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On her debut LP 'Memoria', songwriter/producer Lilian Mikorey aka PILLBERT contemplates themes of identity and belonging, hardships and heartbreak in her signature blend of bendy folk guitars, field recordings and intimate vocals.
Moving to London from Munich, not yet 20 years old, Mikorey realized she was leaving her home behind for good. The subsequent state of being lost and alone in a place too temporary to start building the foundation for a new one led her to question the concept of home itself.
Is it friends? Family? A house?
"I started collecting objects, bones, sticks, stones and kept them close", she says, as to create a cosmos traveling with her.
"I was tracing the actual feeling of being home to the point where I built a dreamhouse in my head, as an idea, just to evoke that feeling." Soon enough she would learn that yielding to the yearning of actually going to that house, must be an inevitably sad experience.
A photo she took on a family visit to East-Munich became a reference and starting point for Memoria. It was a small house in her neighbourhood, the windows lit as dusk sets in. To Mikorey, it looked haunting, radiating warmth but somehow looking abandoned at the some time.
"I wanted to make music that sounds like this photo"
She started recording the sounds of the objects she had gathered and of her surroundings, building an archive and sonic material to work with.
From her mid-teens she had learned to produce with Ableton and now she picked up the guitar, too, learning it autodidactically by playing around, creating sounds.
At some point in the process, she realized it's okay to be lost for a while and by enduring the feeling, there's room for something new to grow, far off from any general idea of what home should mean.

The album, over the course of 10 tracks, traces these three phases of building a home in your head, realizing it's not a remedy, nor forever and coming to terms with it. You've grown in the process and the album is a guiding light for everyone who strives to do so, too.

The original trio featured Liz McClarnon, Natasha Hamilton, and Kerry Katona. Just weeks before the release of their breakout single "Whole Again", Katona departed and was replaced by Jenny Frost, a pivotal change that coincided with the group's meteoric rise. "Whole Again" soared to number one on the UK Singles Chart in 2000 and topped charts in 18 other countries, cementing Atomic Kitten's global appeal. Their follow- up single, "Eternal Flame", cover of The Bangles' 1989, became their second number one in both the UK and New Zealand, with strong international chart performance. Originally released in 2000, their debut album Right Now was partially re-recorded following Frost's arrival. The revamped edition featured three new tracks: "Eternal Flame", "Tomorrow and Tonight", and "You Are". Jenny Frost's vocals were also added to updated versions of "Right Now", "Whole Again", "Hippy", and "Bye Now". Celebrating it's 25th Anniversary, the reimagined album reached number one in the UK, earned double platinum certification in 2001. Right Now is available on vinyl for the first time and includes an insert with credits.

DJ Support: Rossi., Chris Stussy, Marco Corola, Joseph Capriati, Michael Bibi

Jansons makes his debut on HMGRWN with "Yeah Yeah Yeah", a stripped-back, groove-heavy roller with a captivating vocal hook... A peak-time track that's been a huge play for ROSSI. in recent months... The track is already gaining huge support in the run up to the release, with artists such as Chris Stussy, Marco Carola, Joseph Capriati, Michael Bibi, Franky Rizardo and many more...

Adventure Rock pioneers Hällas deliver their most ambitious album yet with "Panorama”, released on 2026-01-30. The album both consolidates and expands the image of what the band is, but also what rock can be. This time different perspectives in a scenario are explored regarding whether humanity is capable of understanding a viewpoint other than their own. It reflects our time but is, in typical Hällas fashion, staged in a fictional, distant world.

Hällas' cult following in modern prog and hard rock will find "Panorama" familiar in a way: an imaginative hybrid of progressive 70s rock and heavy metal with echoes of both folk and psychedelia, along with conceptual content. In another sense, you have not quite heard a record like this from Hällas before. The self-confidence has never been as evident. Influences from different directions collide, and sometimes clash, contributing to the feeling that the expected instead culiminates in wonder at what it is you’re hearing.

The British guitarist and singer- songwriter -- a fixture of the European blues- rock scene for more than twenty years -- presents a record that marks both a fresh start and a natural progression, musically as much as personally. Asked whether there was an overarching theme to the songwriting, a reinvigorated Bryant answers without hesitation: "The album is about my rehabilitation and the changes I've made in my life." Nothing Left Behind is an unflinchingly personal work. Bryant speaks with striking honesty about the years when alcohol and restlessness dictated much of his existence. Yet this is far from a bleak album. "It's quite a positive, motivating record -- that was important to us," he says. "The songs reflect my new perspective.

We Jazz Records is delighted to present the first ever vinyl release for two modern classic tracks by Swedish organist Eric Malmberg. Originally released in 2007 by the label Häpna on Malmberg's second solo album "Verklighet & Beat", the pair of tunes herein serve as proof of Malmberg's remarkable artistic vision, echoing both the pure pastoral beauty and the irresistible groove of his work. This release, part of the ongoing 7" series by We Jazz Records, follows the label's Artistic Director Matti Nives's 10+ years of obsession with the aforementioned Malmberg album after an initial chance encounter with the side A track on a WIRE Magazine compilation in 2007.

"Eric Malmberg's music is a small miracle. I don't want to call him a genius, because I don't want to jinx him. But I will say that he's a complete original, in addition to being a vastly talented musician. I will also say that his recordings and the two performances that I saw by Sagor & Swing merit a place on a short list of most enjoyed musical experiences of the last half decade. I could bleat about the quality of the work, but "most enjoyed" to me carries the stronger charge." – David Grubbs, New York, March 2007

"A special mention needs to go out to the phenomenal and totally bonkers 'Till minne av Lilly Lindström' a track which starts with a clean break, builds into dancefloor abusing Hammond-hammering mayhem and then ends up with lush string orchestrations and disco-lite sweeps. Insane and more enjoyable than you could possibly imagine - an album to totally lose yourself in, and one for anyone looking for something just that little different. Huge recommendation." – Boomkat

Focusing on their craft, staying out of the fray and
holding fast their faith to find new ways to express the
discord and delight of being alive, to turn the duality of
existence into hymns we can share, Low present ‘HEY
WHAT’.
These ten pieces - each built around their own
instantaneous, undeniable hook - are turbocharged by
the vivid textures that surround them. The ineffable,
familiar harmonies of Alan Sparhawk and Mimi Parker
break through the chaos like a life raft.
Layers of distorted sound accrete with each new verse
- building, breaking, colossal then restrained, a solemn
vow only whispered. There will be time to unravel and
attribute meaning to the music and art of these times
but the creative moment looks forward, with teeth.
‘HEY WHAT’ is Low's thirteenth full-length release in
twenty-seven years, and their third with producer BJ
Burton.
Low’s 2018 album ‘Double Negative’ was a critical and
commercial success (including 8.7 / Best New Music
at Pitchfork), introducing new noise / experimentalbased textures and pop elements to their sound and
revitalizing their fanbase.
Founded in 1993, Low are influential pioneers of
minimalist, artful indie-rock.
Low’s track ‘Congregation’ was recently featured in an
episode of FX’s Devs.

This remastered vinyl reissue of Blind Ear reintroduces The Celibate Rifles' urgent, socially aware punk-rock energy, cementing its place as a cornerstone of Australian alternative rock. 1989 is where The Celibate Rifles take their punk instincts to the next level-garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney ten years ago, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter-"Sean O'Farrell" and "Belfast"-tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

Coming of age at the dawn of the bebop era, Art Farmer rejected the mechanical playing that much of bebop seemed to encourage. Instead, Farmer became known for his warm, fluid tone, and his ability to make the trumpet sing like a tender yet stately baritone voice. On Modern Art (his last small group collaboration with Bill Evans, with whom he had first recorded in 1956), Art Farmer emphasises style over technique. The group swings with both authority and subtlety on all eight tracks, making this album one of the best records of this period.

Bert At the BBC is a comprehensive collection of Jansch’s appearances at the BBC, featuring over eight hours of rare and unreleased recordings, including live-on-air spots, studio sessions and full concerts straight from the BBC vaults, delving further into this legendary performer’s canon. Bert Jansch was the very essence of folk music, providing inspiration for everyone from Paul Simon and Neil Young to Led Zeppelin and countless folk revivalists. This unparalleled limited-edition compendium is available as a 4xLP and 8xCD set, housed in a coffee-table book set with a lavish 40-page book tracing the recordings from Bert’s earliest moments at the BBC. It includes interviews and insights from Lauren Laverne, Jools Holland, Johnny Marr, Jacqui McShee, Bob Harris, Bernard Butler, Mark Radcliffe and many more. Twenty broadcasters, producers and collaborators contribute at length to the booklet, with great affection for this gentle, maverick genius. Bert’s BBC legacy remains the most significant and exciting untapped reservoir of his music. The undeniable advantage of recordings made for broadcast is that they were, by their nature, created for public consumption and, barring live-on-air appearances – which might go well or go badly, but were going out either way – were explicitly signed-off by the artist as representations of his art that were good enough to be heard. The set is compiled by Colin Harper, author of Dazzling Stranger: Bert Jansch and the British folk and blues revival (Bloomsbury, 2000), who contributes detailed liner notes to the package. The release is mastered by IFTA award-winning engineer Cormac O’Kane. The vinyl release features 48 tracks on LP and is accompanied by a download card with over six hours of extras spanning 1966–2009, including BBC4’s St Luke’s concert (2003), and a complete Queen’s Hall, Edinburgh concert (2004) for BBC Radio Scotland. It is also available as a special 8xCD set containing all 147 tracks and encased within a coffee-table book. Bert Jansch At The BBC is an epic and enduring trail, 45 years in the making. “He was that rarity, a musician who really did deserve to be regarded as a legend.” The Guardian // “As a guitar player there was no one like him. He was jazz and blues and folk but there was a whole world in there that was just him, esoteric”

Following their successful comeback, they dropped another album featuring a variety of country and pop songs, as well as covers of artists such as Jimmy Cliff and Randy Newman. The album is a stylistic follow- up to No Regrets , where the group blends their pop songs with romantic orchestral arrangements. The singles "Lines" and "We're All Alone" became firm favourites with fans, and the album is widely regarded as a hidden gem among fans of country pop and yacht rock

Best known for his film and TV scores ( Dirty Harry, Enter The Dragon , Mission Impossible , The Eagle Has Landed , to name just a few) Lalo Schifrin (1932-2025) began as a jazz pianist who worked with some of the most important musicians of his day. The Insensatez session was cut during Schifrin's involvement in Dizzy Gillespie's band, which explains the participation of musicians from that aggregation. First issued as Piano, Strings & Bossa Nova in 1962 (produced by Creed Taylor), this album was reissued with one less title, as Insensatez on Verve in 1969. Featuring 12 Brazilianized themes and four Lalo Schifrin originals - 'The Wave', 'Rio After Dark', and 'Silvia' from Schifrin's movie score El Jefe, and 'Lalo's Bossa Nova' written for Quincy Jones' 1962 album Big Band Bossa Nova. Insensatez offers a rare insight to Schifrin's superb musicianship, not only as a composer, but also as a pianist



c 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]



[c] 3 You And Me [voce E Eu]
[d] 4 Lalo's Bossa Nova [samba Para Dos]





[j] 10 Samba Do Perroquet [parrot Samba]

Lily Allen returns with West End Girl, her long-awaited fifth studio album. Written and recorded over an intense 10-day period, blending raw honesty with infectious pop craftsmanship, documenting elements of her time in New York with piercing clarity and insight.

Dylan Atlantis' Insta bio read 'amateur artist' at the start of the year. Now she's on a billboard in Times Square. With vocals and lyrics that extend well beyond her young years, Dylan Atlantis is the definition of meteoric rise. Pitchfork describes her as "the silky R&B singer, sliding in with the laid-back cool." THE PHILIPPINES-BORN, WEST SYDNEY BASED MUSICIAN WAS RAISED on a musical diet of RnB and Hip-Hop by her Mum. Now a self-professed lover of all genres of music (even country), she's out here sharing her innermost thoughts and lyrical experiments with the world. "I kinda just treat music like a diary but also a science lab where I can experiment expressing myself in different ways until it's awesome enough that I feel compelled to share it." Impressed Recordings are proud to present Dylan Atlantis' release - It Starts Again, on limited edition vinyl.

Continuing our Parish series, here's two bad pieces of a killer driving uptempo digi rhythm with the classic '87 sound. Total vibes of the time, with a youthman singjay & deejay both giving you a slice of everyday reality via the tune. One of the best rhythms of this style, both tunes are truly hard to find on originals and both reissued here straight from master tapes, as with all in our Parish series.

Featuring special guests Bobby Rush, Shemekia Copeland, Ronnie Baker Brooks, and The Sons of Blues, the record reflects Billy's lifelong journey through the music he loves. "Every song on this album has special meaning to me," Billy says. "This is the most important work I've ever done - and the best work I've ever done as well." Over his remarkable 50-year career, he has earned numerous awards and accolades, including an Emmy award, three GRAMMYr nominations, and induction into the Blues Hall of Fame. His career reads like a "Who's Who" of the Blues world. Mentored by legends such as James Cotton, Junior Wells, Willie Dixon, and Big Walter Horton, Branch has built an enduring legacy both as a performer and a teacher. In addition to releasing 15 albums with his acclaimed band, The Sons of Blues, he has contributed harmonica to more than 300 recordings by artists including Koko Taylor, Willie Dixon, Eric Bibb, Johnny Winter, Taj Mahal, Keb' Mo', Son Seals, and Big Head Todd, among many others.

Terror Squad is the second album by Danish thrash metal band Artillery. It was originally released in 1987 via Neat Records. It's the successor of Fear of Tomorrow (MOVLP3190) and was later followed by their most succesfull album By Inheritance (MOVLP3935).Terror Squad; the opening track "The Challenge" immediatly kicks your door down and from there on their thrash metal is aggressive, relentless, and executed with deadly precision. At the time it lacked commercial success, but it made up for it with sheer musical intensity. The album's combination of blistering riffs, thunderous drumming, and commanding vocals still leaves its mark decades later. When Artillery hits, it leaves a crater Fun fact: Metal Hammer included the album cover on their list of "50 most hilariously ugly rock and metal album covers ever" Terror Squad is now available as a limited numbered edition of 1000 copies on red translucent coloured vinyl and contains an insert.

Rock 'n' roll would not exist without Chuck Berry and his musical brilliance, as documented in this incredible concert recorded and broadcast live in New York City at the Palladium on New Year's Eve 1988. It features 17 of his most famous songs, including “Nadine”, “Reelin and Rockin'”, “Roll Over Beethoven” and all the other Chuck Berry standards you know and love

The Roots of Chicha, compiled by Barbès Records, was originally released in 2007 and became the first recording to popularize psychedelic cumbia around the world.

From the late 60's through the 80's, Peruvians invented a new popular musical hybrid inspired by music from the Americas. In 1968, Enrique Delgado released his first record on Odeon with his new group, Los Destellos, single-handedly creating Peruvian cumbia. He codified the genre early on by using the electric guitar as the primary melodic instrument, and mixing cumbia rhythms with folkloric huaynos, criollo voicings, Cuban guarachas and guajiras, rock, boogaloo, surf, psychedelia, oriental music, classical music, and bits and pieces from Brazil, France, Chile... All Peruvian cumbia bands for the next thirty years would end up drawing from the exact same sources (Grupo Celeste, Los Mirlos, Juaneco Y Su Combo, Manzanita Y Su Conjunto...).

This new wave of Peruvian cumbia came to be known as chicha. Chicha is originally the name of an alcoholic drink, made of fermented maize, which the Incas were especially fond of. In the past thirty years, however, the word has taken on a pejorative connotation. Peruvian cumbia started being called chicha in the late 70s, around the same time that the music came to be viewed as the expression of the slums – the pueblos jovenes. Little by little, the word became an adjective, and people now talk of chicha culture, chicha press, chicha architecture, even of a chicha president, and none if it – you guessed right – is meant as a compliment. Chicha suggests corruption, shady deals, and cholos – a derogatory term for a person of Andean heritage that, of late, is being reclaimed and worn as a badge of honor by the very cholos it was supposed to demean in the first place.