Search:bo

The Golden Age of southern soul lasted from about 1962 to 1975, when disco ripped the heart out of it. And although it may seem as though the blend of country, gospel and R & B that emerged from the great studios in Memphis and Muscle Shoals in that decade was entirely fresh and new, like any other genre classic, southern soul picked up musical cues and absorbed influences from a whole variety of sources: horn lines from Louisiana's swamp pop, lyrical themes from the blues, songs from country music, and of course so, so much from the black churches. Part of the 'History of Soul' series, this LP reveals the musical antecedents that gave southern soul its inspiration. The music here will tell you the real story - and it will knock your socks off too! Notes by John Ridley.

Collecting Orders For 2025 Repress

Ruff n’ ready torque collides with the nocturnal as Argentinian donny JUAAN enters the fray.

A properly intoxicating melange of boisterous, straight-for-the-jugular biz and late-night seduction. Four distinct, durable traxxx tailor-made for the witching hour. Icily moody with a bit of menace and dread about it. It’s also very slick, optimised and fine-tuned for maximum dancefloor impact.

Critics often highlight his ‘90s-indebted approach, and while those influences remain ever-present, this one has more in common with dancefloor styles prevalent a decade prior. Shades of darkwave, Detroit In Effect and the nascent years of Chi-Town house depending on the track, but never do we run the risk of falling into pastiche.

Pure forward momentum with a decidedly mean streak coursing throughout. Plenty of sci-fi flourish, funked-out where it counts. Flush with dystopian romance and a decent dose of weirdo flex.

Quintessentially Kalahari.

Rotating Irish/international collective United Bible Studies (UBS) releases its 28th album, Strange is the Coastline, this Autumn (CD on Talking Elephant Records / LP on Hobby- Horse).
The album is preceded by the single ‘In The Arms of Lewes’ which was available on all digital platforms from 14th August.
'Strange Is The Coastline' is a collection of original folk-rock songs written by current core members David Colohan (co-founder of UBS) and Alison O’Donnell (Mellow Candle) in the company of multi-instrumentalist Steven Collins (The Owl Service). Melding and meshing classic folk, contemporary pop, and passionate tune-smithery in an inspiringly complementary way; disparate, yet delightfully cohesive, with themes of Albion myth and legend to Victorian-era murder ballads via tales of chilling contemporary stalkerss, and climate chaos.
United Bible Studies was formed in 2001 and over the last couple of decades has been home to a head-spinning array of performers in an ever-evolving merry-go-round of studio and live personnel. Drawing on the broadest community of musicians, the band have created an impressive catalogue of 28 albums of studio and live recordings.
Standard weight black vinyl LP in picture sleeve with lyric booklet. 300 copies for the World.

“...teems with bushy-tailed folk-rock about Albion and Ireland, as well as brutal, bracing songs about singer Alison O’Donnell’s experiences with a former stalker, such as the startling You Often Hid”. (THE GUARDIAN)

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

MF Robots return with a euphoric blend of Afro-soul-funk, delivering a release brimming with optimism, tight vocals, and the inescapable grooves that have become their signature. This album is a celebration of life, love, and musical joy, radiating positivity from start to finish.


Co-founder Jan Kincaid describes the track Glide as “a celebration of the unfolding of a love story.” From its romantic, reflective instrumental introduction to the soulfully upbeat opening bars, the listener is immediately swept into a journey.

True to MF Robots’ style, the track is joyful and celebratory, yet it pushes further—exploring the path love takes over time, and how, when it works, we can glide through life’s challenges with the right person by our side.


The album’s vibe is exuberant and full of energy, paying homage to soulful greats while adding a modern twist. There’s a subtle nod to legends like Earth, Wind & Fire, but what truly shines through is the sense of fun—the feeling that MF Robots are having an absolute ball singing, playing, and creating music that moves both body and soul.

Dusty Springfield hosted this impromptu TV special to promote the Tamla Motown artists that were taking part in their first ever European tour in 1965. Motown sent over their six premier - The Supremes, The Temptations, The Miracles, Stevie Wonder, Marvin Gaye, Martha & The Vandellas were all backed by the Motown house band, The Earl Van Dyke Sextet. Dusty was a huge Motown fan and was keen to play her part in bringing the acts to a wider audience. The Beatles and the Stones also went out of their way to give Motown a mention in their interviews. Remember, Motown had only just launched its label in Europe earlier that year and the artists were known only to a small number of soul aficionados, so ticket sales for the tour were very poor. Mary Wilson recalls that the acts referred to it as the ghost tour, but they all put a performance for this fabulous TV show.

By 1968, Soul music is fully in the ascendant, with some of the tracks getting funkier and funkier - no Blues or R & B any more. So this album of music from the Lone Star state continues the tradition of mixing up big star artists with lesser known singers - plenty of uptempo dancers and a few delicious ballads for a change of pace. Definitely the best of Texas ‘68!

If you could go back in time ten years, what would you want to tell yourself? This was a question Khruangbin posed to themselves when approaching the ten-year anniversary of their debut album, the once cult classic, now genre-defining work The Universe Smiles Upon You. “If we could go back and tell ourselves how much was going to happen to us after that record, what would we want to
celebrate?” asked Laura Lee, bassist, vocalist, and founding member of the band. Instead, they thought: “Let’s do it again.”
The Universe Smiles Upon You ii was recorded on January 4-6, 2025, in the same family barn of guitarist Mark Speer, across the
same dates where TUSUY was first conceived ten years earlier. Though the conditions were the same–dirt floor, brutally cold,
minimal sound isolation, all takes live–the songs aren’t. They’re re-approached, some changed more than others, harnessing the lightning-in-a-bottle energy of TUSUY while discovering what would be unique this time around, in this stage of the band’s life.
The result moves like ripples on the water across ten hypnotizing tracks, the barn creating a sense of spaciousness, serenity and creative freedom, nearby wildlife (listen out for the birds on “August Twelve ii”), rattles and creaks of the barn and all. It’s a tapestry of small movements in nuanced arrangements, slowly revealing the new life, stories and character of someone you’ve met again for the first time in ten years.

Über die Jahre hat Numero eine Menge Aufnahmen aus den Tiefen Detroits ausgegraben. Aus allen möglichen Mini-Motowns haben wir Soul, R&B, Funk, Disco, Boogie und aufgrund der Nähe auch Gospel entdeckt. Frühere Untersuchungen der Labels Revival und Big Mack brachten mehr als nur ein paar neue apokryphe Hymnen zutage, und Great Lakes Gospel Vol. 2 versammelt ein Dutzend interessanter Kirchengruppen, die sich hingebungsvoll an die Ausläufer des Genres heranwagen. Verlier dich in ekstatischem Chor-Funk, Kanzel-Rap, direkt eingespeisten Gitarrensoli und dem Heiligen Geist, sollte er dich bewegen. Schau dich im Raum um. Mit diesem Ding könntest du eine Kirche gründen.

With Figures of Glass (Piano Etudes – Edits), Vanessa Wagner offers a new listening perspective on Philip Glass’s Piano Études, shaping a curated selection of edited versions drawn from her acclaimed recording of the complete cycle. These edits do not alter the substance of the works; rather, they refine their temporal focus, revealing their emotional force with renewed clarity.

Conceived in parallel with Figures of Glass, a hybrid project developed with visual arts collective Scale, the release extends a dialogue between piano and light, sound and space. Between piano and light, Vanessa Wagner interprets Glass’s Études at the heart of a scenographic installation, exploring the visual imagination embedded in the composer’s music. Minimal structures become spatial gestures; repetition opens onto perception, colour, and resonance. Taken together, these edits form a coherent arc through Glass’s language: from tension and propulsion to suspension and introspection, from rhythmic urgency to contemplative stillness. Wagner’s approach is marked by precision, restraint, and a deep attention to resonance, allowing each piece to unfold with an assumed expressive sobriety.

Figures of Glass also exists as a live creation, presented for the first time in Paris at the Théâtre du Châtelet on April 7, 2026. In both recorded and staged forms, the project invites contemporary listening contexts — from focused headphone listening to immersive visual environments — while reaffirming the Piano Études as a major landmark of 21st-century repertoire. Bridging modern classical piano, minimalist writing, and spatial listening formats, Figures of Glass (Piano Etudes – Edits) speaks equally to traditional classical audiences and new listeners discovering Philip Glass through curated, editorial-driven experiences.

Over the decades, Numero has excavated a metric ton of recordings from the depths of Detroit. From all manner of mini Motowns we’ve uncovered soul, R&B, funk, disco, boogie, and by nature of proximity—gospel. Previous examinations of the Revival and Big Mack la- bels turned up more than a few new apocryphal hymns, and Great Lakes Gospel Vol. 2 compiles a dozen curious church groups devotionally reaching towards the genre’s frayed edge. Get lost in ecstatic choir funk, pulpit rappin’, direct-injection guitar solos, and the holy spirit, should it move you. Look around the room. You could start a church with this thing.

Reissue of the highly-regarded 2003 live album by Canadian technical death metal masters Cryptopsy. Capturing a crushing 2002 Montreal performance featuring their then-new vocalist Martin Lacroix and a career-spanning setlist including tracks from None So Vile, Blasphemy Made Flesh, and Whisper Supremacy, showcasing incredible energy, technicality, and a notable drum solo by Flo Mounier. It's considered by many fans to be a definitive live death metal album, representing their best material from previous albums in one powerful recording.

Die schwedischen Old-School-Death-Metal-Veteranen GLUTTONY kehren mit ihrem vernichtenden vierten Studioalbum ,EULOGY TO BLASPHEMY" zurück - ein gnadenloser Brocken aus Schmutz, Raserei und Brutalität, direkt aus dem kalten, verrotteten Herzen Skandinaviens. Mit 10 brutalen Tracks plus einem finsteren Intro liefert das Album pure, von Kettensägen-Gitarren getriebene Zerstörung, tief verwurzelt in der klassischen schwedischen Death-Metal-Tradition.Als besonderes Bonus für die CD- und LP-Editionen zollt die Band dem König höchstpersönlich Tribut mit einem exklusiven King-Diamond-Cover, das dem ohnehin schon bedrohlichen Release eine dunkle und verdrehte Note verleiht.Aufgenommen in den Studio Blastbeat (Sundsvall), gemischt von Jonas Jönsson im Studio LV5 und gemastert von Henrik Heinrich in den Nevo Studios, ist ,EULOGY TO BLASPHEMY" eine brutal authentische Produktion, die die rohe Kraft und die faulige Atmosphäre der Band in ihrer tödlichsten Form einfängt. Artwork und Layout stammen von Håkan Sjödin.Fans von GRAVE, FACEBREAKER und LIK werden sich in diesem gnadenlosen Angriff auf klassischen schwedischen Death Metal sofort zuhause fühlen.Bereitet euch auf totale klangliche Entweihung vor. Dies ist ein Nachruf - auf Blasphemie.

“It’s hard to find your way, following the ghost,” sings Noah Alves on the title track from Middleman’s debut album, as the band explores ideas of how being chained to the past can hinder your forward momentum into the future. This creates a thrilling duality to the debut LP from the London DIY four-piece made up of Alves, Harper Maury, Rory White and Ted Foster. They are all young, in their early-to-mid-twenties, and very much focused in the now, harnessing an energy, urgency and rawness that feels fresh, alive and viscerally present. However, it’s also clear there’s a deep love of music that was made before they were born: the taut, wiry assault of Mission of Burma; the raspy yet melodic charge of The Replacements; the pioneering punk of Wipers, fleshed out via the more restrained and tender moments of Big Star or Neil Young. The result is a beautiful dichotomy of a record that both pays tribute to a rich musical lineage that the band are a part of, while also resisting the urge to get sucked into a dead end of nostalgia, mythology and recycling past glories.

Following the album "Mori", which focused mainly on slow-tempo pieces, this album "Yama" centers on up-tempo tracks. Moriyama’s sharp yet deeply embracing drumming is powerfully dynamic, like climbing a steep mountain at full speed. On both "Mori" and "Yama", the addition of saxophonist George Garzone allows listeners to be immersed in a refreshing flood of sound.

Abdou El Omari was born in 1945 in Tafraout, south of Agadir -- a village suspended between the pink granite peaks of the Anti-Atlas and the waves of the Atlantic. A landscape already musical in itself. He grew up in the dry mountain light, surrounded by the rhythms of nature and Berber's culture. Very little is known about the man -- a veil of mystery still surrounds his life, only deepening the fascination. In the 1970s, as Morocco was transforming, Abdou El Omari shaped a sound of his own -- a visionary blend of spiritual jazz, psychedelic funk, Moroccan traditions, and early electronic experimentation. Today, his work is resurfacing, rediscovered by a new generation of listeners in search of lost horizons. This record stands among its rarest and most precious fragments. At twenty-two, he founded his first group, Les Fugitifs, which gained him local fame. Soon after, he released records and cassettes on labels such as Cléopâtre, Hassania, Boussiphone, Hilali, and his own, Al Awtar, while performing on RTM (national radio and television). He also composed for artists like Naima Samih, Laila Ghofran, and Aicha El Waad. In 1976, through the label Gam, he released his only vinyl album, Nuits d'été -- a record that would become cult decades later, reissued in 2017 by Radio Martiko. In the 1980s, his music grew quieter, more secret. He tried to recover his old tapes from the studios he had recorded in, but gradually withdrew from the scene and returned to hairdressing. A pioneer of musical fusion, he opened paths that would remain unexplored for years. He passed away in 2010, never witnessing the rediscovery of his music by diggers, bloggers, and collectors online. One day, his close friend and poet Aziz Essamadi, rescued a cardboard box from the trash -- a box containing Abdou El Omari's personal archives. It was later entrusted to Casablanca based collector Ahmed Khalil, founder of the label Dikraphone. Inside were treasures preserved by chance: demos, rehearsals, private recordings, unseen photographs -- and a stunning, almost forgotten cassette. Here, El Omari sounds bolder than ever, exploring territories where pop, cosmic disco, electric blues, and Moroccan tradition merge without boundaries. Armed with his ARP Odyssey synthesizer, hypnotic grooves, and the celestial layers of his Farfisa, he expanded the dialogue between deep roots and electronic exploration. This album is the continuation of a vision -- a music of the Moroccan future: rooted, but reaching for the unknown. Colorful, magnetic and timeless, here is music for dancing as much as for dreaming.

Wewantsounds is delighted to release for the 1st time on vinyl Brion Gysin's cult recordings, produced by Ramuntcho Matta in the 80s and early 90s. The release features the hypnotic 32-minute journey "Dreamachine," which transforms the effects of Gysin's legendary light art device into a mesmerizing audio experience, alongside the track "The Door," featuring the visionary saxophonist Steve Lacy. A towering figure in avant-garde art, literature, and sound, Gysin influenced generations of creators, from William Burroughs to David Bowie and Laurie Anderson. Newly remastered and accompanied by liner notes by Gysin scholar Jason Weiss, this LP edition coincides with a major exhibition dedicated to Gysin at the Museum of Modern Art in Paris, opening Spring 2026, underscoring his lasting impact on contemporary culture.

Nach dem Riesenerfolg von „Votan Wahnwitz“ 1975 veröffentlicht Udo Lindenberg und das Panikorchester im Januar 1976 das futuristisch anmutende "Galaxo Gang - Das sind die Herrn vom anderen Stern“Das Album erreicht Platz 4 der deutschen Charts.
Die anschließende Tournee mit dem Untertitel „Das sind die Herrn vom anderen Stern“ wird ein Riesenerfolgund ist Udos erste Rock ´n`Roll Revue
Zensurmaßnahmen im Radio und TV sowie Kontroversen um den Song "Lililiputaner" prägten die zeitgenössische Kritik - das Album hält sich dennoch 4 Monate in den Charts und wird viermal mit Gold ausgezeichnetEs enthält außerdem die inzwischen zu Udo-Klassikern gewordene Songs: "Bodo Ballermann", "Rock ´n`Roller", "Radio Song" oder "Gene Galaxo“, ein apokalyptisches Drama, gespickt mit ironischen Anspielungen auf Deutschlands kulturelle und politische Lage in 1970er Jahren.
Das Album erscheint jetzt zum 50 Jubiläum in einer limitierten, remasterten Version auf blauem Vinyl / 180g.

Headline: Alexis Taylor von Hot Chip setzt seine Soloreise fort.

Alexis Taylor zählt zu den markantesten Singer-Songwritern des UK, der mit seiner unverwechselbaren Stimme ein beachtliches Solowerk geschaffen hat. "Paris In The Spring" ist sein bisher persönlichstes Album, das individuelle wie auch universelle Gefühle offenbart. Die Texte scheuen sich nicht vor eindringlichen Themen, doch musikalisch präsentiert sich die LP unbeschwert, beschwingt und zeitgemäß, mit eleganten Disco-House-Elementen, sinnlichen Basslinien und von Vangelis inspirierten Klanglandschaften.

Taylor hat für diese lebendige Klangwelt namhafte Künstler ins Boot geholt, darunter Nicolas Godin (Air), The Avalanches, Lola Kirke, Oli Bayston, Étienne de Crécy, Elizabeth White (Pale Blue) und Green Gartside (Scritti Politti). In dieser Welt trifft ein intimer Country-Stil auf die eingängige Popmelodie von Paul McCartney, den futuristischen Funk von Sly & The Family Stone und, so Taylor, "Synthesizer, die im Regen stehen gelassen wurden". Hier verschmelzen britisches Americana und französisches Flair – irgendwo auf dem Mars. Das Ergebnis ist ein Album über die Freiheit von Zwängen, von Vorurteilen, von Genregrenzen. Taylor experimentiert mit verschiedensten Musikstilen – Country, Folk, Disco – und hat sie zu etwas Einzigartigem verwoben.

Danny Scott Lane is a New York-based musician, photographer and sound artist whose work drifts between jazz, ambient, and gentle funk. Originally an actor and singer before turning to photography, Lane brings a cinematic and emotional sensibility to his recordings - music that feels intimate, tactile, and quietly surreal. He has scored films and commercials, and his eclectic taste has taken him to DJ booths around the world.

Since his first tape release in 2019, Lane has released nine albums, five of them with WRWTFWW Records, each expanding his distinct blend of warmth, rhythm, and daydream. His tenth LP, House of Alice, welcomes back three-time collaborator David Lackner and introduces Michael Gagliardi, further deepening the reflective world Lane continues to build.

The album's title is derived from the Alice Austen House. Danny took an interest in the prolific 'street' photography of Alice where she often captured everyday life and intimate depictions of women's lives beautifully. Inspiring images that reflect in his own photography as well. We will continue to stand on the shoulders of giants.

Expect a gentle mix of electronic new age jazz and soft funk.

Danny Scott Lane is a New York-based musician, photographer and sound artist whose work drifts between jazz, ambient, and gentle funk. Originally an actor and singer before turning to photography, Lane brings a cinematic and emotional sensibility to his recordings - music that feels intimate, tactile, and quietly surreal. He has scored films and commercials, and his eclectic taste has taken him to DJ booths around the world.

Since his first tape release in 2019, Lane has released nine albums, five of them with WRWTFWW Records, each expanding his distinct blend of warmth, rhythm, and daydream. His tenth LP, House of Alice, welcomes back three-time collaborator David Lackner and introduces Michael Gagliardi, further deepening the reflective world Lane continues to build.

The album's title is derived from the Alice Austen House. Danny took an interest in the prolific 'street' photography of Alice where she often captured everyday life and intimate depictions of women's lives beautifully. Inspiring images that reflect in his own photography as well. We will continue to stand on the shoulders of giants.

Expect a gentle mix of electronic new age jazz and soft funk.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

A journey into the raw and visceral origins: from the demo sessions mixed by Steve Albini to the night of the very first secret show on December 20th, 1988. In the heart of Chicago, Geordie and Martin Atkins turned frustration and distance into pure creative energy, recording the now-legendary "Black Cassette" demos at Albini"s house. Distorted, menacing bass lines, unruly oscillators, and Albini running endlessly up and down the stairs between the basement drum room and the pantry control room defined a sound that was brutally direct and uncompromising. The first interactions with the Yamaha drum machine foreshadowed elements that would later shape parts of the album. Those sessions sparked essential ideas, while the future studio - purchased from Steve and moved to Wabash Ave - would soon become the core of Invisible Records and Killing Joke"s operations. On the other side, a truly rare document: excerpts from Atkins"s very first show with the band, at Burberries in Birmingham on December 20th, 1988. In a small, mirror-lined club filled with tension, adrenaline, and inevitable collisions with the walls, Extremities, The Fanatic, Intravenous, and The Beautiful Dead were performed publicly for the first time. It was the night when everything ignited: the blast beat still in its embryonic stage, the controlled fury Geordie demanded - "can you go a bit more Moonie on it?" - and above all Jaz"s theatrical yet strikingly genuine laughter. Not just joy, but a declaration: a giant "fuck off" to the doubters and a prelude of what was about to come. A raw, essential, indispensable testimony: the birth of an era.

Lia Ouyang Rusli's score for Sorry, Baby plus early demos and commentary from director Eva Victor pressed on New England-sky blue vinyl. Includes a booklet with letters from the director and composer, as well as sheet music for select songs from the score.

Clear Vinyl. Recorded live on May 15, 1989, at the iconic Dynamo Open Air Festival in Eindhoven, Netherlands, Alive At The Dynamo captures Arizona's premier thrashers at the height of their powers. Following the success of their Ignorance debut and Surf Nicaragua EP, this 4-track live recording showcases the band's tight, aggressive, and politically charged sound that helped define the late-80s European metal scene.

Wenn der Toifel (Berliner Weisse) mal alleine!!! Mit VÖ Nummer 50 beschert uns Smith & Miller Records den Toifel solo! "Für immer euer Feind" - eine Platte, wie sie ehrlicher nicht sein könnte. Hart, kompromisslos und ähnliche Floskeln stehen bei den meisten Auskopplungen in der Beschreibung, doch wenn man dann reinhört ist alles mehr Schein als sein. Toifel's Solo Debüt allerdings könnte ehrlicher und direkter nicht sein. Ein aggressiver Faustschlag gegen geheuchelte Freundschaften, Respektlosigkeit und Arroganz der Gesellschaft. Klare, deutliche Worte ohne Maulkorb direkt vom Herz auf die Zunge, wird diese Platte das Genre Streetpunk auf ein ganz neues Level heben. Lieder die im ersten Moment frustrieren aber im Nachgang Hoffnung machen und dem Hörer die Hand reichen,die dunkelsten Zeiten durchzustehen. 12 mitsingtaugliche Hymnen wie sie von Vielen lange ersehnt wurden. Fans von Berliner Weiße, OXO 86, Biertoifel, Loikaemie, 4 Promille, Gumbles, Stomper 98... werden sich froien! Zwölf Songs auf 180gr neon green/ black marbled Vinyl, limitiert, handnummerierte 1.000 Stück mit Insert oder als Digipac-CD mit Booklet.

Ltd. black LP & LP-Booklet

Shoreline’s new album Is This The Low Point Or The Moment After? is built around an unanswerable question: when you hit rock bottom, can you tell where things begin to turn? Meant to be heard front to back, the record starts in a subdued, reflective place, grows progressively heavier, and ultimately lands on a more hopeful note. Drawing from the current wave of emo and hardcore while reflecting the collision of Germany’s alternative scenes, the album shows a band with a clear musical vision focused on big melodies, heavy riffs, and an honest DIY punk foundation.

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Hardcore thrash punks VITAMIN X return with a new album in 2026 via Svart Records Amsterdam’s hardcore legends Vitamin X are back with their seventh album Ride The Apocalypse, the band’s most intense and ambitious album to date — released by Svart Records in March 2026. Mastered by Joel Grind (Toxic Holocaust, Municipal Waste) and featuring apocalyptic artwork by Andrei Bouzikov (Municipal Waste), the record delivers 16 tracks of pure mayhem: faster, harder, and heavier than anything the band has done before. Everyone who’s heard the early mixes agree — this is the strongest Vitamin X album yet. For over two decades, Vitamin X has been one of the most explosive and influential forces in crossover hardcore punk. Emerging alongside the early wave of modern crossover and thrash-revival bands like Municipal Waste and Wolfbrigade, Vitamin X carved out a sound that is unmistakably their own: ultra-fast, razor-tight, socio-political, fun, and always completely unhinged. They’ve released albums on iconic labels such as Southern Lord, Havoc, and Tankcrimes, and worked with legends like Steve Albini, John Baizley (Baroness) and J Mascis (Dinosaur Jr.). Their video About to Crack reached millions of views. The band has played over a thousand shows worldwide and appeared at festivals such as Hellfest, Maryland Deathfest, EXIT, and Obscene Extreme. With Ride The Apocalypse arriving in March 2026, Vitamin X enters a new chapter — sharper, faster, and more devastating than ever.

Barsuk Records is pleased to release Death Cab for Cutie's beloved debut LP Something About Airplanes on attractively-priced standard weight vinyl. This black vinyl pressing is packaged with the original spot-color printed die-cut jacket design, with a new boat-and-water-ripples lyrics insert.

"""Sam Salmon & the Grand Manan Bandits is a bare-bones country band made up of beloved Canadian alt-rock band Motherhood and “delta doom” guitarist Keith Hallett (Echodelick Records)

DOWN FOR LIFE features foot-stompin’ tracks like “No One Likes Losing,"""""""" a self-deprecating look at being competitive yet never managing to get ahead, “Waste Your Time,” about the confusion of suddenly losing someone you love, as well as a reflection on familial personality traits, and “If I Needed You Now,” showcasing country music at its finest - three chords and the truth. Or, in this case, two chords.

Sam Salmon & the Grand Manan Bandits features Penelope Stevens (bass/vocals), Brydon Crain (vocals/guitar), Keith Hallet (lead guitar, console steel), and Adam Sipkema (drums).

DOWN FOR LIFE also marks a trifecta of releases this year from Motherhood Music Inc., following the band’s “wildly entertaining!” (Bandcamp) fifth album Thunder Perfect Mind and side-project Penny & the Pits’ “delicate and
demanding” (LOUD Women) debut Liquid Compactor."""

"Formed in San Diego at the tail end of the 1970s, The Crawdaddys stood apart from the punk explosion surrounding them, reviving the raw rhythm & blues spirit of the early British Invasion with unshakable devotion. Their debut album Crawdaddy Express, originally released in l979 on Voxx Records, captures the band at full throttle, gritty guitars, swirling organ, and a ferocious live energy straight out of a sweaty basement club circa 1965. Reissued to celebrate BOMP!’s 5Oth anniversary, this essential slab of garage revival magic remains a timeless reminder of when rock & roll was wild, loud, and gloriously untamed"

2026 Repress
Détends-Toi is the debut EP of the Parisian-born, berlin-based singer & DJ Stella Zekri.

Produced and co-written by Ed Longo, Détends-Toi is a sunny collection of four original songs, one dub version and one special cover, heavily influenced by zouk, boogie and the sound of the mid-80s French underground.

Coming to you in advance of summer ‘22 the record marks also the first release of Berlin label Cosmic Romance.

Der aufstrebende Country-Künstler und Songwriter Drake Milligan meldet sich mit seinem brandneuen
Album „Tumbleweed“ zurück – ein einzigartiges und lang erwartetes Kunstwerk. Produziert von Trent
Willmon, umfasst „Tumbleweed“ 14 Titel, die traditionellen Texas Country, Western Swing und moderne
Nashville-Elemente perfekt vereinen und Milligans zeitlose Musikalität unter Beweis stellen. „Das ist genau
das Album, das ich immer machen wollte“, sagt Milligan. „Es fängt so ziemlich alles ein, was ich an CountryMusik liebe, und ich freue mich riesig, es endlich veröffentlichen zu können.“ Das Album zeigt Milligans
beeindruckende Vielseitigkeit durch sein fesselndes Storytelling, sein Können und seinen charmanten Humor
in „Goodbye Ain’t All That Bad“. Im Schlusssong „How Much Beer“ holt sich Milligan seinen texanischen
Landsmann Randall King ins Boot, um eine Ode an die Kneipe des Arbeiters zu schaffen – der Song ist
eine schräge Hommage an den Bierliebhaber aus der Arbeiterklasse, seinen Barhocker und die Neonlichter