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SAFI ist laut und intensiv. Ein furioses Statement wie Punk auch definiert werden kann. Ambivalenz und Zerrissenheit sind Ausgangspunkt, die kombinierte Virtuosität aus viereinhalb Oktaven Stimmumfang und dem Kunstdiplom sind das Fundament. SAFI zeigt ihr Gesicht mit schnörkelloser Geradlinigkeit, pur, groß. Umarmt von einer gewaltigen Klangmauer. Krachsituation. SAFIs drittes Studioalbum wurde vom Berliner Soundkreateur Moses Schneider produziert (Tocotronic, Ätna, u. v. m.). Gäste sind u.a. Dennis Lyxzén (Refused), Sebastian Madsen (Madsen) und Rummelsnuff.

Area Silenzio is eat-girls" debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Their live performances have that same ghostly, ephemeral quality. There is something other-worldy about the three of them, a suggestion of telepathy, their three voices blending together or going their separate ways like a flock of starlings. They secured opening slots with artists as different as Thalia Zedek, Exek and The Young Gods, just to name a few. It is the elusive essence of their music that allows them to feel at ease pretty much anywhere they find themselves: part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies. The album was self-recorded, a necessary measure to protect the delicate nature of the inner landscapes painted by the band. In this case "delicate" does not mean "soft" by any means: the industrial disco inferno of "A Kin", the ritualistic kraut stampede of "Para Los Pies Cansados" and the bubbly post-funk rhythms of "Trauschaft" will leave you gasping for air once you come out on the other side. "On a Crooked Swing", the opener, is all arpeggiated bass and stumbling kicks. "Unison" will dip you into a hallucinatory river where nothing is what it seems to be and rescue you at the very last second. "Canine", the first single off the record, will gently but firmly reach for your jugular with its vulpine Farfisa and deceptively nonchalant drum beat. The vocal polyphonies on "3 Omens" sound like a field recording of traditional music from a tiny country that has yet to be discovered. eat-girls exist on a slightly different plane from ours, where everything is teeming with secrets and hidden life. Area Silenzio is a precious polaroid shot from that world, or, as Tom Verlaine would have it, "a souvenir from a dream".

Area Silenzio is eat-girls" debut record and it is both haunted and haunting. For the past four years, the French trio have been crafting their songs into little self-contained worlds with the patience of entomologists, taking them out all over the country and Europe to confront them with the wilderness of a live audience. The ten resulting tracks are a collection of electronic madrigals, groove-driven songs played on a mischievous multi-speed Victrola, ranging from languid dub drips to full-on drum machine cavalcades. Their live performances have that same ghostly, ephemeral quality. There is something other-worldy about the three of them, a suggestion of telepathy, their three voices blending together or going their separate ways like a flock of starlings. They secured opening slots with artists as different as Thalia Zedek, Exek and The Young Gods, just to name a few. It is the elusive essence of their music that allows them to feel at ease pretty much anywhere they find themselves: part no-wave disco rhythms, part post-punk throbbing basses, folk tunes and synthesizers in equal measures, with a perpetual attention to hooks and melodies. The album was self-recorded, a necessary measure to protect the delicate nature of the inner landscapes painted by the band. In this case "delicate" does not mean "soft" by any means: the industrial disco inferno of "A Kin", the ritualistic kraut stampede of "Para Los Pies Cansados" and the bubbly post-funk rhythms of "Trauschaft" will leave you gasping for air once you come out on the other side. "On a Crooked Swing", the opener, is all arpeggiated bass and stumbling kicks. "Unison" will dip you into a hallucinatory river where nothing is what it seems to be and rescue you at the very last second. "Canine", the first single off the record, will gently but firmly reach for your jugular with its vulpine Farfisa and deceptively nonchalant drum beat. The vocal polyphonies on "3 Omens" sound like a field recording of traditional music from a tiny country that has yet to be discovered. eat-girls exist on a slightly different plane from ours, where everything is teeming with secrets and hidden life. Area Silenzio is a precious polaroid shot from that world, or, as Tom Verlaine would have it, "a souvenir from a dream".

Sdban Records präsentiert unveröffentlichte Radioaufnahmen
von 1967 des serbischen Jazztrompeters, Komponisten und
Bandleaders Dusko Goykovich (1931-2023). Zu diesem
Zeitpunkt hatte er sich endgültig als einer der profiliertesten
Jazzkünstler Europas etabliert.
Goykovich wurde in Jajce, Bosnien und Herzegowina, damals
Teil des Königreichs Jugoslawien, geboren. Er studierte von
1948 bis 1953 an der Belgrader Musikakademie, spielte
Trompete in Dixieland-Bands und trat im Alter von 18 Jahren
der Big Band von Radio Belgrad bei. Nach seinem Umzug
nach Frankfurt 1956 etablierte er sich in der westdeutschen
Jazzszene, wo er mit Kurt Edelhagen und Kenny Clarke &
Francy Boland spielte. Mitte der 60er Jahre kehrte Goykovich
nach einem USA-Aufenthal nach Europa zurück und stellte der
Welt bald seinen innovativen Balkan-Jazz-Sound mit Swinging
Macedonia (1966) vor, einem Album, das durch
melancholische Melodien und anspruchsvolle Rhythmen
gekennzeichnet war.

Opaque yellow vinyl in reverse board jacket.
A full four years after Chicago organ maestro Jimmy Lacy’s legendary maiden voyage as SiP, Leos Naturals, he returns with its lush, layered, long-awaited sequel: Leos Ultras.

Conceived and recorded in a corner of a large floorplan warehouse-turned-sound lab called Homan Gardens, the album radiates a rare joy and colour, projected through a technicolor slideshow of cosmic keys, clarinet, kalimba, sax, melodica, flute, tambourine, and drumbox. The songs feel warm and weathered, like familiar garments treasured through passing seasons.

Many seasons did pass while these songs took shape, spiked with seismic changes – Lacy’s first daughter was born, followed 17 months by a second. Daily routines grew denser, but he never lost faith in the melodies simmering in the periphery of his thoughts: “I knew the music would be there whenever I had the time. It felt good to stay calm about it.” Patience paid off; Leos Ultras is indeed the ultimate SiP statement to date, rich with detail, discovery, beauty, lofted improvisation, and shades of spiritual jazz. It’s music both casual and cosmic, playful and poignant, channelled from long shadows and wordless hours in celebration of life, love, and Leo.

Joel Sarakula's new album "Soft Focus" is a mid-career album spanning his many influences and genres including Soft-Rock, Funk and Indie Pop, all brought under the umbrella of his gentle gaze and a 'soft' aesthetic. "Soft Focus" is also the name of a photographic technique born out of a spherical abberation of the lens where the image is a bit blurry and undefined: it's both flattering and forgiving on the subject. It's an apt title. As a lifetime wearer of (vintage) glasses, Sarakula knows a lot about spherical abberations. Perhaps he produced these songs with his glasses off as these are abstract and warm vignettes, never overstaying their welcome and for this reason Sarakula manages to feature twelve new tracks on "Soft Focus".

Highlights include one of the two Shawn Lee produced tracks "I'll Get By Without You", the rockier, iberic beat of "King Of Spain", the soulful affirmation of "Back For Your Love" and the psychedelic-tinged "Bird Of Paradise" and "Microdosing". This is a lovingly crafted album, well polished and it feels like the culmination of Sarakula's adventures in soulful soft-rock and his defining statement in the genre. While comparisons will be made with contemporary projects like Shawn Lee's Young Gun Silver Fox, Drugdealer, Benny Sings and Prep, echoes of soft-rock icons Ned Doheny, Boz Scaggs, Todd Rundgren and Michael Franks also ripple gently through the album.

Imagine if Ray Manzarek was the frontman for the Bee Gees... It's a neat visual introduction to Joel Sarakula, a UK-based Australian artist who writes, produces and sings Soulful Pop, gazing out at a contemporary world through vintage glasses, vintage threads and long blond hair. His music is informed by a rich, 1970s-inspired palette, drawing on soft-rock, funk and disco influences: sunny, uptempo jams for darker times. Self-aware that he looks and occasionally sounds like the love child of Ray Manzarek and the Gibb brothers, his self-deprecating sense of humour is always there just below the fringe.

Born in Sydney, based in UK and international in outlook Sarakula is a songwriter who has travelled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe. Since then he has released albums such as "Island Time" (2023), "Companionship" (2020), "Love Club" (2018) and "The Imposter" (2015) that have racked up plays on rotation across national UK and European radio and got him noticed in The New York Times, The Independent (UK), The Irish Times, Rolling Stone Germany, El Pais (Spain) and Sydney Morning Herald. It's- been a long road finding his current cult status starting out at the piano from a young age in suburban Sydney, writing and singing songs by the time he was a teenager and onstage by fifteen years old playing jazz standards in his local golf club. "I came from humble beginnings, it's best not to mention" as he sings in his 70s boogie influenced song "I'm Still Winning". Joel Sarakula is a fixture on the festival and club circuit having previously performed at SXSW, Primavera Sound and Glastonbury festivals. Ever the internationalist, he tours with pickup bands sourced from each territory he plays in: a Barcelona band for Spain, a Berlin band for Germany and so forth. This cross-cultural exchange is another echo of the 1970s when world travelling soul and pop artists from the US did the same and guarantees that his live shows remain fresh, exciting and absolutely contemporary.

Conoley Ospovat, with appearances on Otake, Kimochi Sound, Blankhaus, and Cervidae, continues to build his longrunning home imprint: Continental Drift. Opening with a jazzy, atmospheric strut, Transcontinental Trip's title track sets the tone for this record as a more driving, basslinefocused affair than some of his recent downtempo excursions. The taut restraint & open air vibe of loose drumming & ¬eld recordings for Hold On feel like a nonchalant response to Ricardo's Sei Es Drum. Then, Ospovat's attention to melody & clever programming comes to the fore again on Sunbreaks. The tune is a moody dance­oor builder full of twists & turns before the EP closes out with the carbonated haze of Paci¬c Coast Rain

True to himself, Fellini Félin continues to explore new paths and venture into the realm of new sounds, skillfully blending rock and electronic elements in his new album Oddy. Following in the footsteps of pioneers like Tame Impala or Metronomy, the artist explores and composes entirely from his own space, in 100% self-production mode. Between introspection, danceable rhythms, and meticulous production, Oddy is one of those albums that evoke emotions as beautiful as they are intricate.

Twilight of the Gods is the newest Netflix phenomenon from the vision of Zack Snyder. The animation series brings the spectacular world of ancient Norse mythology to life. The series is acompanied by a epic, haunting and beautiful film score created by Hans Zimmer, Omer Benyamin and Steven Doar. This collaboration between renowned composers results in a cinematic masterpiece that perfectly complements Snyder’s visual storytelling. Experience the dramatic power of Twilight of the Gods through this visionary soundtrack, a must-listen for fans of epic film music.

Die Filmmusik zu "Challengers" von den Oscar-prämierten Komponisten Trent Reznor und Atticus Ross bringt mit ihrem kraftvollen und treibenden Sound die Spannung der Profi-Tenniswelt auf den Punkt. Der von der Kritik gefeierte Film CHALLENGERS mit Zendaya, Mike Faist und Josh O'Connor in den Hauptrollen begeisterte 2024 das Kinopublikum.Diese exklusive Deluxe-Edition auf 180g schwarzem Audiophile-Vinyl enthält 16 Tracks, darunter beliebte Stücke wie "Challengers: Match Point", "Yeah x10" und den Abspannsong "Compress / Repress", der von Trent Reznor und Mariqueen Maandig Reznor zusammen mit Luca Guadagnino geschrieben und interpretiert wurde.Das aufwendig gestaltete Gatefold-Set bietet zudem Vinyl-exklusive Extras: eine spezielle Innenhülle mit Setfotos von Fotograf Alessio Bolzoni, ein Sammlerset mit drei Trading Cards von Zendaya, Josh O'Connor und Mike Faist als Tashi, Patrick und Art, sowie einen exklusiven Phil's Tire Town-Aufkleber.

‚Himmel‘ sind am Ende nur eine menschliche Erfindung - genau wie die ‚Hölle‘. Alle Definitionen beruhen auf dem Wunsch der Menschheit, der
Realität zu entfliehen und eine Form der Sicherheit zu finden, die als Gegenstück zu dem höllischen Leben, das wir führen müssen, fungiert. Aber
schauen wir uns einmal selbst in die Augen: „Down The Heavens“.
11 Jahre nach ihrem letzten Album „And Babylon Fell“ melden sich DISPARAGED mit einem neuen Death Metal Magnum-Opus zurück. „Down The
Heavens“ beginnt mit einem leisen Atmen, bevor ‚Among The Chosen Ones‘ mit seinen brutalen Drums und schnellen Gitarrenstrokes alles in Schutt
und Asche legt, aber das ist nur eine Facette von DISPARAGEDs Songwriting. ‚The Throne‘ macht seinem Namen mit einem mächtigen Gitarrensolo
alle Ehre, und ‚Drown In Madness‘ hält das Brutalitätsniveau weiter hoch, fügt aber einen unwiderstehlichen Groove hinzu. Während sich der Sturm
mit ‚The Bridge‘ durch akustische Gitarren und Keyboard-Soundscapes für einen Moment beruhigt, wirkt das folgende ‚Sole Survivor Of The Flames‘
nur noch eindringlicher und epischer. Auf dem Album sind auch zwei illustre Gäste zu hören: Andy LaRocque (King Diamond) und Damir
Eskic (Destruction) fügen 'Another Day' und dem Titeltrack ihre ganz eigene Note hinzu. „Down The Heavens“ zeigt, dass Death Metal unerbittlich und
vielseitig zugleich sein kann. Ralph Beier (Gitarren), Tom Kuzmic (Gitarren und Gesang), Heinz Imhof (Drums) und Reto Hardmeier (Bass) haben ein
Muss für alle Extrem-Metaller geschaffen.
TERRITORY: Deutschland, Österreich, Belgien, Schweiz, Tschechische Republik, Frankreich, England, Italien, Irland, Niederlande, Polen

Die neue EP der Melodic Synth Metal-Pioniere - mit zwei brandneuen Tracks und weiteren spannenden Überraschungen!
Nach ihrem Erfolgsalbum Dark Waters (2023, #9 der offiziellen deutschen Albumcharts) veröffentlichen die Melodic Synth Metal-Pioniere DELAIN
diesen Herbst ihre neue EP, Dance with the Devil.
Die Platte erscheint über Napalm Records und enthält neben zwei brandneuen Songs weitere spannende Überraschungen, die kein Fan verpassen
sollte! Dance with the Devil vereint Vergangenheit, Gegenwart und Zukunft und präsentiert die Kraft des neu formierten Lineups in einem vollen,
modernen Sound, der die Vorfreude auf all das schürt, was von der Band um Gründer und Mastermind Martijn Westerholt zu erwarten sein wird.

"""Many Tribe fans consider the band’s next album, 1993’s Midnight Marauders, to be its magnum opus. But you don’t arrive at the perfect nocturnal LP without first releasing a focused work like The Low End Theory, which winnowed the colorful expanse of People’s Instinctive Travels into a seamless listen. The Low End sounds minimal in comparison and is a mostly drum’n’bass record of subtle bells and whistles. Tribe represented freedom, and some 30 years after The Low End Theory, it’s still a sonic marvel and one of the best hip-hop albums of all-time."" "

Goshawk brings a solid repertoire of productions characterised by a soulful disco vibe, already showcased in his collaborations with Erik Rico on Atjazz Record Company and Situatism, not to mention his stellar remix for Groovement Inc. - Love and Affection.

This 12" features four tracks that blend soulful boogie with house influences, delivering a fresh and captivating sound. The A1 track, "Loyalty" featuring LYMA, offers a distinct Detroit vibe with a low-slung funky bassline and LYMA's sultry vocals. A2 spotlights Greg Blackmann's powerful vocals over a dynamic piano chop, creatin an engaging and energetic groove.

The B-side continues the soulful journey, B2 features LYMA's remix of "1 Up 1 Down," adding her unique touch to the EP.

blauweiß marmoriertes Vinyl m. Download Code. "Transition" (der Übergang) fasst als Titel die Bedeutung des Albums für die Wuppertaler Shoegazer Casino Garden bestens zusammen. Bisheriger Live-Drummer Jonas Schoelen löst Gründungsmitglied Alex Alaimo Di Loro ab, David Burdina ergänzt Sänger Matthias Ballke an der zweiten Gitarre, zur Single "Pretend" wird das erste professionelle Musikvideo gedreht und Jo Philippi (Vandermeer) und die Schall und Wahn Studios sorgen für die erste professionelle Albumproduktion. Mit diesem Album verabschieden sich Casino Garden von ihrem DIY-Image und machen einen großen Schritt in Richtung Erwachsenwerden. Das Soundspektrum reicht auf "Transition" vom grungigen Shoegaze über wuchtigen Postrock bis hin zu lupenreinem Indierock.

Over the last few years Theravada has been making a very strong name for himself, with a unique human touch and deep lyricism, the rapper-producer proved to be a man of many hats and is standing tall as a one of a kind artist in today's musical landscape, having collaborated with artists such as Evidence, Earl Sweatshirt, Yungmorpheus, Your Old Droog and Navy Blue just so name a few, as well as his 2000 Entertainment home team alongside Rob Chambers, TOP$ and Kluse. On his brand new full-length "Waste Management", he has teamed up with RRR Music Group representative Zoomo to produce the entire project. The two have crafted 10 killer joints, with Theravada handling all mic duties on his own and Zoomo's soulful productions providing the perfect soundscape for his transcendent bars to resonate and bring you on an epic journey.

This is music from another timeline...
First chapter of the "Mutant Signal" serie featuring Minimum Syndicat
in mutant electro / industrial cyberfunk mode.
Uncompromising sounds for dissident dancefloors.

Heute, genau 10 Jahre nach dem ursprünglichen Release, veröffentlicht Matador Records ein Re-Issue des populären achten Studioalbums von Spoon, "They Want My Soul". Es ist ab sofort auf allen digitalen Plattformen verfügbar und erscheint am 08. November auch als Doppel-LP und Doppel-CD. Neben den zehn Originaltracks - inklusive der Band-Klassiker "Inside Out", "Do You" und "Rent I Pay" enthält die Deluxe-Version elf Demos und Alternate Versions, die bislang fast alle unveröffentlicht sind. Die Wiederveröffentlichung unterstreicht den herausragenden Platz des Albums in einer beeindruckenden Diskographie und bietet Einblick in eine der prägenden Phasen der Spoon-Geschichte. "They Want My Soul" folgte 2014 auf "Transference", ein von der Band selbst produziertes Album, nach deren Veröffentlichung sich die Band erschöpft fühlte. Als "Transference" herauskam, waren sieben Alben in 14 Jahren erschienen und Spoon hatten sich beständig auf Tour befunden. Der ungewohnte Sound des Albums machte es dem Publikum zudem schwer und obwohl es ihre bis dahin erfolgreichste Platte wurde, blieb es um die Veröffentlichung insgesamt relativ ruhig. Es folgte eine Bandpause. Und 2014 dann schließlich die Rückkehr mit "They Want My Soul", das sie mit Joe Chiccarelli (Strokes, White Stripes) aufnahmen - und mit Dave Fridmann, dem visionären Produzenten von Flaming Lips, MGMT oder Low. Die Arbeit mit Fridmann, der für seine maximalistisch-psychedelische Herangehensweise bekannt ist, scheint erst mal keine allzu offensichtliche Wahl, erwies sich dann aber schnell als außerordentlich fruchtbar. Nicht zuletzt entstand so "Inside Out, der heute meistgestreamte Song der Band überhaupt. Aus klanglicher Sicht ist "They Want My Soul", das vielleicht das strahlendste Album, das Spoon je gemacht haben. Umso interessanter ist es, nun ergänzend die Demos hören zu können, die zu diesem Album führten und die in dieser Deluxe-Edition enthalten sind.

All Orbital's classic tracks across all albums in one piece of vinyl / 1LP as cult edit versions.

Orbital's own words about "A Beginner's Guide" : " The package you are holding in your hands is your threshold to a transformational psychoacoustic experience. An experience that will take you to spaces familiar, sonic pathways opening different times and different sounds to the chronosonic method of Orbital."

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv"s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Ethio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv"s number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting.

Peni Candra Rini (she/her), the Indonesian composer and performer whose musical practice encompasses a wide range of traditional and experimental Javanese styles, announces her new album Wulansih (July 12, 2024) via New Amsterdam Records. Kronos Quartet's David Harrington, a frequent collaborator of Rini, recently called her “one of the world's greatest singers”, and on Wulansih she places her voice in conversation with a wide array of experimental and traditional musicians, including Andy McGraw, Lester St. Louis, Shahzad Ismaily, John Priestley, Curt Sydnor, and many others. Produced by Ismaily at New York's Figure 8 Recording, Wulansih creates a world all its own.

The 8 songs on Wulansih exert a deep sense of spiritual calm and act as, in Rini’s words, “a reminder that you are still human, listening to expressions of other humans.” Her music is deeply inspired by the poetry of Rumi and Hafez, Wayang Kulit (Indonesian shadow play), and Serat, the tradition of Sufi thought in Central Javanese court poetry. Rini says that Wulansih aims to “express my inner feelings, my soul, to provide inspiration to younger Indonesian composers, and to introduce Indonesian new compositions to new global audiences.”

Wulansih is a small encyclopedia of Indonesian music. Rini explains: “The album mixes a wide range of materials, including traditional Javanese gamelan singing, Balinese chant, stringband music of the 1960s, and intercultural improvisations, bringing them all together through my contemporary compositional approach. We created experimental ensembles, and even experimental instruments and tunings to create an album that, whatever you think of it, sounds like nothing else.”

Rini’s lyrics are poems, strongly inspired by Javanese Sufism, with a deep emphasis on love and the inner self. Estu explores the idea of “love as a sacrifice; it takes a commitment to put one’s heart in the right place. It requires the seriousness of an artist,” while Warahsih explores how “always through understanding and sincerity, teaching Love to those who study the ways of life, through the ages.”

The music on Wulansih transforms these poems of love and compassion into open and lush sonic spaces that are crafted using synthesizers, traditional Indonesian instruments, Rini’s wide vocal range, guitars, and Ismaily’s production.

Newcomer on the very famous Neurotrope label, Verdure signs here his first vinyl. Powerful, melodic and atmospheric sound at the same time. Acid, industrial, rave and freetekno influences. Dancefloor killer. Limited edition.

Der norwegische Black Metal-Klassiker „Soulblight“ von 1998 neu aufgelegt! „Soulblight“ ist ein würdiger Anwärter auf eines der besten Black
Metal-Alben der 90er Jahre!1997 war ‚Witchcraft‘ ein schwieriges Album, das aufgrund seiner komplexen Kompositionen und aufwendigen
Orchestrierung seinen Kultstatus als eine der größten Black Metal-Veröffentlichungen verteidigen musste. Doch Obtained Enslavement haben genau
das geschafft, denn „Soulblight“ ist eine ganz andere Veröffentlichung, die jedoch die Qualität und das musikalische Können beibehält, für die die
Band mit „Witchcraft“ bekannt geworden ist. Die Offenheit und Mystik der orchestralen Arrangements wurde zugunsten eines eher gitarren- und
schlagzeugorientierten Sounds aufgegeben, was aber dem viel dunkleren und aggressiveren Sound von „Soulblight“ zugute kommt, denn die Struktur
des Albums ist ein Highlight im Vergleich zu seinem Vorgänger, da es sich als Ganzes konzeptioneller und vollständiger anfühlt als eine bloße
Sammlung von Songs. Das macht Sinn, denn die Texte erzählen eine epische Geschichte über einen großen Krieg gegen das „Soulblight“, eine
Geschichte, die auch durch die Musik selbst verfolgt werden kann, was es in vielerlei Hinsicht zu einem Konzeptalbum macht.

The Mellons are set to enchant and enthrall with their new 7” release, ""Tell Me Why b/w Please Baby Please,"" marking a vibrant follow-up to their acclaimed 2022 album “Introducing... The Mellons!”. Continuing their homage to '60s psych pop, these singles encapsulate their signature blend of shimmering harmonies, intricate baroque touches, and rock sensibilities.

""Tell Me Why"" offers a lush tapestry of melody and emotion, while the B-side, ""Please Baby Please,"" emerges as a raw, urgent cry for relief amid life's chaos. With its grittier edge and desperate energy, this track delves deep into the turmoil of personal and collective struggles.

Adding an extra layer of intrigue, the B-side features a ghost track, an unexpected surprise that promises to captivate listeners with its enigmatic allure. Accompanied by a visually arresting music video directed by A.C.B. and filmed by the Captain, ""Please Baby Please"" embodies the Mellons' evolving sound and their commitment to pushing creative boundaries. Get ready for a sonic journey that mixes sunshine pop with stormy introspection, and let The Mellons' captivating new release sweep you off your feet.

Computer Future is the sprawling and ambitious third album by amorphous Brisbane, Australia garage rock outfit Velociraptor! The 14-song opus is the best recorded capture yet of everything that makes the ‘Raptors so beloved, a stream of addictively catchy rockers characterised by stupidly infectious melodies, an overabundance of earworm hooks, guitars aplenty plus of course their trademark gang vocals and harmonies. The shadowy cabal behind Velociraptor have returned from a spell away from the spotlight with renewed vigour and focus, more committed to and appreciative of their combined talents and chemistry than their younger selves, who were perhaps more about concerned about chasing good times rather than long ones. These days there are more cooks in the ‘Raptors kitchen than before but that’s only allowed them to expand the palette of the Computer Future menu without compromising on quality. Their distinctively melodic take on the garage rock form is still entirely evident, only it’s now augmented by quirkily compelling sonic detours into psych and new wave realms, the band all the while sounding wholly like themselves and nobody but themselves (apart from perhaps the Devo-indebted title tracks). In their halcyon days Velociraptor were a force to be reckoned with, an amorphous collective sometimes up to 12 members strong - many of them wielding guitars of some description - who partied hard and played even harder, attacking their live shows with unbridled glee and genuine gusto. They toured Europe/UK, and staged with bands the calibre of Black Lips, New York Dolls, OFF!, Radio Birdman and Violent Soho. The unparalleled camaraderie of their renowned live blitzes - plus sheer size of the band - at times threatened to overshadow the genuine strength of their songwriting and recorded output, but now with Computer Future those concerns are firmly in the past!

"The Charades is a Los Angeles based captivating vintage soul duo, that enchants audiences with their timeless melodies and soulful harmonies.

Reverently embracing the nostalgic sounds of yesteryears, their music is a rich tapestry woven with the haunting tones of the organ and the ethereal vibes of the vibraphone. Drawing inspiration from Otis Redding, 1960's exotica, as well as the evocative storytelling of David Lynch and classic film scores. With their debut Ep entitled ""C is for Charades"", The Charades create a cinematic experience through their music, transporting listeners to a bygone era of romance and intrigue with every note."

‘Trust The Stars’ is the brilliant new album by Chicago-based The O’My’s that comes via HiyaSelf Recordings – the label founded by legendary DJ & producer Nightmares On Wax.

Comprising of Chicago natives Nick Hennessey and Maceo Vidal-Haymes – the duo channel their experiences into gritty, genre-bending music that grabs listeners with its sound & forms a rich palette of sonic influences through soul, hip-hop, lo-fi, alt-R&B, jazz & washed-out psychedelia.

Having worked with some of the biggest names in the industry, including Chance the Rapper, Noname, Saba, and Mick Jenkins, the new album is no different - featuring a host of esteemed collaborations including tracks with Children of Zeus’ Konny Kon; the incredible poet & singer Jamila Woods, fast becoming a leading light in the alt-R&B & neo-soul scenes; and the Pitchfork championed Southern rapper Pink Siifu.

Born out of a period of experimentation and endless creation, the forthcoming album explores themes of love, loss, and personal rediscovery, with a maturity and depth that reflects the duo's years of experience.

Throughout the 1960s, Canadian composer Bruce Haack was as ubiquitous on children’s and variety shows as were exotic animals from the San Diego Zoo. But he wasn’t there to perform so much as demonstrate. In his formative compositions for theatre and ballet, he had experimented with tape loops and musique concrète techniques; by the early ’60s, he wasn’t just playing around with electronic sounds, but also making the very gizmos that generated them. By day, Haack would eke out a living as a composer for commercials and a series of instructive, interactive children’s records made with collaborator Esther Nelson.

But by night, Haack was making music that was decidedly adults-only.

Originally released in 1970, The Electric Lucifer was Haack’s first work pitched to a contemporary rock audience, released by Columbia Records in the dying days of a post-hippie moment when bizarro outsider-psych could still find a home on a major label. If it was not the first rock record to feature electronics, it was certainly among the first to give them a starring role—both musically and conceptually.

Katie Malco's album 'Failures' has been hailed as a raw and powerful exploration of vulnerability, with Clash Magazine praising the album as "a work of real tenderness and stark honesty" and NPR Music highlighting its "bracing and infectious" sound. Her blend of indie rock and confessional lyricism has resonated with listeners, earning her critical acclaim. Over the past few years, Malco has toured extensively, sharing stages with the likes of Julien Baker, Lumineers, Laura Stevenson, SOAK, Bob Mould, and Jenny Lewis, solidifying her place as one of the most compelling voices in the contemporary indie scene.

Gatefold, 140g pink/green Splatter Vinyl. Limitiert auf 300 Exemplare, handnummeriert. Ein rauhbeiniges und unerbittliches Debüt des bayerischen Trios "Tame The Abyss". Eine schweißtreibende Verschmelzung von progressivem Alternative-Rock mit einem Vintage-Sound, der Live im Studio eingefangen wurde. Analoge Handarbeit voller Blut, Schweiß und Tränen. Krachende Breaks, gefolgt von fein gestrickten Instrumentals. Songs jenseits vorhersehbarer Strukturen, die dennoch einprägsame Hooks und eingängige Refrains zum Mitsingen bieten.

Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill." Captured Tracks now brings this limited edition demos release back in print on green vinyl to celebrate the label's 10th Anniversary.

Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

Ever wondered how The Is Dying would sound on vinyl? Well here’s your chance, as for the first time ever (!) STAKE will be releasing their debut album When The Candle Dies Out on vinyl, as well as repressing our sophomore album All Is Chaos, this time on colored vinyl. Both albums have been carefully remastered to mark the 20th anniversary of STAKE and will be released through Mayway Records.

Beyond the Valley of the Murderdolls is the debut studio album by American horror punk supergroup Murderdolls. It was released in 2002. The album reached number 40 on the UK Albums Chart, and sold over 100,000 copies in the U.S.

Murderdolls are a side project for Slipknot drummer Joey Jordison and Static-X guitarist Tripp Eisen.

The music on the album is fast and macabre, stuck in a time warp that hurtles them backwards to the decayed sounds of the '80s. Call it gutter-punk, glam rock, or hair metal, every style is displayed here in its despondent glory, bearing close comparisons to shock-punkers the Misfits. The Murderdolls draw inspiration from movies such as Friday the 13th, Night of the Living Dead, and Phantasm. The 15 tracks found here are full of tongue-in-cheek horror clichés.

Beyond the Valley of the Murderdolls is now available on black vinyl and contains a 6 panel insert.

Inhaler is the third studio album by American rock band TAD, originally released on October 19, 1993. It was the band's major label debut after two albums and an EP released by Sub Pop, and it was also their first album with drummer Josh Sinder, formerly of The Accüsed. Producer J. Mascis (Dinosaur Jr.) gave TAD a more focused and driven sound on this record. He can be heard playing the piano on ""Luminol"". The song ""Grease Box"" was played during the end credits of the 1994 movie Brainscan. Inhaler is easily their best and most consistent album to date and obtained positive critical reception upon release. Fortunately, the group has lost none of the grit that marked them as the grungiest of the Seattle scene. In promotion of Inhaler, TAD toured with Soundgarden. Inhaler is available on black vinyl and includes an insert.

The legendary Lagoa club, a temple of techno in Menin, is celebrating its 34th anniversary in style with the exclusive release of LAGOA TRAX Vol. 1, a vinyl compilation featuring four unreleased tracks composed by four of the club's iconic resident DJs: Manu Kenton, DJ HS, Jamie Dill, and Max Walder. These artists, who have made their mark in Lagoa's history with their memorable performances, pay tribute to the soul and energy of the club through compositions that are true to its unique musical style, known for its powerful beats and dynamic sounds.

This vinyl captures the essence of Lagoa's legendary nights, offering fans four exclusive tracks to once again vibe to the intense rhythm that has shaped the club's reputation.

Le légendaire club Lagoa, temple de la techno à Menin, célèbre son 34ème anniversaire en grande pompe avec la sortie exclusive de LAGOA TRAX Vol. 1, un vinyle regroupant quatre titres inédits, composés par quatre des DJ résidents emblématiques du club : Manu Kenton, DJ HS, Jamie Dill et Max Walder. Ces artistes, qui ont marqué l’histoire de Lagoa avec leurs performances mémorables, rendent hommage à l'âme et à l'énergie du club à travers des compositions fidèles à son style musical unique, reconnu pour ses rythmes puissants et ses sonorités dynamiques.

Ce vinyle capture l'essence des nuits légendaires de Lagoa, offrant aux fans quatre morceaux exclusifs pour vibrer à nouveau sur le rythme intense qui a forge la reputation du club.

Buffalo Tom (Bill Janovitz, Chris Colbourn und Tom Maginnis) gründeten sich 1984 an der University of Massachusetts in Amherst - einer Brutstätte von Post-Punk-Gitarrenbands wie Dinosaur Jr. und Pixies. Die drei langjährigen Bandmitglieder erkennen die Leistung ihrer Langlebigkeit als kreative Einheit an. Anfänglich boten sie einen rauen, treibenden Sound, der Janovitz" imposanten Gitarrensound hervorhob, doch der frühe Ansatz von Buffalo Tom wich einem melodischeren, aber nicht weniger unverwechselbaren Stil. Die Band hat zehn Studioalben veröffentlicht, das jüngste, Jump Rope, erschien Anfang dieses Jahres. "Big Red Letter Day" wurde 1993 veröffentlicht. Auf ihrem vierten Album machten sie das, was sie sehr gut können, aber mit mehr Glanz in der Produktion. Das Album wurde in LA von den Robb Brothers aufgenommen und enthält zahlreiche Publikumslieblinge, vor allem: "Sodajerk", 'I"m Allowed", 'Treehouse" und 'Late At Night". Die Band erlangte neue Berühmtheit, als "Late At Night" in einer Schlüsselszene der kurzlebigen TV-Kultserie "My So Called Life" mit Claire Danes und Jared Leto in den Hauptrollen zu hören war, die Mitte der 90er Jahre ausgestrahlt wurde. Der Song kam nicht nur in der Folge vor, sondern die Band wurde auch bei der Aufführung des Songs gezeigt. Der Rolling Stone bezeichnete den Song in einem Bericht über die Band als "inspirierte, geradlinige Power-Pop-Sammlung", und Spin schrieb: "Die Leidenschaft fühlt sich echt an und die Musik ist erhaben."

Buffalo Tom (Bill Janovitz, Chris Colbourn und Tom Maginnis) gründeten sich 1984 an der University of Massachusetts in Amherst - einer Brutstätte von Post-Punk-Gitarrenbands wie Dinosaur Jr. und Pixies. Die drei langjährigen Bandmitglieder erkennen die Leistung ihrer Langlebigkeit als kreative Einheit an. Anfänglich boten sie einen rauen, treibenden Sound, der Janovitz" imposanten Gitarrensound hervorhob, doch der frühe Ansatz von Buffalo Tom wich einem melodischeren, aber nicht weniger unverwechselbaren Stil. Die Band hat zehn Studioalben veröffentlicht, das jüngste, Jump Rope, erschien Anfang dieses Jahres. Birdbrain ist das zweite Album der Band, das mit Hilfe von J Mascis produziert wurde. Die Songs von "Birdbrain" sind zu Live-Favoriten geworden, darunter der epische Titelsong und "Enemy". Bill Janovitz sprach über den Songwriting-Prozess für dieses Album und sagte: "Ich denke, das Interessante an Birdbrain ist, dass sich das Songwriting verändert hat. Ich hatte alles auf der ersten Platte geschrieben. "Birdbrain" ist eine Art melancholischer Track, aber das meiste davon, wie "Fortune Teller" oder "Directive", das sind in vielerlei Hinsicht sehr wütende Songs. Für mich war das viel punkrockiger, aber wir haben uns in diese Richtung bewegt, und ich weiß nicht, warum. Aber Chris hat angefangen zu schreiben. Chris singt und schrieb "Baby" und die Art und Weise, wie wir schrieben - wir schrieben nicht im selben Raum zusammen - aber wir brachten diese Ideen zueinander und trieben sie herum."