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Bert At the BBC is a comprehensive collection of Jansch’s appearances at the BBC, featuring over eight hours of rare and unreleased recordings, including live-on-air spots, studio sessions and full concerts straight from the BBC vaults, delving further into this legendary performer’s canon. Bert Jansch was the very essence of folk music, providing inspiration for everyone from Paul Simon and Neil Young to Led Zeppelin and countless folk revivalists. This unparalleled limited-edition compendium is available as a 4xLP and 8xCD set, housed in a coffee-table book set with a lavish 40-page book tracing the recordings from Bert’s earliest moments at the BBC. It includes interviews and insights from Lauren Laverne, Jools Holland, Johnny Marr, Jacqui McShee, Bob Harris, Bernard Butler, Mark Radcliffe and many more. Twenty broadcasters, producers and collaborators contribute at length to the booklet, with great affection for this gentle, maverick genius. Bert’s BBC legacy remains the most significant and exciting untapped reservoir of his music. The undeniable advantage of recordings made for broadcast is that they were, by their nature, created for public consumption and, barring live-on-air appearances – which might go well or go badly, but were going out either way – were explicitly signed-off by the artist as representations of his art that were good enough to be heard. The set is compiled by Colin Harper, author of Dazzling Stranger: Bert Jansch and the British folk and blues revival (Bloomsbury, 2000), who contributes detailed liner notes to the package. The release is mastered by IFTA award-winning engineer Cormac O’Kane. The vinyl release features 48 tracks on LP and is accompanied by a download card with over six hours of extras spanning 1966–2009, including BBC4’s St Luke’s concert (2003), and a complete Queen’s Hall, Edinburgh concert (2004) for BBC Radio Scotland. It is also available as a special 8xCD set containing all 147 tracks and encased within a coffee-table book. Bert Jansch At The BBC is an epic and enduring trail, 45 years in the making. “He was that rarity, a musician who really did deserve to be regarded as a legend.” The Guardian // “As a guitar player there was no one like him. He was jazz and blues and folk but there was a whole world in there that was just him, esoteric”

"When The Wind Forgets Your Name" ist das erste neue Built to Spill -Album seit der Veröffentlichung von "Untethered Moon" aus dem Jahr 2015 und das achte Studioalbum dr langlebigen Band um Mastermind Doug Martsch. Es wurde von Martsch produziert, von Martsch, Lê Almeida, Joao Casaes und Josh Lewis gemischt und von Mell Dettmer gemastert. Das Cover Artwork wurde von dem Comiczeichner Alex Graham (Dog Biscuits; Fantagraphics Books) gestaltet, der auch den fünfzigteiligen Comicstrip für das Klappcover des Albums illustriert hat (erhältlich mit den CD-, LP- und MC-Ausgaben des Albums). Seit 1992 wollte Doug Martsch, Gründer von Built to Spill, dass seine geliebte Band ein gemeinschaftliches Projekt ist, eine sich ständig weiterentwickelnde Gruppe von unglaublichen Musikern, die gemeinsam Musik machen und live spielen. Nach mehreren Alben und EPs auf Independent-Labels stand Martsch von 1995 bis 2016 bei Warner Brothers unter Vertrag. In dieser Zeit nahmen er und seine wechselnden Mitstreiter sechs unbestreitbar großartige Alben auf - "Perfect From Now On", "Keep It Like A Secret", "Ancient Melodies Of The Future", "You In Reverse", "There Is No Enemy", "Untethered Moon". "When The Wind Forgets Your Name" setzt nun die Erweiterung des Built to Spill -Universums auf neue und aufregende Weise fort. Im Jahr 2018 brachten Martschs Glück und seine Intuition ihn mit dem brasilianischen Lo-Fi-Punk-Künstler und Produzenten Le Almeida und seinem langjährigen Mitstreiter Joao Casaes zusammen, beide von der psychedelischen Jazz-Rock-Band ORUA. Als Martsch ihre Musik entdeckte, verliebte er sich sofort in sie und bat sie bei Built to Spill mitzumachen, als er eine neue Begleitband für Auftritte in Brasilien brauchte. Die Auftritte in Brasilien liefen so gut, dass Martsch, Almeida und Casaes beschlossen, 2019 weiter zusammen zu spielen und durch die USA und Europa zu touren. Bei Soundchecks erlernten sie neue Songs, die Martsch geschrieben hatte, und als die Tournee zu Ende war, nahmen sie die Bass- und Schlagzeugspuren in seinem Proberaum in Boise auf. Nachdem sie nach Hause geflogen waren, begann Martsch selbst mit dem Overdubbing von Gitarren und Gesang. Das gemeinschaftliche Abmischen fand während der Pandemie übers Internet statt, in dem die Tracks hin und her geschickt wurden. Herausgekommen ist "When The Wind Forgets Your Name", eine komplexe und schlüssige Mischung aus den unterschiedlichen musikalischen Ideen der Künstler. Neben den poetischen Texten und Themen von Built to Spill sorgen die Experimente und die Liebe zum Detail für ein Album voller einzigartiger, lebendiger und zeitloser Klänge.

Limitierte Loser Edition, gepresst auf "Misty Kiwi Fruit Green" farbiges Vinyl. "When The Wind Forgets Your Name" ist das erste neue Built to Spill -Album seit der Veröffentlichung von "Untethered Moon" aus dem Jahr 2015 und das achte Studioalbum dr langlebigen Band um Mastermind Doug Martsch. Es wurde von Martsch produziert, von Martsch, Lê Almeida, Joao Casaes und Josh Lewis gemischt und von Mell Dettmer gemastert. Das Cover Artwork wurde von dem Comiczeichner Alex Graham (Dog Biscuits; Fantagraphics Books) gestaltet, der auch den fünfzigteiligen Comicstrip für das Klappcover des Albums illustriert hat (erhältlich mit den CD-, LP- und MC-Ausgaben des Albums). Seit 1992 wollte Doug Martsch, Gründer von Built to Spill, dass seine geliebte Band ein gemeinschaftliches Projekt ist, eine sich ständig weiterentwickelnde Gruppe von unglaublichen Musikern, die gemeinsam Musik machen und live spielen. Nach mehreren Alben und EPs auf Independent-Labels stand Martsch von 1995 bis 2016 bei Warner Brothers unter Vertrag. In dieser Zeit nahmen er und seine wechselnden Mitstreiter sechs unbestreitbar großartige Alben auf - "Perfect From Now On", "Keep It Like A Secret", "Ancient Melodies Of The Future", "You In Reverse", "There Is No Enemy", "Untethered Moon". "When The Wind Forgets Your Name" setzt nun die Erweiterung des Built to Spill -Universums auf neue und aufregende Weise fort. Im Jahr 2018 brachten Martschs Glück und seine Intuition ihn mit dem brasilianischen Lo-Fi-Punk-Künstler und Produzenten Le Almeida und seinem langjährigen Mitstreiter Joao Casaes zusammen, beide von der psychedelischen Jazz-Rock-Band ORUA. Als Martsch ihre Musik entdeckte, verliebte er sich sofort in sie und bat sie bei Built to Spill mitzumachen, als er eine neue Begleitband für Auftritte in Brasilien brauchte. Die Auftritte in Brasilien liefen so gut, dass Martsch, Almeida und Casaes beschlossen, 2019 weiter zusammen zu spielen und durch die USA und Europa zu touren. Bei Soundchecks erlernten sie neue Songs, die Martsch geschrieben hatte, und als die Tournee zu Ende war, nahmen sie die Bass- und Schlagzeugspuren in seinem Proberaum in Boise auf. Nachdem sie nach Hause geflogen waren, begann Martsch selbst mit dem Overdubbing von Gitarren und Gesang. Das gemeinschaftliche Abmischen fand während der Pandemie übers Internet statt, in dem die Tracks hin und her geschickt wurden. Herausgekommen ist "When The Wind Forgets Your Name", eine komplexe und schlüssige Mischung aus den unterschiedlichen musikalischen Ideen der Künstler. Neben den poetischen Texten und Themen von Built to Spill sorgen die Experimente und die Liebe zum Detail für ein Album voller einzigartiger, lebendiger und zeitloser Klänge.

From the visionary minds of Snarky Puppy’s Robert “Sput” Searight and Nate Werth, Ghost-Note’s explosive debut "Fortified" finally arrives on vinyl. This percussive tour de force seamlessly fuses funk, hip-hop, jazz and world rhythms into a captivating journey of rhythm and groove.
Featuring an all-star lineup of iconic players—including Shaun Martin, Mark Lettieri, and the legendary MonoNeon—this album is packed with tight grooves, deep tribal pulses, searing horn lines, and fearless synth wizardry.
More than just an album, Ghost-Note’s debut "Fortified" bridges classic funk traditions with cutting-edge jazz innovation. It’s a celebration of rhythm, culture, and community. Whether you drop the needle to ignite the dance floor or to get lost in its rich, layered textures, this LP is destined to become a crate-digger’s gem and a cornerstone for fans of modern funk-jazz.

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Whitelands' second album Sunlight Echoes builds on their elemental debut - that won them fans from Slowdive to David Jonsson - with a more expansive sound that takes them out of the shoegaze shadows to somewhere bigger, better and brighter. Produced by long-time collaborator Ian Flynn and mixed by double Grammy Award-winner Eduardo De La Paz (New Order, The Horrors, The Charlatans, The KVB, Drug Store Romeos), there are soaring string arrangements (by Iskra Strings) and Lush guest vocals from labelmate Emma Anderson. "We're coming back with a lot more maturity and realness," says singer and guitarist Etienne Quartey-Papafio of their step up. "It shows in how much more emotional our music has become." With maturity comes a newfound confidence, so not only are there stunning melodies everywhere, but Etienne's vocals are front and centre throughout. "It's been really cool to watch Etienne push through boundaries," adds bassist Vanessa Govinden. "I like the direction we've taken on this album. We're taking a risk. It's half and half." She's right - the first half of the album has an almost Britpop breeziness, that belies the serious subject matter that inspired the songs, while the second half gets heavier, in all senses, with added grit and gravitas."This album is one of enduring," says Etienne of the overarching theme. "We had family that were dying, I was broke, there was a shortage of my ADHD medication_ I was suffering, but not just me, everyone around me was too." "The last two years have been challenging," concludes Vanessa. "The universe really fucked with us. That's why there are themes of loss, disconnection, fragmentation and yearning, but on the other side there is also unity and hope." Sunlight Echoes is a poetic, melodic statement of intent from this formidable band. Whitelands have fought back and triumphed in the face of adversity.

We Jazz Records continues their 7" series with a new release by Oaagaada, a fresh quartet from the rural parts of Southern Finland. "Oag-ada / A Swimming Trip" appears on 30 October and presents the band's ability to create fiery and flowing jazz music with strong avantgarde leanings. Think Art Ensemble Of Chicago on their groovy mode and add a strong DIY mentality, four people in a room creating music in the now. The lows are low and the highs are high, with the trumpet firmly on the red, adding just the right amount of blurriness into the picture. Perhaps it's not "lo-fi jazz" per se, but rather music which is more concerned with other things than the cleanest of hi-fi imagery. This is "real jazz for real people".

The quartet includes Tuure Tammi (trumpet), Sami Pekkola (sax), Tero Kemppainen (bass) and Simo Laihonen (drums). Laihonen has recently appeared on We Jazz Records with Stanley J. Zappa and previously with Black Motor, and more Oaagaada can be heard on the recent "We Jazz Live Plates" album "Lonna 2019".

True to We Jazz style, the 7" single comes with old school heat-pressed labels and a plain brown paper sleeve.

Helsinki bassist Antti Lötjönen follows up his 2020 We Jazz Records debut LP with a new 7" introducing a fresh version of key album cut "Erzeben Strasse" and throws in a wild treatment by Petter Eldh's Koma Saxo on the flipside. "Erzeben Strasse" presents Lötjönen's Quintet East lineup in fine form, swinging steadily but also adding enough sideways movement to blur the lines just a little bit. The band features a stellar Finnish cast in Lötjönen (bass), Verneri Pohjola (trumpet), Mikko Innanen (baritone sax), Jussi Kannaste (tenor sax) and Joonas Riippa (drums).

The Koma Saxo treatment of the track, dubbed here as "Erzeben Koma" is full of fire. Uplifting, a bit hectic, beat-driven and jubilant, Eldh's band of brothers double the ensemble heard on Side A, both sampling and adding new recording into the mix. The entire Koma Saxo live band is featured here: Eldh (bass/production), Otis Sandsjö (tenor sax), Jonas Kullhammar (tenor sax), Innanen (alto sax) and Christian Lillinger (drums). The modern sound of Helsinki meet Mauerpark Liquid Jazz.

We Jazz Records is delighted to present the first ever vinyl release for two modern classic tracks by Swedish organist Eric Malmberg. Originally released in 2007 by the label Häpna on Malmberg's second solo album "Verklighet & Beat", the pair of tunes herein serve as proof of Malmberg's remarkable artistic vision, echoing both the pure pastoral beauty and the irresistible groove of his work. This release, part of the ongoing 7" series by We Jazz Records, follows the label's Artistic Director Matti Nives's 10+ years of obsession with the aforementioned Malmberg album after an initial chance encounter with the side A track on a WIRE Magazine compilation in 2007.

"Eric Malmberg's music is a small miracle. I don't want to call him a genius, because I don't want to jinx him. But I will say that he's a complete original, in addition to being a vastly talented musician. I will also say that his recordings and the two performances that I saw by Sagor & Swing merit a place on a short list of most enjoyed musical experiences of the last half decade. I could bleat about the quality of the work, but "most enjoyed" to me carries the stronger charge." – David Grubbs, New York, March 2007

"A special mention needs to go out to the phenomenal and totally bonkers 'Till minne av Lilly Lindström' a track which starts with a clean break, builds into dancefloor abusing Hammond-hammering mayhem and then ends up with lush string orchestrations and disco-lite sweeps. Insane and more enjoyable than you could possibly imagine - an album to totally lose yourself in, and one for anyone looking for something just that little different. Huge recommendation." – Boomkat

Berlin-based Swedish dynamic duo of sax man Otis Sandsjö and bassist/producer Petter Eldh return with new music on We Jazz Records. Remember the hard hitting banger "Tremendoce" from Otis Sandsjö's "Y-OTIS 2"? Well, the saga continues, and the new directions are surprising to say the least, just as we like it!!! Some proper late night / early morning out there vibes on this one, and the flip is yet another step forward, bringing in Kathrin Pechlof on harp. Things are liquid, just as you would guess, but the whole consistency of the substance has flipped and evolved. A new sound. A new idea. Another new day in Mauerpark, Berlin.

Berlin-based Swiss vocalist Lucia Cadotsch returns with her celebrated Speak Low trio for their second album, released by We Jazz Records on 27 Nov. "Speak Low II" features Cadotsch on voice, Otis Sandsjö on tenor saxophone and Petter Eldh on double bass, and introduces guest artists Kit Downes on hammond organ and Lucy Railton on cello. "Speak Low II" picks up where their genre-bending and forward-looking debut album left off, introducing new shades into the band's sound and also diving even deeper into the songs they tackle. What makes Speak Low special is their approach to really get to the heart of each composition with seemingly minimal means, yet generating a sound which is both instantly recognisable and remarkably impactful.

"Speak Low II" comes almost five years after the band's lauded debut, and proves the depth of the band's approach right from the start. At the core of the trio's operation is an openness to their love of the music and to their surrounding scene(s). The album comes across as a unified collection of songs made truly theirs and found through listening to records and spending time with their musician friends, often on the road. The highly evolved band sound and the equality of the musicians shines through on the Speak Low sound, as the group uses their 100+ performances together as a vehicle for the development of their music.

"The first album was filled with pretty famous songs, but that was actually not at all intentional" explains Cadotsch. "Those were just my favourite songs of the previous 10 years and we started working on making them ours, musically. We were playing around with concepts for the second album, but soon realised that we just needed to find the right songs and adapt them organically, which comes through in how we interact with the songs and each other. This time around, we wanted to dig deeper and made finished arrangements of around 20 tracks, half of which we ditched in the process. The ones that made the cut have been through a lot and they just felt right for us."

In a way, the Speak Low approach could be described as archaeological. Three music lovers connecting with songs found at various sources, readily throwing away any ideas that don't seem natural to them, and hanging on tight to the ones that do.

Turns out there is a concept to "Speak Low II". It's the band itself, their shared musical development and their love of music.

"Speak Low II" will be available on We Jazz Records on vinyl (PURPLE and BLACK editions), CD and digitally. The vinyl versions come with a heavy duty tip-on sleeve and a printed inner sleeve. CD in digisleeve with no breaking plastic parts.

A rich and varied selection of tracks from veterans of the Italo Disco scene and talents who have established themselves in recent years, with one common goal: the dancefloor. Each track follows a distinctive path, reflecting the broad developments of the

After two decades in the experimental music scenes of New York and Western Massachusetts, Wednesday Knudsen might be known equally as a sought-after improv collaborator and the vocalist and guitarist for the beloved long-running psych band Pigeons or, more recently, as a member of the New England psych-folk ensemble Stella Kola. Though her forthcoming release, Atrium, is Knudsen’s fifth solo album, it is both her first solo work to appear on vinyl and a double LP, marking her rich recording history with a stunning masterwork. Channeling the “atmosphere of presence” alongside the legions of Éliane Radigue, Hiroshi Yoshimura, and Joanna Brouk, on Atrium, Knudsen plays it all—alto saxophone, flute, guitar, synth, piano, autoharp, bass guitar, and vocals. The collected compositions are studies in the tones, timbres, and pacing particular to the woodland environment of the Taconic Mountains where she lives. Atrium’s tracks are sculptural rather than ambient, with a release into the gorgeous hold of gravity that insists we don’t escape or drift away. This is music for remembering time. This is music that reinforces the power of art as resistance. The songs on Atrium distill our attention in a language that Knudsen calls “the opening of the heart,” reminding us that subsistence and community results from our own actions and engagement with our exterior. Atrium is a refuge, vital in our current moment and imbued with resonant power for our future.

black vinyl All riddims produced by Derrick Sound (Etienne et Nicolas Maître). This album is dedicated to the memory of our friend Chaouki Abbas. All brass instruments are played by Romain Tingueli (saxophone) and Zacharie Ksyk (trumpet and trombone). Featuring artists like Sizzla, Capleton, Peetah Morgan, and Luciano, this album stands as a true tribute to reggae excellence.Side A1.UpliftmentBugle & Agent Sasco (Assassin)2.BlessingsLutan Fyah3.Jah Is Always So NearSizzla4.Jah Is In ChargeChezidek5.Knock KnockTurbulence6.Change we wantEesahSide B1.Can’t Break Our SoulsPeetah Morgan2.Tired Of The DramaCapleton3.Bla Bla BlaLutan Fyah4.Rumours Of WarJah Mason5.Old School RuleLuciano6.Badda We BaddaBrother Culture & Eesah7.Double StandardFantan Mojah

Strong one on Voyage Direct from Rotterdam's Benny Rodrigues...TIP!

The label say "Benny Rodrigues seems to delight in confounding critics. Since making his debut alongside Darko Esser with 2007's Underwater Records-­-released 'Paradox', the Rotterdam-­-based DJ has surprised and excited at every turn.

Variously delivering woozy tech-­-house, rave revivalism, stripped-­-back minimal, jackin' acid, wide-­-eyed deep house and, under his occasional ROD alias, shirts-­-off warehouse techno. Along the way, he's released music on some of Europe's most prestigious labels, including Desolat, Soma, EC Records, Be As One and Wolfskuil Records.

Here, he makes his debut for Tom Trago's Voyage Direct imprint with two undulating, hypnotic, heads-­-down tracks that blur the boundaries between house and techno. Rhythmically loose but impressively tough - like all of Rodrigues' best productions - both cuts are built around mesmerising late night grooves and intoxicating chords.

'Master French' kicks things off, lacing nagging shakers, subtle synth strings and fluttering chords over a robust, shuffling tech-­-house groove. Rodrigues works the mix like a master, bringing elements to the fore before sliding them into the background. It's a simple, heads-­-down, 4am groove, but it's executed brilliantly.

'Z', on the other hand, is an altogether breezier affair, with repetitive, new age-­- inspired synthesizer melodies seemingly drifting over a rock solid house groove. Notable ride cymbals and warm beats proper the track forward, giving it a humid, tropical feel. This is music to move the body, mind and soul. "

SPIRIT!, the third LP from HUNNY, is about embracing the weird-an album born from uncertainty and built on instinct. It"s a testament to breaking free, starting over, and tuning out the noise. Now the sole project of longtime frontman Jason Yarger, HUNNY has shed its past shape to become something more fully itself. SPIRIT! doesn"t reinvent the wheel so much as keep it spinning forward. Across 15 tracks, the album-co-produced by Yarger and former bassist Kevin Grimmett with drums by former drummer Joey Anderson-leans into the sounds that have always lit HUNNY"s fuse: hooky post-punk, gleaming synths, and shout-along choruses praised by Alternative Press, Kerrang!, and Rock Sound. But it also pushes further-into abstraction, playfulness, and freedom. It"s the latest turn for HUNNY, a band long celebrated for shapeshifting through genres and decades with style on fan-favorite releases like Yes. Yes. Yes. Yes. Yes. (2019) and new planet heaven (2023)-always evolving, yet unmistakably themselves. That dynamic energy carries into their high-voltage live show, sharpened on tours with Joywave, Mom Jeans, Waterparks, and State Champs.

,Warmer Than Gold", das neue Album von Ben Cooks Projekt GUV, ist ein Dokument eines Lebens in der Musik, ein kritischer und feierlicher Reisebericht, ein Versuch, die homogenen und statusbesessenen Zustände der heutigen Welt durch den Einsatz von großen Beats, großen Refrains und Verzerrung zu überwinden. Es ist ein Album, das unterwegs entstanden ist und überall Sinn ergibt. Vor allem aber leitet es mit seiner erweiterten Klangpalette und der Betonung von Breakbeats eine neue Ära eines Künstlers ein, der nie aufgehört hat, sich weiterzuentwickeln. Cook, der zwischen Toronto und England aufgewachsen ist, verfügt über eine angloamerikanische Authentizität, die ihn von der wachsenden Schar von Hardcore-Kids mit Windjacken und Pilzköpfen unterscheidet. Zwei der ersten Konzerte, die er im Alter von 12 Jahren besuchte, waren Oasis und Neil Young. Nach dem Konzert, erinnert er sich, dachte er: ,Ja, ich werde für immer Musik machen." Kurz nachdem er Hardcore und Punk für sich entdeckt hatte, ging es los, zuerst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up, die er 2006 gründete. Er war ein Teil der Underground-Szene, die sich in den 90er Jahren in Kanada Kurz darauf entdeckte er Hardcore und Punk, und schon ging es los, zunächst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up von 2007 bis 2021 - und währenddessen baute er sich ein umfangreiches und beeindruckendes Repertoire an Soloarbeiten auf, zunächst als Young Governor, dann als Young Guv und jetzt einfach als GUV (,Ich bin nicht mehr so jung, Drei-Buchstaben-Bandnamen sind cool, und ich bin es leid, mit einem Rapper verwechselt zu werden", bemerkt Cook). Warmer Than Gold ist die großformatige Krönung all dieser Stränge. Die Musik des Albums behält den eingängigen Geist von Cooks früheren Alben bei, wie den gefeierten Doppelalben GUVI & II und GUV III & IV, fügt jedoch ein ausgeprägtes rhythmisches Element hinzu, das von klassischem Madchester und Britpop geprägt ist. Es verschmiert und schwebt, es fühlt sich an, als würde man um Mitternacht die Autobahn M1 entlangrasen, angetrieben von einer Dringlichkeit, die in Cooks anderen Werken nicht zu finden ist. Was jedoch von diesen früheren Power-Pop-Veröffentlichungen beibehalten wurde, ist das ausgeprägte Gespür des Künstlers für eingängige Melodien. In Kombination mit einer neuen Produktionssensibilität, die von den Beastie Boys über The Field Mice bis hin zu Primal Scream inspiriert ist, gelingt es Cook, die zentralen lyrischen Themen des Projekts musikalisch zu untermalen: die globale Verflachung der Kultur, das Vergehen der Zeit in der materiellen Welt und die Rolle des Künstlers in all dem.

,Warmer Than Gold", das neue Album von Ben Cooks Projekt GUV, ist ein Dokument eines Lebens in der Musik, ein kritischer und feierlicher Reisebericht, ein Versuch, die homogenen und statusbesessenen Zustände der heutigen Welt durch den Einsatz von großen Beats, großen Refrains und Verzerrung zu überwinden. Es ist ein Album, das unterwegs entstanden ist und überall Sinn ergibt. Vor allem aber leitet es mit seiner erweiterten Klangpalette und der Betonung von Breakbeats eine neue Ära eines Künstlers ein, der nie aufgehört hat, sich weiterzuentwickeln. Cook, der zwischen Toronto und England aufgewachsen ist, verfügt über eine angloamerikanische Authentizität, die ihn von der wachsenden Schar von Hardcore-Kids mit Windjacken und Pilzköpfen unterscheidet. Zwei der ersten Konzerte, die er im Alter von 12 Jahren besuchte, waren Oasis und Neil Young. Nach dem Konzert, erinnert er sich, dachte er: ,Ja, ich werde für immer Musik machen." Kurz nachdem er Hardcore und Punk für sich entdeckt hatte, ging es los, zuerst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up, die er 2006 gründete. Er war ein Teil der Underground-Szene, die sich in den 90er Jahren in Kanada Kurz darauf entdeckte er Hardcore und Punk, und schon ging es los, zunächst mit seiner geliebten Hardcore-Band No Warning (mit der er bis heute spielt), dann als Mitglied der Punk-Experimentalisten Fucked Up von 2007 bis 2021 - und währenddessen baute er sich ein umfangreiches und beeindruckendes Repertoire an Soloarbeiten auf, zunächst als Young Governor, dann als Young Guv und jetzt einfach als GUV (,Ich bin nicht mehr so jung, Drei-Buchstaben-Bandnamen sind cool, und ich bin es leid, mit einem Rapper verwechselt zu werden", bemerkt Cook). Warmer Than Gold ist die großformatige Krönung all dieser Stränge. Die Musik des Albums behält den eingängigen Geist von Cooks früheren Alben bei, wie den gefeierten Doppelalben GUVI & II und GUV III & IV, fügt jedoch ein ausgeprägtes rhythmisches Element hinzu, das von klassischem Madchester und Britpop geprägt ist. Es verschmiert und schwebt, es fühlt sich an, als würde man um Mitternacht die Autobahn M1 entlangrasen, angetrieben von einer Dringlichkeit, die in Cooks anderen Werken nicht zu finden ist. Was jedoch von diesen früheren Power-Pop-Veröffentlichungen beibehalten wurde, ist das ausgeprägte Gespür des Künstlers für eingängige Melodien. In Kombination mit einer neuen Produktionssensibilität, die von den Beastie Boys über The Field Mice bis hin zu Primal Scream inspiriert ist, gelingt es Cook, die zentralen lyrischen Themen des Projekts musikalisch zu untermalen: die globale Verflachung der Kultur, das Vergehen der Zeit in der materiellen Welt und die Rolle des Künstlers in all dem.

Tashi"s latest punk anthems: electric guitar improvisations to brutally impact us with... gentle lyricism and introspective depth! In a time of extraordinary institutional inhumanity, seeing the faces of the many deprived, what is there to feel but exhaustion? What to want but silence? Tashi seeks it all out actively, with intention. Hard truths absorbed, he enjoins power to reconstitute as spirit, to disseminate to everyone outside the walls.

Oxblood Red vinyl, limited to 400 copies. Lord Elephant are back with their second studio album "Ultra Soul", a psyched blend of 70's, 90's and 00's extravaganzas mixed together with the distinctive heavy breath of the band. Blues, doom and sludge are fused again in the strange trademark of the trio, allergic to genre-labels and ready to expand the vision beyond cages! Recorded, mixed and mastered at Studio 73, Ravenna, by Riccardo Pasini (Nero Di Marte, Ephel Duath, Ottone Pesante..) Artwork and Layout by JJ Farfante ArtLab (Melvins, Mudhoney, Ufomammut)

Powfu and Lofi Girl come together to soundtrack life’s softer sides on ‘the life of a lofi boy’.


Lofi Girl’s chill beats meet Powfu’s heartfelt storytelling in ‘the life of a lofi boy’. Brought together by a shared love of lofi hip hop, this seven-track EP drifts through love, loss, and life’s quiet moments. Layered with soft rainfall, birdsong, and gentle vocals, each track captures a mood, a fleeting moment suspended in time.



So brew a warm cup of coffee, press play, and let the life of a lofi boy’s story unfold.

Like a head resting on a train window, gazing at the horizon without anxiety, Jesper Ryom's debut album breathes a wind of freedom and propels us toward the unknown, to no destination in particular.



Beyond the sensations of movement it evokes, this work is a marvel of unexpected mixtures. Seamlessly transitioning from progressive sounds to genuine French touch inspirations, it sails through the ages while maintaining a dreamlike homogeneity. This long-awaited offering from one of Copenhagen best-kept mysteries invites listeners on a captivating journey.

Since their formation, The Hirsch Effekt have carved out a unique niche in the German-speaking music scene. Yet, despite—or perhaps because of—their elusiveness, the band has captivated a devoted audience. Musically, The Hirsch Effekt have always embraced limitless possibilities. Acoustic, introspective moments—where bassist Ilja John Lappin brings out his cello or guitarist Nils Wittrock returns to his classical roots—sit naturally alongside massive progressive metal onslaughts. The band is equally at home on intimate club stages as they are at international festivals, evidenced by repeated appearances at Euroblast and numerous events across the UK. Recently, they toured Germany alongside scene giants like Leprous, Tesseract and traversed Europe with Caligula’s Horse. Yet between these extremes, The Hirsch Effekt continually create songs that flirt with radio accessibility—almost—because the band steadfastly resists any form of standardization. With their seventh album, Der Brauch, they continue this course uncompromisingly. While earlier works, despite their diversity, were still labeled “metal albums,” this new record explores paths first hinted at on the multilayered second album, Holon : Anamnesis—the same album that fans of VISIONS magazine voted the only German-language entry among the 20 best albums of all time. Der Brauch can be seen as a return to that pivotal point—and simultaneously as a bold step forward. Drummer Moritz Schmidt doesn’t entirely forgot blast beats, but the record demands a new heading. In the end, though, there is only one truth: it unmistakably sounds like The Hirsch Effekt.

The second single from the Skinshape x Horus dub album, “N’tero” is a soulful, dub track featuring Senegalese vocalist Modou Touré, singing in his native tongue Wolof.
Produced using fully analogue techniques and recorded in the spirit of vintage Jamaican dub, this 7" is a perfect blend of old-school authenticity and modern production finesse.
Skinshape (Will Dorey) and Ben Bell (Horus Records / Lion Vibes) bring over two decades of collaboration and deep roots to this project.
Known for their love of rare roots reggae and dub, the pair are now crafting original material with the same dedication to sound and detail that defined the golden era of Jamaican music.

On his debut album “Scattered Memories”, the composer, musician and true master on the Iranian spike fiddle kamancheh SABA ALIZADEH blends his instrumental virtuosity with spherical electronics, samples of Persian music instruments and field recordings from his hometown Tehran.

Born in Tehran in 1983 as son of the world renowned Tar and Setar virtuoso HOSSEIN ALIZADEH, SABA ALIZADEH studied the Iranian spike fiddle with SAEED FARAJPOURY and KEYHAN KALHOR plus photography and later experimental sound art with MARK TRAYLE at the California Institute of the Arts, Los Angeles. His musical activities that lead him all around the globe for performances (a.o. at Carnegie Hall) branch into 2 different areas: on the one side ALIZADEH is a highly reputated virtuoso on his traditional instrument, on the other he likes to approach music from a more experimental / technological aspect in his electronic / electro-acoustic pieces. This not being enough, he founded Noise Works in 2014, a platform and label for organizing experimental concerts and for the transfer of knowledge of music technologies among young Iranian musicians which makes him a central figure at the forefront of the current, very vivid Persian music scene that gained a lot of attention through artists like SIAVASH AMINI, PORYA HATAMI and of course SOTE who included a track by ALIZADEH on the compilation “Girih: Iranian Sound Artists” that he had curated.

In 2018, ALIZADEH self-released his debut “Scattered Memories” on CD in Iran which now, in a reworked version, sees its deserved world-wide release as LP and DL. Over the course of 10 tracks ALIZADEH melts his 2 musical worlds into 1: tradition meets modernism, eastern sounds meet western production, folklore meets contemporary electronics. An album that will appeal to an open-minded “world music” audience as well as fans of current streams like ambient or drone in its most subtle forms.

2025 Repress

The Duo Okvsho is one of the most promising prospects of upcoming musicians from Zurich, Switzerland. With the release of their „Traphouse Jazz EP“ via Boyoom Connective in 2018, Okvsho gained the attention of a wider audience for the first time through placements in Bandcamp Weekly, NTS Radio and many more. Their music is mostly inspired by the upcoming, young and vibrant UK Jazz Scene and their origins in beatmaking and house/electronic music.

The two brothers started out their musical careers at a very young age in Brazilian percussion groups and, due to their Hungarian roots, they are also familiar with traditional Balkan music. This background came to light on their 2020 released debut album “Kamala’s Danz“, in which they wanted to let their original musical backgrounds flow in and discover new ones at the same time. Especially through Placements of two Singles in the very popular Spotify-Playlist “State of Jazz“, Okvsho became one of the most interesting Names in the modern Jazz-Scene.

Through playing with local jazz-musicians their live-band project emerged, which celebrates improvisation, spontanity and jazz as dance music. Their Live-shows are characterized by driving rhythms and should make the listener feel like moving and immersing into a world without time and beyond their own.

Half-Speed Remaster des 2012er Albums

Anlässlich des 40-jährigen Jubiläums des Albumklassikers "Thick As A Brick" erscheint am 30. März 2012 eine Fortsetzung zum Originalalbum mit dem Titel "Thick As A Brick 2".

1972 hatte Ian Anderson mit dem Jethro-Tull-Album "Thick As A Brick" einen Klassiker des Progressive Rock aufgenommen. Im Mittelpunkt der Songtexte stand die fiktive kindliche Hauptfigur Gerald Bostock. Das Album avancierte zum Spitzenreiter in den Billboard Charts und zu einem beachtlichen Erfolg in etlichen anderen Ländern.

Vierzig Jahre später: Was würde Gerald Bostock, der nun 50 Jahre alt wäre, heutzutage machen? Wie wäre es ihm in all der Zeit ergangen? Der "zweite" Teil des Albumklassikers zieht die unterschiedlichsten Möglichkeiten in Betracht, was aus dem frühreifen Schuljungen Gerald Bostock hätte werden können, welche Wege er hätte einschlagen können. In den diversen Songs nimmt die Hauptfigur verschiedene Alter Egos an, um die Vielzahl der möglichen Wendungen zu verdeutlichen, die Schicksal und Zufall in einem Leben bereit halten. So illustrieren die Songs nicht nur Geralds Leben, sondern auch die Entwicklungen unserer eigenen Biographien, die nicht selten durch zufällige Begegnungen und Eingriffe völlig neue Wendungen annehmen, auch wenn sie manchmal zunächst noch ganz nichtig und unbedeutend erscheinen.

Ian Anderson über sein neues Album: "Wenn unsere Generation auf ihr Leben zurückblickt, überkommt sie sicherlich gelegentlich dieser 'Was wäre wenn'-Moment. Wären wir, wie Gerald, statt dem, was wir sind, vielleicht Prediger, Soldat, Penner, Geschäftsinhaber oder Finanztycoon geworden? Und all jene, die der Generation des Internet und der sozialen Netzwerke angehören, mögen darüber sinnieren, was mit den unzähligen Möglichkeiten ist, die sich bei jeder Gelegenheit anzubieten scheinen."

Im Rahmen dieser Veröffentlichung wird Ian Anderson erstmals seit 1972 "Thick As A Brick" gemeinsam mit seinen Bandkollegen John O'Hara (Keyboards), David Goodier (Bass), Florian Opahle (Gitarre) und Scott Hammond (Schlagzeug) - sowie einigen musikalischen Gästen - in kompletter Länge live spielen. Zudem präsentieren Ian Anderson und seine Band im zweiten Teil der Show auch die Fortsetzung des Albumklassikers live.

Joe Morgan's "Basement Session" has the trademark Wackie's sound, deep and deeper. Its got great lyrics about the runnings of NYC basement sessions in the 1970's, a wicked dub to match, and a tough rhythm laid by the Reckless Breed band. Released on the "Bullwackie" label using the stock font and layout of one of NYC's long-shuttered pressing plants, according to Mr. Barnes this one was released "right before I got my logo."

Grupo um celebrate 50 years with release of lost dictatorship-era album nineteen seventy seven!

First time release - vinyl comes with printed innersleeves

Brazilian avant-jazz vanguardists Grupo Um celebrate their 50th anniversary, sharing a second previously lost 1970s album from the vaults. Nineteen Seventy Seven (titled after the year it was recorded) is another rip-roaring instrumental fusion treasure from the band which spawned from within Hermeto Pascoal’s famed mid-1970s São Paulo collective.

Like their debut album Starting Point, Grupo Um’s Nineteen Seventy Seven was recorded when Brazil's military dictatorship was at its most repressive. “There were no open doors to those who dreamt to be protagonists in creative instrumental music”, remembers drummer Zé Eduardo Nazario, “even popular composers and singers had to submit their songs to censors and many records were banned and confiscated from the stores.”

Just like Hermeto Pascoal's Viajando Com O Som (1977) and Grupo Um's previous album Starting Point (1975), both of which remained unreleased until the 21st century, Zé Eduardo asserts that the 1977 album was flatly 'without any chance to be released at that time."

Recorded at Rogério Duprat’s Vice-Versa Studios in São Paulo, the group were under both time and space restraints, “we chose the small Studio B,” Lelo Nazario recalls, “which had a Tascam (TE AC) 12x8 console and a 4-channel AMPEX AG 440 machine. Therefore, we had to record without overdubs, everything straight to tape.”

Expanding from a trio to a quintet, original Grupo Um members Lelo Nazario (keys), Zé Eduardo Nazario (drums), and Zeca Assumpção (bass) were joined by saxophonist Roberto Sion and percussionist Carlinhos Gonçalves. Carlinhos, Zé and Zeca had already played together in the group Mandala, while brothers Lelo and Zé had just finished a stint backing Hermeto Pascoal during his years in São Paulo.

Lelo was deeply immersed in modular synthesizer experimentation during this period, working extensively with the ARP2600 and EMS Synthi AKS. These electroacoustic explorations formed the sonic foundation for "Mobile/Stabile," one of his first compositions to merge modular synthesis with Brazilian music, a fusion that would ripple throughout the Brazilian jazz scene. The piece premiered at the first São Paulo International Jazz Festival in 1978, performed by Grupo Um with guest trumpeter Márcio Montarroyos. In a shocking moment, festival organizers interrupted the show mid-performance, sparking fierce backlash from both audience members and journalists who denounced the incident as artistic censorship during Brazil's era of political and cultural repression. The version on Nineteen Seventy Seven is the first recording of the composition.

Nineteen Seventy Seven combines Afro-Brazilian rhythm, modular synthesis and a plethora of whistles, percussion and effects pedals. Album opener “Absurdo Mudo” - so titled for the absurd difficulty it poses to the musicians performing it - starts out in a cloud of mysterious dissonance, before the haze breaks for a glorious keyboard and saxophone interplay atop an uptempo samba groove. “Cortejo dos Reis Negros (Version 2)” (Procession of the Black Kings), based on the maracatu rhythm, inverts the traditional jazz song structure by beginning with improvisations, which are followed by the theme and a final coda. “The studio also had two Parasound electronic reverb units,” Lelo notes, “and the timbre is very audible on the soprano sax and percussion.”

Grupo Um’s daring music represents a manifesto of resistance during the dictatorship years, but it’s one which remains just as relevant today. As Lelo puts it: “For me, the aesthetic issue has always been about combining contemporary avant-garde languages with Brazilian music, independent of categories and commercial interests. The result of this fusion takes music to a new level.”

Recording credits (1977)
Recorded at Vice-Versa B Studio, São Paulo, November 9, 1977
Produced by Lelo Nazario and Zé Eduardo Nazario
Engineered by Ricardo “Franja” Carvalheira



Lelo Nazario – Wurlitzer electric piano, acoustic piano, signal generator, percussion

Zé Eduardo Nazario – drums, percussion

Zeca Assumpção – electric bass

Carlinhos Gonçalves – percussion

Roberto Sion – soprano sax, clarinet

Release credits (2025)
Produced by UTOPIA Studio, São Paulo
Project Coordination in Brazil by Irati Antonio (Utopia Studio)
Tape Restoration and Digital Mastering by Lelo Nazario at Utopia Studio, July 2025
Liner Notes by Lelo Nazario and Zé Eduardo Nazario
Photography by Jorge Las Heras, Lelo Nazario, and artists' personal archives
Photo Restoration by Lelo Nazario
Artwork and Design by Alessandro Renaldin

Digital Dub from East France, very Jahtari influenced, with a Low-Fi texture and some bloody good featurings with Brother Culture and Charlie P ! Indie Prod ! Support !

Will Butler, known for his work with Arcade Fire, has composed the original score for the Broadway play Stereophonic. The play, set in the 1970s, explores the dynamics of a rock band on the brink of success or collapse. Butler’s score authentically captures the era, using period-specific instruments and recording techniques to evoke the raw energy of 1970s rock.. He recorded the parts with the original cast from Stereophonic, including Will Brill, Andrew R. Butler, Juliana Canfield, Eli Gelb, Tom Pecinka, Sarah Pidgeon, and Chris Stack. The production received acclaim from critics and no less than 13 nominations at the 77th Tony Awards, taking home five, including Best New Play. Stereophonic now holds the record for the most Tony nominations by a play. Stereophonic is available as a limited edition on translucent yellow coloured vinyl and includes an insert.

'Vintage Violence' is John Cale's first post-Velvet Underground album and was originally released in 1970. Cale's signature sound with the Velvets was purposefully rough and aurally challenging, but 'Vintage Violence' is a startlingly user-friendly piece of mature, intelligent pop with a smooth, satin finish. The Welsh rocker shows a pop craftsman at work on ten tracks that reference everything from Country Rock to Beach Boys harmonies to The Band-style Americana and beyond.

A1 Hello, There
A2 Gideon's Bible
A3 Adelaide
A4 Big White Cloud
A5 Cleo
A6 Please

B1 Charlemagne
B2 Bring It On Up
B3 Amsterdam
B4 Ghost Story
B5 Fairweather Friend

Sour Soul is the collaborative album from Toronto jazz/hip-hop band BADBADNOTGOOD and Staten Island rap champ Ghostface Killah. Inspired by 1960s and 70s music - taking inspiration from the recording techniques and production of that era, and eschewing sampling in favour of live instrumentation, BBNG with producer Frank Dukes have created a dramatic, cinematic musical staging for Ghostface’s vivid storytelling. Sour Soul also features guest spots from MF DOOM, Elzhi (Slum Village / J Dilla), Danny Brown and prodigal new rapper Tree (Project Mayhem).