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Für ihr Debütalbum hat die Band einen Vertrag mit High Roller Records unterzeichnet. Neben dem Hitten-Sänger, der auch Rhythmus- und Leadgitarre bedient, komplettieren Mirko Negrino am Bass, Mattia Itala an der zweiten Gitarre sowie Marcello “Cell” Leocani hinterm Schlagzeug die Besetzung. “Dieses neue Projekt ist noch niemals zuvor in der Öffentlichkeit diskutiert worden”, erklärt der Sänger. “Vor einigen Jahren ist eine Demoversion von ‘Shadow Rider’ im Internet hochgeladen worden, doch danach ist die ganze Sache für einige Jahre wieder auf Eis gelegt worden. In der jüngeren Vergangenheit haben wir uns dann dazu entschlossen, die Arbeiten abzuschließen, weil das Material viel Potenzial hat. Die aktuelle Besetzung hat neuen Enthusiasmus in die Sache hereingebracht, was letztendlich zu einem vollständigen Release geführt hat.” Und was für ein Debütalbum Vigilhunter da gelungen ist! Kompositionen wie “Disconnected”, “Titan Glory” oder “Sacrifice” sind einige der besten Songs, die Queensryche nie geschrieben haben. Alexx Panza fühlt sich geschmeichelt: “Ich nehme das als ein großes Kompliment. Natürlich sind wir stark von Queensryche beeinflusst, aber wir könnten niemals zu 100% Songs schreiben, die sich anhören wie sie – so etwas ist ein Ding der Unmöglichkeit. Dieses Projekt zeichnet sich durch mannigfaltige Einflüsse aus, stilistisch lässt es sich nicht auf eine bestimmte Band herunter brechen. Es liegt uns fern, das Rad neu erfinden zu wollen, aber ich denke schon, dass wir als Band eine eigene Identität besitzen. Ich kann jedenfalls sagen, dass eine Menge Arbeit in die Platte eingeflossen ist und wir mit dem Endresultat äußerst zufrieden sind. Ich kann es kaum erwarten zu sehen, wie die Platte dort draußen ankommt. Ich denke allerdings, dass alle Anhänger des originalen US Power Metal viel Gefallen an dem Album finden werden.” Davon ist stark auszugehen, denn neben Queensryche schwingen bei Vigilhunter auch noch ein wenig Crimson Glory und frühe Fates Warning mit. Alexx Panza lacht: “Damit hast du die Referenzpunkte ziemlich genau erkannt. Das ist genau der Sound und die Atmosphäre, die wir einfangen möchten. Dazu noch ein Schuss Savatage und Vicious Rumors. Manchmal kommen allerdings auch Songideen aus Bereichen, mit denen man nicht gerechnet hätte.”

Although still very much a secret, Oakland, California's Justin Pinkerton has perfected and expanded his Futuropaco project to a stunning degree over the past seven years. The one-man band is deeply rooted in Pinkerton's masterful drumming, which builds on the legacy of 1960's and 1970's legends such as Tony Allen and Jaki Liebezeit. But he's an accomplished multi-instrumentalist as well, and the Futuropaco sound is a colourful fusion that sees him throw fuzz guitars, flutes, vintage synthesizers and Anatolian string instruments into the mix - seemingly without much effort. The second and final volume of the "Fortezza Di Vetro" series feels like a conclusion, the sound of an artist reaching his creative zenith. It's an experimental album, yet immediately seductive in its energy - channeling the vibey art-rock of Tortoise, Black Sabbath riffage and vintage Italian film music in equal measures. It's such a refined and esoteric blend, yet hits so directly. It's simply impossible not to crank the volume knob once this slab of vinyl is on the turntable, followed by immediate head nodding. Buy the ticket, take the ride. Justin Pinkerton is a vastly talented rhythmsmith, best known as a member of Californian stoners Golden Void. On this project he plays all the other instruments too so he can do what he blooming well feels. And it's not as if the drum solos go on for twenty minutes like those of John Bonham and his pale imitators. Nope. Into tracks that are both jam-packed and concise, Pinkerton has squeezed his love of vintage Italian library music, classic krautrock and heavy psych rock. At one point it suggests Grails have been performing super-speed cover versions of fusion-era Miles Davis with Adrian Younge on production. -The Quietus Futuropaco returns in a big way with Fortezza di Vetro, a buzzing, groove-heavy album that expands on what came before while staying true to the project's origins. Dizzying, fuzzed-out psych with just the right amount of melancholy for good measure. Justin Pinkerton and Futuropaco have done it again. Fantastico! -Complex Distractions

"Black & White Movie" ist das bemerkenswert souveräne Debütalbum von Gustaffson, produziert von Craig Potter (Elbow). Die Platte enthält mitreissende Streicharrangements des preisgekrönten Filmkomponisten Bear McCreary (Outlander, The Walking Dead) und einen Cameo-Auftritt des legendären Schauspielers Sir Ben Kingsley. Die 13 Albumsongs sind individuelle Kinoerlebnisse. Die ergreifenden Texte des Leadsängers und Songwriters Andrew Gower, die er in 15 Jahren als Schauspieler perfektioniert hat, werfen Licht und Schatten auf die Dualität der menschlichen Existenz und erzählen aussergewöhnliche Geschichten aus gewöhnlichen Leben. Das Album vermischt nahtlos die klassischen Klänge der Musik- und Filmwelt und lädt die Zuhörer auf eine Reise ein, bei der jeder Titel ein Film für sich ist.

"Mein Leben als Teenager hat sich für immer verändert, als ich das 'White Album' der Beatles entdeckte. Es war die erste Platte, die es mir als Zuhörer ermöglichte, nuancierte Texte und Musik in ihrer besten Form zu entdecken", erklärt Gower. "Im Studio konzentrierten wir uns alle auf die Bedeutung und Verantwortung, die wir haben, die Geschichten zu erzählen, ohne das Publikum mit dem Löffel zu füttern."

Based in Ottawa, Ontario, the capital city of Canada, The Riptides have been cranking out high-energy blasts of melodic, poppy punk rock for over 25 years. With their new LP Burn After Listening, the band makes the move to Pirates Press Records, and are ready to bring their sound to an all new worldwide audience! Originally formed in 1998, the band wasted no time assembling their own studio and label, putting out their own records as well as their fellow Ottawa bands. Word spread quickly, and the band's notoriety grew, particularly in the US, and soon the band found that they enjoyed rising to the challenge of leaving home and recording at noted US studios, with Burn After Listening being no exception. This album was recorded at the legendary Blasting Room in Fort Collins, CO, with Andrew Berlin at the helm for tracking and Jason Livermore in charge of the final master. These studio sessions included a cavalcade of friends & guest musicians, including members of Teenage Bottlerocket, All American Rejects, Screeching Weasel, and The Queers. A number of songs on the record also bear co-writing credits from fellow Pirates Press Records artist Matt DeeCRACK. Blending attitude-driven downstroke riffs with irresistible hooks and harmonies, combined with an aesthetic informed by everything from nerdy pop culture and surfing, they've already amassed quite the following across the decades, but this record stands poised to introduce them to many new fans.

Orange Vinyl. Benefits return with the their highly anticipated second album, "Constant Noise" Due out 21st March via Invada Records,"Constant Noise" follows the band's debut album `NAILS' which earned widespread press and radio support and appeared in album of the year lists inc. Louder Than War (#1), BBC 6Music, NME, The Quietus,The Line Of Best Fit and more. After a succession of different line-ups, Benefits have now settled as a two-piece made up of Hall and electronic virtuoso Robbie Major. "We're still angry" says Hall, "just angry in a different way to before. If the previous record was black and white, we wanted this to be technicolour." The first taste of this new musical direction came in the form of "Land Of The Tyrants", which saw the band delving into bass-heavy, dance inflected rhythms and subtle industrial undercurrents. Follow-up single `Relentless' featured The Libertines' Peter Doherty and saw the band move further into ambient electronic atmospherics. Doherty is just one of the collaborators on the new record, Zera Tonin, the singer of queerpop-electro duo Arch Femmesis, Neil Cooper of Therapy?, and Middlesborough rapper Shakk all make cameos. In addition to the guest musicians, the album also features production from James Welsh (Phantasy Sound), and James Adrian Brown (ex-Pulled Apart By Horses)who helped to guide the new direction. The result is an album that gleans as much from the likes of Underworld and Leftfield as it does the likes of The Streets or Beastie Boys in their pomp, or even the 90s / early 00s Indie Sleaze-era. Orange vinyl comes with full album download (inc. two tracks not on vinyl)

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

PRESSED ON BLUE SPLASH COLORED VINYL!

Executive Producers: Benny the Butcher & ElCamino

Benny the Butcher Presents: The Outcome, the new compilation from B$F and Buffalo-based producer ILL Tone Beats, is now available on vinyl. The project boasts star-studded features from artists such as Benny the Butcher, Conway the Machine, and Westside Gunn, who provide hard-hitting verses over Tone’s dynamic production. The album’s 14 tracks, produced entirely by ILL Tone, showcase the distinct sound of B$F that has drawn acclaim from critics and fans alike.

The late, great Calvin Keys’1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists—Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash, who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green.

But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys became a fixture in the Bay Area jazz scene before he passed in April 2024; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog, pressed in blue with black swirl vinyl limited to 750 copies!

44th Move is the combined creative force of pianist & composer Alfa Mist, alongside drummer & producer Richard Spaven. As individuals, the duo have solidified their unrivalled reputations as world class Jazz talents, as exemplified by Alfa’s hugely influential albums such as ‘Antiphon’ & ‘Variables’ and Richard's legendary drum work with the likes of Flying Lotus and Goldie. Initially causing a stir back in 2020 when their joint project first emerged with their genre busting forays into Dance and Hip Hop.

Moving into 2025, they now prepare to elevate the levels, and unleash their debut collaborative album ‘Anthem’ via trailblazing Bristolian label Black Acre. Presenting their debut LP, the pair strive to continue the tradition of adopting a mindstate centred around research and development - pushing themselves to continually learn and grow, raising the bar and uplifting the art form.

Launching with first single ‘The Move’, cascading chords elegantly pave the way for Detroit-based rapper Quelle Chris to take centre-stage and deliver purpose-driven lyrics, calling for grit and consistency through life’s challenges. Second single ‘Free Hit’ deploys a scattered junglist break, punctuated by mysterious chord progressions and an enticing, gradually unfurling brass section. Also featuring guest appearances from Bristol turntablist royalty Awkward, ‘Anthem’ moves seamlessly through diverse sonic terrains, the LP traverses Hip-Hop, Techno & DnB, whilst remaining firmly its Jazz-centric sensibilities. On the album’s creation, Richard Spaven says - "The essence of 44th Move is to take the traditional disciplines of live musicianship into electronic forms and compositions. Alfa and I have an aligned appetite to break new ground with every project we do and this is the core ethos of the album".A refined, shifting and accomplished album, it highlights the moment of magic waiting to happen when great minds meet

The complete LP + 2 bonus tracks - limited edition pressing on 180g vinyl

Miles Davis' quintet formed in 1955 is widely regarded as one of the greatest combos in jazz history. Miles was recording for the independent jazz label Prestige at the time, but after the quintet's success at the 1955 Newport Jazz Festival, Miles received a substantial offer from the recording giant Columbia. 'Round About Midnight was his first album for Columbia.

"First, let me say that you should buy this LP immediately. Perhaps even two copies, since you may wear out one playing it and you will want another. This is the kind of album to which one returns time and time again because it is, in its way, a perfect thing, a slice of modern jazz conceived and executed in the very best style." - ***** Ralph J. Gleason, DownBeat




[d] 'Round Midnight [Prestige Version]

PRESENTED IN AN OPAQUE GREEN WITH BLACK AND ORANGE SPLATTER PRESSING HOUSED IN A DELUXE GATEFOLD JACKET

One year after coming out of early retirement and releasing his 11th studio album Can't Stay Away, Too $hort dropped his 12th studio album You Nasty in the year 2000. With over twenty years in the game, Too $hort don't stop mackin' or rappin' and spits his pimp game over West Coast funk-laden tracks with some Dirty South influences for the Y2K. Get On Down in partnership with Sony Music's CERTIFIED is proud to present You Nasty for the first time on vinyl. The album is pressed on colored vinyl with 3 bonus instrumentals and packaged in a deluxe gatefold jacket.

Endlich zum ersten Mal auf Vinyl erhältlich, die My First Holly Golightly Album CD Compilation von vor zwanzig Jahren! Eine 14-Track-Compilation, inspiriert von der damaligen Live-Show von Holly Golightly. Diese Zusammenstellung enthält Hollys Lieblingssongs von ihrem Debütalbum The Good Things aus dem Jahr 1995 bis hin zu ihrem Album Slowly but Surely von 2004. Außerdem enthält sie vier exklusive Tracks, die eigens für dieses Album aufgenommen wurden.

Brand new double LP on orange vinyl limited to 300 copies worldwide from Tyla (The Dogs D’amour) featuring the latest single ‘Cadillac Man’ - 'It’s becoming a bit of a cliche these days to say 'I dreamt this idea, song, story film book etc' But that's exactly what I did with the song 'Cadillac Man' the lyrics and the video idea and the melody as it was just after noon I jumped out of bed and scribbled the lyrics an picked up my trusty black Gibson J200 the guitar I've written nearly every song on since the day I bought it brand new in 1991. It was then I realised id dreamt the chords too!' I was 62 years old when I began writing and recording this album in the Autum of 2023 and I'm lookin' at 64 this July. I sent some of the songs to Simon (Hanson) who slapped on the drums then I sent them to Jamie Turnbull ('In Vino Veritas' / Tyla’s Dogs D'amour producer) knowing he was a great guitarist, but I didn't know just how good! This is the first album I have ever done that you can and even I do, play air guitar too! The songs flowed and i seemed to have captured most if not every human emotion in a Genie's lamp which I am now putting in your trusty hands and ears and eyes and soul. I beg you pop the cork, and I can guarantee that some if not all of your wishes will come true.' 'Gilding the Lily' Is the album I've been trying to write wanting to write, all my life.'

21 tracks - pressed on limited edition 180g vinyl.This special LP edition showcases all of Elvis Presley's 1957 rock & roll studio sides

The core group backing him on all sides are Scotty Moore on guitar, Bill Black on bass, and D. J. Fontana on drums, plus The Jordanaireson backing vocals.

All tracks recorded at Radio Recorders, Hollywood between January and September 1957. Additional musicians to core group: Gordon Stoker (piano) Tiny Timbrell guitar), Dudley Brooks (piano).

When I first heard Elvis' voice, I just knew that I wasn't going to work for anybody; and nobody was going to be my boss. Hearing him for the first time was like busting out of ail." - Bob Dylan

Elvis was a unique artist... an original in an area of imitators." - Mick Jagger

Introducing the ultimate Rock and Power Ballads collection - NOW That’s What I Call Rock Anthems – Out 31st May! Get ready to crank up the volume and let the music take you on a journey through 79 epic hits, spread across 4 CDs.and with 45 epic hits on 3-LP’s pressed in stunning Neon Violet Vinyl

With his debut singles championed by global tastemakers such as Gilles Peterson, Mr Scruff and Jazzanova, Quantic was quick to follow on the initial success of ‘The 5th Exotic’ Like Tru Thoughts label-mates Bonobo and Jon Kennedy, who went on to record with Ninja Tune and Grand Central respectively, Quantic took his inspiration from sleepy 1990s chill and his enviable collection of funk 45s. Apricot Morning, Quantic's ambitious sophomore full length, is built upon the achievements of its esteemed predecessor. Plentiful strings find themselves in friction against the hoots & parps of afrobeat brass, the loping percussion is tasked with drawing these elements together into a cohesive whole. Some inspired instrumentals were further fleshed out by the wonderful vocal contributions of EQ, Bristolian hip-hoppers Aspects and the majestic Alice Russell.

2024 Backstock

15-track double album black vinyl 2-LP including the singles Through The Wire, All Falls Down and Slow Jamz. With jaw-dropping cameos from Jay-Z, Common, Mos Def, John Legend, and the Harlem Boys Choir, this 2004 album is as explosive, provocative, and complex as rap gets. Kanye magically sledgehammers home opinions on taboo topics over beats that are equally daring.

When the late Jazz impresario and trailblazer Meghan Stabile first launched the Revivalist platform and Revive Da Live concert series in NYC, the goal was to bridge the gap between younger Hip-Hop audiences and traditional Jazz purists. Born from this vision in 2010 was the Revive Big Band, an inventive 20+ piece ensemble led by artistic director, trumpeter, and composer Igmar Thomas. Merging tradition with groundbreaking creativity since its inception, the multi-generational band’s world-class cadre of musicians unites for Like A Tree It Grows. As the Revive Big Band’s official full-length debut, this album represents not only a 14-year timeline of the Revive collective’s journey, but also a deeper tribute to the Black American Music lineage. It’s a celebration of community that uses the timeless power of music to tell a story of cultural legacy, innovation, and artistic collaboration. From original compositions like “R&P” and “The Coming”, to reinterpretations of classic records paying homage to musical legends (e.g. Wayne Shorter, Dizzy Gillespie, etc.) Like A Tree It Grows showcases Thomas’ intricate arrangements that blend Jazz, Hip-Hop, Soul, and a range of genres from the lineage of Black American music. With guest features from Talib Kweli, Dr. Lonnie Smith, Terrace Martin, Jean Baylor, Bilal, and more, the album provides a bridge between past and future, inviting listeners to explore the roots of Black music while reimagining its possibilities.

Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard

Cindy Lee, Arthur Russell, Viagra Boys, On-U Sound. In the discourse around new albums from singular, world-building artists, the phrase “a big step forward” can often be a blinking red warning sign. You know you’re about to be pulled somewhere new against your will. Inertia is a hell of a thing. It’s nice here. Surely, the party’s not over yet? JJULIUS’ Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There’s no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of “Brinna ut,” which, in spite of its meaning (“Burn out”), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm. JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they’re titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco (“Dödsdisco”) and dream-pop (“Etopisk hallucination”) to his forever favorites Arthur Russell, African Head Charge, and The Fall. Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration. Unless you’re Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. “No looking back, no misery, no talking trash, no enemies.”