Cerca:bria

BUCHLA MEETS ORCHESTRA IN QUADRAPHONIC SPACE ON CIANI/ORKEST

Suzanne Ciani, Metropole Orkest and Simon Dobson release historic immersive performance in multiple immersive formats including quad vinyl.

Silverlake, CA \\ June 4, 2026 – Electronic music pioneer and five-time Grammy nominee Suzanne Ciani joins the internationally acclaimed Metropole Orkest, conducted by Simon Dobson, for the release of CIANI/ORKEST, a landmark live album composed entirely of new work, created specifically for this unprecedented collaboration.

Recorded at Amsterdam Dance Event (ADE) before a rapt audience, CIANI/ORKEST is not a retrospective. It is a bold, immersive meeting of the Buchla electronic instrument and 50-piece orchestral sound. The result is a sweeping sonic landscape, at once intimate and monumental.

Under the direction of the Metropole Orkest, renowned for its genre-defying collaborations with artists from jazz to contemporary classical - strings shimmer, brass swells and woodwinds echo the organic, fluid qualities that have always defined Ciani’s sound. “This project feels like a homecoming,” says Ciani. “The Buchla was always orchestral to me, an instrument capable of infinite color. Hearing those colors unfold through the Metropole Orkest has been profoundly moving.”

At the heart of CIANI/ORKEST lies Ciani’s lifelong commitment to quadraphonic sound. From her early Buchla performances in the late 1960s to her 2018 release LIVE Quadraphonic, Ciani has treated space as a primary compositional parameter. Working alongside immersive producer KamranV, Ciani continues to explore immersive sound as both artistic and human gesture. Kamran’s decades of work in spatial formats, converge here in service of a singular goal: to let sound behave as it does in the physical world. “For both of us, quad is musical,” Kamran notes. “The way Suzanne works, quadraphonic is nested in — not the technology per se — but the intent you bring to the work.”

The recording stands as a meditation on legacy, evolution, and the enduring dialogue between technology and human expression. The live album captures the electricity of performance, the immediacy of touch plates under Ciani’s hands, the collective of musicians responding in real time, and the audience’s shared immersion in quadraphonic-inspired space.

CIANI/ORKEST is released by Atmospheric/AKP Recordings/CyKiK in multiple double-disc quadraphonic 12” Record packages designed by grammy-nominated designer Rebeka Arce. Each pressing is made regionally to minimize carbon emissions and also contributes to nature via Brian Eno's EarthPercent, the music industry's climate and nature foundation.

The release is encoded using the dublab Quadraphonic Universally Accessible Resource Kit (QUARK). QUARK enables binaural listening via standard 2-channel playback or 4-speaker playback via Involve Audio hardware decoders, vintage Regular Matrix quadraphonic receivers, Dolby Pro-Logic II/Dolby Surround Upmixer (DSU) receivers, or any multi-channel audio interface equipped computer. This album is immersive via all formats: digital download, streaming (Qobuz, Spotify, SoundCloud, Bandcamp), radio broadcast, vinyl and high-resolution Dolby Atmos (Apple Music, Tidal, Amazon HD, IIA), Sony 360RA (Nugs, Amazon HD) and Eclipsa Audio (YouTube).

About Suzanne Ciani
Suzanne Ciani is a composer, pianist, sound designer, and electronic music pioneer whose work spans experimental, new age, classical, and cinematic sound. A five-time Grammy nominee and recipient of the Moog Innovation Award, she continues to perform internationally, captivating audiences with immersive modular synthesis performances.

About Metropole Orkest
Based in the Netherlands, the Metropole Orkest is one of the world’s leading genre-crossing orchestras, known for collaborations with artists including Brian Eno, Herbie Hancock, Snarky Puppy, Jacob Collier, and within contemporary classical and electronic spheres.

As guitarist, songwriter, producer and engineer - not just for the iconic Stax record label but on a forest of sessions and solo releases - the Tennessee soul man was the DNA that coursed through the post- war era. Little did we know this towering figure had one last ace to play in his lifetime, with Watching The Tide gathering A-list names including Eric Clapton, Brian May, Ronnie Wood and Billy Gibbons for 12 brand- new songs that Cropper ranked amongst the best of his career. "I know this record provided great joy to Steve in the last year of his life," says project leader Jon Tiven. "And I'm so glad he was able to have one last great creative burst...

Mit ihrem neuen Album Nine setzt das aus Chicago stammende Post-Metal-Trio Russian Circles seine bedächtige Weiterentwicklung und disziplinierte Verfeinerung fort. Dabei besinnen sie sich auf ihre Stärken und erweitern zugleich die Grenzen ihres Klangspektrums. Dies ist eine Band ohne Radio-Hits. Es gibt keinen Konsens unter Fans darüber, welches ihr bestes Album ist. Was bleibt, ist der Ruf nach Beständigkeit und Qualität - ein Ruf, der sie zu einer der weltweit bedeutendsten Bands im Bereich des instrumentalen Heavy Rock gemacht hat. Auch wenn sie betonen, dass ihre Musik aus einer Vielzahl unterschiedlichster Einflüsse schöpft, lässt sich sagen, dass sich die experimentierfreudige Vielfalt von Russian Circles zu einem unverwechselbaren, einzigartigen Sound entwickelt hat. Obwohl die Mitglieder von Russian Circles mittlerweile über das ganz USA verstreut leben - Gitarrist Mike Sullivan in Los Angeles, Schlagzeuger Dave Turncrantz in Chicago und Bassist/Keyboarder Brian Cook auf Vashon Island bei Seattle -, haben sie für Nine ihre jeweiligen Standorte musikalisch miteinander verwoben. Die sieben gewaltigen, fast seismischen Titel wirken wie Soundtracks zu den Herausforderungen und Tragödien des modernen Lebens. "Unsere Musik ist ein gemeinsamer Prozess der Versöhnung, der Orientierung und der Reflexion über das Älterwerden - sowohl als Individuen als auch als kreative Einheit. Das Leben hat reale räumliche Distanzen zwischen uns geschaffen, doch die Band bildet weiterhin unseren gemeinsamen Mittelpunkt. Diese kreative Zusammenarbeit ermöglicht es uns, den Lauf der Zeit zu erfassen und zugleich voller Zuversicht in die Zukunft zu blicken", erklärt die Band. Während frühere Alben beim Erkunden verschiedener musikalischer Gefilde fast spielerisch wirkten, ist Nine das Zeugnis einer Band, die ihr Terrain genau kennt und ihre Position in dieser vielfältigen Klanglandschaft festigt.

In Walter Benjamin’s seminal essay “Art in the Age of Mechanical Reproduction”, he posits that the aura of art objects is destroyed by the ability to photographically reproduce them. When you had to make a pilgrimage to a work it remained elusive, charged, ever distant; but when you can easily see a reproduction, such aura dissipates. What Benjamin did not anticipate is that in the age of AI and the frictionless fount of digital content, we have imbued mechanical and analog means of media production with aura. Film cameras from the last 100 years are in high demand (the point and shoot Olympus Mju I featured in Wim Wenders film Perfect Days still sells for $200), vinyl sales continue to grow year by year, 35mm and 70mm film screenings have become aura-drenched events people travel across country for, and as to the world of vintage and analog synthesizers, when a friend asked for the price on the Yamaha CS-80 synth used on Toto’s “Africa”, the answer was a cool $60,000.

Despite the ability to simulate almost any synthesizer on a computer, the original physical units retain their mystique. Perhaps this lies in the physical process, many of these synths are temperamental and difficult to fully utilize, and the effort and ingenuity can be felt in ways that will always be absent from easy digital simulacra. Perhaps there is an aura in their imperfection, as Brian Eno wrote: “Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided.” Some may call this nostalgia, but such sonic imperfections are the sounds of humans interacting with the physical world, and it is understandable to feel a pang of emotion and attachment in a time of exponential alienation.

Marche 22 was recorded over a week at the Museo Del Synth Marchigiano in Macerata, Italy. The museum is filled with rare and obscure synths (especially CRB, GEM & Elka) as well as salvaged materials from a nearby shuttered Farfisa organ factory, including MARS, an unfinished realtime audio processing application developed by IRIS - similar to the now well known MAX/MSP. Kyle Dixon and Michael Stein play a suite of pieces that encompasses the last sixty years of synthesizer music—there are nods to Cluster, Tangerine Dream, Jean Michel Jarre, and Morton Subotnick. Dixon and Stein are like jazz masters playing the American songbook with their own riffs and quotations. What shines through in these varied works that are sometimes rhythmic, sometimes melancholic, and sometimes both, is a soul, a spirit, an emotion vibrating through the tones like the charge of coming rain or the thrum of a distant train on the tracks. - Neil Fauerso

15 pop songs about animals by 15 of the best indiepop bands in the world: Pets Sounds is as simple as that. Ranging from the playful (Sassyhiya, Gay Skeleton Club) to the heartbreaking (Caleb Nichols, Jetstream Pony) to the enigmatic (Railcard, Oh Hippo) to the satiric (The Magnetic Fields, Brian Bilston and The Catenary Wires), there's more diversity on this album than you can shake a stick at. Or throw a bone at. The LP comes with a full colour insert and the CD comes with a booklet featuring artwork by Elodie Ginsbourg. Musicians spend a lot of time working at home, with their pets for company. The pets sit around, happy in their own worlds, sublimely indifferent to their humans' endeavours. As familiar as family members, but as unknowable as aliens, pets are the perfect muse. They can be treated as objects of adoration - `Rufus' by Tugboat Captain is an expression of pure joy - or they can be treated as metaphors. More reliable than lovers but less dangerous than heroin, pets are a great vehicle for singing obliquely about something else. Swansea Sound's `I Don't Like Men In Uniform' is about an ageing, irascible terrier, but it's also about men striving to maintain their potency as territorial aggressors. The Magnetic Fields' `Fido, Your Leash Is too Long' is a libidinous and unreliable partner, as well as a dog that likes sniffing other dogs' private parts. For the most part, animals come off better than humans on this album. In `Kings Of The Animal Kingdom', The Burning Hell dramatise our indulgent love of pets in order to expose our cruelty to other human beings. In `Bo's New Haircut', The Cords express the injustice and unfairness of an innocent animal having to submit to human demands. In `Crayon Potato' by Sassyhiya, the magnificent Crayon contemptuously rejects the gifts offered by her besotted human owners. In `Lola', the opening track, Lande Hekt tries to put this enigmatic human-animal relationship into words. And concludes that however much we love our animals, and no matter how much we manage to communicate with them, we can never really know them. A melancholy conclusion maybe, but the music - as with all the songs on this album - is expressive of the wonderment and the joy that comes from sharing your life with a member of another species. The tracks by Brian Bilston and The Catenary Wires, Jetstream Pony and Railcard are previously unreleased. These three bands are also playing a launch show at The Water Rats, London, on 9th July 2026.

Das gefeierte Hip-Hop-Experimentalisten-Duo Infinity Knives & Brian Ennals aus Baltimore meldet sich mit dem neuen Album "A City Drowned In God's Black Tears" zurück - einer explosiven, unwiderstehlichen Rap-Platte, die unerschrockenen Diskurs mit mutiger und unvorhersehbarer Produktion verbindet. Ihr Vorgänger "King Cobra" wurde von Magazinen wie Spin und Loud & Quiet zu einem der besten Hip-Hop-Alben des Jahres 2022 gekürt.

"A leading light of Baltimore’s experimental hip-hop scene. A brilliant, unpredictable work"
Spin

"Matches old school flow with meticulous productions"

First ever commercial / retail release of debut album by acclaimed rap duo Infinity Knives & Brian Ennals. Follows their beloved two albums King Cobra and A City Drowned in God's Black Tears, which have received glowing press from Pitchfork, Rolling Stone, the BBC, Anthony Fantano, Spin, Loud & Quiet and many many more.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

The Dresden Dolls announce the re-recorded release of Yes, Virginia... (Tailor"s Version). Guest vocalists include Jinkx Monsoon and Veronica Swift. The pioneering punk cabaret duo of Amanda Palmer and Brian Viglione enter a new chapter with a full re-recording of their 2006 album Yes, Virginia..., tracked in Boston. The title nods to Taylor Swift"s reclamation of master recordings. After a 20-year contract with Roadrunner Records, the band regained the right to re-record their catalog. The announcement comes nearly 20 years after the original release. The track list remains unchanged (with a bonus track on vinyl and CD), while performances reflect two decades of artistic and personal evolution. Known for Viglione"s orchestral drumming and Palmer"s percussive piano and songwriting-exploring sexuality, identity, addiction, capitalism, and social isolation-this version brings new depth. Songs including "My Alcoholic Friends," "Sex Changes," and "Backstabber" return with renewed intensity. Recorded in late 2025 at Mad Oak Studios, the album was tracked mostly live with Benny Grotto and mixed by Paul Kolderie. It also features artwork by Niki McQueen.

2026 Repress

New colour cover (fluorescent and metallic) and new ‘Crystal Red Method’ colour for the vinyl.

Recut from the Silver Sonyare masters in November 2008 at Chicago Mastering Service, features a new blue cover , BLUE VINYL, and comes with a free MP3 download of the album.


racks 1-8 are from the first Minor Threat 7". Tracks 9-12 are from the "In My Eyes" 7 Inch. The Digital version of this record includes the song "Stand Up," from the Flex Your Head compilation. All songs are available on CD.

Recorded: April & August 1981
Released on 12": June 1984

Ian MacKaye vocals
Lyle Preslar guitar
Brian Baker bass
Jeff Nelson drums

Das erste Soloalbum von Brian Sella von The Front Bottoms! Produziert von Emperor X. ,Sellas erstes Soloalbum wirkt viel mehr wie ein Twee-Indie-Album, das in seiner Blütezeit auf einer anderen Seite von Tumblr zweifellos für Furore gesorgt hätte." - Atwood Magazine ,Jeder Track strotzt nur so vor Persönlichkeit." - The Aquarian Während The Front Bottoms weiterhin Alben aufnehmen und auf Tour gehen, hat Sella sich auch selbstständig gemacht, um die Dinge frisch zu halten. ,Ich habe im Laufe der Jahre verschiedene Hobbys ausprobiert", erklärt er. ,Aber letztendlich kehre ich immer wieder zum Songwriting und zum Geschichtenerzählen zurück. Es ist einfach etwas, das ich tun muss, und ich muss neue Wege finden, es zu tun." Textlich bewegt sich das Album geografisch durch die Welt, mit Anspielungen auf einen amerikanischen Hai in einem australischen Fluss sowie Songs, die nach South Dakota und Wichita, Kansas, benannt sind. Sella hat schon früher Songs nach Orten benannt (Rhode Island, Santa Monica und West Virginia fallen einem da ein), aber diese neuen Songs fühlen sich eher wie innere Landschaften an, metaphorische Orte für das, was in Sellas Kopf vor sich geht. Klanglich zeichnen sich viele der Songs durch ambientartige Klangflüsse aus, die parallel zu den Stimm- und Gitarrenflüssen der vermischten Instrumente verlaufen; sich wiederholende Klavier- und Gitarrenmelodien spielen miteinander, Bläsersätze schwellen an und eben ab, es gibt sogar ein Flügelhorn, das sich an die Ränder des Jazz schmiegt. Sella bleibt da draußen und sucht nach neuen Strömungen und Buchten in diesem Klangfluss, der Hai auf der Jagd, mit einem Teufel, der seine Flosse umklammert. Mach dich bereit, dich einhüllen zu lassen!

A real cult favorite of the American psychedelic underground, Three blends hypnotic guitars, immersive atmospheres, and deeply melodic songwriting into a rich, transportive listening experience. Drawing from neo-psychedelia, space rock, and dream pop traditions, the album has become a sought-after modern psych classic with enduring appeal among collectors and fans of expansive, guitar-driven music. Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neopsychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences, offering excellent long-term catalogue value for retailers and distributors alike. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.

Der Erfinder der "Infinite Guitar", der kanadische Musiker Michael Brook, schuf mit seinem 1992 bei 4AD erschienenen Album Cobalt Blue eine zeitlose und leise überwältigende Sammlung instrumentaler Stücke und schimmernder Klanglandschaften. Mit Beiträgen des Ambient-Pioniers Brian Eno, des Komponisten und Multiinstrumentalisten Roger Eno sowie des Grammy-prämierten Produzenten Daniel Lanois. Live at the Aquarium, später im selben Jahr aufgenommen, dokumentiert einen seltenen Soloauftritt Brooks in London und hebt das hypnotische Sustain und die atmosphärische Tiefe hervor, die sein Werk prägen. Über seine Alben hinaus komponierte Brook Filmmusiken für gefeierte Filme wie Into the Wild, Brooklyn und An Inconvenient Truth. Neu remastert von Rashad Becker und präsentiert als kristallklares 2LP-Set mit Artwork von Alison Fielding auf Basis der originalen v23-Designs, markiert diese Veröffentlichung die erste Vinyl-Wiederauflage von Cobalt Blue sowie das Vinyl-Debüt von Live at the Aquarium - eine längst überfällige Würdigung eines unterschätzten Juwels im 4AD-Katalog.

Veteran NYC producer Blockhead teams up with rising Baltimore MC Brian Ennals (usually seen in his lauded partnership with Infinity Knives) for vital, skillsharing new album Boatshoes, a canny and celebratory ride through everything that makes these artists great.

With bloated souls and skeletal bodies the three mad kings of the end times walk among us, with empty eyes and insatiable hunger. Innocence thieves, blood collectors, bastard children of archaic dynasties built upon the broken bones of the weak. Their consorts are the rotten and the dead, their champions soulless, empty vessels gasping for validation as they bathe in the nectar of inflicted pain. They lead us not into temptation, but into degradation and the all-consuming fire. Born in the heat and shadows of the Australian underground, in Brisbane in 2014, Graveir have carved out a stronghold for themselves in their homeland's black metal scene. Bleak, violent and uncompromising, their music possesses a powerful individuality that sees them following their own path, lone wolves in a world of people searching frantically for a voice to tell them how to think and what to believe. After their powerful 2016 debut, Iconostasis and its critically acclaimed successor, King Of The Silent World, hailed as 'captivatingly hypnotic' by Metal Bite, Graveir are poised to unleash their third set of black prophecies - The Festering Triad. The Festering Triad begins with the sinister 'Lords Of Misrule', rising from the silence with guitars like an insect swarm before a lugubrious, dolorous shift into life and movement. The song holds you on the edge of oblivion, a constant aura of threat radiating from its broken beauty. There's a powerful underlying melody too, but it's corrupted and riddled with disease. And while this unsettling and disorientating introduction to The Festering Triad is still crawling through your veins, 'A Futile Exhortation' bursts into flame - as implacable and unstoppable as the passage of time, formed from the seething darkness on the edge of chaos and touched by something ancient and primal. You are now in the heart of darkness, jagged riffs circling like atavistic, feral presences, hammering blast beats disrupting natural rhythms. Nothing is as it should be. Nothing stays within the expected boundaries. This is a malicious attack on the laws that govern reality. 'A Thief In The Heart Of Man' flies at you in a howl of rage and bloodlust; you can feel its desperate need to tear you apart and the inherent danger is exhilarating. Title track, 'The Festering Triad' arrives swathed in an aura of decaying majesty, a triumvirate of wickedness wreathed in flame, marching onwards, entwined in black briars of unease - on into twisted soundscapes of fear and dizzying anxiety, through boiling malignancy and relentless intensity to the finale of 'The Rite Of Degradation', where portentous grandeur and bestial hunger combine in bewildering, schizophrenic fury. This album is fuelled by a determination to leave you broken, beaten and humbled - and it succeeds, absolutely.

The complete album + 4 bonus tracks - limited edition pressing on 180g red coloured vinyl, contains new specially prepared liner notes by Penguin Guide to Jazz's writer Brian Morton and by Paris' prestigious Jazz Magazine Besides achieving a very personal and characteristic sound, John Coltrane opened the way to free jazz, allowing himself to play long and complex improvisations that increasingly strayed from the tunes in which they were based. By the time he recorded Ballads, He had already delved into freer and longer solos and compositions, and as a result he had his devoted followers as well as his detractors.

One of the finest singing brother duos of all time, The Everly Brothers ' close harmonies became one of the most identifiable sounds of the early rock & roll era of the late 1950s and early 1960s. Presented here are the very best of The Everly Brothers' pop charting-singles from the peak of their career. "There have been some wonderful harmony pairings in popular music: John Lennon and Paul McCartney, Michael Stipe and Mike Mills, Marvin Gaye and Tammy Terrell, everyone will pick their own; but there is something very special about family and especially sibling harmony. A modern group like The Proclaimers took their inspiration directly from the Everleys, who borrowed something in turn from The Louvin Brothers and other acts of the time. The voices were not just in tune but shared a very particular timbre. The brothers fell out in time, as brothers do, but when they sang - and there's no need to list the songs; they're stitched into the history of rock'n'roll - they didn't sound like two men, but like one." - Brian Morton "Phil and Don were the most beautiful sounding duo I ever heard. Both voices pristine and soulful." - Paul Simon

Lockhart is a new melodic rock/AOR band from Canada, fusing synthesizer-fueled eighties arena rock with classic hard rock. The trio consists of Devon Kerr (vocals, guitars, keyboards), Jason Junop (bass) and Fabio Alessandrini (drums). Jason is best known for his work in Cauldron and Goat Horn. Devon’s main band is Axxion, and Fabio plays or has played in Bonfire, Enforcer, Annihilator, Hardline and many others. Lockhart issued their debut EP »No Chance« in 2022, followed by the single “City Pulse” in 2025. The band has signed with High Roller Records, and their first full-length album »City Pulse« is now ready to be unleashed to the public. It's hard to describe the specific sound of Lockhart in all its details but on »City Pulse« you will certainly hear a lot of Journey, Boston, Toto, Foreigner, REO Speedwagon, and maybe even some Starcastle. “The influences are endless,” comments the vocalist, guitarist and keyboard player Devon Kerr, “and they go deep. I appreciate the comparisons. These bands are monumental. Lockhart has a sound of its own though. Bands that existed during the times you mentioned definitely provide influence! However, if you look past the surface (overdriven guitars and old synthesizers), you’ll hear influences from 50s doo wop, legends like Brian Wilson, and straight up choral music, too.” Compositions such as “The Dose That Made You Poison”, “Under Fire”, “Before The Fall’” or “Together As One” are very well constructed and flawlessly performed. “For me, songwriting is a deliberate process,” explains Kerr. “I set out a time and carve out the songs. Lyrics are written last. Once the song is ready, it undergoes hours of polishing to mold the perfect choir parts, guitar leads, and so on. Everything is very deliberate and carefully selected. Nothing was written by accident.” You can clearly hear that on »City Pulse«. With their melodic, at times even poppy approach Lockhart may stand out a bit on High Roller Records. Devon Kerr: “Our music has so many elements that traditional metal fans value, but with something very different, too. Something that might be new for some of the High Roller Records fanbase. I mean for those unsure, we’ve got Nick from Municipal Waste shredding guitar leads on ‘You Wouldn’t Know Love’, and Ian from Cauldron on ‘Can’t Shake It’ …”

„Mittelalter: Medieval Spirits 2026“ entführt alle Fans mittelalterlicher Klänge, epischer Geschichten und kraftvoller Folk-Rock-Hymnen in die faszinierende Welt zwischen Burgen, Tavernen und Ritterfesten. Die neue Vinyl-Compilation vereint die bekanntesten Bands der deutschen Mittelalterund Folk-Rock-Szene auf einem Album und liefert den perfekten Soundtrack für Mittelaltermärkte, LARP-Events und stimmungsvolle Abende. Inspiriert von der erfolgreichen „Medieval Spirits“-Reihe von ZYX Music.

Mit dabei sind unter anderem Schandmaul, Feuerschwanz und Subway To Sally – ergänzt durch weitere Szenegrößen und genretypische Hymnen voller Dudelsäcke, harter Gitarren und mystischer Melodien. Die Compilation verbindet traditionelle Mittelalter-Sounds mit modernem Rock und sorgt für echtes Festival-Feeling zuhause.

Pure house vibes straight outta the warehouse. Six track journey mixed by legends Lello Di Franco and Brian Garrett, with a fire Fred P interpretation that flips "2720 Street" into something next level. From deep underground heat to pure dancefloor gold Ð this one's got everything. House Express, The Warehouse, and the title track taking you back to where it all started. That's the blueprint, fam.

"Here Comes That Crow" is the Korean psych-pop band Leenalchi"s first worldwide release (on Luaka Bop). Like much of their music, many of these songs are chopped and screwed pansori tales (a traditional form of storytelling that dates back to Korea"s Joseon Dynasty). But really, it"s just good dance music. "Leenalchi has changed the way I think about music, dancing and Korea. I have never heard anything quite like this". Brian Eno

Chad R. Matheny veröffentlicht seit 1998 exzentrische, textlich dichte Underground-Popmusik, oft unter dem Namen Emperor X. Nach seinem Studium der Physik, Philosophie und Musikkomposition legte Matheny eine Pause von der akademischen Arbeit ein und verbrachte einen Großteil der letzten zwei Jahrzehnte damit, die Welt mit Bussen und Hochgeschwindigkeitszügen zu durchqueren, um an Orten Musik zu machen, die von einem kleinen, aber vollbesetzten Konzertsaal in Portugal über eine leere Messehalle im Norden des Libanon bis hin zu buchstäblich unterirdischen Metal-Bars in der ganzen Ukraine reichten. Er tourt oft allein mit Gitarre und Synthesizer, teilt sich aber manchmal die Bühne mit Weggefährten wie Ratboys, The Hotelier, The World is a Beautiful Place and I Am No Longer Afraid to Die, Foxing, AJJ, The Front Bottoms und Xiu Xiu. Er produzierte das neue Brian-Sella-Album ,Well I Mean", war Co-Produzent des Sub-Pop-Albums ,Bits" der Jangle-Punk-Legenden Oxford Collapse zusammen mit Eric Topalski von Don Caballero und Storm & Stress und komponierte Videoundermusik für gemeinnützige Organisationen wie Planned Parenthood und SEIU. In den Jahren 2011 und 2012 wurde Mathenys Ambient-Werk ,Keeling Curve" in einer Multimedia-Installation des Fotografen Joel Sternfeld verwendet, die im Rahmen einer Retrospektive im Museum Folkwang zu sehen war.

The complete album + 2 bonus tracks - limited edition pressing 180g red coloured vinyl Contains new specially prepared liner notes by Penguin Guide to Jazz's writer Brian Morton and by Paris' prestigious Jazz Magazine . Unique cover photograph by renowned American jazz photographer Bob Willoughby (1927-2009). The complementing talents of Chet Baker (1929-1988) both as a trumpet player and as a singer are now well known. His trumpet and voice are extensions of the same musical personality, and once you have become familiar with both facets of Baker, you expect to hear them both. However, Chet Baker Sings was a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. Includes the bonus tracks "Let's Get Lost" and "Just Friends"

Contains new specially prepared liner notes by Penguin Guide to Jazz 's writer Brian Morton and by Paris' prestigious Jazz Magazine. The first popular jazz singer to move audiences with the intense, personal feeling of classic blues, Billie Holiday (1915-1959) changed the art of American pop vocals forever. Songs for Distingue Lovers is one of the best albums from her late period and finds her surrounded by important instrumentalists, including Ben Webster and Harry "Sweets" Edison. The album received a four-star rating in Down Beat upon its release. Bonus tracks: 'We'll Be Together Again' and 'April In Paris'

For several decades Norway has had a healthy tradition for prog, psych and jazz fusion – yet, there's something very different about the ensemble that is Fra Det Onde (”From Evil”). The group is comprised of one of Europe's finest jazz drummers Olaf Olsen (Needlepoint, Motorpsycho, Bigbang and others), bassist Rune Neergaard (Bushman's Revenge, Exoterm) and trumpeter Erik Kimestad – one of the brightest young stars in current Scandinavian jazz. And they have a secret weapon in the form of sonic wizard Emil Nikolaisen, known for his pioneering noise rock in Serena Maneesh, as well as a collaborative album with Todd Rundgren. He's currently a member of The Brian Jonestown Massacre. Emil not only contributes Farfisa and weird electronics to the group's free flowing streams of sound, he's also responsible for the innovative album mix that expands the ensemble's vision into new and astonishing territory.
Smilet Er En Flyktig Tilstand is one of those rare records that manage to absorb the spirit of the past and transform it into something new and exciting. Listening to the suite that makes up most of the album, one can sense the cosmic energy of 1970s Don Cherry, or the sonic adventurism of Can in their prime – but Fra Det Onde pushes these aesthetics into the extreme. Labels such as ”fusion” or ”psychedelic jazz” don't really come close to describing the rush of energy and kaleidoscopic sonics that's taking place on this record.
Vinyl-only, limited to 500 copies, no digital release.
File next to: electric Miles Davis, Can, Don Cherry.

Trace represents a pivotal moment in the evolution of Gridlock, bridging their earlier industrial roots with expansive ambient and IDM-influenced soundscapes.

Released in early 2001, Trace received critical praise and underground acclaim. Reviewers highlighted its blend of melodic drones reminiscent of Brian Eno with fractured beats and immersive ambient textures. Its evolving percussion and layered atmospheres marked a maturation of Gridlock’s original ethos, moving away from harsh industrial noise toward a more melodic, ambient, and cerebral sound.

The duo continued this trajectory on their final album, Formless, before disbanding, leaving behind a small but highly influential catalog. In tribute to Mike Wells, who passed away in 2022, Viasonde is reintroducing Gridlock’s work with the blessing of Wells’ family.

Strut presents the second studio album from Brian Auger’s Oblivion Express and a firm favourite with Auger aficionados, the “little known masterpiece” A Better Land from 1971. Marking a clear evolution from their more jazz-rock leaning debut, the band shifts into a mellower direction on these tracks, echoing the feel of Befour released in the Trinity's later years. A Better Land embraces warmer, more melodic and understated compositions, primarily written by guitarist Jim Mullen. With its languid and spacious approach, the album brings an grounded message to make the most of the simple pleasures in life with a hopeful, but wary, eye to the future. Musically, Auger brings acoustic guitars, country rock melodies and three-part vocal harmonies into his musical palette. Key tracks include the groove-driven title track ‘A Better Land’, the sparse ‘Dawn of Another Day,’ (sampled by Air and Black Milk among others) while ‘Fill Your Head With Laughter’ returns to Auger's trademark driving Hammond-led sound, akin to early Traffic.

The record features the Brian Auger’s unique sound on organ and electric piano, joined by Jim Mullen on guitar, Barry Dean on bass and Robbie McIntosh on drums and percussion, with Auger, Mullen and Dean all contributing vocals. Mullen co-wrote seven of the album’s nine tracks, with additional contributions from Alan Gorrie (later of Average White Band). These songwriters should take immense pride in their work as Auger’s favourite singer of all time, Sarah Vaughan, recognised the quality of these compositions by covering three of them; ‘Trouble’, ‘On “Thinking It Over’, and ‘Tomorrow City’ for her 1972 album A Time in My Life. This new official Strut reissue is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered by Cosmic Audio, it is presented as a high-quality single LP replica edition.

Strut Records presents a brand new reissue of the 1975 Brian Auger’s Oblivion Express original album Reinforcements. A gem from the later years of the Oblivion Express band, Reinforcements sees Auger evolve from his early ‘70s jazz-rock fusions towards smoother jazz funk sophistication, continuing his journey from the previous year’s Straight Ahead.
With two former Oblivion Express drummers joining Average White Band, there are obvious comparisons to draw as several tracks lean into groove-driven arrangements and polished mid-’70s production.Never one to follow a predictable path, Auger crafts a steadfast, stylish album that captures the evolving sound of the era, offering a rich snapshot of mid-’70s British soul and jazz-funk.

A fan favourite, the album also marks the return of vocalist Alex Ligertwood (later of Santana), whose soulful delivery is a highlight of many Oblivion Express recordings.
He is joined by Jack Mills (guitar), Lennox Langton (percussion), Dave Dowle (drums), and new addition Clive Chaman (bass, flute) – a family affair with their various kids joining for the cover shoot, the full cast adorned in an array of fine mid-‘70s tank tops.

Album highlights include the heavy funk instrumental jam ‘Brain Damage,’ a dynamic, keyboard-driven showcase of Auger’s virtuosity alongside the burning latin jazz workout ‘Something Out of Nothing’ and soaring closer ‘Future Pilot’ taking us from our present day troubles to “thread the skies to a new location.”
‘Big Yin’ is a heartfelt tribute to former drummer Robbie McIntosh following his untimely death. As with all Auger albums, the energy is nothing but positive and soulful – his back cover quote states “May the love you bring to this world be reflected upon you.”
This new Strut reissue of Reinforcements is curated by Greg Boraman of Impressive Collective in collaboration with Brian and Karma Auger. Fully remastered from the original tapes by United Archiving’s Bill Smith, it is presented as a high-quality single LP replica edition.

Mauro Pawlowski's 'Unspectacular Times' is the sound of an artist completely at ease with himself, and with the world, in all its ordinary, unglamorous beauty. Ten songs rooted in everyday observation and emotion, produced by Scorpio Twins (Stephane Misseghers and Bruno Coussée) with a full 24-carat 80s gloss: lush synths and basslines.

Where everything around us seems to demand maximum volume and instant outrage, Pawlowski turns that logic quietly inside out. These are songs about love that sneaks up on you, desire that builds in an art gallery, and a Nobel Prize winner falling off his bike and giving a thumbs up. Small moments, but in Pawlowski's hands, that's where everything worth paying attention to actually lives.

Guest appearances from Brianne Dunne (Daryl Hall & John Oates) and Pol Coussée, a Belgian saxophonist who found his way from London to Toronto and has played alongside Barry White and Isaac Hayes.

Following the 70s-tinged 'Eternal Sunday Drive', his second album on Unday Records 'Unspectacular Times' is Pawlowski's most pop focused to date. His most recent chapter in a career that has taken him from Evil Superstars to dEUS, through theater, dance, film and more alter egos than most artists have albums.

‘In The Bay’ is our 21st release for The Boxmasters. Songs were all inspired by and either written or partially written in the small beach town of Morro Bay, California. It’s a slight departure from our Abbey Road influenced album ‘Pepper Tree Hill,’ but is still in the same wheelhouse. ‘In The Bay’ has a strong Brian Wilson influence in the way the instrumentation is used. It is our humble attempt at making our ‘Pet Sounds’. We’re certainly not The Beatles or The Beach Boys, no one will ever be, but those heroes continue to inspire us.

Mission of Mercy, the fourth full length album from celebrated guitarist and songwriter Mike Campbell (Tom Petty and The Heartbreakers, Fleetwood Mac) and his band The Dirty Knobs, is due June 12 via Soundly Music/Thirty Tigers. The album features appearances from the B-52s’ Kate Pierson and Morgane Stapleton alongside the Dirty Knobs’ Chris Holt (guitars, keys), Lance Morrison (bass) and Campbell’s fellow Heartbreaker Steve Ferrone (drums, percussion). Mission of Mercy displays Campbell’s full songwriting range, with tracks ranging from the unbridled rock & roll of “I Remember” to the Americana ballad “More Than Gold” and even the Brian Wilson-inspired psychedelia of the title track. Campbell states that “Mission Of Mercy is an action-packed collection of tunes that continue the vibe we established as well as some new directions in the songwriting. It’s full-throttle Knobs from start to finish and we look forward to playing these live this year.” Last year saw the release of Campbell’s New York Times Best Selling memoir Heartbreaker, which Rolling Stone hailed as “essential…a vividly told new autobiography,” while the Los Angeles Times praised its “tale of endurance and patience rewarded” and No Depression proclaimed it “does what the best music memoirs do: encourage readers to listen once again, or for the first time, to Tom Petty and the Heartbreakers and to Campbell’s solo works.” The Dirty Knobs (named after tech slang for a broken amp dial) were founded in 2000 by Campbell as a writing and club-date project outside the Heartbreakers. The group finally got on record with 2020's Wreckless Abandon and 2022's External Combustion. Those LPs, Campbell says, were the Knobs “trying to find our way as a rock & roll band.” “Now it’s down to great songs,” adds Campbell, “the depth in the lyrics and chords.” He recalls something Petty once told him: “Tom said, ‘I love the English language. There’s so much you can do with it.’ I'm discovering that, too. Looking for rhyme schemes, the right word. At first it was a struggle. Now that door has opened,” Campbell says. “I’ve turned a corner.” The Dirty Knobs are “still a rock band but growing into different feels.”

Every so often in music, we come across voices that achieve a certain timelessness, so naturally do they encapsulate both past and present. Laure Briard is one of these voices, retro in form but contemporary at heart, spanning a career rich in aesthetic twists and turns, never without her signature magic, a special kind of eternal filter. Her first album, Révélation (2015), reveals her yé-yé influences, a testament to her love for ‘60s French pop music. Her second studio album, Sur la piste de danse (2016), follows in this vein and finds Laure accompanied as always by her long-time bandmates who share an affinity for warm, catchy arrangements that never lose their appeal. Her tour of Brazil marks a turning point in her career, introducing her to the local indie scene and thus launching her collaboration with the band Boogarins, as well as inspiring the release of multiple EPs composed and performed in Portuguese. Today, her music is embellished by touches of bossa nova and a folk sensibility, boasting increasingly intricate arrangements, as exemplified by her 2019 release, Un peu plus d'amour s'il vous plaît. Several years later, the Californian desert captures the musician’s imagination with Ne pas trop rester bleue, a poignant musical journey inspired by the rich history of Western legends and the role they play in shaping our collective consciousness.

In Voyage Mental, Laure Briard draws upon an inner energy unearthed during a new stage in her life, where the thrill of spontaneous adventure is not accessible in quite the same way. The result is a collection of sophisticated, introspective songs, narrating a young mother’s quest for balance in the face of routine. The album, nostalgic but always tethered to the present moment, is also the fruit of her collaboration with Gaëtan Nonchalant, a talented musician known for coaxing poetry out of the mundane. The two of them co-wrote and recorded five tracks at Studio Nocturne, accompanied by her long-time sidekick Pieuvre, aka Vincent Guyot, Léo Blomov, Pierre-Louis Vizioz, and Hedi Bensalem. The gentle pop opener “Rocking Chair” sways steadily to the rhythm of dynamic drums, followed by “Train,” a ballad that extends an invitation to set sail and daydream alone. The folk escapade continues with “Golden Sun,” a duet featuring the 1960s cult American musician F.J. McMahon, who Laure contacted via the internet on a whim. “Golden Sun” is an unlikely encounter between two generations and two cultures, giving new life to an old forgotten demo on the other side of the Atlantic. And while Laure sings of wide open spaces, cowboys, and sunsets sinking into the sea, we feel the city surrounding her in “Miroir,” a song composed by Hedi Bensalem that laments the suffocation of living in a crowded metropolis where the sky is a distant gray smudge. This pressing need for air, this search for rest and total disconnection, is one of the album's central themes. It may also explain the ever-present sense of nostalgia that pervades the songs, a welcome respite in our current era of doomscrolling and darkness. Along the way, Laure soothes us with melancholy guitar, delivers poetry set to scattered piano notes, and takes us by the hand during lively, uptempo passages. We climb onto her wings, never straying too far from the ground, soaring joyfully above her moods.

First time available on 180 grm black 180 grm vinyl 2LP . Revelation is the first album that was fully recorded & produced at Anton's recording studio in Berlin . It is the 14th full length release from the Brian Jonestown Massacre recorded from late 2012 to early 2014. With Anton Newcombe refining the 13 tracks that appear on the album Featuring Ricky Maymi an original member of the band plays on this album. It also features Joachim Alhund (Les Big Byrds) , Constatine Karlis (Dimmer), & Ryan Van Kriedt (Asteroid #4) . Plus vocal performance in Swedish by Joachim Alhund (Les Big Byrds) on the opening track . This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years. Two dozen band members later and numerous ups and downs' (some have been famously sensationalized in the media ), the one thing that has always remained consistent for this psychedelic collective, is front man Mr. Anton Alfred Newcombe

Doublemint green vinyl. Limited to 300 copies. Tel Aviv hardcore heavyweights Eternal Struggle return with their second full-length album "Wartime Love Affair", set for release via Demons Run Amok. Produced by longtime collaborator Brian "Mitts" Daniels (Madball, Skarhead), the new record unleashes a relentless hardcore and metal assault, packed with crushing beatdowns, massive riffs and nonstop aggression. Written and tracked in the midst of real-world conflict, every track is fueled by raw intensity and unfiltered emotion. "Wartime Love Affair" marks a bold new chapter for Eternal Struggle, refining their sound while pushing their ferocity to new heights.

Once in a while Athens of the North drops something for the heads, and this is most definitely one of those. An insane deep soul rarity — and I mean so rare most people don’t even know it exists, I certainly didn’t till labelmate Brian Sears played it to me. Sugar Bear and the Sensations came out of Houston, Texas, masterminded by Clyde Gambrel (who was kind enough to clear this for re-release). They only ever released this one 45 as Sugar Bear & The Sensations, though Clyde also put out another killer 45 under just Sugar Bear.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

Tauche ein in die zeitlose Magie des legendären Gitarristen Roy Buchanan! 1969 wurde Buchanan der Job als Nachfolger von Brian Jones bei den Stones angeboten. Er lehnte dankend ab und überließ Mick Taylor und später Ron Wood den Platz. In den 1970er Jahren erschien eine Reihe von Alben, die teilweise recht erfolgreich waren, und er seinen Status als "the best unknown Guitarist in the World" einbüßte. Das Meisterwerk "You"re Not Alone" veröffentlichte Buchanan 1978 und bietet eine einzigartige Mischung aus Blues, Rock und Soul, die vom ersten Ton an fesselt. Die Mitwirkung herausragender Musiker wie Ray Gomez (Gitarre), der mit seiner technischen Finesse und Vielseitigkeit Buchanans Stil perfekt ergänzt, sowie Willie Weeks (Bass, u.a. Doobie Brothers und Gregg Allman Band)), der für seinen Beitrag zur Fusion von Rock, Jazz und Funk bekannt ist, und Sly & The Family Stone - Drummer Andy Newmark bereichert das Album und fügt ihm verschiedene musikalische Nuancen hinzu. Roy Buchanan hat mit diesem Album eine zeitlose Sammlung von Songs geschaffen, die sowohl alte Fans als auch neue Hörer begeistern wird. Seine unverwechselbare Spielweise und sein einzigartiger Sound machen dieses Album zu einem Muss für jeden Musikliebhaber. Am 14. August 1988 beging Roy Buchanan im Alter von 49 Jahren Selbstmord. Er war nach einem Streit mit seiner Frau vorläufig festgenommen worden, Vollzugsbeamte fanden den Musiker leblos in seiner Zelle. Seine Musik lebt weiter.