlets that ramp up the pressure. The mighty 'Neural' is brilliantly functional and linear techno with a playful synth that rides up and down the mix as the sleek and slamming drums race onwards. 'Riot' brings some extra raved-up madness with serrated synths and raw percussive energy, and 'Technician' then slips into a deeper, more paired back sound with liquid synth lashing about the mix as dubby undercurrents power along the punchy rhythms and freaky vocals bring the menace. Digital bonus cuts 'Incognito', a fizzing, busy, textured techno workout, and the machine soul of 'Submerged' close out this high-grade EP in style.

ANNE & SERA J return for the second edition of their Symbiosis series on Mutual Rytm.

ANNE, known for potent techno on the likes of Soma and Hardgroove, and Nechto and Life In Patterns associate Sera J, have had standout years that have seen them put out a stream of essential club tracks. They are partners in both life and music, and the first volume of 'Symbiosis' on SHDW's Mutual Rytm imprint was their first release together. Delivering an honest representation of their innermost feelings, having also contributed to the label's 'Federation Of Rytm III' VA in February, this new six-track EP (plus bonus cuts) presents a 'mature and refined connection between their souls'.

The second instalment of 'Symbiosis' reflects not only their deep personal connection, but also their collaborative synergy as musical peers with the same goals. The EP captures the essence of their mutual artistic journey and showcases the strength of their bond both in life and through their shared creative vision - to create a storyline through sounds coming from their souls and convey a narrative that many listeners may find relatable.

SERA J kicks off with the lithe and melodically elegant techno of 'Your Soul Is Art' which will have both heart and heels dancing. 'Illusions' is a more heavy and dubby cut with paired back grooves and pulsing synths, while 'Glacial Pace' is an urgent deep techno roller with turbocharged stabs and huge icy hi hats locking you into a trance.

ANNE steps up on the B-side with 'Floating Waves' exploring physical, chunky drum funk and raw synth textures. 'Planetary Dust' is a dark and moody astral techno journey to the stars, before 'Sweet Seventeen' brings a more melodic cut with a sense of hope and joy in the bright pads that shimmer above the glitchy grooves.

Both artists also offer two digital bonus cuts with SERA J's 'Syncrosonix' and 'Space Velocity' delivering perfectly reduced minimal techno monsters, while ANNE's 'Gentle Loop' and 'Starburst' are interplanetary trips with widescreen cosmic synths.

"Platinum Rare 1" enthält extrem seltene Aufnahmen aus dem Privatarchiv von Andy Scott, eingespielt von den vier SWEET Originalmitgliedern. Fans der Band werden von dieser Sammlung von seltenen und alternativen Takes und Mixen begeistert sein.

Der 80er-Jahre-Hardrock mit einer Prise AOR und Melodic Metal aus den 90ern kam auf Anhieb fantastisch an, was nicht nur an Sängerin Elkie Gee liegt, die über eine beachtliche Bandbreite verfügt und sich mit ihrer Stimmfarbe von der Masse abhebt. Das neue Album "Running Out Of Time", erneut gekonnt von Achim Köhler (Primal Fear, Brainstorm u.a.) produziert, bietet einige echte Knaller und präsentiert einen bunten Strauß toller Songs mit Ohrwurmgarantie und Überraschungsmomenten.

Hauptsongwriter und Produzent Mikky Stixx hat über ein Jahr lang mit seiner Band gearbeitet, um hymnenartige Refrains und knallharte Riffs zu entwickeln. Mit dem neuen Schlagzeuger Bobby B Bastard steigern sie die Intensität, bringen explosive Energie und mutige, rebellische Texte. Schwere Riffs, eingängige Melodien und rohe Energie sorgen dafür, dass kein Platz für Langeweile ist. Mit "Plead The Fifth" verschieben sie Grenzen und beweisen, dass echter Rock 'n' Roll niemals stirbt.

A sequel to the 2001 series Blue Planet, it took 4 years to complete this seven part new exploration of the underwater worlds, with 125 expeditions across

39 countries and 6000 hours of underwater filming. The series was broadcast on BBC One on 29 October 2017 with viewing figures exceeding 10m and

its exposure of plastic pollution in our oceans has started a global conversation about reducing plastic waste, now more relevant than ever.

With over 120 soundtracks to his credit which have grossed 24 billion dollars at the box office, Hans Zimmer has been honoured with many accolades:

an Academy Award, two Golden Globes, three Grammys, an American Music Award, a Tony Award and The Henry Mancini Award for Lifetime Achievement.

His Academy Award nomination for Interstellar marked his 10th Oscar nomination.

The composition is completed by Jacob Shea and David Fleming from Emmy and BAFTA nominated Bleeding Fingers Music. Bleeding Fingers has created

original music for productions including the Fox’s The Simpsons, BBC’s Planet Earth II, National Geographic’s Princess Diana In Her Own Words, NBC’s hit

Little Big Shots, Sony’s Snatch (TV), Amazon’s American Playboy, AMC’s The Making Of The Mob, Netflix original Roman Empire and History Channel’s Mountain Men.

Hellgrüne Vinyl Version, von Hand nummeriert und mit bedrucktem Inlay. Montreal bewiesen einmal mehr ihr Standing in der deutschsprachigen Punkrock-Szene mit dem 2019 veröffentlichten Album voller Charme, hintergründiger Ernsthaftigkeit und natürlich Spaß.

In 1995, when Cobweb-day was released, Fabrice Laureau was 24, Nicolas Laureau 21, Ludovic Morillon 22, and Quentin Rollet, who had just joined them on this new album, was 21. Prohibition, founded in 1989, had already released two albums: Turtle in 1993 and Nobodinside in 1994, on the Distorsion label. Cobweb-day, literally "Spider-web Day," is poetic, satirical, and libertarian. A title conceived by Nicolas to express all the feelings and themes explored on the album, this neologism also echoes the artwork on the cover. The lyrics describe, in vitriolic poetry and with a touch of self-deprecation, a world based on the powers of commodification and order, on submission to modern Molochs. Thirty years ago, it addressed themes such as the trade in minds and bodies, Kafkaesque justice, state violence, and Western blindness. Is this a coincidence that might raise a smile? Fabrice and Nicolas were both conscientious objectors at the time the album was written. The deceptively childish drawing that adorns the cover was created by Fabrice in 1989. It evokes African art and the skyscraper where the brothers grew up. Its title? "Glances on the Horizon." Yet, in these naive eyes, locked in a rhizomic matrix, there is the disturbing sensation of being observed, scrutinized, or perhaps imprisoned. This is Cobweb-day. During this period, the band spent its entire life touring with the British post-punk trio Headcleaner and the furious Lyon-based Condense. Their correspondence, followed by a meeting in 1994 with Guy Picciotto, singer-guitarist in Fugazi, led to a series of concerts with the Washington, DC quartet, around the time of the album's release in the spring of 1995. Quentin Rollet gradually joined the band, first on stage and then on the records. The concerts of this era often ended with long improvisations featuring saxophone, sitar, bass, and drums. Prohibition had emerged from the shadows, but chose to continue evolving underground, with the Laureau brothers creating their label Prohibited Records. Cobweb-day serves as the first reference. Thirty years ago, then. The album was recorded at Ark Studios near Paris in January 1995, along with eight other previously unreleased tracks. This new mix was created at Black Box Studios by Peter Deimel and Nicolas from 24-track analog tapes in August 1998, shortly before the release of 14 Ups & Downs, Prohibition's fifth and final album, and their US tour. All tracks were remastered by Fabrice and Nicolas Laureau in March/April 2025.

The year is 1995, Italy has just witnessed the biggest corruption scandal in its history, a new sound is thriving in the underground.

Far from the idyllic atmospheres of Dream House, “Location EP” by mysterious producer Universe City (moniker of Michael Preti) erupts like an earthquake on the dance floors of a shattered country: telluric textures, metallic echoes, a state hypnosis induced by volcanic tension.

A new genre was born, Progressive Trance, and this was just the beginning..

CHARLY RECORDS present the first ever reissue of the sought-after Gospel treasure Crying In The Street by Robert Sims and his Seven Brothers.
Originally released circa 1969 by Lelan Rogers on his Nashville based House Of The Fox imprint. The title track ‘Crying In The Streets’ is a Gospel anthem penned by Sam Matter, Kerry Porter and Ted Harris as a response to the assassination of Martin Luther King. It was recorded contemporaneously by Baton Rouge deep soul vocalist George Perkins who scored a regional hit when it was picked up by Lelan Rogers for his Silver Fox subsidiary. The song was covered to great effect by Buckwheat Zydeco, featuring Ry Cooder, and appears on the 2005 benefit album for Hurricane Katrina.
This is a forgotten gem, atmospheric and beautifully produced. It is a passionate, life-affirming record that resonates today just as much as it did over 50 years ago.
A Gospel Experience.

sychedelic hard-rock Holy Grail, originally released by this Greek band in 1976 but sounding more akin to late 60s / early 70s.
Highly recommended to fans of HEAVY-FUZZ guitars, think DARK, FIRE, OPEN MIND or even SPACEMEN 3 circa “Revolution”!
The 4 Levels Of Existence (Τα 4 Επίπεδα Της Ύπαρξης) formed around 1974 in Athens from the ashes of a band called
Frog’s Eyes. Some of their influences were groups like Deep Purple, Led Zeppelin, Who or Iron Butterfly as well as traditional Greek music.
They recorded their sole album in just 10 hours with no overdubs and it was eventually released (500 copies only) on the small Venus label. The cover artwork was created by guitar player Athanasios Alatas. The band sadly split soon after but they left behind one of the most legendary and sought after albums not only from Greece but also from the worldwide heavy-prog scene.

An F-bomb saturated hip-hop call & response club cut...from Sun Ra?!

While the most renown track in this omniversal opus is the atomic expletive-filled repartee “Nuclear War,” there is so much more to this dark mysterious journey through the mind of Sun Ra. The sprawling, suite-like 20-minute title track sustains a lyrical edge in spite of an open framework and textures, which encourage sonorities to surface and emerge from the band as if there was no human intention behind them. In opposition to “Nuclear War,” Ra's organ playing here was built less on bombast and sonic terror than it is on whispers, stutters, shivers, and swells. Fireside Chat offers a wide stylistic array, as was the artist’s intent, reflecting his eclectic, seemingly irreconcilable approach to compositional extremes. With Sun Ra you get everything... except predictability. Pressed on lime green vinyl!

Active between 1970 and 1976, the Bolton Iron Maiden (originally known as Birth and then Iron Maiden) was a psychedelic hard-rock band formed in Bolton by Ian Boulton-Smith (Beak) on lead guitar, Derek George Austin on bass and Paul TJ O’Neill on drums / vocals.
Influenced by contemporaries like LED ZEPPELIN, CREAM, FREE, GROUNDHOGS OR ANDROMEDA, their music blended blues, hard rock, and progressive elements.
They soon built a strong reputation supporting acts such as UFO, Bedlam (with Cozy Powell), CARAVAN, THIN LIZZY... In 1976, the band disbanded following the death of guitarist Ian Boulton-Smith from cancer.
In 2005, Paul O’Neill revived interest in BIM by releasing two albums, “Maiden Flight” and “Boulton Rides Again”,which compiled studio and live recordings. The proceeds from these albums were donated to Cancer Research and Macmillan Cancer Support. With the blessing of the more famous
Iron Maiden and their manager Rod Smallwood, the band adopted the name “The Bolton Iron Maiden” to avoid confusion.
For the first time on vinyl, “Maiden Flight” collects their previously unreleased studio recordings from 1972 plus raw as f*ck live tracks circa 1975.
*Insert with detailed liner notes and rare photos / memorabilia / *Download card with extra (live) bonus tracks

Come Live With Me represents a creative peak that sounds fresher in 2025 than it may have in 1974. The first album on his Crossover label, it lives up to the label’s name by showcasing the man’s singular ability to cross over to any audience by making songs from any time or genre undeniably his own.

Each side of Come Live With Me sets a seamless mood: Side 1 is a romantic suite of lush, latenight ballads, while a non-stop soul party is cooking on side 2. This two-sides-of-a-Saturday-night concept lets Ray Charles blend modern sounds and timeless traditions in ways no other artist ever could.

Removed from the trappings and tropes of the mid-’70s music scene, and fully restored and remastered in cooperation with the Ray Charles Foundation, Come Live With Me is finally ready to be appreciated as the masterpiece it always was.

Dom Salvador, the unassuming godfather of Brazilian soul music, has left an indelible mark through his unique fusion of jazz, soul, funk, samba, and Brazilian rhythms. His legacy continues with Dom Salvador JID024, produced by Adrian Younge and Ali Shaheed Muhammad. The album honors Salvador’s pioneering sound, continuing the vibrant dialogue between Brazilian and American music and inviting listeners to experience his rich, groundbreaking style.

Ketch Secor is a merry ringmaster, passionate professor, modern Beat, and unassuming virtuoso 'The Story the Crow Told Me' is his solo debut album, tracing the journey from street busker to founding Old Crow Medicine Show, now a Grammy-winning, Opry-member band behind the double-platinum hit "Wagon Wheel." Produced by Jody Stevens, the album features Marty Stuart, Molly Tuttle, Willie Watson, Jaren Johnston, and an ode to Nashville with help from Bob Dylan and Johnny Cash. First single, "Dickerson Road" drops May 15th "Catch Me If You Can" impacting Americana Radio June 5th Ketch solo dates July Old Crow Medicine Show touring August-Sept Album focus track "What Nashville Was" to premiere on SiriusXM Outlaw Country Ketch to host SiriusXM's Outlaw Country Show July 7th

"redrum" (with lowercase r) is the original music written for the homonymous dance show by gruppo nanou (with lowercase g and n) Composed in 2023 and put on stage in 2024, it won the Ubu Prize (Italian theatre awards) as best dance show of the year. The music is almost entirely electronic, with spare guitars, bass and vocal parts. Bruno Dorella plays, produces and mixes everything. As the previous album "Paradiso" (also a soundtrack for gruppo nanou), there is a constant dialogue between the musician and the choreographers Rhuena Bracci and Marco Valerio Amico, and with the dancers' bodies, for a longtime collaboration that will hopefully evolve more and more

"redrum" (with lowercase r) is the original music written for the homonymous dance show by gruppo nanou (with lowercase g and n) Composed in 2023 and put on stage in 2024, it won the Ubu Prize (Italian theatre awards) as best dance show of the year. The music is almost entirely electronic, with spare guitars, bass and vocal parts. Bruno Dorella plays, produces and mixes everything. As the previous album "Paradiso" (also a soundtrack for gruppo nanou), there is a constant dialogue between the musician and the choreographers Rhuena Bracci and Marco Valerio Amico, and with the dancers' bodies, for a longtime collaboration that will hopefully evolve more and more

Poor Creature is comprised of Ruth Clinton, Cormac MacDiarmada and John Dermody, all three are members of other bands (Landless and Lankum respectively) who have built a large following on re-interpreting songs from the past Songs that have existed for centuries can seem immutable and anchored to time. A new generation of Irish musicians are keen to acknowledge that musical legacy, while reimagining the songs within a contemporary context. Poor Creature's sound - particularly in the context of contemporary Irish folk - offers something unique. There's the gauzy, underwater, almost psychedelic seams of 'Bury Me Not' and 'Adieu Lovely Erin'. 'All Smiles Tonight' and 'Hicks' Farewell' nod to the influence of American folk/bluegrass acts like Doc Watson and the Louvin Brothers. These shifting sounds are made possible by producer John 'Spud' Murphy, who has produced all of Lankum's albums, and worked with Junior Brother, OXN, Pretty Happy, Ye Vagabonds as as well as the final two albums by The Jimmy Cake, with whom John has played for over 20 years. "There's something about the everyday and the fantastical, being entangled, which I think Irish music does so well." This also sums up All Smiles Tonight, moving through stories and loss and history to create an otherworldly and timeless album for the ages.

Back to the 80s: A Holy Grail of Italo Disco Returns on Vinyl

Oh, those magical 1980s… an era forever entwined with iconic music that still stirs the soul. For the young, it’s a source of fascination; for those who lived it, a flood of unforgettable memories. And when you combine that nostalgia with a collector’s thrill and the magic words “Italo Disco”, only a handful of legendary labels come to mind. One of them? Sensation Records: the experimental sub-label of the iconic Disco Magic, headquartered at Via Mecenate 78/A in Milan. Known for its distinctive blue label, Sensation was home to less commercial, often bold and boundary-pushing releases – tracks that dared to be different.

Today, Vintage Pleasure Boutique dives deep into the vaults of Sensation Records to revive one of the genre’s most coveted treasures: Marylinlove – “Another Love.”

Produced by none other than Bruno Mosti – a mastermind behind some of the most sought-after Italo tracks of the era. This is more than a reissue. It’s the return of a true cult classic, a holy grail for collectors and genre lovers alike.

If you know, you know. And if you don’t, this is your moment to own a piece of history. Don’t miss your chance to grab this stunning vinyl reissue, before it disappears again.

It has been a hot minute since our first release, but right on cue for the summer festivities we can present our second vinyl outing. Taking a different approach, the “Beat$ & Bocadillos” EP will be split between different producers with the Miami Beat$ Crew handling the raw, and rugged “Beat$” side, whilst Valencian smooth operator Vsan handles the “Bocadillos” side. Three cuts on both sides, maximising your pitched down listening pleasure, calling for those chilled out moments amongst the madness of the coming months.

This Pink Lambo’s EP rides smooth with a hip-house bounce, that trunk-rattling bass, and a touch of Miami flash. Retro flair, rooftop energy — strictly for those who move slick and think fast.

Silva Screen Records is proud to announce the release of Music from House of the Dragon, a new album featuring the epic score from HBO's hit series House of the Dragon reimagined by London Music Works and renowned cellist Nick Squires. This collection of music from the show's first two seasons - originally composed by Emmy Award-winner Ramin Djawadi - offers fans a fresh way to experience the grandeur and drama of Westeros through powerful new performances. From the thundering battle themes to the haunting melodies of the Targaryen saga, the album brings to life the sounds that have become an integral part of the House of the Dragon experience. Double LP on Orange Edge Glow Vinyl

Bulbous Monocle focuses its lens further into the legacy and archives of the Thinking Fellers Union Local 282. These Things Remain Unassigned—a phrase coined by Brian Hageman, one of the band’s musical snake appendages emanating from its Medusa crown—is presented as a double LP (gatefold jacket with a twelve page libretto). It gathers together the band’s singles, compilation tracks, outtakes and never before released gems encompassing the arc of TFUL’s musical corpus. Every track has been surgically remastered by Mark Gergis (Porest / Sublime Frequencies / Mono Pause) with his signature craftsman approach. This collection is an auditory and visual feast. The extensive booklet included features band ephemera, concert flyers, photographs, and commentary about each track from Mark Davies. Beyond the rare singles and unreleased tracks from the TFUL archives, are cover versions from such disparate artists and composers as Ennio Morricone, Krzysztof Komeda, The Residents, The Shaggs, Caroliner Rainbow and Pérez Prado. “…In addition to these compilation one-offs, there were also a few studio recordings that were never quite completed or released. Throw in an alternate mix or two and the handful of singles that came out on various labels over the years, and you end up with what I feel works well as its own body of work, a bunch of adopted oddballs that somehow fit together as a family. I hope youʼll agree with me that these things are now no longer unassigned, but part of a somewhat cohesive whole, stitched together into something mysterious and glistening.” —Mark Davies (2023)

The Funeral Pudding originally came out as a CD-only release on the Dutch label Brinkman to promote Thinking Fellers Union Local 282’s 1994 European tour. For the domestic release, the band chose Chicago’s Ajax Records—which had already released two TFUL282 singles in 1990—to press a 12-inch mini-LP. Comprising a selection of songs masterfully recorded and produced by Greg Freeman right after the sessions that yielded 1993’s Admonishing The Bishops EP, The Funeral Pudding could be thought of as a sister release to that EP; indeed, the band originally considered combining tracks from both sessions into a single album. Had it been released, that record would’ve followed the pattern of the previous album in which the band’s pop and avant-garde leanings are yoked together cheek by jowl. Instead, Admonishing showcases the band at its most accessible while The Funeral Pudding flaunts their more expansive, abrasive and absurdist side without forfeiting the earlier EP’s miraculously high standards for songwriting and sonic clarity. What makes The Funeral Pudding a unique feather in the Fellers’ cap is that most of the tracks are sung by bassist Anne Eickelberg and guitarist Hugh Swarts—a notable departure from the Davies / Hageman vocal dominance on most of the other albums. With Eickelberg’s soaring vocals leading the proceedings, tracks like “Waited Too Long” and “Heavy Head” are some of the most beloved in the band’s discography. And “23 Kings Crossing” is a whiplashinducing psych / prog stunner that adds another metric ton to the burden of proof demonstrating that TFUL282 was creating some of the most thrilling, enduring and sonically autonomous music of its era.

Metroplex Records welcomes Pascal Hetzel to the label. The Berlin-based producer and DJ (who is also half of the duo CYRK) delivers something a little different for Juan Atkins' label institution. The EP serves four slices of funky, dub-infused and chord-driven techno, aimed squarely at the dance floor that pay tribute to the Motor City legacy while carving out their own euphoric permutation of classic Detroit techno tropes. Four tracks to heat up dance floors worldwide!