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Pendulum, undoubtably one of the biggest electronic bands of all time, are back with Inertia, their first album in fifteen years. Produced by Rob Swire and Owen Charles and recorded at Pendulum’s London Studio, Inertia is a rampaging, 16-track emotional maelstrom and without doubt the band’s most personal work to date. Featuring collaborations with Bullet For My Valentine, Wargasm, AWOLNATION, Scarlxrd, Joey Valence & Brae and Hybrid Minds across the album’s tracklist, Inertia began to take shape in 2020 as Rob searched for what it is to be Pendulum in its current era. Stemming from 2021’s Elemental and 2023’s Anima EPs, which were the blueprint for the band’s future, the band found their new direction. Pendulum have 3 platinum albums to their name, including renowned debut Hold Your Colour and a UK #1 and #2 for Immersion and In Silico. The drum and bass/rock band from Perth, Australia have sold over a million albums in the UK alone, as well as selling out global arena tours and playing to thousands across main stage performances from Glastonbury and Download to Reading and Leeds on top of a headline slot at Ultra Miami in spring 2025.

Auf ihrem 4.Album "Welcome to the Civilized World" sind Ghostwoman schärfer als je zuvor. Hypnotische Anflüge von Psych-Grunge, verfallendem Americana und zerfetzten Blues-Instrumentalstücken bilden die intuitive Tracklist; Evan Uschenkos dreckige Gitarren und knurrender, lebendiger Gesang und Ille van Dessels ätzende Schlagzeugbeats festigen die Essenz des Albums. Aufgenommen auf alten Instrumenten und einer Bandmaschine, ist die Kraft und das Gefühl der Platte stark - rücksichtslos, unlogisch und frei.

Auf ihrem 4.Album "Welcome to the Civilized World" sind Ghostwoman schärfer als je zuvor. Hypnotische Anflüge von Psych-Grunge, verfallendem Americana und zerfetzten Blues-Instrumentalstücken bilden die intuitive Tracklist; Evan Uschenkos dreckige Gitarren und knurrender, lebendiger Gesang und Ille van Dessels ätzende Schlagzeugbeats festigen die Essenz des Albums. Aufgenommen auf alten Instrumenten und einer Bandmaschine, ist die Kraft und das Gefühl der Platte stark - rücksichtslos, unlogisch und frei.

Emil Friis’ neues Album Moving Images, seine erste Soloveröffentlichung für das Klassik-Imprint 130701 des Labels FatCat, ist ein Zeugnis der menschlichen Verfassung und der Dinge, die uns als Spezies zusammenbringen. Es ist inspiriert von den Bewegungen des menschlichen Geistes und den Geschichten, die wir durch Musik, Worte, Kunst und Film teilen.

Das Album umfasst ein breites Spektrum an Instrumenten und Emotionen: düstere Kammermusikstücke wie „For Goodbyes“, bedrohliche, aber hoffnungsvoll hypnotische Ambient-Stücke wie „Zero“, sanfte Solo-Piano-Stücke wie „Dancing“, poetische und verspielte Flöten- und Synthesizer-Stücke wie „Through Air“ und spannungsgeladene, filmische Streicher-, Synthesizer- und Klavierstücke wie „An Upward Motion“.

„Moving Images“ ist auch ein gemeinsames Projekt zwischen Friis und ausgewählten Filmemachern. Jeder der 15 Albumtracks wird von einer Videoarbeit begleitet. Die Filmemacher Kevin Brooks, Shaun Hart, Morgan Jon Fox und Jonathan Meyers hatten kreative Freiheit, die Stücke zu interpretieren, die ihnen am meisten zusagten.

Das aus nur wenigen Elementen bestehende Arrangement sorgt für ein enges Zusammenspiel aus Instrumenten und Emotionen sowie der Tiefe der Texturen. Die Originalkompositionen werden auf Synthesizern, Streichern, Holzbläsern und Klavier dargeboten. Mit Beiträgen von Künstlern wie dem renommierten Streicher Davide Rossi werden sie in cineastische, moderne klassische Werke verwandelt. Die Stücke sind so voller Helligkeit, Sensibilität, Spannung und düsterer Schönheit, dass es oft den Anschein hat, als würden die Instrumente miteinander sprechen. Die Phrasen wirken manchmal einsam. An anderer Stelle schweben und fliegen sie. Trotz ihrer Kürze sind die Resultate von Wärme und Inbrunst erfüllt.

Comet Dust Red Vinyl. Jason Molina war ein Künstler, der nicht gerne zurückblickte. Während seines gesamten Lebens und seiner Karriere als Singer-Songwriter trieb ihn ein rastloser und sich ständig weiterentwickelnder kreativer Impuls voran, der seinen Fokus auf das Wesentliche richtete. Seine unermüdliche Kreativität und Arbeitsmoral trugen Früchte. In seinem kurzen Leben erreichte Molina das, wonach die meisten Musiker streben: einen Sound, der sofort wiedererkennbar ist, sich aber selten wiederholt. Von den Ufern des Eriesees in seiner Heimatstadt Lorain, Ohio, bis hin zu internationalen Bühnen mit seinen Bands Songs: Ohia und Magnolia Electric Co. spielte Molina sein umfangreiches Repertoire an geheimnisvollen, romantischen, stürmischen und monumentalen Songs, die gleichzeitig innovativ und in der amerikanischen Tradition verwurzelt waren. Er tüftelte ständig an seinem Sound, seinem Image, seiner Band und seinem Zuhause, um seine Muse zu befriedigen. Ein Tenor-Gitarre spielender Außenseiter. Ein liebeskranker Lo-Fi-Indie-Rocker. Ein trauriger Slowcore-Barde. Ein Pionier des Roots-Rock des 21. Jahrhunderts. Ein kanonischer Songwriter des Mittleren Westens. Jason Molina hat seine kreative Flagge in all diesen Bereichen gehisst - um seinen Anspruch zu markieren, um zu zeigen, wie weit er gekommen war, und um eine Spur wertvoller Talismane zu hinterlassen. Mit ,I Will Swim to You: A Tribute to Jason Molina" - benannt nach einer Zeile aus Molinas Song ,Lioness" - würdigen Run For Cover Records und eine Gruppe befreundeter Künstler den bleibenden Einfluss des Songwriters. Die Compilation mit Molina-Covers wurde von einigen der visionärsten Singer-Songwritern der Gegenwart eingespielt, darunter MJ Lenderman, Hand Habits, Horse Jumper of Love, Sun June und viele mehr, und enthält einzigartige Interpretationen von Molina-Fan-Favoriten und weniger bekannten Stücken aus seinen Soloalben und weniger bekannten EPs. Das Ergebnis ist eine unverwechselbare Liebeserklärung, eine oft atemberaubende Gesamtdarbietung generationenübergreifender Talente, die einem der begabtesten, aber unterschätzten amerikanischen Songwriter Tribut zollen.

Japan’s electronic music scene has always stood out as uniquely distinctive. In the late 1970s and early 1980s, a wave of underground projects, bands, and independent labels—primarily based in Tokyo and Osaka—began crafting their own sound. Inspired by the post-punk, new wave, and experimental movements emerging from Europe and North America, these artists embraced a DIY ethic, using whatever technology they had access to in order to forge something entirely their own.

This movement, often referred to as the "Nippon-wave" scene, remained largely hidden from the outside world. Many of its releases—on cassette tapes, flexi-discs, and privately pressed vinyl—were never distributed beyond Japan’s borders, making them rare treasures for the few who managed to discover them. “Nihon No Wave” presents a selection of these long-overlooked recordings, making them accessible to listeners beyond Japan for the first time.

Makhunik Records Presents: "Withdrawals" - A Bold New Vinyl Release by RAKANS Withdrawals, the highly anticipated follow-up to Emergence EP and Deep State (Midnight Stallion) EP, marks a bold new chapter in RAKANS's ever-evolving sonic journey.

Set for release on I Makhunik Records, Withdrawals explores the tension between desire and detachment, featuring five tracks that blur the lines between electronic, experimental, and club sounds. Available on vinyl, Withdrawals invites listeners to experience the raw and intimate emotions that inspired its creation. Following the success of Emergence EP (Gently Leftfield Techno from a Core Dresden Artist - Resident Advisor/Single Review by Andrew Ryce) and Deep State (Midnight Stallion) EP on Boudica, which gained recognition for their atmospheric intricacies and deep, immersive textures, Withdrawals delves deeper into personal and societal themes, paired with the artist's signature ethereal soundscapes and captivating beats. Each track carries a narrative, from late-night reflection to hedonistic encounters, with a pulsating intensity that mirrors the artist's own process of creative and emotional release. With Withdrawals, RAKANS continues to push boundaries, creating a profound listening experience that resonates both in its melancholy and its intensity.

Description of the Title: The title Withdrawals reflects a state of emotional and mental transition, where one is caught between the craving for connection and the unsettling effects of isolation. It symbolizes the artist's inner turmoil and process of reclaiming personal agency after experiences of burnout and separation. The tracks are an expression of that journey-tracking the highs and lows of life in a world that constantly demands more. Through these melodies, RAKANS has captured the intensity of longing and the aftermath of desire, inviting listeners to confront their own internal conflicts. The narrative is personal yet universally relatable, and the title speaks to the often painful but necessary process of letting go, detoxifying from past habits, and learning to be at peace with oneself. "With Withdrawals, He wanted to channel the emotions that often come from the struggle between desire and self-preservation, between the drive to connect and the need to retreat. he's journey, both as an artist and as an individual, has been filled with moments of intense reflection, self-discovery, and sometimes, disconnection.

These tracks are the culmination of that inner conflict, a raw exploration of what it means to both lose oneself and find a deeper, often painful, form of clarity. Like the music he's created before, the sound of Withdrawals speaks to the space between tension and release, the liminal space where truth is often revealed in its most vulnerable form. He's always believed that music is a mirror to the soul, and in this EP, He's tried to reflect that feeling of being both pulled in and out of something greater. It's a raw and intimate look at the way we navigate modern life, often feeling like we're running toward something that we can't quite reach, yet constantly pulled back into our own personal truths.

This EP is personal, but it's also for anyone who's ever felt caught between two worlds, the one they want and the one they need. I hope it resonates with listeners who are experiencing their own form of withdrawal, whether it's from people, places, or even from themselves.

INSOMNIAC verschmelzen wie ein drittes Auge, das sich zum Jenseits öffnet, ihre bewusstseinserweiternde psychedelische Schwere balanciert zwischen Bewusstlosigkeit und Träumen. Zwischen dieser Welt und der nächsten treibend, abgestimmt auf den Rhythmus des Universums, geben sich INSOMNIAC dem Äther hin und hinterlassen eine mitreißende, schwere Brillanz. Wie ein drittes Auge, das sich zum Jenseits öffnet, beleuchtet der transzendente, bewusstseinserweiternde Psych-Doom ihres Debütalbums die seltsame Schönheit zwischen Bewusstlosigkeit und Träumen. Fans von REZN, King Buffalo, Pelican und Dead Meadow, macht euch bereit, mit INSOMNIAC die Grenzen der Wahrnehmung zu überschreiten! High Qualitiy Heavy Stoner Doom Digipak-CD sowie mehrfarbiges Vinyl!

Wenn es darum geht, seinem eigenen Meister zu folgen, haben die PSYCHIC ILLS aus New York das seit ihren Anfängen 2003 perfektioniert. In den frühen Jahren gab es einige Veröffentlichungen bei Social Registry, und die Band verbrachte seitdem viel Zeit auf der Straße und kollaborierte mit so unterschiedlichen Künstlern wie Gibby Haynes von den BUTTHOLE SURFERS und Sonic Boom (SPACEMEN 3 / SPECTRUM). 2011 machte sich ,Hazed Dream", die erste Platte für Sacred Bones, über verdrehte Synthesizer her und wurde zu einer Platte sonnenverbrannten Psych Pops voller warmer Töne und Blues Songwriting. 2012 erledigte die Band zwei komplette US-Touren inklusive eines Stops auf dem Austin Psych Fest und einen Trip nach China. PSYCHIC ILLS nahmen ,One Track Mind", ihr viertes komplettes Album, im Herbst 2012 auf. Das Album wartet mit Kollaboration und Produktion von Neil Michael Hagerty von ROYAL TRUX und THE HOWLING HEX auf. ,One Track Mind" ist das direkteste Rockalbum, das die PSYCHIC ILLS jemals aufgenommen haben.

Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Limited pink vinyl. Through the album trilogy Misanthropical House, Algorithm and Blues and Research and Destroy, The Good The Bad and The Zugly have limped their way through midlife crises and pubescent antics. Loud-mouthed and bitter, we have embraced our fate as mediocre losers on the narrow and winding Scandirock path. Haunted by a constant bad conscience over the outcome of our miserable lives, which in addition to bitterness, have resulted in substance abuse, pettiness, greed, spiritual lethargy, bastard offspring, excessive self-confidence, understated self-awareness, and of course - bodily decay. In breif; A urinal without a drain. The question has always been nagging: Why us? Why have we, since the dawn of time, been made to curse the day we were born? Well, the truth shall set you free, as they say.

Lanie Gardner, von der RIAA als „Artist to Watch“ bezeichnet und mit Bands wie den Jonas Brothers
oder Jelly Roll auf Tournee gewesen, steigert mit ihrem kommenden 18 Titel umfassenden Album „Faded
Polaroids“ die Lautstärke und die Vorfreude – ein genreübergreifendes Meisterwerk, das ihre künstlerische
Stimme definieren wird. Voller dynamischer Energie und emotionaler Tiefe verspricht das zweite Projekt,
das die lebendigen Grooves ihrer Sommer-EP „Polaroids“ enthält, eine kaleidoskopische Klangreise. Durch
die Verschmelzung der rauen Seele des Blues, des erzählerischen Herzens des Country, der Härte des Rock
und des verträumten Pulsierens des Pop hat jeder Track seine eigene Identität – manche intim und rau wie
„Concrete Cowboy“, andere mutig und filmisch wie „The Hill Have Eyes“ – und Gardners charakteristischer
samtweicher Gesang führt die Zuhörer durch Themen wie Sehnsucht, Widerstandskraft und Selbstfindung.
Einflüsse von Fleetwood Mac bis Chris Stapleton schimmern durch das gesamte Album, überlagert mit
unerwarteten Wendungen und üppigen Klangtexturen. „Faded Polaroids“ erscheint am 5. September und
ist ihr bisher ehrgeizigstes und eindringlichstes Projekt – ein Album, das Genregrenzen nicht nur niederreißt,
sondern sie durch furchtlose Kreativität implodieren lässt.

Wer liebt nicht eine Fortsetzung? Wie die untoten Slasher der blutigen Klassiker, die in ihren Songs
heraufbeschworen werden, kehren ICE NINE KILLS mit mörderischen Songs auf I Heard They KILL Live 2
zurück.
Loudwire lobt ICE NINE KILLS als „einen der einzigartigsten Acts im Metal“. Die Synergie von Musik und
Lebensstil der Band wird gerne mit Slipknot und Rob Zombie verglichen. Als visionäre Wegbereiter und
Multimedia-Raconteure bauen INK weiterhin eine spannende Welt für eine wachsende Legion von treuen
Anhängern auf, mit theatralischen Shows, hochkonzeptionellen Videos und einfallsreicher Kommunikation
zwischen Band und Fans

Ein kammermusikalisches Cool-Jazz-Juwel aus dem Jahr 1955 von einer der letzten bedeutenden Bands
des West Coast Jazz. Auf dem Album stellte der Schlagzeuger und Bandleader Chico Hamilton ein neues
Quintett in der damals ungewöhnlichen Besetzung mit Saxofon, Gitarre, Cello und Bass vor. Mit seinem
einzigartigen Klang und seinen nuancierten, einfallsreichen Arrangements errang das Ensemble, das in der
derselben Konstellation noch zwei weitere Alben einspielte, schnell beträchtliche Popularität.

Born as Diana Reches, Diane Denoir made her debut as a singer in 1966, backed by Eduardo Mateo on guitar. Influenced by Françoise Hardy and Astrud Gilberto, along with her own unique style, she performed a special blend of chanson française, bossa nova (sung in Portuguese, English, and French), and jazz. By then, Mateo was already a well-known guitarist in the Uruguayan music scene and a sought-after arranger. He was also beginning to establish himself as an incredible songwriter, connecting different musical universes in unique ways. The two formed a fruitful artistic partnership that lasted until the early seventies. This album, originally released in 1998 on CD, is a compilation of various unreleased recordings from different sources (concerts, radio and TV recordings, homemade tapes) made between 1966 and 1968. It is a unique document that showcases their incredible musicianship and creativity in their early years. The duo swings from bossa nova classics like "The Girl from Ipanema" to the rhythm and blues of "Fever," including chanson française standards like "Le lendemain" and "La Dernière Valse." The album also features earlier versions of the three best-known Mateo songs performed by Diane: "Y hoy te vi," "Esa tristeza," and "Mejor me voy," all of which were inspired by Diane. Inéditas unveils a new dimension of South American music from an unforgettable era.

With influences ranging from Burt Bacharach to Quincy Jones, Tilsley Orchestral No.10 belongs on the shelves of all record collectors. Sweeping strings, pounding drums, leaping flutes, and polished horn sections take the listener on a sonic journey of late 60’s orchestral pop. Composed and arranged by the library legend Reginald Tilsley, this eponymous collection of recordings digs deep into jazz harmonies that adds a level of complexity while maintaining the simplicity of easy listening, highlighting the true genius of the composer.
Tilsley Orchestral No. 10 spans a spectrum of spirits, from the lows of lost love (Sue) to the highs of winning the big game (Grand Slam). This LP features a favorite of hip-hop producers, Warlock, which has been sampled in songs by artists including Cam’ron, KRS-ONE, Soulja Boy, and Jay Electronica.

Posters announce a daily action: A professional marksman shoots daily at 12 o’clock from a distance of approximately 15 meters at a paper flower. The number of shots is limited to a maximum of three per day. Upon a hit, the flower is replaced by a new one, the action ends and is continued the next day with a new flower. The bullet holes in the wall are not removed. The flowers remain lying on the floor until the end of the exhibition or event and are then given away.
Posters are produced in color variants (yellow, orange, red, violet, light blue, green) to advertise the action:
Every day at noon a professional marksman will shot at a paper flower (place of action to be filled in).
This performance was first presented at The Fruitmarket Gallery, Edinburgh in November and December 1999 and subsequently repeated (Aberystwyth, London, Nottingham, 2000 – 2002 and Langenhagen, 2007).
The action will be re-staged as part of the Klang Moor Schopfe Festival in Gais, September 4 –14, 2025.

Vom Beginn des Album-Openers „Obsidian Mirror“ an ist die Atmosphäre beklemmend, dicht mit einem erstickenden Unbehagen. Man hat das Gefühl, dass etwas Zeremonielles am Werk ist, aber nicht in einer Weise, die nach Gemeinschaft strebt. Vielmehr ist es eine Tortur als Sakrament. Riffs würgen und wälzen sich in krampfhafter Unterwerfung, oszillieren zwischen langsamer Agonie und psychotischem Ausbruch, über dem ein gutturales Lamento, das so brutal ist, dass es das Blut gefrieren lässt, durch Kerkerstein gerissen wird. Jeder Track entfaltet sich wie eine Zeit, die man in der Isolation verbracht hat, gefesselt durch Ketten, den Geist langsam enträtselnd und umgeben von Erinnerungen an reale und imaginäre Qualen.

Wenn sich das epische, 14-minütige Schlussstück „Disquiet“ in einer Masse formlosen Rauschens auflöst, haben Ritual Mass den Hörer in eine Welt gezogen, in der das Leiden kein Ende, sondern eine Bedingung der Existenz ist. Cascading Misery" ist Musik für die Auflösung der Hoffnung, den Schrecken des Seins und den langen Marsch auf den Tod.

- Debüt-Album nach mehreren EP-Veröffentlichungen
- Aufgenommen, gemischt und gemastert von Greg Wilkinson / Earhammer Studios (Ulthar, Autopsy, Undergoing)
- Erste 20BS-Band aus Pittsburgh (Labelsitz)
- FFO: Vastum, Krypts, Phrenelith, Master, Incantation, Abhorrence, Funebrarum, Disembowelment

It started like any other day on the cobbled streets of Lyon. The record store was humming, the usual diggers flipping through the usual crates. For Oscar and Anaïs, still new to the city, everything felt pretty normal. But the locals knew something they didn’t.

That’s when he walked in, a quiet humble presence, his magic key in hand. A producer with a daily ritual of one tune a day, every day. No fuss, just low-key consistency and a folder full of heat. We squeezed on as many as we could for his debut EP: a genre-blurring blend of head-turning cuts, all with creepy, classy, and catchy attitudes baked into every groove. Koffi is here.

Sky Blue Vinyl. Eine der umfangreichsten Instrumental-Hip-Hop-Reihen aller Zeiten, MF DOOMs gefeierte Special Herbs"-Serie versammelt eine riesige Sammlung seiner Beats, von exklusiven Tracks bis hin zu leicht überarbeiteten Favoriten, die er für sich selbst und andere produziert hat. Unter dem Pseudonym Metal Fingers veröffentlicht, gelingt es Special Herbs", DOOMs äußerst einflussreichen Sound einzufangen, der immer wieder die Regeln des Spiels zugunsten des Super-Bösewichts bricht und neu interpretiert. Super-Villain. Die Welt ist eine Fundgrube für Sounds, und der Metal-Fingered DOOM kennt keine Grenzen: 70er-Jahre- Soul-/Funk-Klassiker, 80er-Jahre-R&B-Hits, Rap-Nostalgie und sogar Soundbites aus Kinderplatten und dem Fernsehen finden ihren Platz in den Zutaten, die er für seine perfekten Rezepte benötigt.

Die legendären und sich ständig weiterentwickelnden Zamrock-Pioniere WITCH (We Intend To Cause Havoc) verschieben mit ihrem neuen Album 'SOGOLO' weiterhin die Grenzen. Nach ihrem bemerkenswerten Comeback und dem von der Kritik gefeierten Zango von 2023 - ihrem ersten Album seit fast 40 Jahren - beweist 'SOGOLO', dass ihr innovativer Geist nach wie vor ungebrochen ist.

Abgeleitet vom sambischen Wort für 'Zukunft', verwebt 'SOGOLO' den von der Garage inspirierten Psych, Funk und Rock, den WITCH in ihrer Blütezeit in den 1970er Jahren buchstäblich miterfunden haben, mit dem experimentellen Geist des Augenblicks. Aufgenommen in Berlin während ihrer Welttournee, strotzt 'SOGOLO' vor Dringlichkeit, Aufregung und Entdeckungen, wie immer angetrieben von der magnetischen Präsenz des Frontmanns Emmanuel „Jagari“ Chanda.

Die Geschichte von WITCH ist fast zu außergewöhnlich, um sie zu glauben. Bekannt als die „Beatles von Sambia“, gründeten sie die Zamrock-Bewegung und veröffentlichten in den 70er und frühen 80er Jahren sieben Alben. Tragischerweise beendete die Aids-Epidemie die Zamrock-Ära und kostete allen Bandmitgliedern außer Jagari das Leben. Ihre Musik wurde 2012 wiederveröffentlicht und löste eine weltweite Wiederentdeckung aus, die zu ihrer triumphalen Rückkehr führte. Zango wurde von der New York Times in den höchsten Tönen gelobt, es gab ausverkaufte Welttourneen und einen preisgekrönten Dokumentarfilm, der weltweit ausgestrahlt wurde.

Mit 'SOGOLO' bestätigen WITCH, dass ihr kreatives Feuer noch immer brennt und beweisen, dass ihr Vermächtnis noch lange nicht zu Ende ist.

- Ltd. Col. LP: (Zamrock Dust (aka Opaque Natural) LP in einfacher Außenhülle und bedruckter Innenhülle)

Wishbone Ash reigned supreme through the 1970s — centered on inspired musicianship, joyful spirit and inventive songs. Their concerts were uplifting and their recorded work sublime. Argus remains a stunning high point in the band's startling repertoire. Argus was a 1972 tour de force, a hard-rocking masterpiece that has gone on to have a huge impact on rock bands moving forward. If you've never heard Argus, you've surely heard music that it inspired.

The British quartet's trademark harmony guitars became a touchstone for many: Thin Lizzy, Iron Maiden, Opeth, and Lynyrd Skynyrd have all acknowledged an Ash influence, and tracks such as Lizzy's "The Boys Are Back in Town," Maiden's "The Trooper," and even Steely Dan's "Reeling in the Years" all have twin-guitar moments that hark back to Argus. But Wishbone Ash were different from the start. They were never strictly a hard rock band; their soaring vocal harmonies and musical grandeur placed them close to progressive rock.

But they weren't strictly prog either: They had no keyboards, no real classical influence and weren't into side-long suites. Their roots were in the blues, and their calling card was twin lead guitars in harmony (played in the original lineup by Ted Turner and Andy Powell). Even the hardest Ash rockers — like "Blowin' Free," the most famous track from Argus — had an ethereal touch. They could rock the big stages, but they did it with subtlety and grace. This is reflected perfectly in the classic album sleeve by prog-associated designers Hipgnosis: The front cover shows a Greek sentry — the "argus" of the title — staring off into the distance. It's a mythic, old-world kind of image until you look closely at the back cover, and see that he's heralding the arrival (or perhaps watching the departure) of a spaceship.

Two worlds colliding. Exactly what the band and album were all about. By the time of Argus, Wishbone Ash were stars in England and cult heroes among Anglophiles in the US. What made Argus a step forward was its flow of moods. The songs don't run together, but there's an emotional connecting thread from the album's somber beginning to its heroic end. The band insisted at the time that lyrics were something of an afterthought: Shortly after its release, main lyricist Martin Turner told NME that he wrote them mainly to fit the mood of the music: "The music that was coming out was very English, very medieval, and the lyrics had to reflect that." Added Powell at the time, "The expression comes out in the guitars. We wouldn't play it if it didn't express something." Now, Analogue Productions has applied all of its vaunted craft and technical expertise to make this epic album shine! Two 45 RPM LPs pressed on virtually silent 180-gram vinyl at Quality Record Pressings make the remastered audio sparkle. Quieter lyrical sentiments and softer musical passages are rendered precisely, while majestic riffs and fist-waving anthems fully reveal the energy of the music! Argus isn't just another rock record — it's a journey through a sonic landscape rich with depth, emotion and technical prowess. It's the album that solidified Wishbone Ash as masters of twin guitar harmony. Discerning audiophiles will find Argus an essential addition to their record collection. It's a masterclass in sound engineering that fully captures the intricate interplay of dual guitars with pristine clarity and a warmth that only analog recordings can provide.

First time vinyl reissue, expanded and deluxe double gatefold 140g double vinyl, remastered audio with restored artwork and fresh liners written by Paul Hillery (Folk Funk & Trippy Troubadours)
Alan James Eastwood's glorious Seeds is a certified folk-funk lost-classic.

But who was Alan James Eastwood? He had never hit the big time and commercial success eluded him. By the mid-1970s, his musical career was pretty much over and he was almost unknown except among deep heads, amongst whom he would gain cult status.

Original copies of the 1971 vinyl release of Seeds exchange hands for high sums, if you can find one. This expanded 2LP contains an extra record, collecting 9 rare non-album singles and is presented in a gatefold sleeve complete with freshly commissioned liner notes courtesy of Paul Hillery (Folk Funk & Trippy Troubadours).

With the long overdue deluxe reissue of this prized artefact, we hope to finally shine a light on the unheralded genius of Alan James Eastwood. RIYL Nick Drake, Rodriguez, Richie Havens.

Alan James ‘Bugsy’ Eastwood was a renowned musician and singer who came to prominence in the late 1960s with The Exception, an unsung but excellent band from Birmingham. The Exception released many singles, the first featuring friend Robert Plant on tambourine, before an album, The Exceptional Exception. However, by this time, Bugsy was feeling constrained and restless; he left the band within weeks of the release.

Having vanished from the scene, he was honing a deeper, introspective edge to his songwriting. His demos found their way to the sound engineer and producer Mike Cooper at Pan Music Studios in Denmark Street. Loving what he heard, Eastwood soon entered a recording session with Cooper. The session was just Alan, his guitar and harmonica and - by all accounts - it was remarkable. With the songs, the voice and such an exceptional talent, it was hard to go wrong. Says Mike: "We had John Hawkins do the big string arrangements and Richard Hewson arranged the string quartet. We overdubbed the orchestrations on Alan's original session recordings, adding Chris Karan on tabla and various percussion. We considered re-recording the vocals but found that the magic on that original session was so exceptional overdubbing would not be as good as the atmospheric 'live' performance."

Mike and Alan viewed each track as a different entity, giving the album a diverse sonic palette. Assessing each song individually, they decided which would be suitable for each arranger. Top-flight session musicians were added to the roster to complete the sound, with Byron Lye Fook (father of musician Omar) on drums, bassist Mike Ward, Brian Pickles on marimba and jazz drummer Chris Karan on tabla and percussion. Recorded in a matter of days in Pan's small 8-track studio, they carefully added overdubs, rhythm sections and four string sessions arranged by Hawkins, with Hewson's arrangements recorded at Trident Studios.

Seeds was Alan James Eastwood's debut solo album – indeed, his only solo album - and was originally issued on President in 1971. It melded Eastwood’s impressive rock sensibilities with a folk thread to superb effect. His arresting voice - its deep, rough-hewn soulfulness - coupled with gorgeous string-drenched backing, make this a phenomenal listen. It really is a great 70s singer-songwriter record - with touches of acid-folk and folk-funk throughout.

It opens with "She's Getting Married In August", a mellow tune with Richard Hewson's strings arranged around Alan's straightforward guitar structure. Up next, the joyous, sun-dappled guitar and strings workout "Evenin' Rain" glides by before the fragile, accordion-enhanced "Les Papillons" breezes out of the speakers. The bluesy "Zeena" follows, featuring vocals and acoustic guitar and showcasing Eastwood's effortless harmonica. Starting out as a ballad, "Virgin Morn" builds with soaring strings and gospel-tinged backing vocals from Marilyn Powell and jazz singer Josephine Stahl. The A-side closes with the title track, "Seeds". With a chugging mid-tempo beat, soulful vocals and a beautiful Bacharach-esque string arrangement, it truly is stop-you-in-your-tracks spectacular.

Side B opens with "Crystal Blue", gilded by Lye Fook's marimba, lush gospel-esque backing vocals and handclaps. Eastwood's acoustic guitar begins "Lady Carole", which starts as a bluesy ballad and builds with more string arrangement, lifting the track to another height. A towering highlight of epic proportions, "Lotus Child" is a true masterpiece of arrangement. It opens with simple yet stunning do-do-dah vocal harmonies blended with John Hawkins's strings, bass lines and rhythmic beats, forming a vibe very much in conversation with the sounds coming from LA's Laurel Canyon. Next up, the heartwarming "Last Prayer", dedicated to Alan's first and last love, contains a melancholic vocal with a wistful string-drenched arrangement that would sit comfortably in a Federico Fellini score. Bringing the album to a close, "Hymn For Today" is a melodic raga with tabla, strings and a soft-psych feel. Eastwood's prophetic whisper - "I am real. At last, I am real" - profoundly hits home.

Kicking off the extra disc is the sparsely funky and country-tinged "Boston", released as the flip to the astonishing "Seeds". Next up are the two tracks that comprised Alan’s debut solo 7" single from 1968. The laconic, Bobby Charles-esque "Blackbird Charlie" evidences a real depth and charm in Eastwood's songwriting whilst the starkly brilliant flip, "My Sun", was a horizontal, atmospheric folk-tinged soundtracky precursor to his later work on Seeds.

In 1972, two further standalone singles followed. The first was the evergreen flute-driven folk-funk bomb, "Closer To The Truth", backed by the funky blues of "Strange News". The second, a deeply moving Havens-inspired "Moonchild" - rightly fawned over to this day - was flipped with "Red Shoe Truckin'", a groove-infused track. Eastwood also paired up with Marilyn Powell for a single produced by Powell's partner, Mike Cooper. Under the name Eastwood & Powell, they released their staggering rendition of "Beautiful", a rock-blues-pop song arranged by Ivor Raymonde and written by Carole King. Over on the flip, a funky Eastwood original "Opal Blue Sunday" lurked. This is not to be overlooked.

Over the years, Alan remained active on the music scene, but problems with alcohol and health complications from diabetes severely impacted his career. He spent his latter years living in London until his untimely death from heart failure on 25 October 2007, just one day before his 62nd birthday and without his music having received the real acclaim it so dearly deserved.

This deluxe reissue, spellbinding from beginning to end, should hopefully go some way to rectifying this tragic fact. Mastering for this special double vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry. The original artwork has been lovingly brought back to life at Be With HQ, with the addition of passionately written liner notes specially for this landmark reissue by none other than Paul Hillery.

Released in 1972, Blue Öyster Cult’s eponymous debut failed to garner initial interest from the music-loving public upon release, but is now considered a must-have classic. The exceptional psychedelic hard rock album with stunning cover art, features songs such as "Cities On Flame With Rock And Roll", "Stairway to the Stars", and "Then Came the Last Days of May", all of which the band still plays regularly during its concerts. The band toured with artists such as The Byrds, Alice Cooper and the Mahavishnu Orchestra to support the album, which received a positive reaction from critics. The Village Voice called it "the tightest and most musical hard rock record since - dare I say it - Who's Next".

„How Big, How Blue, How Beautiful“, das dritte Studioalbum von Florence + The Machine feiert 10
Jähriges Jubiläum! Das Album verkaufte sich weltweit über eine Million Mal und enthält die Hitsingles
„What Kind of Man“, „Ship to Wreck“, „Queen of Peace“ und „Delilah“. Außerdem wurde fünfmal für
den Grammy Award nominiert.
Anlässlich des 10-jährigen Jubiläums von „How Big, How Blue, How Beautiful“ wird das Originalalbum in
einer limitierten Auflage auf blauer Marmor-Vinyl und mit 2 bedruckten Innenseiten und einem 4-seitigen
Booklet veröffentlicht.

Chip Wickham made a splash in the UK scene with 2016's La Sombra and 2018's Shamal Wind, garnering attention from all the right people in the jazz scene. Chip's back for more, partnering with Lovemonk once again to enchant and heal with his cosmic, spiritual jazz.

* RIYL: Alice Coltrane, Yusef Lateef, Sons of Kemet
* Genre: Jazz, Spiritual Jazz, Rare Groove, Soul

Finally back in print on vinyl and CD after having been unavailable for several years! First released in 2013, Euporie Tide has become the quintessential Causa Sui record over the years. For many fans this 2LP has served as the perfect entry point to the band's multi-faceted oeuvre. And with good reason – from the first notes of ”Homage” to the peaceful closer ”Eternal Flow” the listener is taken on a beatific ride. The band manages to condense an impressive range of influences into these ten tracks. Previous albums were largely centered around lengthy freeform jamming, but on Euporie Tide, this side of the band is carefully dosed to balance concise, almost proggy song structures. Everything fans of the band cherish so much is here in abundance: the fuzzy downtuned desert-rock riffs, the blissed-out, motoric krautrock, the dynamic builds, and the fragments of electric jazz and kosmische that are woven into the compositions.

Euporie Tide was created following collaborative albums with members of Sunburned Hand of the Man (Pewt'r Sessions) and Tortoise (released as Chicago Odense Ensemble), which certainly had a cross-pollinating effect on this set. Rarely does a band from the European stoner rock scene embrace such a wide range of stylistic influences, and twelve years after the album's initial release, Euporie Tide deservedly stands as Causa Sui's crowning achievement.

Deluxe black 2LP edition with heavy sleeve, wrap-around obi strip and pvc-lined inner sleeves.

LA-based composer/arranger E. Lundquist (aka Eric Borders) returns with ‘Art Between Minds’. Having cut his teeth in the LA hip-hop and beats scene and explored realms of cosmic-funk under previous monikers, E. Lundquist’s music displays a rich tapestry of influences including the cinematic & experimental jazz-infused library music that influenced his previous LP ‘Multiple Images’. Now he is back with another ample helping of his hallucinogenic sonics, utilizing a bevy of vintage gear to replicate that warm glow of ’70s jazz-funk. From the Fender Rhodes MKI to the ARP Odyssey, to the Mellotron, the keys and synths he employs on these tracks display a genuine appreciation for the groove-driven music of The ‘Me” Decade.

The album plays like the score to a cult classic B-movie. The sun-drenched haze of “Soliloquy” could easily be what you hear during the calm before the storm in a Blaxploitation flick and the laidback crawl of “Euphoria” seems ripped right out of a fuzzy ‘70s blue movie. But there is a certain sophistication here, like the way the horn section, slinky guitar, and trippy synths combine on “Escape” to sound like liquid one moment and like a summer breeze the next.

While E. Lundquist’s artistry will eventually take him to new plateaus of sound, where he is right now is undoubtedly a high watermark in his career. He has become a torchbearer for jazz-funk in a new jazz revolution, updating the sub-genre with his delicate balance of digital and analog elements that will easily appeal to fans of Kamaal Williams, Surprise Chef, BADBADNOTGOOD, Khurangbin, Robohands and similar.

Ian Moore, Johnny Moeller, and Jesse Dayton-three of Texas' fiercest fretmen-join forces at last as Texas Headhunters, a band born from deep roots, old friendships, and a shared reverence for the raw, swaggering spirit of Texas blues. Their self-titled debut isn't a nostalgia trip. It's a declaration.

Cut over five days at Willie Nelson's Pedernales Studio, 'Texas Headhunters' deals 12 tracks of grit, groove, and gut-level truth. No smoke, no mirrors-just seasoned musicians in a room, plugged in and turned up. The chemistry is real. The result is mind blowing. Clifford Antone looms large in the story of Texas Headhunters-the spiritual godfather of the project, and the man who first recognized the fire in each of its members. All three-Johnny, Jesse, and Ian-were among the last generation of young guns taken under his wing.

Texas Headhunters isn't just a summit of three badasses with guitars. It's a reclamation. A statement. A reminder that Texas blues, in all its grit and glory, still matters. It's not retro-it's revival. And it's not a tribute-it's a shot across the bow.

Format: Standard Jacket with printed sleeve with lyrics. Pressed on Opaque Red Vinyl.