All Cats Are Cute ist ein Instrumental-Funk-/Lofi-Beats-Party- und Chill-Album für alle Tierfreunde! Dieses Album feiert nicht nur Katzen, sondern auch den Geist der Vielfalt und Zusammengehörigkeit unter allen Lebewesen auf der Erde. Egal, ob man sein Zuhause mit Katzen, Hunden, Nagetieren, Vögeln, Menschen oder einfach nur mit der Liebe zu allen Lebewesen teilt, diese Platte ist der perfekte Soundtrack - eine Fahrt weg vom Trubel, auf einem bunten Katzenbus vorbei am Soul Train zur Regenbogenbrücke. Inspiriert von den Rettungskatzen Tibby und Slippy von Furnace Record Pressing, kommt diese LP Katzen zugute, die es am meisten brauchen. 100 % der Einnahmen werden an Brooklyn Animal Action gespendet, um deren Mission zu unterstützen, Tiere in Not zu retten, zu rehabilitieren und ihnen ein neues Zuhause zu geben. Dieses Projekt wurde ermöglicht durch die großzügige Unterstützung von Furnace Record Pressing, Catbeats und allen beteiligten Anbietern, die ihre Dienste gespendet haben, um sicherzustellen, dass jeder Cent direkt der Hilfe für Tiere zugute kommt. Hinter dem Namen steckt Shelby Cinca, bekannt als ehemaliger Sänger der 90er-Jahre-Hardcore-Band Frodus.
Jubiläumsedition inklusive dem Original Sonderlust Album und einer zweiten Disc mit zwei brandneuen, unveröffentlichten B-Seiten und einer ,Demo-arigato"-Version von Sonderlust mit frühen Demos jedes Songs. Die Doppel-LP erscheint auf farbigem Vinyl: "Bone Vinyl" (LP1) und "Gold Vinyl" (LP2). Vor zehn Jahren war Kishi Bashi nach jahrelangen Tourneen zu seinen gefeierten Alben ,151a" und ,Lighght" kreativ und emotional ziemlich ausgelaugt. Die orchestrale Ausgelassenheit, die seinen Sound früher geprägt hatte, begann zu verblassen, was ihn dazu brachte, seinen künstlerischen Zweck zu hinterfragen. Aus dieser Erschöpfung entstand ,Sonderlust" (2016), eine sehr persönliche Neuerfindung, die von Verletzlichkeit, analoger Wärme und spiritueller Ehrlichkeit geprägt ist. Ishibashi verzichtete auf kunstvolle Violinen-Loops und setzte stattdessen auf Vintage-Synthesizer und reduzierte Texturen, wodurch ein Album entstand, das vor souliger, menschlicher Energie nur so sprühte. Songs wie ,Say Yeah", ,Honeybody" und ,Ode to My Next Life" fingen sowohl den Schmerz als auch die Freude der Selbstfindung ein und verankerten seine üppige Fantasie in gelebter Erfahrung. Jetzt, mit seiner Neuauflage zum 10-jährigen Jubiläum, steht Sonderlust als ein entscheidendes Werk da - in dem Kishi Bashis schillernde Verspieltheit der Selbstbeobachtung und Verbundenheit Platz machte. Die Neuauflage zeigt ein überarbeitetes Artwork des ursprünglichen Cover-Künstlers Ssin Kim, das Wachstum und eine neue Perspektive symbolisiert. ,Wenn man jünger ist, kann die Welt überwältigend wirken", reflektiert Ishibashi. ,Mit zunehmendem Alter beginnt man, seinen Platz darin zu sehen." Was als Album über Liebeskummer begann, ist zu einer zeitlosen Meditation über Empathie, Kreativität und die bleibende Schönheit des Menschseins geworden.
I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted - everything that feels stable and permanent - is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy - a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could. Soon you'll be able to hear the result for yourselves. For me, this album is something deeply personal. It's an act of opening up to anyone who chooses to listen - a glimpse into things I can't fully describe with words, into what I felt and who I became during that period. I'm incredibly happy that together with my friends from the band, we've created another record. What comes next_ time will tell.
Magenta Vinyl, limited to 450 copies. I started writing the songs for V at the beginning of 2023, and the demos were finished by the end of that year. While creating this material, I kept returning to one thought: everything we take for granted - everything that feels stable and permanent - is, in reality, incredibly fragile. Nothing lasts forever, and the sense of things slipping away can hit much sooner than we expect. I tried to translate those feelings into sound. At that time, a lot of difficult things were happening in my life, things I didn't know how to cope with. Music became a form of therapy - a way to process emotions I couldn't express in any other way. In early 2024, we began working through the songs together as a full band. After finalizing the arrangements, we spent the rest of the year recording them. The process stretched over many months, split into several sessions across different studios. I didn't want to rush anything. I wanted, as always, to refine every detail the best we possibly could. Soon you'll be able to hear the result for yourselves. For me, this album is something deeply personal. It's an act of opening up to anyone who chooses to listen - a glimpse into things I can't fully describe with words, into what I felt and who I became during that period. I'm incredibly happy that together with my friends from the band, we've created another record. What comes next_ time will tell.
Vic Bang's "Oda" arrives quietly - it was waiting for the right moment. The eight tracks are shaped by listening, by circling around sound instead of chasing it... you can definitely hear patience in the pacing, a willingness to let ideas linger, to let all the small motifs breathe.
The album moves with a softer and more deliberate rhythm than much of Vic's earlier work, as the sound world here feels concentrated and cohesive, built from a limited set of elements that gradually reveal themselves. Melodies unfold without too much fuss, textures repeat and mutate very subtly and the whole record holds together like a single extended thought.
The title Oda - or "ode" in English - hints at devotion, but not in any grand or ceremonial way. These pieces seem devoted to sound itself: to tone, to gesture, to fragile and simple musical forms. There's a gentle melancholy running through the album, but also clarity, even tenderness. Each track is dedicated to something - a timbre, a rhythm, a resonance - living up to the title's etymology.
All Music composed by Victoria Barca in Buenos Aires, Argentina, between 2024 and 2025.
Saxophone (3) by Camila Nebbia
Vocal samples by Catu Hardoy and Nicolás Said
Cello samples by Gabriela Areal
Mastered by Adam Badi Donoval
Front cover relief "Endulzando el oído" by Victoria Barca
Back cover photo by Indira Seoane
Design and layout by Paulina Ufnal and Janek Ufnal
Schneller, technischer und politisch aufgeladener Punkrock mit scharfen Riffs, detailreicher und intensiver Schlagzeugarbeit und starken Melodien - angetrieben von der unverwechselbaren Stimme der Sängerin. Mit ihrem neuen Album Take Care präsentieren sich Melonball vielseitiger, schneller und emotionaler denn je. Die Band aus Nürnberg verbindet gesellschafts- und politisch relevante Themen mit sehr persönlichen Momenten. Musikalisch präsentiert sich die Band direkt und zugleich instrumental ausgefeilt: facettenreiche Arrangements treffen auf Melodien, die sich einprägen. Die Produktion bleibt bewusst roh - ohne Schnickschnack, unmittelbar und greifbar. Dadurch treten die Stärken von Melonball klarer denn je hervor: der charakteristische, ehrliche Gesang, aufgenommen ohne große Nachbearbeitung, die eingängigen Hooks und die präzise Balance aus spielerischer Technik und Melodie.
Built on the solid, classic rock foundation of three-part harmonies and dual guitar leads, Canada's Juno Award-winning and multi-platinum selling - the Sheepdogs blend Southern boogie rock, groove-based psychedelia, and bluesy barroom swagger into a modern rock & roll revival. Hailing from the small prairie city of Saskatoon, The Sheepdogs are one of Canada’s most successful bands amassing a legion of fans worldwide with their rich harmonies, rounded guitar tones and classic rock-influenced sound. The band has achieved thirteen top 20 hits on Canadian Rock radio, with ten reaching the top 5 and three claiming the #1 spot. Most recently, their single "Take Me For a Ride" cracked the top 5 and spent over eight months in the top 20. This success followed their 2022 run of 90 cumulative weeks with at least one song in the top 20 at Canadian Rock radio. Hit singles “I Don’t Know” and “Feeling Good” both reached Platinum certification, with “The Way It Is” achieving Gold sales. Additionally, the albums Learn & Burn and The Sheepdogs both achieved Platinum status, and to date the band has been nominated for 11 JUNO awards, including 2022’s “Outta Sight” and winning four awards.
“From Birmingham and centred around the extraordinary songwriting talent of James and Patrick Roberts – initially as The Sea Urchins and since 1993 as Delta – they’ve only just got round to releasing their debut album, Slippin’ Out. It is a work of some beauty”. 9/10 NME ALBUM OF THE MONTH, 2000
“It’s classicist for sure, shot through with the influence of The Beatles, Byrds and Buffalo Springfield. In James’ downright beautiful closing ballad ‘I Want You’ one can also discern the school of ambitious English balladry that peaked in about 1968: The Casuals, Love Affair, Barry Ryan. The impression of accomplished old-schoolery is only furthered by the dizzying string arrangements penned by Louis Clark Jnr, son and namesake of the one-time orchestral chief of Electric Light Orchestra” – Mojo lead review, 2000
Having ended the 90s with the spirited ‘Laughing Mostly’ compilation of singles and demos (Guardian Album Of The Week) Delta finally released their debut studio album of twelve songs in the summer of 2000 on the Dishy Recordings label. Accepting that this might be their sole studio album the band threw everything at these recordings allowing it to exist in its own sphere, unbothered by their contemporary generation and disregarding the idea of even releasing a single.
Recorded at DEP International there was a notable difference to the scruffier, looser charm of their 1990s recordings, a tighter focus developed by having the experienced Lenny Franchi mixing the LP with them. Lenny had been working with a number of Island artists including My Bloody Valentine and Tricky so knew his way around a desk. There was also the question of budget (a few months passed between recording and mixing whilst funds were raised) so every day counted. Ultimately though you can hear the joy in the recordings, even amongst the melancholy and angst. As James recently recalled in an interview in Shindig! Magazine: “It was such a big deal for us. It’s one of my fondest memories doing that record. Everyone was happy. If there’s anything that I’d stand by, I think it would be that”
Louis Clark Jr joined the band towards the end of the ‘90s and brought a classically-trained element to the recordings particularly with his string arrangements. For ‘Cuckoo’, ‘I Want You’ and the prophetic ‘We Come Back’ Louis brought in eight players from the Birmingham Conservatoire; the baroque style is partly why the record often receives comparisons to Love’s ‘Forever Changes’.
On release ‘Slippin’ Out’ was a big favourite with writers at the NME, Mojo and The Guardian again and before long the band were signed to Mercury/Universal for their second studio album ‘Hard Light’, a far more expensive and expansive love affair. It was a temporary palatial home where things quietly fell apart again, but that’s another chapter.
“If long-term memory is nothing more than selective editing and only pop’s most weighty visceral works are built to last then it’s quite possible that in 50 years the Britpop era will be best recollected for the two bands it ostracised. Earlier this year we met Shack and thought their story of mercurial brilliance indicated the biggest music biz oversight of the 90s. We were wrong because we hadn’t met Delta yet. This is richer and more engrossing than anything by Shack”
Mal Devisa is the songwriting, liberation, and poetry project of multifarious artist Deja Carr. Starting in 2014 and breaking through with 2016's Kiid, Mal Devisa's work spans a selfmade spectrum of sound from gravitic, soulful rock to soliloquy to unabashed hip hop. Although known for her unmistakable, smoldering voice and loop-based, bass-forward compositions, Carr's talents also extend to reaches of spoken word and production, paralleled by aspirations to start both a youth foundation and Afrobeat orchestra. Such boundless inspiration is a central facet of Mal Devisa's work, whose sonically and narratively unrestrained passages teem with empathy and liberatory visions for a better world.
Das vierte Album und Sub Pop-Debüt von Lala Lala, alias Lillie West, ist ein kraftvoller, warmer und mit Ohrwürmern gespickter Indie-Pop-Kracher für Fans von Jay Som, Porches, Dehd, Angel Olsen und Alex G. Lillie West hat ihre Musik immer aus dem Bedürfnis heraus gemacht, ständig in Bewegung zu sein. Als sie aber kürzlich den Wunsch verspürte, sich niederzulassen, hat sie gemerkt, dass Beständigkeit Kreativität fördern kann. Diese Entwicklung ist der Antrieb für einen Großteil ihres neuen Albums "Heaven 2". Viele Jahre lang lebte West in Chicago, wo sie Lala Lala als Teil der Indie-Szene der Stadt etablierte und mehrere Alben auf Hardly Art veröffentlichte. Diese Alben, "The Lamb" und "I Want the Door to Open", waren kraftvolle Statements einer neugierigen Künstlerin: eingängige Gitarren-Pop-Songs über das Feststecken in den Höhen und Tiefen des Lebens, den Kampf, nüchtern zu bleiben, die Stadt zu verlassen, sein Leben in die Luft zu jagen. West verließ Chicago, um nach mehr zu suchen, und schrieb dabei ihr neues Album "Heaven 2". Auf ihrer Reise landete sie in New Mexico, wo sie in Taos fernab der Zivilisation lebte. "Es war sehr herausfordernd, eiskalt und voller giftiger Tiere. Aber es ist immer noch der schönste und magischste Ort, an dem ich je gewesen bin, und ich träume ständig davon", sagt West. Anschließend zog sie nach Island, wo sie zwei Jahre lang mit Unterbrechungen lebte, wobei sie die Unterbrechungen in London verbrachte, wo sie aufgewachsen war. Schließlich kam sie nach Reykjavik, wo sie sich in der Musikszene einlebte und ein Instrumentalalbum ("If I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird") veröffentlichte, bevor sie nach Los Angeles ging, wo sie sich verliebte und sich niederließ. L.A. ist ein guter Ort zum Leben, schon allein deshalb, weil, wie West sagt: "Wo auch immer du hingehst, dort bist du. Ich wünschte, es gäbe eine coolere Art, das auszudrücken." Zum Glück gibt es die: Dieses Thema, überall Schönheit und Erfüllung zu finden, zieht sich durch "Heaven 2". In ,Even Mountains Erode" singt West: , "There are symbols and signs, you're missing your life". West ermutigt sich selbst und uns, langsamer zu werden. Innezuhalten und den Duft der Blumen zu genießen. West hat das Album zusammen mit Melina Duterte von Jay Som produziert, die mit ihrer kraftvollen Stimme einen starken Kontrast zu Wests warmem, rundem Gesang bildet. Die Beziehung zwischen den beiden war telepathisch, und das Ergebnis ist ein mutiges und selbstbewusstes Album. Duterte und West spielten fast alle Instrumente des Albums selbst, mit ein paar wichtigen Gästen wie Sen Morimoto am Saxophon im Eröffnungstrack "Car Anymore" und einer Bridge, die Aaron Maine von Porches für den Titeltrack ,Heaven 2" geschrieben hat. Bei "Catharsis" geht es nicht nur um den Schmerz, sondern auch um die Befreiung, die man erlebt, wenn man sich davon befreit. Und so gibt es auch Momente kühner Freude auf dem Album. "Arrow", das Samples der französischen Electro-Pop-Band La Femme enthält, ist schnell, und seine Schnelligkeit und Freude fühlen sich an, als würde man auf etwas zulaufen und nicht davonlaufen. "None of this was supposed to happen", singt West. Aber es ist passiert. "Es ist so eine grundlegende spirituelle Sache", sagt West, ,Widerstand ist die Wurzel allen Leidens, und ich dachte, ich könnte den Verlauf meines Lebens bestimmen." Natürlich konnte sie das, wie alle anderen auch, nicht. Wohin man auch geht, man ist immer da.
Rick James Blends Brazen Attitude, Fearless Sexuality, and Shrewd Charisma on Street Songs:
Punk-Funk Album Aims for the Hips and Head, Includes the Timeless Hit “Super Freak”
Sourced from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies:
Mobile Fidelity’s 180g 45RPM 2LP Set Presents 1981 Smash in Audiophile Sound for the First Time
1/4” / 30 IPS analogue master to DSD 256 to analogue console to lathe
“Punk funk” was a relatively unknown concept before 1981. But once Street Songs took the charts by storm that year, the world soon knew about what became Rick James’ signature style. And how. True to its name, Street Songs blends outspoken sexuality, brazen attitude, and edgy commentary amid contagious R&B-fueled arrangements that simultaneously aim for the hips, head, and various nether regions. And it’s never sounded better.
Sourced from the original master tapes, strictly limited to 4,000 numbered copies, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s 180g 45RPM 2LP set presents James’ platinum-certified effort in audiophile quality for the first time. Playing with crisp dynamics, lively textures, airy headroom, and revealing clarity, this collectible edition of the record that stayed at the No. 1 spot on the R&B Album Charts for 20 weeks invites you to get closer to music that beckons you to turn your space into a private dance floor.
Then again, you’ll likely be so taken by how the taut bass lines, snappy rhythms, and four-on-the-floor beats — all rendered in stunning detail and with full-bodied architecture — come across with such accuracy and presence, you might stay pinned to your seat. On this pressing, the soundstaging, imaging, and lit-fuse energy of Street Songs reach new heights. Everything from the rubbery feel of the guitar lines to the depth of James’ temperature-raising vocals to the scale of the horn charts emerges as if James and his ace session crew set up in your room.
The Buffalo native and his ensemble waste no time getting their message across. On the album-opening “Give It to Me Baby,” James and company lay down a mix of sleek funk and pulsing disco that practically activates the bright lights of a discotheque and stimulates the libido of anyone within earshot. Having reached No. 1 on the Billboard Hot Soul charts, the song is pure sex — and just one of the carnal delights on a record that embraces the subject as fearlessly as James does his identity.
Of course, the most famous of James’ erotic excursions — the timeless “Super Freak” — hit No. 1 on Hot Dance Club Play charts, No. 16 on the Hot 100, and, later, No. 153 on Rolling Stone’s list of the Top 500 Songs of All Time. Bolstered by a quavering keyboard theme and electro riffs, the much-sampled track worms itself inside your muscles with smile-inducing subject matter, gliding vocals, nimble movements, a hot tenor-saxophone solo, and backing vocals by the Temptations.
The iconic Motown group isn’t the only celebrated guest artist on the Grammy-nominated Street Songs. James’ then-labelmate, Stevie Wonder, lends harmonica to the frank sociopolitical narrative on “Mr. Policeman,” a protest tune that also manages to stroll ’n’ strut via simmering organ, staggering brass accents, and James’ gritty vocal performance. In addition to contributing backing vocals on several cuts, Teena Marie turns in one of the album’s signature moments on “Fire and Desire,” a romantic old-school duet with James that impresses with smoothness, sensitivity, and smokiness.
High-profile colleagues aside, James remains the undisputed star, a figure whose leather-and-latex attire, braided hair, and natural swagger made him misunderstood by some in the mainstream and embraced by everyone in the know as a true original. As a testament to his magnetism and skills, his charisma and rawness seemingly seep through every note, whether on the balladic sweep of the risqué “Make Love to Me” or strident, poke-and-prod persuasion of the moonwalking “Call Me Up.”
On the closing “Below the Funk (Pass the J),” an uptempo autobiographical tale that addresses the visionary musician’s second-favorite love, the singer acknowledges his upbringing and inseparable connection with his roots — an homage to where he began and a toast to where he’s gone.
Rick James, keepin’ it real on Street Songs, still as real as it gets.
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My Days of 58 is the eighth Bill Callahan album, his first since 2022. The twelve tunes here open uncanny depths of expression as Bill continues to blaze one of the most original songwriting-and-performance trails out there. Applying the living, breathing energies of his concerts to this album production, he sharpens his slice-of-life portraiture to cut deeper, releasing a stream of singalong consciousness: poetic, cinematic, novelistic, comedic - and above all - musical.
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Impatience is thrilled to present Leaving Memory, the latest album-length work by Piper Spray and Lena Tsibizova. Leaving Memory is a searing distillation of the duo’s ouevre - it’s eleven prismatic electronic seances combining for a mind warping wormhole with it’s own internal (il)llogic, where pop, ambient, and industrial music convene beneath a rugged HD of digital processing and brain fog. Equally rosy with nostalgia as it is ominously forward looking, Leaving Memory defies easy categorization and makes for an astounding, confounding listen.
By turns violently abrasive and disarmingly touching, Piper and Lena deploy sounds that fracture and disintegrate, burn up and explode, synthetic supernovas that give the record an unmistakable, inimitable texture. Song structures often abide by their own blueprint - heading in one direction before making an abrupt dive elsewhere. Bursts of vibrant colour lurk below layers of grayscale noise. Unidentifiable voices deliver secret messages from the murk. When rhythm’s emerge they ground the tracks to some unknown terrain and invigorate.
Lame Line veers towards the sweeter end of their spectrum, a hazy plaintive repetition increasingly lashed with friction, before Exit erupts with clanging rhythm and shards of distortion. Diagnosis is an almost sweet alt-pop song, Lena’s vocals yearning beneath a dubby shuffle, while Keeper Of The Void’s possessed incantations open up to a ripping, fried climax. Beryl Grey releases the pressure gauge, a gently lilting drift arpeggiating as the sun sets, and Lost Cars sweats through claustrophobic drones and bird song before the clouds part on a serene scene. Leaving Memory closes with Shin, offering a genuinely sweet resolution and a gentle landing back down to earth of either footsteps or fireworks, swelling synthesized horns and woodwinds, a kiss on the cheek for making it out the other side.
On Leaving Memory, Piper Spray & Lena Tsibizova share their uniquely discordant take on freaky music for unsettled minds, an intensely energized set that offers a deeply evocative, unimaginable otherworld for adventurous ears.
Piper Spray and Lena Tsibizova have been producing music together since 2020. Leaving Memory is the first to be presented in the LP format. Piper has previously released music via Orange Milk, Hausu Mountain and Gost Zvuk, as well as his own Singapore Sling Tapes label. Lena works predominantly as a photographer, and together Piper and Lena have released music via radio.syg.ma and Kartaskvazhin. Both make music as part of Air Krew, who have released music on the Echotourist and Motion Ward labels. They’re both currently based nowhere.
Leaving Memory was written, produced and mixed by Piper Spray and Lena Tsibizova, and mastered by Sergey Podluzhniy. Cover photo by Lena Tsibizova, design and layout by Justin Sloane.
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Heavenly return! As fiercely independent as any punk band, but as sweetly melodic as any chart-topping act, Heavenly combine sharp-edged lyrics with shamelessly joyful pop music. The band comprises original members Amelia Fletcher, Peter Momtchiloff, Cathy Rogers and Rob Pursey, who are now joined on drums by Ian Button. An important element of the Heavenly story was the loss of Mathew Fletcher, who took his own life just before the fourth album was released. It took Amelia, Peter, Cathy and Rob a long time to get over the loss; maybe it took even longer to find a drummer as good as Ian. 'Highway To Heavenly' shares its musical recipe with the band's first four albums, all of which were released in the 1990s at a time when sensitive indie types in the UK were sheltering from the prevailing macho-rock storm under the Sarah Records umbrella, and when women in the US were starting to find their Riot Grrrl voices in the small town of Olympia, where labels like K and Kill Rock Stars were designing a new creative space. The new songs are full of anger, of grief, of empathy, of love, and set themselves in opposition to the resurgence of the cold 'masculine energy' that is making the world a miserable, aggressive place today. It's all pop here, but Highway To Heavenly has a huge range of tones and moods. Heavenly have recently enjoyed a huge resurgence of interest from a younger generation of fans, who have cottoned on to Heavenly's music, but also embraced the band's inclusive version of feminism. The new Heavenly have played a number of sell-out shows in the past couple of years, where older fans have mingled with new devotees. Still our love is Heavenly!
PinkPantheress announces a suite of physical products available to pre-order now.
Fancy Some More? sees PinkPantheress bring together an international spectrum of artists, delivering 22 remixes. Remixes come from artists including Anitta, Bladee, JADE, JT, Kylie Minogue, Oklou, Rachel Chinouriri, Ravyn Lenae, Yves, and Zara Larsson; genre-defining groups and collectives such as Basement Jaxx, Groove Armada, SEVENTEEN (THE 8, MINGYU, VERNON.), and Sugababes; and acclaimed producers and DJs including Adame DJ, DJ Caio Prince, Joe Goddard, Kaytranada, Kilimanjaro, Leod, Loukeman, Mochakk, Nia Archives, and Sega Bodega. Each track offers a new perspective to the signature PinkPantheress sound, expanding the Fancy That universe.
Released in May this year and written and produced by PinkPantheress, Fancy That was created alongside aksel arvid, Count Baldor, phil, Oscar Scheller, The Dare and others, bringing together a collective of creative minds to shape her latest sonic evolution. As she steps into her fun and kitsch-y era, rooted in British culture, the 9-track project showcases her signature vocals and genre-blurring sound.
To celebrate the tenth anniversary of their critically acclaimed second album, Preston's unholiest sons Evil Blizzard are please to announce a brand new re press of 'Everybody Come To Church' on limited edition (300) purple vinyl, with hand numbered full colour insert and DL code, and also on CD.
Featuring the live favourites 'Are You Evil?', 'Sacrifice' and 'Stupid People', the album has long ince been out of print.
Rikk Agnew's All by Myself is one of those records that feels like a secret you're lucky to stumble upon -- a raw, weird, totally personal snapshot of a restless artist at a pivotal moment. Originally released in 1982 on Frontier Records, the album stands apart from most of what was coming out of Southern California at the time, even though it was born right in the middle of the exploding hardcore punk scene. By 1982, Rikk Agnew was already a big deal underground. As the guitarist for Adolescents, he helped shape the sound of Orange County hardcore with sharp riffs, surf-inflected melodies, and a sense of urgency that became hugely influential. He also played in bands like D.I. and later Christian Death, moving fluidly between hardcore punk, post-punk, and darker, more experimental territory. Agnew wasn't just a fast, aggressive guitarist -- he was a songwriter with range, curiosity, and a strong DIY instinct. All by Myself lives up to its title in the most literal way. Agnew recorded the album largely on his own, playing all the instruments and handling vocals himself. Instead of delivering another straight-up hardcore record, he went inward. The result is a lo-fi, home-recorded collection of songs that blend punk energy with new wave, post-punk, psychedelic touches, and even moments of pop sensitivity. It's rough around the edges, but that's exactly the point -- the album feels intimate, unfiltered, and honest. In the early '80s, Southern California punk was loud, fast, and often confrontational. Bands were pushing against the mainstream and even against each other, racing toward more extreme sounds. While All by Myself shares that DIY spirit, it doesn't fully play by hardcore rules. The tempos shift, the moods wander, and the songs feel more like personal experiments than scene anthems. That made the record a bit of an outlier at the time -- but also what gives it lasting appeal. Frontier Records was the perfect home for a release like this. The label was known for supporting artists who didn't quite fit into neat categories, and All by Myself captured that ethos perfectly. Today, All by Myself is often seen as a cult classic. For fans of early punk, post-punk, or anyone interested in the roots of DIY recording culture, this album is essential listening
Figure Study is the Manhattan-based duo of Nathan Antolik and April Chalpara. They formed in 2009, after meeting through the Wierd Records weekly party, where they would play their first concert soon after. While their debut 7" contained two songs recorded in 2009, this full length contains all new material recorded throughout the past year.
For their debut self-titled album, Figure Study utilizes a carefully tailored set up of vintage analog synthesizers and drum machines. Figure Study creates a lush sound where haunting vocals echo over dark melodies that reflect an isolated and disintegrating world. Songs flux between dissonant dance numbers and more sparse, somber compositions, each carrying a sense of urgency and modernism. Figure Study's sound includes influences from such early underground artists as Kirlian Camera, Nine Circles, and The Actor.
The album was recorded in their small Chinatown studio using a sparse set-up of analog synthesizers, drum machines and sequencers. It was mixed at The Wave Lab in Brooklyn by AJ Tissian and mastered for vinyl at Fantasy Studios in Berkeley by George Horn. Each LP is packaged in a specially designed jacket and includes an insert with lyrics. Figure Study draw their own model using shapes and forms from the synthetic landscape.
Another Thought was the first collection of Arthur Russell’s music to be released after his death in 1992. Released in 1993 on Point Music it marked the beginning of nearly 30 years of work to let the world hear the enormous archive of unreleased recordings Arthur left behind. Be With revisits this first compilation for a new gatefold double vinyl version and a triple-fold digipak CD reissue.
Both versions of Be With’s 2021 reissue of Another Thought have been mastered by Simon Francis and the vinyl cut by Pete Norman. The original artwork has been restored and tweaked at Be With HQ for the gatefold sleeve and the triple-fold digipak, with the essential help of Janette Beckman. Each version comes with an insert reproducing the liner notes and lyrics from the original CD release.
Together with Calling Out Of Context, Soul Jazz’s World of Arthur Russell, and much of the ongoing work of Audika, Another Thought is absolutely essential for even the most casual Arthur Russell collection. In fact we’d argue it’s essential for any fan of non-obvious pop music. This is the only place where you can hear some of Arthur’s most recognisable tunes and it’s an album that absolutely deserves to be kept in press.
We’ll assume that by now you’re all at least a little familiar with the story of Arthur Russell, the farm boy from Iowa who moved to 1970s New York. Arthur Russell the genuine musical genius who died just 40 years old, leaving behind a wealth of music that dwarfed the few 12"s and LPs that were released during his short life.
Although Arthur had been working on an album for Rough Trade during his last years, with the label no-longer operating it was Point Music (Philip Glass and Michael Riesman’s label set up together with Philips) who stepped in to help Arthur’s partner Tom Lee start working out exactly what Arthur had left behind.
Tom suggested that Arthur’s friend Mikel Rouse was the right person to make the first catalogue. Working in Tom and Arthur’s apartment he had only two weeks to go through what turned out to be around 800 tapes.
As Tom explained “at the end of each day he would generally wait for me to come home and I would, to the best of my knowledge, name and identify pieces in question from that day’s work. As he worked Mikel compiled about a dozen cassettes that he thought would present the most finished sounding songs for Don/Point to use. As Don listened he would then suggest and ask me and thus we collaborated on the choices.”
Don is Don Christensen, Another Thought’s producer. With a final selection of songs from recordings made between 1982 and 1990, including sessions with some of Arthur’s regular collaborators Peter Zummo, Steven Hall, Mustafa Ahmed, Elodie Lauten, Julius Eastman, Jennifer Warnes and Joyce Bowden, it was then Don’s job to turn these into a finished album.
Another Thought is a little different from the compilations of Arthur’s music that came out since. In our conversations with Steve Knutson (who founded Audika Records and who manages Arthur’s estate together with Tom), he explained that “more than any project released by Arthur during his lifetime or posthumously by Audika, ‘Another Thought’ is the most worked over. The material was significantly edited and rearranged from the original source tapes”.
If the aim was to release a comprehensive exploration of every facet of Arthur’s music, from the most avant-garde of his avant-garde compositions through to the most disco-not-disco of his disco-not-disco tunes then the project was a spectacular failure. But as a coherent album of non-obvious pop music Another Thought is wonderful.
Starting with the sparse voice-and-cello of the title track, A Little Lost adds some guitar along with the sneaking suspicion that we’re listening to something nowhere near as simple as it first sounds. By the time we get to This Is How We Walk On The Moon - it could be the moment you notice the congas, or the percussion that’s been building behind them, or maybe it’s that blast of trumpet and trombone - we realise we’ve gone from splashing around to being completely submerged in the musical world of Arthur Russell.
From here the album heads off on its journey around the sounds of the left-field contemporary classical music of the time, re-directed towards pop ears, with minor detours through the swirling woozy disco of the half-remembered night before on In The Light Of The Miracle and My Tiger, My Timing. Whether it’s just Arthur, his cello and some bleeps on Just A Blip, or whether he has some vocal help as he does on the bounding Keeping Up, this is difficult music made so, so easy. And through it all is Arthur’s voice and cello. Sometimes drowned in distortion and sometimes clear as a bell, but always there somewhere.
A Sudden Chill finally returns us to the calmer waters we started in and this last track closes the album with a melancholy that’s not surprising given how soon after Arthur’s death the album was put together.
Whilst Another Thought holds together with the consistency of a proper album, there’s still no getting away from the fact that this was put together from audio recorded in different ways, in different places, with different people at different times. Those with keen ears will hear traces of tape hiss, the occasional blown-out note and some digital fuzz, all fingerprints of those original recordings as well as of the 1990s digital equipment that was used to piece Another Thought together.
Add to this Arthur’s obvious pleasure in making music from the sort of sounds that can make microphones, speakers and ears uncomfortable, it’s no surprise that Another Thought isn’t glossy and pristine. Don Christensen’s productions have been careful to not scrub up those original recordings so much that they lose their original vibe, understandable given that Arthur wasn’t around as a guide. We’ve applied a similarly light touch with the mastering for these Be With versions, just working to make sure they sound like they should on both the vinyl and the CD.
Despite the Discogs rumours, Another Thought was never originally released as an LP. So when it came to the sleeve for this Be With vinyl version we took the original CD artwork as a starting point to come up with something that looks like it could have been in the record racks back in 1993.
We have to thank Janette Beckman for helping us reproduce her iconic photograph of Arthur in his newspaper boat hat. One of many photographs she took of Arthur, Janette shot this in her New York studio back in 1986 for a short article in the January ’87 issue of The Face Magazine. Those with eagle-eyes will notice we’ve used an ever-so-slightly different shot from the one that appeared in The Face and then again on the original cover of Another Thought. The original has long since been lost so we’ve worked with what is left in Janette’s archives. And we also have to thank Tom Lee for giving us permission to reproduce his liner notes from the original CD booklet, together with Arthur’s lyrics.
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Auf ihrem dritten Album ,Amaro" lädt uns Bibi Club dazu ein, uns den dunklen Bestien zu stellen, die uns unter der Oberfläche verfolgen, und uns der therapeutischen Kraft eines starken Lebenswillens hinzugeben. Es erkundet das sensible Spektrum zwischen dem Hier und Dort und verweist auf Liebe, Natur und Gemeinschaft als verbindendes Ziel. Die Songs zeichnen eine Karte einer eigenen Welt und folgen dabei dem Weg, den die Bibis in den letzten Jahren eingeschlagen haben. Nun verlassen wir das Wohnzimmer und tanzen in einem mentalen Raum, der mit Trauer und Angst in ihrer rohesten Form überladen ist. Nach dem Tod zweier geliebter Menschen im letzten Jahr hallt das Mantra ,Ich möchte lieben, ich möchte leben" intensiv in jeder Melodie nach; wenn das Herz ein Ort ist, der niemals stirbt, müssen wir es so schnell wie möglich erreichen. Inspiriert von unvergesslichen künstlerischen Begegnungen, Tourneen mit Blonde Redhead und Circuit des yeux sowie einer Zusammenarbeit mit Calvin Johnson präsentiert sich Bibi Club nun mit Avant-Pop und Electronic Body Music mit Elementen von Dark Wave und Neofolk, wobei gleichzeitig barocke Klänge mit Cembalos, Trompeten und auswendig zu lernenden rituellen Gesängen einfließen. Unterstützt von einer fürsorglichen Community, darunter der Saxophonist und Aktivist Dimitri Milbrun (George Sand) und die Singer-Songwriterin Helena Deland (A Different Light), ermöglicht Amaro Bibi Club, sich sowohl in intimer als auch in kollektiver Hinsicht zu definieren.
A limited edition tribute to Chris Hill who recorded this record in 1979. Features Luther Vandross!
Recorded jointly in Germany and the USA, Mascara were the creation of soul legend and Mafia club DJ, the late Chris Hill. The vocalists are Ula Hedwig, David Lasley, and Luther Vandross . Ula was a former member of The Harlettes with Sharon Redd and Charlotte Crosley who used to support Bette Midler. David Lasley was also a supporting singer for Bette Midler, and later Luther Vandross, David Lasley’s prolific career as songwriter alone spans more than 30 years. He is best-known as a composer for the hundreds of songs he has written recorded by the likes of Anita Baker ("You Bring Me Joy"), Boz Scaggs ("JoJo"), He sang backgrounds on numerous classic disco hits for acts including Chic ("Everybody Dance", "Le Freak", "I Want Your Love"), Sister Sledge’s ("We Are Family", "He’s The Greatest Dancer") and together with Luther for Odyssey on "Native New Yorker".
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Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.
Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.
Nothing waren schon immer Regelbrecher. Shoegaze-Rebellen, die das typischerweise leichtgewichtige Genre nach ihrem eigenen, knallharten amerikanischen Image neu erfunden haben. Outlaw-Poeten, die existenzielle Ängste auf kilometerbreiten Leinwänden aus Fuzz und Hall ausbreiten. Angefangen als Solo-Projekt in einem Schlafzimmer in Philadelphia im Jahr 2010, hat die Musik von Nothing immer die ganze Bandbreite des Menschseins eingefangen, sowohl die schreiende Wut als auch die flüsternde Traurigkeit. ,A Short History of Decay", das fünfte Soloalbum von Nothing und das erste für Run For Cover Records, erweitert diesen Horizont noch weiter und bietet die bisher hochauflösendste Darstellung von Nothing. Die Band hat noch nie so kolossal geklungen, sich noch nie so intim angefühlt, war noch nie so ehrlich. Mit dem stärksten Arsenal in der sich ständig verändernden Besetzung von Nothing - Gitarrist Doyle Martin (Cloakroom), Bassist Bobb Bruno (Best Coast), Schlagzeuger Zachary Jones (MSC, Manslaughter 777) und dem dritten Gitarristen Cam Smith (Ladder To God, ebenfalls von Cloakroom) - wusste Singer-Songwriter Domenic ,Nicky" Palermo wusste, dass er die nötige Manpower hatte, um das bisher ambitionierteste Album der Band aufzunehmen. Mitgeschrieben und produziert wurde es zusammen mit Whirr-Gitarrist Nicholas Bassett, zusätzliche Produktions- und Mixing-Arbeiten übernahm Sonny Diperri (DIIV, Julie). a short history of decay ist das musikalisch ausgereifteste Statement im Katalog von Nothing. Songs wie ,Cannibal World" und ,Toothless Coal" sind katastrophale Ausbrüche mechanisierten Industrial-Gaze, die wie My Bloody Valentine klingen - nur extremer. Am anderen Ende des Spektrums steht das kunstvoll-düstere ,Purple Strings" mit einem wunderschönen Streicharrangement, an dem die Harfenistin und zweifache Nothing-Mitwirkende Mary Lattimore beteiligt ist. Diese barocke Zartheit durchdringt auch andere Höhepunkte von ,A Short History of Decay", insbesondere ,The Rain Don't Care", eine beschwingte Ballade, die die abgenutzte Eleganz von Mojave 3 kanalisiert, sowie ,Nerve Scales", ein prasselnder Bop, der in seiner Verbindung von jenseitiger Atmosphäre und tödlicher Präzision an Radiohead erinnert. Palermo bezeichnet das neue Album als ,letztes Kapitel". Nicht das Ende von Nothing, sondern der Abschluss einer Geschichte, die mit dem Debütalbum von Nothing aus dem Jahr 2014, Guilty of Everything, begann - einem weiteren Album über Zeit, Reue und die Konfrontation mit unangenehmen Wahrheiten - und nun mit A Short History of Decay ihren Abschluss findet. Es ist ebenso sehr eine Momentaufnahme von Palermos Vergangenheit wie ein Sprung in die Zukunft von Nothing.
Im Jahr 2005 war Andrew Bird eine bis dahin unvorstellbare Kombination aus virtuosem Violinisten, Singer-Songwriter, Gitarristen und Pfeifer. Mit seinem Album ,The Mysterious Production of Eggs" aus diesem Jahr schuf Bird einen neuen Sound, der bis heute nachgeahmt wird. Anlässlich des 20-jährigen Jubiläums von ,The Mysterious Production of Eggs" veröffentlicht Andrew Bird ein ganz besonderes Boxset mit einem 54-seitigen Buch mit Fotos, besonderen Überraschungen und zwei Essays: einen von Andrew selbst und einen von Anders Lindall, der den verschlungenen und faszinierenden Prozess untersucht, den Andrew und seine Mitstreiter bei der Aufnahme des Albums durchlaufen haben. Das Boxset enthält außerdem die Originalveröffentlichung des Albums sowie zwei LPs mit bisher unveröffentlichtem Material auf schwarzem Vinyl. Auf einer LP befindet sich eine vollständige Wiedergabe des Albums, jedoch mit Demos, Live-Aufnahmen und alternativen Versionen. Die dritte LP enthält weitere unveröffentlichte Raritäten auf Seite A und eine Auswahl von Songs aus dem Originalalbum, die von Andrew mit dem Nu Deco Ensemble gespielt werden. Der ursprüngliche Cover-Künstler hat ein völlig neues Artwork für das Jubiläumswerk geschaffen.
DJ Mitsu the Beats, a globally active member of the Sendai-based hip-hop crew GAGLE, teams up with R&B singer reina from the creative collective and label w.a.u for
the new track "Gtg" now released as a 7-inch single.
The song is a bittersweet and ephemeral love track that expresses straightforward emotions and feelings, as if wandering toward the endlessly stretching sea.
The laid-back, jazzy beats and piano by DJ Mitsu the Beats, reina’s smooth and comforting vocals, and Kzyboost’s emotional talk box blend together into a mellow groove,
creating an alternative R&B sound that evokes the chill of the ocean.
The jacket artwork is a collaborative design featuring ocean photography by Yasuma Miura, a photographer based in Shonan and Kamakura who travels the world while surfing,
and design by So Iguchi (soiguchi design), a designer known for his work on outdoor brand catalogs and lookbooks.
There’s an alternate reality where everyone makes a living wage and the cleanest buses you’ve ever seen arrive every other minute. Where the most intense songs are about confessing your love to a crush at the apple orchard, and where gentle feelings and chaotic energy are inseparable best friends. This is the timeline where Cootie Catcher is right at home. This Toronto based four-piece exudes both vulnerability and unbridled excitement, creating a sound that hypercharges the open-hearted tenderness of twee pop with spiraling synths and giddy electronics. New album Something We All Got is the clearest and most vibrant reading of Cootie Catcher’s vision yet, with songs of sweetness, nervousness, and expectancy that beam out unguarded.
After releasing music made primarily in basement recording environments, Something We All Got is the band’s first flirtation with studio recording. The edges are still sharp, however, with some parts assembled from time-honored lo-fi methods and fun, personally-sourced samples seeping into the production. The sound is explosive and upbeat, with euphoric guitars, bubbly synth lines, speedy drums both played and programmed, and all other manner of sound constantly colliding. Cootie Catcher has three songwriters, Sophia Chavez, Anita Fowl, and Nolan Jakupovski, all of whom have distinctive voices but still manage to overlap in their writing on shared concerns like navigating the lines of romantic and platonic relationships, their city’s social scenes, and struggles in both the microcosmic experience of playing in a band and the zoomed-out challenges of living through late-stage capitalism.
Joy still touches every surface of Something We All Got. “Quarter Note Rock” bounces around the room in a fit of jangling guitar chords, scratched samples, and interplay between breakbeat loops and somersaulting live drums. It’s a blast of positivity even with lyrics about how disappointing it can be to meet your heroes. A smiling electro pop instrumental supports lyrics about having to step painfully away from an almost realized love on “Gingham Dress,” a song that subverts themes of domesticity as a backdrop for the dashed wilt of hopeless devotion.
Cootie Catcher rolls down hills and jumps through flaming hoops throughout Something We All Got without ever dumbing down the visceral emotions that drive these songs. There’s a palpable tension between the band’s exhilarating sonics and the raw, often uneasy sentiments expressed, but it’s an integral part of what makes them unique. Rather than hide behind the kind of calculated vagueness that plagues so much of the indie rock landscape in the time of cursed algorithms, Cootie Catcher runs full-speed toward every confusion and excitement, fearlessly direct and embracing the reality they’re in.
Miki Nakatani’s Best Album MIKI to Be Reissued on Vinyl in a Long Awaited Colored Edition!
This compilation features songs from actress Miki Nakatani’s music career during the mid 1990s to early 2000s, produced by Ryuichi Sakamoto.
It includes the much talked about track “Chronic Love”, which served as the theme song for the drama Keizoku, a beautifully rendered cover of NICO’s
“Chelsea Girls” that captures the original melancholy, and a drum only mix of Taeko Onuki’s “Natsu ni Koi Suru Onnatachi (DRUM MIX)”.
Additionally, Side D includes three off vocal versions, just like the CD release.
Adi Oasis returns with Silver Lining, her boldest EP yet, exploring strength through surrender and vocal freedom. Blending neo-soul, funk and retro-future R&B with producer Carrtoons, this new EP showcases Adi’s soaring vocals and stage ready energy, a modern diva moment designed for movement, empowerment and joy.
"Kawaru Kieru" by "Cornelius" will be released in a vocal version performed by Keigo Oyamada himself.
The streaming version, "Kawaru Kieru (feat. mei ehara)," is included on the B-side.
This is an analogue 12-inch single. Lyrics by Shintaro Sakamoto (ex-Yura Yura Teikoku), music by Keigo Oyamada.
Jon Lucien’s ‘Search For The Inner Self’ was one of the highlights of Paul Weller’s recently complied Ace CD “That Sweet, Sweet Music”. When also issuing it as a single, we included ‘We Got Love’, a track from his self-financed CD “Precious Is Love”, which proved to be as feted a choice as the top side. Due to this and further encouragement from soul fans, DJs and the Lucien family, we licensed the rest of the Beau Ray Fleming produced 1969 recordings for LP and CD reissue. Here is the very start of Lucien’s songwriting creativity − ‘Precious Is My Love’, ‘A Heart In Love’, ‘Flower Garden’ and ‘The Season Of Spring’ are accomplished and captivating creations, equal to his later much-admired work.
Die Indie-Folk-Ikone Sam Beam, auch bekannt als Iron And Wine, bringt ein neues Studioalbum raus, das voll mit wunderschöner, natürlicher Americana ist, darunter zwei Kollaborationen mit dem weiblichen Folk-Trio I'm With Her. „Ich wollte schon immer diesen Titel verwenden", sagt Sam Beam über „Hen's Teeth“, sein achtes Album in voller Länge und sein sechstes für Sub Pop Records. „Ich liebe ihn einfach. Für mich steht er für das Unmögliche. Hühnerzähne gibt's nicht. Und genau so fühlt sich dieses Album an: wie ein Geschenk, das es eigentlich nicht geben dürfte, aber doch da ist. Eine unmögliche Sache, aber sie ist real."
„Hen's Teeth“ und sein vorheriges Album „Light Verse“ sind so was wie Geschwister. Sie wurden während derselben Sessions nach einer einjährigen Pause mit derselben Band im Waystation Studio in Laurel Canyon aufgenommen. „Wenn ich gerade richtig in Schreiblaune bin und die Band mich dort abholt, wo ich gerade stehe, treiben sie mich zu etwas, das ich mir nicht hätte vorstellen können. Ich bin an einem Punkt in meinem Leben, an dem Spontaneität für mich viel wichtiger ist. Ich muss nicht mehr so viel beweisen wie früher. Ich bin viel freier und liebe es mehr denn je, Musik zu machen. Es gibt keine richtigen oder falschen Antworten. Man betet einfach um Glück und gibt sein Bestes." In diesem Fall wurden die Gebete erhört und das Glück schlug voll zu. Die Musiker fanden so schnell zueinander und inspirierten sich gegenseitig so sehr, dass sie Songs oft in nur wenigen Takes aufnahmen, manchmal zwei oder drei pro Tag. Die beiden Alben können daher als zweieiige Zwillinge betrachtet werden: Sie teilen sich die DNA und ergänzen sich, haben aber unterschiedliche Identitäten und zeichnen sich ebenso durch ihre Unterschiede wie durch ihre Gemeinsamkeiten aus. Die Welt von „Hen's Teeth“ ist erdiger, dunkler, robuster und greifbarer als die von „Light Verse“. Die Songs haben Titel wie “Roses", “Robin's Egg", “Dates and Dead People" und “Singing Saw". “Run into the one you love forever / Laugh into each other's empty mouth", singt Beam in “Roses", dem ersten Titel des Albums. Es ist einer von mehreren Songs, in denen Liebende so tief miteinander verbunden sind, dass sie physisch verschmelzen. “Paper and Stone" erinnert daran: “But for the time we fell in two / You'd be me and I'd be you / One crust of bread could fit in our mouths / You'd breathe in and I'd let it out." Und in “In Your Ocean" finden wir Beam betend: “Praying for dry ground / Though I only want to drown / When I find myself swimming in your ocean".
Mit The Mirror legt Buck Meek, Gitarrist von Big Thief, sein viertes Soloalbum vor - ein feinfühliges Werk über Sprache, Identität und das ständige Sich-Verändern. Freunde und Weggefährt:innen wie Adrianne Lenker, Jolie Holland oder Tucker Zimmerman wirken mit und hinterlassen ihre Spuren nicht nur musikalisch, sondern auch in den Texten. Meek begreift Songwriting als gemeinschaftlichen Prozess und nutzt den Spiegel als zentrales Bild: nicht zur Selbstbespiegelung, sondern als Gegenüber, das Fragen stellt. Aufgewachsen in einer kunst- und literaturgeprägten Familie in Texas, sammelte Meek früh vielfältige musikalische Erfahrungen - von Blues über Jazz bis Folk. Diese Offenheit prägt auch The Mirror. Gemeinsam mit Produzent James Krivchenia verbindet er die Live-Energie einer Band mit subtilen elektronischen Texturen. Die Aufnahmen entstanden in einem experimentellen, offenen Setting, das Spontaneität über Perfektion stellt. In seinen Songs geht es um Nähe, Verletzlichkeit und die Brüchigkeit von Erinnerung. Wortspiele, Spiegelungen und innere Dialoge machen Sprache selbst zum Thema. Angst und Zweifel erscheinen dabei nicht als Gegenspieler, sondern als Begleiter. The Mirror erklärt nicht - es hört zu, tastet sich vor und lädt dazu ein, dem Unbekannten mit Neugier zu begegnen.
Sicherhe
Celebrate 25 years of smooth sophistication with GOLD, the definitive Best Of vinyl compilation by Gare du Nord. A journey through their finest moments in lounge, nu-jazz, blues, and cinematic soul supervised by the creators themselves. From golden hits such as "Pablo's Blues" and "Marvin & Miles" to legendary deep cuts such as "Rock Your Baby"; this brand-new anniversary collection captures the band’s unmistakable flair for stylish storytelling and elegant soundscapes. Faithfully mastered from the original sources to deliver the most authentic vinyl experience possible, GOLD is a richly curated set for both longtime fans and new listeners.
Released as an individually numbered limited edition of 1,000 copies on gold-coloured vinyl,
GOLD includes personal track-by-track commentary from the creators — making this a truly collectable release.
rot/schwarzes Marble Vinyl. Offensichtlich parkverliebt_ eine musikgewordene Parksituation: Du schlenderst langsam durch das zerbrechliche Idyll inmitten der Stadt, die Luft ist kalt und klar, die Arme hinter dem Rücken verschränkt. Hochgewachsene Bäume spannen den Raum auf, gedämpfter Stadtlärm mischt sich mit dem Rascheln der Blätter, mehr oder weniger verwirrte Tiere sehen aufmerksam in Deine Richtung. Du setzt Dich auf eine Parkbank, hältst inne und fängst an Dich darüber zu freuen, wie schön das alles eigentlich ist. ParkWalkers emopop/slowcore sound ist bestimmt durch zwei cleane Gitarren (Hannes & Nicola), eindringliche Basslinien (Arnaud), entspannte Drums (Armin) und der warmen Stimme von Nicola. Melodien, die hängen bleiben, in meist klassischer Songstruktur. Die lieben 90er oder Nullerjahre lassen grüßen, vielleicht fällt einem American Football, Snow Patrol ein oder fühlt sich an Death Cab for Cutie und Weakerthans erinnert. ParkWalker haben sich 2018 gefunden, und leben verteilt in Berlin, Stuttgart und Karlsruhe. Klar in der DIY-Szene verwurzelt haben sie viele Stunden auf Bühnen im In-und Ausland mit verschiedenen Formationen verbracht, u.a. Tidal Sleep. Nach ihrem Debüt "Distant Phenomena" im Jahr 2021 ist für Herbst 2025 das zweite Album "The Extra Mile" bei This Charming Records geplant. Das Album wurde in den RAMA Studios aufgenommen und von Christian Bethge (z.B. Messer) produziert und gemastert
Splatter Vinyl, limitiert auf 800 Exemplare. Das Schweizer Quartett Lone Assembly präsentiert mit "Knots & Chains" ein Debütalbum voller in Schmerz, Entfremdung und Trauer getränkter Hymnen, die dennoch Hoffnung, Stärke und Mut entfalten. Im dunklen Goth-Gewand gehüllt, ist das Album eine Wave/Synth-Pop-Erkundung von Kontrolle in all ihren Facetten: sei es durch andere, uns selbst oder die Umstände und Orte, die uns prägen. Bereits mit ihrer EP "That Never Happened" (2024), einer Hommage an eine verlorene geliebte Person, reifte die Band zu weit mehr als einem musikalischen Projekt. Lone Assembly wurden zu einem Raum der Heilung, der Nähe und der Notwendigkeit. Diese existenzielle Dringlichkeit, die die Band zusammenschweisst, durchzieht auch das Debütalbum - noch intensiver und deutlicher als zuvor. "Knots & Chains" ist ein Spiel mit chiaroscuro und wirft Licht auf Songs, die aus tiefer Dunkelheit hervorgehen. Jede Komposition untersucht eine Form von Kontrolle: die Macht anderer, wie in "You're Pulling at the Same Strings", wo der Protagonist das Unheil im Gegenüber zu begreifen versucht, das in diesem schlummert; die Herrschaft über das eigene Ich, eindrucksvoll dargestellt in "The Pain Keeper" und "My Life's Solid"; die Macht von Orten, die über uns bestimmen, etwa in "The City Works Like This", wo die Stadt zum atmenden Organismus mutiert - absorbierend, verzerrend, abstossend. Trotz der düsteren Themen blitzen immer wieder Hoffnungsmomente auf, am stärksten im unbändigen "In the Open". "Das Album formt sich zum Zyklus zwischen Erstickung und Aufatmen, wandert von erdrückender Enge zu befreiender Weite", so Sänger Raphaël Bressler.
