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Grammy-winner, Boz Scaggs, known for his silky voice and genre-blending style, takes a refined turn with a jazz-influenced record that showcases his deep appreciation for classic grooves and sophisticated arrangements Blending smoky vocals with laid-back rhythms, the album nods to the cool jazz clubs of the past while keeping Scaggs' signature soul intact. It's a smooth, mature work comprised of Boz's interpretation of classic standards as well as one new original track.

Following the success of 1998's Whitey Ford Sings the Blue, Eat at Whitey's finds him beefing up his sound as well as bringing in big names, such as N'dea Davenport (who adds her vocals on the sexy, R&B- flavored "Love for Real"), Goodie Mob's Cee- Lo, Cypress Hill's B Real, and Carlos Santana, for whom Everlast penned the Grammywinning "Put Your Lights On." Everlast is still fixated on redemption and regret, but his intensity and passion make up for the narrow focus, as, guitar in hand, he conjures up a nocturnal, sultry world populated with saints, sinners, and homeboys.

What if fate had followed a different path? Alex Marker and Ben Reed were childhood friends who made music together before pursuing different careers, with Ben becoming a professional musician while Alex followed a career in stage design.

Originally a drummer, Alex set himself a challenge of writing a song for his wife for their wedding day. One song led to another and collaborating for the first time since they were very young Alex and Ben soon found they had a whole album's worth. Influenced by Alex's career in drama each track on Impostor Syndrome aims to tell a tale or paint a portrait encapsulating a moment of change or release. Ben brings a wider palette of musical styles and arrangements to augment a series of songs which draw from a wide range of musical influences including: singer/ songwriter, British prog, folk and rock. Ben Reed is a multi instrumentalist whose playing credits include bass duties on Frank Ocean's albums Endless and Blond as well as work with David Byrne, Sampha, Mustafa, Frank Dukes, Nilufer Yanya, Hayden Thorpe, FKA Twigs and many others.

He has previously released four full length albums of his own; Tall Story, Who Dreams of Hyssop, Station Masters, Loft, Bandaged and most recently You Do You. Alex Marker is a critically acclaimed theatre set and costume designer who has designed over 150 productions for a wide variety of venues including The West End, tours, regional theatres and the fringe. Further back he used to play drums in pit bands for productions and has occasionally been seen on stage too. The album features guests including: organist Ross Stanley (Steve Howe Trio), flautist R achel Hayter ( Alvorada ), bassoonist Philip Dale ( Orchestra of the Age of Enlightenment) and Matt Weeks who plays brass alongside mixing duties.

US Black Friday 2025 Release. There are very few albums in the psych/punk/hard rock/private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moonblood LP does, and even fewer records in the world that could be dubbed ‘Christian Rock’ incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance--and Moonblood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians--the line-up was ringleader Jim Beach--vocals; Don Swanson--lead guitar, Curt Swanson--drums, Victor Hemme--bass, and Robert Meinel--rhythm guitar. Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.”

Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moonblood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all 5 of us, simultaneously-- there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.”

This workmanlike description in no way prepares one for the pure tortured genius the session wrought. Particularly noteworthy is Beach’s vocals—as commonly stated, the spirit of Jim Morrison is conjured in his deep baritone, which gives way to unparalleled pained howls, at times bathed in delay which trails into the abyss. Fascinatingly enough, Beach cites the much punker Love as his fave LA band over the Doors, and also gives influence-nods to proto-everything rockers The Yardbirds and to Dylan, whose dark word tapestries surely inspired Beach’s lyrics (though lines from The Doors’ “L’America” pop up on the LP) Whatever the case, the man clearly has a vision, as even the stark sleeve concept is Beach’s own. Equally as integral to the Fraction sound is lead guitarist Don Swanson—his blown-out fuzz riffs set a template for what is now commonly known as “stoner rock” or “acid punk,” and his solos consist of jagged, wah-wah-ed shards of notes, with his amplifier clearly pushed to the limit.

Beach says: “Don’s guitar was always my driving force and he did everything he could to keep it over the top. You’d never know that (his sound) was coming from an old, broken down Esquire. Don kept it alive!” The other members contributions shouldn’t be underappreciated though-- drummer Curt Swanson keeps things at a constant simmer, and then boils over when the whole band launches into snarling glory. The band and LP as a whole equals something indescribably intense from start to finish—comparisons to the Detroit late 60s high-energy bands like The Stooges and MC5 abound, as well as the sort of late 60s damaged spirit lurking in biker clubs and disgruntled Vietnam vets. The song cycle on side 1 of the LP in particular cuts to the emotional core, with severely charged dark lyrics like “Extend your thumbs and burn the darkness out of her.” Which brings us to the Christian aspect--it often can confuse listeners. The Fraction/Beach world of religion is complex and perhaps a bit pagan/sinister than most---fire and brimstone, temptation, and the truth-seeker being burned by this hell on earth—or perhaps as Beach himself best put it: “Speaking for myself, as a believer, it’s been a progressive experience since my childhood.

I think we’re all basically driven to live more than religion.” The album was pressed in a run of but a few hundred to little attention in the day, but now inferior bootlegs flood the marketplace, and originals of Moonblood command thousands of dollars. So enjoy this all-inclusive reissue, which also features for the first time on vinyl, 3 lost tracks-- like the more acoustic-minded “prisms” and “dawning light,” as well as the proto-metal choogle of “Intercessor’s Blues.”

15 soul classics from the greatest artists of the genre including James Brown, Barry White, Stevie Wonder, Sam Cooke and Marvin Gaye.

MAL welcomes Hiroshi Takakura aka Element & co-owner of Riddim Chango Records with a heavyweight session of deep roots mutations and dynamic steppers.

A truly unique and well loved character, Hiroshi is one of Japan’s key figures for dub wise experimentation and this release presents a decade of influence distilled into a selection that bridges Jamaican and UK lineages with a very personal slant.

The centrepiece, ‘Longest Summer Pt.1 & 2’, is a radical remake of the theme from Fruit Chan’s Hong Kong cult film. He flips the wistful, naïve melancholy of the original alongside deep bass weight and syncopated hats with a slink and roll that feels as well suited to the steaming tarmac of LA as any smoke laced, late night Blues dance.

Born from the momentum of live set preparation, the raw sketches that make up the ep were shaped into full-blown dancefloor weapons, particularly the percussion-heavy, tribal mayhem of the title track, ‘Motion Exchange’.

All in all the release captures a snapshot of heady obsessions: UK roots and dub pressure channeling echoes of Jah Shaka, Jamaican dancehall’s roughneck energy, and a wide selection of experimental electronic influences from the early 80’s to the present day.

Motion Exchange delivers a weighty steppers sound that honours its roots while pushing into bold, forward-thinking territory.

Like Element’s sets, this is music for the rig but has layers of detail that reveal themselves on repeat listens and in selector tradition, the EP offers multiple versions for extended play.

A further milestone in MAL’s journey, with Takakura charting heavy new territories in modern dub. RIYL 5 Gate Temple / Bokeh Versions / Lord Tusk / Seln etc.

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True driven Techno. VAKUUM presents the VAKUUM EP by CONFUSION - a six-track exploration in stripped-down, minimalist sound design. Raw machine energy and hypnotic repetition drive the record, each cut crafted with precision and clarity. The result is a deep, timeless release that embodies the essence of modular production: focused, uncompromising, and endlessly absorbing. A true statement of intent for both the label and the artist.

Die rohe, donnernde Kraft von Charley Patton kommt in diesem unverzichtbaren zweiten Teil von ,Father of the Delta Blues: Selections from Paramount Recordings" wieder voll zur Geltung. Diese Tracks zeigen Patton von seiner eindringlichsten und ungefiltertesten Seite, mit wilder Slide-Gitarre, schreiendem Gesang und Texten voller Geheimnisse, Trotz und tiefer Mississippi-Seele. "Vol. 2" setzt die Erforschung von Pattons einzigartigem Vermächtnis fort: teils Prediger, teils Trickster, teils Geschichtenerzähler. Der zweite Band wurde von Dave Gardner liebevoll restauriert und remastert und ist nicht nur ein Dokument des frühen Blues, sondern auch ein Einblick in die Wurzeln der amerikanischen Musik selbst, wo Rhythmus auf Rebellion traf und Geschichte in Schellack eingraviert wurde. Exklusiv für den Record Store Day Black Friday 2025 auf transparentem orangefarbenem Vinyl gepresst.

Previously we’ve mentioned influences from the 1970s self-reflective work of Nick Drake & John Martyn to the lovelorn tragedy of troubadours such as Elliott Smith and Jeff Buckley creating a fusion of 1960s/70s folk and blues.

Now Cardiff-based indie folk singer-songwriter Ivan Moult returns with his most personal work to date, Stood Out In The Storm, due to be released on November 7th through Bubblewrap (home to The Gentle Good). The album follows the acclaimed Songs From Severn Grove (2023), which drew praise for its warmth, intricacy and timeless songwriting, cementing Ivan’s reputation as one of Wales’ most compelling contemporary voices.

While Songs From Severn Grove captured moments of renewal and joy - written in lockdown and
during the early days of fatherhood - its follow-up takes a braver, more vulnerable step. Stood Out
In The Storm was written in the aftermath of a personal crisis and charts Ivan’s gradual process of
healing and recovery. The record traverses darkness and light, despair and resilience, offering a
deeply honest exploration of fragility, survival and hope.

Ivan’s signature sound remains at the core: a seamless blend of 1960s/70s folk and blues infused
with modern textures, drawing influence from John Martyn, the late great Terry Reid and Ry
Cooder. On Stood Out In The Storm, that familiar intimacy is expanded with a greater presence
of guitars and organs, adding new depth and urgency to the sound. As with his previous records,
Ivan wrote, played, recorded and mixed the album at his Cardiff home studio, and the record sits
as a companion piece to Songs From Severn Grove.

Over the years, Ivan has gained support from BBC Radio 6 Music, BBC Radio Wales and KLOF
(Formerly Folk Radio UK), earned festival slots at Cornbury Festival, Festival of Voice and Sŵn,
and shared stages with the likes of This Is The Kit, Becca Mancari and Willy Mason. Now, with
Stood Out In The Storm (out November 7th), he offers his most powerful and affecting work yet –
an album born of struggle, but defined by resilience.

“Exquisite”- Folk Radio UK 

“Beautiful” - Huw Stephens, BBC Radio

“Utterly wonderful” - Adam Walton, BBC Radio Wales

”There is a wonderful delicateness that resonates through Ivan’s heartfelt lyrics, deamy music and vocals. Ivan is able to take listeners on their own journey of growth through his soft melodies and blissful atmosphere”
- Amplify The Noise

Known to fans simply as The Blue Album, Adolescents' self-titled debut album captured the raw pulse of Southern California's teenage rebellion at a time when hardcore was beginning to take shape yet still holding onto the infectious urgency of punk's first wave. Few records from the American punk underground have echoed as far and wide-or as enduringly-as the Adolescents' self-titled debut, first released by Frontier Records in 1981. Formed in Fullerton, California, Adolescents brought together members of earlier OC punk outfits like Social Distortion and Agent Orange, fusing their varied influences into something uniquely their own. With songs like 'Amoeba,' 'Kids of the Black Hole,' and 'No Way,' the album offered more than just speed and volume-it spoke directly to suburban alienation, youthful frustration, and the search for identity in a world that felt increasingly hostile and conformist. This new edition offers longtime listeners and new fans alike a chance to revisit-or discover-an album that helped define the West Coast punk sound. From its striking blue cover to its mix of melody, defiance, and urgency, "Adolescents" remains a vital listen, as relevant today as it was over four decades ago. It's an album that didn't just reflect its moment-it shaped what punk could be: loud, smart, emotional, and unflinchingly real. Reissued with care and respect for its original spirit, The Blue Album stands not only as a milestone in punk history, but as a testament to the enduring power of youth in revolt. This reissue includes a repro of the original insert and poster.

"The Word II," which gained instant worldwide recognition after being sampled by Mac DeMarco in "Chamber of Reflection" and by Travis Scott and Quavo's unit HUNCHO JACK in "How U Feel." Shigeo Seikito's seminal work, which includes that track, will be reissued on colored vinyl. It's the most widely listened-to electone piece in the world, drawing attention from a diverse range of audiences including hip-hop, Balearic, and dream pop enthusiasts.

South London’s Jerkcurb – aka Jacob Read – is back with news that his sophomore album ‘Night Fishing On A Calm Lake’ is to be released at the end of November following 2019’s ‘Air Con Eden’.

After that album’s successful release Read had planned to expand Jerkcurb into a full band setup when his father, a painter like himself and a creative inspiration, passed away. Instead of the envisioned plan of taking his project bigger Read returned to the family home and re-examined the material for the new album and instead the album became one of reflection, grief and redemption. It’s not much of a stretch to see clear musical inspirations for the record too – Prefab Sprout, Talk Talk and The Blue Nile, records where the moments of silence are stretched out.

Read produced and engineered the album himself, mostly at home with Lara Laeverenz and Gray Rimmer providing cocals. The album is mixed by Dilip Harris (King Krule, Mount Kimbie).

The enchanting cover artwork was painted at Read’s father’s studio in Camberwell, painted in oil with its dreamlike blur of blue and black . It hints at the early film noir and magical realist influences for the album.

Reissued blue (!) vinyl! The "centrics"-albums saw the introduction of current vocalist Loïc Rossetti to the band's lineup, a game changer in their 17 years history. "Anthropocentric" is heavier than its same-year predecessor "Heliocentric", with the crushing 15-minutes openening track duality "The Grand Inquisitor" part I and II and following track "She Was The Universe", one of the most-streamed THE OCEAN tracks to date, setting the bar high for the rest of the album. Since 2001, the Berlin-based musician collective THE OCEAN have released 7 critically acclaimed studio albums, and a split EP with Japanese post-rock legends Mono. With an ever-changing lineup of various on- and off-stage musicians and visual artists, the relentlessly touring group have become well known for their immense, mind-expanding live shows, which they have carried into the most remote corners of the globe, from Siberian squats to colonial theatres in Ecuador. Over the course of their storied career, THE OCEAN have toured with Opeth, Mastodon, Mono,The Dillinger Escape Plan, Anathema, Between The Buried And Me and Devin Townsend, and have appeared on major festivals including Roskilde, Dour, Pukkelpop, Roadburn, Wacken, With Full Force, Summer Slaughter, Summer Breeze and Graspop. pn: this is coloured double vinyl, the stickersays Golden, but in fact it's Blue (Gold).

In Mysterious Ways was John Foxx’s final album for Virgin Records and is now set for a 40th anniversary release - as a gatefold LP on light blue vinyl. This limited edition version includes the track ’Spin Away’ for the first time on vinyl. Full lyrics are included on the inner sleeve. Recorded at The Garden studios, the album includes some of John’s most uplifting and dreamlike material, including the singles ’Stars On Fire’ and ‘Enter The Angel’ and the slow burn of ‘Morning Glory’', ‘Enter The Angel II’, ’Stepping Softly’ and the title track.

This compilation of the best of Gil Scott-Heron’s Flying Dutchman output was originally released in 1974 and pulled together tracks from his first three albums “Small Talk At 154th And Lennox” (1970), “Pieces Of A Man” (1971) and “Free Will” (1972).

Ace first reissued this album on vinyl in the UK in 2017 (BGPD 306) although that version came in a single sleeve with a printed inner.
This version restores “The Revolution Will Not Be Televised” to its original Flying Dutchman format in a gatefold sleeve. The music and words - pressed on 180gm vinyl - are as relevant today as they were in the early 1970s.

The Fearless Flyers V markiert die Rückkehr von Cory Wong, Mark Lettieri, Joe Dart und Nate Smith mit einer dichten Mischung aus instrumentellem Funk, der sowohl energiegeladen als auch raffiniert ist. Auf acht Tracks und rund dreißig Minuten liefert das Album präzise, strahlende Grooves, die den Wurzeln der Band treu bleiben und gleichzeitig neue Farben hinzufügen: Disco-Einflüsse in „Exotic“, ein Hauch von Blues und Soul in „SKOM“, eine fast rockige Progression in „Autobahn“ und eher kontemplative Stimmungen in „Ventura“ und „Anaheim“, wobei letzteres das Album mit strahlender Sanftheit abschließt. Die knackige, sorgfältig ausgearbeitete Produktion unterstreicht die zurückhaltende Virtuosität der Musiker und ihre subtile Balance zwischen rhythmischer Präzision und kreativer Freiheit. Weder eine Wiederholung noch ein Bruch, bekräftigt dieses fünfte Kapitel die Reife der Flyers und ihre Fähigkeit, ihr Universum zu erweitern, ohne ihre Identität zu verlieren. Das Ergebnis ist ein kurzes, aber intensives Album, das sowohl Funk-Puristen als auch Liebhaber instrumentaler Abenteuer ansprechen wird.

Status Quo has endured for over 50 years and is known for worldwide hits and tours to millions of fans across the globe. This 12" blue etched single collects together some of the band's rare tracks from the late 1990s and early 2000s, in support of the 14 track CD compilation of the same name. Until now, many of these tracks have only been available on CD singles or editions of albums only available in one country. This mastered for vinyl 12" single is supported by the band and has been overseen by the recordings' original producer, Mike Paxman. Limited Edition Of 1000 Copies.

Adam Greens Musik ist so untrennbar mit dem Wesen New Yorks verbunden wie das Rumpeln der U-Bahn, der Schmutz der Lower East Side oder der barocke Glanz der Midtown-Blocks, in denen einst die Geisterjäger ihre Runden drehten. Seine Songs spiegeln die Stadt in ihrer zeitlosen Mischung aus Chaos, Energie und Sehnsucht wider. Sie durchdringen die dunklen Geschichten Manhattans ebenso wie die von Gentrifizierung gereinigten Straßen und fangen die widersprüchliche Erfahrung des Großstadtlebens ein - die Gleichzeitigkeit von Nähe und Einsamkeit, Abenteuer und Entfremdung, Gesellschaft und Isolation. Sein 2005 erschienenes Soloalbum Gemstones ist tief in dieser Welt verwurzelt - eine musikalische Antwort auf Bright Lights, Big City. Die rockabilly-getriebenen Rhythmen rütteln wie die L-Train, die Melodien wehen wie ein Windstoß zwischen den Häuserschluchten. Doch auch wer New York nie betreten hat, findet in diesen Stücken den universellen Nerv des Alleinseins inmitten der Menge. Getragen von Greens markanter Baritonstimme entfaltet sich Gemstones als bunte Klangreise: vom drehenden, von einer Wurlitzer angetriebenen Titelsong über das orgelnde Over The Sunrise und das unwiderstehliche Rock"n"Roll-Stück Emily bis hin zur bittersüßen Ballade Losing On A Tuesday. Fantasievolle Bilder, surreale Sprachspiele und charmante Melodien schaffen eine Welt. Doch unter all dem Witz und der Verspieltheit schlägt ein echtes, warmes Herz voller Gefühl. Gemstones ist zugleich berauschend und tröstlich - ein Album, das Leichtigkeit mit Tiefgang verbindet. Nach seiner Veröffentlichung machte es Adam Green vor allem in Deutschland zum Star: Das Publikum erkannte in diesem modernen "Two Cent Opera" die Schönheit kleiner Geschichten und großer Melodien. Zum 20-jährigen Jubiläum erscheint Gemstones nun neu auf Vinyl - ein perfekter Anlass, diesen musikalischen Edelstein erneut funkeln zu lassen.

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; a voice reminiscent of the high-lonesome warble of a choirboy; the keen observations and reflections of a front stoop philosopher. Songs snake their way from a lo-fi home recording to something glossier made with longtime friends at Asheville's Drop of Sun studios, but the recording setting
doesn't seem to matter much - at its core, a Lenderman song rings true.

MJ Lenderman was recorded, mixed and mastered for digital in 2019 by Colin Miller in Asheville NC, and was self-released online to quiet but firm acclaim. Now available as a Double LP and remastered for vinyl by Heather Jones, it offers a glimpse into the formative steps of a style; focused and precise, yet expansive and rough around the edges, that remains consistent across MJ's catalogue to date.

Looking as firmly to the legacy of 90s slowcore as it does to the tenor of Magnolia Electric Co. and sound wall of Neil Young and Crazy Horse, these 9 songs clock in at just over an hour and offer warm, patient worlds of heavy colour that blow by breezily. These are songs that wrap mysterious and urgent feeling in layers of patience and clarity that unfold anew with each timeless listen.

Psychic 9-5 Club marks the beginning of a new chapter for HTRK. It's an album that looks back on a time of sadness and struggle, and within that struggle they find hope and humour and love. It's Jonnine Standish and Nigel Yang's first album recorded entirely as a duo— former band member Sean Stewart died halfway through the recording of their last LP, 2011's Work (Work, Work).
Though the record is instantly recognisable as HTRK—Standish's vocal delivery remains central to the band's sound, while the productions are typically lean and dubby—they've found ample room for exploration within this framework. Gone are the reverb-soaked guitar explorations of 2009's Marry Me Tonight and the fuzzy growls that ran through Work (Work Work). They've been replaced with something tender, velvety and polished. This is HTRK, but the flesh has been stripped from their sound, throwing the focus on naked arrangements and minimalist sound design.
The album was recorded at Blazer Sound Studios in New Mexico with Excepter's Nathan Corbin, who had previously directed the video clip for Work (Work Work) cut "Bendin." Inviting a third party into their world was no easy decision, but in Corbin they found a kindred spirit. The LP was then refined and reworked in Australia at the turn of 2013, before the finishing touches were applied in New York during the summer.
Of all the themes that run through Psychic 9-5 Club, love is the most central. The word is laced throughout the album in lyrics and titles— love as a distraction, loving yourself, loving others. Standish's lyrics explore the complexities of sexuality and the body's reaction to personal loss, though there's room for wry humour—a constant through much of the best experimental Australian music of the past few decades.
Standish explores her vocal range fully—her husky spoken-word drawl remains, but we also hear her laugh and sing. Equally, Yang's exploratory production techniques—particularly his well-documented love of dub—are given room to shine. They dip headlong into some of the things that make humans tick—love, loss and desire—with the kind of integrity that has marked the band out from day one. Psychic 9-5 Club is truly an album for the body and for the soul.

GATEFOLD VINYL 2LP - TRANSPARENT BLUE + ORANGE, A2 Colour Poster, 5x Film Set Photos, Flexi Disc, Sticker Sheet

Blurring the lines between fiction and documentary, the seminal film Wild Style, directed by Charlie Ahearn and developed alongside Fred Braithwaite aka Fab Five Freddy, offered an iconic snapshot of the emerging New York hip hop scene in the early ‘80s. Considered one of the first hip hop films, it documents the styles, culture, attitudes, and most importantly, the music of this evolving era. The accompanying soundtrack remains one of the most influential in hip hop history, featuring a who’s who of artists who stood out during the movement’s nascent block party days.

“Making hip hop’s first and most beloved feature film, Wild Style, with Charlie Ahearn and creating the original music is one of my proudest accomplishments.” - Fab 5 Freddy

In celebration of Arrow Films restoring the original Wild Style film in 4K, Mr Bongo is proud to present this special-edition reissue package. The release comes as a double LP pressed on transparent blue and orange vinyl, offering a freshly curated tracklist that brings together the finest songs from previous editions, the full sought-after instrumental album, and Kenny Dope’s top edits. Also included are an A2 colour poster, five film set photos, a flexi disc containing Fantastic Freaks Live at the Dixie, and a Wild Style sticker sheet.

Originally released on Animal Records, founded by Chris Stein of Blondie fame, the soundtrack focuses on the hip hop scene as it evolved from the streets to the recording studio. Co-produced by Stein and Braithwaite, it features the Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself Busy Bee, and the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks, to name but a few. The music offers a transportive glimpse into the streets of the South Bronx, capturing the free-form, roaming nature of the film - it’s rough around the edges, but utterly absorbing.

Behind those foundational voices of hip hop’s first wave was a selection of backing beats that have underpinned and influenced the genre ever since. Easily mistaken for lifted breakbeats from old records, the songs on the Wild Style soundtrack are all unique creations. Overseen by Braithwaite and Stein, with Stein also on guitar and effects, they were intended as a homage to those early breakbeats. Drummer Lenny “Ferrari” Ferraro, who played for Aretha Franklin before emerging on the punk scene, and bassist David Harper laid down many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound.

Over time, the Wild Style soundtrack, with its Charlie Chase and Grand Wizard Theodore scratches, recurring sounds and motifs, and indelible lyrics, has become a hip hop touchstone: endlessly sampled and referenced, the bedrock of so much music to follow. It perfectly encapsulated the essence of the film, the scene, and hip hop’s emergence from the Bronx to the attention of the wider world. It was, and remains, the blueprint.

The album Fuyu Kukan, featuring the track “Midnight Pretenders” recently brought back into the spotlight after being sampled by The Weeknd is set to be
repressed on clear blue vinyl!
Produced by Masatoshi Nishimura of FENCE OF DEFENSE, this innovative album blends elements of new wave and rock with mellow tunes and experimental
sounds.
Originally released in 1983, it has gained renewed popularity in recent years thanks to the global city pop revival.
Tracks like the mellow “I’m In Love” and “Midnight Pretenders”, as well as the cosmic sounding “Hannya”, have captivated a new generation of listeners both in
Japan and abroad.

Schema Records proudly presents PRELUDE, Stefano “S-Tone Inc.” Tirone’s tenth album in his 30-year career. It is available from October 10th, 2025, in the usual digital/streaming formats, as well as LP (10 tracks) and CD (15 tracks); the latter contains, in addition to the tracks on the vinyl, the singles already released on 7” (“In the Sand”, “Tudo Pra Ela”) and remixes of “Pressure”, “Vento Doce” and “Longe De Voce”.

Various different styles harmoniously coexist in “Prelude”: the soul, funk, disco and house tracks embellished by Julia St. Louis’s black voice and Laura Fedele’s jazz-blues timbre alternate with Latin and Brazilian atmospheres in the tracks that host the precious collaboration with Toco, up to a stunning reinterpretation of Santana’s “Guajira” performed by Manuela Ravaglioli, a long-time S-Tone Inc.’s guest vocalist, and German Leguizamon, an Argentine artist with a brilliant career in the 90s dance music.

The title “Prelude” is a double homage: to the legendary homonymous American record label that defined the New York disco sound between 70s and 80s, and to Eumir Deodato’s masterpiece released on CTI in 1973, a sublime example of cross-genre fusion that has always been a source of inspiration for the refined and cosmopolitan blend of music styles that has made S-Tone Inc.’s sound unique and that is firmly reaffirmed in this new record.

Sampler & Soul - The Originals Behind the Hits (5LP) Diese exklusive Compilation versammelt die Originalsongs, die später in großen Pop-, Hip-Hop- und R&B-Hits gesampelt wurden. Von Betty Wright über Quincy Jones bis zur Lafayette Afro Rock Band - hier sind die musikalischen Wurzeln moderner Urban-Sounds zu hören. Die 5LP-Box bietet eine stilvolle Reise durch Jazz, Funk, Soul und Blues mit Klassikern von Billie Holiday, Nina Simone, B.B. King, Screamin" Jay Hawkins, Ray Charles, Etta James und vielen mehr.

First Word Records are proud to bring you 'Penny Ballads', a 5-track EP from Royce Wood Junior.

Royce Wood Junior is a Grammy & Mercury Award-nominated musician, songwriter and record producer from London, currently based in Brighton. As a multi-instrumentalist, he's collaborated with a litany of brilliant artists over the years, such as Jamie Woon, Nao, Disclosure, Jessie Ware, Olivia Dean, Joy Crookes, Jamie Lidell and Jordan Rakei, additionally to touring with the likes of the legendary Thomas Dolby. He's released two acclaimed solo albums to date ('The Ashen Tang' in 2015, and 'No Two Blue Ticks' in 2021).

'Penny Ballads' demonstrates RWJ's varied talents, with a collection of alternative soul compositions, each one as unique as the next. It includes the first two singles, the Poplife-Prince era flavoured 'Go Get Your Money', and the double-time future funk adrenaline shot, 'Clean Up', along with three previously-unreleased tracks. 'Beretta' is low-slung soul funk, beginning with quirky squelchy synths, before the soulful lead vocal of feature artist Lucey Way breezes in to melt everyone's hearts. 'Things' sweeps in next, an infectiously soulful midtempo heavy soul bop, with an instant earwork of a hook, like a modern-day Steely Dan / Doobie Brothers, complete with a head-nodding string section to end the track. The collection concludes on a more melancholy downtempo tip with 'Rolling'; an almost-folktronic anthem, with a key refrain that wouldn't be out of place on a 70's Stevie piece.

RWJ (aka Jim Wood) says of this project… "Back in the 17 and 1800's Troubadours and minstrels would go from Tavern to Tavern selling Penny Ballads, single sheets of music and lyrics written quickly and frivolously to make a quick buck.. It strikes me that we're in a similar phase in the way we value music in 2025. An old Penny Ballad was cheap and dog-eared, ink-smudged, sung aloud by firelight, Now songs live in the digital ether, dissolved in the air, a ghostly breath paid in micro cents. The new era of Penny Balladry is here, and weird.

This EP is a snapshot of my writing over a two year period. Focussed on minimal recording styles, one mic on the drums, generally first or second takes on parts and vocals, I wanted the music to feel like small moments with lyrics that talk about the weird nuances of being alive as a latter stage human on the cusp of the Ai revolution. Culturally so evolved, but physiologically still just a bunch of mammals walking about with primitive fears and needs. Just trying to reconcile it all moment to moment…"

Previous support for Royce's music has included Radio 1's Future Sounds, BBC 6 Music's New Music Fix, Annie Mac, Clara Amfo, Jo Whiley (BBC Radio 2), Mary Anne Hobbs, Jamz Supernova, Tom Robinson, Huw Stephens (BBC 6 Music), Zane Lowe and MistaJam. There have been sessions previously for the likes of Red Bull and press from Huck, Line of Best Fit, Clash, Aesthetica & DIY magazine.

Entirely self-written and self-produced, this EP gives a solid taste of RWJ's talents. A deeply funky diverse set of music from an immensely talented individual.

'Penny Ballads' is due to be released on vinyl & digital, 24th October 2025.

The vinyl version also includes an exclusive additional mix of the first single 'Go Get Your Money'.

Tremor erscheint zu einem Zeitpunkt, an dem Averys Arbeitspensum für Außenstehende kolossal erscheint. Als Produzent, DJ, Musiker und Remixer, der ständig mit anderen zusammenarbeitet, hat er kürzlich DRONE:NODRONE von The Cure neu interpretiert, wofür er allgemeine Anerkennung erhielt. Seine Arbeit als eines von drei Mitgliedern von Demise of Love (eine Gruppe, die gemeinsam mit Ghost Culture und Working Men’s Club gegründet wurde) liefert derzeit den Soundtrack für die verschwommenen, undurchsichtigen Ränder der Tanzflächen auf der ganzen Welt. Das Album ist Averys erste Veröffentlichung bei Domino.

Die Platte ist voller unerwarteter Kollaborationen, darunter: Yeule, Art School Girlfriend, Ryan von bdrmm, Yune Pinku, Cécile Believe, Walter Schreifels von Rival Schools, Julie von New Dad und Alison Mosshart. „Tremor” wurde teilweise von David Wrench und teilweise vom legendären Alan Moulder gemischt. Es ist ein Breitwand-Album, auf dem sich Daniel mehr denn je auf Instrumentierung stützt und diese Klänge mit seiner charakteristischen, dunklen, techno-ähnlichen Produktion ergänzt. Es gibt wunderschöne melodische Parts, große elektronische Hits, härtere Grunge-Parts und wunderschöne Ambient-Momente, die einen wieder zur Ruhe kommen lassen.

Haunted Heart: The Legendary Riverside Studio Recordings brings together the complete studio recordings by the Bill Evans Trio featuring Scott LaFaro and Paul Motian. Included are the albums Portrait in Jazz and Explorations, plus 26 alternate takes - 17 previously unreleased. The collection includes rare photos, introduction by John Densmore (The Doors), and new liner notes by Eugene Holley Jr. and audio is newly remastered by Paul Blakemore, with lacquers cut by Kevin Gray at Cohearent Audio.

Electro Glide in Blue is the successful second album by UK big beat collective Apollo 440.

The album attracted a lot of attention thanks to its blend of big beat, jungle and drum and bass.

With samples of Van Halen and Gene Krupa, the group showed the wide range of their influences.

This unique blend gave the band a major UK Top 10 hit with "Ain't Talkin' 'Bout Dub".

Electro Glide In Blue is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl.

If people were unaware of the significance of Joan Baez to western culture, her portrayal in the Bob Dylan biopic A Complete Unknown (played by Monica Barbaro) underlines how central she was to the popularization of folk music in the early 1960s. And it is her decade- previous relationship with Dylan that hovers joyously over Diamonds & Rust. The title track is about a thinly disguised ex-lover who calls up out of the blue; it remains one of her most loved songs in a 65- year- career.

There's a playful cover of "Simple Twist Of Fate" from Dylan's then just released Blood On The Tracks, complete with impersonation in a later verse; and "Winds Of The Old Days", written in response to Dylan touring again after a lengthy hiatus. Diamonds & Rust is a perfect, sunshine- drenched album of west- coast folk- tinged rock, full of star session players. It could almost have been a signal to all the recent comers on her patch many of them friends and colleagues, Joni Mitchell, Carole King, Maria Muldaur that Baez was here first and was sweetly reasserting her authority. Just listen to her mastery on "Children & All That Jazz", her cover of Stevie Wonder's "Never Thought You'd Leave In Summer" and the poignant closing medley of "I Dream Of Jeannie/Danny Boy".

Zum 20-jährigen Jubiläum ihres ikonischen Debütalbums Silent Alarm veröffentlichen Bloc Party drei limitierte Jubiläumsformate: eine 2LP auf weißem Vinyl mit dem original Album, eine 2CD Edition mit dem original Album und Bonus Discs, welche Demos, B-Sides und eine BBC Peel Session beinhalten. Außerdem ist ein 12-seitiges Booklet inkl. Lines Notes und einem Vorwort von Produzent Paul Epworth. Die Deluxe-Box umfasst alle oben erwähnte als 4LP Set. 2LP für das original Album und 2LP für die Bonustracks und Raritäten sowie Demos und Sessions. Wobei es hier ein 24-seitiges Booklet mit noch nie veröffentlichten Fotos der Band und exklusive Liner-Notes gibt. Ein Muss für Fans und Sammler gleichermaßen.
White Vinyl

Tomoyo Harada x Tore Johansson's "I Could Be Free," a shining monument in the history of '90s J-Pop, is finally being reissued on vinyl!
JUDGMENT! RECORDS Vinyl Odyssey: Part I

Produced by Swedish virtuoso Tore Johansson, this album is renowned as the pinnacle of Tomoyo Harada's "Swedish Pop Trilogy."
This delicate worldview has been meticulously recreated on vinyl by the new label, JUDGMENT! RECORDS, headed by acclaimed record designer
Koki Hanawa, with a unique aesthetic and meticulous attention to detail. The meticulous binding, featuring an E-style trifold cover, enhances the album's
appeal both visually and aurally.

Four decades on, "Around The World In A Day" has been newly remastered in stereo by Bernie Grundman and is available on limited-edition 140g blue marble vinyl. The record ultimately yielded four commercial singles: “Raspberry Beret” with its spectacular kaleidoscopic video featuring Prince in a suit inspired by the clouds and sky on the sleeve, “Paisley Park” (released only overseas), “Pop Life”, and “America”.

»La Traversée« (»The Crossing«) is Matthias Puech’s second album for Hallow Ground and follows up on 2023’s »Mt. Hadamard National Park.« Profoundly inspired by re-reading »The Odyssey,« the French composer, instrument designer, and scholar used a Eurorack modular synthesizer to create four pieces that are by far the most intuitive and emotionally charged in his ever-expanding catalogue. Puech’s masterful command of sound comes to the forefront with even more urgency on this record. A wandering meditation on the human condition, »La Traversée« is an album that is constantly in motion—complex electronic music at its most gripping and evocative.

The foundation for »La Traversée« was laid when Puech prepared a live set for a tour organised in collaboration with Hallow Ground in support of »Mt. Hadamard National Park.« Before writing the first three pieces—»Ennosigaios,« »Polyphármakos,« »Nekuia«—the 18½-minute-long »Ithâké« was composed in near-total isolation in the South of France at the end of 2023. Puech performed the material live several times before taking a step black from it for a while. He revisited the pieces when preparingthem for a release. »I was struck by how the technical process and the intention behind the music had completely vanished from my memory,« he says.

What remained intact, however, was Puech’s association of the material with one of the most influential texts of Western literature. Reading a graphic novel adaptation of »The Odyssey« with his two four-year-olds, he noticed the effect that it had on them and himself. »Its themes of longing, fear of and attraction to the unknown, unresolved quests, and the struggle for control felt topical,« he says. »I was completely taken. Every story ever told seemed contained in this ancient tale; every story I have ever tried to tell as a composer seemed inscribed in this framework.« This also extended to formal motifs such as the repetition of incidents, narrative developments, or dramatic effects that also mark »La Traversée.«

Puech says that he perceived Homer’s writing as musical, »like an old Delta blues or a Renaissance counterpoint,« which inspired his writing process. »With a couple of knobs on my Eurorack system, I could control the unfolding of a story,« he notes. »This made me pass through different emotional statesand led to moments in which everything made sudden sense—when you as an artist get a glimpse atsomething essential, can touch upon something universal.« This shines through »La Traversée,« a wildly imaginative album that is deeply personal while also telling a story far more wide-reaching than that of its creator.

Experience the modern era of Madness with 'Hit Parade Vol. 2 1992-2024'. This 22-track 2LP set relives the more modern, contemporary years of Madness; containing a selection of hit singles, fan favourites and much-loved tunes. Including 'NW5', 'Shame and Scandal', 'Sorry', 'Drip Fed Fred', 'Mr Apples' and the Top 10 single 'Lovestruck'.

Beautifully packaged in a deluxe, gatefold sleeve, this 2LP collection is pressed on translucent blue vinyl. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley, in conversation with renowned author and journalist Paul Sexton.

Firmly established as national treasures and as one of the UK’s most cherished and beloved bands, Madness are adored by their loyal and huge following. Their consistently sold-out shows illustrate their enduring qualities resulting in their popularity continuing to grow and grow.

Beautifully packaged in a deluxe slipcase, this 4LP box set combines the red vinyl.

Volume 1 and blue vinyl Volume 2 2LP collections. The fully illustrated inner sleeves contain new liner notes with various band members and long-time producers Clive Langer and Alan Winstanley,

in conversation with renowned author and journalist Paul Sexton.

This Transition's label album features the concert that Donald Byrd Sextet gave in Detroit on August 23th, 1955 organized by the New Jazz Society, a group formed under the impetus of Kenny Burrell, one of the key influences in Detroit jazz.


The reissue of this hard-to-find album is significant for a number of diferent reasons. Its very rarity is one attraction for certain collectors, but more important perhaps is the fact that it was the first recording as featured artist for trumpeter Donald Byrd. It is also extremely revealing of the depth of the jazz scene in 1950s Detroit, which had nurtured Byrd and from which he was just emerging at the time of this concert.

Jazz by Sun Ra, Vol. 2.


These albums are important because they are Sun Ra's first recordings before the Saturn sessions, made in 1956 when the Chicago musicians were searching for something more, something beyond.



In 1957, Transition Records gave us Volume 1, but before Volume 2 could be released, the label went bankrupt, and it took more than a decade for it to finally be released on the Delmark label. Today, for the first time, both volumes are available, as they were meant to be from the beginning.
Volume 2 is presented here for the first time with the silver cover originally planned by Transition!

Thelonious Monk once famously said "the piano ain't got no wrong notes", and this mantra is evident in his playing: full of angular, challenging harmonies combined with a harsh and percussive technique. Though his style of playing was unorthodox, he could also play runs and arpeggios with great speed and accuracy. All in all Monk would prove to be a long-lasting influence on jazz piano. All this is highlighted on 1967's Straight, No Chaser, Monk's sixth album for Columbia. On it, you'll find the album's namesake "Straight, No Chaser", a composition by Thelonious himself that became one of the most important blues-based standards in the jazz repertoire. Furthermore, the album features "Japanese Folk Song", a two-century old tune that Ryan Gosling's character is practicing in the movie La La Land. Charlie Rouse plays the tenor saxophone and the liner notes are writting by jazz writer and producer Orrin Keepnews. Straight, No Chaser is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl and comes in a deluxe, heavy duty sleeve.

“In a concert, I show something with a beginning, a middle and an end. But, there is no end. Of course, there is no end. Because I am the music, and I am still here.” - Sophie Agnel

‘Learning’ - Sophie Agnel’s first solo LP, feels like the dark, physical inversion of her excellent ‘Song’ which came out on Relative Pitch earlier this year. Sinking her unique sound into vinyl for the first time, the LP arrives as Agnel recovers from a brain tumour - a shocking discovery that will require Agnel to start again with the piano. It’s a terrifying prospect, but Agnel has been here before, having reorientated herself almost entirely away from her early classical training over the last 4 decades of her work.

‘When I was young I had very good ears, oriole absolute. Then later I began to make strange sounds with my piano, to do different kinds of music. I was more interested in the sounds than the melody, for example. I remember once I sat down in a shop to try to read the scores of Schubert and there was a light emitting a very strong bzzzzzzz. And I couldn't listen to my oriole internal - I couldn't read the score. I was entirely subjugated by the sound of the light. And I understood that something had changed. Ten years before I could read and not hear the light. Now I understood that my ears were completely different. I was more open to the sounds of life.”

Born in Paris in the 60’s and playing her parents piano as soon as she could stand up, Agnel quickly grew tired of the classical world. What frustrated her was the strange disconnect between the frame of the piano and its keyboard - a weird boundary that seemed to form some hushed code of etiquette. “The first thing I put inside the piano was a plastic goblet. I’d seen a few pianists do it: Fred Van Hove, for example, put rubber balls inside his. But what didn’t appeal to me was that there seemed to be no link between the pianos outside and inside.”If you see Agnel play now, the body of her piano is littered with fish tins, ping pong balls, wooden blocks - not that you’d recognize their sounds. Having absorbed the language of the European avant-garde, Agnel is known for pulling the piano’s interior outside of itself by tipping her handbag into it. But these ‘strange sounds’ don’t just come from Cage - they also share the poetic force of Cecil Taylor and ‘Learning’ demonstrates that Agnel’s work on the piano's keyboard is just as important as what she’s littered on its strings. The record lets loose her ability to unleash a formidable sound mass and then rope it back to one single, clarifying note. With one hand, Agnel plays 88 tuned drums and on the other an enormous guitar - with the LP rotating through oncoming trains, and blues harmonica and feedback. It’s single minded stuff, borne out of a dedication to a wholly personal language of gesture, accumulation and deft reduction. “Maybe when I’m 80 I will not need anything,” Agnel says in a recent film made at her home. “I will do the same but with one note, and one finger. Maybe it's enough.”

‘Learning’ arrives in a reverse board sleeve designed by Jereon Wille. Recorded live at Cafe OTO by Billy Steiger on 6th June 2023 and 4th June 2024. Mixed by James Dunn and Benjamin Pagier. Side B edited by Benjamin Pagier. Mastered and cut by Loop-O. Front photograph by Aimé Agnel. Typography and layout by Jeroen Wille.

Winter Sessions in Courchevel - compiled by DJ Ravin Bereit für den Winter? Mit Winter Sessions in Courchevel präsentiert der legendäre DJ Ravin eine exklusive Doppel-Compilation, die den Soundtrack für stilvolle Höhenflüge liefert - von glamourösen Nächten in den Alpen bis zu entspannten Après-Ski-Momenten. Die Auswahl vereint feinste World Lounge, Electro-Chill und festliche Deep Vibes - perfekt abgestimmt auf die Atmosphäre des Luxus-Skiorts Courchevel. Mit dabei sind renommierte Buddha-Bar-Künstler wie Majnoon, VS Prjct, DJ Phellix, Souhail Artwork, Omary, Carlos Campos und viele mehr. Ob auf exklusiven Partys oder in ruhigen Stunden am Kamin - diese Musik schafft Räume für Emotion, Eleganz und Eskapismus. Jeder Track ist ein Fenster in eine Welt zwischen Tradition und Moderne, zwischen globaler Klangästhetik und alpinem Chic.

Or Kantor returns with his sophomore album Snake Island, a vivid and cinematic journey through imagined landscapes and lost love, for fans of Eden Ahbez and other seekers of sound and spirit.

Following the critical success of his 2024 debut Sarda Sarda, praised by BBC Radio 6 Music, FIP Radio, RRR Australia, WYEP, KCRW, and Songlines Magazine, Kantor continues to refine his distinctive sonic identity, grounded in instrumental storytelling.

With Snake Island, Kantor ventures deeper into what he calls Subterranean Music, an atmospheric fusion of Mediterranean ballads, desert blues, spiritual jazz, and psychedelic textures. Drawing inspiration from artists such as Gábor Szabó, Omar Khorshid, The Budos Band, Dorothy Ashby, and Tommy Guerrero, he crafts instrumentals that feel both timeless and cinematic.

"Snake Island was written as a soundtrack to a fictional film that disappeared from the world, one that most likely no one has ever seen," says Kantor. "It began as a tragic love story, imagined during my time on a remote island in the Cyclades. Every landscape felt like a scene waiting for music. Eventually, the story gave way to sound."

A respected tattoo artist and founder of the Love Light Studio, Kantor's musical path began after a chance encounter with Johnny Sharoni (Garden City Movement, A&R at Anova Records). During a tattoo session, Sharoni heard Kantor's demos and was immediately struck by their raw beauty.

Kantor now steps confidently into the next chapter of his creative journey. Snake Island is more than an album. It is a mythic, imagined soundtrack to a film that only exists in memory, rendered in tones that shimmer like heat on stone.

Der Gitarrist John Scofield und der Bassist Dave Holland, zwei der zeitgenössischen Meister des Jazz, haben
im Laufe der Jahre in verschiedenen Zusammenhängen zusammengespielt – darunter Projekte mit Herbie
Hancock und Joe Henderson sowie eine energiegeladene Gruppe mit Joe Lovano und Al Foster. Memories
of Home ist nun ihr erstes Duo-Album, letztes Jahr nach ausgiebigen Tourneen in den NRS Studios in
Catskill, New York, aufgenommen. John Scofield: „Die Platte enthält, genau wie unsere Live-Shows,
Stücke, die jeder von uns komponiert hat, einige neu, einige alt. Wir teilen jahrzehntelange gemeinsame
musikalische Bezugspunkte. Die Gemeinsamkeiten und Unterschiede in unseren Herangehensweisen machen
die Zusammenarbeit, wie ich finde, umso spannender.“
Das Album enthält Scofields Songs „Icons at the Fair“, „Meant to Be“, „Mine Are Blues“, „Memorette“
und „Easy for You“ sowie Hollands „Mr. B“, „Not for Nothin’“, „You I Love“ und „Memories of Home“.

Mit seinen mitreißenden Soli und umjubelten Auftritten in der Konzertreihe “Jazz at the Philharmonic” übte
der Tenorsaxofonist Illinois Jacquet einen immensen Einfluss auf den Spielweise des Saxofons im Rhythm &
Blues und Rock ‘n’ Roll aus. Für den JATP-Impresario Norman Granz und dessen Label Clef nahm Jacquet 1956 mit “Swing’s The Thing” auch eines seiner besten Alben auf.

Axel und Joja haben mit »Boogie Woogie Dimensions« ihrer gemeinsamen Leidenschaft ein Denkmal gesetzt. Alle Stücke, davon die meisten Originalwerke, die spontan bei den Aufnahmen entstanden, leben von ihrem außerordentlichen, stilsicheren Ideenreichtum, der in perfekter Harmonie von zart lyrischen Bluesklängen bis hin zu rasenden musikalischen Verfolgungsjagden das ganze Spektrum der Lebensfreude an zweimal 88 Tasten zum Leben erweckt.

Zwei große Konzertflügel, beflügelt durch den Achtelbeat des Boogie Woogie: da eröffnen sich Dimensionen des Spielspaßes, der Improvisationsfreude und freundschaftlicher Tastenduelle, bei denen Stillsitzen einfach unmöglich ist!

Axel Zwingenberger & Joja Wendt, pianos
Rec. at Nullviernull Studio Hamburg, 29.5.2018 & 15.6.2024

„Good things take time“; this saying fits perfect for the new and fifth studio album „High On Fire“ of the inernational Classic Hard Rock group SAINTED SINNERS, featuring vocalist Jack Meile (Tygers Of Pan Tang), founding member and guitar player Frank Pané (Bonfire), Ernesto Ghezzi (Gotthard) on Keyboards, Samy Saemann (ex-Fredom Call) on bass and Berci Hirleman on drums. With almost three years in the making, the band returns with their newest collection of songs under the bands own motto: The Essence of Rock’n’Roll. „High On Fire“ delivers a feeling of good time Rock’n’Roll vibes! Let‘s forget and escape from all the bad things in life and enjoy life to the fullest with freedom of expression and a overall positive attitude. With „High On Fire“ you should feel uplifted by music. The album features ten new tracks, including a surprise The Who cover-version, done in the SAINTED SINNERS style!

Clear and Blue Far Rockaway Vinyl. Ähnlich wie in den Tagen von Steely Dan, Harry Nilsson oder Prince, die jedes Jahr (oder seltener) ein klassisches Album veröffentlichten, brachte Mac DeMarco vor zehn Jahren nur etwa ein Jahr nach dem überaus erfolgreichen Album ,Salad Days" die Mini-LP ,Another One" heraus. ,Another One" ist ein acht Titel umfassendes Album, das Macs bereits beeindruckendes Repertoire erweitert. Es wurde vollständig von Mac in seinem Haus in Far Rockaway, Queens, konzipiert und aufgenommen und zeigt die Reife von Macs Entwicklung als Songwriter: etwas raffinierter, etwas ausgefeilter als seine vorherigen Alben, aber dennoch voller Mut und Seele, wie jedes klassische Mac-Album. Das Gesamtgefühl der Mini-LP ist verlorene Liebe oder vielleicht nie gefundene Liebe, ein Thema, von dem die Welt nie genug bekommt und das Mac auf eine Weise behandelt, ohne dass es düster oder schwermütig wirkt. Die Platte hinterlässt das gleiche Gefühl der Zufriedenheit wie ein alter Bogart-Film: Er ist immer noch der Held, aber er bekommt die Frau nicht ganz. Große Singer/Songwriter müssen sich nicht neu erfinden; sie müssen einfach weitermachen und ihre Songs in die Welt hinauslassen, und damit hat Mac DeMarco uns Another One geschenkt. Diese limitierte Auflage zum 10-jährigen Jubiläum enthält sowohl Another One als auch neu gemasterte Another One Demos auf 2 LPs in einer Gatefold-Hülle, gepresst auf transparentem und blauem Far Rockaway-Vinyl. Enthält ein 12-seitiges Booklet mit neuen Linernotes von Mac und bisher unveröffentlichten Fotos aus dieser Zeit von Laura-Lynn Petrick.

Tõnu Naissoo is an esteemed Estonian jazz keyboardist and composer, with a career spanning over five decades. Known for his mastery of the Rhodes and Moog synthesizers, he has been at the forefront of experimental jazz since the 1970s. His innovative approach blends genres and eras, making him a revered figure in both jazz and progressive music circles. With numerous acclaimed recordings to his name and his work continues to push musical boundaries, earning him a dedicated following among jazz enthusiasts and beyond.

Repress!

The new album by "Thomas Sarrodie & Bi-Polar Blues" marks a fresh start, strongly inspired by the band"s participation in the International Blues Challenge in Memphis. This almost initiatory journey to the heart of Blues and Rock has ignited the energy and soul that make this new album the work of an inspired trio (guitar/vocals, double bass, drums), driven by the group"s extensive experience, yet remaining unique and original. With a guitar rooted in blues, blended with contemporary rock energy and 1960s psychedelic echoes, Thomas Sarrodie & Bi-Polar Blues captivates with its enchanting slides, a baritone tuning, a surprising double bass, and a swirling drumbeat. Formed twelve years ago by Thomas Sarrodie (guitar, vocals) and Sylvain Blanquiot (bass), the Thomas Sarrodie Group established itself on stages across Occitania with various drummers, until Jérémy Cazorla joined behind the kit. Influenced by Stevie Ray Vaughan and Jimi Hendrix, Sarrodie adds a personal touch, avoiding clichés, as evidenced by three studio albums and a vibrant live recording. Eager to evolve, the trio incorporated double bass, slide, and baritone tunings, reshaping their sound toward a rootsy blues while retaining rock energy. Renamed Thomas Sarrodie & Bi-Polar Blues, the group embarked on a new tour and the recording of an eponymous EP. This EP reflects their ambition to push boundaries, with compositions evoking the Delta or the Hills, tinged with R.L. Burnside"s influence, while honoring a 1960s tradition with a modern approach.

Blazing with raw energy and searing guitar riffs, the second album from Blues Creation—the legendary rock band led by guitarist Kazuo Takeda—is a cornerstone of Japan’s hard rock legacy. Drawing heavy inspiration from the likes of Black Sabbath and Led Zeppelin, this record delivers a powerful, riff-driven sound that helped shape the dawn of Japanese hard rock. What sets it apart is its hypnotic blend of British-style heavy rock with vocals sung in English tinged with a distinctly Japanese flavor—creating a one-of-a-kind psychedelic atmosphere that continues to mesmerize rock enthusiasts across the globe.

Ein akustisches Aha-Erlebnis: Frank Sinatra zum ersten Mal in der audiophilen Blue Note Tone Poet Serie!
Zum ersten Mal erscheint in der Blue Note Tone Poet Serie nicht ein Klassiker aus dem Blue-Note-JazzKatalog, sondern ein monumentales Meisterwerk aus dem Archiv des Schwesterlabels Capitol Records:
Frank Sinatras legendäres Balladen-Album “In The Wee Small Hours“ von 1955, ein ikonisches Werk, das
dieses Jahr sein 70. Jubiläum feiert.
Obwohl das Album schon viele Male auf LP und CD veröffentlicht wurde, dürfen die Hörer sich auf eine
Überraschung einstellen. Joe Harley, der „Tone Poet“ schwärmt: „Der Unterschied in der Wiedergabetreue
ist umwerfend. Der Klang ist erstaunlich… Frank ist quasi mit dem Hörer zusammen im Raum. Es ist, als
hätte sich ein Schleier gelüftet“.
Wie bei der Serie üblich wurden alle Produktionsschritte von Joe Harley persönlich überwacht, Kevin Gray
hat bei Cohearent Audio von den analogen Bändern gemastert, das Ergebnis wurde bei Record Technology
Inc. (RTI) auf 180-g-Vinyl gepresst und erscheint in einer luxuriösen Gatefold-Hülle mit Session-Fotos von
William Claxton und Ken Veeder sowie einem Essay von Rita Kirwan.

Yamauchi Tetsu (Bass, Guitar, Vocal) / Eleanor Barooshian (Vocal) / Narita Masaru (Vocal) / Pipi Shibata (Guitar) / Ohno Katsuo (Keyboards) / Harada Hiroomi (Drums, Percussions) / Tsunoda Hiro
(Drums, Percussions) / Charlie (Percussions)

Strong groove and sharp guitar sound
Yamauchi Tetsu's first solo album recorded in Japan while still in Free
Yamauchi Tetsu, who became the bassist for the British band Free after playing for Mickey Curtis & Samurai, recorded his first solo album during a temporary return to Japan in 1972.
This is a full album with plenty to listen to, including the edgy guitars on "Wiki Wiki," the groovy funk rock on "First Time," "How To Cook," and "Orange Dog," and Eleanor's languid vocals
on "Alexander Stone," "Why," and "Baby Blue." Reissued with remastering by Makoto Kubota.

Commentary: Shinichi Ogawa
Remastering: Makoto Kubota

Hailing from the southwest of France, The Deweys is a flexible trio, evolving through encounters and invitations. Influenced by American folk, blues, and country music, the group has built its own identity and etched the names of its heroes, from Johnny Cash to Nick Cave, from Calexico to R.L. Burnside. On Windwalker, The Deweys have expanded the cinematic side of their universe by inviting a string quartet and a percussionist to form a temporary orchestra, The Black Cat Orchestra, dedicated entirely to the album"s songs. The result is a unique atmosphere, with an opening that pays homage to Ennio Morricone (El Camino Del Rey) and a conclusion that feels like something straight out of a musical (the duet The Gaslamp Memories). In between, you"ll find minimalist folk, psychedelic, Floydian blues, or a heartbreaking ballad... If you needed a soundtrack for a journey, inner or otherwise, Windwalker would be the right companion.

Shortly after the breakup of Flower Travellin’ Band, guitarist Hideki Ishima released his first and only solo album in 1973—a hauntingly beautiful work that stands apart in the landscape of ’70s Japanese rock. Known for his later work as a sitar player, Ishima showcases a signature floating guitar sound throughout the album, blending psychedelic rock, acid folk, and introspective singer-songwriter elements into a deeply personal and atmospheric record.

Contributing to this richly textured sound are some of the most notable names from the era: fellow Flower Travellin’ Band member George Wada (drums), future Transam collaborators Chito Kawachi (drums) and Nobuhiko Shinohara (keyboards), and Katsuo Ohno (keyboards) of PYG.

Now reissued with a bold, powerful remaster by Makoto Kubota, this overlooked gem captures a vital moment in Japan’s underground rock evolution and demands a fresh listen from those exploring the outer edges of the genre.

Things Gotta Change is the fourth release by Austrian soul band SLADEK, following their debut album and
two EPs. With Loveless (2024), the group redefined their sound and secured a unique place in contemporary
soul. This new ten-track album builds on that breakthrough, blending the spirit of Curtis Mayfield, Donny
Hathaway and Marvin Gaye into a style distinctly their own.
At the core of SLADEK are David Sladek (vocals, guitar), Alvis Reid (bass) and Raphael Vorraber (drums),
joined by longtime producer Mathias Garmusch. Passionate about late-’60s soul and analog recording, they
craft a warm, deep sonic palette enriched by Taineh (backing vocals, keys), Yvonne Moriel (flute) and Tobias
Meissl (vibraphone).
The opener “Weight of the World” moves from heaviness to hope over guitar riffs, Mellotron flutes and a
powerful outro. “Stranger”, the first single, turns romantic miscommunication into an uplifting groove. “Wait for
Me” reflects on tough choices before drifting into a meditative guitar and flute mantra. “What a Little Love Can
Do” delivers a calm yet urgent call for compassion. “Here to Stay”, the second single, pairs emotional
uncertainty with steadfast resolve.
Instrumental “Lotus Eater” offers a dreamlike pause, inspired by mythic forgetfulness. The title track “Things
Gotta Change” is a heartfelt plea to break harmful patterns. “Beacon”, the ballad, urges kindness in a cruel
world. “Waking Dream” brings minor-key blues and abstract introspection, while “Bye Bye” closes with highenergy farewells and fresh perspectives.
Things Gotta Change stands as a rich, analog-crafted statement—blending timeless influences, vivid
storytelling, and a deep emotional range into one cohesive, soulful journey.

When Harmonia made an album, it was about more than just music – it was about a vision. Released in 1975, Deluxe was the band’s second album. Compared to their debut, it focused more on structure, melody, and rhythm. Harmonia showed a more accessible side without losing their depth.

Now, 50 years later, Deluxe returns in a special anniversary edition: a high-quality gatefold with previously unreleased photos and orange vinyl inspired by the original artwork. This edition is for collectors and anyone curious why artists like Brian Eno and David Bowie considered Harmonia a major influence – and why Deluxe remains a blueprint for electronic music today. Brian Eno once called Harmonia “the world’s most important rock band”¹ – a quote that captures just how visionary their music was, and still is.

High-quality gatefold sleeve with unreleased archival photographs

50th anniversary reissue

orange colored vinyl, inspired by original artwork

Musiq Voyage sets sail with its debut release by TORRE Bros, a producer duo from Aix-en-Provence. A heartfelt tribute to Marseille and the Mediterranean through two shimmering Space Disco cuts: Gyptis and La Pointe Rouge.
Remixed by the legendary Moplen, Alex From Tokyo, and Julien HBT, this EP blends house, boogie, and balearic vibes into a warm and elegant sonic journey.
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After cruising their native Provence and spinning on the mythical shores of Ibiza with their iconic pink-and-blue DJ truck, the Musiq Voyage crew is proud to launch their new label with a sun-soaked debut EP.
Rooted in Mediterranean soul, Phocaea Vol. 1 features longtime friends and local legends TORRE Bros (Jean-Marc & Patrick Torre), producers from Aix-en-Provence with over two decades of musical exploration—from disco and house to hybrid electronic jams. Known for underground hits like Corps à Corps and Baleora, supported by artists such as Carl Craig, the duo now pays tribute to Marseille, their beloved coastal city.

A1 – Gyptis
Named after the legendary princess said to have founded Marseille, Gyptis is a lush space-disco homage to the city’s ancient roots—where Greek sailors met local tribes, and myth met the Mediterranean.
A2 – Gyptis (Moplen Remix)
Italian disco don Moplen (Chaka Khan, Talking Heads, Loose Change) delivers a floor-ready rework—elevating the groove with cosmic flair while keeping the original’s dreamy vibe.
B1 – La Pointe Rouge
A sonic postcard of one of Marseille’s most iconic seaside spots—sunsets, sailing, and slow walks by the sea. Built on a strong boogie beat, 80s synths, and balearic textures.
B2 – La Pointe Rouge (Alex From Tokyo & Julien HBT Remix)
Legendary DJ/producer Alex From Tokyo (Tokyo Black Star, Innervisions) teams up with Parisian underground figure Julien HBT (Demented, with François X) for a deep, syncopated reimagining. Infused with Chicago house and leftfield boogie influences, this remix flips the original into a spaced-out late-night groover.
More than just a legendary DJ, Alex From Tokyo has built a global career bridging cultures and sounds. After growing up in Japan, he returned to Paris in the early ’90s and co-founded A Deep Groove with DJ Deep and DJ Gregory, launching one of France’s first underground dance radio shows on FG 98.2 FM.
A key link between Europe and Japan, Alex worked with labels like F Com, Mr Bongo, and Yellow Productions, before living in NYC, Berlin, and beyond.

2LP, transparent blue vinyl. The acclaimed Yuzo Koshiro is back with the incredible score to Earthion! Listen to the sounds of this modern classic shmup. Featuring 31 tracks from the video game mastered especially for the format, along with a packaging featuring artwork by illustrator Mitsuhiro Arita. The vinyl edition contains liner notes by Yuzo Koshiro (in English and Japanese). Created by Japanese developer Ancient Corporation, studio of the legendary video game composer Y?z? Koshiro (Streets of Rage, ActRaiser), Earthion is a space-themed 2D side scrolling shooter that sees players guide space fighter pilot Azusa Takahashi through eight chaotic levels, each with their own unique environments, enemies, and screen-filling boss fights.

Transparent blue music cassette. The acclaimed Yuzo Koshiro is back with the incredible score to Earthion! Listen to the sounds of this modern classic shmup. Featuring 31 tracks from the video game mastered especially for the format, along with a packaging featuring artwork by illustrator Mitsuhiro Arita. The vinyl edition contains liner notes by Yuzo Koshiro (in English and Japanese). Created by Japanese developer Ancient Corporation, studio of the legendary video game composer Y?z? Koshiro (Streets of Rage, ActRaiser), Earthion is a space-themed 2D side scrolling shooter that sees players guide space fighter pilot Azusa Takahashi through eight chaotic levels, each with their own unique environments, enemies, and screen-filling boss fights

Guilherme Granado & Bruno Abdala reunite for a second volume of beats, jazz ghosts and synth-funk dust.
Following their first outing earlier this year (Vol. 1 on Sucata Tapes / SUC66), the duo returns with a bigger, deeper, and smoother bang on Vol. 2 – Filhos.
The grooves remain intact, expanding on the raw funk blueprint of Vol. 1 — now infused with Tropicália-rooted freedom, Sun Ra-style celestial chaos, and a tighter, more confident feel. The sonic palette is rich and eclectic: samplers, bells, analog synths, drums, marimba, vibraphone, bass, violas, and more are layered into a warm, rhythmic tapestry that honours the past while forging new sonic terrain.
At its core, Filhos (Portuguese for "Sons") is a tribute to lineage and tradition. It reflects the idea that we are all shaped by what came before — and through music, Guilherme & Bruno honor that legacy while pushing it into the future.