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Prince Istari in the 3rd Grade of the Riddim Dub School dropping hails King Zukale with some heavy weight rockers dub tune. On the flipside the rockers invites you for some bass and brass inflicted lover style riddim. Made on earth with love, for space exploration and bass. Limited to 300 copies and comes in stamped cardboard sleeves.

Heavy support by Radio Slave, Sam Divine, Acid Pauli, Green Velvet and Maceo Plex to name a few, while also being played on radio stations world wide. The album marks the beginning of a new chapter for The Glitz as they embark on a journey beyond the world of electronic music. After a wide range of beautiful, inspiring, provoking and uplifting The Glitz-singles, we are now approaching the full album in all its might. The singles have shown us the diverse soundscapes you can find in Andreas and Daniels musical multiverse, with the genres ranging from the classic House and Techno genres, to also introducing their take on Trip Hop, Neo RnB, Hip Hop, Ballad and Electronica. This journey into their musical realm has resonated with fans and colleagues alike the last months, putting the first single on position 1 in the German Club Charts for four weeks straight (it is still in the Beatport top100 after 7 months). Born out of a desire to create a space to explore and expand their unique sound, their new album is a bold extension of The Glitz vision and purpose. It has been a long time coming and is the result of four intense years in the studio together with the unique and talented singer and songwriter Mulay. And now it is time to present the full album to the world. is the mesmerising product of one of their many jam sessions in the studio. It carries the unique The Glitz fingerprints all over it while also letting them shine in a new context. The slow flowing Hip Hop beat paired with Mulays raw vocals and incredibly poetical and personal lyrics is a must hear for old and new The Glitz-fans alike.



Placed between some of the beautiful singles we have heard before, "Ergh" hits us with full force. The track takes us on a breaky, synth loaded trip. As an energetic and driving fresh breath of air, the track combines a frisky attitude with a tension building arrangement, showing that while Andreas and Daniel embrace new genres and styles, they still have good ears for club oriented, heavier hits as well. "Flummi" is put to work in a similar setting, but with a completely different world of sounds. Bright synths slowly build up, paralleled with the pulsating low end and guiding the listener towards an explosive breakdown. The track is followed by the wild and intoxicating "Rabbit Underground" that swoops you off your feet like a rocket launch. A skilfully crafted yet raw drum work with an exquisite snare creates a foundation for tantalising synths and captivating vocals that radiates with power. After this rollercoaster of a track, the wilderness is countered with the soft and playful "Mother". The Glitz bring together various layers of soft synths and smooth percussions, creating a beautiful sphere where the captivating vocals by Mulay shine in a new way. Ending this incredible journey of sound exploration is the stunning ballad "Seven Rivers". No noise, no distractions, just a beautifully stripped down ballad that carries an ocean of emotions. A perfect completion of "Axen". In their own way, each song carries the unique sound characteristics that Andreas and Daniel are so known and loved for, while giving them space to experiment and show themselves in new ways. The mix of emotionally charged, dance floor oriented and vibrant songs are bound to give the listeners an entrancing, unforgettable experience.

The fertility of the Cuban music scene in the 1970s was rich and blooming. FA-5’s self-titled album from 1976 is a perfect example of the energy and vitality emanating from the country’s musicians and marks the next release in Mr Bongo’s Cuban Classics series. A unique musical fusion that encompasses Latin rock, funk, soul, disco and Afro-Cuban rhythms to form a diverse and alluring album.

The exquisite, funk-fuelled opener, 'Muevete Con Las Fuerzas Del Corazon', is maybe the most-known song on the album. It is a super catchy cut powered by a dynamite bassline, joy-filled horn playing and splashes of drum breaks that will ignite any dancefloor.

The record surfs through genres as it progresses. 'Di Tu Que Haras Sin Mi’ and 'Paso Sin Mas' lean back with a West Latin rock / AOR flavour to their grooves. Elsewhere, the dreamy, cosmic, Balearic-tinged 'El Blue' and fuzzy funk-rock breaks of 'Pero Lo Cierto Es Que No Quise Mas' further show the breadth of styles at play on the LP. Another big highlight on the album is the Latin, disco-funk sounds of 'Casa De Ladrillo', which morphs into a cover version of the Commodores 'Brick House'. The result is a superb alternative take on a much-loved classic.

Released on the state-owned Areito Records, the album was directed by Nestor Caballero, who arranged the songs alongside Aneiro Taño and Osvaldo Caraballoso. The prolific Tony Taño produced the album with the recording courtesy of Tony Lopez who worked with Juan Pablo Torres, Los Reyes 73, Grupo Los Yoyi, Raúl Gómez and many other Cuban greats that we have featured in the Cuban Series.

A fabulous, under-the-radar classic, that will enrich any collection.

A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves.

Jazz Room Records are pleased to release this special cover of the underground club classic "Hibaros" originally by B&G Rhythm (Donny Beck & Steve Gutierrez and featuring Bobby Lyle!) and after one listen you will agree that this is a must-check 45! Over on the flip is "Something Special", a Latin-tinged jazz-funk number that's every bit as essential as the floor rocking A-side.

By it's very nature "Radio Chevére", the new album by Rio 18 and their host of guests cannot be categorized simply: at once both a Latin mixtape and a radio show, it's also an internationalist love letter, an offering to the goddess of Tropical Music and all that it encompasses. Ambitious, yes. Foolhardy, possibly. But sincere, committed and FUNKY? Definitely.

With the voice of guest DJ Coco Maria as our guide, "Radio Chévere" takes us on a journey through myriad musical styles and stories. Stopping off at Uruguay, Brazil, Venezuela, Colombia, Mexico, California, New York and countless other sonic destinations via Samba, Salsa, Funk, Cumbia, Joropo, Disco, Psychedelic and Electronic stylings, "Radio Chévere" is also a musical metaphor for migration - a journey from one continent, one life to another.

This album features songs in no less than four languages (Spanish, Portuguese, Welsh and English) and includes collaborations with Brazilian legends the +2's (Moreno Veloso, Kassin and Domenico Lancellotti) on the tender samba ballad, "Oh Minha Querida", transatlantic Yacht Rock gods Young Gun Silver Fox ("She's In LA"), "Sao Paulo's finest" Silvia Machete on the sweaty funk "Maybe Man" and Venezuelan Llanera and Joropo queen Luzmira Zerpa sings "Padre Tiempo", set to an incessant Afro-Venezuelan pulse. Why this torrent of eclectica now? Having recorded three albums in Welsh, predominantly inspired by Brazilian music, Rio 18 founder, Carwyn Ellis had a hard time following 2021's "Yn Rio": "We'd made a concept album with an orchestra. How do you follow that?" he says. "So I retreated to my laboratory, learned as much new music as I could, started learning Spanish too, and ended up writing tunes in a bunch of languages and styles, all of which reflected things I've learned or experienced over the last couple of years."

Since the group's inception in 2018, on the suggestion of Chrissie Hynde when he toured South America as a member of the Pretenders, Carwyn has been on a voyage of musical discovery through the styles of that continent. And in those five years he learnt a lot! But in a radical new move, Carwyn has stepped back from the mic, preferring to focus on writing and producing, handing over the vocal duties to band members Baldo Verdu (Venezuela) and Elan Rhys (Wales) plus a host of collaborators. "They can sing and express what I'm feeling so much better than I can, and both Elan and Baldo bring an authenticity and strength to our songs that surprise and elevate me. Collaborating with so many other inspiring artists on this album has helped us to grow and assimilate more styles - we're halfway through our next album already."

Rio 18 is an internationalist collective with Celtic and Latin roots and love at their core. With eye popping carnivalesque cover art by the brilliant Colombian graphic artist, Yoda, "Radio Chévere" is both timely and timeless.

Acid jazz pioneer Chris Bangs returns with a brand
new album for 2024, following his early-2023
release ‘Firebird’, and 2022’s collaboration with
Mick Talbot ‘Back To Business’. His latest longplayer ‘Dream World’ is set for release on the Acid
Jazz label on 20 September – a characteristic font
of latin jazz from the maestro producer.
Bangs is known for originally coining the term
‘acid jazz’ – a movement which subsequently
morphed into the label – as he and likeminded DJs
(including Gilles Peterson and Eddie Piller) began
to combine jazz, soul and rock-fusion with the
prominent sounds of acid house in the late ‘80s.
He has since worked extensively as a producer
and DJ – including credits with his own The Quiet
Boys and Yada Yada, along with Paul Weller,
Galliano and of course most recently Mick Talbot.
The new album see some new collaborators in the
Bangs ranks – including Argentine keyboardist
Luciano De La Rosa, Italian Massimo Morganti on
trombone, Chile’s Juan Pi Salvo on trumpet, and
Fabio Tiralongo on sax – making it a truly global
production. Described as ‘pure labour of love’ by
Bangs himself, the album is a further expansion of
his remarkable sound and vision, and his own
ever-expanding dream world of (acid) jazz that
moves far beyond genre-casting

Frederik Valentin is a Danish musician, writer and producer. He has been active since the early 2000’s, playing a key role in the Danish rock, electronic and pop scenes. Having collaborated with landmark labels like Posh Isolation and produced each of Yung Lean’s “Jonatan Leandoer96” projects, Valentin has reinvented himself over and over again. ROCK N ROLL WILL NEVER DIE is his latest solo LP, a collection of rock-inflected dance music that calls to mind the scandi alt-pop of the Tough Alliance and JJ.

Equator is the sixteenth studio album by the British rock band Uriah Heep, released in 1985. It marked a departure from their earlier progressive rock sound towards a more commercial and accessible style, incorporating elements of pop rock and AOR (album-oriented rock). It peaked at #79 in the UK albums chart. The album features a lineup consisting of Mick Box (guitar), Lee Kerslake (drums, vocals), Trevor Bolder (bass guitar, vocals), Phil Lanzon (keyboards), and Peter Goalby (vocals). This album was the last to feature Kerslake and Goalby before their departure from the band. Singles on the album include ""Rockarama"" and ""Poor Little Rich Girl”. Equator is available as a limited edition of 1000 individually numbered copies on smoke coloured vinyl and includes an insert.

From Quinteros’ early rockabilly singles to his San Fran folk rock with the Au-Go Go’s, this collection highlights his Brent singles along with unissued material, acetates, demos & outtakes! Includes a booklet with liner notes & an interview with Eddie!

Eddie Quinteros was one precocious kid. Before he was old enough to drive, he was singing on live TV and flying to Hawai’i to rock out at stadium gigs. When his contemporaries were still in high school, he was hitting the charts with a tune he wrote himself, playing on an Alan Freed package tour, and making multiple appearances on American Bandstand. And before the San Francisco singer/guitarist was out of his teens, he’d already been screwed over by a shifty manager and sworn off the music business.

Along the way, Quinteros cut a handful of jumping singles showing that if he’d had the right breaks, he could have altered history. Ritchie Valens wouldn’t have been the era’s only Chicano rock ‘n’ roll hero. Quinteros’ Southern rockabilly influences are audible in his early singles, but they’re filtered through the more citified point of view of a San Francisco teen. And in the mid ‘60s, he reinvented himself as the frontman for the Au Go-Go’s, turning out a chiming, folk-rock flavored sound more in line with labelmates and fellow S.F.’ers the Beau Brummels.

All of Ed’s recorded output only amounted to a handful of 45s, but this collection sets things straight for posterity, featuring demos, unreleased tracks, live recordings, and acetates.

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

Neue Vinylauflage des Debütalbums EXITS (2005) der britischen Indie-Rock-Band The Boxer Rebellion, die am Ende der Brit-Pop-Ära einen frischen Entwurf britischer Rockmusik vorlegte, der traditionelle Wege verliess und mit Post-Rock experimentierte. EXITS erschien - remastered - 2023 erstmals auf Vinyl.

Rage Queen Delilah Bon is a force to be reckoned with blending elements of hip-hop, nu-metal, and riot grrrl ethos into her signature "Brat Punk" style. Her music serves as a fierce anthem for marginalized communities, particularly women, non-binary and the LGBTQ+ community. Her performance at the 2023 Glastonbury festival garnered acclaim from Kerrang!, who hailed her as a ‘standout voice in the rise of bold and bratty heavy music’. This recognition secured her a coveted spot on Kerrang!'s 'Sound of 2024' artist list and further recognition as ‘New Noise’ artist in Metal Hammer magazine and full feature in Clash Magazine. 2024 promises to be a monumental year for Delilah Bon, with a series of highly successful single and video releases to date and her highly anticipated album ‘Evil, hate Filled Female’ due for release in September. She’s also playing a host of Summer festivals including Download, Glastonbury, 2000 Trees and several European festivals including Rock For People in Czech Republic and Metropolis Festival in the Netherlands, with more to be announced! Her singles from the upcoming album, “Maverick” and "Finally See Me” have received widespread support from BBC Radio 1 and Kerrang! Radio, earning coveted spots as Track of the Week’ on Alyx Holcombe’s BBC Radio 1 Introducing Rock Show, ‘Future Flavour’ on Nels Hylton’s BBC Radio 1 Future Alternatives and ‘Track of the week’ on Kerrang! New Noise with Hope Lynes. She’s also had major editorial support from Spotify, Apple Music, Deezer and Amazon Music, including her 3rd Misfits 2.0 playlist Cover artist. Delilah Bon's international appeal was further solidified by her support slot on US artist Scene Queen's UK tour in 2023 and performances at sold-out arena shows in France earlier this year supporting French band Shaka Ponk. Notably, she made National television appearances on Le Late Show and Taratata TV in France, showcasing her magnetic stage presence to a global audience. With her bold persona, genre-defying sound, and unwavering commitment to amplifying marginalized voices, Delilah Bon continues to cement her status as a trailblazer in the music industry.

In this electrifying 2024, we're buzzing with excitement as we celebrate 40 years of Flexi, the record emporium that's weathered countless storms amidst the ever-shifting tides of the music industry, catering to vinyl aficionados across the ages. Alongside the raves and swag, no doubt, there's a killer compilation dropping on the indie label "Flexi Cuts," dubbed evocatively as "Musica Solida" spread across 3 or perhaps 4 12-inch samplers, boasting a carefully curated selection of singles from cherished Flexi-affiliated artists and producers. The vision? To cultivate a virtuous movement of sublime tunes, echoing the fervor and zeal to persist within the realm of quality that Flexi embodies within the Italian scene, alongside kindred spirits... despite the daunting challenges of the market in recent years.



Musica Solida # 1 showcases

DJ Rocca: One of the most solid producers on the panorama, a respected maestro of the clubbing scene in Italy and worldwide.

Club Soda: Live electronic ensemble, still dreamin' from their latest EP 'Basso e Batteria', which packs an unreleased track recorded directly from their house-flavoured jam sessions.

Lex (Athens) & Locke : A Greek producer who is well established in today's dance house scene, with quality-vibey releases and a very nice and classy and groovy sound. We will definitely hear from him in the future!

Hiroyuki Kato: Emerging Osaka-based multi-instrumentalist makes his debut with a very punchy and catchy track!

The Mechanical Man (feat. Bob Vito) : Neapolitan super producer. Raw-sounding, gritty, powerful and never dull, a pleasure to have him with us.



The record will be released in about 200 vinyl copies no more.

Packaged in the classic discobag 2- holes, with a distinctive letterpress print in a beautiful silver cover.



Compiled by Simone Guerra aka Relative

Mastered by Francesco Brini (except track B1, Mastered by Marco Spaventi)

Distributed by Rubadub, Glasgow

Pressed by Desslab

Design by GLZ

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Lutalo's highly visceral folk goes electric on The Academy, the Vermont multi-instrumentalist, songwriter and producer's debut LP. Recorded in January 2024 at the storied Sonic Ranch and self-produced along with Jake Aron (Snail Mail, Protomartyr, L'Rain), The Academy feels like watching the best underground film you've seen in years; establishing Lutalo as a singular voice of this generation of indie rock. Lutalo describes The Academy as their "first chapter" - a time capsule of the lessons they've learned in their 20-something years of life. "This record is exactly that: a `record' of my early life," they say of their debut album, out via Winspear. "The experiences, thoughts and feelings I was holding at those times and am currently processing. To me, this is the first big stamp of my existence I'm sharing." While Lutalo's 2022 EP Once Now, Then Again introduced them as a lo-fi acoustic guitar wunderkind, The Academy is bigger and bolder without compromising Lutalo's inviting sense of emotional intimacy, inspired by alt-rock veterans like Thom Yorke and Rob Crow as well as electronic greats like Aphex Twin and Bowery Electric. The Academy's grander arrangements are heard in the biting adrenaline rush of "Ocean Swallows Him Whole," or the anti-war jangle of album closer "The Bed." Their lyrics are often deeply intuitive, flowing as a stream of consciousness, albeit with weighty meanings. With their unique baritone and finesse for lyrical world building, Lutalo cuts to the bone-while only just beginning to reveal the depth of their artistry and vision.

Zur Feier des 25-jährigen Jubiläums erscheint der 1999er Klassiker von The Get Up Kids in einer Deluxe-Neuauflage auf silberfarbigem Doppelvinyl im Gatefold samt Download-Code, sorgfältig von den Originalbändern remastert und mit einer Menge Bonusmaterial versehen, darunter seltenen Demoversionen und unveröffentlichten Raritäten. "Something To Write Home About" lieferte mit seiner elektrisierend-kämpferischen Konvergenz von Power Pop, Alternative Rock und Punk die Parameter für die im Mittleren Westen angesiedelte zweite Emo-Welle und wurde zum wichtigen Rock'n'Roll-Dokument des späten Millenniums.

Signed to Island Records, his Iggy Pop/Jim Morrison side was cultivated, the weirdness dialled down, leathers were worn and a rock'n'roll microphone stand was utilised. The lead track "World Shut Your Mouth" gave Cope his first solo UK Top 20 hit, a big, brash slice of garage rock, it was a post-punk equivalent to David Bowie returning with Let's Dance; simple, straightforward. Backed by what Cope called his 'two-car garage band', the album reached No 11 in the UK chart, his highest placing to date whether solo or in The Teardrop Explodes, it also entered the US Billboard Hot 200. It's not all straight-ahead stomp, the eight minute closer "A Crack In The Clouds" harks back to the Teardrop Explodes' Wilder, and Kate St. John's oboe on the title track evokes his Mercury albums. Released in March 1987, Saint Julian was seen as a storming return to form for Julian Cope - This re-issue faithfully replicates the original 1987 Mercury Records UK release and is pressed onto high quality 180g vinyl.

Born in Aldershot on 11 September 1947, Catley's family moved to the Tile Cross area of Birmingham when he was young. He went on to attend the nearby Central Grammar School for Boys (Birmingham) and left to start an apprenticeship at the GPO before deciding on a musical career shortly after meeting similarly minded individuals at college. Whilst at college he joined several bands, such as The Smokestacks (Jeff Clark-guitar, Ron Savage-guitar, Derek Danks-bass & Brian Worrell-drums, Life and Clearwater). His first professional band was when he joined local outfit The Capitol Systems. The initial line-up was Bob Catley (vocals) Paul Sargent (guitar) Paul Whitehouse (bass), Dave Bailey (keyboards) and Bob Moore (drums). Shortly afterward they changed their name to Paradox, inspired by a science-fiction novel. A one-off deal was arranged with Mercury after Paradox had come to the attention of Francis Rossi and Rick Parfitt. The tracks were "Ever Since I Can Remember", backed with "Goodbye Mary". In addition, they recorded "Mary Colinto" and "Somebody Save Me". All of these songs were written by Dave Morgan. Paradox played festivals in the Netherlands and Italy before splitting up upon their return to the UK in 1970. Formed in 1972, Magnum throughout the next 16 years consisted mainly of Bob Catley on vocals and Tony Clarkin on guitar. Magnum began as the house band at Birmingham's famous Rum Runner night club (later the home of Duran Duran). They began to develop their own style by playing Clarkin's songs at a residency at The Railway Inn, in Birmingham's Curzon Street, in 1976. Joining Clarkin and Catley were drummer Kex Gorin and bassist Dave Morgan (later a member of ELO). Their most notable success during these early years was the Jeff Glixman produced Chase The Dragon (1982) which reached No. 17 in the UK, and included several songs that would be mainstays of the band's live set, notably ‘Soldier of the Line’, ‘Sacred Hour’ and ‘The Spirit’. Their breakthrough album came in 1985 with On a Storyteller's Night which featured the single ‘Just Like an Arrow’. This success continued in the following years with the Roger Taylor (Queen) produced Vigilante in 1986, the top 5 album Wings of Heaven in 1988, and the Keith Olsen produced Goodnight L.A. reaching No. 9 in the UK album charts in 1990. Subsequently, Clarkin decided to maintain a tighter control, and after their initial mainstream success, the band lost their major label backing and returned to a more personal level of production. This finally found the band splitting and the formation of Hard Rain in 1995, which saw Clarkin pursue a more Pop orientated direction with a band that included Sue McCloskey on lead vocals. This new direction didn’t sit well with Catley, and after a headline performance at The Gods in the late 90s, a conversation with Bruce Mee of Now & Then Records saw Catley agree with a decision which eventually led to his debut solo album, ‘The Tower’. This release was completely written by Gary Hughes of Ten, with the writing completely decided to be in the vein of classic Magnum. The album itself was recorded by various members of Ten, including the amazing Vinny Burns (Dare) on guitar. On release, the many positive reviews concluded that the release of ‘The Tower’ had succeeded beyond its wildest imagination…..and Bob Catley’s solo career had been launched with amazing success!! With a lyrical intricacy and majestic pomp, songs like ‘Far Away, ‘Fear of the Dark, ‘Madrigal’ and ‘Deep Winter’ take you back to that glorious period of Magnum between ‘Chase The Dragon’ and ‘Wings Of Heaven’ whilst hard melodic rockers such as ‘Scream’, ‘Dreams’ and title track ‘The Tower’ show just what Magnum would have sounded like if they’d gone a little bit harder. Another absolutely brilliant album that totally deserves to be filed alongside those mid-period Magnum classics.

Dutch rock band Shocking Blue was at their peak in the 60s and 70s and gained major cross-Atlantic success. The band was founded in 1967 and is most known for their single ""Venus"" (with which they became the first Dutch band ever to reach the first spot on the American Billboard Hot 100). The band had a series of subsequent hits and their influence reached well beyond their generation. Music On Vinyl proudly presents their legendary Scorpio’s Dance album as a 2024 remastered edition from the original 1970 mix by Robbie van Leeuwen. It includes none less than four bonus tracks that were not featured on the original LP: ""Send Me A Postcard"", ""Mighty Joe"", ""Hello Darkness"" & ""Pickin’ Tomatoes"". Scorpio’s Dance (Remastered) is released as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl.

Das 2020er Album von Tiger Lilly Marleen und ihren Bonsai Kitten! ,Love and let die" vereint den Spirit von Woodstock und Wacken mit all der subkulturellen Attitüde, die man an dieser großartigen Band so liebt!!! Ein energiegeladener Punk, Riot Rock, Metal,Blues & Billy Meltdown über Liebe, Tod & Hoffnung 11 starke Songs inkl. Singles ,Now or never" und ,Limit to your love"! BONSAI KITTEN feiern mit ihrem neuen Album "LOVE AND LET DIE" eine musikalische Wiederauferstehung und zeigt völlig neue Facetten der Band. Wenn Tiger Lilly Marleens charismatische Stimme auf Marc Reigns (Morgoth / Destruction) hemmungsloses Metal-Schlagzeug und Wallys (Psychopunch) raue Blues-Rockgitarre trifft, abgerundet durch Spoxx'(Feeling B) Bass Sound. Die Songs glänzen durch Spontanität und Härte, aber auch durch Intimität und eine extrem spannende Vielseitigkeit, während sie die Liebe, den Tod und die Hoffnung behandeln. Dieses Album ist pure Leidenschaft, zieht in seinen Bann und sprengt musikalische Grenzen. Ein "Limit (to your love)" - das vorab ausgekoppeltes Video - gibt es für BONSAI KITTEN dabei nicht ohne das Wesentliche aus den Augen zu verlieren: Jeder Song ist ein packender Treffer.mal ins Herz, mal in die Seele, mal "direct in your face"! Purpurfarbenes Vinyl!

Die vier Berliner der Band BONSAI KITTEN machen, was sie wollen. Das ist auch der Grundtenor ihres 2017er Albums MINDCRAFT. Der Sound ist kompakt und huldigt energischem Riot-Rock. Das treibende Schlagzeug und die kühnen Gitarren-Riffs werden jetzt durch eine drängende dreisaitige Bass-Gitarre ergänzt, perfekt abgerundet durch Tiger Lilly Marleens schöne Stimme und scharfe Zunge. Diese Band hat Spaß! Das zeigen auch die schweisstreibenden Liveshows, die BONSAI KITTEN jedes Jahr quer durch Europa führen. Wer also denkt, Gitarren-Musik sei tot, kann jetzt aufatmen, denn BONSAI KITTEN hauchen dem Genre frisches Leben ein. Nun wieder erhältlich, Vinyl klassisch schwarz.

No one has lived a life quite like Marcos Valle. He became an overnight international sensation, fled a military dictatorship, dodged the Vietnam war draft, had his music sung by Homer Simpson, made enemies with Marlon Brando, and became an unsuspecting fitness guru for multiple generations. But to truly understand the great Brazilian composer, arranger, singer and multi instrumentalist, one must listen to his music.

Lead Single (Life Is What It Is) : Between the release of his first album in 1962 and today, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. He has also had his songs recorded by some of the all time greats, including Frank Sinatra, Sarah Vaughn, Sergio Mendes, Elis Regina, and (last but not least), Emma Button of the Spice Girls. He has also had his music sampled by Jay-Z, Kanye West, Pusha T and many more.


With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together.

“I believe my music is many things. It goes in different directions. I have many different ways of writing music, sometimes it’s melodies and harmony, sometimes the groove is the focus. But all the music I have made over my sixty year career is unified. It is all natural and it is all sincere. And this is what I wanted to bring to my new album.”

A prominent feature of Valle’s career has been his dual residence between Brazil and the USA. Originally moving over in the mid-sixties on the back of bossa nova’s international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. But the Vietnam War loomed and the threat of being drafted saw him return to Brazil. He spent the following years in Rio writing music for TV and film, as well as four cult favourite albums in collaboration with some of Brazil’s most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario and O Terco.

By 1975, Brazil's military dictatorship was at its most oppressive, making living and working increasingly difficult. Valle moved back to the US where he would reside in LA, writing songs for, and collaborating with the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn and Leon Ware, amongst others.

Túnel Acústico features two songs originally conceived during Valle’s time on the West Coast: “Feels So Good”, a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track “Life Is What It Is”, composed around the same time, with percussionist Laudir De Oliveira from the group Chicago.

Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the “Feels So Good” demo was restored with the help of producer Daniel Maunick, who also utilised AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware’s vocal hook, as well as extra keyboards and percussion.

Also written in late seventies LA, “Life Is What Is It” was co-penned by Laudir De Oliveira from the band Chicago and first released on the bands’ Chicago 13 album with lyrics by Robert Lamb. Another nod to his good times in LA, Valle recorded his own version for Túnel Acústico, upping the tempo and deepening the groove for a blast of irresistible summer soul.

On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc.

The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno (Bora Meu Vem), Céu (Nao Sei), and Moreno Veloso (Palavras Tão Gentis) as well as Valle's brother Paulo Sergio Valle (Tem Que Ser Feliz).

The album closes with "Thank You Burt (For Bacharach)", a tribute to the legendary composer who passed away in 2023.

Túnel Acústico will be released on 20th September 2024 via Far Out Recordings. Valle is set to tour Europe and America in support of the album.

Neue Vinylauflage des zweiten Albums UNION (2009) der britischen Indie-Rock-Band The Boxer Rebellion mit den Singles "Evacuate", "Flashing Red Light Means Go", "Soviets" und "Spitting Fire", das My Morning Jacket von #1 der US-Alternative-Alben bei iTunes verdrängte und zum ersten Album einer Band ohne Vertrag wurde, das nur als digitaler Release in die Billboard Top 100 Album-Charts einstieg. UNION erschien - remastered - 2023 erstmals auf Vinyl.

Album, auf dem die Künstlerin aus Bristol sich die Welt ganz nach ihren Vorstellungen formt.

Nach 'Return' (2020) und 'Sound of the Morning' (2022) ist 'Someday, Now' die Fortsetzung von Pearsons akustisch geprägter Singer-Songwriter-Kost, die sie mit Hilfe des Elektronik-Produzenten Nathan Jenkins alias Bullion (u.a. Carly Rae Jepsen, Ben Howard, Nilüfer Yanya, Avalon Emerson) gestaltet hat. Nach einer Zeit des Burnouts, des selbst erzwungenen Exils vom Musikmachen und des Alleinreisens kehrte die Künstlerin aus Bristol mit klarem Verstand und einer Vision zurück. “I knew exactly who I wanted to work with, I knew exactly who my session band were going to be, I knew where I wanted to record. It felt like I was finally calling the shots for myself, and that was so empowering.”

Eine breite und interessante Palette von Inspirationen hat dabei die Platte beeinflusst: Beck, Neneh Cherry, Charlotte Gainsbourg, Kate Bush, Tears For Fears, Arthur Russell. 'Someday, Now' zeigt das natürliche Talent der Songwriterin für Ohrwürmer und präsentiert zehn Pop-Tracks, die mit Bullions leichter, aber anspruchsvoller Note verfeinert werden. Während frühere Platten von Katy J Pearson langsamer und stückweise entstanden, wurde 'Someday, Now' in den Rockfield Studios in Wales innerhalb weniger Wochen mit einer Band aus den Heavenly-Labelkollegen Huw Evans (H. Hawkline, Aldous Harding), Davey Newington (Boy Azooga sowie Joel Burton (Broadside Hacks) geformt.

In 2007, Céu debuted her self-titled album, becoming one of the select Brazilian artistsnominated for an American Grammy in the World Music category and is widely regarded as one of the most in_¼éuential Brazilian artists of her generation. With now six albums to her credit, Céu has transcended borders, captivating audiences on five continents at prestigious festivals such as the Montreal Jazz Festival, Coachella, Roskilde, Rock in Rio and Lollapalooza. She is renownedfor her collaborations with both Brazilian and international artists like Duran Duran, Herbie Hancock, Jorge Ben Jor, Gilberto Gil and Emicida. Recorded in the USA, the album features musical production by Céu as well as Brazilian musician and producer Pupillo (drummer of Naçao Zumbi) and American multi- instrumentalist and arranger Adrian Younge (co-founder of Jazz Is Dead). Recorded at Linear Labs Studio in Los Angeles, Novela is Céu"s sixth studio album. It was captured live on tape, in a dynamic moment that demands total presence. A number of artists feature on the record: American MC and songwriter LadyBug Mecca, Franco-Senegalese singer and songwriter anaiis, American singers Loren Oden and Jensine Benitez, American DJ and producer Frankie Reyes, French artist Hervé Salters (General Elektriks) and Brazilian national treasure Marcos Valle. In Novela, ancient technologies, healing, creaminess, bolero, polished stars, echoes of soul music, things of the earth, rap, and whispers to guides emerge. Throughout the record, there is a reaffirmation of the author"sfearlessness, committed to her time, in the complexity and beauty of creative work. Always keeping the diversity of Brazilian music on the horizon.

Ever-evolving the mythologies and magic of Dialect's sonic sphere, Andrew PM Hunt returns with Atlas of Green, elegantly molding unexacting details of memory and mistranslation into the framework of the British musician and composer's creative pursuit. The album imagines a young musician named Green working in a future dawning era where lost signals and enduring impulses are unearthed from the sediments of technology and time. Across twelve compositions, Green becomes the compass in an epoch of transition; one shaded with pastoral patinas and studded with the fragments of allegorical ruin. As tattered as it is tender, Atlas of Green is a patchwork of scavenged relics and bygone hues, cast through the iridescent shimmers of a mid-future in flux. Growing up on the Wirral Peninsula in North West England, Hunt was surrounded by stone age landmarks and rock carvings that infused the landscape with legend. It was beside those carvings on a residency at Bidston Artistic Research Center where he began the journey of Atlas of Green, experimenting with tape loops and exploring the center's library of sci-fi. Here Hunt also encountered the work of Italian philosopher Federico Campagna, a writer who believes we're at the end of our current world. This encouraged Hunt's exploration of how the fabric and fantasies of our current era might endure into the future of Green, as they try to make sense of the riddles of the past, utilizing broken electronics and simple acoustic instruments to create new mythic forms. This question of endurance led Hunt to inscribe Atlas of Green with its own lucid markings - sometimes almost anthemic adornments - which unfurl through the album's melancholic air as possible new metaphors for how the human spirit might persist through dark days and regain lost wisdom. As Hunt reflects, "We're not just on an endless procession through constantly better worlds. Our lack of action (on climate and inequality) feels hopeless at times. I find some comfort in the idea that maybe the world needs a new song in order to tell a new story about itself". The image of Green as a journeying adolescent in-between eras developed out of a burgeoning interest in the fantasy writing of Ursula K. Le Guin and Gene Wolfe and occurred at a point in Hunt's life where the question of starting a family was looming. Green became a device for thinking about the future, or futures, putting someone in another world and granting access to a slightly longer timeframe than one's own life. What would this person, in this as-yet-unsung world do with something as powerful as music? As Hunt notes, "I imagined them doing what we've always done with music - using it to build a map of feeling, providing boundaries and tracing the edges of our emotions, defining a space of possibility and giving voice to our intuition. This is an alternative future to the one of endless growth but one which still holds space for hopes and dreams." Mapping new folds in the passage of time, Atlas of Green is traced with an aura of sonic urgency which arises through its process-led construction. Following a series of live shows in early 2023, the record was created with an assemblage of analogue electronics and acoustic instruments, including scratched records and a broken four track, collaging studio work with recorded live recordings featuring work in progress. Where the indeterminate energies of Under~Between (2021) appeared through digital processing, Atlas of Green embraces chance encounters within the malfunctions of physical media and glitching gear. Within these interwoven clusters of organic and blemished sound, Dialect reclaims the joyfulness of the inner amateur and creates a soft landing for new seeds of magical possibility - rooted in the bounds and abundance of realism. "As a planet of people we have to deal one way or another with our finite existence. We have to deal with that loss with hope still in our hearts - our capacity to love cannot be contingent on things lasting forever, and so this image of Green is not a vision of dystopia, nor utopia but an expression of trust and an acceptance of limits."

"Flood" ist eine Platte und eine Wiedergeburt, für die die Band aus Minnesota fünf Jahre Arbeit aufgegeben hat, um schließlich 13 Tracks in nur 10 Tagen an der texanischen Grenze aufzunehmen. Während die aufschlussreichen Sessions im letzten Jahr auf der Sonic Ranch mit den langjährigen Produzenten Caleb Wright (Charly Bliss, Samia) und Brad Cook (Bon Iver, Waxahatchee) stattfanden, begann der Entstehungsprozess des Albums vor gefühlt einer Ewigkeit. In derselben Nacht, in der Hippo Campus ihre letzte Platte "LP3" feierten, erfuhren sie, dass jemand, den sie liebten, unerwartet verstorben war. Die Peitschenhiebe des Erwachsenwerdens wurden durch die Auswirkungen von Tod, Niedergeschlagenheit, Sucht und Angst noch verstärkt, so dass sie sich dem überwältigenden Ziel verschrieben, etwas Tiefgreifendes und Lebensveränderndes zu schaffen. Sie wurden gemeinsam nüchtern, nahmen regelmäßig an Gruppentherapien teil, schrieben mehr als 100 Songs, traten einen Schritt zurück und stellten plötzlich fest, dass ihnen das, was sie machten, eigentlich keinen Spaß brachte. Für eine Band, die eine Milliarde Streams überschritten hat, historische Veranstaltungsorte wie Red Rocks ausverkauft hat, auf Festivalbühnen auf der ganzen Welt aufgetreten ist - und das alles dank des unwiderstehlichen, frühlingshaften Songwritings, das ihre Reihe von experimentellen Pop- und emphatischen Rockalben füllt - wussten sie, dass das, was sie dieses Mal machten, einfach nicht gut genug war. Gemeinsam mit Wright und Cook räumten sie auf und warfen alle Vorurteile darüber über Bord, wie sie zu klingen gedachten. Sie versuchten nicht mehr, ein sogenanntes Meisterwerk zu erzwingen, und verpflichteten sich gegenseitig, das zu schneiden, was ihnen am besten gefiel: kein Hinterfragen oder Zurückhören, nur ein Mantra des Vorwärtsdrangs. Weniger als zwei Wochen später hatten Sänger Jake Luppen, Gitarrist Nathan Stocker, Schlagzeuger Whistler Allen und Bassist Zach Sutton "Flood" fertig. Auf "Flood" liefern Hippo Campus dicht gedrängte Thesen über Selbstkritik und Selbstvergebung, Ermächtigung und das Zurückbleiben hinter den Erwartungen, gescheiterte Beziehungen und das Finden eines Weges nach vorne. Die Gefühle sind roh, echt und ungeschützt, unterstützt von subtilen Tonartwechseln und Tempowechseln und der angeborenen Raffinesse, die sie so mühelos präsentieren können.

First re-press since the initial 2019 release of critically acclaimed album featuring Yeah Yeah Yeahs' lead vocalist Karen O, and Danger Mouse, one of the most influential artist/producers of the 21st Century.

Debuting in March 2019, Lux Prima was hailed by Pitchfork as a “dreamy and poignant collaboration.” It featured the single “Woman,” which was accompanied by a memorable Spike Jonze-directed live performance on The Late Show with Stephen Colbert. The single was also nominated for the Best Rock Performance Grammy.

The new package includes the original artwork plus a 16 page booklet highlighting their interactive exhibition “An Encounter with Lux Prima”, held at Los Angeles’ Marciano Arts Foundation featuring a 360 degree soundscape of the album mixed at famed Skywalker Ranch.

Limited Edition of 1000 Opaque Pink 180 Gram Vinyl LP. Kiss Each Other Clean, Iron & Wine's fourth full length record was originally released in 2011 and came three years after his biggest selling record up to that point, The Shepherd's Dog. The bands two earlier albums had been sparse, intimate solo affairs that offered no hint of the direction he would take with records three and four. Like The Shepherd's Dog, Kiss Each Other Clean is layered with textures, poly-rhythmic sounds and a more is more approach. His lyrics sprung to life in ways initially unimaginable to early fans and critics helping each song tell its story and build to climaxes thru various sounds and editing techniques. However what remained at the core of KEOC, and what fans of the band had come to love, was the song writing and singing of principle songwriter Sam Beam. Beam's ability to invite you in with his hushed singing tone and knack for a melody remained front and center even in his drive to replicate something in the vein of Waits' Swordfishtormbones Principle recording for KEOC was at home in Dripping Springs, Texas where Beam resided at the time. After laying down the bulk of the record Beam moved recording to Chicago to work with Brian Deck. A cast of musicians helped Beam find his sound and see his vision for KEOC including Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger (Tin Hat Trio), Benny Massarella (Red Red Meat/Califone), Chad Taylor (Chicago Underground Duo) and Matt Lux (Isotope 217). With KEOC Beam and company brought in soft rock smoothness, dub reggae textures, and instruments that hadn't been featured on previous records. The vintage synths on 'Monkeys Uptown', the Stevie Wonder funk on 'Big Burned Hand,', the strum and drang of 'Walking Far From Home' all give the otherwise very organic-sounding arrangements a welcome cheesy kick. The record also produced the biggest radio single of the bands career with the vintage AM friendly vibes of 'Tree by the River.' It was an adventurous period in the career in Iron & Wine and one in which Beam was defying categorization.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Permanent Parts is the second album released by visual artist Katharina Grosse (synthesizer) and musician Stefan Schneider (synthesizer; So Sner, To Rococo Rot). Grosse and Schneider were joined at Galerie Max Hetzler on 29 April 2023, performing as part of the Spectrum without Traces exhibition, by three artists who all generally work within improvised music – Carina Khorkhordina (trumpet), Tintin Patrone (trombone and electronics), and Billy Roisz (noise generator, piezo and mini cymbal). Permanent Parts is an extraordinary set of recordings that inhabits multiple zones at once: within its thirty-five minutes, we can hear the interactions of non-idiomatic collective music making, and the electronic glimmers of electro-acoustics, while, at the same time, the music remains untethered to genre.

This capacity to work within liminal zones makes perfect sense when thinking about both Grosse’s and Schneider’s prior work, whether the energetic diffusions and spatial explorations of Grosse’s artistic practice, or the slippery texturology of Schneider’s recent work with electronics. Khorkhordina, Patrone and Roisz all find their own ways into this dynamic, too, and Permanent Parts feels like an equal exchange of presence and contribution; there are no hierarchies here. This might explain the music’s curious sense of development, where several elements are allowed to exist alongside each other, not in direct contact but in a mode that’s somewhere between carefree layering and unconscious juxtaposition. The musicians are listening, but not just with their ears – their skin, their bodies are hearing, too.

When talking about Permanent Parts, Schneider is careful to place it within contexts that are specific, to some degree, but which allow for difference to blossom. “Although it was recorded live, it somehow was not meant to be a documentation of a live event in the first place. The five piece line up that appears on the record had met for the first time only a few hours before the concert took place.” While it might take a leap of faith for all parties to walk together, and so willingly, into a place of such freedom, of such risk, there is clear sympathy here between the musicians, and a shared appreciation of the immediacies of the situation.

It also throws some of our preconceptions about this music out of the window. “The record does not feel like a document of a performance as the music was not pre-composed and there was no reference,” Schneider continues. “Perhaps it was not even an improvisation?” For Grosse, her musical relationship with Schneider similarly shakes free from expectation: “My sound does not exist without Stefan’s. It is neither written down nor is it improvised. It is instantaneous.” When thinking about the five-piece exploration on Permanent Parts and asked to expand on what each musician brings to the table, she continues, “We all love the thrill of an unknown encounter and we seem to have a need for building connections through the thicket of our voices.”

There’s a curious phrase on the back cover of the album, before the artists are listed: “Wir sind eine Batterie / We are a battery.” This sums up the spirit of Permanent Parts. Schneider recalls that Grosse said this phrase to the musicians at the start of the performance. Grosse explains further, “The figure of the battery referred to our placement in the space building out a small circle facing one another from where the sound could spill into the impressive volume of the gallery.” The battery as an arrangement of similar devices; but I also think of charge, and the conversion of chemical energy, and of fortification. It’s a poetic metaphor that sums up much of the febrile pleasure of the music contained on these Permanent Parts.

– Jon Dale, Melbourne

Coke Bottle Green & Transparent Orange Vinyl. This soundtrack features 54 tracks from the game "Headbangers - Battle of the Dancers", the latest game mode in "Headbangers: Rhythm Royale". This exceptionally diverse album was entirely composed and performed by Charles Bardin and Valentin Ducloux, with additional vocals by Priscilla Cucciniello on several tracks. Get ready to ruffle your feathers to the rhythm of all these pigeon-themed songs! Composer Charles Bardin: "With Battle of the Dancers, we wanted to create the most varied soundtrack in the history of video games. This was our intention from the very beginning. The 54 tracks on this album draw their inspiration from a wide range of musical styles: rock, funk, electro, pop, folk, reggae, punk and many more. We conceived this soundtrack as a tribute to music in all its diversity, all combined with silly lyrics about our pigeon friends."

-the groundbreaking third album from 1991

-first remastered re-release & also on vinyl for the first time

-Booklet/inlay with liner notes by guitarist Markus Steffen

-produced by Charlie Bauerfeind at AHA Studio, Munich

When four young musicians from Munich founded the thrash
band Sodom in the early eighties, nobody could have guessed
that they would deliver a milestone for European progressive
metal with their debut album „Life Cycle“ in 1988. Changes
could already be heard on „Steps“ (1990) and on „A Sense
Of Change“ in 1991 they managed to get fans of prog and art
rock on board for the first time. With the much more melodic
singer Jogi Kaiser, who is still active in musicals today, and a
reduced metal component, this balancing act was achieved
in an impressive way. It was the first Sieges Even album
that was no longer released as an LP by the label at the time
(Steamhammer/SPV), but only on CD. „A Sense Of Change“
was very successful in certain circles, but the band parted
ways with guitarist Markus Steffen. The following two albums
deviated from the previous style, but the reunion took place
in 2005, producing „The Art Of Navigating By The Stars“ and
„Paramount“. The chapter was closed in 2007 with the live
album „Playgrounds“. Markus Steffen and singer Arno Menses
founded Subsignal, who are still successfully active today.
„A Sense Of Change“ is finally being re-released in 2024,
with the argument „for the first time on vinyl“ standing out in
particular. The material was first remastered, then mastered
separately for CD and LP. The booklet and LP insert contain
images from the original release as well as liner notes by
guitarist Markus Steffen. The album was produced by Charlie
Bauerfeind in 1991.

-das wegweisende dritte Album von 1991
-erste remasterte Wiederveröffentlichung & erstmals auch auf
Vinyl
-Booklet/Inlay mit Liner Notes von Gitarrist Markus Steffen
-produziert von Charlie Bauerfeind im AHA-Studio, München

Als vier junge Musiker aus München Anfang der Achtziger
die Thrash-Band Sodom gründeten konnte niemand ahnen,
dass sie 1988 mit ihrem Debütalbum „Life Cycle“ bereits
einen Meilenstein für den Europäischen Progressive
Metal ablieferten. Schon auf „Steps“ (1990) konnte man
Veränderungen hören und auf „A Sense Of Change“ schaffte
man es 1991 erstmals, auch Fans des Prog- und Artrock
ins Boot zu holen. Mit dem wesentlich melodischeren
Sänger Jogi Kaiser, der heute noch in Musicals aktiv ist,
und einem reduzierten Metal-Anteil gelang dieser Spagat
auf beeindruckende Weise. Es war das erste Sieges Even
Album, welches vom damaligen Label (Steamhammer/SPV)
nicht mehr als LP, sondern nur noch auf CD veröffentlicht
wurde. „A Sense Of Change“ war in bestimmten Kreisen sehr
erfolgreich, dennoch trennte man sich von Gitarrist Markus
Steffen. Die folgenden zwei Alben wichen vom bisherigen
Stil ab, doch 2005 erfolgte die Reunion, die „The Art Of
Navigating By The Stars“ und „Paramount“ hervorbrachte.
Mit der Livescheibe „Playgrounds“ wurde das Kapitel 2007
geschlossen. Markus Steffen und Sänger Arno Menses
gründeten Subsignal, die bis heute erfolgreich aktiv sind.
„A Sense Of Change“ erfährt 2024 endlich die überfällige
Wiederveröffentlichung, wobei das Argument „erstmals auch
auf Vinyl“ besonders hervorsticht. Das Material wurde erst
remastert, dann für CD und LP separat gemastert. Das Booklet
und der LP-Einleger enthält neben Abbildungen vom OriginalRelease auch Liner Notes von Gitarrist Markus Steffen. Das
Album wurde 1991 von Charlie Bauerfeind produziert.

The Dandy Warhols etablierten 1997 mit ihrem zweiten Album '...The Dandy Warhols Come Down' ihren Durchbruch, indem sie einen unverwechselbaren Mix aus Psychedelic Rock und Alternative Pop mit eingängigen, von 60er-Jahre-Pop inspirierten Melodien und einem Hauch von Subversion präsentierten.

- Ltd. Col. 2LP: (Yellow Vinyl)

The legend Dave Angstrom is back with Luna Sol's third album and you can't really ask for more. This is stoner rock and tight heavy blues at it's very best and Ripple Music are ecstatic to welcome the band to the family!

British Folk-Rock Post-Punk duo, The Waeve, return with their latest guitar driven romp, City Lights. Graham Coxon (blur) + Rose Elinor Dougall return with the follow-up to last year's acclaimed eponymous debut (Top 30 UK OCC). Produced by James Ford (Fontaines DC, Arctic Monkeys), the record features both artists on vocal duties in addition to playing a host of instruments including saxophone, keyboards and drums. The WAEVE have established themselves as a songwriting partnership to watch and with City Lights they further push the boundaries of their collaborative creativity, using this album to chronicle the evolution of their relationship and forays into parenthood. City Lights is presented in a beautiful gatefold sleeve designed by Matt de Jong (Blur, Arlo Parks). The title track was released in May and added to the 6Music playlist, as well as garnering coverage on NME, DIY, Stereogum, Under The Radar + more. At this point the band were main support to Elbow across a full UK arena tour, in addition to their own sold-out headline show at London's Hoxton Hall. This summer sees them play large scale shows with Noel Gallagher, Breeders plus Green Man Festival and their own headline show at Village Underground on 29.10, with a full album tour to follow in the spring.

For as much as Sammy Rae & The Friends may be a band, this collective of dreamers and artists considers themselves a family first. That all-for-one and one-for-all camaraderie ignites their unforgettable and can’t-miss live shows, which serve as a catharsis for both the musicians and their fervent audience. Fronted by singer/songwriter Sammy Rae and honed through years of touring, the group is capable of flourishing in any spotlight thanks to its signature blend of palpable chemistry, deft virtuosity, and vocal fireworks.

Their sound, which has attracted new fans by the thousands in the past few years, is a unique mélange of Sammy’s influences: classic rock, folk and funk and sprinkled with soul and jazz. Rae has been building toward this moment since moving to NYC from Connecticut in her early 20s. Finding herself without a built-in peer group, she simply built it herself: the literal and proverbial Friends. When she started playing shows, she made sure the audience was part of the family too. Everything that’s happened since, from the EPs The Good Life (2018) and Let’s Throw a Party (2021) to sold-out shows in major markets and secondary markets alike across North America and the UK & Europe, to high-profile festival sets around the world, including Bonnaroo’s main stage, Sound on Sound and more, has been based on friends telling friends. As they prepare for the release of their long-awaited debut full-length album in 2024, Something for Everybody, Sammy Rae & The Friends have come to represent more than just a band: they are a full-on movement being adopted with a refreshingly diverse clientele.

'Wish On The Bone' is Why Bonnie's sophomore LP and debut for Fire Talk. It's untethered from any landscape or genre, propelled by this freedom and resulting in Why Bonnie's most catchy, hopeful body of work to-date. Ranging from twangy country infused rock jams to more intimate and lo-fi arrangements, ‘Wish on the Bone’ is wide-eyed and waiting. It’s a coming of age film in which the protagonist rejects the forces that have tried, and failed, to shape her into something other than herself. It leaves you with a hard-fought sense of hope, which is among songwriter Blair Howerton’s greatest gifts. “You owe it to the people who are experiencing the worst to just keep pushing,” Howerton says. That’s the throughline of “Wish On The Bone”, a record that rewards with repeated listens.

'Wish On The Bone' is Why Bonnie's sophomore LP and debut for Fire Talk. It's untethered from any landscape or genre, propelled by this freedom and resulting in Why Bonnie's most catchy, hopeful body of work to-date. Ranging from twangy country infused rock jams to more intimate and lo-fi arrangements, ‘Wish on the Bone’ is wide-eyed and waiting. It’s a coming of age film in which the protagonist rejects the forces that have tried, and failed, to shape her into something other than herself. It leaves you with a hard-fought sense of hope, which is among songwriter Blair Howerton’s greatest gifts. “You owe it to the people who are experiencing the worst to just keep pushing,” Howerton says. That’s the throughline of “Wish On The Bone”, a record that rewards with repeated listens.

Die Rockmusiker von Seether werden in diesem Herbst ihr neuntes Studioalbum The Surface Seems So Far
veröffentlichen und damit ihr Vermächtnis als Verfechter roher Emotionen in einer Landschaft fortsetzen,
die von flüchtigen Trends und künstlichen Klängen beherrscht wird. Die erste Singleauskopplung aus dem
11-Track-Album, das am 20. September über Fantasy Records erscheint, ist der fulminante Album-Opener
”Judas Mind”, zu dem es ein grossartiges Video gibt.
Mit The Surface Seems So Far kehren Seether, die für ihre Hymnen wie ”Broken”, ”Fake It” und ”Words as
Weapons ” bekannt sind, zurück und präsentieren ihre typische Mischung aus Aggression und Introspektion.
Die Tracklist des neuen Albums - der Nachfolger von Si Vis Pacem, Para Bellum aus dem Jahr 2020, gibt
den Ton für eine ehrliche und aufregende Reise durch Themen wie Melancholie (”Regret”), Selbstreflexion
(”Same Mistakes”) und rohe Emotionen (”Dead on the Vine”) an, wobei eingängige Hooks und treibender
Bombast die vielen Wendungen unterstreichen.

"‘Bursting Out’ 3LP breakout of Jethro Tull’s first live album ‘Bursting Out’, from ‘Bursting Out (The Inflated Edition)’ featuring tracks released months prior in the 3CD+3DVD expanded edition, newly remixed by the legendary Steven Wilson. This version will be released 20th September 2024.

This live album was recorded at various locations during the European Heavy Horses tour in May and June 1978. In addition to the original tracklisting, this 3LP features various Madison Square Garden live performances.

Jethro Tull’s Ian Anderson said: “A live extravaganza from the 70s Jethro Tull, this was recorded over several nights in different venues on a portable 8-track tape recorder and transferred to 2” multitrack when I got home after the tours. I had to listen all through to many shows and pick the best live versions. But much of it was, at least, from the concert in Bern, Switzerland where dear Claude Nobs came to introduce the band in his inimitable style. Also featuring on this box set collection is the live concert from Madison Square Gardens recorded a few months later and shown live on BBC TV in the UK. A scary experience for the band as it was, we were told, the first time a live rock concert had been the subject of a live satellite broadcast. The band lineup at this time was a fine-tuned machine and, although missing the unwell John Glascock for the MSG show, it serves as a fine testimony for the many wonderful shows we did in the 70s, before general touring fatigue and burn-out began a year or so later. Enjoy vintage Tull at its 70s best!”"

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

"They are the Finnish / Dutch / British troupe NIGHTWISH – one of the most fascinating rock bands of the last decades, whose enigmatic paths have proceeded from acoustic passages to symphonic heavy metal and from catchy folk to progressive majesty. If there is one trait the band has year after year, it might be this: expect something familiar but also expect the unexpected. NIGHTWISH has indeed broken all kinds of boundaries – never deliberately, but perfectly naturally.
Now guess what? NIGHTWISH's new studio album ""Yesterwynde"" – the band's tenth overall – is no exception to the rule. But it is more...

“""Yesterwynde"" took more time to make than any previous NIGHTWISH album”, nods keyboardist Tuomas Holopainen, who once again envisioned most of the material. ""The new album was intensively worked on for 3,5 years. My ambition and piety really skyrocketed, and I just couldn't let go of the creative process – and didn't want to. Along the way, ""Yesterwynde"" became both an exhilarating obsession and a comforting haven for me. All aspects of the making – compositions, lyrics, arrangements, cover art, videos, mixing and so on – were given more attention than ever before.""
The result? There's a fascinating, but inexplicable feeling that NIGHTWISH has once again been able to find unprecedented nuances, spices and perspectives in their new works – exactly: after a career of nine classic albums. """"Yesterwynde"" is an experience that takes time to digest. The gravid ingredients of the songs are easily recognizable, but beneath the surface lies a large number of intriguing details and features"", Holopainen describes.

""It's interesting – but not surprising – that ""Yesterwynde"" has attracted quite a variety of opinions. Some have stated that it is the most 'band' record to date. For some it appears to be the heaviest and most ominous NIGHTWISH release. It has also been called our most progressive album. And the list goes on.""
And what does Tuomas think of it himself?
""To me, ""Yesterwynde"" sounds, tastes and feels strongly like the true essence of NIGHTWISH – enriched with new moods and flavors.""

The lyrics of ""Yesterwynde"" deal with large-sized universal themes: memories, mortality, humanism, time and much more. ""The new album is the conclusion of the trilogy – textually it follows in the footsteps of its predecessors ""Endless Forms Most Beautiful"" and ""Human. :II: Nature."""", Holopainen says. ""At the same time, ""Yesterwynde"" is the band's most lyrically driven album: our music has never been so 'married' to the lyrics. So here's a tip: if something in the composition puzzles you, the words might clear it up.""
""For me, one of the key lines is 'we are because of a million loves' – taken from the song ""Perfume of the Timeless"". Each of us is part of an unbroken chain that stretches back billions of years. If even one of your ancestors had died too young – mauled by a cave bear, for example – during this incredibly long period of time, you would never have been born. In other words: our existence is such an unfathomable privilege!”

What does the term 'yesterwynde' mean?
""It describes a feeling that cannot be found in any human language. That's why we had to invent a whole new word. The album is supposed to open that feeling to the listener.""
Without taking anything away from the solid delivery of guitarist Emppu Vuorinen, drummer Kai Hahto, bassist Jukka Koskinen and multi-instrumentalist/singer Troy Donockley, it might be worth highlighting one fact: the performance of the eloquent storyteller Floor Jansen is once again unparalleled. It is simply breathtaking how the singer is able to make songs fly with her performance. ""Floor's second child was born just over a month ago, and we hadn't rehearsed together at all... So it was a little nerve-wracking to go to Floor's home studio for vocal recordings. Well, what happened? We had booked twelve working days and after six days everything was completed in style. Floor's preparedness for the sessions was something extreme!""

After the recordings and mixing process, there was one more working phase. Mastering. Could you possibly guess that no shortcuts were taken at this point either?
""The album was mastered seven times until we reached the finish line – one hundred percent satisfied!"", states Tuomas. ""When the record was eventually finished, a three-year, extremely inspiring adventure had come to an end. I felt very, very happy.""
NIGHTWISH's next steps are clear. And they are not the most common ones.
""NIGHTWISH will not go on a world tour this time. This was a decision made for personal reasons. But don't worry... Our contract with Nuclear Blast Records includes several albums, and there's plenty of motivation to create new music!""
May the dream continue...
"

Ever been hit in the face with a wooden plank stuffed with rusty nails? Me neither, but I imagine the effect would be something like the sensation of having Montreal five-piece Puffer blasted into your eardrums. Put simply, this is the midpoint between hardcore and dirty ol’ rock’n’roll - part Poison Idea going dumpster-diving outside the garages of Melbourne’s punk scene, part Fucked Up playing their X records on a rotary sander. They’re equally at home with a pacy blur of riffs as they are going for a four-to-the-floor stomp; either way, the ragged larynx sits perfectly astride the roar, while the guitars go full Bob Stinson at his too-drunk-to-fuck-up best. You can practically hear the leather jackets creaking between phrases. This is music to move to. So what better place to start with this band than an LP compiling their must-have demo from 2022 and the remarkably excellent self-titled EP that followed in 2023? Originally released by New York’s increasingly-essential hc label Roachleg Records, these two highly digestible bursts of punk’n’roll complement each other perfectly. Whether you get your giddy thrills from the raw-as-hell likes of opener ‘Suffering’, or from the non-more-anthemic, holy-shit-I-need-to-bang-my-skull-against-the-wall double whammy of ‘Sister Marie’ and ‘Hard Way To Go’, you are guaranteed to find something to love here. You could always try hitting yourself with that plank, but you’ll probably find you return to this more often. Drunken Sailor delivers the goods again. Get the fuck involved.

THE CULT is fronted by Ian Astbury on vocals and Billy Duffy on guitar. Their fourth album Sonic Temple is not just an iconic record, but a sonic tour de force that defies classification. Released in 1989, the album"s sound is rooted in classic rock and heavy metal, but incorporates a range of influences, from punk to psychedelic rock, creating a sound that is both familiar yet unique. The album"s production is slick and polished, thanks to the contributions of legendary producer Bob Rock, who helped to craft a sound that was both commercially appealing and artistically adventurous. Sonic Temple had four massive hits; "Fire Woman", "Edie (Ciao Baby)", "Sun King" and "Sweet Soul Sister". The album catapulted The Cult into superstar status and remains their most commercially successful release. Declared platinum in 1990, it was also a critical success, cementing The Cult"s place in the pantheon of hard rock and heavy metal bands and earning them a devoted following that endures to this day.

Electric, their third album, came out in 1987 and really caused the band to explode to new levels of fame. It contains the massive hits "Love Removal Machine", Wild Flower" and "Lil" Devil" and was produced by Rick Rubin. Electric is a seminal work, featuring some of the band"s most iconic songs. It is a departure from the band"s previous work, with a raw, agressive and stripped-down sound. The album"s opening track, "Wild Flower," sets the tone with its pounding drums, blistering guitar riffs, and Ian Astbury"s wailing vocals. Electric was a commercial and critical success, propelling The Cult to the forefront of the hard rock scene and cementing their status as one of the most influential bands of the era. The album remains a touchstone for hard rock and heavy metal fans, a classic work that captures the spirit of rebellion and the power of rock and roll. The Cult has remained an important and enduring force in the rock music world. The band has sold millions of records worldwide and has earned critical acclaim for its powerful live performances. The Cult continues to tour and record new music, and their influence on rock music shows no sign of diminishing.

Beloved Spanish indie rockers Hinds are back with their utterly triumphant fourth album, VIVA HINDS. Written by the band’s co-founders, co-vocalists, co-guitarists and co-songwriters Carlotta Cosials and Ana Perrote, it features their first-ever fully Spanish language songs, as well as first collaborations with the likes of Beck and Fontaines D.C.’s Grian Chatten. Recorded in rural France, the album was produced by Pete Robertson (Beabadoobee), engineered by the GRAMMY-nominated Tom Roach, and mixed by GRAMMY-winning engineer Caesar Edmunds (The Killers, Wet Leg).

Shortly after the band made their debut ten years ago, they hit what felt like an insurmountable obstacle – they had to change their name from Deers to Hinds for legal reasons. But, as their fans began to greet them at shows by cheering “¡VIVA HINDS!”, the band soon realized that what initially felt like an ending was actually just the beginning. Fast forward to 2023, and VIVA HINDS was written by Cosials and Perrote after a series of endings. They hit a creative rut after releasing their 2020 album The Prettiest Curse, and their bassist and drummer devastatingly decided to leave the band. They also split with their management team, lost touring revenue due to lockdowns, and were without a label for the first time. But when Perrote and Cosials got together to write again it became clear that their connection, one so special that they call themselves “millionaires in friendship,” would be all they needed to get them through. VIVA HINDS – the most accomplished, sonically adventurous, honest and celebratory record of Hinds’ career – is only the beginning.

PRESS/ONLINE: “The track, though signaling a new era for Hinds, arrives rapturous and catchy, as Perrote and Cosials trade verses and riffs. ...'Coffee' is a sweeping first chapter of where the duo aims to
“‘Coffee’ is a a gorgeous punk-indie cross contamination, instantly memorable, grungy” - Wonderland


“They bring the energy of a thousand rock bands, entrancing the crowd with their searing indie riffs, the constant interlocking of guitars and smiles, and deeply charming banter” - Rolling Stone

“The Prettiest Curse is an evolution. It is striking, complex, uncompromising indie-pop. More than that, it makes a bold statement: it canonises Spanish indie-rock” – Loud and Quiet 9/10
“They’ve taken their sound and unashamedly experimented with it. They’re all the better for it” – NME 4/5

“The Spanish group’s second album displays the superior songcraft of the band, as vocalists Ana Perrote and Carlotta Cosials wade through love’s messy feelings with confidence and exuberance” - Pitchfork

Endeckt die Electronic Music Anthology Collection neu. Diesmal dem TipHop gewidment. Echte Perlen, liebevoll ausgewählt vom französischen privaten Rundfunksender FG, gesammelt auf 2 Vinyl.

Alice Taylor was a popular session singer who sang background vocals for several local Philly groups including The Delfonics during the height of the Philly Soul boom of the early to mid-1970’s.

In 1974 Alice under the auspice of producer Emanuel ‘Manny’ Campbell Jr and fellow Philadelphian musician/composer Charles R. Bowen entered the famed Sound Room Studios in Upper Dardy PA, to record a session of her own. This session yielded two songs. The more commercial pop soul orientated “(I’m In Love With A) Rock ‘n’ Roll Singin’ Superstar”. A song which took influences from other popular songs of the time that mentioned one’s love for Rock ‘n’ Roll singers and taking road trips to L.A (Los Angeles) in an attempt to cash in. Although the elongated song title may at first be a tad off-putting the recording showcases Alice’s vocal talents to the full and in itself is a very good record. The second song “Sounds Ridiculous” is based around the theme of a girl falling in love with a guy who spends most of his time daydreaming rather than getting a regular 9-5 job. An excellent record that should find favour with 70’s/crossover soul fans alike.



Manny Campbell Jr used some of Philadelphia’s finest musicians on Alice’s session, notably session drummer Earl Young, reputedly the first exponent of the hi-hat cymbal a style of drumming used extensively throughout the disco period. Young had honed his skills during the 1960’s with his band The Volcanos, recording sessions for the Arctic and Harthon Record Labels. The Volcanos later became The Moods before morphing into The Trammps who Young recorded on his Golden Fleece Label with the group recording several further disco hits for Buddah Records prior to their worldwide hit “Disco Inferno” for Atlantic Records. Young’s strumming can be found on many other Philadelphia International, Sal Soul and MFSB recordings. The string and horn arrangements on the session were provided by another MFSB (Mother Father Sister Brother) pool of musician’s member, Don Renaldo.



“I’m In Love With A) Rock ’n’ Roll Superstar/Sounds Ridiculous” came out in November of 1975 as an initial pressing run of 500 copies for promotional use which sadly were not of the best quality with some background noise being present in the introduction on both sides of the single, a possible detrimental factor in the release gaining any significant airplay. It’s was the second and final release on Emandolynn Music’s short lived, Stage-Art label. The first release being another of Manny Campbell’s acts The Nu-Rons & Co “Disco Hustle/Can’t Do Enough Girl” (Stage-Art 1001). Sadly, Alice Taylor passed away sometime during the 1980’s. Soul Junction through its ongoing relationship with Emandolynn Music have taken the opportunity to license these now very sort after Alice Taylor songs, which have been remastered to remove the aforementioned sound problems present on the original release. Which are now presented to you as a 3 track EP which also includes a previously unissued alternative mix of “(I’m In Love With A) Rock ’n’ Roll Singin’ Superstar, a recent master tape discovery.

Riding a wave of critical praise and positive feedback for his most recent Emperor Machine album, the fabulous Island Boogie, Andrew Meecham returns with a typically wild and dancefloor-focused set of dubs, ‘versions’ and remixes.

According to Meecham, Island Boogie is his most personal set to date – a full-length excursion that not only delivers perfectly formed expressions of his dub-tinged, off-kilter synth-boogie sound, but also tracks that draw deeply on his earliest influences and long-held musical expressions.

It’s fitting, then, that this remix EP begins with his own sparse, stripped-back ‘version’ rework of ‘S-S-S-Single Bed’, a fine cover of the mid-80s Fox single featuring the vocals of Michelle Bee. Meecham’s dub-wise revision is a skeletal and driving affair, with snippets of echoing guitar, colourful synths and Bee’s distinctive vocalisations rising above a weighty dub disco bassline and rock-solid percussion.

It's followed by two revisions of album favourite ‘Wanna Pop With You’ from A Love From Outer Space main man Sean Johnston under his now familiar Hardway Brothers alias. Combining his own love of raw, analogue-sounding electronics and trippy dancefloor psychedelia with select elements of Meecham’s original – percussion, synth sounds, crisp guitar licks and elements of Severine Mouletin’s lead vocals, Johnston’s main ‘remix’ is a weighty, mid-tempo treat. Arguably even better is his accompanying dub, which is more groove-and-effects focused and makes more of Beecham’s superb original bassline. It’s heavy, spaced-out and undeniably intoxicating.

To round off the package, long-time friend of the label (and sometime contributor) Rose Robinson dons her Tigerbalm pseudonym and gets to work on ‘La Cassette’. Brilliantly cutting up Severine Mouletin’s vocals, she delivers a driving slab of spaced-out, synth-heavy dub disco that adds more weight and energy to Meecham’s original. It’s a fittingly on-point way to close out a superb selection of club-ready revisions.

Futurismo proudly present a celebration of the Paisley Underground scene with TWISTED DREAM MACHINE The Paisley Underground / California’s Psychedelic Renaissance: 1982-1986, the next volume in their Altered Vision compilation series.

This collection draws from the neo psychedelic movement that took hold in California during the early to mid 80’s, one that melded the psychedelia, country, garage rock, avant-garde and pop of the 60’s with the DIY ethos of the then burgeoning punk scene, a hypnotic amalgamation of sound that came in staunch contrast to the blown out sonic excesses of the time.

Twisted Dream Machine takes you on a trip from the city to the desert, as the kaleidoscope of noise drifts from the The Dream Syndicate’s Velvet Underground inspired take on Crazy Horse and The Three O’Clock’s chiming baroque powerpop, to Rain Parade’s dreamy Beatlesesque melodies and the Bangles hook-laden Love inspired pop. Also featured are the wondrous sounds of Green On Red, The Long Ryder’s, Game Theory, True West, Thin White Rope and others highly worth your attention. If you are not familiar with some of the bands here, you will surely question how that is possible. The Paisley Underground, if anything, encapsulated a certain musical mindset, an outlook where the past and the future would collide in the moment. This thread would bond the bands, yet each honed it’s own sound in a twisted incarnation of the seeds planted two decades earlier. Whilst the ‘scene’ did remain contained, its influence did in fact spread throughout mainstream culture as the Bangles stuck a chord into the heart of MTV, whilst Prince took inspiration from the movement in his own songwriting and the naming of Paisley Park, as well as signing The Three O’Clock to his label and writing one of the Bangles biggest hits.

As you listen to the tracks on Twisted Dream Machine you will be reminded that there is still music left to discover and inspire, this compilation is aimed to hopefully delight longtime fans, as well as ignite a passion for those new to the bands. The Paisley Underground was the sound of neo psychedelic rock, it was subterranean pop...in

the classic sense, it was alternative rock before the term existed, a distillation of the fundamentals present at the dawn of rock ‘n’ roll, with a twist. The bands of the Paisley Underground may have been writing out of their own time, but as you listen to them in today’s context these songs should be heard as landmarks, rather than throwbacks. After all, nothing this good should stay underground. This 2xLP comes on limited edition coloured vinyl, it is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos and liner notes by Lisa Fancher of Frontier. Also available on CD with Gloss laminated Sleeve and Fold Out Poster.

The contributions Black women have made to the growth of rock & roll cannot be overstated, from the genre’s beginnings to the present day. Embracing this legacy, world renowned poet jessica Care moore and prolific performer Steffanie Christi’an have joined forces to form We Are Scorpio, an explosive new project blending rock & roll with poetry. A leading voice of her generation, moore has performed on stages across the globe, written acclaimed books and plays, and recorded her poetry with artists like Common, Nas, Jeezy, Karriem Riggins, Jeff Mills, Roy Ayers, Jose James, and more. Her latest foray into music is We Are Scorpio, a unique take on modern rock sparked by chemistry with fellow Detroit native Christi’an and encapsulating an undeniable Black femme punk energy. Joining a long line of Detroit artists who spoke truth with force across genre and gendered borders, the duo is now unveiling its self-titled debut album. With unapologetic vocals and rapid-fire poetics occupying the same space as head-banging guitar riffs, the collection features appearances by talented artists like Talib Kweli, Sada Baby, Divinity Roxx, Niko Is, and Militia Vox. Expansive but intimate, We Are Scorpio delves into parts unknown with fiery purpose.

Instrumental rock is alive is the motto of the VAL EXPERIENCE BAND, the new project from
rock-metal guitarist and composer Valéry Granson (aka Val). As a fan of instrumental rock,
which reached its peak in the 80s and 90s and still fascinates him, he decided to record his
first solo album, OSMIUM.
His major influences lie somewhere between Joe Satriani, Steve Vai, Andy Timmons, Joey
Tafolla , Ritchie Kotzen, Jeff Beck , Jimi Hendrix, Paul Gilbert, Eric Johnson, Santana, Queen,
Frank Zappa and many others. Instrumental rock is alive...
The VAL EXPERIENCE BAND is a project worth discovering, whether on album or in concert,
for an experience that will not leave you indifferent.

10th Anniversary edition of the debut album from the Devonshire duo who have been laying waste to
clubs from Brighton to Burnley, building up a firm following of disciples LIMITED PRESSING ON RED VINYL
INCLUDES BONUS TRACK Moriaty have already enjoyed a full page feature in Classic Rock magazine and
reviews in Uncut, Record Collector, Art Rocker, Classic Rock, The Clash, Rock Sounds, R2, Vive Le Rock
(feature) Shindig, NME

"Emo sensations Loveless return with their stunning new album, Loveless II. Featuring the singles “I Love It When It Rains”, “Addicted”, “Drag Me Down”, “I Hope I’m Not Sick”, “Picasso” and new single “Heart-Shaped Soul”, will be released on 13 September. Loveless have spent the past few years racking up sold our shows worldwide alongside supporting acts like Waterparks and appearing at Festivals such as Bottle Rock, Shaky Knees and Lollapalooza. The band are also making their Reading & Leeds Festival debut in 2024.

The album also includes a feature from pop sensation Gayle on the track “Lonely In New York”.

Press:
• Confirmed: Kerrang! (Cover), Rock Sound (Cover), Melodic Magazine (Cover)
• Recent Press: Kerrang! / Rock Sound"

The new album from the original founding member of Kool & the Gang -- 2024 Rock & Roll Hall of Fame inductees! Drummer George “Funky” Brown, along with Robert “Kool” Bell on bass, his brother Ronald Bell on tenor and lead vocalist James "J.T." Taylor, was one of the main songwriters in their pop/R&B band Kool & The Gang, whose classic hits like “Jungle Boogie,” “Hollywood Swinging,” “Celebration,” “Get Down on It” and “Joanna” made for a novel and immensely successful pop-funk groove in the 1970s and ‘80s. Such songs have been featured in films (“Jungle Boogie” was in Pulp Fiction while “Summer Madness” appeared in Rocky) and have been sampled countless times by artists including DJ Kool, Mase, Too Short, DJ Jazzy Jeff and the Fresh Prince, Boogie Down Productions, Brand Nubian, De La Soul, A Tribe Called Quest, Nas, N.W.A., Kris Kross and Jermaine Dupri. Aside from being crowned 2024 Rock & Roll Hall of Fame inductees, Brown, with Kool & the Gang, has been inducted into the New Jersey Hall of Fame--and there’s a street in Jersey City named in the band's honor. The Grammy-winning group has received the Soul Train Legend Award and a star on the Hollywood Walk of Fame.

The long awaited reunion show! Founded in London in 1976, The Damned became one of the most successful and influential bands in the British punk rock scene of the 70s.

Their debut single "New Rose" (1976) is considered to be the first punk single ever released in the UK. Over the course of their 45-year career, The Damned have experimented with different musical styles and integrated elements of gothic rock, psychedelia and new wave into their sound. In October 2020, more than 40 years after the founding members split up, The Damned announced a series of reunion shows with the original line-up consisting of Dave Vanian (vocals), Brian James (guitar), Captain Sensible (bass) and Rat Scabies (drums).

However, due to the pandemic, they were forced to postpone the shows until 2022. On November 3, 2022, the original line-up performed at the sold-out O2 Apollo in Manchester, UK, and presented an energetic 21-song set from the first two 1977 albums "Damned Damned Damned" and "Music for Pleasure"; the only albums to feature all four founding members. "AD 2022 - Live In Manchester" presents not only a legendary reunion show, but also the unique magic surrounding The Damned.

Robyn Hitchcock is a rock’n’roll surrealist. Born in London on March 3rd, 1953 he describes his songs as “pictures you can listen to”. As much a child of Dali, De Chirico, and JG Ballard as of his 1960s musical heroes, he is a master of the absurd, reveling in the beauty of the unexpected. His first publicly visible band The Soft Boys (1976 - 81) has remained an influential art-rock touchstone for generations of musicians. “I just want to be an obscure cult fringe,” he told the NME in 1978; the NME didn’t believe him, but he’s been true to his ambition. Without ever breaking the surface of pop culture Hitchcock has floated at a tangent to the mainstream for nearly 5 decades. His songs have been performed by REM, The Replacements, Neko Case, Gillian Welch & David Rawlings, Lou Barlow, Grant Lee Phillips, Sparklehorse, and Suzanne Vega with the Grateful Dead among others. A confirmed outsider, he nonetheless has devoted listeners around the world who attend his concerts, and also tune into the online streaming shows Robyn seasonally does with his wife, the singer Emma Swift. In 1996 he was the subject of Jonathan Demme’s in-concert film, ‘Storefront Hitchcock’. Robyn Hitchcock came of age in the 1960s when he attended Winchester College, an eccentric hothouse boarding school in the south of England. This is the subject of “1967”, which is both a memoir and an album, due for release in June this year. The memoir is a book “1967: How I Got There And Why I Never Left”, describing how the music of Bob Dylan, The Beatles, Jimi Hendrix and others drastically transformed the direction of his life when he left home for this strange new world. The companion record album “1967: Vacations In The Past” is a selection of the (mostly) hit songs of that year, re-recorded acoustically by Robyn with the help of some friends in Cambridge, San Francisco, and Sydney. He is currently preparing new material to release in 2025. “I like to keep busy”, he says: “We have all eternity to not exist”.

Over a catalog of six albums, Native Harrow have produced a discography of “rich, engrossing records” and “instant classics” while single-mindedly following their own artistic code, acquiescing only to the exigence of the song: each song its own world with its own rules.

Formed a decade ago, Native Harrow spent their first five or six years crisscrossing the United States and Canada on numerous tours, averaging more than 150 concerts per year in 47 states and 4 provinces, on the back of two self-released albums, Ghost (2015) and Sorores (2017). In 2019, they released Happier Now, partnering with London alt-country stalwarts Loose Records. The record garnered glowing reviews, with Rough Trade selecting it for its album of the month, writing “Beautifully soaring... rolling grooves ground languid and dreamy clearwater shimmers of sound.” The critical acclaim and Americana chart success of the album prompted three back-to-back UK tours in 2019 and early 2020, ultimately leading to a three-year stint living and touring in the UK and Europe. In this time, Native Harrow released two more critically acclaimed records with Loose; Closeness (2020) and Old Kind of Magic (2022), playing for audiences ranging from rock clubs in Norway and Sweden to opera halls in Portugal, and every stop in-between, as well as performing at festivals such as BST Hyde Park (supporting the Eagles and Robert Plant & Alison Kraus), Greenman Festival, Black Deer Festival, The Great Escape, Celtic Connections, Moseley Folk Festival, SXSW, and many more.

Following the eruption of its title track, Side A of “Divided Kind” transitions nimbly through hazy tremolo-laden dusty canyons, past an intimate soulful love letter, and towards a moody anthem of devotion buoyed by propulsive grooves, before ultimately settling on a gentle bird’s-eye-view of love and transcendence. Side B opens with the debut single, “Goin’ Nowhere” a soul transmission over incendiary bass and undulating layers of guiro, congas, tambourines, shakers, and handclaps that sidesteps into moments of infinite dial-toned burnished, Rhodes-propelled soul-jazz and self-assured blues rock à gogo before ending in a spectral folk reading on celestial meditation.

“Divided Kind” was produced and recorded by the pair, in their home studio surrounded by the vintage acoustic and electric guitars, dusty semi-functional amplifiers, and out-of-date Rhodes, B3, piano, and assorted percussion they’ve grown accustomed to. Chicago-based Alex Hall was again drafted to add drums and to mix, and Philadelphia drummer and engineer Joshua Friedman mastered the record. London-based musician Joe Harvey-Whyte added the pedal steel to “Borrowing Time”, with all other voices and instruments being performed by Tuel and Harms.

At it’s core, Watchhouse (formerly known as Mandolin Orange) is a duo - Andrew Marlin and Emily Frantz - from Chapel Hill, NC. Their harmonies are ethereal, their chemistry vibrant, bringing to mind the atmosphere invoked by classic duos such as Emmylou Harris and Gram Parsons, or Gillian Welch and David Rawlings. Andrew and Emily provide the foundation of the group's timeless Americana sound, while enlisting a full band to flesh out their dynamics.

This Side of Jordan is the group's 3rd full length album and debut release on Yep Roc Records. Since signing to the label and releasing This Side of Jordan in 2013, the band has made quite a bit of noise on the folk/Americana circuit. They’ve received critical acclaim from NPR Music, Rolling Stone, The Wall Street Journal, Garden & Gun, No Depression and more. Their catalog has surpassed over 500 million streams and they’ve sold out worldwide tours. They have headlined Red Rocks and have graced the stage of the Ryman, Bonnaroo, and Newport Folk Festival.

Imaginative re-workings and improvisations by Andrew Tuttle of the late great Michael Chapman's unfinished instrumental album. Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars.
When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues/folk/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years.
It's the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn.
In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish.
Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion.
Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind.
“On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.”
What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context.
Whether you know Michael’s, Andrew’s or even Andru’s story or not, these recordings will bristle with enchantment and intrigue, worlds are built, and while some thrive and grow, others fizzle out in a burst of light, such is the way. “It's been a long, long road but we got there and I think it's been more than worth it,” Andru says in the record’s liner notes. “I really hope you think the journey was worth it too.”
Guitars and effects by Michael Chapman recorded by Alex Warnes at Phoenix Studio, Brampton, Cumbria, 2017 Banjo, effects and edits by Andrew Tuttle at Bella Vista, Brisbane / Meanjin, 2023-2024

London based duo BONES UK return with their brand new studio album Soft. Comprised of lead vocalist/guitarist Rosie Bones and guitarist Carmen Vandenberg, this latest record find the band continuing to build on their genre defying fusion of hard rock with electronic overtones.

Bang! Records wiederveröffentlicht Jeffrey Lee Pierce's (Gun Club) solo ,Six String Sermon" in der Deluxe-Edition mit Gatefold-Sleeve und 16seitigem Booklet. Im Jahr 1980, unmittelbar vor den Aufnahmen zu THE GUN CLUBs mächtigem Debüt ,The Fire Of Love", machte Jeffrey Lee Pierce eine Handvoll akustischer Soloaufnahmen, die auf seiner Faszination für den Mississippi Delta Blues basierten. Und genau so klingt diese Platte auch. Jeffrey Lee Pierce, der einen Rückblick auf den klassischen Blues gibt. Roh, bitter und direkt ins Herz (der Finsternis). Diese Platte zeigt das reine, bluesige Gesicht des Leaders von The Gun Club. Akustisch, in der alten klassischen Art des Mississippi-Deltas, aufgenommen in den ganz frühen 80er Jahren. Das Album enthält ein 16-seitiges Booklet mit exklusiven Fotos und der unschätzbaren Mitarbeit von Freunden und Menschen, die Jeffrey Lee Pierce umgaben und über ihre Zeit und Erinnerungen mit ihm sprachen, darunter Nick Cave, Mark Lanegan, Tex Perkins, Kid Congo Powers, Henry Rollins usw. Blues is the The Gun Club's soul.

Farbiges Vinyl-Doppelalbum-Set mit Etching/Gravur auf der D-Seite.

Nur sehr wenige Bands schaffen es, Jahrzehnte zu überdauern, aber bei denen, die es schaffen, ist es oft einfach, sich niederzulassen und es sich ein wenig zu bequem zu machen. Allerdings gibt es nichts Bequemes an „Devourer“, dem explosiven neuen Album von Cursive. Die kultige Band aus Omaha hat in den letzten 30 Jahren eine kühne Diskografie geschaffen, die sich sowohl durch ihren kathartischen Sound als auch durch ihre gewichtigen, herausfordernden lyrischen Themen auszeichnet. Ihr 10. Album „Devourer“ ist so kühn wie eh und je Es steckt voller intensiver und prägnanter Songs, die untermauern, warum Cursive so einflussreich und beständig waren - und dass sie auch heute noch genauso vital sind. In den Jahren seit ihrer Gründung 1995 haben sich Cursive zu einer der wichtigsten Gruppen entwickelt, die Ende der 90er/Anfang der 00er Jahre entstanden sind, als die Grenzen zwischen Indie-Rock und Post-Hardcore zu etwas völlig Neuem zu verschwimmen begannen. Alben wie „Domestica“ (2000) und „The Ugly Organ“ (2003) wurden zu wichtigen Prüfsteinen, deren Widerhall auch heute noch in neuen Bands zu hören ist. „Devourer“ untersucht die bodenlose Fähigkeit der Menschheit zum Konsum durch eine Reihe von Songs, die wie Vignetten wirken, angetrieben durch den nie endenden Appetit von Frontmann Tim Kasher, sowohl Kunst aufzunehmen als auch zu schaffen. „Ich bin besessen davon, die Künste zu konsumieren“, erklärt er. „Musik, Film, Literatur. Ich habe erkannt, dass ich all diese Kunstformen verschlinge und dann wiederum meine eigenen Versionen dieser Dinge erschaffe und sie in die Welt hinausspucke. Das ist positiv, man ist Teil eines Ökosystems. Aber der Begriff 'Verschlinger' kann auch etwas Unheimliches, Unheilvolles verkörpern.“ Die Fans erwarten von Cursive mittlerweile solch brisante Themen, aber „Devourer“ setzt einen neuen Standard. Während die Musik von Cursive nicht bequemer geworden ist, wird sie vielleicht in eine Welt entlassen, die zumindest ein bisschen mehr nach ihrem Bild geformt ist. „Devourer“ klingt dringend und frisch, das Werk einer Band, die immer noch experimentiert und nach neuen kreativen Höhen strebt. Auf dem Album-Highlight „Consumers“ klagt der Protagonist: "I saw our future and I want to go back." Aber Cursive bewegen sich nur vorwärts.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements - punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones - are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins - Jonah Falco and Mike Haliechuk - weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act - with Tamsin M. Leach and Jack Goldstein centering them on stage - and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

Marcin ist ein weltweites Phänomen und der Gitarrist der Gen Z. Sein Debütalbum "Dragon in Harmony" ist eine Demonstration seines selbst-entwickelten, atemberaubend virtuosen Stils, Gitarre zu spielen in 14 genre-übergreifenden Titeln. Bei TikTok, Youtube und Instagram begeistert Marcin Millionen Follower mit seinem unnachahmlichen Stil, die Gitarre mit beiden Händen am Griffbrett zu spielen. Er zerlegt Klassiker aus Rock, Hip-Hop oder Klassik in "real time" in ihre Einzelteile und türmt diese zu neuen Gitarren-Arrangements auf, wobei er die Akkorde, Melodien und eine handtrommelartige Percussion gleichzeitig spielt. Ein musikalisches Spektakel als One-Man-Show. Auch Kritiker vom "Rolling Stone", "Billboard", "Premier Guitar" oder "Guitar World" preisen Marcin als "einen der talentiertesten Gitarristen seiner Generation". Mit all seinen Erfahrungen aus den letzten Jahren hat Marcin sein Album "Dragon in Harmony" konzipiert. Er möchte ein Publikum weit jenseits der Gitarren-Fans erreichen und erklärt selbstbewusst: "Mein Statement an die Gitarrenpuristen ist: Ja, ihr habt recht. Die Gitarre ist tot. Macht weiter so wie bisher. Mein Ziel war es aber schon immer, ein breites Publikum zu begeistern." Zusammen mit Producer Dan Book (Blink-182, Shania Twain, Britney Spears) verbindet Marcin auf "Dragon in Harmony" eine genreübergreifende Sammlung von Originalkompositionen und Covern zu einem harmonischen Ganzen. Songs von Justin Timberlake ("Cry Me A River"), Sade ("Smooth Operator") und Nirvana ("Heart-Shaped Box") fügen sich schlüssig an Kompositionen von Mozart (Requiem), Debussy ("Claire de Lune") oder Miles Davis/Bill Evans ("Nardis"). Der Alternative-Radio-taugliche Titel "When The Light Goes", für den Marcin den Sänger Portugal.The Man (bekannt für seinen Hit "Feel It Still") eingeladen hat, und "Allergies" mit Sängerin Delaney Bailey, bilden weitere stimmige Farbakzente auf dem Album. "Ich wurde im Jahr 2000, dem Jahr des Drachen, geboren und veröffentliche mein Debüt im Jahr 2024, ebenfalls ein Jahr des Drachen. Der Drache ist ein feuriges, mythisches Wesen, ungezähmt und chaotisch. Aber er steht ebenso für Harmonie. In den letzten Jahren habe ich viele unterschiedliche Dinge ausprobiert, die scheinbar nicht zusammenpassen. Mit meinem Album mache ich jetzt eine künstlerische Aussage, die kohärent ist. The dragon is in harmony." erläutert Marcin seine Album-Idee. Mit Ichika Nito ("I Don't Write About Girls") und Tim Henson von der Band Polyphia ("Classical Dragon") sind zwei weitere junge Gitarren-Heroes für jeweils einen Titel als Duett-Partner zu hören.

Jade Hairpins waste no time fulfilling their second album's titular demand. From its harmony-drenched opening note to its baroque-anthemic conclusion, Get Me the Good Stuff is positively loaded with musical ideas, an absurdist buffet of sound and aesthetic that comes with one hell of a floorshow as the Hairpins stack those ideas higher and higher, almost daring them to crash to the floor. Instead, those elements_punksploitation, power pop, baggy, funk, and Italo disco are just some touchstones_are not only held aloft, they defy gravity and convention. These pyrotechnics are, in true Jade Hairpins fashion, something of a sleight of hand. While the music swaggers and gallops, Get Me the Good Stuff grapples with anxiety and self-doubt, obfuscating pain and alienation with sparkling wit and some straight-up ravers. Get Me the Good Stuff opens with one of those, "Let It Be Me," in which Jonah Falco shouts lyrics about being alone with one's shortcomings against guitars, synths, and harmonized vocals that are on the verge of closing in. The song is just over 90 seconds long, hitting with the gnarled-barb ferocity of punk and the gleeful insanity of theatrical art rock. It is, in other words, overwhelming. Or it would be if Jade Hairpins_Jonah Falco and Mike Haliechuk_weren't remarkably nimble in their ability to bring unity to sounds by placing them in competition against each other. When those sounds are adjacent, like the glam and disco that saturate "Drifting Superstition," the thrill of those universes colliding in the heat of an absolutely filthy clavichord line turns its lyrics, about the habit of solving personal problems by ignoring them, into a winner's anthem on the order of Bowie or Hot Chocolate. Get Me the Good Stuff arcs towards unequivocal joy as Falco, Jade Hairpins' primary lyricist, breaks these cycles and attempts to run away with his dreams. The arc is roughly analogous to how the album came to fruition. Four years removed from Harmony Avenue, an album of material that proved too strong to be contained within the narrative universe of Fucked Up's Dose Your Dreams, Jade Hairpins have gelled as a live act_with Tamsin M. Leach and Jack Goldstein centering them on stage_and planted their flag in the UK punk scene in which Falco has embedded himself. Working out new material live, Falco noticed that crowds were digging into his unfinished lyrics, and the album tightened around the anxieties of being in the spotlight, of being worthy of attention. At times, those songs are eager to please, like the album's title track in which a winking self-deprecation rubs up against the self-congratulatory bombast of Freddie Mercury, Falco simultaneously turning heads as a shooting star and a burning car. Elsewhere, as in "Better Here Than in Love," Jade Hairpins pitch themselves towards creating gorgeous soundscapes that exist nowhere else, channeling postpunk through the glimmering haze of '80s Japanese electronic music. Theatrical and personal, absurd and true-to-life, playful and serious, Get Me the Good Stuff is album of tremendous personal and artistic growth that signposts towards dozens of potential futures to come. It's not only worth the attention, it continuously rewards it.

Expanding upon his critically acclaimed MAX comedy special of the same name, John Early’s long-awaited first comedy album Now More Than Ever features four brand new cover songs from John Early and The Lemon Squares, along with an exclusive, album-only set from Early’s beloved alter ego, Vicky with a ‘V.’ In the album's oddly stirring climax, Early delivers a sermon on the emptiness of millennial culture, pleading to the Brooklyn crowd, “We have to get serious! Before it’s too late! And our gravestones read: Because Cancer.” Now More Than Ever is Early’s sincere and abundant offering back to the culture of thoughtful critique, heartfelt music, and infectious joy, firmly cementing his place as the godfather of millennial alt-comedy.

Der englische Singer-Songwriter ist in erster Linie als Sänger es Projekts No-Man bekannt, das er zusammen mit Steven Wilson führt. Die 16 neuen Tracks bilden eine kontrastreiche Reise durch Industrial Rock, Elektro-Pop, Singer-Songwriter-Direktheit, geisterhafte Karnevals-Soundscapes und vieles mehr. Der experimentelle, aber stets zugängliche Angriff auf die verschiedenen Genres entstand in Zusammenarbeit mit Steven Wilson, der das Werk sowohl in Stereo als auch 5.1 Surround Sound gemischt hat.

Nick Lowe returns with Indoor Safari, his first studio album in over a decade. Backed on every track by Nick's trusted collaborators Los Straitjackets, Nick exhibits his razorsharp songwriting ability through a multitude of sonic environments. With his signature wit on display for grooving numbers like "Went to a Party" and "Don't Be Nice to Me," to the heartfelt sentiment on "Blue on Blue" and "Jet Pac Boomerang," and topped with Nick breathing new life into hidden gems of the '60s like "Raincoat in the River" and "A Quiet Place," Indoor Safari demonstrates how Nick Lowe continues to make his mark as a performer, songwriter and producer over a half-century after his start in the music industry. This First Edition pressing of Indoor Safari is pressed on bamboo color vinyl and is limited to 2,000 copies worldwide.

Mit einer Mischung aus feinstem Power-Metal und Hard Rock Spirit, erwartet uns am 1. März 2024 mit ‚Stand United‘ das stärkste Album der Bandgeschichte!

In dieser turbulenten Zeit ist es wichtiger denn je, als Menschheit eng zusammenzustehen, anstatt sich gegenseitig zu bekämpfen. Und genau darum geht es im neuen FIREWIND-Album ‚Stand United‘! Neben top aktuellen Themen, die in Zehn neuen Tracks besungen werden, erwartet uns textlich wie auch musikalisch das wohl stärkste Werk ihrer bisherigen Bandgeschichte. Passend zum neuen Release verbreitet die Band rund um ex Ozzy Osbourne-Gitarrist Gus G. und Sänger Herbie Langhans (ehemals Avantasia) im Frühjahr 2024 ihre Botschaft von ‚Stand United‘ in Europa. Gemeinsam mit MASTERPLAN geht die Band auf große Co-Headliner Tour, u.a. in Deutschland, Frankreich, Spanien, Schweden und vielen weiteren Ländern. So erblickt ab dem 01.03.2024 ‚Stand United‘ das Licht dieser Welt - verfügbar als limitierte Splatter- und Marbled-Vinyl-Versionen, CD-Digipak und Digital!

Everything is out of control / from melting pots to melting poles - das aktuelle Album der Grazer Alternative-Bande The Base lässt unsere Welt abgeranzt und hässlich glänzen. So beginnt es gleich wie ein dunkler, erdiger field holler. Bei einem field holler rufen sich Sklaven, Gefangene oder Zwangsarbeiter Worte und Sätze zu, die durch ihre Wiederholung den Rhythmus zum Arbeiten angeben - und zum Überleben. Sing or die! Everything falls apart / and everyone is acting smart. Norbert Wally und seine beiden Spießgesellen starten ihre torture de force im tiefen Süden, in der Ursuppe des Rock`n`Roll, im tiefen Sumpfland des Delta-Blues. Aber The Base sind weit davon entfernt, eine Bluesplatte aus dem Schlamm und Dreck auszugraben. Bei "It's all Going South" stehen eher Bands wie Fun Lovin' Criminals, The Clash oder Pixies Pate. The Base verstehen Blues als Brandbeschleuniger: Die Stories, die Statements, die Visionen - kaum je waren Norbert Wally (Voice/Guitars), Albrecht Klinger (Bass) und Karlheinz Miklin Jr. (Drums) so politisch, so sozialkritisch, so wütend. Und nie waren sie so sarkastisch wie 2024. Blues, das heißt Tanzen auf dem Vulkan. Lachen beim eigenen Begräbnis. Und die Fäuste ballen, wenn miese Abzocker das Gute und Schöne beflecken um aus der Wahrheit eine Ware zu machen. Der Opener "High Time For Panicking" ist ein Meisterwerk für sich: Innerhalb von eineinhalb Minuten schießt er uns vom Pre-War Blues alter Lomax-Shellacs in den lärmigen Groove einer New Wave Combo, die um ihr Leben spielt. Der Titeltrack "It's All Going South" flimmert der Ferne wie ein Wüstenkaktus in, der gerade von Mr. Tarantino in einem 1967er Chevrolet Impala Sport Sedan niedergewalzt wird: dünenweise Hall auf der massiv geforderten Gitarre, die in Slow-Mo durch die Story wandert. Ein Bass, der vor Clint Eastwood den Hut zieht. Die Atmosphäre: Calexico deluxe. "Alles geht den Bach runter" so Wird die titelgebende Redewendung ins Deutsche übertragen. "Chemically Speaking Alcohol Is Still A Solution" könnte als Antwort auf alle gutgemeinten Versuche gehört werden, eine Welt voller Diktatoren, Kriegsgerät und Wahnsinn mit Vinyasa-Yoga und Lactobacillus bulgaricus im Joghurt zu retten. Waren die vorhergehenden Alben betont reduziert und puristisch, so gönnen sich The Base auf "It's All Going South" Backgroundchöre, fetten Vintagesound und lassen ausgiebige Studioeffekte. Das sitzt jedoch alles wie angegossen und zeigt die Qualität der Songs, denen knapp anliegende Taucheranzüge ebenso gut stehen wie schillernd verbrämte Kostüme. Niemand zieht aus dem Wort "happy" so viel Melancholie wie Norbert Wally und folgerichtig ist auch die Single-Auskoppelung "Waiting for June" ein Liebeslied, das gar keines ist. Aber der zwingendste Grund das Album anzuhören heißt "No One's Safe". Ein Song der sich wie ein Drillbohrer durch das Innenohr zur Großhirnrinde vorarbeitet. Soundcollagen, Voice-Over, eigenartiger Noise - immer tiefer bohrt sich der Song, bis er den Erdkern erreicht. Norbert Wally zeigt in seiner Stimme eine elegante Verletzlichkeit, die an einen David Bowie der 70er-Jahre erinnert. Die Intensität von OK Computer drängt sich auf. Niemand ist sicher. Game over! "It's All Going South" ist die bisher schmerzhafteste, politischste Platte von The Base. Wie schade, wir werden alle untergehen - und das kann zumindest verdammt sexy klingen.

20 years of The Go! Team"s Thunder Lightning Strike, 20 years of lasers through tracing paper, orange tone oscillations, cable access hangover,music made through sunburnt circuits, a K-tel dream sequence, a haunted vision mixer, station wagon-core, straight to video, VHS in distress, something in the fog, fluff on the needle, chromakey constellations, a hovercraft on the fret board, maxing the minute maid, faxing a car alarm, a Morse code pep talk, etch-a-sketch jackknife, a daily Haley"s comet, light sound colour motion, a holiday from yourself... CD and LP are packaged with a recreation of the original CD-R version of the album that stands up as a document of band leader Ian Parton"s unique method of working.